Chords for How Radiohead Wrote the Perfect Bond Theme
Tempo:
98.25 bpm
Chords used:
G
B
E
Bm
Em
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[A] How do you write the perfect [C#m] Bond theme song?
[G] [Bm]
[C]
[Bm] Of [G] the 25 Bond [F#] films that have been made, [A] 24 of them begin [Am] with an iconic song that
[G] accompanies an equally iconic title sequence.
And although the film that began it all uses an instrumental theme instead of a song, [B] the
story of any good Bond theme [C] has to begin with this [G] music, written by [G#] Monty Norman and John Barry.
[C#] [C] The James Bond theme acted as the [C#] blueprint for everything that would follow, containing
the musical DNA that could [Bm] turn a normal song [Dm] into a [G#] theme tune worthy [C] of Bond.
[C#] The [G#] first key [F#] component is the [C#m] orchestration.
[F#] John Barry's big band, [B] jazzy arrangement brings you instantly into Bond's [C#] world.
The use of swing drums and Vic Flick's guitar riff combined with the bluesy brass gives
the music a confident and hard-edged [B] nature.
[E]
[C] And though this arrangement doesn't include any strings or piano, these instruments would,
over the years, become fundamental parts of the sound world.
[Gm] The next thing to think about is the harmony.
Like the original theme, the best Bond songs are in minor keys, with added blues notes.
Although there are [Em] some chords that are [Gm] unquestionably associated with Bond films, like a minor chord
with [D] an added 9th and sharp 7th, the signature Bond harmony comes from the opening to Norman's
[C#] theme, a sequence of four simple chords.
[Bm] [G] [Bm]
[G] [F#] A minor triad, where [G] the top note moves [Bm] chromatically up and [G] down, shifting between the 5th and
sharpened 6th degree [G#] of the scale.
[G]
[Bm] [G] This is found [C#m] in almost every Bond [F#] theme, either in the form we've [Gm] just heard, or in
where the chord moves alongside the chromatic [Bm] line, [G]
[E] giving us the minor tonic chord, then
the 6th chord, followed [Bm] by the major 4 chord.
[G]
[E] This is the harmony that makes up the chorus for [G#] Casino Royale's theme [Bm] tune.
[G]
[E] It's [G] used as the basis for Adele's [Cm] Skyfall.
[G#]
[F] And it's also the harmony that's [D] found throughout [Am] Radiohead's Spectre.
[D#m]
[A] Sam Smith's Writings on the Wall is the official theme song for Spectre, but it was Radiohead
that were initially [Am] approached to provide a song for the 24th instalment [B] in the franchise.
They first submitted their 1995 [F] song Man of War, [A] which was recorded as part of their sessions
[C] for The Benz.
[F#] [Am]
Man of War was, in Tom York's words, [B] written as a melodramatic homage to the [F] sound of Bond
themes, but it was understandably rejected for Spectre as [A] it wasn't written specifically
for the film.
[Em] But Radiohead asked for a second chance.
[Am] They halted work on their upcoming [A] album and focused their attention on writing a new song for Spectre.
[Em] And what they came up with is, [C] in my opinion, one of the [A] greatest Bond themes ever written.
[B]
Spectre begins with a quiet, inward-looking voice.
[G]
[B]
We hear this repeating sequence of chords in strings [G] and piano, G major 7 followed by
E sus 2, which turns [B] into E minor.
[G]
This is Bond, but it's also, unmistakably, Radiohead.
[B] Their love of rhythmical ambiguity is present [G] straight away.
If you listen without the score, it feels like the piano chords [B] are on stressed beats
and the idea in the final [G] bar in the sequence is working against the pulse.
[B] But it's actually the other way around.
[G] The piano is playing triplet figures against the pulse in 3-4, and [B] the last bar is lined
up with the pulse.
[G] 1-2-3 1-2 [B]-3 1-2-3 1-2 [G] -3
Radiohead's trademark harmonic [B] ambiguity is also present here.
As we move into the first verse, [G] the song shifts into D major, going against the [B] implied
B minor tonality of [Em] the opening.
[D] In the piano part, a descending line slowly moves downwards, [Bm] leading us into the true
tonic, B minor.
As the [D] strings then re-enter, the drum part accents the [G] triplet figures in the piano.
It's [Em] introspective, but insistent.
Reserved, but deliberate.
[G] The strings are starting to [B] develop now.
They play [Em] repeated chords that mimic the piano [D] rhythm.
And as we move back into D major, they take on the descending piano line in [Bm] octaves, forming
weightless clusters of notes above York's floating melody.
[G]
The beauty and simplicity of the music contrasts painfully [B] with the words,
anger is a poison, these [G] rumours and suspicions.
It captures perfectly [B] that dichotomy in contemporary Bond, a man struggling to [G] reconcile love and duty.
[B] The truth [Em] that York speaks of here is [G] found in these fleeting moments of expressivity
and fragility in the [B] strings.
[Em] [G] The music and story are about to change as [C#] we move to the end of the second verse.
We [Em] get a [A] sudden introduction of an [G] E major tonality, the classic Bond harmony, the major
four [B] chord in B minor.
[E] And then [B]
a crystallisation, a [F] transposition into B major.
[G]
[B] Brass play these [Bm] punchy, accented chords, [F] whose rhythm matches the [Dm] triplet piano figure,
and strings [B] in octaves sing out this sliding, aggressive melody.
[F] [G] The D naturals [B] in the strings clash violently with the chords [Bm] underneath, [F] recalling the
similarly aggressive clashes [Dm] found in Bond songs of the [B] past.
It's [Bm] jazzy, but discordant.
It's a modern [Dm] reimagining of John Barry's big band [B] orchestrations.
But as we move back into [F] the verse, Radiohead's [E] characteristic orchestration re [D]-emerges.
An ethereal wave of D major, replete with [Bm] gossamer string lines and electronics, a sudden cleansing [G] beauty.
[Bm] Then a [G] pairing back.
This repeating triplet idea that [C#] has persisted throughout [Em] the song now seems to be urging
[G] the music onwards.
Each new four bar phrase adds [Em] more parts in strings, notes are added to the repeating
[G] chords and we get sustained parts at the top of the texture in octaves.
[B] The [Em] strings are about to bring the music [G] back to life.
Violins take us from the darkness of the B minor tonality, [E] back into bright B major.
[B] Now finally we hear a complete [G] rendition of the signature Bond [E] harmony.
[B] B major followed by G major, [G] and then E major.
[E] [B] The chromatic line around the 5th and 6th degree of the scale pushes the harmony forward
as [G] the strings play these fragmented, [E] sensuous melodies [B] that [G] continue to writhe against the
[E] rhythm and harmony in the [B] parts underneath, creating a complex web of melody and rhythm.
[G]
[E] What's astonishing about [B] all of this is that this song was rejected.
For me [G] it's the perfect combination [E] of Radiohead and Bond.
[B] It's full of the classic harmony and orchestration that makes a great Bond theme, that ties it
to Norman [G] and Barry's music from [E] the first feature film, but it's also [B] by itself an instantly
compelling and dark [G] musical world.
[E]
[B] It just goes to show that even if something comes second, [G] it doesn't necessarily [E] mean
it's second best.
Sometimes the truth can only be seen by looking [Em] in the shadows.
[B] [C] Thank you so much for watching.
I really hope you [C#m] enjoyed the video, and if you did, then take a look [C] at my other essays
analysing Radiohead's songs, [E] linked in the description.
And if you'd like to purchase a PDF of the score for my [C] transcription of Spectre, then
take a look [B] at my new Music Notes page, [E] also linked below.
Over the next few months I'm going to be adding lots more items to the page, including transcriptions
and arrangements [Am] of scores I've used [E] in my past videos.
[C#] [E]
[C] See you next time.
[G] [Bm]
[C]
[Bm] Of [G] the 25 Bond [F#] films that have been made, [A] 24 of them begin [Am] with an iconic song that
[G] accompanies an equally iconic title sequence.
And although the film that began it all uses an instrumental theme instead of a song, [B] the
story of any good Bond theme [C] has to begin with this [G] music, written by [G#] Monty Norman and John Barry.
[C#] [C] The James Bond theme acted as the [C#] blueprint for everything that would follow, containing
the musical DNA that could [Bm] turn a normal song [Dm] into a [G#] theme tune worthy [C] of Bond.
[C#] The [G#] first key [F#] component is the [C#m] orchestration.
[F#] John Barry's big band, [B] jazzy arrangement brings you instantly into Bond's [C#] world.
The use of swing drums and Vic Flick's guitar riff combined with the bluesy brass gives
the music a confident and hard-edged [B] nature.
[E]
[C] And though this arrangement doesn't include any strings or piano, these instruments would,
over the years, become fundamental parts of the sound world.
[Gm] The next thing to think about is the harmony.
Like the original theme, the best Bond songs are in minor keys, with added blues notes.
Although there are [Em] some chords that are [Gm] unquestionably associated with Bond films, like a minor chord
with [D] an added 9th and sharp 7th, the signature Bond harmony comes from the opening to Norman's
[C#] theme, a sequence of four simple chords.
[Bm] [G] [Bm]
[G] [F#] A minor triad, where [G] the top note moves [Bm] chromatically up and [G] down, shifting between the 5th and
sharpened 6th degree [G#] of the scale.
[G]
[Bm] [G] This is found [C#m] in almost every Bond [F#] theme, either in the form we've [Gm] just heard, or in
where the chord moves alongside the chromatic [Bm] line, [G]
[E] giving us the minor tonic chord, then
the 6th chord, followed [Bm] by the major 4 chord.
[G]
[E] This is the harmony that makes up the chorus for [G#] Casino Royale's theme [Bm] tune.
[G]
[E] It's [G] used as the basis for Adele's [Cm] Skyfall.
[G#]
[F] And it's also the harmony that's [D] found throughout [Am] Radiohead's Spectre.
[D#m]
[A] Sam Smith's Writings on the Wall is the official theme song for Spectre, but it was Radiohead
that were initially [Am] approached to provide a song for the 24th instalment [B] in the franchise.
They first submitted their 1995 [F] song Man of War, [A] which was recorded as part of their sessions
[C] for The Benz.
[F#] [Am]
Man of War was, in Tom York's words, [B] written as a melodramatic homage to the [F] sound of Bond
themes, but it was understandably rejected for Spectre as [A] it wasn't written specifically
for the film.
[Em] But Radiohead asked for a second chance.
[Am] They halted work on their upcoming [A] album and focused their attention on writing a new song for Spectre.
[Em] And what they came up with is, [C] in my opinion, one of the [A] greatest Bond themes ever written.
[B]
Spectre begins with a quiet, inward-looking voice.
[G]
[B]
We hear this repeating sequence of chords in strings [G] and piano, G major 7 followed by
E sus 2, which turns [B] into E minor.
[G]
This is Bond, but it's also, unmistakably, Radiohead.
[B] Their love of rhythmical ambiguity is present [G] straight away.
If you listen without the score, it feels like the piano chords [B] are on stressed beats
and the idea in the final [G] bar in the sequence is working against the pulse.
[B] But it's actually the other way around.
[G] The piano is playing triplet figures against the pulse in 3-4, and [B] the last bar is lined
up with the pulse.
[G] 1-2-3 1-2 [B]-3 1-2-3 1-2 [G] -3
Radiohead's trademark harmonic [B] ambiguity is also present here.
As we move into the first verse, [G] the song shifts into D major, going against the [B] implied
B minor tonality of [Em] the opening.
[D] In the piano part, a descending line slowly moves downwards, [Bm] leading us into the true
tonic, B minor.
As the [D] strings then re-enter, the drum part accents the [G] triplet figures in the piano.
It's [Em] introspective, but insistent.
Reserved, but deliberate.
[G] The strings are starting to [B] develop now.
They play [Em] repeated chords that mimic the piano [D] rhythm.
And as we move back into D major, they take on the descending piano line in [Bm] octaves, forming
weightless clusters of notes above York's floating melody.
[G]
The beauty and simplicity of the music contrasts painfully [B] with the words,
anger is a poison, these [G] rumours and suspicions.
It captures perfectly [B] that dichotomy in contemporary Bond, a man struggling to [G] reconcile love and duty.
[B] The truth [Em] that York speaks of here is [G] found in these fleeting moments of expressivity
and fragility in the [B] strings.
[Em] [G] The music and story are about to change as [C#] we move to the end of the second verse.
We [Em] get a [A] sudden introduction of an [G] E major tonality, the classic Bond harmony, the major
four [B] chord in B minor.
[E] And then [B]
a crystallisation, a [F] transposition into B major.
[G]
[B] Brass play these [Bm] punchy, accented chords, [F] whose rhythm matches the [Dm] triplet piano figure,
and strings [B] in octaves sing out this sliding, aggressive melody.
[F] [G] The D naturals [B] in the strings clash violently with the chords [Bm] underneath, [F] recalling the
similarly aggressive clashes [Dm] found in Bond songs of the [B] past.
It's [Bm] jazzy, but discordant.
It's a modern [Dm] reimagining of John Barry's big band [B] orchestrations.
But as we move back into [F] the verse, Radiohead's [E] characteristic orchestration re [D]-emerges.
An ethereal wave of D major, replete with [Bm] gossamer string lines and electronics, a sudden cleansing [G] beauty.
[Bm] Then a [G] pairing back.
This repeating triplet idea that [C#] has persisted throughout [Em] the song now seems to be urging
[G] the music onwards.
Each new four bar phrase adds [Em] more parts in strings, notes are added to the repeating
[G] chords and we get sustained parts at the top of the texture in octaves.
[B] The [Em] strings are about to bring the music [G] back to life.
Violins take us from the darkness of the B minor tonality, [E] back into bright B major.
[B] Now finally we hear a complete [G] rendition of the signature Bond [E] harmony.
[B] B major followed by G major, [G] and then E major.
[E] [B] The chromatic line around the 5th and 6th degree of the scale pushes the harmony forward
as [G] the strings play these fragmented, [E] sensuous melodies [B] that [G] continue to writhe against the
[E] rhythm and harmony in the [B] parts underneath, creating a complex web of melody and rhythm.
[G]
[E] What's astonishing about [B] all of this is that this song was rejected.
For me [G] it's the perfect combination [E] of Radiohead and Bond.
[B] It's full of the classic harmony and orchestration that makes a great Bond theme, that ties it
to Norman [G] and Barry's music from [E] the first feature film, but it's also [B] by itself an instantly
compelling and dark [G] musical world.
[E]
[B] It just goes to show that even if something comes second, [G] it doesn't necessarily [E] mean
it's second best.
Sometimes the truth can only be seen by looking [Em] in the shadows.
[B] [C] Thank you so much for watching.
I really hope you [C#m] enjoyed the video, and if you did, then take a look [C] at my other essays
analysing Radiohead's songs, [E] linked in the description.
And if you'd like to purchase a PDF of the score for my [C] transcription of Spectre, then
take a look [B] at my new Music Notes page, [E] also linked below.
Over the next few months I'm going to be adding lots more items to the page, including transcriptions
and arrangements [Am] of scores I've used [E] in my past videos.
[C#] [E]
[C] See you next time.
Key:
G
B
E
Bm
Em
G
B
E
_ _ _ _ _ _
[A] How do you write the perfect [C#m] Bond theme song?
_ _ [G] _ _ [Bm] _
_ _ _ _ _ [C] _
_ [Bm] _ Of [G] the 25 Bond [F#] films that have been made, [A] 24 of them begin [Am] with an iconic song that
[G] accompanies an equally iconic title sequence.
And although the film that began it all uses an instrumental theme instead of a song, [B] the
story of any good Bond theme [C] has to begin with this [G] music, written by [G#] Monty Norman and John Barry. _ _ _
[C#] _ [C] _ The James Bond theme acted as the [C#] blueprint for everything that would follow, containing
the musical DNA that could [Bm] turn a normal song [Dm] into a [G#] theme tune worthy [C] of Bond.
_ _ _ [C#] The [G#] first key [F#] component is the [C#m] orchestration. _
[F#] John Barry's big band, [B] jazzy arrangement brings you instantly into Bond's [C#] world.
The use of swing drums and Vic Flick's guitar riff combined with the bluesy brass gives
the music a confident and hard-edged [B] nature.
[E] _ _
_ _ _ _ [C] And though this arrangement doesn't include any strings or piano, these instruments would,
over the years, become fundamental parts of the sound world.
_ _ _ [Gm] The next thing to think about is the harmony.
Like the original theme, the best Bond songs are in minor keys, with added blues notes.
_ _ Although there are [Em] some chords that are [Gm] unquestionably associated with Bond films, like a minor chord
with [D] an added 9th and sharp 7th, _ the signature Bond harmony comes from the opening to Norman's
[C#] theme, a sequence of four simple chords.
[Bm] _ _ [G] _ _ [Bm] _ _
[G] _ [F#] A minor triad, where [G] the top note moves [Bm] chromatically up and [G] down, shifting between the 5th and
sharpened 6th degree [G#] of the scale.
_ [G] _ _
[Bm] _ _ [G] This is found [C#m] in almost every Bond [F#] theme, either in the form we've [Gm] just heard, or in
where the chord moves alongside the chromatic [Bm] line, _ _ [G] _ _
_ [E] giving us the minor tonic chord, then
the 6th chord, followed [Bm] by the major 4 chord.
[G] _ _
_ [E] This is the harmony that makes up the chorus for [G#] Casino Royale's theme [Bm] tune.
_ _ [G] _
_ _ [E] _ It's [G] used as the basis for Adele's [Cm] _ Skyfall. _
_ [G#] _ _ _ _ _
[F] _ _ And it's also the harmony that's [D] found throughout [Am] Radiohead's _ Spectre.
_ _ [D#m] _ _ _
[A] Sam Smith's Writings on the Wall is the official theme song for Spectre, but it was Radiohead
that were initially [Am] approached to provide a song for the 24th instalment [B] in the franchise.
They first submitted their 1995 [F] song Man of War, [A] which was recorded as part of their sessions
[C] for The Benz.
_ [F#] _ _ [Am] _
Man of War was, in Tom York's words, [B] written as a melodramatic homage to the [F] sound of Bond
themes, but it was understandably rejected for Spectre as [A] it wasn't written specifically
for the film.
[Em] But Radiohead asked for a second chance.
_ [Am] They halted work on their upcoming [A] album and focused their attention on writing a new song for Spectre.
[Em] And what they came up with is, [C] in my opinion, one of the [A] greatest Bond themes ever written.
_ _ _ _ [B] _
Spectre begins with a quiet, inward-looking voice.
_ _ _ _ [G] _
_ _ _ _ _ [B]
We hear this repeating sequence of chords in strings [G] and piano, G major 7 followed by
E sus 2, which turns [B] into E minor.
_ _ _ [G]
This is Bond, but it's also, unmistakably, Radiohead.
[B] Their love of rhythmical ambiguity is present [G] straight away.
If you listen without the score, it feels like the piano chords [B] are on stressed beats
and the idea in the final [G] bar in the sequence is working against the pulse. _ _
[B] _ But it's actually the other way around.
[G] The piano is playing triplet figures against the pulse in 3-4, and [B] the last bar is lined
up with the pulse. _
[G] 1-2-3 1-2 [B]-3 1-2-3 1-2 [G] _ -3
Radiohead's trademark harmonic [B] ambiguity is also present here.
As we move into the first verse, [G] the song shifts into D major, going against the [B] implied
B minor tonality of [Em] the opening. _ _
[D] _ _ _ In the piano part, a descending line slowly moves downwards, [Bm] leading us into the true
tonic, B minor.
As the [D] strings then re-enter, the drum part accents the [G] triplet figures in the piano.
_ _ _ It's [Em] introspective, but insistent.
Reserved, but deliberate.
[G] _ _ _ The strings are starting to [B] develop now.
They play [Em] repeated chords that mimic the piano [D] rhythm.
_ _ And as we move back into D major, they take on the descending piano line in [Bm] octaves, _ forming
weightless clusters of notes above York's floating melody.
_ _ [G]
The beauty and simplicity of the music contrasts painfully [B] with the words,
anger is a poison, these [G] rumours and suspicions.
It captures perfectly [B] that dichotomy in contemporary Bond, a man struggling to [G] reconcile love and duty. _ _
_ _ _ [B] _ The truth [Em] that York speaks of here is [G] found in these fleeting moments of expressivity
and fragility in the [B] strings. _
[Em] _ _ _ [G] The music and story are about to change as [C#] we move to the end of the second verse.
We [Em] get a [A] sudden introduction of an [G] E major tonality, the classic Bond harmony, the major
four [B] chord in B minor. _
[E] _ And then [B] _ _ _
_ _ a crystallisation, a [F] transposition into B major.
[G] _ _ _
[B] _ Brass play these [Bm] punchy, accented chords, [F] whose rhythm matches the [Dm] triplet piano figure,
and strings [B] in octaves sing out this sliding, aggressive melody.
[F] _ _ _ [G] The D naturals [B] in the strings clash violently with the chords [Bm] underneath, [F] recalling the
similarly aggressive clashes [Dm] found in Bond songs of the [B] past.
_ It's [Bm] jazzy, but discordant.
It's a modern [Dm] reimagining of John Barry's big band [B] orchestrations.
_ _ But as we move back into [F] the verse, Radiohead's [E] characteristic orchestration re [D]-emerges. _ _ _ _
An ethereal wave of D major, replete with [Bm] gossamer string lines and electronics, a sudden cleansing [G] beauty.
_ _ _ [Bm] Then a [G] pairing back.
_ _ This repeating triplet idea that [C#] has persisted throughout [Em] the song now seems to be urging
[G] the music onwards.
_ Each new four bar phrase adds [Em] more parts in strings, notes are added to the repeating
[G] chords and we get sustained parts at the top of the texture in octaves.
_ [B] The [Em] strings are about to bring the music [G] back to life.
Violins take us from the darkness of the B minor tonality, [E] back into bright B major.
[B] _ _ _ _ Now finally we hear a complete [G] rendition of the signature Bond [E] harmony.
_ _ [B] _ B major followed by G major, [G] and then E major.
[E] _ _ _ [B] The chromatic line around the 5th and 6th degree of the scale pushes the harmony forward
as [G] the strings play these fragmented, [E] sensuous melodies [B] that _ _ _ _ [G] continue to writhe against the
[E] rhythm and harmony in the [B] parts underneath, creating a complex web of melody and rhythm.
_ [G] _ _
[E] What's astonishing about [B] all of this is that this song was rejected.
For me [G] it's the perfect combination [E] of Radiohead and Bond.
[B] It's full of the classic harmony and orchestration that makes a great Bond theme, that ties it
to Norman [G] and Barry's music from [E] the first feature film, but it's also [B] by itself an instantly
compelling and dark [G] musical world.
_ _ [E] _ _
[B] It just goes to show that even if something comes second, [G] it doesn't necessarily [E] mean
it's second best.
_ Sometimes the truth can only be seen by looking [Em] in the shadows.
_ [B] _ _ _ [C] Thank you so much for watching.
I really hope you [C#m] enjoyed the video, and if you did, then take a look [C] at my other essays
analysing Radiohead's songs, [E] linked in the description.
And if you'd like to purchase a PDF of the score for my [C] transcription of Spectre, then
take a look [B] at my new Music Notes page, [E] also linked below.
Over the next few months I'm going to be adding lots more items to the page, including transcriptions
and arrangements [Am] of scores I've used [E] in my past videos.
[C#] _ [E] _ _
_ _ [C] See you next time. _ _
[A] How do you write the perfect [C#m] Bond theme song?
_ _ [G] _ _ [Bm] _
_ _ _ _ _ [C] _
_ [Bm] _ Of [G] the 25 Bond [F#] films that have been made, [A] 24 of them begin [Am] with an iconic song that
[G] accompanies an equally iconic title sequence.
And although the film that began it all uses an instrumental theme instead of a song, [B] the
story of any good Bond theme [C] has to begin with this [G] music, written by [G#] Monty Norman and John Barry. _ _ _
[C#] _ [C] _ The James Bond theme acted as the [C#] blueprint for everything that would follow, containing
the musical DNA that could [Bm] turn a normal song [Dm] into a [G#] theme tune worthy [C] of Bond.
_ _ _ [C#] The [G#] first key [F#] component is the [C#m] orchestration. _
[F#] John Barry's big band, [B] jazzy arrangement brings you instantly into Bond's [C#] world.
The use of swing drums and Vic Flick's guitar riff combined with the bluesy brass gives
the music a confident and hard-edged [B] nature.
[E] _ _
_ _ _ _ [C] And though this arrangement doesn't include any strings or piano, these instruments would,
over the years, become fundamental parts of the sound world.
_ _ _ [Gm] The next thing to think about is the harmony.
Like the original theme, the best Bond songs are in minor keys, with added blues notes.
_ _ Although there are [Em] some chords that are [Gm] unquestionably associated with Bond films, like a minor chord
with [D] an added 9th and sharp 7th, _ the signature Bond harmony comes from the opening to Norman's
[C#] theme, a sequence of four simple chords.
[Bm] _ _ [G] _ _ [Bm] _ _
[G] _ [F#] A minor triad, where [G] the top note moves [Bm] chromatically up and [G] down, shifting between the 5th and
sharpened 6th degree [G#] of the scale.
_ [G] _ _
[Bm] _ _ [G] This is found [C#m] in almost every Bond [F#] theme, either in the form we've [Gm] just heard, or in
where the chord moves alongside the chromatic [Bm] line, _ _ [G] _ _
_ [E] giving us the minor tonic chord, then
the 6th chord, followed [Bm] by the major 4 chord.
[G] _ _
_ [E] This is the harmony that makes up the chorus for [G#] Casino Royale's theme [Bm] tune.
_ _ [G] _
_ _ [E] _ It's [G] used as the basis for Adele's [Cm] _ Skyfall. _
_ [G#] _ _ _ _ _
[F] _ _ And it's also the harmony that's [D] found throughout [Am] Radiohead's _ Spectre.
_ _ [D#m] _ _ _
[A] Sam Smith's Writings on the Wall is the official theme song for Spectre, but it was Radiohead
that were initially [Am] approached to provide a song for the 24th instalment [B] in the franchise.
They first submitted their 1995 [F] song Man of War, [A] which was recorded as part of their sessions
[C] for The Benz.
_ [F#] _ _ [Am] _
Man of War was, in Tom York's words, [B] written as a melodramatic homage to the [F] sound of Bond
themes, but it was understandably rejected for Spectre as [A] it wasn't written specifically
for the film.
[Em] But Radiohead asked for a second chance.
_ [Am] They halted work on their upcoming [A] album and focused their attention on writing a new song for Spectre.
[Em] And what they came up with is, [C] in my opinion, one of the [A] greatest Bond themes ever written.
_ _ _ _ [B] _
Spectre begins with a quiet, inward-looking voice.
_ _ _ _ [G] _
_ _ _ _ _ [B]
We hear this repeating sequence of chords in strings [G] and piano, G major 7 followed by
E sus 2, which turns [B] into E minor.
_ _ _ [G]
This is Bond, but it's also, unmistakably, Radiohead.
[B] Their love of rhythmical ambiguity is present [G] straight away.
If you listen without the score, it feels like the piano chords [B] are on stressed beats
and the idea in the final [G] bar in the sequence is working against the pulse. _ _
[B] _ But it's actually the other way around.
[G] The piano is playing triplet figures against the pulse in 3-4, and [B] the last bar is lined
up with the pulse. _
[G] 1-2-3 1-2 [B]-3 1-2-3 1-2 [G] _ -3
Radiohead's trademark harmonic [B] ambiguity is also present here.
As we move into the first verse, [G] the song shifts into D major, going against the [B] implied
B minor tonality of [Em] the opening. _ _
[D] _ _ _ In the piano part, a descending line slowly moves downwards, [Bm] leading us into the true
tonic, B minor.
As the [D] strings then re-enter, the drum part accents the [G] triplet figures in the piano.
_ _ _ It's [Em] introspective, but insistent.
Reserved, but deliberate.
[G] _ _ _ The strings are starting to [B] develop now.
They play [Em] repeated chords that mimic the piano [D] rhythm.
_ _ And as we move back into D major, they take on the descending piano line in [Bm] octaves, _ forming
weightless clusters of notes above York's floating melody.
_ _ [G]
The beauty and simplicity of the music contrasts painfully [B] with the words,
anger is a poison, these [G] rumours and suspicions.
It captures perfectly [B] that dichotomy in contemporary Bond, a man struggling to [G] reconcile love and duty. _ _
_ _ _ [B] _ The truth [Em] that York speaks of here is [G] found in these fleeting moments of expressivity
and fragility in the [B] strings. _
[Em] _ _ _ [G] The music and story are about to change as [C#] we move to the end of the second verse.
We [Em] get a [A] sudden introduction of an [G] E major tonality, the classic Bond harmony, the major
four [B] chord in B minor. _
[E] _ And then [B] _ _ _
_ _ a crystallisation, a [F] transposition into B major.
[G] _ _ _
[B] _ Brass play these [Bm] punchy, accented chords, [F] whose rhythm matches the [Dm] triplet piano figure,
and strings [B] in octaves sing out this sliding, aggressive melody.
[F] _ _ _ [G] The D naturals [B] in the strings clash violently with the chords [Bm] underneath, [F] recalling the
similarly aggressive clashes [Dm] found in Bond songs of the [B] past.
_ It's [Bm] jazzy, but discordant.
It's a modern [Dm] reimagining of John Barry's big band [B] orchestrations.
_ _ But as we move back into [F] the verse, Radiohead's [E] characteristic orchestration re [D]-emerges. _ _ _ _
An ethereal wave of D major, replete with [Bm] gossamer string lines and electronics, a sudden cleansing [G] beauty.
_ _ _ [Bm] Then a [G] pairing back.
_ _ This repeating triplet idea that [C#] has persisted throughout [Em] the song now seems to be urging
[G] the music onwards.
_ Each new four bar phrase adds [Em] more parts in strings, notes are added to the repeating
[G] chords and we get sustained parts at the top of the texture in octaves.
_ [B] The [Em] strings are about to bring the music [G] back to life.
Violins take us from the darkness of the B minor tonality, [E] back into bright B major.
[B] _ _ _ _ Now finally we hear a complete [G] rendition of the signature Bond [E] harmony.
_ _ [B] _ B major followed by G major, [G] and then E major.
[E] _ _ _ [B] The chromatic line around the 5th and 6th degree of the scale pushes the harmony forward
as [G] the strings play these fragmented, [E] sensuous melodies [B] that _ _ _ _ [G] continue to writhe against the
[E] rhythm and harmony in the [B] parts underneath, creating a complex web of melody and rhythm.
_ [G] _ _
[E] What's astonishing about [B] all of this is that this song was rejected.
For me [G] it's the perfect combination [E] of Radiohead and Bond.
[B] It's full of the classic harmony and orchestration that makes a great Bond theme, that ties it
to Norman [G] and Barry's music from [E] the first feature film, but it's also [B] by itself an instantly
compelling and dark [G] musical world.
_ _ [E] _ _
[B] It just goes to show that even if something comes second, [G] it doesn't necessarily [E] mean
it's second best.
_ Sometimes the truth can only be seen by looking [Em] in the shadows.
_ [B] _ _ _ [C] Thank you so much for watching.
I really hope you [C#m] enjoyed the video, and if you did, then take a look [C] at my other essays
analysing Radiohead's songs, [E] linked in the description.
And if you'd like to purchase a PDF of the score for my [C] transcription of Spectre, then
take a look [B] at my new Music Notes page, [E] also linked below.
Over the next few months I'm going to be adding lots more items to the page, including transcriptions
and arrangements [Am] of scores I've used [E] in my past videos.
[C#] _ [E] _ _
_ _ [C] See you next time. _ _