Deconstructing Grunge: The Simple Yet Potent Chord Progressions of Nirvana

Nirvana was known for their raw, aggressive, yet melodic sound. While they often utilized simple chord structures, their genius lay in how they manipulated and combined these elements, often defying traditional music theory.    

While classic rock often relied on straight up I - IV - V -blues progressions and the I - ♭III  - IV - ♭VII progression, Nirvana relied on other chord progressions and patterns to achieve that distinct "grunge" sound.    

Analyze Kurt's creations for yourself

Chord Progression Characteristics and Patterns in Nirvana Songs

1. Heavy Use of Power Chords:

• This is perhaps the most defining characteristic. Power chords (root and fifth, sometimes with an octave) create a thick, heavy sound and are neither major nor minor, giving them a certain ambiguity*. 

• They allow for strong, distorted guitar riffs without the muddiness that full triads can produce with heavy distortion.**

*Ambiguity is the key here. Playing through just power chords, sus4 and sus2 chords gives the song a different feel than using traditional triads or even 7th chords.

**You can also play power chords on heavily distorted guitars and add single line harmonies that won't muddy up the mix. 

2. Simple, Repetitive Patterns (Often Two or Four Chords):

• Many Nirvana songs are built around very simple, often two-chord or four-chord loops that repeat throughout sections (verse, chorus).

• Examples:
• "About a Girl" (Verse): Em - G (repeated)
• "Polly": D - C - G - B♭ (repeated, though B♭ is a non-diatonic chord in E minor (G major), highlighting their "rule-breaking" approach)*
• "Territorial Pissings": A - F - D (a simple ambiguous V-♭III-I three-chord progression, using sus4 and power chords)

* I like to refer to this as the 'grunge' chord. Kurt would often take a common diatonic chord progression and throw an 'out chord' in there for interest. Try it for yourself: in this case we have a simple V-IV-I with the ♭III (in G). You could also use: ♭VI, ♭V,♭VII or even ♭II if you want to go 'metal': E♭, D♭, F or A♭ respectively.

3. Chromatic Mediants (Moves by Major or Minor Thirds)

• A hallmark of Cobain's songwriting was moving between chords whose roots are a major or minor third apart, often containing a common tone. This creates a somewhat unsettling or unexpected feel.
• I - ♭III (I - flat III) or I - ♭VI (I - flat VI): This translates to moving from a major chord to a major chord whose root is a minor third up (I to ♭III) or a major third down (I to ♭VI).
• Examples: "In Bloom" / "Come As You Are": Often feature progressions like C5 - E♭5 (a major third up) or C5 - A♭5 (a major third down). This is a very distinctive Nirvana sound.

Various Chromatic Mediants in the Key of C

4. Modal Interchange / Borrowed Chords:

• While a song might primarily be in a major or minor key, Cobain frequently "borrowed" chords from the parallel major or minor key, adding unexpected color and tension.
• For instance, in a song in E minor, he might introduce chords from E major. This creates harmonic depth without relying on complex jazz-like progressions.
• "Lithium": D Major - F#m - Bm - G - B♭ - C - A - C. The B♭ and C major chords are borrowed from D natural minor, creating a sense of tension and release that mirrors the song's lyrical themes.

5. Avoidance of Traditional I-IV-V (or V-I) Dominant-Tonic Relationships:

• Unlike much of rock and pop, Nirvana often avoided strong dominant-to-tonic resolutions. They would frequently move directly from a subdominant (IV) back to the tonic (I) or use other non-traditional movements. This contributes to their raw, unpolished, and sometimes disorienting sound.*

*This again lends itself to the ambiguous and unresolved feel mentioned with the power chords above.

6. Emphasis on Riff-Based Writing:

• The chord progressions often serve as a foundation for memorable, driving guitar riffs rather than intricate harmonic journeys. The simplicity of the chords allows the riffs and melodies to stand out.*

*Unlike classic rock riffs which were often based on pentatonic and blues, these riffs would lend themselves to the harmony giving them their distinct sound.

In summary, common Nirvana chord progression elements include:

• Power chords are king.
• Simple, repeated two- or four-chord loops.
• Chromatic mediant relationships (e.g., I to ♭III or I to ♭VI).
• Borrowed chords from parallel keys (modal interchange) for unexpected twists.
• Less reliance on traditional dominant-tonic resolution, favoring direct or "odd" movements.

By combining these relatively simple building blocks in unconventional ways, Kurt Cobain created the unique and impactful sound that defined Nirvana. Try these progressions in your music to give it a innovative twist or a departure from the typical diatonic progressions.

Use These Principles For Your Own Creations

By doing these analyses and looking at what goes into great songs, you can try some of these ideas in your own music: 

• Power chords are king: Just move around the neck and try different combinations of power chords. Don't worry about keys or even major/minor and see what you like. You can analyze later.
• Simple, repeated two- or four-chord loops: To make these more 'grunge', try the idea listed above. Play a couple of regular diatonic chord progressions, then throw the 'grunge chord' in there.
• Chromatic mediant relationships (e.g., I to ♭III or I to ♭VI): Don't just do one, move them around. Example: C-A♭ then C-E♭, or C-A♭ then G-B♭ then F-A♭.(see examples above)
• Borrowed chords from parallel keys (modal interchange): The most used ones are: iv, v, ♭III, ♭VII, ♭VI (Fm, Gm, E♭, B♭, A♭ in C) from minor. Or, II, ♭II, III, ♭V, VI  from the other modes.  (D, D♭, E, G♭, A in C)
• Less reliance on traditional dominant-tonic resolution: Like above with the power chords and borrowed chords just play diatonic progressions without ever going to the V. You could also do this by playing a diatonic chord progression that never goes to the I.

The limit are endless. Try them yourself.