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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.

“Bohemian Rhapsody” is a multi-genre masterpiece that incorporates elements of ballad, opera, and hard rock, showcasing Queen’s versatility and musical potential. The song is mainly in the key of Bb major, but it aggressively utilizes modulations, chromaticism, borrowed chords, and modally mixed chords. The given chord progression is from the verse that follows the opera section, here Queen offers an unusual, nuanced chord progression that complements the surrounding sections.

“Fake Plastic Trees” by Radiohead is a haunting and introspective ballad that features an evocative chord progression. The progression appears to have been influenced by alternative rock and combines elements of both major and minor tonalities, as well as non-diatonic and diatonic chords. This blend of harmonic flavors creates an unforgettable sound that is melancholic, yet beautiful.

The chord progression in Verse 2 of Kali Uchis’s “After The Storm” is a mix of diatonic and chromatic chords that create an interesting neo-soul groove. The harmony is primarily based on G# minor, featuring the G#m7 and A#m7 as primary chords, and the D#aug chord adds tension and release within the progression. Additionally, the use of the D#aug chord acts as a chromatic mediant between G#m7 and A#m7.

“Rocket Man” by Elton John, released in 1972, is a melodic and harmonically sophisticated example of his pop/rock style. The piece is in the key of G, and the chord progression of Verse 2 introduces some harmonies that exploit john’s expertise in using extended and altered chords, which lend colorfulness and a feel of departure and return. The use of slash chords like G/B and D/F# creates a descending bass line that is very characteristic of pop and rock music, creating a sense of melodic movement within the chords themselves. Verse 2 is navigated skillfully between simplistic and complex harmonies.

Queen – Dont Stop Me Now – Verse 2

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Chord Progression

[‘F’, ‘Am’, ‘Dm’, ‘Gm’, ‘C’, ‘F’, ‘Am’, ‘Dm’, ‘Gm’, ‘F/G’, ‘Gm7’, ‘C’, ‘Dm7/C’, ‘C7’, ‘F’, ‘F7’, ‘Bb’, ‘Gm7’, ‘D7’, ‘Gm’, ‘D7’, ‘Gm’, ‘Gm7’, ‘F/A’, ‘Bb’, ‘Bdim’, ‘C’]

Chord Progression Analysis

`F (I), Am (vi), Dm (ii), Gm (ii
in key of F, iv in key of D), C (V, secondary dominant), F (I), Am (vi), Dm (ii), Gm (iv in key of D), F/G (I with third in bass/V in key of C), Gm7 (ii7 in key of F), C (V), Dm7/C (ii7/5 of V), C7 (V7), F (I), F7 (I7), Bb (IV), Gm7 (ii7 in IV), D7 (V7 of ii in IV), Gm (ii in IV), D7 (V7 of ii in IV), Gm (ii in IV), Gm7 (ii7 in IV), F/A (I in first inversion), Bb (IV), Bdim (viio), C (V)`

Similar Chord Progressions

1. “Like a Rolling Stone” by Bob Dylan
`C (I), Dm (ii), Em (iii), F (IV), G (V), Am (vi)`

2.”Let it Be” by The Beatles
`C (I), G (V), Am (vi), F (IV), C (I), G (V), F (IV), C (I)`

These songs also use common pop progressions like I-V-vi-IV (like “Don’t Stop Me Now”) within their verses, albeit in a different key in the case of “Like a Rolling Stone”.

Musical Analysis

The progression starts with a classic I-vi-ii progression in F major. The Gm is a relative minor chord and could be viewed as the iv of D minor. The F/G is a first inversion of an F major triad, resulting in a smoother voice leading into the following Gm7 chord. Dm7/C creates tension for our ear as a secondary dominant (ii7/V), leading into the V7 (C7) chord, and resolving to the tonic (F major).

Overall Analysis

“Dont Stop Me Now” by Queen has a key of F major. The song takes you on a journey of a unique blend of chords and progression. Freddie Mercury and the entire band are known for their diverse songwriting abilities, apparent in ‘Don’t Stop Me Now’. The chord progression in Verse 2 hints a story-telling stalwart of pop music production – the major-to-relative-minor movement (I to vi), with some interesting additions of minor seven, major seven and diminished seventh chords, giving it a more sophisticated feel.

Style Analysis

Queen was known to experiment with the conventional “pop” music theory and often stepped out of the genre boundaries, blending rock with elements from classical music. “Don’t Stop Me Now” is considered a pop/rock song.

The pop aspect comes from the prominent use of common pop chord progressions like I-V-vi-IV. The rock feature is noticeable in the energetic, driving rhythms, pronounced guitar lines, and Freddie Mercury’s dynamic vocal performance. This mix of simple chords with a few unexpected twists represents Queen’s unique style.

Chords in the Verse 2 section of Dont Stop Me Now by Queen are:

[‘F’, ‘Am’, ‘Dm’, ‘Gm’, ‘C’, ‘F’, ‘Am’, ‘Dm’, ‘Gm’, ‘F/G’, ‘Gm7’, ‘C’, ‘Dm7/C’, ‘C7’, ‘F’, ‘F7’, ‘Bb’, ‘Gm7’, ‘D7’, ‘Gm’, ‘D7’, ‘Gm’, ‘Gm7’, ‘F/A’, ‘Bb’, ‘Bdim’, ‘C’]