“Welcome to the Machine” by Pink Floyd is a progressive rock piece that features a rather minimalistic chord progression, with only one chord during the outro. The piece is characterized by its lush soundscape, synthesizer layering, and the use of sound effects to create an atmosphere of a mechanized world.
“Since I’ve Been Loving You” by Led Zeppelin is a slow-tempo blues-rock song featuring a sophisticated and expressive chord progression that falls predominantly within the C minor key, standing out from the more traditional blues structures. The chords in the verse display a creative use of borrowed chords and chromaticism, contributing to the song’s moody and emotionally-evocative atmosphere. The progression is less common in rock music, which is what makes it characteristic of Led Zeppelin’s innovative musical explorations.
“Boulevard of Broken Dreams” by Green Day, released in 2004, is an alt-rock anthem that largely follows a 4-chord progression throughout the song. The key signature of the song is E minor (derived from the root chord), and essentially all chords used in the song are diatonic, meaning they are derived from the scales of the key. The chorus shifts to a progression in C Major. However, it returns to E minor at the end.
The chord progression in the verse of Radiohead’s “Nude” sets a contemplative and emotive atmosphere. It features a mix of diatonic and borrowed chords, which creates unexpected harmonic shifts that evoke feelings of melancholy. This distinctive harmonic language can be associated with the band’s signature moody sound and has been influential in the indie and alternative rock genres.
The song, “Somebody to Love” by Queen, utilizes the classic pop/rock harmonic structure while incorporating aspects of blues and gospel music. The harmonic progression is structured around common chords found in the key of G major. However, the way these chords are ordered and arranged is unconventional and adds depth to the song. It reflects the band’s interest in pushing the boundaries of the traditional harmonic structure common in pop music of that time. Queen is known for their innovative use of harmony, which they certainly showcase in this song.
1979 After The Storm All I Need Apocalypse Please Brown Sugar Buddy Holly Bullet With Butterfly Wings California Kids Castles Made Of Sand Closer Creep Earfquake Every Day Is Exactly The Same Exit Music For A Film Fake Plastic Trees Get You Give Me The Night Gone Gone Hallelujah Heart Is A Drum House Of The Rising Sun Hurt Island In The Sun I Want To Hold Your Hand Kashmir Maxwells Silver Hammer Morning Motion Picture Soundtrack My Name Is Jonas Paint It Black Penny Lane Say Goodbye Say It Aint So Since Ive Been Loving You Somebody To Love Stairway To Heaven Strawberry Fields Forever The Good Life Think Im In Love Today Undone The Sweater Song Viva La Vida Whole Lotta Love With A Little Help From My Friends You And Whose Army
“Feeling Good” by Muse is a cover of the song originally written by Anthony Newley and Leslie Bricusse for the 1964 musical “The Roar of the Greasepaint – The Smell of the Crowd”. Muse’s version is characterized by its distinct blend of jazz, rock, and pop influences, with strong orchestration and stylistically unique elements that give the song a modern edge while still paying homage to its classic roots.
The chorus of “Perfect Situation” by Weezer features a fairly straightforward chord progression using diatonic chords from the G major scale. The progression is composed primarily of the tonic (I), dominant (V), and submediant (vi) chords, with a focus on their harmonic interplay. This creates a catchy and memorable chorus, which is characteristic of Weezer’s style and is often found in pop and rock music.
“Time To Pretend” by MGMT features a non-conventional and interesting chord progression. The progression can be primarily analyzed in the key of D Major with a brief modulation to the relative minor (F#m). The chords are not sophisticated in terms of extensions, but the arrangement and harmonic movement provide a unique and memorable melody. This chorus is an example of diatonic and modal mixture, using chords not only from the primary key but also borrowing chords from other modes.
The chord progression in Verse 3 of Daniel Caesar’s “Get You” consists of a mix of diatonic chords and borrowed chords from the parallel minor. The overall tonality is in the B minor key. The smooth, soulful sound of the progression is achieved through the use of minor chords, mixed with major seventh chords, and the cycle of fifths progression in some measures.
Copyright 2024 ©