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Related Music Theory Alchemy

“Maxwell’s Silver Hammer” by The Beatles features a popular song structure and a mix of common chord progression techniques. The distinct progressions within the verse repeat throughout the song, but the chords and structures themselves are fairly common within rock and pop music. It mixes the standard I-IV-V (in this case, D-A-G) progression with the ii-V-I progression (in this case, Em-A-D), both of which are staples of songwriting in a variety of genres.

“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.

The verse 2 chord progression from Muse’s “New Born” reflects their signature harmonic daring and interesting relationships, which provides this piece with a fresh and captivating sound. The progression features a blend of diatonic and non-diatonic chords, as well as key shifts and chromaticism. It utilizes major-minor modal interchange and emphasizes the Em – B relationship throughout.

The chord progression in the verse 2 of Beck’s “Morning” is an example of a common progression in popular music, involving the I, IV, iii, and ii chords. The harmony is mostly diatonic, staying within the key of E major. The progression features regular 4-chord phrases and a smooth, consonant flow between chords.

The chord progression in the verse 2 of Megalomania by Muse is predominantly in the key of E minor, with several chromatic and borrowed chords that give the progression a unique character. This progression consists of 16 chords and features an interesting mix of diatonic chords, secondary dominants, and borrowed chords that contribute to the dramatic and dark atmosphere of the piece.

The Beatles – Maxwells Silver Hammer – Verse 2

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Chord Progression

[‘D’, ‘B7’, ‘Em’, ‘A7’, ‘D’, ‘A’, ‘E7’, ‘A7’]

Chord Progression Analysis

Here is the roman numeral analysis and full chord names of Verse 2:

– D Major (I)
– B7 Major (VI7)
– E Minor (ii)
– A7 Major (V7)
– D Major (I)
– A Major (V)
– E7 Major (II7)
– A7 Major (V7)

The E7 Major (II7) and B7 (VI7) are the borrowed chords.

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Borrowed Chords: E7 Major (II7), B7 Major (VI7)
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Similar Chord Progressions

Creedence Clearwater Revival’s “Bad Moon Rising”

– D Major (I)
– A Major (V)
– G Major (IV)
– D Major (I)

The Monkees’s “I’m a Believer”

– G Major (I)
– D Major (V)
– C Major (IV)
– G Major (I)

These songs employ similar use of dominant and subdominant chords, although the role of secondary dominants is more pronounced in the Beatles’ progression.

Musical Analysis

Chord progression touches different diatonic chords of D Major, the tonic home key. The sudden switch to B7 serves as a secondary dominant that introduces E minor, the subdominant of D major. This is a great example of a chromatic secondary dominant, which The Beatles were known for using. Further, the E7 acts as a secondary dominant to the A7, the dominant of D Major.

Overall Analysis

“Maxwell’s Silver Hammer” is a song by the English rock band the Beatles from their 1969 album Abbey Road. It was written by Paul McCartney. The song is primarily in the key of D Major and exhibits a mix of major, minor, and dominant seventh chords. This verse progression manifests the distinctive Beatles’ sound which often includes chromaticism and prevalence of secondary dominants that link the chords together, giving a smooth flow and color to the harmonic progression.

Style Analysis

Pick out any Beatles song, and more likely than not, you’ll find it peppered with secondary dominants. “Maxwell’s Silver Hammer” is no exception. The song features a cheerful, upbeat tempo and tone despite its dark lyrical content, a classic Beatles contrast. Time signature is 4/4, maintaining a constant easy beat.

Chords in the Verse 2 section of Maxwells Silver Hammer by The Beatles are:

[‘D’, ‘B7’, ‘Em’, ‘A7’, ‘D’, ‘A’, ‘E7’, ‘A7’]