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“Here Comes The Sun” by The Beatles, composed by George Harrison, features a complex and stylistically unique chord progression. The song is primarily in the key of D major, with elements of modal interchange (also known as borrowed chords) from both the parallel minor key (D minor) and other modes, including the Mixolydian mode.

“I Am The Walrus” is a composition by The Beatles that showcases a variety of chord progressions, rhythmic sensibilities, and melodic explorations that are representative of their signature sound. The song’s structure presents a complex and unorthodox harmonic design that is characteristic of The Beatles’ later experimental phase.

The pre-chorus 1 [‘A’, ‘A/G’, ‘Dadd9/F#’, ‘F’, ‘G’, ‘A’, ‘A/G’, ‘F’, ‘B7’] presents a series of descending bass notes provided by the root movement of these chords- from A to G (in ‘A/G’) to F# (in ‘Dadd9/F#’) and then repeated. This technique significantly enhances the melodic content of this progression. From a stylistic perspective, the song’s chord progression is enriched by the functional interplay of diatonic and non-diatonic elements over a changing tonal landscape.

The bridge of Weezer’s “Say It Ain’t So” features an intriguing chord progression, which presents both diatonic and borrowed chords, as well as chromatic harmony. The song’s key is C major, but it touches on the parallel minor key and incorporates unusual chords such as the Eb major chord, which adds tension and surprise. The chord progression and harmonic rhythm are fairly consistent throughout the bridge, creating a sense of unity.

“I Am The Walrus” is a composition by The Beatles in which the song varies in key and progressive elements, with fascinating uses of borrowed chords from parallel modes and chromatic bass motion. The melody resides predominantly within a pentatonic framework, frequently rotating around subversions. The Bridge section beautifully showcases Beatles’ experimentation with descending chord progression built around chromatic movement.

“Maxwell’s Silver Hammer” is a Beatles song composed in the key of D Major. It’s a classic example of Paul McCartney’s knack for catchy pop songwriting. This song showcases McCartney’s affinity for borrowing chords to make his progressions more interesting.

The Beatles – Here Comes The Sun – Bridge

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Chord Progression

[‘F’, ‘C’, ‘G/B’, ‘G’, ‘D’, ‘A7’]

Chord Progression Analysis

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For the bridge, the chords are: F (IV of C), C (I in C), G/B (V/V in C), G (V in C), D (V of G), A7 (V7 in D).

This progression goes: IV – I – second degree secondary dominant – V – dominant of the dominant or V/V – V7 in the original key.

In the song as a whole, it’s notable that the piece is in the key of D major, and yet the bridge starts in the key of C major. This is done through a pivot chord, the G chord (V in C), which is common to both keys (as V in the home key D major and IV in C major).

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Borrowed Chord: G (V of C)
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It’s being used as a pivot to facilitate a smooth transition from D major back to C major. This shows a great use of modal interchange, also known as borrowed chords.

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Similar Chord Progressions

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As with any successful and famous song, this chord progression influenced and was implemented by numerous artists.

1. “Good Vibrations” by The Beach Boys
The progression in the bridge of “Good Vibrations” goes G – B – D – F – A – C which is a IV – vi – I – iii – V – vii^o progression in G.

2. “Tiny Dancer” by Elton John
In the pre-chorus of “Tiny Dancer,” John uses similar movement with D – G – B – E, which is a I – IV – vi – ii progression in D.

3. “Sweet Child o’ Mine” by Guns N’ Roses
Guns N’ Roses uses a somewhat similar progression with D – C – G as I – ♭VII – IV in D for the intro of “Sweet Child o’ Mine.”

While these are not exactly the same progressions, they illustrate the influence and pervasiveness of the unique modal interchange found in “Here Comes The Sun.”

Musical Analysis

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The bridge modulates briefly to C from the original key of D major via a pivot on the G chord. The chords give a sense of resolution with IV – I, but build tension again with the usage of secondary dominants, leading back to the original key of D major.

The overall song also frequently uses suspensions, which resolves to create a sense of relief and happiness. The A7sus4 to A7 in the verses is a great example of this, where it creates tension and then resolves.

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Overall Analysis

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“Here Comes the Sun” written by The Beatles is a seminal work from the Beatles’ output in pop music. The piece is composed in a modified strophic form with a circular pattern augmented with a repetitive and distinct bridge that modulates in key. The use of major chords and open voicings gives the song a sunny and positive feel, hence its title. It’s also notable for its mixed use of diatonic and borrowed chords, contributing to its unique sound.

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Style Analysis

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George Harrison’s distinctive style is notable throughout this song, as seen through the usage of unique chord progressions and suspensions to create shifts in mood and tension within the song. Harrison also had a distinct preference for major keys, contributing to the positive and sunny disposition of the song.

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Chords in the Bridge section of Here Comes The Sun by The Beatles are:

[‘F’, ‘C’, ‘G/B’, ‘G’, ‘D’, ‘A7’]