Music Theory Alchemy

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“Hey Jude” goes through a clear progression, switching through the keys of D major, A major and G major. Like many Beatles songs, it cleverly varies between these keys in keeping with the melody and mood of the piece. The complexity of this progression is part of the song’s charm and helps exemplifies the band’s creative approach to composition.

The progression is in the key of C major. The use of the Bb major is known as modal interchange, where a chord that is not in the key is borrowed from a parallel key, which in this case is C minor. This contributes an interesting tone color to the overall sound. The chord progression does consist a use of slash chords (C/B, C/G) which adds a more complex bassline creating a more harmonically active feeling, and yielding more tension and release.

“Kashmir” by Led Zeppelin is a classic rock song that is well-known for its distinctive and mysterious sound. This interlude, in particular, creates a sense of tension and resolution through its simple but effective chord progression. The overall harmonic structure is built on a modal mixture, drawing from both the major and minor modes, which contributes to its unique atmosphere.

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This is a simple and common chord progression often known as “four chords” used often in pop and rock music. The song is in G Major and the progression has a I-V-vi-IV pattern.

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The given chord progression for the interlude of “Gone Gone” by Tyler, The Creator appears to deviate from common patterns found in popular music. The progression consists of eight unique chords, which could create an interesting and complex sound.

The Beatles – Hey Jude – Interlude

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Chord Progression

[‘D’, ‘D7’, ‘A7’]

Chord Progression Analysis

In the key of D:
– D (I)
– D7 (V7 of IV)
– A7 (V7)

“`code
Borrowed Chord: None
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Similar Chord Progressions

One band that have been heavily influenced by The Beatles is Oasis. Their song “Don’t Look Back In Anger” has a similar progression. In the key of C:

– C (I)
– C7 (V7 of IV)
– G (V)

This progression mirrors the basic structure of the “Hey Jude” progression, with a IV chord (in this case, G), acting as a pivot between the initial I chord and the dominant. The initial tonic-dominant relationship is subverted, with a temporary modulation to F being suggested by the C7 chord. This mirrors the use of secondary dominants in “Hey Jude”.

Musical Analysis

The progression starts with a D major chord (the tonic) which sets the mood. The D7 chord is the secondary dominant of G, making it a strong setup for a potential IV chord. However, instead of resolving to G, it returns to A7 (the dominant). This clever use of harmony defies our expectations, creating a momentary modulation. A7 then naturally leads back to D, creating a sense of completeness.

Overall Analysis

“Hey Jude,” written by The Beatles, charts a classic journey from tonic to dominant, with a detour through the subdominant and the minor dominant. It starts with a D chord (I), moves onto A (V), then A7 (V7) and back to D (I). The interlude features the progression D (I) – D7 (I7) – A7 (V7). This clever progression creates a momentary modulation to the key of G with the D7 chord, creating an interesting harmonic shift.

Style Analysis

Hey Jude is often admired for its inspired, yet straightforward progressions. The Beatles often used basic diatonic progressions as the basis of their tracks, infusing them with interesting harmonic shifts such as secondary dominants and borrowed chords. This particular progression underpins the song’s interlude, marking an important structural and textural shift within the song.

Chords in the Interlude section of Hey Jude by The Beatles are:

[‘D’, ‘D7’, ‘A7’]