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“Come Together” by The Beatles, like many other Beatles songs, is known for its unique melody and innovative chord progressions. The song is written in the key of D minor and employs frequent use of bluesy pentatonic scale patterns. The meter is 4/4 (common time). The song is characterized by the use of common chords, with the exception of the Bm and Bm/A chords which are noteworthy.

“Strawberry Fields Forever” by The Beatles is a psychedelic rock song often regarded as one of their finest works. It’s innovative from both a melodic and harmonic perspective, using complex chord structures, chromatic touches, and key changes. The song is primarily in the key of E major.

“Paper Tiger” by Beck is a unique and stylistic piece, displaying a blend of various genres and influences. The verse 2 chord progression is quite simple, but the harmonic choices create tension and provide a sense of movement throughout the progression. Combining the elements of rock, folk, and alternative music, this chord progression is both intriguing and musically satisfying.

The chord progression featured in Radiohead’s “Motion Picture Soundtrack” Verse 2 is a four-chord loop that moves from G major to C major (acting as a suspension) and B minor (with an added 9th), creating an interesting mix of tonalities and suspensions. The progression establishes G major as the tonal center but continually moves away from it, creating a sense of ambiguity.

“Your Song” is characterized by a varied and complex chord progression that helps to emphasize the emotional complexity of the lyrics. This is apparent in the progression used in Verse 2, which employs several techniques used frequently by Elton John. These include the use of secondary dominants, borrowed chords, modal mixture, and chromatic bass movements to add emotional color and reinforce the feeling of tension and resolution in the song’s narrative.

The Beatles – Come Together – Verse 2

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Chord Progression

[‘Dm’, ‘Dm’, ‘A’, ‘G’]

Chord Progression Analysis

The chord progression for Verse 2 is quite repetitive and groovy, making heavy use of the D minor pentatonic scale. The chord progression is as follows:

D minor: Dm (‘i’)
D minor: Dm (‘i’)
A Major: A (‘V’)
G Major: G (‘IV’)

The chords ‘IV’ (G Major) and ‘V’ (A Major) are not naturally occurring in the D minor scale. Therefore, ‘IV’ and ‘V’ are borrowed chords from the D Major scale.

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Borrowed Chords: IV (G Major), V (A Major)
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Similar Chord Progressions

Many rock and pop songs also use borrowed chords to add intrigue and interest to their progressions. While not exactly the same, a few examples include:

1. “Hey Joe” by Jimi Hendrix: C (‘I’), G (‘V’), D (‘II’), A (‘VI’), E (‘III’)
2. “Sweet Home Alabama” by Lynyrd Skynyrd: D (‘I’), C (‘bVII’), G (‘IV’)

Note that these progressions do not copy “Come Together” exactly, but they do share similarities in terms of the borrowing and key modulation techniques used.

Musical Analysis

The constant repetition of Dm gives a sense of both groove and subtly darker undercurrent, helping to underscore the moodiness of the song. The transition from ‘i’ to ‘V’ (Dm to A) forms the basis of a deceptive cadence, or interrupted cadence, which contributes to the powerful surprise and tension when the progression changes on the last two chords. The borrowed chords, ‘IV’ and ‘V’, create a shift in mood, highlighting the Beatles’ innovative use of borrowing and key modulation that was characteristic of their late career.

Overall Analysis

“Come Together”, released by The Beatles in 1969 on their Abbey Road album, is a rock song known for its catchy bass-line, cryptic lyrics and iconic chorus. It’s written in D minor key, a common key in rock music. Across the progression, there is not only an interesting mix of different chords but also a novel use of borrowed chords that play a significant role in making the song mysterious, intriguing, and unique.

Style Analysis

“Come Together” reflects The Beatles’ evolution from their early pop roots to a more mature, experimental rock sound. The innovative use of borrowed chords, the darker tonality provided by D minor, and the subtle complexity of the progression show the band’s penchant for breaking the traditional songwriting mold. The use of repetitive, rhythmic groove in the bass-line, coupled with the extensive use of a minor pentatonic scale, also suggests influences from blues and early rock ‘n roll.

Chords in the Verse 2 section of Come Together by The Beatles are:

[‘Dm’, ‘Dm’, ‘A’, ‘G’]