Recently, the infectious melody of James Taylor’s 1975 hit, Mexico, has been consistently playing in my mind. There’s something undeniably captivating about its hooks, a blend of familiarity and surprise that truly stands out, especially when you start to unravel the intricacies of the guitar work. Driven by this fascination, I decided to listen more intently to James Taylor’s Mexico and dissect its musical components, uncovering several fascinating aspects that contribute to its enduring appeal.
The Allure of the Flat-Seventh Chord
Mexico is composed in the key of E major, yet the guitar part is ingeniously played with a capo positioned at the 2nd fret. This clever technique allows guitarists to utilize open chord shapes as if the song were in D major. The capo then effectively transposes the entire arrangement up a whole step, resulting in the desired E major key.
For the benefit of fellow guitar enthusiasts, this analysis will describe the song in D major, assuming the use of a capo on the 2nd fret. A comprehensive guitar tab and sheet music excerpt for the intro are provided at the end of this exploration for those who wish to delve deeper into playing Mexico.
The introduction of Mexico features a rich palette of six chords:
Chords used in the intro of James Taylor's Mexico, presented as chord diagrams for D, A, D, Bm, A, Em, Bm, C, G, illustrating the harmonic structure of the song.
If we construct a chord on each degree of the D major scale, we naturally derive the diatonic chords: D, Em, F#m, G, A, Bm, and C#dim (C# diminished, or viiº). Remarkably, the intro of Mexico navigates through almost all of these chords, showcasing a sophisticated harmonic movement within a short musical phrase.
However, the presence of a C major chord in the Mexico chord progression raises an interesting question. In the key of D major, the expected 7th chord should be C#dim, not C major. This is where the concept of the “flat-seventh” chord (bVII), also known as the subtonic chord, comes into play. In D major, the C note is considered an “accidental” because it doesn’t naturally belong to the D major scale. Consequently, the C major chord is described as being “borrowed” – specifically, from the 7th chord of the parallel D minor scale. In D minor, the diatonic chords are Dm, Edim, F, Gm, Am, Bb, and C.
The flat-seventh chord frequently appears just before the I chord, creating a characteristic progression (e.g., D – C – D, or G – C – D). It’s also effectively used before the IV chord when resolving back to the tonic (e.g., C – G – D). The flat-seventh chord contributes a distinctive rock and roll flavor, a sound deeply rooted in the music of the 1950s and 1960s. Its prominence in that era, with bands like The Beatles, solidified its association with that genre. For many, including myself, bands like AC/DC immediately come to mind when thinking of the flat-seventh chord, as they seem to incorporate it extensively in their signature sound. This borrowed chord adds a touch of unexpected color and harmonic interest to Mexico, contributing to its unique sound.
The Rhythmic Surprise of Mixed Meter in Mexico
Shifting our focus from pitch to rhythm, another striking feature of the intro of James Taylor Mexico is its departure from a straightforward 4/4 time signature. While the song undeniably begins in 4/4 time, establishing a clear four-beat rhythmic foundation, extra beats are subtly introduced as the intro progresses, creating a fascinating rhythmic landscape.
To decipher the time signature, try tapping along to the intro of Mexico and count the number of beats before you reach the end of a musical phrase. You’ll likely find, as I did, that there are two 10-beat phrases, each repeated once. The first 10-beat phrase starts on a D major chord and concludes on A major, while the second begins on Em and ends on G major.
: : : : : : : : : : D A D Bm A : : : : : : : : : : Em Bm C GEach phrase spans 10 beats, yet the rhythmic feel strongly suggests 4/4 time, particularly at the beginning and end of each phrase. This implies that something within the phrase is responsible for extending the meter. By subdividing each 10-beat phrase into a pattern of 4/4 – 2/4 – 4/4, with a 2-beat chord positioned in the middle, the chord changes fit together seamlessly and rhythmically.
| : : : | : | : : : D A D Bm A | : : : | : | : : : Em Bm C GWhen a piece of music incorporates bars with varying numbers of beats, it is classified as using a mixed meter. In Mexico, this mixed meter feels remarkably natural and unobtrusive, yet it injects a subtle “skip” or hesitation into the rhythm. This unexpected rhythmic shift not only captures the listener’s attention but also allows the harmonic progression to unfold more expansively, accommodating a greater number of chords within the intro. This masterful use of mixed meter is a key element in what makes Mexico so rhythmically engaging.
The Groove of Syncopated Fingerstyle
Having explored the pitch and meter, it’s time to examine how these elements converge in the rhythm and texture of Mexico. The guitar part is performed using fingerpicking, beautifully articulating the chord changes. You can easily follow along with the chord charts provided earlier:
Chord diagrams for D, A, D, Bm, A, Em, Bm, C, G illustrating the syncopated fingerstyle rhythm in James Taylor's Mexico.
| : : : | : | : : : D A D Bm A | : : : | : | : : : Em Bm C GHere’s a particularly intriguing aspect that propels the groove of Mexico. If you tap along to the beat, you’ll notice that the notes of each chord are not played directly on the downbeat. Instead, they are played slightly ahead, specifically on the “4-and” beat of each bar. This rhythmic technique, where notes are played off-beat, is known as syncopation. In Mexico, syncopation is a driving force, propelling the song forward with a subtle rhythmic push and pull.
In the sheet music and guitar tab transcription below, these syncopated notes are visually represented by curved “tie” lines. These ties extend across bar lines for many notes that begin on the “4-and” beat, clearly indicating the syncopated rhythm.
So, there you have it – the flat-seventh chord, mixed meter, and syncopation. These are just some of the musical components within James Taylor’s Mexico that, at least for me, contribute to making this song so uniquely memorable and undeniably catchy. If you found this analysis insightful, consider subscribing for more explorations into the fascinating world of music! Would you be interested in a transcription and further analysis of the rest of Mexico? What are some of your favorite songs that you would love to see deconstructed? Share your thoughts in the comments below!
