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As this song has a distinct classical rock sound, you’ll see a mixture of major and minor chords. The progression is in the key of E major. The use of seventh chords and suspended chords provides a dense harmonic texture.

“Yesterday” by The Beatles showcases the innovative use of chord progressions that the group is known for. This song, unlike their other songs, includes borrowed chords and numerous secondary dominant chords. It also uses their favored approach of mixing chords from parallel major and minor scales, hence creating a ‘blended’ modal effect.

Moreover, it uses a mixolydian ♭7 in the main chord sequence, which is quite a popular trick among songwriters for shifting the tonic of a song.

The bridge of Weezer’s “Say It Ain’t So” features an intriguing chord progression, which presents both diatonic and borrowed chords, as well as chromatic harmony. The song’s key is C major, but it touches on the parallel minor key and incorporates unusual chords such as the Eb major chord, which adds tension and surprise. The chord progression and harmonic rhythm are fairly consistent throughout the bridge, creating a sense of unity.

This particular section is mostly based in the key of F major and highlights Freddie Mercury’s love for moving from the classical I-ii-V progression to the jazz-inspired I-IV-ii-V, often followed by a jazzy II-V-I. In this part of the song, you will find some interesting use of borrowed chords and leading tones, contributing to the chromaticism that enriches the progression.

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The Beatles were known for their innovative use of musical elements, and this can be seen in “I Want To Hold Your Hand”. The song is largely in the key of G major, but it also has some borrowed chords from other keys. This variety creates a unique listening experience that keeps the song fresh.

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The Beatles – Dont Let Me Down – BRIDGE

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Chord Progression

[‘E’, ‘B’, ‘B7’, ‘E’]

Chord Progression Analysis

– E Major (I)
– B Major (V)
– B7 Major (V7)
– E Major (I)

Any borrowed chord would be indicated by parentheses with a “b”, for instance, (bIII) would denote a borrowed minor III from the parallel minor key. However, in this progression, there are no borrowed chords, as all the chords listed are diatonic to the key of E Major.

Similar Chord Progressions

1. “Sweet Child ‘O Mine” by Guns N Roses. The song also exhibits a similar V-I progression:
– D Major (I)
– A Major (V)
– A7 Major (V7)
– D Major (I)

2. “Creep” by Radiohead. Similar use of a major V7 chord to add tension before resolving back to the tonic:
– G Major (I)
– B Major (III)
– B7 Major (III7)
– G Major (I)

All these songs show how a dominant seventh chord can be employed to evoke emotion, drive melody, and resolve tension in a composition.

Musical Analysis

This is a textbook example of a V-I progression, which is fundamental in Western music. It creates a powerful harmonic movement with a sense of finality, also known as a perfect cadence.

The B7 Major chord is often called a “dominant seventh” chord because it is built from the fifth note (the dominant) of the scale. In this case, it acts as a secondary dominant, seeking to resolve to E Major. This gives the progression a bluesy, tension-filled character before it finally resolves back to the tonic chord.

Overall Analysis

“Dont Let Me Down” by The Beatles is a song that’s heavily grounded in the key of E Major, with some interesting use of borrowed chords for a richer, more emotional harmonic texture. The song is a fine example of The Beatles’ songwriting style, which often involves mixing diatonic chords with chromatic passing chords, borrowed chords, and secondary dominants.

Style Analysis

The Beatles often employed seventh chords to add a sense of tension and release within their compositions. This progression somewhat echoes the progression in their earlier song “I Want to Hold Your Hand,” wherein The Beatles use a D7 as a dominant chord to tightly resolve back to G Major.

Chords in the Bridge section of Dont Let Me Down by The Beatles are:

[‘E’, ‘B’, ‘B7’, ‘E’]