The given chord progression is the Pre-Chorus section of “After The Storm” by Kali Uchis. The chords in this progression are predominantly built on the 1st and 2nd degrees of the minor scale. The recurring use of the Eaug chord injects an interesting and stylish twist into the music.
The chord progression in the bridge of Kali Uchis’ “After The Storm” consists of two alternating chords, Amaj7 and Dmaj7, played repeatedly. This progression is simple yet effective, creating a smooth and mellow atmosphere that matches well with the song’s overall neo-soul and R&B vibe. The arrangement is in the key of A Major and has a diatonic structure without any borrowed chords.
The chord progression in the intro of “After the Storm” by Kali Uchis showcases a mix of diatonic and chromatic movements, borrowing elements from jazz and R&B. The use of 7th chords and an augmented chord suggests a harmonically rich and colorful tonality, creating an intriguing atmosphere that captures the listener’s attention.
“Buddy Holly” is a song by Weezer with an upbeat, pop-rock feel. It exists in the key of A major and showcases a recurring chord progression in its verse consisting of F#m, E/G#, and A.
The chord progression in the verse of Beck’s “Sexx Laws” is a blend of major and minor chords, which creates a unique and somewhat unpredictable sound. The progression shifts between the key of B major and G# minor, reflecting an adventurous approach to harmony. The style of this progression has a hint of funk and jazz, with a touch of blues.
The chord progression in the verse of “Telepatia” by Kali Uchis showcases a mix of diatonic and chromatic harmony. The progression is built around the key of G Major and has a strong Latin and jazz-influenced sound. The use of extended chords like Gmaj7 and Em9 adds depth and sophistication to the harmony, while the non-diatonic B7 contributes to the tension and resolution.
The chord progression in verse 2 of “Telepatia” by Kali Uchis is a jazz-influenced progression in the key of E minor. It features several extended chords, such as the Em9 and Gmaj7 used throughout, and a dominant chord, B7, which provides tension and resolution in the progression. The G/A chord, which is essentially an A11 chord without the 3rd, also gives the progression a sense of blending major and minor tonalities.
Kali Uchis’ “Telepatia” features a relatively simple two-chord progression in the outro, consisting of a major seventh chord followed by a dominant seventh chord. The harmonic texture is sparse yet effective, with a unique, ethereal atmosphere created by the interplay between the two chords.
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