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“Come Together” by The Beatles, like many other Beatles songs, is known for its unique melody and innovative chord progressions. The song is written in the key of D minor and employs frequent use of bluesy pentatonic scale patterns. The meter is 4/4 (common time). The song is characterized by the use of common chords, with the exception of the Bm and Bm/A chords which are noteworthy.

The outro of ‘Hey Jude’ by The Beatles is a prime example of a repeated chord progression, specifically a repeated loop of D-C-G-D. This progression is repeated throughout the last significant section of the song, often referred to as the “na na na” section, essentially becoming a kind of mantra or chant that brings the song to a sustained and palpable resolution.

“Fake Plastic Trees” by Radiohead is a haunting and introspective ballad that features an evocative chord progression. The progression appears to have been influenced by alternative rock and combines elements of both major and minor tonalities, as well as non-diatonic and diatonic chords. This blend of harmonic flavors creates an unforgettable sound that is melancholic, yet beautiful.

“Let It Happen” by Tame Impala is characterized by its psychedelic and experimental nuances. It features an overall bright and uplifting tone despite its use of some more complex chords. The song ska common in pop music. The chord progression in question has a strong melodic sensibility demonstrating Kevin Parker’s ability to incorporate complex musical ideas into a pop format.

“Right Where It Belongs” by Nine Inch Nails features a melancholic and somewhat unconventional chord progression that moves between different tonal centers. The base key can be identified as F major from the frequency of F major chords in the progression.

The Beatles – Come Together – Verse 2

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Chord Progression

[‘Dm’, ‘Dm’, ‘A’, ‘G’]

Chord Progression Analysis

The chord progression for Verse 2 is quite repetitive and groovy, making heavy use of the D minor pentatonic scale. The chord progression is as follows:

D minor: Dm (‘i’)
D minor: Dm (‘i’)
A Major: A (‘V’)
G Major: G (‘IV’)

The chords ‘IV’ (G Major) and ‘V’ (A Major) are not naturally occurring in the D minor scale. Therefore, ‘IV’ and ‘V’ are borrowed chords from the D Major scale.

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Borrowed Chords: IV (G Major), V (A Major)
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Similar Chord Progressions

Many rock and pop songs also use borrowed chords to add intrigue and interest to their progressions. While not exactly the same, a few examples include:

1. “Hey Joe” by Jimi Hendrix: C (‘I’), G (‘V’), D (‘II’), A (‘VI’), E (‘III’)
2. “Sweet Home Alabama” by Lynyrd Skynyrd: D (‘I’), C (‘bVII’), G (‘IV’)

Note that these progressions do not copy “Come Together” exactly, but they do share similarities in terms of the borrowing and key modulation techniques used.

Musical Analysis

The constant repetition of Dm gives a sense of both groove and subtly darker undercurrent, helping to underscore the moodiness of the song. The transition from ‘i’ to ‘V’ (Dm to A) forms the basis of a deceptive cadence, or interrupted cadence, which contributes to the powerful surprise and tension when the progression changes on the last two chords. The borrowed chords, ‘IV’ and ‘V’, create a shift in mood, highlighting the Beatles’ innovative use of borrowing and key modulation that was characteristic of their late career.

Overall Analysis

“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.

Style Analysis

“Come Together” reflects The Beatles’ evolution from their early pop roots to a more mature, experimental rock sound. The innovative use of borrowed chords, the darker tonality provided by D minor, and the subtle complexity of the progression show the band’s penchant for breaking the traditional songwriting mold. The use of repetitive, rhythmic groove in the bass-line, coupled with the extensive use of a minor pentatonic scale, also suggests influences from blues and early rock ‘n roll.

Chords in the Verse 2 section of Come Together by The Beatles are:

[‘Dm’, ‘Dm’, ‘A’, ‘G’]