Sherlock of rock
By Ryan McNutt - October 16, 2008
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| Math prof Jason Brown and his Ibanez guitar.(Danny Abriel Photo) |
It’s the most famous chord in rock 'n' roll, an instantly recognizable twang rolling through the open strings on George Harrison’s 12-string Rickenbacker. It evokes a Pavlovian response from music fans as they sing along to the refrain that follows:
It’s been a hard day’s night
And I’ve been working like a dog
The opening chord to A Hard Day’s Night is also famous because for 40 years, no one quite knew exactly what chord Harrison was playing. Musicians, scholars and amateur guitar players alike had all come up with their own theories, but it took a Dalhousie mathematician to figure out the exact formula.
“I started playing guitar because I heard a Beatles record—that was it for my piano lessons,” says Jason Brown of Dalhousie’s Department of Mathematics and Statistics with a good laugh. “I had tried to play the first chord of the song many takes over the years. It sounds outlandish that someone could create a mystery around a chord from a time where artists used such simple recording techniques. It’s quite remarkable.”
Four years ago, inspired by reading news coverage about the song’s 40th anniversary, Dr. Brown decided to try and see if he could apply a mathematical calculation known as Fourier transform to solve the Beatles’ riddle. The process allowed him to decompose the sound into its original frequencies using computer software and parse out which notes were on the record.
It worked, up until a point: the frequencies he found didn’t match the known instrumentation on the song. “George played a 12-string Rickenbacker, Lennon had his six string, Paul had his bass…none of them quite fit what I found,” he explains. “Then the solution hit me: it wasn’t just those instruments. There was a piano in there as well, and that accounted for the problematic frequencies.”
Dr. Brown deduces that another George—George Martin, the Beatles producer—also played on the chord, adding a piano chord that included an F note impossible to play with the other notes on the guitar. The resulting chord was completely different than anything found in the literature about the song to date, which is one reason why Dr. Brown’s findings garnered international attention. He laughs that he may be the only mathematician ever to be published in Guitar Player magazine.
“Music and math are not really that far apart,” he says. “They’ve found that children that listen to music do better at math, because math and music both use the brain in similar ways. The best music is analytical and pattern-filled and mathematics has a lot of aesthetics to it. They complement each other well.”
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Readers Say
October 19, 2008 5:27 PM
October 30, 2008 3:32 PM
October 30, 2008 3:41 PM
Has anyone contacted George Martin for confirmation?
October 30, 2008 4:42 PM
October 30, 2008 4:59 PM
October 30, 2008 5:03 PM
October 30, 2008 5:10 PM
October 30, 2008 5:20 PM
October 30, 2008 5:22 PM
Just curious (did I miss it somewhere?) - what is the chord? If I remember correctly (memory being stretched into the dark ages)we played A Hard Day's Night in G major. Congratulations on your research!! Kudos!
October 30, 2008 5:38 PM
If it still remains secret, I don't think there was a point to this.
October 30, 2008 5:41 PM
www.mscs.dal.ca/~brown/AHDNSoloJIB.pdf
October 30, 2008 5:51 PM
But, uh... what's the chord?
October 30, 2008 5:56 PM
October 30, 2008 6:14 PM
October 30, 2008 6:53 PM
October 30, 2008 7:10 PM
October 30, 2008 7:38 PM
October 30, 2008 7:44 PM
October 30, 2008 9:12 PM
October 30, 2008 9:16 PM
The exact chord is an Fadd9 confirmed by Harrison during an online chat on 15 February 2001:[17]
Q: Mr Harrison, what is the opening chord you used for "A Hard Day's Night"?
A: It is F with a G on top, but you'll have to ask Paul about the bass note to get the proper story.
October 30, 2008 9:46 PM
Today's teaser question: Which instrument had the most chords on it: A Piano or a Guitar? The answer of course is the guitar because it has 6 stings with 23 notes on each string making a total of 138 notes. There are only 88 notes on a piano. While there is only a finite number of chords possible there are more ways to make them on a guitar because of the extra 50 notes. Doing permutations starting with 138! far surpasses permutations starting with 88! Now that you have your mind wrapped around this concept why don't you start naming them all.
October 31, 2008 12:28 AM
Then strum.
That's the chord.
October 31, 2008 12:42 AM
It is interesting to note that this chord contains notes that are in perfect fourths (D G C F).
But the real solution is in linked in one of the above comments I hope I am right.
October 31, 2008 12:42 AM
October 31, 2008 1:30 AM
October 31, 2008 1:44 AM
~brown/n-oct04-harddayjib.pdf
October 31, 2008 4:16 AM
October 31, 2008 6:58 AM
October 31, 2008 9:41 AM
October 31, 2008 10:10 AM
October 31, 2008 10:37 AM
October 31, 2008 10:45 AM
1. This clip shows them doing the song live. No piano.
youtube.com/watch?v=q-rFgas5XnQ
2. In this clip you can clearly hear them count it off. You don't need a count if one person plays a chord by himself. It was so George and Paul could hit it together.
youtube.com/watch?v=HfO5v6fXWfs
3. I figured out his "lost" chord when I was in elementary school. How long did it take for you to get it wrong?
October 31, 2008 11:55 AM
October 31, 2008 12:13 PM
October 31, 2008 12:21 PM
October 31, 2008 12:57 PM
Oh get over yourself. When's the last time you did anything for the children in Kenya? It's most likely that this research WASN'T funded, he just did it in his spare time. Fourier transforms don't require heavy technology, a pencil, paper, and slide rule will do, though he probably just used Mathematica on his home computer. Go get lost in the outback.
October 31, 2008 12:57 PM
I have a copy of "Lennon & McCartney 'Deluxe' Volume II". Publisher is listed as Maclen Music from the ARV-Kirshner Music Group, distributor is Warner Brothers.
In this version for piano and voice, with guitar chords noted, it shows nothing in the guitar chord. Here's what it shows in the piano part, and I'll note it from top to bottom:
C (third space of treble clef)
G
F
D
B flat
C (second space of bass clef)
The song is noted in the key of C major, and the Cs appearing in the chord are emphasized, being at the top and bottom. But I'm included to agree with the poster who said it's basically a g minor chord--Western music uses the I, IV and V chords a lot, and although it's funky to start on something other than the I chord, it's been done. g minor would be the minor version of the V chord for the key of C.
However, it's not a typical g minor chord: G, B flat and D are all there, but C and F are too. There are three types of minor scales, and it's possible in one of them to have F natural...for that kind of minor, G, B flat, D and F would be g minor 7th. But that C is the 4th of the scale for g minor.
I don't know why they'd want to record that chord with one note played on a piano. How would they do this in concert? Did they ever play this in concert?
It would've been easier to have one extra note played on someone else's guitar, or to detune a string.
October 31, 2008 2:17 PM
Barr the third fret, third string fifth fret with fourth finger, fifth string fifth fret with third finger.
If there's a piano handy get someone to press two f notes ( an octave apart ) presto !!!!!!!!!!!!!
October 31, 2008 2:32 PM
Anyway, it's still hard to tell exactly who's doing what, but if you to my ears, the overall effect is Dm7(add11).
Paul's on a D. The notes in the chord are a stack of fourths A D G C F (even though they are not all voiced in fourths) and this really makes it sound ambiguous and causes everyone to argue about it for years. Also, the harmonic motion of vm7 - I (rather than v7 - I) is unusual for a pop song, and I think that throws people too.
Gsus4 works ok, but it works better if the bass player is on a D.
@Kevin:
That video opens with John playing a Fadd9 (F with a G on top). I hear Paul playing a D underneath it on the bass, which makes it sound and function like a D chord... Dm7(add11).
@seb:
barring across the third fret is also close, and really easy to play, but that chord includes a Bb (played on the G string) that I don't hear in the Beatles version.
October 31, 2008 2:49 PM
tuned down a whole step and played in the "a"position.The first chord struck on all open
strings gives you the notes e,a,d,g,b and e an A9sus or em7sus which also fits with the old
myth that George dropped his lighter and accidentally found this chord.As far as the solo
goes it couldn't be tuned down an octave and sped up unless the Beatles had secret digital
recorders as it would be an octave higher and also tuning down a whole step is much
easier to phrase like the recording.
October 31, 2008 6:27 PM
October 31, 2008 10:03 PM
October 31, 2008 10:11 PM
"When I analyzed the frequencies of largest amplitude (which correspond to the loudest pure tones), I got the following: three G3’s, with frequencies 195.181 Hz, 198.795 Hz, 202.41 Hz, and one G4, with a frequency of 390.361 Hz. Clearly one of the G3’s and the G4 were the notes played on GH’s 12-string, so the other two must come from GM’s piano. But if the solo was recorded at full speed, then the piano’s G3 should give three G3 frequencies, instead of two! This gave me the proof I needed that the tape speed must have been cut in half when recording the solo."
Sorry, I don't know anything about guitars I don't know what chord that is!
There's also some nice discussion about how recording at half speed involves playing things down exactly 1 octave, and how after enough practice George played the solo at full speed, using the same fingering shifted up one octave.
November 1, 2008 12:28 PM
November 2, 2008 7:47 PM
November 3, 2008 2:30 PM
1st string F on first fret
2nd string C on first fret
3rd string G
4th string D
5th string B on second fret
6th string G on third fret
I don't remember the name of this chord, but I play it in this way at the beginning of the song.
November 10, 2008 12:01 PM
So spill the beans and give us the notes in order and their respective frequencies.