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Related Music Theory Alchemy

The song “Yesterday” by The Beatles is in the key of F major and spans chord I to VI. It is characterized by a deeply expressive melody and distinctive harmony. The chord progression seems simple, yet it makes full use of secondary dominants, borrowed chords, and subtly shifting tonal centers for narrative, which is a trademark of The Beatles’s songwriting style.

The song “I Will” by The Beatles is an example of their unique and sophisticated approach to pop songwriting, demonstrating their comprehensive mastery of harmony within the pop idiom. The majority of the harmonies used in the song are diatonic to the key of C major, however there are several instances of borrowed chords that add color and complexity to the song’s overall harmonic structure.

This chord progression from the verse of Tame Impala’s “Alter Ego” suggests a key of C major due to the recurring instances of Cmaj7. However, the presence of certain chords like Bm7 and Dm suggests that Kevin Parker is creatively “borrowing” chords from the parallel and associated keys (C minor, D minor) to create colorful departures from the primary tonality. The use of extended chords (7ths) and suspended chords (Bsus4) adds a sense of complexity and sophistication to the harmony. As can be seen, the chord progression mostly oscillates between Cmaj7, Bsus4, Bm7 before moving to Dm and Gm towards the end of the verse.

The verse of Taylor Swift’s “ME!” features a chord progression that is archetypal for upbeat pop music, echoing themes of brightness and positivity. This progression harnesses straightforward harmonic movement to support the song’s enthusiastic vibe, making it highly effective for conveying the song’s message of self-love and confidence.

The chord progression for the verse of “Kids” by MGMT is a simple and diatonic progression in the key of A major, following the vi-IV-I-V pattern. It is common in pop music and creates a sense of tension and release throughout the progression. The chords are played using predominantly major and minor triads, with an inversion in the V chord (E/G#).

The Beatles – Yesterday – Verse

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Chord Progression

[‘F’, ‘Em7’, ‘A7’, ‘Dm’, ‘Dm/C’, ‘Bb’, ‘C7’, ‘F’, ‘F/E’, ‘Dm’, ‘G7’, ‘Bb’, ‘F’, ‘F’]

Chord Progression Analysis

Here’s the chord progression analysis for “Yesterday” with the full chord names, their roman numerals, and the borrowed chords are indicated in block comments.

“`
F (‘I’),
Em7 (‘ii7’),
A7 (‘V7/V’),
Dm (‘vi’),
Dm/C (‘vi64’ – Inversion),
Bb (‘IV’),
C7 (‘V7’),
F (‘I’),
F/E (‘I64’ – Inversion),
Dm (‘vi’),
G7 (‘V7/ii’),
Bb (‘IV’),
F (‘I’)
“`

Similar Chord Progressions

The descending bassline and use of borrowed chords in “Yesterday” can be found in several songs across genres:

1) “There Will Never Be Another You” by Harry Warren; similar chord progression of:

“`
Eb (‘I’),
Gm7 (‘iii’),
C7 (‘V’, Secondary Dominant),
Fm (‘vi’),
Fm/Eb (‘vi64’ – Inversion),
Bb7 (‘V7/IV’),
Eb (‘I’)
“`

2) “My Funny Valentine” by Rodgers and Hart; similar chord progression of:

“`
Cm (‘i’),
Cm/Bb (‘i64’ – Inversion),
Ab (‘IV’),
G7 (‘V’),
Cm (‘i’)
“`

Note: Our comparisons are based on the utilization of descending bassline and borrowed chords from “Yesterday”. However, the feel and structure of these songs can vary greatly depending on their arrangement and performance.

Musical Analysis

With its descending bassline, subtle rhythm changes, and ‘blended’ modal effect, “Yesterday” demonstrates a tasteful mix of jazz and pop influences. It features a striking chord structure, giving the piece a sense of fluidity and ambiguity, thus allowing for expressive melody and harmony.

The song frequently uses the return to I – the tonic chord – to provide resolution and maintain balance within the complexity of its progression.

Overall Analysis

“Yesterday” by The Beatles showcases the innovative use of chord progressions that the group is known for. This song, unlike their other songs, includes borrowed chords and numerous secondary dominant chords. It also uses their favored approach of mixing chords from parallel major and minor scales, hence creating a ‘blended’ modal effect.

Moreover, it uses a mixolydian ♭7 in the main chord sequence, which is quite a popular trick among songwriters for shifting the tonic of a song.

Style Analysis

The significant style note of “Yesterday” is its use of parallel major and minor scales, contributing to its blended modal effect. It mixes modern and classical styles, thus making it quite distinct from typical pop songs.

The Beatles’ extensive use of borrowed chords gives the piece its unique aura, demonstrating their innovative approach to songwriting. Despite the complexity of the progression, the melody remains familiar and inviting.

Chords in the Verse section of Yesterday by The Beatles are:

[‘F’, ‘Em7’, ‘A7’, ‘Dm’, ‘Dm/C’, ‘Bb’, ‘C7’, ‘F’, ‘F/E’, ‘Dm’, ‘G7’, ‘Bb’, ‘F’, ‘F’]