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The chord progression of “I Want To Hold Your Hand” by The Beatles is particularly interesting for its use of key changes and borrowed chords. It reflects both the catchy driving pop rock melody signature of early Beatles and the sophistication of harmonic innovation, which defines their later work.

The chord progression of “Because” by The Beatles demonstrates the band’s profound exploration of harmony. The song starts in the key of C# minor, revolves around this key, and includes various modulations and tonicizations to explore chords beyond the key. It heavily employs secondary dominants and borrowed chords, particularly the diminished 7th chords, which is not uncommon in Beatles’s songs. The chord progression has a dreamy and fluid flow due to these harmonic explorations.

The given chord progression of Weezer’s “California Kids” features a verse in the key of C major. The progression primarily uses diatonic chords, with a more unconventional movement that features the use of a C/B chord, or I chord with the bass note played in the seventh degree (leads to tonicization of the vi chord). The progression also features a common IV-V movement that is a characteristic of pop and rock music.

The chord progression in the verse of Tyler, The Creator’s “Earfquake” is primarily based on a simple alternation between two chords, Bbmaj7 and Am7, with a brief excursion to Gm7 before returning to Am7. The simplicity and repetition of the progression creates a feeling of comfort and stability, while the use of major 7th and minor 7th chords adds a touch of sophistication and smoothness. The progression doesn’t follow a traditional functional harmony, but it effectively supports the melody and the overall vibe of the song.

“Roads” by Portishead is set in the key of Am, also known as A minor. In the verse, there is an interesting use of the flat major 7 (Fmaj7) chord. This chord is not typically found within the natural minor key but is considered a borrowed chord from the A major key. Thus, this use of said borrowed chord and its resolution to the E7 dominants gives the song a unique feel, contributing to its mesmerizing and emotive ambience. Portishead tends to blend the use of A minor and A Dorian modality in their music, especially apparent in this composition.

The Beatles – I Want To Hold Your Hand – Verse 1

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Chord Progression

[‘G’, ‘D’, ‘Em’, ‘B’, ‘G’, ‘D’, ‘Em’, ‘B7’]

Chord Progression Analysis

– G Major (I)
– D Major (V)
– E minor (vi)
– B Major (‘III borrowed from parallel minor’)
– G Major (I)
– D Major (V)
– E minor (vi)
– B7 Major (‘III7 borrowed from parallel minor’)

A code block for the borrowed chord:
“`
“B Major” and “B7 Major” are borrowed from the parallel minor (G minor) scale
“`

Similar Chord Progressions

Artists like The Beach Boys and Elton John have also used similar chord progressions. For example, in Elton John’s “Tiny Dancer”:

– A Major (I)
– E Major (V)
– F# minor (vi)
– C# Major (‘III borrowed from parallel minor’)
– A Major (I)
– E Major (V)
– F# minor (vi)
– C#7 Major (‘III7 borrowed from parallel minor’)

In Beach Boys’ “God Only Knows”, the progression is:

– A Major (I)
– E Major (V)
– F# minor (vi)
– C# Major (‘III borrowed from parallel minor’)
– A Major (I)
– E Major (V)
– F# minor (vi)
– C#7 Major (‘III7 borrowed from parallel minor’)

Musical Analysis

Borrowed chords create an unexpected element in chord progressions and it’s one of the tools used by The Beatles for enhancing musical interest in their composition. The use of the B Major and B7 chords from the parallel minor scale adds a unique color to the harmony and increases the tension which is resolved when returning to the G Major. It also creates a seamless chromatic ascending bass line from E (in Em chord) to F# (in G chord) via F (in B major or B7).

Overall Analysis

“I Want To Hold Your Hand” by The Beatles is an excellent example of their innovative approach to harmony and chord progression. This song, written in the key of G major, features a common I-V-vi-III progression in the verses. It notably uses borrowed ‘B’ major and ‘B7’ chords from the parallel minor scale.

Style Analysis

The use of major chords borrowed from the parallel minor scale is a key characteristic of The Beatles’ style and it’s evident in many of their songs. It gives a happy yet melancholic feel to the song. Another style hallmark in this song is the effective use of dominant 7th chords to create a sense of anticipation and resolve.

Chords in the Verse 1 section of I Want To Hold Your Hand by The Beatles are:

[‘G’, ‘D’, ‘Em’, ‘B’, ‘G’, ‘D’, ‘Em’, ‘B7’]