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Related Music Theory Alchemy

“Penny Lane” by The Beatles is an eclectic and elegant piece of music evident in its rhythm, harmony, melody, and lyrics. It is predominantly in the key of A Major, but it has several key changes and introduces chords that are non-diatonic, giving it a progressive and unexpected feel.

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The song, ‘Across the Universe’ by The Beatles is uniquely complex in its melody and chord progression. The song modulates or shifts key but is rooted mainly in D major. The song utilizes the standard rock/pop song structure of Verse, Chorus, and Outro. The unusual facet of this song’s composition is the use of borrowed chords (non-diatonic chords) that add unexpected twists to an otherwise typical chord progression.

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“Iris” by Goo Goo Dolls is a song in the key of D Major, and uses a very common pop/rock chord progression. The sheer repetition of the progression throughout the verse establishes a solid harmonic background upon which the melody can freely roam. Chords include the primary triads (I, IV, V) which are D, G, A, minor variations of the secondary triads (ii, iii, vi), which are Em, F#m, Bm.

“Let It Be” by The Beatles utilizes a very accessible and effective chord progression throughout the song. This progression is designed to create tension and release as it progresses, as well as establish the root key of the song, which is C Major.

The chords used throughout the song show a strong use of borrowed chords, inversions, and extensions, adding to the depth and complexity of the song despite the relatively uncomplicated chord progression.

The balance between the root key, dissonance, resolution, and overall harmony creates an emotive and engaging song that maintains listener interest and displays the songwriting abilities of The Beatles.

“Honky Tonk Women” by The Rolling Stones is a classic rock song heavily influenced by country and blues. The song is characterized by both major and minor chords, primarily G, C, A, and D. The song is in the key of G major from the verse 1 progression you provided, and it has elements of both I-IV-V and I-V-vi-IV.

Verse 1

The Beatles – Penny Lane – Verse 1

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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’]