The hidden secrets in the Beatles’ chord progressions
Last time,The Beatles' lyricsWe discussed it, so let’s cover the songs as well.
The BeatlesThe chord progression was very unique, overturning the conventional wisdom of rock up to that point.
Let me introduce it, then.
The hidden secrets in the Beatles’ chord progressions
The uniqueness they achieved was, of course, because they were geniuses, but it was also largely due to the influence they drew from various artists.
Unexpectedly,Classical musicIt was also strongly influenced by
Please note that, because keys can be changed and alternative codes can be used, there are differing interpretations depending on the source materials.
Bach’s Prelude? “And I Love Her”
For example,And I Love HerLet's take up the beautiful ballad titled “.”
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com/watch?v=eR507wuODSY
The chords of this piece progress as F#m → C#m for three measures, and then move to A → B → E.
Reference:Chord sheet for 'And I Love Her' (The Beatles)
This isBachIt is very similar to the prelude.
The code is different, so from what I’ve heard, I don’t see any similarity at all.
But what's similar is how it goes up and down repeatedly in the first three bars, drops straight down in the fourth bar, and then goes up a bit again in the fifth.
This song also clearly reflects his typical trait of using unique chords to emphasize the lyrics.
While it starts in a minor key, it uses a major key for the emphasized sections and even ends in a major key, making it a unique chord progression.
This was composed by Paul McCartney, but surprisingly, he held Bach in the highest esteem, was very familiar with his music from a young age, and often performed it himself.
Therefore, Bach must have been deeply imprinted in his subconscious.
A fairly risky chord progression: 'Yesterday'
Likewise, one of the Beatles' finest songs, "YesterdayLet's take up this topic.
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com/watch?v=Ho2e0zvGEWE
This song begins with the lyric “Yesterday,” starting on a low F.
Reference:Chord sheet for Yesterday (The Beatles)
However, at the moment it moves on to the next “all my troubles…,” it suddenly jumps to the high-pitched Em.
Since you have to return to 'F' at the end, it's quite a risky chord progression.
In the chorus at the 'Why she had to go…' part, it also starts on the high 'E minor' and ends on a low 'F' at 'say.'
Unless you skillfully lower the code and achieve a soft landing, things can quickly fall apart, but he clears this challenge with ease—like a veteran pilot smoothly bringing a jet down on the runway while keeping the passengers relaxed.
Upon reaching F, everyone feels a sense of reassurance, as if the tires have touched down on the runway.
Bold, unique, and elegant: “Help!”
Next, let's take a look at John Lennon's works as well.
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com/watch?v=yWP6Qki8mWc
Released in 1965, the smash-hit "Help!It is.
Reference:Chord sheet for Help! (The Beatles)
In this piece, the verse progresses through the chords A → C# → F# → D → G → A, a progression that is bold and unique yet truly elegant.
Generally, it would progress as A → C# minor → F# minor → B → E → A.
Indeterminate Tonality Theory "Day Tripper"
One more, "Day TripperLet's take up this topic.
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com/watch?v=othSH7Bh6d0
Reference:Chord sheet for DAY TRIPPER (THE BEATLES)
Despite the accessibility of his music, he composed in an unprecedented way that broke out of the existing frameworks.
Technically, it’s called “indeterminate tonality theory,” but it was actually the general fans, rather than the professionals, who accepted it more readily.
Because even if you don’t understand difficult theory, you’ll understand it when you listen.
It starts with a traditional E and goes into a classic blues progression, so you might think, “Oh? Are they going to keep it tame this time?” But sure enough, they switch to a unique progression: F#7 → A → G#7 → C# → B7.
“Unpredictable” might be the highest compliment for his work.