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“Hey Jude,” by The Beatles, is an iconic song. The chord progression is in the key of D major and it follows a sort of Variation on I-V-IV-I progression of many pop and rock songs. However, what makes this song extremely unique is its out-of-the-box structure and the experimental use of borrowed cords – it shows The Beatles’ fondness for combining elements of pop, rock and classical music and results in an emotional, powerful progression that resonates strongly with listeners.

“Across The Universe” by The Beatles, written mostly by John Lennon, is known for its rich and complex harmonic structures that added new dimensions to pop music. The song is predominately in the key of D major, with occasional borrowings from the parallel minor (D minor) and the closely-related key of B minor. The verse 1 progression – D, Bm, F#m, Em7, A, A7, D, Bm, F#m, Em7, Gm – creates an affectingly melancholic mood through its mix of major, minor and borrowed chords, producing a unique ambience that evokes a sense of cosmic contemplation, matching with the philosophical lyrics of the song.

The interlude of Weezer’s “Island in the Sun” is in the key of G Major, and features a four-chord progression that repeats itself twice (Em-Am-D-G). The sequence follows a vi-ii-V-I progression, which is a very common progression in pop and rock music.

“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 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)

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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’]