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Related Music Theory Alchemy

“Let It Be” by The Beatles is a song in the key of C Major. The chord progression featured in Verse 3 of the song, C – G – Am – Am/G – Fmaj7 – F6 – C – G – F – C/E – Dm7 – C, is a common progression in pop music. It has a repetitive structure and revolves around the I-V-vi-VI progression.

“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.

“Every Day Is Exactly The Same” by Nine Inch Nails is primarily composed in the key of E minor. The song consists of four sections: Verse 1, Chorus, Verse 2, and Bridge. The chord progressions in the song are relatively simple, with a distinct alternation between E and C chords in the verses, while the chorus and bridge sections feature a broader range of chords such as A, C, and G.

Chord Progression Analysis (Verse 2):
E minor (i), C major (VI), E minor (i), C major (VI), E minor (i), C major (VI), G major (III), F major (♭VII; borrowed chord from E Phrygian), E minor (i)

*G major (III) and F major (♭VII) are both non-diatonic chords in E minor, with the F major chord being borrowed from the E Phrygian mode.

Verse 2 of Grizzly Bear’s “Yet Again” presents a straightforward harmonic progression that is common in pop and indie rock music. This series of chords is mainly built around the key of A minor, and uses diatonic chords (those that naturally occur within the key) of this key. The recurring sequence (Am, G, C, F, F, Em, C, Dm) indicates a strong sense of familiarity and predictability, characteristic of many pop/rock anthologies.

“Creep” by Radiohead is a song in the key of G major that features a four-chord progression in its verse 2, which is distinctive for its use of a borrowed chord from the parallel minor (G minor). Although the song’s simple harmonic structure is quite common in pop music, its use of a borrowed chord adds an element of surprise and emotional depth, establishing Radiohead’s unique sound.

The Beatles – Let It Be – Verse 2

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Chord Progression

[‘C’, ‘G’, ‘Am’, ‘Am/G’, ‘Fmaj7’, ‘F6’, ‘C’, ‘G’, ‘F’, ‘C/E’, ‘Dm7’, ‘C’, ‘C’, ‘G’, ‘Am’, ‘Am/G’, ‘Fmaj7’, ‘F6’, ‘C’, ‘G’, ‘F’, ‘C/E’, ‘Dm7’, ‘C’]

Chord Progression Analysis

Here’s a breakdown of the named chord progressions in roman numerals for the Verse 2 you provided:

– C (‘I’), G (‘V’), Am (‘vi’), Am/G (‘vi/IV’), Fmaj7 (‘IVmaj7’), F6 (‘IV6’), C (‘I’), G (‘V’), F (‘IV), C/E (‘I/iii’), Dm7 (‘ii7’), C (‘I’)

“`csharp
Borrowed Chord: None in this progression
“`

Similar Chord Progressions

-1. “No Woman No Cry” by Bob Marley: C (‘I’), G (‘V’), Am (‘vi’), F (‘IV’)
-2. “With Or Without You” by U2: D (‘I’), A (‘V’), Bm (‘vi’), G (‘IV’)
-3. “Poker Face” by Lady Gaga: G (‘I’), D (‘V’), Em (‘vi’), C (‘IV’)
-4. “Someone Like You” by Adele: A (‘I’)- G# ‘dim’/C-F#m/C#m-D-E(not in roman numeral format)

Note: While the chord progressions of the above mentioned songs are not exactly the same, they still share some common features with that of “Let It Be”. They all feature transitions between the tonic (‘I’), the dominant (‘V), and the relative minor chord (‘vi’) which are typical characteristics of pop music chord progressions. It’s interesting to see how different artists use these common sequences and expressions to create their unique sound.

Musical Analysis

The progression starts on the tonic (‘I’) chord and moves to the dominant (‘V’) before moving to the relative minor (‘vi’). The Am/G chord is an example of a slash chord or an inversion, which essentially means an Am chord with G in the bass. The use of Fmaj7 and F6 are examples of chord extensions, which add color and complexity to the harmonies. The Dm7 (‘ii7’) is a diatonic seventh chord in the key of C and it’s often used as a pre-dominant chord leading back to the tonic.

Overall Analysis

“Let It Be” by The Beatles uses some of the most common chords in the key of C Major, which is the tonic of the song. It also contains few instances of chord extensions, inversions, and secondary dominants, which are widely used in pop music composition.

Style Analysis

The Beatles are known for their blend of pop, rock and psychedelic music. “Let It Be” is one of their more straightforward songs, combining the folk and gospel genres with their pop sound. The chord progression follows a pretty standard pop music formula but what stands out is the effective use of inversions and extensions in the chords.

Chords in the Verse 2 section of Let It Be by The Beatles are:

[‘C’, ‘G’, ‘Am’, ‘Am/G’, ‘Fmaj7’, ‘F6’, ‘C’, ‘G’, ‘F’, ‘C/E’, ‘Dm7’, ‘C’, ‘C’, ‘G’, ‘Am’, ‘Am/G’, ‘Fmaj7’, ‘F6’, ‘C’, ‘G’, ‘F’, ‘C/E’, ‘Dm7’, ‘C’]