The chord progression in Tyler, The Creator’s “See You Again” can be characterized as a mixture of jazz harmonies and pop sensibilities. The verse progression features major and minor seventh chords, a few borrowed chords, and a prominent chromatic movement.
Chord progression analysis (including borrowed chords)
1. F#maj7 (I)
2. F#maj7/B (I6)
3. Fmaj7 (bImaj7 – borrowed chord)
4. G#m7 (iii7)
5. D7#5 (VI7#5 – borrowed chord)
6. F#maj7 (I)
7. F#maj7/B (I6)
8. Fmaj7 (bImaj7 – borrowed chord)
9. G#m7 (iii7)
10. D7#5 (VI7#5 – borrowed chord)
The chord progression starts with the tonic F#maj7 and moves through a first inversion of the same chord (F#maj7/B) before introducing borrowed chords (Fmaj7 and D7#5) from the parallel minor key, creating tension and color. The G#m7 is a diatonic iii7 chord, adding to the jazzy feel of the song.
The chord progression in the interlude of “Are We Still Friends?” by Tyler, The Creator is a simple yet effective progression that moves from the tonic chord to a dominant seventh, followed by a subdominant chord, and finally a minor subdominant chord. The progression creates an interesting shift in tonality that is common in jazz and soul music, which are styles that Tyler is known to incorporate into his work.
The chord progression in the chorus of “Are We Still Friends” by Tyler, The Creator is a relatively simple yet effective progression that contains some characteristic elements of R&B and soul music. It includes a mixture of major and minor chords and a predominant use of dominant 7 chords (in this case, E7) to create a sense of tension and resolve within the progression. This progression is simple enough that it allows for the melody and lyrics to shine while still providing harmonic interest.
The bridge of Beck’s “Think I’m In Love” is an interesting combination of chords, showcasing unusual harmonic choices and unexpected modulations. The tonal center of this progression appears to be ambiguous, as several key centers are explored throughout the progression, creating a sense of harmonic tension and release.
The bridge of Weezer’s “Say It Ain’t So” features an intriguing chord progression, which presents both diatonic and borrowed chords, as well as chromatic harmony. The song’s key is C major, but it touches on the parallel minor key and incorporates unusual chords such as the Eb major chord, which adds tension and surprise. The chord progression and harmonic rhythm are fairly consistent throughout the bridge, creating a sense of unity.
The chord progression in the bridge of “Gone, Gone” by Tyler, The Creator can be described as a combination of diatonic and borrowed chords from the parallel minor key. The key of the song is F major, and the progression combines elements of pop, R&B, and jazz, creating a distinctive harmonic sound.
The given chord progression for the interlude of “Gone Gone” by Tyler, The Creator appears to deviate from common patterns found in popular music. The progression consists of eight unique chords, which could create an interesting and complex sound.
The chord progression in Tyler, The Creator’s “Gone Gone” is a mix of diatonic and non-diatonic chords, making it an interesting and unique progression. It features a combination of major, minor, and an altered seventh chord, adding to the overall complexity of the progression. The style is reminiscent of jazz and R&B, where more complex harmonic structures are often used. Some borrowings from different modes and chromaticism also contribute to its richness and distinct sound.
The post-chorus chord progression for “Gone Gone” by Tyler, The Creator is a diverse and intriguing progression that blends elements of pop, hip-hop, and jazz. The progression shows Tyler’s innovative approach to harmony and demonstrates his love for unique chord progressions that evoke strong emotions.
The given chord progression for Tyler, The Creator’s “Gone Gone” verse 2 is primarily in the key of Bb major with a mixture of chords from other modes. The progression displays a combination of diatonic and borrowed chords, exhibiting the stylistic blending commonly found in modern music such as jazz, R&B, and hip-hop.
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