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285Ending of the songs on non-tonic chords is something that even Beethoven didnot attempt to do. Classical pieces (at least music of Viennese School composers –Haydn, Mozart, Beethoven) always finish with the tonic harmony. It seems to me thatclassic R’n’Roll also always comes to the tonic at the end. For the traditional songs,where the idea of the tonic is often alien, finishing on unusual places is perfectlyacceptable. For example, for a popular Spanish (Flamenco) harmonic progression (Aminor,G-major, F-major, E-major), finishing on the “dominant” (E-major) chord isnormal. To name the few songs that finish on different than tonic harmony, we couldrecall the Beatles songs, “From me to you” (finishes on Submediant), “And your bird cansing” and “Help” (finishes on Subdominant). “For no one” (finishes with the Dominantchord), “And I love her” (finishes with major Submediant).One of the interesting features of the Beatles harmonic language was the wide useof the Secondal connection of chords. I am talking about the chord progression like I, II,III, IV (C-major, D-minor, E-minor and F-major). You cannot find even a single instanceof using of this harmonic progression in any of the compositions of Mozart, Haydn orBeethoven. This kind of chord progression was not the part of the R’n’Roll either. Intraditional polyphonic music, on the contrary, secondal connections between theharmonies are the most usual (in Georgia and Balkan traditions, for example). Beatlesused a lot I, II, III, IV harmonies, for example, in “Here there and everywhere”, or IV, III,II, I in “Long, long, long”. I, II, III chords were used very early in a song “ask me why”on their first LP, and in “If I fell”. Secondal progression VI-flat, VII-flat, I appears insongs like “With a little help from my friends” (in a coda) and “Ps I love you”.Interestingly, in a later rendition of this latter, very much underrated early song (“PS Ilove you”) Paul McCartney slightly changed the original chordal progression, and insteadof D, Em, D, A, Bm, A, B-flat, C, D, he put D, Em/D, D, A/C-sharp, Bm, A, B-flat, C, D.So in a new version of this song the base moves exclusively by seconds during the wholeverse.By the way, this song has one of the most amazing chord sequences in theopening of the song. On a very simple melody hardly anyone other than the Beatleswould have used any other than G and D major chords. The Beatles put between the Gand D triads brilliant C-sharp seventh chord.Structure of the Dominant chord. Appearance of the D7 (Dominant seventhchord) was crucial for the formation of the classical system of harmony. This chord (G7chord in a key of C-major) is named “Dominant” because it is dominating the wholetonal system in classical harmony. This chord, with the specific diminished fifthsbetween the third and the sevenths of the cord, was the main element that distinguishedclassical functional harmony from the medieval modal harmony or traditional harmoniesof different polyphonic traditions. Traditional music (unaffected by Europeanprofessional music) does not use this chord. Although The Beatles still widely used the“classical” D7 chord, they started using the other chord as well, sometimes known amongjazz and pop musicians as “Suzi” (play on a piano F-major chord with right hand and Gin base with left hand and you’ll get “Suzi”). This new type of dominant chord does notcontain the crucial for Classical harmony diminished fifth (b-f in a chord G, B, D, F).Instead it uses G, F, A, C, G. For example, in a song “Hello, Goodbye” the “classical”