Music Theory Alchemy

Search

Related Music Theory Alchemy

“Here Comes The Sun” is written by George Harrison from The Beatles and it is a key example of the band’s flirtation with what is commonly referred to as Mixolydian mode. The piece showcases their skillful blending of folk idioms with contemporary pop sensibilities.

The intro of “My Name Is Jonas” by Weezer is a simple, yet effective chord progression in the key of C major. The progression starts on the tonic, moves to a first inversion of a G6 chord, followed by an A minor chord, and finally back to the first inversion of the G6 chord. The progression has a circular nature, which adds to the song’s catchiness and memorability.

“Sometimes It Snows In April” is commonly recognised as a hauntingly beautiful ballad that features gentle, intricate piano work and tender vocals. Musically, it explores a slightly complex harmonic structure that creates a profound emotive sound spectrum.

“This Masquerade” by George Benson is a jazz/R&B fusion piece with a smooth and laid-back feel. It features a slightly chromatic and sophisticated chord progression, complete with altered extensions and slash chords, resulting in a rich harmonic texture that is both soulful and intricate. The progression has some similarities to other jazz and R&B chord progressions used by artists such as Stevie Wonder, Donald Fagen (of Steely Dan), and Antonio Carlos Jobim.

The Beatles – Within You Without You – Intro

Add To Favorites Remove From Favorites

< All Analyses

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’]