{"id":15413,"date":"2023-09-22T11:54:28","date_gmt":"2023-09-22T18:54:28","guid":{"rendered":"https:\/\/www.pianote.com\/blog\/?p=15413"},"modified":"2023-09-22T11:54:33","modified_gmt":"2023-09-22T18:54:33","slug":"let-it-be-music-analysis","status":"publish","type":"post","link":"https:\/\/www.pianote.com\/blog\/let-it-be-music-analysis\/","title":{"rendered":"What Makes \u201cLet It Be\u201d Such a Good Song"},"content":{"rendered":"\n<p>\u201cLet It Be\u201d by the Beatles is one of the greatest songs ever written, period. Few songs are as legendary or instantly recognizable as \u201cLet It Be.\u201d So, what\u2019s the secret sauce that makes this song great? In this lesson, we\u2019ll dive into the music theory behind \u201cLet It Be.\u201d Don\u2019t worry\u2014it\u2019s not super complicated. In fact, the beauty of \u201cLet It Be\u201d is how Paul McCartney uses very simple music theory in new and creative ways.<\/p>\n\n\n\n<div class=\"wp-block-rank-math-toc-block\" id=\"rank-math-toc\"><p><strong>Table of Contents:<\/strong><\/p><nav><ol><li class=\"\"><a href=\"#the-chord-progression\">Chord Progression<\/a><\/li><li class=\"\"><a href=\"#the-intro\">Intro<\/a><\/li><li class=\"\"><a href=\"#the-chorus\">Chorus<\/a><\/li><li class=\"\"><a href=\"#the-passing-chords\">Passing Chords<\/a><\/li><li class=\"\"><a href=\"#take-aways\">Take-Aways<\/a><\/li><\/ol><\/nav><\/div>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<span class=\"blue-text-block\"><center><h2 style=\"font-size:22px\"><b>\ud83c\udfb9 Your Go-To Place for All Things Piano<\/b><\/h2><p>Subscribe to <i>The Note<\/i> for exclusive interviews, fascinating articles, and inspiring lessons delivered straight to your inbox. Unsubscribe at any time.<\/p><iframe class=\"email-form-include\" src=\"https:\/\/www.pianote.com\/weeklyemail\" frameborder=\"none\"><\/iframe><\/center><\/span>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"the-chord-progression\" style=\"font-size:32px\"><strong>The Chord Progression<\/strong><\/h2>\n\n\n\n<p>If you\u2019re new to music theory, a <strong>chord progression<\/strong> is a continuous pattern of chords that drive the harmony of a song.<\/p>\n\n\n\n<p>The first chord progression used in \u201cLet It Be\u201d is: <strong>C-G-Am-F<\/strong>. This is <em>the most popular chord progression<\/em> in pop music. Seriously, you can find it everywhere\u2014from Adele\u2019s \u201cSomeone Like You\u201d to Taylor Swift\u2019s \u201cBad Blood\u201d and Jason Mraz\u2019s \u201cIm Yours.\u201d<\/p>\n\n\n\n<p>This progression is called the I-V-vi-IV progression. It\u2019s called that because it\u2019s built on the first, fifth, sixth, and fourth notes of the C major scale.<\/p>\n\n\n\n<video playsinline=\u201c\u201d autoplay=\u201c\u201d src=\"https:\/\/pianote.s3.us-east-1.amazonaws.com\/blog\/2023\/Theory%20of%20Let%20It%20Be\/let%20it%20be%201564.mp4\" loop=\"\" muted=\"\" width=\"100%\"><\/video>\n\n\n\n<p>In a way, you can argue that \u201cLet It Be\u201d is \u201cbasic\u201d because it uses the most common pop progression. But there\u2019s a reason why songs that use the I-V-vi-IV are hits: it just works that well. And re-using chord progressions isn\u2019t necessarily bad or \u201cuncreative\u201d\u2014in fact, we\u2019ll later explain how Paul McCartney puts his own unique spin on the I-V-vi-IV.<\/p>\n\n\n\n<p><strong>&gt; <\/strong><a href=\"https:\/\/www.pianote.com\/blog\/pop-piano-chord-progressions\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>The 1564 Chord Progression, Explained<\/strong><\/a><\/p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"the-intro\" style=\"font-size:32px\"><strong>The Intro<\/strong><\/h2>\n\n\n\n<p>Intros are what sell a song. It\u2019s the first thing we hear and what we remember a song by. Let\u2019s look at how Paul McCartney composes the \u201cLet It Be\u201d intro.<\/p>\n\n\n\n<p>There\u2019s a clear melody in the song\u2019s opening chords. We hear this melody because Paul uses a technique called <strong>inversions<\/strong>. That\u2019s when you re-arrange the notes of a given chord in a different order, changing its sound but keeping its general feeling. For example, Paul moves from a root position C chord (C-E-G) to a first inversion G chord (B-D-G), which keeps that top note (G) constant. The top note is what we hear as the melody.<\/p>\n\n\n\n<p>The second time this intro is played, Paul uses fuller, four-note chords. He also skips the Am chord and instead plays the small, iconic riff that ends the intro:<\/p>\n\n\n\n<video playsinline=\u201c\u201d autoplay=\u201c\u201d src=\"https:\/\/pianote.s3.us-east-1.amazonaws.com\/blog\/2023\/Theory%20of%20Let%20It%20Be\/let%20it%20be%20intro%20riff.mp4\" loop=\"\" muted=\"\" width=\"100%\"><\/video>\n\n\n\n<p>The left hand is also worth mentioning. For the most part, it plays a simple bass line based on the root notes of our chord progression. But, Paul does insert a funky chromatic passing tone here that belongs outside of the key.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"576\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/pianote-blog.s3.us-east-2.amazonaws.com\/wp-content\/uploads\/2023\/09\/18163257\/let-it-be-bass-line-f-sharp-1024x576.png\" alt=\"\" class=\"wp-image-15417\" srcset=\"https:\/\/pianote-blog.s3.us-east-2.amazonaws.com\/wp-content\/uploads\/2023\/09\/18163257\/let-it-be-bass-line-f-sharp-1024x576.png 1024w, https:\/\/pianote-blog.s3.us-east-2.amazonaws.com\/wp-content\/uploads\/2023\/09\/18163257\/let-it-be-bass-line-f-sharp-300x169.png 300w, https:\/\/pianote-blog.s3.us-east-2.amazonaws.com\/wp-content\/uploads\/2023\/09\/18163257\/let-it-be-bass-line-f-sharp-768x432.png 768w, https:\/\/pianote-blog.s3.us-east-2.amazonaws.com\/wp-content\/uploads\/2023\/09\/18163257\/let-it-be-bass-line-f-sharp.png 1280w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p><strong>&gt; <\/strong><a href=\"https:\/\/www.pianote.com\/blog\/piano-chord-inversions\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Chord Inversions, Explained<\/strong><\/a><\/p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"the-chorus\" style=\"font-size:32px\"><strong>The Chorus<\/strong><\/h2>\n\n\n\n<p>What\u2019s cool about the chorus is that Paul uses the same chords; he just mixes up their order. So instead of going C-G-Am-F, we hear:<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"576\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/pianote-blog.s3.us-east-2.amazonaws.com\/wp-content\/uploads\/2023\/09\/18163427\/let-it-be-chorus-1024x576.png\" alt=\"\" class=\"wp-image-15418\" srcset=\"https:\/\/pianote-blog.s3.us-east-2.amazonaws.com\/wp-content\/uploads\/2023\/09\/18163427\/let-it-be-chorus-1024x576.png 1024w, https:\/\/pianote-blog.s3.us-east-2.amazonaws.com\/wp-content\/uploads\/2023\/09\/18163427\/let-it-be-chorus-300x169.png 300w, https:\/\/pianote-blog.s3.us-east-2.amazonaws.com\/wp-content\/uploads\/2023\/09\/18163427\/let-it-be-chorus-768x432.png 768w, https:\/\/pianote-blog.s3.us-east-2.amazonaws.com\/wp-content\/uploads\/2023\/09\/18163427\/let-it-be-chorus.png 1280w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p>(The Cmaj7\/G functions similarly to the G chord.)<\/p>\n\n\n\n<p>But let\u2019s look at the melody. What I love about the melody is that it\u2019s based on the <strong>pentatonic scale<\/strong>. Pentatonic scales are neat because these five-note scales can be found across many cultures, making them a universal musical concept that humans just love.<\/p>\n\n\n\n<video playsinline=\u201c\u201d autoplay=\u201c\u201d src=\"https:\/\/pianote.s3.us-east-1.amazonaws.com\/blog\/2023\/Theory%20of%20Let%20It%20Be\/let%20it%20be%20a%20minor%20pentatonic.mp4\" loop=\"\" muted=\"\" width=\"100%\"><\/video>\n\n\n\n<p>The pentatonic scale also doesn\u2019t have much tension. This is unlike major and minor scales, which want to resolve to something. Instead, pentatonic scales just kind of float around and sound good. I find it so incredible that this is the scale used in a song called \u201cLet It Be\u201d!<\/p>\n\n\n\n<p><strong>&gt; <\/strong><a href=\"https:\/\/www.pianote.com\/blog\/pentatonic-scale-piano\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>The Mighty Pentatonic Scale<\/strong><\/a><\/p>\n\n\n\n<p>We end the chorus with a <strong>plagal cadence<\/strong>. That\u2019s a IV-I chord movement. Plagal cadences are common in hymns and spiritual music. Moving back to the I creates a feeling of resolution and satisfaction.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"the-passing-chords\" style=\"font-size:32px\"><strong>The Passing Chords<\/strong><\/h2>\n\n\n\n<p>We end with that iconic walkdown. The chords may <em>look <\/em>complicated, but if you look at the left hand bass notes, it\u2019s just a scale walking down. Remember that Paul McCartney is a bass player! He likely found a neat bass line and then found chords to fit into that scale.<\/p>\n\n\n\n<video playsinline=\u201c\u201d autoplay=\u201c\u201d src=\"https:\/\/pianote.s3.us-east-1.amazonaws.com\/blog\/2023\/Theory%20of%20Let%20It%20Be\/let%20it%20be%20ending.mp4\" loop=\"\" muted=\"\" width=\"100%\"><\/video>\n\n\n\n<p>This scale that Paul uses is called the <strong>C Mixolydian<\/strong>. You can think of C Mixolydian as F major starting and ending on C. That\u2019s why there\u2019s a B-flat (flat 7) here. The Beatles also use this trick in \u201cHey Jude,\u201d and later on, more pop artists would jump on this trend, including bands like Guns \u2018N Roses, Boston, and Green Day.<\/p>\n\n\n\n<p><strong>> <\/strong><a href=\"https:\/\/www.pianote.com\/blog\/piano-scales\/#modes\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Piano Scales: Modes<\/strong><\/a><\/p>\n\n\n\n<p>The walkdown is also made possible with slash chords. This means we play the chord before the slash with our right hand and the note after the slash with our left hand. Slash chords create a more unique walkdown effect than if we\u2019d simply gone down using our root notes.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"take-aways\" style=\"font-size:32px\"><strong>Take-Aways<\/strong><\/h2>\n\n\n\n<p>So, what can we learn from \u201cLet It Be\u201d? Things that can help all of us become better musicians! I can think of three main points:<\/p>\n\n\n\n<ol class=\"wp-block-list\">\n<li>Playing multiple instruments can be a superpower.<\/li>\n\n\n\n<li>You don\u2019t need to know theory to write an iconic song. BUT,<\/li>\n\n\n\n<li>Behind every iconic song is music theory.<\/li>\n<\/ol>\n\n\n\n<p>We hope this lesson lets you appreciate one of history\u2019s favorite songs even more. And if you want to learn how to play \u201cLet It Be,\u201d we have a free, step-by-step tutorial <a href=\"https:\/\/www.pianote.com\/blog\/how-to-play-let-it-be-piano\/\" target=\"_blank\" rel=\"noreferrer noopener\">right here<\/a>!<\/p>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<span class=\"blue-text-block\"><center><h3 style=\"font-size:22px;\">\ud83c\udfbc <b>Learn Your Favorites, Step By Step With Full Sheet Music Downloads<\/b><\/h3><p> As a Pianote+ Member, you\u2019ll get access to our 10-step Method, song library, and growing community of piano players just like you. Plus: get coached by world-class pianists who have played with rock stars.<\/p><center><a class=\"join\" href=\"https:\/\/www.pianote.com\/trial\" target=\"_blank\" rel=\"noreferrer noopener\">TRY PIANOTE FOR 7 DAYS<\/a><\/center><br><\/span>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Get a fascinating look at the music theory behind the Beatles\u2019 \u201cLet It Be\u201d and what makes this timeless song so iconic.<\/p>\n","protected":false},"author":39,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[510],"tags":[],"class_list":["post-15413","post","type-post","status-publish","format-standard","hentry","category-theory"],"_links":{"self":[{"href":"https:\/\/www.pianote.com\/blog\/wp-json\/wp\/v2\/posts\/15413","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.pianote.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.pianote.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.pianote.com\/blog\/wp-json\/wp\/v2\/users\/39"}],"replies":[{"embeddable":true,"href":"https:\/\/www.pianote.com\/blog\/wp-json\/wp\/v2\/comments?post=15413"}],"version-history":[{"count":8,"href":"https:\/\/www.pianote.com\/blog\/wp-json\/wp\/v2\/posts\/15413\/revisions"}],"predecessor-version":[{"id":15459,"href":"https:\/\/www.pianote.com\/blog\/wp-json\/wp\/v2\/posts\/15413\/revisions\/15459"}],"wp:attachment":[{"href":"https:\/\/www.pianote.com\/blog\/wp-json\/wp\/v2\/media?parent=15413"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.pianote.com\/blog\/wp-json\/wp\/v2\/categories?post=15413"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.pianote.com\/blog\/wp-json\/wp\/v2\/tags?post=15413"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}