One of the most recognisable chord movements in Something is also a beautifully simple example of how changing just one note at a time can transform a progression.

Start with C major: C – E – G. Add the major 7th, B, and it becomes Cmaj7. Then lower that B by one semitone to B♭ and you have C7. Lower it once more to A and that note fits naturally into the next chord, F major: F – A – C.

So, while the harmony moves C → Cmaj7 → C7 → F, there is a wonderfully smooth descending line within it:

C → B → B♭ → A

Try playing the four chords slowly and listen for that descending movement. It's a simple technique that can make an ordinary major chord progression sound immediately richer and more expressive.

The opening of Someone Like You shows how a relatively simple chord progression can become instantly recognisable through the way those chords are played.

The progression begins with A major, before moving through C♯ minor, F♯ minor and D major. Rather than jumping between ordinary root-position shapes, the piano part uses inversions and broken-chord patterns to create a much smoother flow between them.

In our Fingertips chord boxes, try C♯ minor in 2nd inversion and D major in 2nd inversion. Notice how keeping the notes relatively close together reduces unnecessary movement across the keyboard.

A → C♯m → F♯m → D

Try the four chords first as simple block chords. Then experiment with breaking the notes up individually. The chords haven't changed — but the way you play them can completely change the character of the progression.

The opening chords of Anyone Who Had a Heart provide a striking example of how an unexpected chord can immediately give a song its character.

Beginning in G♯ minor, the harmony moves to the rich sound of Emaj7 before making the particularly distinctive move to A major. That A major chord introduces a note outside the G♯ natural minor scale, giving the progression a sudden change of colour before returning to G♯ minor.

G♯m → Emaj7 → A → G♯m

Play the four chords slowly and listen particularly to the move from Emaj7 to A major. It is a good example of how songwriters can step outside the chords you might expect from a key without the music sounding wrong.

Instead, that unexpected harmony becomes one of the things that makes the opening so memorable.

The chorus of Castle on the Hill is a great example of how four simple chords can create something energetic, memorable and immediately uplifting.

The progression uses D major, G major, B minor and A major — four very common chords in the key of D. There are no complicated extended or altered chords here. Much of the character comes instead from the rhythm, the arrangement and the way the progression keeps driving forward.

D → G → Bm → A

Notice that the first two chords are major, before the move to B minor adds a slightly different colour. The final A major then creates a strong pull back towards D, allowing the progression to begin again naturally.

Try playing the four chords as simple block chords first. Then play them with a stronger, more rhythmic pulse. It's a good demonstration of how basic chords don't have to produce basic music — sometimes four familiar shapes are all a great song needs.