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Related Music Theory Alchemy

“Maxwell’s Silver Hammer” by The Beatles is a track that showcases the band’s fondness for creating complex and textured compositions by combining multiple melody lines with innovative chord sequences in a pop rock context. It features numerous musical styles, including pop, rock, and music hall, which reflects the band’s eclectic musical influences. The Coda of the song takes place in the key of D major.

This is a rich verse chord progression where The Beatles use diatonic and borrowed chords to enrich the melody. This progression follows their signature style of pop music with strong melodious and harmonic elements.

“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.

The verse of “Tiny Dancer” by Elton John is generally in the key of C major (with some temporary modulations) and features a varied and interesting chord progression that is indicative of Elton John’s complex, piano-driven musical style.

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“Cant Buy Me Love” by The Beatles is a pure example of their early rock-and-roll style influenced by blues. It uses common chord progressions in rock and blues, such as the I-IV-V progression and the use of dominant 7th chords. The song is set in C major, and makes repeated use of the I-IV (C-F) progression. A significant feature in the song is the use of the dominant 7th chords (C7 and F7), which adds some bluesy quality to the song and also serves as a transition chord to the next chord in the progression.

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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’]