Analysis of Common Chord Progressions in Popular Music

Robin Thicke, Blurred Lines

(2013)

I	I	V	V
F	F	C	C

This song has no real chords, but the chord progression suggests a I to V motion.

Gotye, Somebody That I Used to Know

(2011)

Imin	♭VII	Imin	♭VII
Amin	G	Amin	G

This song uses some clever arrangement, instrumentation, and melodic ideas. In light of this, the repetitive harmony works well. The vocals sounded very modern, at least in 2011. Although this music is not complex from a harmonic standpoint, the “gap of complexity” is filled through other means.

Jason Mraz, I’m Yours

(2008)

I	V	VImin	IV
G	D	Emin	C

This song rests its laurels on feel-good guitar and vocals, as well as solid production techniques. Mraz is an able vocalist and guitar player, but in this song he lets the arrangement do the work. If you listen to the studio recording of this song, listen to the number of parts: guitar 1, guitar 2, vocals 1, vocals 2, drums, bass, and keys. Listen for their points of entry and exit. Another song whose timbral features, production and arrangement let it transcend harmonic and melodic simplicity.

Eminem, Lose Yourself

(2003)

I	♭VII	I	♭VII
Dmin	C	Dmin	C

This song also doesn’t have chords, per say. But the implied harmony in the verse is I^min to ♭VII, which acts as a sort of cadenceA resolution, or feeling of finality, created by moving from a strongly tense and unstable chord, to a stable one. Usually supported by the notes in the melody as well. The most common cadence is V–I. back to the minor tonic. The chorus adds a brief ♭VI.

Nirvana, Smells Like Teen Spirit

(1991)

I	IVmin	♭VII	♭VI
E5	A5	G5	C5

A song that either satirizes teen angst, or perfectly represents it. Although Kurt Cobain knew nothing of formal music theory, the basic chord progression fits fine in the key of E minor. The first two chords, E⁵ to A⁵ work well because the motion going up a fourth is strong. The second two chords are a repeat of that idea, one whole step lower. The chords are played as power chordA basic, hollow chord structure consisting of a single root note and the note a perfect fifth above. Widely used in rock music.s and use heavy distortion. The distortion makes it undesirable to play more complex harmony.

Guns N' Roses, Sweet Child of Mine

(1987)

I	♭VII	IV
D	C	G

A simple chord progression, and one of the most iconic rock songs. The song uses the Mixolydian chord ♭VII, which by 1987 had become widely-used in popular music.

Michael Jackson, Billie Jean

(1982)

Imin	IImin/7	♭IIImin/5	IImin/7	IVmin
Emin	F♯min/E	G/D	F♯min/E	A-7

Another example of musical roles separating in modern, dance-oriented music. The bass-line plays a riff consistening mostly of the tonic note. The synth adds a bit of simple minor-scale harmony. And Michael’s vocals are what take the spotlight.

Queen, Bohemian Rhapsody (Intro)

(1975)

I	V/V	V	IImin	V	I	IImin	I
B♭6	C7	F7	C-7	F7	B♭	C-7	B♭
VImin	V/IV	IV	IImin	V
Gmin	B♭7	E♭	Cmin	F7
bII	I	bVII	I	bII	I	bVII	I
B	B♭	A	B♭	B	B♭	A	B♭
IV	I/3	bIIIdim	V/3	V	I
E♭	B♭/D♭	C♯dim	F/C	F	B♭

A complete analysis of the chords for this song would be difficult, as it uses dozens of chords. Taken from a songwriting perspective, this song is a true work of art. The structure of the song defies popular music, with no verse-chorus, but a cycle through various moods, like a miniature symphony. The chords are rich and complex, as is the melody by necessity. And, astoundingly, this relatively complex song has also been extraordinarily popular.

Just the intro is rich with clever chord changes.

In the first line, the second chord is a secondary dominant resolving to the V of the key.

The second line has a secondary dominant resolving to the IV of the key.

The third line is rich with chords borrowed from other modes.

Finally, in the last line, a real clever move: a C♯^dim, which would normally resolve either up to a D chord or down to a C chord. Instead of doing that, the chord pretends it’s resolving down to a C chord, but actually the C is the fifth note of the F^maj chord, which is the V of the key. Pretty cool!

John Lennon, Imagine

(1971)

Verse

I	Imaj7	IV
C	Cmaj7	F
IV	VImin	II-7
F	Amin	D-7
V	V7
G	G7

Chorus:

IV	V	I	V/VI
F	G	C	E7

The verse uses a relatively simple diatonic harmony, colored a little bit by the use of some seventh chords.

The chorus gets a little bit more complex. The E⁷ would normally be a V/IV, but in this case it resolves to the F major chord.

(Traditional) Amazing Grace

(1779)

I	IV	I	V
D	G	D	A7

Another simple chord progression, revolving around I, IV and V.

As the creator of Hub Guitar, Grey has compiled hundreds of guitar lessons, written several books, and filmed hundreds of video lessons. He teaches private lessons in his Boston studio, as well as via video chat through TakeLessons.