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Related Music Theory Alchemy

“The Long And Winding Road” by The Beatles presents us with a classic example of their innovative approach to harmony and composition. Drawing from various sources of influence, the song incorporates elements of traditional pop ballad form with a hint of the Baroque harmonic palette. This song is an excellent study in complex harmony and modulation within a pop music context, a trait that underpins much of The Beatles’ later work.

“Eight Days A Week” by The Beatles, released in 1965, is renowned for its catchy melodic phrases, tight harmonies, and distinctive use of chords. The song is firmly rooted in the key of D major, but there is an interesting use of borrowed chords.

Verse 2

The chord progression in “Closer” by Nine Inch Nails is primarily centered around the Cm7 chord throughout the verses and pre-choruses, with the chorus briefly moving to the F major chord before returning back to Cm7. The song is in the key of C minor, and the chords used are mostly diatonic to the key, creating a dark and somewhat haunting atmosphere. The progression is simplistic but effective, establishing a strong sense of forward motion and tension that is fitting for the industrial rock style of the song.

“Time To Pretend” features a simple and repetitive chord progression in the key of D major. The chord progression in the verse is characterized by a repeated pattern of D – G – D – Dsus2. The style of the song can be described as psychedelic synth-pop, with its electronic synth sounds and dream-like atmosphere. MGMT’s music often features catchy melodies and harmonies, which can also be heard in this song.

“Say It Ain’t So” by Weezer is a rock song, primarily falling within the alternative rock and power pop styles. The chord progression of Verse 1 is simple yet effective in creating a somber, introspective mood. It primarily utilizes diatonic chords of the C major key, with the E major chord borrowed from the parallel minor key (C minor).

Chord progression analysis with Roman numerals:
A minor (vi) – E major (V/vi) – F major (IV) – C major (I)

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Borrowed chord: E major (V/vi)
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The Beatles – The Long And Winding Road – Verse 1

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Chord Progression

[‘Bm’, ‘Gsus2/A’, ‘D’, ‘D7’, ‘G’, ‘Gmaj7’, ‘G’, ‘F#m’, ‘Bm’, ‘Em’, ‘A’, ‘D’, ‘D7’, ‘G’, ‘F#m’, ‘Bm’, ‘Em’, ‘A’, ‘D’]

Chord Progression Analysis

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B Minor (ii)
G suspended 2 / A, which functions as an A11 (V11)
D Major (I)
D Dominant 7 (I7)
G Major (IV)
G Major 7 (IVmaj7)
G Major again (IV)
F# Minor (iii)
B Minor repeating (ii)
E Minor (ii in the key of D Major, representing modal interchange from D minor)
A Major (V)
D Major repeating (I)
D Dominant 7 repeating (I7)
G Major repeating (IV)
F# Minor repeating (iii)
B Minor repeating (ii)
E Minor repeating (ii with modal interchange from D minor)
A Major repeating (V)
D Major repeating (I)
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Please note that while not traditionally diatonic to D Major, the E minor and A11 chords can be explained through modal interchange and dominant function respectively.

Similar Chord Progressions

1. “Hallelujah” by Leonard Cohen has a similar feel, using a mix of diatonic chords and borrowed chords. Here’s the progression for the verse:

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C Major (I)
A Minor (vi)
C Major repeating (I)
A Minor repeating (vi)
F Major (IV)
G Major (V)
C Major (I)
G Major (V)
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2. “Can’t Help Falling in Love” by Elvis Presley also features a rich, emotive chord progression:

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C Major (I)
Em/B (iii/V)
Am (vi)
Am/G (vi)
F Major (IV)
C Major (I)
F Major (IV)
G Major (V)
Ab Major (bVI, a borrowed chord from C minor)
C Major (I)
E7 (III7, a secondary dominant targeting Am)
A Minor (vi)
“`

Please note that while these progressions aren’t identical to “The Long and Winding Road,” they exhibit a related sense of journey and contain similar elements such as secondary dominants and borrowed chords.

Musical Analysis

“The Long and Winding Road” is typified by chord progressions that strike an intriguing balance between satisfying resolution and mild tension. The progression creates a push-and-pull effect via the use of dominant resolutions to unexpected chords (e.g., the resolution of the D7 to the Gmaj7 or G). There’s this masterful manipulation of tonal expectations that is a hallmark of The Beatles’ compositions.

Overall Analysis

“The Long and Winding Road” by The Beatles is an iconic pop ballad renowned for its rich harmonic content. It employs both modal interchange and secondary dominants, thus securing its place as an exemplary piece in pop music harmony. Its dominant tonality is D Major, however, it makes use of many borrowed chords.

Style Analysis

The Beatles are known for their unique blend of pop and rock with elements of classical music, which is reflected in this progression. This blending of styles redefined what was possible in popular music and made them one of the most influential bands in the history of popular music. The use of sophisticated music theory concepts such as modal interchange and secondary dominants helped them to keep their music innovative and unpredictable.

Chords in the Verse 1 section of The Long And Winding Road by The Beatles are:

[‘Bm’, ‘Gsus2/A’, ‘D’, ‘D7’, ‘G’, ‘Gmaj7’, ‘G’, ‘F#m’, ‘Bm’, ‘Em’, ‘A’, ‘D’, ‘D7’, ‘G’, ‘F#m’, ‘Bm’, ‘Em’, ‘A’, ‘D’]