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“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 song “Rocky Raccoon” by The Beatles features a intriguing chord progression typically employed in blues and folk music that creates a captivating storytelling-style musical framework. The verse using the provided chords weaves an interesting tale via major and minor fluctuations giving an emotional depth to the lyrics.

“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.

The given chord progression belongs to the verse 2 of the song “Apocalypse Please” by Muse. This progression reflects the band’s signature style that combines elements of rock, classical, and electronic music. The chords follow a pattern that combines both diatonic and chromatic movement, creating a dramatic and intense feel. A unique feature in this progression is the use of slash chords, which adds further harmonic interest.

The chord progression in Verse 2 of Kali Uchis’s “After The Storm” is a mix of diatonic and chromatic chords that create an interesting neo-soul groove. The harmony is primarily based on G# minor, featuring the G#m7 and A#m7 as primary chords, and the D#aug chord adds tension and release within the progression. Additionally, the use of the D#aug chord acts as a chromatic mediant between G#m7 and A#m7.

The Beatles – Maxwells Silver Hammer – Verse 2

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Chord Progression

[‘D’, ‘B7’, ‘Em’, ‘A7’, ‘D’, ‘A’, ‘E7’, ‘A7’]

Chord Progression Analysis

Here is the roman numeral analysis and full chord names of Verse 2:

– D Major (I)
– B7 Major (VI7)
– E Minor (ii)
– A7 Major (V7)
– D Major (I)
– A Major (V)
– E7 Major (II7)
– A7 Major (V7)

The E7 Major (II7) and B7 (VI7) are the borrowed chords.

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Borrowed Chords: E7 Major (II7), B7 Major (VI7)
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Similar Chord Progressions

Creedence Clearwater Revival’s “Bad Moon Rising”

– D Major (I)
– A Major (V)
– G Major (IV)
– D Major (I)

The Monkees’s “I’m a Believer”

– G Major (I)
– D Major (V)
– C Major (IV)
– G Major (I)

These songs employ similar use of dominant and subdominant chords, although the role of secondary dominants is more pronounced in the Beatles’ progression.

Musical Analysis

Chord progression touches different diatonic chords of D Major, the tonic home key. The sudden switch to B7 serves as a secondary dominant that introduces E minor, the subdominant of D major. This is a great example of a chromatic secondary dominant, which The Beatles were known for using. Further, the E7 acts as a secondary dominant to the A7, the dominant of D Major.

Overall Analysis

“Maxwell’s Silver Hammer” is a song by the English rock band the Beatles from their 1969 album Abbey Road. It was written by Paul McCartney. The song is primarily in the key of D Major and exhibits a mix of major, minor, and dominant seventh chords. This verse progression manifests the distinctive Beatles’ sound which often includes chromaticism and prevalence of secondary dominants that link the chords together, giving a smooth flow and color to the harmonic progression.

Style Analysis

Pick out any Beatles song, and more likely than not, you’ll find it peppered with secondary dominants. “Maxwell’s Silver Hammer” is no exception. The song features a cheerful, upbeat tempo and tone despite its dark lyrical content, a classic Beatles contrast. Time signature is 4/4, maintaining a constant easy beat.

Chords in the Verse 2 section of Maxwells Silver Hammer by The Beatles are:

[‘D’, ‘B7’, ‘Em’, ‘A7’, ‘D’, ‘A’, ‘E7’, ‘A7’]