What’s going on everybody, Sean Daniel here with GuitarControl.com. Today is a day like no other because we’re learning a song that you will need to have in your guitar repertoire for all of time. Hey Jude by the Beatles, very easy version that we’re going to do. So make sure you click the link below because I’m going to have all the chords for it. Super simple, but also really kind of a masterclass in songwriting, composition and structure and how to use dominant seven chords and their role within a progression.
So we’re going to break it into three different parts. Like I said, capo’s on the third fret and we’re going to start with the D major chord. So first of all, I’m just going to play it. There’s a verse, a chorus and a super power outro that has united the world in peace and will once more some day. So the verse sounds like this in an easy way.
Okay, so really the strumming is super simple. We’re doing all down strokes. A bar is going to be four counts. And you’ve have this D major chord, your middle finger is relative to the capo. Second fret on the high string, ring finger third fret on the B string, pointer finger second fret on the G string. Just trying to get the highest four strings. One. Two. Three. Four. That’s it. That’s a bar.
Okay, so one bar of D, and then goes to A major [inaudible 00:01:42] second fret and the D, G and B string. Maybe the bottom five strings now. One, two, three, four. So really those first four chords are going to be D, A, A7, D. You could play it D, A, A, D. Whenever you see a seven chord, which is short for dominant seven, you can always just keep A, we could just do D to A to A to D, but when we start to introduce this dominant seven chord, the only way that’s different is now I’ve opened up the G string, so it’s two D, open G, two B.
What that does is it pushes the progression in a certain direction. Almost always in music, it pushes it in a direction where if this is the dominant seven, A is dominant seven chord, we’re going back to the home chord of a key. Now what that really means, just really quickly, is whenever you use a dominant seven chord, most of the time you’re five notes in a scale away from where you’re going to go. So again, we went from A to D. If we start with D as one, and the key of D, forget about the sharps and flats right now, it’s D, E, F, G, A. A is the fifth of D, whenever you make that five chord a dominant seven chord, it wants to go back to the one. Which we’re actually going to get you later on in the song, but we just have D, A, A, seven, D. A bar each.
One. Two. Three. Four. To A, two, three, four. To A7, that forces us back to D. Now we’re going to continue on to a G chord, back to D. Now we’re going to go, same thing, but A, split the bar with A7 back to D. Okay, so that’s going to be the whole verse. And if we do that two times in a row, it’s going to take us somewhere else. Okay? Now this is going to be the chorus of the song and it’s going to sound like this.
Okay, so this is kind of a very similar progression strumming wise. I’m still just really kind of getting down strokes for all of these, but what we did is we went from a D major to a D. So now a great way to be like, all right, well these are a lot of chords. It’s hard for me to memorize the structure of this. Learning that dominant seven trick and counting backwards through five, or whatever, is a great way to figure this out. So again, we ended the verse on a D major. We started the chorus on a D7, that’s really a great indication of maybe like a key change, or just some kind of way to switch up the chords that we’re using.
So let’s count backwards. We need to find out what D is a fifth of. We can count backwards from D. It’s hard to count backwards through letters, but we can do it. D, C, B, A, G. A D7 almost always leads you to a G. Okay? This is no exception. So the chorus progression, we have D7, a full bar, now we’re kind of picking up a little bit. G two beats, B minor two beats, E minor two beat. So we’re starting to really, slowly but surely, work our way through a little bit more of like a melodic content thing.
Now we’re introducing a couple of new chords to the progression. B minor, everybody’s favorite we got right here. So pointer finger is on the second fret of the A string, ring finger is on the fourth fret of the D string, pinky is in the same fret, but on a G string. Middle finger is third fret of the B string. You can get a bar to have your pointer finger hold down the high string too. Like that. Not necessary, we really just need the middle four strings. If you want to make it a bar chord, that’s cool. If bar chords are difficult for you, don’t worry about it. This is about attitude, about just rocking it.
So two beats of, two beats of B minor, then two beats of E minor. Really super easy one right here, just open E, to A, to D, open G, open B, open E. So two beats of G, two beats of B minor, two beats of E minor, back to G, then back to A7. One, two, three, four. What did we say usually comes after A7? Remember, it’s where A is the fifth. We can count, let’s count backwards from A. A, in the musical alphabet before A we go back to G, F, E, D. D is always what follows it up. So, think of that as going back to a D.
So full of bar D7. Two, three, four. Two counts of G, two counts of B minor, two counts of E minor, back to G for two counts, a full bar of A7. One, two, three, four. Back to D. Then we can just repeat that whole thing, but switch to dominant seven. Two counts of G, B minor, E minor, G, A7. And then now we kind of have this little interlude bridge, if you want to look at it this way. Really simple. It’s just D to D7, to A7, and then that’s going to bring us back to the verse chord. Because again, that verse starts on D. A7 is a great way to lead back into that.
Okay, so we have … Let’s just run through the verse to the chorus really quickly. Starts on a D. To A, a full bar. Full bar of A7. Then a full bar of D. Full bar of G. Full bar of D. A, split it with the A7 if you’re nasty, then to D. Then you go right into the chorus, D7. G, B minor, E minor, back to G. Then A7, to D. Okay, so now I’d be remiss to really just give special importance to probably the greatest outro of all time. Just goes on and on because it needs to go on and on. Now we’re introducing one other chord in this progression, that’s going to be a C major chord.
I like playing a C major chord, this is what most people see. Ring finger third fret on the A string, middle finger second fret on the D string, open G, pointer finger first fret on the B string, and then open on the high E string, okay? I actually like playing it where my ring finger is on the lowest string, third fret. Pinky is [inaudible 00:08:51]. I just think it gives a fuller sound, especially when you’re trying to add a little more energy, and how this [inaudible 00:08:58] usually works.
Again, whenever we play this song live, it’s just everybody pays attention. And they just kind of wait for the outro, which is great. So we’re going to get to this chord, but basically we started with the D; two, three, four. To C; two, three, four. To G; two, three, four. Back to D. Okay? So again, now this is really just the same as everything, or it’s just a bar, everything is downstroke. I really think it kind of helps to maybe add a little bit more, a little bit extra to the outro here, because it is that important. So at the very least you could do like this.
Okay. So all that is, is instead of just one, two, three, four. I’m getting the lower part of it, I’m going like one, and two, and three, and four. And the way that’s happening, I’m just using my … if you see my pick here, one, and two, and three, and four. I’m not making full strokes every time, I’m getting a full one on the one, and on the end I’m just getting kind of like the lower part of the board.
One, and two, and three, and four, and C, and two, and three, and four. And three and four, down/up. And also at the end it’s a quick down/up. So you know how we’re going one, and two, and three, and four. That kind of down/up up at the end is a great way to get into a transition to the next chord. Especially that one right there, because this progression starts on a D; D, C, G, D, and it also ends on a D. So I think it’s also important to kind of add something to that last chord, to signify that you’re starting it over again. Otherwise, instead of thinking of playing eight D’s in a row, I think it’s better to think of playing four D chords in a row twice.
So what I mean with that is like, if this is the fourth one of the progression; one, and two, and three, and four. See how I kind of … left? You can just hit, just hit open strings. Just like that. And then it starts it over again. And then you just kind of ride that out all the way home, right? So basically that’s it, make sure you click the link below to grab the chords. I think this is something that even though it is a couple of different parts. Three different parts, and then you have the interludes, you can count that as four parts, or three and a half, however you want to count it out.
I think it’s really not too bad to memorize, and really just a great way to start using a little bit of knowledge in music theory as far as how a seven chord is always going to lead back home to it’s one chord, where it’s five away from. Starting to see chords as groupings and be able to count through them, I think he’s really helpful. This is an absolute killer, classic song everybody should know and really make it educational.
Put it in your back pocket. You’ll never know, even if you’re not a fan of the Beatles or Hey Jude and you’re just a total contrarian, it’s good to be able to whip this one out anytime, anywhere. And someday you will thank us here at Guitar Control for helping you do that. So make sure you click that link below, grab the chords, check out other videos on Guitar Control channel from me, other really cool instructors. Let us know what you want to see and we will talk to y’all soon. Thanks a lot.
– Click here to get Sean Daniel’s Secrets of Hendrix: DECODED – GO!!