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“Hey Jude,” written by The Beatles, charts a classic journey from tonic to dominant, with a detour through the subdominant and the minor dominant. It starts with a D chord (I), moves onto A (V), then A7 (V7) and back to D (I). The interlude features the progression D (I) – D7 (I7) – A7 (V7). This clever progression creates a momentary modulation to the key of G with the D7 chord, creating an interesting harmonic shift.

“All You Need Is Love” is in the key of G major. The song primarily uses the chords within the key signature and has a relatively simple harmonic structure. However, the song does utilize a few distinct chord choices that contribute to its unique sonic character. The song applies modal interchange with an inclusion of A minor from the G Mixolydian mode and the D7 and D6 which evoke a hint of the D Mixolydian mode.

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.

This chord progression from the verse of Tame Impala’s “Alter Ego” suggests a key of C major due to the recurring instances of Cmaj7. However, the presence of certain chords like Bm7 and Dm suggests that Kevin Parker is creatively “borrowing” chords from the parallel and associated keys (C minor, D minor) to create colorful departures from the primary tonality. The use of extended chords (7ths) and suspended chords (Bsus4) adds a sense of complexity and sophistication to the harmony. As can be seen, the chord progression mostly oscillates between Cmaj7, Bsus4, Bm7 before moving to Dm and Gm towards the end of the verse.

The chord progression in “Ramona” by Beck is a blend of diatonic and chromatic harmony with some borrowed chords from outside the key. The piece is in the key of G major, and it features several instances of voice leading, smooth transitions between chords, and the occasional unexpected chord that adds interest and depth to the progression.

The Beatles – Hey Jude – Verse

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Chord Progression

[‘D’, ‘A’, ‘A7’, ‘D’, ‘G’, ‘D’, ‘A’, ‘A7’, ‘D’]

Chord Progression Analysis

“`
D (I)
A (V)
A7 (V7)
D (I)
G (IV)
D (I)
A (V)
A7 (V7)
D (I)
“`

This is a fairly typical pop/rock progression that loosely follows a I-V-IV-I pattern. However, this pattern is made more complex with the use of the V7 (A7 in this case) to add tension and depth.

Similar Chord Progressions

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Musical Analysis

“Hey Jude” is a poignant and touching composition. Musically, the initial part of the progression is designed to create a strong emotional bond with the listener. The song begins on the tonic chord (D), moves to the dominant (A), adds a seventh for tension (A7), then resolves back to the tonic (D). This is followed by a move to the subdominant (G), before returning to the tonic (D) and repeating the sequence. This simple yet effective progression helps create the song’s distinctive emotional landscape. Furthermore, the frequent return to the tonic chord (D) creates a sense of stability and resolution, underscoring the song’s overall comforting feel.

Overall Analysis

“Hey Jude,” by The Beatles, is an iconic song. The chord progression is in the key of D major and it follows a sort of Variation on I-V-IV-I progression of many pop and rock songs. However, what makes this song extremely unique is its out-of-the-box structure and the experimental use of borrowed cords – it shows The Beatles’ fondness for combining elements of pop, rock and classical music and results in an emotional, powerful progression that resonates strongly with listeners.

Style Analysis

In terms of style, “Hey Jude” is quintessentially Beatles. Its creative harmonic progressions, use of borrowed chords, and blending of rock, pop, and classical elements is characteristic of their late-period work. Additionally, the song’s unconventional structure (lacking a traditional verse-chorus-bridge format) and its extended “na-na-na” coda also mark it as a standout example of The Beatles’ innovative approach to songwriting.

Chords in the Verse section of Hey Jude by The Beatles are:

[‘D’, ‘A’, ‘A7’, ‘D’, ‘G’, ‘D’, ‘A’, ‘A7’, ‘D’]