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Thread: Beatlesque Style Progressions & Why They Work

  1. #31
    a little freaked out cardello's Avatar
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    I hear two things going on. Say you are playing it like this:

    ------------------3------------------------------------------
    ---7-------5------3--------7-------------------------------------
    ---7-------7------4--------7-------------------------------------
    ---7-------6------5--------7------------------------------------
    ---5-------7------5--------5-------------------------------------
    ------------------3-------------------------------------------

    So, notice that on the B string, we see the note sequence F#-->E-->D-->F#
    Thats one line I hear.

    Then I also hear the descending line on the D string, A>G#>G>A

    You can hear it if you play some double stops:

    -------------------------------------------------------------
    --------7------5-------3----------------------------------------
    -------------------------------------------------------------
    --------7------6-------5----------------------------------------
    -------------------------------------------------------------

    I think the voice leading is what makes it sound so nice.

    Also notice the high G note on the E string resolves to F# on the B string when you go from G back to D.
    - Dave

  2. #32
    Registered User sixstrings121's Avatar
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    Hmm interesting. Another thing I was looking at...You could create a chromatic line with the chords. Heres how Im voicing it

    Dmaj Emaj Gmaj Dmaj
    ADF#A G#BEG# GBDG F#ADF#

    You get the chromatic movement A-->G#-->G-->F#

    It sounds pretty nice.

  3. #33
    Wordgirl: Jaded Musician jade_bodhi's Avatar
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    solo question

    I wrote a song that someone recently described as Beatle-esque. The verse has the following chord changes with a descending bass line beginning with Dm and resolving to the A. It may be chromatic. My apologies if my notations are not conventional...

    Dm | Dm/C# | Dm/C | Dadd9/B | weird chord, not sure what it is: (A#, D, E) | A

    PreChorus: Bb | F | Bb | A

    Chorus: Gm | A | Gm | A | D

    I don't know anything about which scales go with certain chords. I do know a little about which chords go together generally (basic circle of fifths knowledge). Why is this a tune? What principles should I keep in mind as I create a solo over it? All suggestions much appreciated. thanks.

    JB
    Last edited by jade_bodhi; 12-14-2005 at 12:12 AM.
    Nobody ever shared
    what we have known...

  4. #34
    Registered User leppard81's Avatar
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    I know its an old thread, but:

    Anybody knows why this is working?
    Intro:
    A D A E

    Verse:
    A C#7 D B7

    Chorus:
    A F#7 B7 E7
    A D A E

    Bridge:

    D E7 A F#m

    D E7 A A

    C#7 F#m7 B7 E E/D/C#m/Bm

    Its the Sam Cooke songe "Nothing can change this love", which is written in A, allthough each minor degree is a dom7 chord. In the chorus thereīs a B7, which is the secondary dom. chord leading to the diatonic V (E7).

    But what about the other dom7 chords? I really havent got any clue. Any ideas, what do you think? It really drives me mad, since i cant find an answer to it.

    thanks
    We get the dreams that we deserve.... - Marillion

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  5. #35
    Registered User
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    May 2010
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    1

    great resource for Beatlesque-ness

    I know this post is ancient, but I haven't been able to share this with anyone, and I'm excited to do so....

    Alan W. Pollack, a musicologist somewhere in the US, analyzed every Beatles song, (theres 220 or so) and posted his work online. Harmonic, melodic, arrangement... its all there.
    http://www.icce.rug.nl/~soundscapes/...notes_on.shtml

    if the link doesn't work, google his name.

    I wish this sort of resource was available for all of the bands that I love.

  6. #36
    Registered User
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    Quote Originally Posted by whitebs2 View Post
    Alan W. Pollack, a musicologist somewhere in the US, analyzed every Beatles song, (theres 220 or so) and posted his work online.
    Yep, it's a great site. You might be interested in a discussion we had about some of the the notation conventions he uses (which can differ from standard practice in the rock/pop/blues/jazz/etc. world most of us here are familiar with) recently here.

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