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“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.

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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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“Little Sister” by Queens of the Stone Age is based in the rock genre, featuring a simple melody with strong rhythmic components, built on a mix of power, suspended and major chords. The use of the C#5 and G#5/D# chords in the verses and the F#sus4-E-G#sus4 repetition in the chorus indicate an overall key signature of F# minor.

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The chord progression in the chorus of Tyler, The Creator’s “See You Again” exhibits a combination of diatonic and chromatic movements, with the use of borrowed chords and altered dominants that create tension and release. The song is in the key of F# major.

The chorus of Taylor Swift’s song “ME!” employs a bright and catchy chord progression that’s emblematic of pop music’s joyful and exuberant character. This progression underpins the song’s themes of self-affirmation and positivity, making it an infectious and memorable part of the track.

The Beatles – Maxwells Silver Hammer – Chorus

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Chord Progression

[‘D’, ‘E7’, ‘A7’, ‘Em’, ‘A7’]

Chord Progression Analysis

The chorus involves a repeated sequence of ‘D’, ‘E7’, ‘A7’, ‘Em’, ‘A7’. In terms of Roman numeral analysis in the key of D major, the progression goes as follows:

– ‘D Major’ (‘I’)
– ‘E7’ (‘II7’)
– ‘A7’ (‘V7’)
– ‘E Minor’ (‘ii’)
– ‘A7’ (‘V7’)

“` Borrowed Chords: ‘E Minor’ (‘ii’) is a borrowed chord from the parallel minor key (D minor).“`

Similar Chord Progressions

A song with a similar progression is “Just the Way You Are” by Bruno Mars. The chorus uses the progression ‘D’, ‘Em’, ‘Bm’, ‘G’, ‘D’, ‘Em’, ‘A’. In terms of Roman numeral analysis:

– ‘D Major’ (‘I’)
– ‘E minor’ (‘ii’)
– ‘Bm’ (‘iii’)
– ‘G Major’ (‘IV’)
– ‘D Major’ (‘I’)
– ‘E minor’ (‘ii’)
– ‘A Major’ (‘V’)

Here, there is also a movement from the tonic ‘I’ to the minor ‘ii’, similar to the structure in “Maxwell’s Silver Hammer.” Both songs use this device to add a touch of emotion and tension in an otherwise upbeat and major progression.

Musical Analysis

The melody over this progression is catchy and simple, showcasing The Beatles’ knack for unforgettable hooks. The use of the borrowed ‘E minor’ chord adds a touch of unexpected surprise, deviating from the key of D major momentarily to create a hint of tension before resolving beautifully back to ‘A7’, the dominant chord.

Overall Analysis

“Maxwell’s Silver Hammer,” composed by Paul McCartney, is a pop song that sits in the key of D Major throughout. However, it does borrow chords from the parallel minor. This technique, known as modal interchange or borrowed chords, is common in popular music and especially in classical compositions by iconic bands like The Beatles.

Style Analysis

This progression embodies The Beatles’ innovative approach. While it begins in a rather conventional manner, using ‘I’, ‘II7’, and ‘V7’ chords, the sudden switch to the ‘ii’ chord borrowed from the parallel minor gives the chorus an unexpected twist. This Beatles’ use of modal interchange is a prominent part of their style.

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

[‘D’, ‘E7’, ‘A7’, ‘Em’, ‘A7’]