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Related Music Theory Alchemy

“Penny Lane,” written by the Beatles, utilizes key changes and borrowed chords to create an interesting and complex tonal palette. The song is best understood to primarily be in the key of A Major; however, it frequently borrows chords from the parallel minor key, uses unexpected dominant chords, and briefly modulates to other key areas for color and variety. This is characteristic of several Beatles songs, and it’s one of the ways they added complexity to their music while still remaining accessible.

“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.

Dead Flowers by The Rolling Stones is a classic track that exhibits some very traditional aspects of popular music and blues-based rock. The song is in D major and follows a fairly standard chord progression, using only three chords (D, A, and G), which make up four-measure phrases that are repeated throughout this part of the song.

“Wicked Game” by Chris Isaak utilizes a repetitive three-chord-per-measure progression throughout the song. It is notable for its haunting, melancholic, and mysteriously romantic sound largely because of its repeated progression and very carefully chosen blend of major and minor chords, within the key signature of B minor.

“Bullet With Butterfly Wings” by The Smashing Pumpkins features a chord progression that uses a lot of power chords (fifth chords) which demonstrates its grungy, rock oriented style. It also incorporates major, minor, and suspended second chords, making it an interesting combination of simplicity and complexity.

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’]