3 Beatles Chord Moves Every Songwriter Should Know
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- เผยแพร่เมื่อ 10 ก.ค. 2024
- Here are 3 of the most interesting and usable chord moves from the song YESTERDAY.
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For more on the ii V: • Is it Possible to 'Ste...
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ABOUT KEPPIE
Hi I'm Keppie. I'm a professional songwriter, and songwriting teacher. I've been teaching song and lyric writing for over 10 years now for some of the best contemporary music colleges in the world- Berklee Online, the Sydney Conservatorium of Music's Open Academy, as well as for the Australian College of the Arts. At other times, I've taught for the Australian Institute of Music, as well as the LA School of Songwriting.
My goal is to help people write better songs! My experience in the classroom, with thousands of students at this point (many going on to find careers and success in music), is that your songwriting, like all things, can get better with meaningful, deliberate practice. My intention is to share the skills, knowledge, information, and ideas that I've gathered with anyone who wants to improve their songwriting.
Keppie's music is here:
www.keppiecouttsmusic.com/music
ABOUT BENNY
Hi I'm Benny. My passion for music and creativity stretches across multiple disciplines and art-forms. I am a founding member and songwriter / lap-slide guitarist for one of Australia's best and most bearded country-bluegrass-folk bands, THE GREEN MOHAIR SUITS. To date the Mohairs have released 4 full-length albums and tour both nationally and overseas.
I am also the Founder and Head Producer of SILAMOR STUDIOS, a boutique studio specialising in Composition for Film, TV and Interactive Media. I write extensively across various instrumental and lyric-based genres and has been commissioned for major projects by Adobe, Cathay Pacific and Audible. I currently release original songs under the name SILAMOR.
I am also passionate about education and have taught song and lyric writing as well as film composition for JMC Academy, Collarts and the Australian Institute of Music. I design and regularly facilitate workshops on creative process and innovation.
Links to Bennny's music are here:
The Green Mohair Suits
open.spotify.com/artist/7M3Zf...
SILAMOR
open.spotify.com/artist/5HOpa...
www.silamor.com/music
Work Flow Audio: / @workflowaudio-studymu...
#songwritingtips #thebeatles #chords #yesterday #howtowriteasong #howtowritesongs
Thumbnail image: Central Press/Getty Images
#thebeatles
#yesterday
#howtowriteasong
#howtowritesongs
#paulmccartney
#chords
#musictheory
#chordprogressions - เพลง
I am 72. I started teaching myself how to play in 65. Sometimes I will meet a youger person who will say something idiotic like "The Beatles are over-rated" The arent RATED high enough. I am lucky enough to live in the same time period as them.I always ask them, 'Do you play a musical nstrument? Any instrument....Guitar, Mandolin, Trumpet! Accordion. I dont care. If you do, and you have any kind of curiosity..You woulld never say that.
That young person will hopefully figure it out one day
It seems to come and go when some people think it's cool to say they don't like The Beatles.
The Doors are better 😂
I don't know if it helps other people, but when I listen to you tell this, I have the circle of 5ths up and trace the moves you made on it. It helps me. Great stuff.
Reading Paul’s biography, his father was a pianist who could entertain a party all night with the type of complex musical structures seen in popular music of the pre-war years. He taught Paul all these so that Paul could deputise for him - and in an age without TV (or computers), Paul proved a quick study. That put him way ahead of the competition in the beat generation - as we now understand through this analysis. But what I love so much about this story, is that Paul’s incredible success ultimately derives from his goodness at the heart of a good family background. They were humble folk who held onto strong moral and ethical values. It paid off - and it almost always does.
Explains why Lennon didnt have as much of a respecful career after the Beatles😢
@@blinkerz4676 McCarthy and Lennon are different. Lennon was also more experimental and political. Also, he was taken away too soon.
@@nedim_guitarThe only experimental thing Lennon did was the ear torturing stuff he did with Yoko. Paul was the experimental one.
@@akwilson1676 I thought they were a band that worked together, even though they didn't always right the songs together. 🤔
❤❤❤❤
I love the way you elucidate the "why" behind chord progressions.
Great video and well explained - really enjoyed that. Can’t wait to watch some more of your videos!☺️
As a beginning song writer, these tips are gold to me! You've opened up so many options with these for me. I love your channel! Thank you.
I rarely sign-in to subscribe to a channel, but this great video made it absolutely necessary. I have been playing and studying for 45 years, including studying music theory with a famous professor, and have studied many songwriting books, and have learned and played thousands of pop songs, but I have never...really...got...it. I remember all the stuff about the II Major chord, and the "V of" manipulations, but hearing an explanation related to one of the most famous songs of all time, is just brilliant! Keep up the GREAT work!
Oh well hell, at my age I thought I didn't need to know or learn anything else about anything, nothing. Now just playing my guitars will never be same. After watching your enthusiasm about whatever the hell you were saying, has got me, now I need to look into this and take time learning something new, oh well hell. Very few people inspire me to do anything except what I want to do, play golf and my guitars, now look what you have done. Wonderful video, truly, I guess, thank you..
An awesome lesson! Thanks so much and keep coming more of my favorite band of all times.
When you played the chords quicker, and I play your video at 1.5 speed, it sounded like the opening chords of You Won't See Me. (Surprise surprise).
I heard that too. 😃
It's called V / V in standard music theory. The almost immediate appearance of the E minor chord going to an A7 would be ii / V / i in D minor which is quite fascinating in itself. There are many wonderful things about this song. It starts on a suspension 2 - 1 (yesterday) and again on (far away) and 4-3 on (here to stay) and uses throughout creating a feeling of longing. In McCartney's writing (especially early on) he frequently uses the V / V to the IV. It's in "You Won't See Me," "Eight Days a Week" and "Baby's in Black" among others. Though his harmony is always wonderful, I think his sense of melody is the most outstanding element of his writing. Thank you for exploring what he does.
Spot-on !you can add to that list of songs Sergeant Peppers Lonely Hearts club Band -the actual song Another Macca composition!
She covered that part about E minor going to A7 being the ii-V leading into D minor.
Except McCartney did not write this chord progression, which comes from Georgia on My Mind.
@@johnmalcolm4822yeah yeah yeah.... 😂
Thank you. Your explanations are clear - you're very good at this.
Oh my! Lines and tigers and bears! You are honkin' on my bobo. Your guidance is completely inspirational. From across the pond, God be with you!
Hahaha, at 10:02 -- "told ya" !! Yes you did and you were right. I've written many songs with interesting chord progressions etc and I realize that I use the ii --> V a lot without realizing what I was doing. Most of your material is not new to me. but today I learned something!!! Thanks
Premium content! Total joy of how chords relate. And how to utilize them! Thank you
Thanks for taking the time to do this. Very interesting and informative 😊
LOVE this!!😍🎸 Thank you Keppie!!🙏🏾
The chord sequence (F-Gmaj-Bb-F) contains the descending sequence of notes C-B-Bb-A which make a nice counterpoint with the ascending chord sequence, and harmonizes nicely with the vocal. Try playing just the notes C-C-B-B-Bb-Bb-A, then play the chords again F-Gmaj-Bb-F and you'll hear what I mean.
And The Beatles did exactly that on the "Oo La La-La" part in "You Won't See Me"! 😀
Thank you so much. You've explained these concepts extremely well. I really appreciate you sharing your expertise in such a simply but explicit way.
In your final example, F to Cm7 to F7 to Bb, my ear felt a pull from Bb to Bbm. My brain wanted to hear another ii-V, only this time starting on the iv minor, Bbm, to its secondary dominant, G7. Ah ha, the II7 of F! I’ve seen that a lot in Jazz Standards and 20th century Pop, ii-V7’s moving up or down a whole step from the previous ii-V.
All your lessons are awesome. Thank you! You’re a great music teacher!!
Beatles’ songs sounds simple but if u dig in deeper it has a blues n jazz chord progressions in it. Oldies are amazing! In this video only that i understood the major 2nd and the II-V. Thanks a lot.
Other early Beatle (McCartney?) chord techniques include the use of the sub-dominant 7, or a IV7 chord. They did that a lot. Or they might make the IV chord a minor. A neat thing about She Loves You (in G) is that they varied the standard doo-wop I-VI-IV-V chord progression, making it a I-VI-III-V progression in the verse, before really shaking things up with the minor IV chord. Their vocal harmonies actually made a Cm6 chord.
Meanwhile, Lennon loved to have a downward movement off the G chord - e.g. I'm So Tired, Day in the Life and Sexy Sadie - but all in different ways.
You are an excellent educator. These are well produced, insightful videos with cool examples demonstrating the concepts you explore
Brilliant stuff..I remember my Spanish Guitar teacher calling them "Happy" and "Sad chords to make it easier for us. The major chords were happy/bold, the minors sad/soulfull and his tip was to make your song "Happy/Sad" . Thanks for this viddy, great teacher!
Keep spreading the good vibes and thankyou for the thumbs-up because it means the Emperor has decided to spare me!
I've been playing guitar for over 40 years. I need to take some music theory classes. Because all of this flies over my head when we talk about it. When we put fingers to strings and play chords it actually makes sense
yep me too but I'm wondering this,,,,why do I dig this chick?
This was a really great video excited when I have the time to learn more. Thank you
Thanks for providing so much quality content!
Absolutely subbed! Thank you!
double-Dominant (secondary) - the rememberance of the happier times are expressed in a major chord from another key… only to go back to the original key of the present.
Also, a IV-I cadence shows that the story is not over, not resolved as the thoughts if the singer cannot rest yet.
Similar thing happens „Sailing“ in the second part.
You are a great teacher! Enjoyed watching this video.
Love this video. Thank you so much I learned a lot...... Cannot wait to learn more
Nice lesson. I like how they use the Em in there, I often swap out the diminished chord for a chromatic chord. And be able to break out and use chords not in the key you're writing in is very liberating. My jazz songs, written on piano, have more interesting chord progressions than my indie rock/country rock progressions have, but, I would like to write more sophisticated chord progressions for my newer guitar based indie rock/country rock songs. That's a must, so learning some things here was cool! Thanks
You're delightful! I've always wondered how the Beatles got their distinctive sound and thought it was in the chords, but never knew how. For me, it would be helpful if you contrasted sort of the normal "expected" progression with the unusual one you're highlighting a bunch of times--back and forth. You tend to do it once, and I'm not sure what I'm listening for exactly.
Cool breakdown. Thanks for doing that.
Congrats !!!Great and easy lesson .You are my inspiration and help to understand my harmony knowledge .Thank you ever so much.
I love your way of explaining. I jusrt discovered your channel -keep up the great work
That was very, very nice, Keppie. Even I understood that! Thank you!
Thank You. You are an excellent teacher!
just discovered your channel and this was an amazing video. Well explained, examples I love, and material to try out myself! Thanks please keep it up, subscribing :)
just discovered your channel. I laughed out loud when you played that progression near the end .. youre right. instantly subscribed .
You're an awesome teacher! Thank you so much :)
Here's a hack: The relative minor of I is vi; the relative minor of IV is ii; the relative minor of V is iii. Since major-relative minor relationship is bright-somber sides of the same chord, try subbing them. You can change a standard blues 1 4 5 progression into an RnB or Soul feel by simply by singing the 1 4 5 as vi ii iii. This causes people to mistakenly think that the song is in a so-called minor key ( which does not by definition exist since minor is a chord ) when it is more correctly called Aeolian Mode. For example in C Aeolian one need never go to C just stay in Am tonal center with Dm Em turn around...thus prompting the common Am misnomer due to the aforementioned confusion. By staying around the ii one can create a Dorian feel; the iii a Phrygian vibe. Soloing around these different tonal centers is an easy source for creative ideas. Gospel blues uses these progressions a lot ref Dylan. Cheers.
I once spent an evening learning about modes. A week later i forgot it .. oh well.
You made a mistake there. C Aeolian is the C natural minor scale, and there's no Am, Dm, or Em in this scale. You either meant C Ionian or A Aeolian. Also, if the song goes just Am-Dm-Em then it definitely is in Am, not C.
Wow, not sure why but I can completely understand what you are explaining. I know that sounds silly but I think it's simply the mark of a great teacher.
Would be helpful if you showed/played the parts of “Yesterday” you are referring to. Too abstract.
I love your expression: complementary opposites. Very interesting!
Excellent video, nice to find you. Seen this broken down before but not this well, subscribed instantly
This was brilliant. Subscribed.
I like the chord progression from II to V to I ( say, C to D (maybe D7 or even D9) to G and back to C. That gives us a "four to four to one" - G is the forth of D, and C is the forth of G. Lots of songs have that progression.
New sub here. I really enjoy and learn from your videos. You are an excellent teacher! Thanks.
This video is a gem. Cheers!
I actually understood some of this.
Thank You.
Of course i subscribed immediatly after the video
Lovely lesson, thanks from another teacher! I'd add that the d- chord targeted in the ii V i is actually a brief tonicization of d as the relative minor. This rather anticipates the key of d minor in the bridge, doesn't it? Much of the McCartney's composition sounds brilliant in its feeling when you hear it... Then on analysis it's also brilliant in its structure and logic. Dang, that's good.
Awesome stuff have not played in 20 years but what you just spoke of is part of why i loced playing good stuff
Very true! I would say furthermore that many Beatles songs are examples in composition and songwriting.
Just found your channel, great content, liked and subscribed!
This is awesome! Where have you been all my youtube life? 🎵😀Liked and subscribed!
new to her channel but love to “see” her play rather talk it. Nice job here❤ thank you!
"To Sir With Love" uses that major II chord brilliantly, and yes, it goes from the major II to the IV chord, just like you say
Great video.Brilliant analysis!
Wow, brilliant analysis!
Brilliant and comprehensible. Thank you!
Best harmony class ever.. Bravo.
First time viewer. Just subscribed. Great explanation. Sounds great. I look forward to hearing more from you 🫡
Brilliant. Thank you so much
Very interesting! I love your no nonsense approach to music. KEEP IT UP beautiful green eyes lady.
I think of the chord you call a II (G in the key of F) a "V of V." It's only two ticks away from the tonic on the Circle of 5ths. Back in the 1920s a song called "Has Anybody Seen My Gal" went way around the Circle. If played in C it would be C E7 A7 D7 G7 C, "The Night Has a Thousand Eyes" from the 60s uses this progression, also. I to V of V of V of V to V of V of V to V of V to V to I. A progression of dominants that push your ear to the next chord. It's commonly used. McCartney's use of it preceding to the subdominant (Bb) is what makes it so notable. The Beatles frequently used the IV - I (plagal) progression (Eight Days a Week et al).. I like your video.
Great stuff! NICE to hear an Aussie doing this! \m/
This is lovely, thank you.
Thank you! Really helpful!
Excellent. Thank you.
I'm a self-taught guitar player. I thumbed my nose at music theory for years. Then, a friend showed me a few concepts like this as it relates to Beatle songs. I was hooked. Liked and subscribed. Please do more Beatle chord analysis. I love this stuff!
me too! Now I'm hooked as well.
Thanks so much - well done
Great video!🎉
Cheers, very good. Talking about songwriting, my most inspired songs arise spontaneously, with no thought at all. Well at least not consciously.
A hell of a lesson, thanks!
I’ve heard it said, “Nothing is hard if you know how.” The light came on when you explained where the ii and V come from. 😊
Awesome.... your explanation and his work. But what makes it really special is that he... didn't know theory.
Wow! Thanks for this, I have just realised that a song I wrote 17 years ago (with a borrowed chord - that I knew nothing about back then), uses the same II Major7 chord exactly as described in the first part of this video 😮
So well explained....finally makes sense :)
More than words - Extreme 😊
Great lesson. Thank you!
I would like to think that Paul & John were naively banging around cords thinking hey this sounds nice! 😊
No music theory problem. I was there when it happened. It sounded good !
Wow! I loved this video!!! You make learning fun. Wonderful channel! Thank you for sharing your knowledge.
Awesome lesson! Thank you
New to your channel and already a subscriber: great breakdowns.
BTW, Paul is a genius, one of the greatest songwriters of all times, but i guess we already know that 😊
Peace and blessings!
Really interesting and helpful ! Thanks.
New subscriber !
Thanks Keppie. Great video ❤
Useful video - I was just going to work on a bridge for a new song too.
The Beatles famously are quoted many times saying they took their chord progressions from old blues numbers. What i find fun and good about their tunes is the lyrical melodies. You can't copyright a chord progression. But when you lay lyrics and a melody on top, it becomes a song, copyrightable. They reused old progressions in a very smart way, making beautiful music that most people love!
"The Beatles famously are quoted many times saying they took their chord progressions from old blues numbers. " Never heard that, and I've watched a lot of Beatles interviews. Do you have a source for that claim? I'd say that 95 percent of their original songs don't use a blues progression. Here's a few I can think of that do use it - "Why don't we do it in the road?" "Birthday" ( but only in the verse part), "You can't do that" ( only in the verse, not in the chorus). So I could only think of one.
@@spindriftdrinker You've named a few, and the song discussed in this video is another. You're well on your way to agreeing with me lol. BTW a band I was in many years ago played Birthday just for the hell of it, and would throw it out at gigs, seeing as it's ALWAYS somebody's birthday, right? Fun tune, thanks for reminding me of it.
@@JeromyBranch "Yesterday" a blues progression?! That's an odd claim. A blues progression is like I IV I V IV I. "Yesterday" looks nothing like that. So far I have exactly one ORIGINAL Beatles song with a blues progression out of hundreds. There might be a couple more at most - can you name another? Oh, here is one more "Flying". And "Yer Blues". That makes a total of three.
@@spindriftdrinker I never said yesterday is a blues progression.
@@spindriftdrinker i saw her standing there, shes a woman, im down hmmm let me see
That was excellent and really informative. Thanks
We always referred to your "II Major" as a Secondary Dominant, in this case, a "V of V". Terminology aside, the point is well taken. I've observed this chord in many pop songs, but never so close to the beginning. and never quite this way. Thank you
Only Woman Bleed is the song I relate that step to. Anytime you add two sharps to your tonality it perks up the ear. Although in OWB it's a G pedal.
Great video. Please do more chord progression patterns and methods
Thanks so much for explaining the secondary dominant. Finally makes sense to me. 😂
Excellent video thank you
I love your passion about secondary dom chords. I think we should collab
50 years of playing guitar, still cant understand this .played in many bands btw. but theory never made sense to me, thanks for trying to make it simplistic to someone that always had learning difficulties.
oh ,ave also recorded many songs and sold some tapes back in the day.
really want to get it, just wont sink sadly.
Can we try something ? You probably know the name of some of the chords you use, then you already know something to build on.
Can you give me the name of any chord you know ?
The Beatles are a great way of absorbing the tricks of the song writing trade... the I,II7, IV progression is of course the basis of 8 Days a Week.
Thank you for that although I dont understand the theory so much, its just so helpful.
You are a smart young lady with your teaching.
Excellent video 👍