7 Hidden Secrets Of Radiohead's "Let Down" Chords: The Ultimate Guide To Mastering The OK Computer Masterpiece

Radiohead's "Let Down," a standout track from the seminal 1997 album OK Computer, is a masterclass in emotional depth and subtle musical complexity. As of December 2025, guitarists continue to be fascinated by its seemingly simple yet deceptively intricate chord progression and rhythmic structure. This comprehensive guide goes beyond the basic chord shapes to reveal the fresh, unique details that make this song a true sonic marvel, focusing on the interplay between the band members' parts.

The song’s beauty lies not just in its melancholic melody and Thom Yorke's evocative lyrics about feeling "crushed like a bug in the ground," but in the layered arpeggios and the ingenious use of time signature. Mastering "Let Down" on the acoustic or electric guitar requires understanding the fundamental chords, the specific voicings used by Yorke, and the famous rhythmic trick that gives the song its floating, dreamy quality.

The Complete Chord Progression and Essential Biography

To truly understand the music, it helps to know the principal architects of this masterpiece. "Let Down" was written by all members of Radiohead, but the core guitar parts are attributed to Thom Yorke, Jonny Greenwood, and Ed O'Brien.

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• Thom Yorke (Vocals, Guitar, Piano): Born Michael Thomas Yorke on October 7, 1968. He is the primary songwriter and vocalist, responsible for the song's core acoustic chords and melody.
• Jonny Greenwood (Lead Guitar, Keyboards): Born Jonathan Richard Guy Greenwood on November 5, 1971. Known for his unconventional techniques and intricate, layered guitar lines, including the signature arpeggios on "Let Down."
• Ed O'Brien (Guitar, Backing Vocals): Born Edward John O'Brien on April 15, 1968. His role often involves creating textural, ambient soundscapes, which are crucial to the song's lush atmosphere.
• Colin Greenwood (Bass): Born Colin Charles Greenwood on June 26, 1969. Provides the essential harmonic foundation.
• Philip Selway (Drums): Born Philip James Selway on May 23, 1967. His drumming is key to maintaining the song's challenging rhythmic pulse.

The song is played in Standard Tuning (E-A-D-G-B-E) and is generally in the key of A Major. However, the chords are often played with specific voicings to create the song's signature shimmering sound. The basic progression for the Verse and Intro is a cycle of four chords:

A - E - F#m - E

While this seems simple, the magic is in the specific chord shapes and the rhythmic execution. Thom Yorke often uses open-position chords for a brighter sound, while the electric guitars layer complex arpeggios over this foundation. The progression moves from the tonic (A) to the dominant (E), then to the relative minor (F#m), before resolving back to the dominant (E), creating a classic, moving harmonic cycle.

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The Deceptive Rhythmic Trick: 4/4 vs. 5-Beat Arpeggios

The single most important and often misunderstood element of "Let Down" is its rhythm. While the song is fundamentally in 4/4 time (four beats per measure), the acoustic guitar strumming pattern and the main electric guitar arpeggios are based on a 5-beat phrase. This is the 'secret' that gives the track its unique, slightly unsettled, and perpetually moving feel.

How the Rhythmic Superimposition Works:

• The drums (Philip Selway) and bass (Colin Greenwood) maintain a steady, grounding pulse in 4/4 time.
• Thom Yorke's acoustic guitar part, especially in the intro and verses, is often played as a 5-beat pattern that repeats over the 4/4 measures.
• Jonny Greenwood's iconic arpeggiated part is also a 5-beat phrase that cycles independently of the 4/4 bar lines.

This means the guitar parts and the rhythm section only align every five measures (since the least common multiple of 4 and 5 is 20 beats, which is five 4/4 measures). This technique, known as polyrhythm or metric modulation, creates a beautiful, cascading effect, making the song feel like it's constantly falling forward or floating, perfectly matching the lyrical themes of detachment and disillusionment. Learning the chords is only half the battle; mastering the 5-beat strumming pattern is the key to unlocking the true feel of "Let Down."

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Dissecting the Layered Guitar Parts: Yorke, Greenwood, and O'Brien

To achieve the lush, multi-textured sound heard on *OK Computer*, "Let Down" features three distinct guitar parts, a signature of Radiohead's arrangement style. Understanding these parts is essential for any advanced player looking to cover the song.

1. Thom Yorke’s Acoustic Foundation

Yorke’s part provides the harmonic backbone. He typically plays the basic chord shapes (A, E, F#m, E) with a specific, 5-beat strumming pattern. The key is to avoid a standard, rigid 4/4 strum. Focus on a pattern that emphasizes the first, third, and fifth beats of the five-beat cycle, even as the drums keep a four-beat count. This is the most challenging rhythmic aspect to internalize.

2. Jonny Greenwood’s Cascading Arpeggios

Jonny Greenwood’s part is the most recognizable electric guitar line. He uses a clean tone with significant reverb and a moderate delay to create a shimmering, ethereal effect. His part is a series of arpeggios (broken chords) played high up the neck, often on a Tele-style guitar. This part is the most direct example of the 5-beat rhythmic phrase, which is played without regard for the 4/4 bar lines of the rhythm section. This creates the 'cascading' or 'overlapping' sound often described by fans and critics.

3. Ed O’Brien’s Textural Ambience

Ed O'Brien's role is often about adding textural depth and atmospheric soundscapes. While not always a distinct melodic line, his playing adds high-end sparkle and sustain, often using effects like chorus and flanger to widen the stereo image. This part is less about specific chords and more about sonic texture, ensuring the song sounds vast and spacious—like a lonely motorway at night, as the lyrics suggest.

Advanced Chord Voicings and The Bridge Progression

For a truly authentic sound, guitarists should experiment with more complex voicings than simple open chords. For instance, playing the A chord as an Asus2 or the E as an Eadd9 can add a sense of openness and suspension that aligns with the song's mood. The use of Asus2 (x02200) is particularly effective in the intro and verses.

The Bridge section ("One day I am gonna grow wings...") introduces a slight harmonic shift, providing a lift before the final verse. The chords here are typically:

G - D - Em - C

This progression is a simple, classic I-V-vi-IV progression in the key of G (or IV-I-v-VII in the key of D), which is a temporary, major-key shift that offers a moment of hope before the song returns to its melancholic A-minor-tinged verse progression. This harmonic contrast is a key feature of Radiohead's songwriting.

Mastering "Let Down" is a rewarding challenge for any guitarist. It’s a study in how simple chords, when combined with sophisticated rhythmic ideas and layered textures, can create a piece of music that is both deeply emotional and technically brilliant. By focusing on the 5-beat pattern, the specific arpeggios, and the interplay between Thom Yorke, Jonny Greenwood, and Ed O'Brien's parts, you can truly capture the essence of this *OK Computer* classic.