What is this UNCOMMON chord progression?

[blacklinefish]

I have always liked the song 'I Am the Walrus' by the Beatles, but never paid attention to the musical structure of it. I have always liked the way the song ended with a strange chord progression that seems to have no beginning or end to it. It is seven measures, and it is repeated 2-3 times in the last minute, with all major chords:

A-G-F-E-D-C-B (repeat)

This obviously doesn't fit one key (but I would be fine with a new 'key' for each measure). If you asked one of the string players playing the notes a-g-f-e-d-c-b-a they would say they are playing a descending a-minor scale.

It is a little bit dizzy sounding, and as a kid I would play it over and over again (without wondering why). Now, I have to know why. How does this work so well?

[jazztele]

i think it works well because of the symmetrical movement. whole step, whole step, half step, whole step, whole step, half step, and then a whole step back to where you began. it has a certain kind of familiarity to it, even though the ear may have never heard it before--it follows a descending pattern that the ear can latch onto after one pass, and it doesn't break from this patter to return to it's starting point.

as for what key it's really in, that's tough. obviosly not one key. if i were soloing over it, honestly, i'd just ignore that thought and treat every chord seperately...

[walternewton]

In case you haven't come across it, you might enjoy the "musicological" analysis of all the Beatles songs here.

[Bob Mc]

I love playing that tune; I started out trying to learn to play the intro on guitar and got hooked.

[blacklinefish]

Originally Posted by jazztele

i think it works well because of the symmetrical movement. whole step, whole step, half step, whole step, whole step, half step, and then a whole step back to where you began. it has a certain kind of familiarity to it, even though the ear may have never heard it before--it follows a descending pattern that the ear can latch onto after one pass, and it doesn't break from this patter to return to it's starting point.

Those are great points. The Beatles had a way of hooking you into listening to something without having to find a center or footing. It's like you are tricked into thinking they are easy-going songs.

It's only when you try to play those songs, or sing them, that you find out they have a lot more going on than meets the eye/ear. (I never noticed the meter changes in 'All You Need is Love' until recently. Now it just smacks me in the face when I hear it.)

Oh, and walternewton, a big THANK YOU for that link to the musicology analyses of Beatles tunes. I'll be spending some time there!

[jbmando]

Outro
The outro grows directly out of the final refrain with this passage:
...Walrus ...
|E |D |C |B |
V IV flat-III V-of-V

[Figure 121.7]

The chord progression of the outro itself is an harmonic Moebius strip with scales in bassline and top voice that move in contrary motion:
Top: |A |B |C |D |
Bassline: |A |G |F |E |
I flat-VII flat-VI V7

|E |F# |G |A ...
|D |C |B |A ...
IV9 flat-III 11 v I

[Figure 121.8]

The progression repeats on its eighth move so, given a pattern of four-measure phrases, a different chord shows up at the beginning of every third phrase; the second repeat has G-Major on the downbeat; the third repeat has F-Major, and the whole thing conveys intimations of immortality. Beyond a point, it is the contrary motion of those two scales that drive the chord progression here, rather than any "harmonic" logic, per se.

..

[blacklinefish]

A "harmonic Moebius strip", I love it! That guy also says the song at the end has a "high center of gravity." I like they way he writes.

The chords are descending at the end, along with the low strings (cello/bass?) like I mentioned. I forgot that the high strings ascend at the same time. Pure genius.

[walternewton]

Originally Posted by blacklinefish

Oh, and walternewton, a big THANK YOU for that link to the musicology analyses of Beatles tunes. I'll be spending some time there!

You're welcome - glad you're enjoying it!

[Tim Bowen]

I've always been a fan of unexpected harmonic cadences. Among my alltime faves is this very dark treatment by Nelson Riddle of an arrangement for strings on the into and outro of a well known Monk composition, as sung by Linda Rondstadt:

http://www.youtube.com/watch?v=X-iN-jIy1LA