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.

@chuckery5177

5 ай бұрын

That young person will hopefully figure it out one day

@StratsRUs

5 ай бұрын

It seems to come and go when some people think it's cool to say they don't like The Beatles.

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.

@blinkerz4676

10 ай бұрын

Explains why Lennon didnt have as much of a respecful career after the Beatles😢

@nedim_guitar

10 ай бұрын

​@@blinkerz4676 McCarthy and Lennon are different. Lennon was also more experimental and political. Also, he was taken away too soon.

@akwilson1676

6 ай бұрын

​@@nedim_guitarThe only experimental thing Lennon did was the ear torturing stuff he did with Yoko. Paul was the experimental one.

@nedim_guitar

6 ай бұрын

@@akwilson1676 I thought they were a band that worked together, even though they didn't always right the songs together. 🤔

@kk-om5zm

4 ай бұрын

❤❤❤❤

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.

@dot18

Жыл бұрын

Spot-on !you can add to that list of songs Sergeant Peppers Lonely Hearts club Band -the actual song Another Macca composition!

@rome8180

Жыл бұрын

She covered that part about E minor going to A7 being the ii-V leading into D minor.

@johnmalcolm4822

11 ай бұрын

Except McCartney did not write this chord progression, which comes from Georgia on My Mind.

@supersonicsroots

11 ай бұрын

​@@johnmalcolm4822yeah yeah yeah.... 😂

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..

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.

I love the way you elucidate the "why" behind chord progressions.

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.

Great video and well explained - really enjoyed that. Can’t wait to watch some more of your videos!☺️

An awesome lesson! Thanks so much and keep coming more of my favorite band of all times.

Thank you. Your explanations are clear - you're very good at this.

LOVE this!!😍🎸 Thank you Keppie!!🙏🏾

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).

@exerciserelax8719

Жыл бұрын

I heard that too. 😃

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.

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.

@exerciserelax8719

Жыл бұрын

And The Beatles did exactly that on the "Oo La La-La" part in "You Won't See Me"! 😀

Thanks for taking the time to do this. Very interesting and informative 😊

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.

You are a great teacher! Enjoyed watching this video.

Premium content! Total joy of how chords relate. And how to utilize them! Thank you

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'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

@ralpholiver1519

Жыл бұрын

yep me too but I'm wondering this,,,,why do I dig this chick?

You are an excellent educator. These are well produced, insightful videos with cool examples demonstrating the concepts you explore

Thanks for providing so much quality content!

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!

"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

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

Wow, brilliant analysis!

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

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.

@brianwrynn3109

Жыл бұрын

I once spent an evening learning about modes. A week later i forgot it .. oh well.

@ric8248

5 ай бұрын

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.

This was brilliant. Subscribed.

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!

Absolutely subbed! Thank you!

You're an awesome teacher! Thank you so much :)

Congrats !!!Great and easy lesson .You are my inspiration and help to understand my harmony knowledge .Thank you ever so much.

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 :)

This was a really great video excited when I have the time to learn more. Thank you

I love your expression: complementary opposites. Very interesting!

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!!

Cool breakdown. Thanks for doing that.

Thank you! Really helpful!

That was very, very nice, Keppie. Even I understood that! Thank you!

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.

This video is a gem. Cheers!

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.

This is lovely, thank you.

Thanks Keppie. Great video ❤

I love your way of explaining. I jusrt discovered your channel -keep up the great work

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.

I actually understood some of this. Thank You. Of course i subscribed immediatly after the video

Excellent video, nice to find you. Seen this broken down before but not this well, subscribed instantly

Great video.Brilliant analysis!

Brilliant and comprehensible. Thank you!

Best harmony class ever.. Bravo.

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!

@saxMD2008

10 ай бұрын

me too! Now I'm hooked as well.

New sub here. I really enjoy and learn from your videos. You are an excellent teacher! Thanks.

First time viewer. Just subscribed. Great explanation. Sounds great. I look forward to hearing more from you 🫡

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.

So well explained....finally makes sense :)

Very interesting! I love your no nonsense approach to music. KEEP IT UP beautiful green eyes lady.

just discovered your channel. I laughed out loud when you played that progression near the end .. youre right. instantly subscribed .

Great video. Please do more chord progression patterns and methods

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.

Great lesson. Thank you!

Brilliant. Thank you so much

A hell of a lesson, thanks!

Awesome lesson! Thank you

Great video ... thank you!

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!

@giulioluzzardi7632

Жыл бұрын

Keep spreading the good vibes and thankyou for the thumbs-up because it means the Emperor has decided to spare me!

Great video!🎉

Very true! I would say furthermore that many Beatles songs are examples in composition and songwriting.

new to her channel but love to “see” her play rather talk it. Nice job here❤ thank you!

Excellent. Thank you.

Just found your channel, great content, liked and subscribed!

Thanks so much - well done

Great stuff! NICE to hear an Aussie doing this! \m/

That was excellent and really informative. Thanks

Awesome stuff have not played in 20 years but what you just spoke of is part of why i loced playing good stuff

Really interesting and helpful ! Thanks. New subscriber !

Excellent video thank you

Really interesting. Funnily enough a lot of folk tunes use relative minors for the root of the B part. I’ve recently swapped Gsus4 in place of a load of Cs on a couple of songs I’m writing, giving me a lovely drift down to the D through G

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.

@beckyebenkamp2710

Жыл бұрын

Would be helpful if you showed/played the parts of “Yesterday” you are referring to. Too abstract.

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!

This is awesome! Where have you been all my youtube life? 🎵😀Liked and subscribed!

Cheers, very good. Talking about songwriting, my most inspired songs arise spontaneously, with no thought at all. Well at least not consciously.

Just discovered your channel! Love it! Thank you for the wonderful analysis. Isn't it astonishing the depth and maturity of the writing in this and other Beatles songs coming from the mind of (at the time) such young men? I can't imagine Paul absolutely knew what he was doing in a technical sense, so one has to marvel at the level of intuition and 'feel' that helped him create such a masterpiece. Stunning, actually!

@1allstarman

Жыл бұрын

They had help from George Martin , George was their producer, a master arranger, and who some have referred to as " the fifth " beatle.

@berryj.greene7090

Жыл бұрын

From no structure to tight structure and slowly loosen the "rules" when there are in fact no "rules" - only convention. This we learn as children by exposure and the music then prods and teases our mindset. Thus I would ask how much has to be learned by a form of brain-washing? How much is peer pressure (especially on the young)? How much is "new" sounds like the introduction of electrified and electronically processed guitars. New melodies, beats, and progressions that stretch us a little bit further until we break free once more into Modern Jazz whose structure is minimal and only contained by the original conventional instruments in use. Then I ask about the "hooks" in use. Does the lyric form the most powerful "hook"? Is there symbiosis or should the music and the lyric be considered separately? Fascinating, or for you, is it not? A fascinating noise is the music; A fascinating story are the words. The tickling of your brain cells, your mind, if you have one!

@johnmalcolm4822

11 ай бұрын

Chord progression of Yesterday is from Georgia on My Mind

Great, thanks! 😎👍🏻

Useful video - I was just going to work on a bridge for a new song too.

Excellent video 👍

I would like to think that Paul & John were naively banging around cords thinking hey this sounds nice! 😊

Great explanation! Beatles were genius!

GRRRRRRRRRREAT!! thx definitely subscribing cheers

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.

Nice vid. Here's a fun fact. Paul McCartney uses a guitar that has been tuned down one tone to play Yesterday, so he can play it in the key of G while singing it in the key of F, probably because G is easier to play than F on the guitar.

@davidmcauliffe8692

Жыл бұрын

Maybe the arrangement was intended to have woodwinds or horns, making G a more difficult key than F to notate, and when it was decided to use strings instead, they kept it in F.

@ChristophManuelJansen

Жыл бұрын

Right, on the 1966 tour they played it in G so they didnt have to detune their guitars

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 😮

More than words - Extreme 😊

great! thank you

Very well explained. Regards, George Armstrong, ASCAP, NMPA, HFA

Loved playing baha

Fab lesson !

No music theory problem. I was there when it happened. It sounded good !