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Related Music Theory Alchemy

This particular section is mostly based in the key of F major and highlights Freddie Mercury’s love for moving from the classical I-ii-V progression to the jazz-inspired I-IV-ii-V, often followed by a jazzy II-V-I. In this part of the song, you will find some interesting use of borrowed chords and leading tones, contributing to the chromaticism that enriches the progression.

The song, “Somebody to Love” by Queen, utilizes the classic pop/rock harmonic structure while incorporating aspects of blues and gospel music. The harmonic progression is structured around common chords found in the key of G major. However, the way these chords are ordered and arranged is unconventional and adds depth to the song. It reflects the band’s interest in pushing the boundaries of the traditional harmonic structure common in pop music of that time. Queen is known for their innovative use of harmony, which they certainly showcase in this song.

The outro of “Kashmir” by Led Zeppelin features a simple alternating chord progression between G major and A major, which creates tension by avoiding a resolution to the tonic or dominant chords. This makes the progression sound unstable, yet well defined as it repeats. The recurring ascending motion creates a sense of lift throughout the outro, while the lack of a true resolution maintains a feeling of unease. This progression is notable for its simplicity, as well as how it invokes a modal sound that is characteristic of the mixolydian mode often used in rock music.

The outro of Muse’s “Apocalypse Please” features a mix of power chords and triadic chords, with predominant iim7 and IV triads along with some embellishing chords. The piece has a rock-based style, with the emphasis on power chords, a driving rhythm, and intense dynamics. The chord progression borrows elements from different genres, such as pop and classical, with some interesting chromatic movement.

“1979” by The Smashing Pumpkins is written in the A major key and showcases various examples of modal interchange, also known as borrowed chords. The song switches often between the major and minor modes, providing a dynamic interplay of moods. The outro particularly stands out due to its use of both major and maj7th chords, a somewhat unusual combination. Emaj7 adds color and complexity to the progression, as a borrowed chord from the E major scale.

Queen – Dont Stop Me Now – Outro

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Chord Progression

[‘F’, ‘F7’, ‘Bb’, ‘Gm7’]

Chord Progression Analysis

– F Major (I)
– F Dominant 7 (V7)
– Bb Major (IV)
– G Minor 7 (vi7)

Similar Chord Progressions

The Beach Boys’ ‘God Only Knows’ certain sections of the song follow a similar progression:

– A Major (I)
– A Dominant 7 (V7)
– D Major (IV)
– F# Minor 7 (vi7)

Radiohead’s ‘Paranoid Android’ also uses a similar progression:

– G Major (I)
– G Dominant 7 (V7)
– C Major (IV)
– E Minor 7 (vi7)

Musical Analysis

The chord progression for the outro combines a traditional I-V7-IV sequence – a common progression in many popular music genres, particularly rock. The usage of Gm7 brings a slight melodic melancholy to the end of the sequence. The movement from F7 to Bb works as a perfect 4th interval progression, resulting in the feeling of resolution; this is a key characteristic of blues and jazz progressions.

Overall Analysis

Queen’s ‘Don’t Stop Me Now’ contains a rich mixture of chord progressions, which is typical of the band’s complex songwriting. The outro of the song makes use of the F, F7, Bb, and Gm7 chords. This progression is in the key of F Major, with F being the tonic (I), F7 being the dominant 7th (V7), Bb being the subdominant (IV) and Gm7 being the submediant 7th (vi7). The Bb chord is a borrowed chord from the parallel minor key (F Minor) and the usage of F7 serves to add a level of tension before resolving to the Bb.

Style Analysis

This progression is indicative of Queen’s songwriting style, showcasing their traditional rock roots infused with elements of jazz and blues. This is evident in the F7 resolution to Bb, a common blues/jazz technique. Meanwhile, the usage of Gm7 is indicative of Brian May’s fondness for complex harmonies and unconventional chord choices.

Chords in the Outro section of Dont Stop Me Now by Queen are:

[‘F’, ‘F7’, ‘Bb’, ‘Gm7’]