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Related Music Theory Alchemy

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“Blackbird” by The Beatles is a song mostly in the key of G Major. It’s known for its interesting guitar work and unconventional chord progression. The song employs a mix of functional and non-functional harmony, striking a balance between traditional diatonic harmony and more experimental harmonic ideas. The chord progression also includes several chromatic or borrowed chords (Cm, Dbdim, D# (b5), C#dim, and Ebaug).

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The chord progression in the intro of “Loner” by Kali Uchis is a mixture of simple diatonic harmony and some more complex non-diatonic chords, which creates a jazzy and ethereal atmosphere. It is a 4-chord progression that resolves on F#m, making it a loop. The style of this progression is reminiscent of the Neo-Soul genre, and it can be found in some other songs across various musical styles.

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“Sorry Seems To Be The Hardest Word” is a song by Elton John written in the key of G major. However, the tonal center of this song fluctuates between G major and its relative minor, Em. Sensitive to the modality of the melody, Elton incorporates “color” via his diverse chord selections. The harmonic movement in this song is richly chromatic, creating a sense of tension and release that intensifies the melancholic aura of the lyrics.

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“Yes I’m Changing” by Tame Impala uses a repetitive chord progression throughout the majority of the song, alternating primarily between the chords C, Csus2, Cadd9, Am, F, and G. This pattern is characterized by constant resolution with the tonic of the key, C Major. However, the progression occasionally diverges from the typical diatonic pattern by introducing a G Major chord, which is a V chord in the C Major scale.

The Beatles – Within You Without You – Intro

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Chord Progression

[‘C’, ‘C’, ‘Cadd11’, ‘C’, ‘C7’]

Chord Progression Analysis

Here is an analysis of the intro:
1. C (I)
2. C (I)
3. Cadd11 (Isus4)
4. C (I)
5. C7 (I7)

Here’s the analysis in the code block:
“`
C (I)
C (I)
Cadd11 (Isus4)
C (I)
C7 (I7)
“`

Similar Chord Progressions

In Western Pop culture, such static chord successions aren’t very common due to their less dynamic nature. However, there are a few pieces that one might point to for at least partially correlating progressions. One of them might be Leonard Cohen’s “Suzanne,” which uses a similar emphasis on the tonic and dominant in its progression. Here’s its progression:

1. E (I)
2. E (I)
3. Eadd6 (Isus2)
4. E (I)
5. E7 (I7)

However, note that Cohen’s piece doesn’t dabble into Eastern music influences as Harrison’s does.

Musical Analysis

There is much to say about “Within You Without You.” It utilizes the mixolydian mode, a scale that has a major tonic chord but a minor dominant, unlike the major scale which has both a major tonic and dominant. Specifically, the song emphasizes the suspension of the fourth in the tonic chord, as seen in the progression from the C (I) to Cadd11 (Isus4). The C7 (I7) serves as a dominant function, leading well back to the tonic (root) chord.

Overall Analysis

“Within You Without You” from The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band album, composed by George Harrison, is a unique song in the Beatles’ discography. Musically, it truly merges the essence of Indian classical music with traditional Western music techniques. The chord progression is minimal and largely stays around the key of C major, which enhances the song’s drone-like effect, typical in traditional Indian music.

Style Analysis

This song showcases George Harrison’s fascination with Indian music, specifically the classical raga tradition. The sitar is an important part of the song’s sound. The fusion of Eastern and Western styles is particularly evident in the chord progression. Though minimal and repetitious, it allows the melody (based on Indian Raga scales, specifically the Khamaj scale) to sit on top, creating a mesmeric and almost hypnotic effect.

Chords in the Intro section of Within You Without You by The Beatles are:

[‘C’, ‘C’, ‘Cadd11’, ‘C’, ‘C7’]