Ever since I started playing guitar and writing songs, I've been completely obsessed with figuring out what made The Beatles so brilliant.
I've spent years geeking out over their tunes, analyzing every melody and chord progression, trying to crack the code. Wise beyond their years, they just had a gift for taking simple ideas and putting mindblowing spins on them.
That's why their music feels both warmly nostalgic and exhilaratingly fresh at the same time. It's wild how their songs have captivated millions across generations - there's some serious Tolkien-level wizardry at work there.
One of my favorite examples of their progressive-yet-tasteful genius? The chords underpinning the verse and chorus of "Norwegian Wood."
That Static, Simple Verse
The verse is brilliant in its stripped-down simplicity. The entire section rides on just one big, warm E major chord created by throwing a capo on the 2nd fret and playing a D-chord shape.
No chord changes at all through the verse - just that lush E major bedrock while John lays down his wistful melody. Totally unorthodox to avoid any chord movement, but it just works.
Then Comes the Curveball Chorus
After lulling you into that hypnotic, singular major drone, the chorus pulls a clever bait-and-switch that hits you right in the feels.
Instead of keeping us in friendly E major territory, the chorus abruptly pivots into the parallel E minor chord to kick things off. Cue the moody vibes!
The whole chorus rundown goes:
Em (i)
A (IV)
Em (i)
F#m7 (ii)
B (V)
[That's Dm, G, Dm, Em, A if you're playing along at home with a capo on 2]
With that minor detour, the vibe morphs from bright and breezy to Blue Period melancholy in an instant - all through some savvy modal maneuvering.
The Power of Parallel Modes
Borrowing chords from the relative major/minor is one of my forever go-to tricks for adding intrigue to chord progressions.
To use the parallel minor, simply borrow a chord from the minor mode.
For example, the major (Ionian) mode’s chords are: I ii iii IV V vi vii°
The minor (Aeolian) mode’s chords are: i ii° III iv v VI VII
To make use of the parallel minor, simply play in the major key and swap in a chord from the minor key.
In “Norwegian Wood,” that chord is the first chord of the chorus, which should be a Major I, but instead is expertly changes to a minor i.
The Beatles nail it here by first anchoring us in a straightforward major tonality, then subverting expectations with that poignant minor twist in the chorus. Genius level stuff.
So if you want to grow as a songwriter and start injecting more dimension into your chord changes, learn to get comfortable dancing between parallel major and minor modes.
Introduce a stock major progression, then try retooling it by swapping in the relative minor at certain points. Hear how it instantly recontextualizes the entire harmonic landscape and creates this enticing push-pull tension?
It's those kinds of tricks that made The Beatles such a innovative force to be reckoned with in rock music. Their unique chord moves continually prove to be a bottomless well of inspiration for musicians at every level.
James
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