The chord progression in the riff from Muse’s “New Born” is intriguing and creative, employing chromaticism and non-diatonic chords to create a unique and dramatic sound. The progression consists of four chords: C, A#dim7, Bsus4, and B. This progression doesn’t adhere to a single key, making it difficult to analyze in terms of functional harmony. However, it showcases Muse’s experimental tendencies, a quintessential aspect of their music style.
Muse’s “New Born” is a rock composition with progressive and alternative elements. The harmonic structure is simple, making use of common chords and progressions. In the given chord progression from Verse 3, there is a sense of tension and release between the major and minor chords, creating a sense of dynamics and urgency. The chord progression itself is repetitive, with subtle variations added to keep interest.
The song in question, “Endlessly” by Muse, is a reflective and emotional piece, featuring a fairly unique chord progression. The verse’s chord progression is not commonly heard in popular music, giving it a distinct sound that sets it apart from other songs. The use of suspended chords, the shift from Am to Bm, and the resolution to the E7 chord give the piece a floating, ethereal feel.
“All My Loving” by The Beatles is a mid-tempo pop song written in the key of E minor for the verse and D Major for the bridge and outro, featuring a distinct, upbeat walking bassline. The grey, almost mournful verses, along with the brighter, major-toned bridges and chorus, create a juxtaposition of feelings within the piece. The bridge also highlights The Beatles’ use of secondary dominants and chromaticism. Concluding in the tonic key of D Major, the song has an interesting interplay between Em and D Major throughout, which could be perceived as a Em: i, VI, III, II and D: vi, V7, I, vi, IV, ii, I progression.
“Wish You Were Here” by Pink Floyd is a classic rock ballad from their 1975 album of the same name. The song features an introspective and expressive melody with a predominantly acoustic instrumentation. The chord progression for Verse 2 demonstrates a blend of diatonic and non-diatonic chords, with borrowed chords from parallel modes, which adds to the emotional depth of the piece.
The verse 2 chord progression in “Can’t Take My Eyes Off You” by Muse follows a typical jazz/pop style with the use of extended and altered chords such as Major 7th and minor 7th ♭5 chords. It also features a variation in line with the different sections of the piece.
Muse’s “Can’t Take My Eyes Off You” is a rock interpretation of the classic 1967 pop song “Can’t Take My Eyes Off You” by Frankie Valli, which has been covered by various artists in different styles. The chord progression of the chorus is characterized by a series of diatonic chords, predominant in Western pop music. This progression follows a typical 1950’s “doowop” pattern present in countless pop and rock songs, utilizing the familiar circle of fourths movement (Dm-G-C) and establishing a straightforward harmonic rhythm.
Chord Progression Analysis with Roman Numerals (borrowed chords in code block):
D minor (iv) – G major (VII) – C major (I) – A minor (vi) – D minor (iv) – G major (VII) – C major (I) – A major (V/vi) – D minor (iv) – G major (VII) – C major (I) – A minor (vi) – D minor (iv) – G major (VII) – C major 7 (Imaj7) – C7 (I7) – C6 (I6) – C major (I) – Ab major (*bVI) – C major (I)
`* Ab major (bVI) is a borrowed chord from the parallel minor key (C minor).`
The Verse 3 chord progression in Muse’s cover of “Can’t Take My Eyes Off You” is a fairly simple progression that features harmonic devices such as seventh chords, borrowed chords, and a half-diminished chord. This progression incorporates some jazz and pop influences into a stylistically cohesive and engaging harmonic landscape.
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