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Related Music Theory Alchemy

The Beatles’ “Strawberry Fields Forever” is composed in the key of A Major, but utilizes a number of chord extensions and non-diatonic chords to create a dreamy, nostalgic soundscape fitting the song’s theme of reminiscing about childhood.

“Here, There and Everywhere” is a Beatles song from the album “Revolver”, released in 1966. The song is in the key of G major and showcases an advanced use of borrowed chords and modulations, a topic that contributes to the originality of this song. McCartney credited the song’s structure of changing key to Brian Wilson’s influence in the same period.

The chord progression in the chorus of “Give Me The Night” by George Benson demonstrates the use of extended and borrowed chords. The progression consists of a mix of diatonic chords and chords borrowed from the parallel minor, which is a characteristic of jazz and R&B music. The use of the Db/Eb also adds a layer of harmonic ambiguity that creates tension, enriching the overall sound of the piece.

“Here Comes The Sun” is written by George Harrison from The Beatles and it is a key example of the band’s flirtation with what is commonly referred to as Mixolydian mode. The piece showcases their skillful blending of folk idioms with contemporary pop sensibilities.

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“1979” by The Smashing Pumpkins is a classic alternative rock song that cleverly uses uncommon, sophisticated chords to evoke an emotional, melancholic atmosphere.

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The Beatles – Strawberry Fields Forever – Chorus 3

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Chord Progression

[‘A’, ‘Em7’, ‘Em7’, ‘F#7’, ‘D’, ‘F#7’, ‘Dmaj7’, ‘A’]

Chord Progression Analysis

“`
– A Major (I)
– E minor 7 (v7)
– E minor 7 (v7)
– F#7 (VI7)
– D Major (IV)
– F#7 (VI7)
– D Major 7 (IVmaj7)
– A Major (I)
“`
All the chords used here are diatonic except for F#7 which is borrowed from the parallel minor key (A minor). This creates a jazz-influenced dominant 7th chord transition which adds melodic and harmonic variance to the sequence.

Similar Chord Progressions

The Beach Boys’ “God Only Knows” also utilizes many borrowed chords and secondary dominants. Specifically, the progression Brian Wilson uses in the verses, like:
“`
– E Major (I)
– B/F# (V)
– G#m7 (iii7)
– C#m7 (vi7)
– F#7 (V7)
– C#m7 (ii7)
– F#7 (V7)
“`
“Bennie and the Jets” by Elton John also employs non-diatonic chord progressions within the context of pop music. For instance, the verses feature:
“`
– G Major (I)
– Em7 (vi7)
– A7 (II7)
– D7 (V7)
– G Major (I)
“`
Both these songs, like “Strawberry Fields Forever”, challenge the traditional Major/minor dynamics in pop music, creating a richer harmonic palette.

Musical Analysis

The Beatles often used traditional harmonic music theory principles and expanded upon them. The use of the VI7 (F#7) borrowed chord is an example of using secondary dominants, which forces an abrupt change and adds a more sophisticated, Jazz-like sound. The use of the E minor 7 vocabulary is also an unconventional move in a piece written in A Major. This alteration contributes to a moodier, darker quality within the song which differentiates it from a typical pop song.

Overall Analysis

“Strawberry Fields Forever” by The Beatles is written in the key of A Major and features 4/4 time signature. The chord progression for Chorus 3, which you’ve mentioned, is quite sophisticated and creative, exhibiting the Beatles’ aptitude for blending conventional pop harmony with more unexpected changes, drawn from their broad palette of influences and their willingness to experiment.

Style Analysis

“Strawberry Fields Forever” is an example of Psychedelic Rock due to its unusual melodies and chord progressions, use of unconventional instruments (like the Mellotron), complex studio effects including tape loops and backwards recordings, and its cryptic lyrics. It’s considered one of their masterpieces in “psychedelia”.

Chords in the Chorus 3 section of Strawberry Fields Forever by The Beatles are:

[‘A’, ‘Em7’, ‘Em7’, ‘F#7’, ‘D’, ‘F#7’, ‘Dmaj7’, ‘A’]