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Thread: Beatlesque Style Progressions & Why They Work

  1. #31
    a little freaked out cardello's Avatar
    Join Date
    Jan 2004
    athens, ga
    I hear two things going on. Say you are playing it like this:


    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:


    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
    Join Date
    Jan 2005
    Delaware, USA
    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

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

    It sounds pretty nice.

  3. #33
    Wordgirl: Jaded Musician jade_bodhi's Avatar
    Join Date
    Nov 2005
    Southern USA

    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.

    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
    Join Date
    Apr 2005
    I know its an old thread, but:

    Anybody knows why this is working?
    A D A E

    A C#7 D B7

    A F#7 B7 E7
    A D A E


    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.

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

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  5. #35
    Registered User
    Join Date
    May 2010

    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.

    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
    Join Date
    Apr 2008
    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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