Search

Related Music Theory Alchemy

“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.

“All My Loving” by The Beatles is a mid-tempo pop song written in the key of E minor for the verse and D Major for the bridge and outro, featuring a distinct, upbeat walking bassline. The grey, almost mournful verses, along with the brighter, major-toned bridges and chorus, create a juxtaposition of feelings within the piece. The bridge also highlights The Beatles’ use of secondary dominants and chromaticism. Concluding in the tonic key of D Major, the song has an interesting interplay between Em and D Major throughout, which could be perceived as a Em: i, VI, III, II and D: vi, V7, I, vi, IV, ii, I progression.

“Perfect Situation” by Weezer is a pop-rock song that follows a standard verse-chorus format, with a strong focus on melody and harmony. The song is in the key of G major, and the chord progression provided is for the second verse. It features a simple, yet effective progression that creates a sense of movement and tension before resolving back to the tonic chord. This gives the song a very engaging, classic pop/rock feel.

“Glory Box” by Portishead from the album Dummy (1994) presents a haunting and somewhat melancholy ambience commonly found in their trademark trip-hop style. This song, in particular, draws from a palette of jazz-influenced harmony. The chords used, their extensions, and inversions, conjure complexity beyond basic triadic harmony. The chord progression listed appears to be in the key of D minor and employs common jazz techniques like ii-V-I progressions and usage of the half-diminished chord.

“Feeling Good” by Muse is a cover of the song originally written by Anthony Newley and Leslie Bricusse for the 1964 musical “The Roar of the Greasepaint – The Smell of the Crowd”. Muse’s version is characterized by its distinct blend of jazz, rock, and pop influences, with strong orchestration and stylistically unique elements that give the song a modern edge while still paying homage to its classic roots.

The Beatles – Come Together – Verse 2

Add To Favorites Remove From Favorites

< All Analyses

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.

“`
Borrowed Chords: IV (G Major), V (A Major)
“`

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’]