|| D F | C GC | D F | C F | D F | C GC | D C | F G || The Verse chords are interesting in that he explores the intro’s F to D chord connection, but from the other side – now we’re solidly in the key of D… but he’s adding an out-of-key F chord (he prepared us for it in the intro) that plays an important part in the progression: As I said before, that’s not unusual for Young. Additionally, he messes around with the major 7th (on the F chord) on the guitar. Not only does he go back and forth from 6/4 to 4/4 (the rest of the song stays in 4/4), it’s also harmonically ambiguous – we don’t know yet what key we’re in. This section is unconventional not only harmonically, but because it doesn’t recur in the body of the song. ‘Old Man’ starts with an intro of two chords, and then adds a vocal over them. All of these traits are on display in the song I’m considering today – ‘Old Man’ from 1972, almost 50 years ago. He’ll land on melody notes that aren’t in the basic chord triads (and there’s also that unmistakable voice). He does use those chords, but frequently in unexpected combinations, or with unusual extensions (he likes major 7ths, for example, which are not typical in the genres he normally works in). He uses basic folk and rock and roll chords, right? Well, yes… and no. Partly because of the directness of his lyrics, the musical part of his writing is taken for granted. They can be hit-or-miss, but few would deny that he’s hit the target many times. He seems to write his songs right from his heart and soul, with very little filter and (I suspect) rewriting. His lyrics are often straightforward and simple, sometimes almost child-like. He’s an iconic performer, rocker, and songwriter someone who’s always gone his own way, whatever the fashions of the moment might be. Neil Young’s musical sophistication is underestimated.
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