Search

Related Music Theory Alchemy

The song “Penny Lane” written by the Beatles is in the key of A major. The structure of Verse 4, specifically, has a very effective use of both diatonic (belonging naturally to the key) and borrowed chords (taken from a different key or mode). They have incorporated secondary dominants, pivot modulation, and modal interchange which reflect their knowledge of musical theory and compositional skills.

“Eight Days A Week” by The Beatles is in the key of D major. The song features a handful of basic major and minor chords with a sprinkling of interesting harmonic developments such as the E7 transition chord and the use of the B minor chord which provide a rich palette of colors for the progression.

“Closer” by Nine Inch Nails works within a minimalist musical framework, where a few shiftless chords and tension-filled pentatonic melodies define the song. It inculcates a dark atmospheric mood through its instrumentation and harmony. The repetitive and consistent use of the Cm7 chord creates a haunting, pulsating groove that add to the atmospheric layer of the song.

The chord progression in the verse 1 of “Whole Lotta Love” by Led Zeppelin features just two chords: D and E. This fairly simple progression, used repetitively throughout the verse, creates a strong and energetic foundation for the song. The style of the song reflects 1960s heavy rock, and the simplicity of the chord progression adds to the rawness and drive of the music.

The song “Get You” by Daniel Caesar features a smooth and soulful chord progression that reflects the style of contemporary R&B and neo-soul. The chords provide a sense of warmth and sincerity that complements the song’s intimate lyrics. The progression is primarily diatonic, but with some borrowed chords, which adds an interesting color to the music.

The Beatles – Penny Lane – Verse 1

Add To Favorites Remove From Favorites

< All Analyses

Chord Progression

[‘A’, ‘F#m’, ‘Bm’, ‘E7’, ‘A’, ‘F#m’, ‘Am’, ‘F’, ‘E7’]

Chord Progression Analysis

This is the Chord Progression of Verse 1: [‘A’, ‘F#m’, ‘Bm’, ‘E7’, ‘A’, ‘F#m’, ‘Am’, ‘F’, ‘E7’]

It goes as follows,

A Major (I)
F# Minor (vi)
B Minor (ii – borrowed from Dorian mode)
E7 (V7)
A Major (I)
F#m (vi)
A Minor (i – borrowed from Parallel minor)
F Major (♭VI – borrowed from A Aeolian mode)
E7 (V7)

The harmonies show an extensive use of diatonic and borrowed chords.

In text format:
“`
A Major (I)
F# Minor (vi)
B Minor (ii – borrowed)
E7 (V7)
A Major (I)
F# Minor (vi)
A Minor (I – borrowed)
F Major (♭VI – borrowed)
E7 (V7)
“`

Similar Chord Progressions

Some songs that have similar chord progressions to “Penny Lane” include “God Only Knows” by The Beach Boys and “Don’t Look Back In Anger” by Oasis. These songs both include tonal shifts, borrowed chords, and secondary dominants.

“God Only Knows” Chord Progression:
“`
A (I)
Bm (ii)
G (IV)
D (I)
Em (ii)
G (IV)
D7 (V7)
“`

“Don’t Look Back In Anger” includes a progression that borrows chords from the parallel minor and major keys:
“`
C (I)
G (V)
Am (vi)
E7 (V7)
F (IV)
G (V)
C (I)
A7 (V of ii)
Dm (ii)
G (V)
“`
These songs’ similarity to “Penny Lane” is seen in their integration of diatonic and non-diatonic elements in their chord progressions.

Musical Analysis

“The Beatles” use borrowed chords, which are chords borrowed from the parallel minor of the key of the piece, to add color and tension. The song modulates frequently, giving it immense depth and complexity. It also uses secondary dominants to enhance the resolution to the following chord and create a sense of movement.

The melody is mostly diatonic, but it is adorned with many non-chordal tones. The use of the E7 chord, a secondary dominant, serves the purpose of leading up to A Major, creating a strong sense of “home.”

Overall Analysis

“Penny Lane” by The Beatles is a pop rock song released in 1967. Musically, the track displays characteristics of the “Baroque pop” style combine with psychedelic pop. The composition is multifaceted with complex chord progressions inspired by classical music, as well as elements of the British music hall style, specifically brass band influences throughout.

Style Analysis

“Penny Lane” adheres to The Beatles’ signature songwriting style while introducing a more classics-inspired harmonic language. The baroque-pop style was quite audacious for its time, merging classical and pop elements, often using string arrangements and an array of classical instruments.

Chords in the Verse 1 section of Penny Lane by The Beatles are:

[‘A’, ‘F#m’, ‘Bm’, ‘E7’, ‘A’, ‘F#m’, ‘Am’, ‘F’, ‘E7’]