The song “3 Libras Acoustic Live” by A Perfect Circle oscillates between an A major and a C# minor structure, with a D major introduced at the end of the progression. The dominant chords are A (represented as Asus2) and C# (represented as C#m). The final D chord can be seen as a modulation, adding a somewhat unexpected resolution that doesn’t adhere to the traditional rules of tonic-dominant resolution in either major or minor keys.
The progression starts on the suspended II chord of the key, which anticipates resolution either to the tonic (E major) or the supertonic (F# minor). However, it instead moves to the dominant minor (C# minor), suggesting a borrowed chord from the parallel minor (E minor). The D major chord which concludes the progression is a borrowed II from E minor as well.
The progression starts on the suspended II chord of the key, which anticipates resolution either to the tonic (E major) or the supertonic (F# minor). However, it instead moves to the dominant minor (C# minor), suggesting a borrowed chord from the parallel minor (E minor). The D major chord which concludes the progression is a borrowed II from E minor as well.
The song “Closer” by Nine Inch Nails is in the key of B major. The primary chords used throughout the song are: B major (I), C# major (II), G major (bVI), E major (IV), F# major (V), and C (bII). The chords progression is unconventional when compared to traditional music theory. This unconventional use of chords and progressions creates a unique and distinct sound that characterizes the song.
Chord Analysis (Pre-Chorus):
The chord progression in the pre-chorus, which is also found in the verse, would be:
B major (I) – C# major (II) – B major (I) – C# major (II) – B major (I) – C# major (II) – B major (I) – C# major (II) – G major (bVI) – B major (I) – C# major (II) – B major (I) – C# major (II) – B major (I) – C# major (II) – B major (I) – C# major (II) – G major (bVI) – B major (I) – C# major (II) – B major (I) – C# major (II) – B major (I) – C# major (II) – B major (I) – C# major (II) – G major (bVI) – B major (I) – C# major (II) – B major (I) – C# major (II) – B major (I) – C# major (II)
Borrowed Chord:
G major (bVI) is a borrowed chord from B minor, the parallel minor of B major in this song.
“Tiny Dancer” is an iconic song by Elton John from his 1971 album Madman Across the Water. Written in the key of C Major, it genre-wise fits the mold of pop music from the early 1970s. Structurally, the song displays unique nuances, especially in its pre-chorus, which shifts the tonal center and incorporates some borrowed chords from parallel minor scales.
The song “The Outsider” by A Perfect Circle has a main key signature of E major, as indicated by the repeated occurrences of the chords B, A, and E. The overall structure is tonal, using chords common in Western music. Some elements of modality are observable though, with the use of the C chord, which in traditional music theory would be considered a borrowed chord from the parallel E minor scale. A sense of tension and release is created through the use of these non-diatonic chords, which ultimately helps to maintain the listener’s interest.
The progression from B to A to E is a common progression in pop and rock music. This progression utilizes diatonic and non-diatonic chords, meaning that the chords all belong to the same key and it suggests the use of borrowed chords. A Perfect Circle tends to use a lot of downward motion in their chord progressions, moving from higher to lower pitches, which can give their music a distinct ‘heavy’ feel.
The song “The Outsider” by A Perfect Circle frequently uses the chord progression [‘B’, ‘B’, ‘A’, ‘E’] in the key of E major. When viewing the chords through the lens of E major we can identify the chord progression as ii, ii, V, I. Furthermore, It shows some interesting harmonic decisions throughout. Most notably, the band makes use of borrowed chords which are chords taken from the parallel minor (in this case E minor). Here, the borrowed chords include A major and C major.
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