Music Theory Alchemy

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The key of the song “Good Old Fashioned Lover Boy” by Queen is primarily in C Major. The song employs both diatonic chords (chords that naturally occur within the major scale key) and borrowed chords (chords from a parallel mode). There is a bit of modal mixture where the song borrows from an outside key, specifically the minor key, which is often used in pop music to add color and tension. You can see this in the use of some of the chords here like Fm and Eb7. The piece also utilizes secondary dominant chords and diminished chords. In the bridge, there is modulation to different keys, namely to Fm, which is a parallel minor of F, includes Eb7 (secondary dominant) and Ab (borrowed chord), and goes through sequence of V-I pattern (G7-C).

“Good Old Fashioned Lover Boy” by Queen from the album “A Night at the Opera” is essentially written in the key of C major. The song includes an intricate and quite peculiar chord progression full of chromatic and borrowed chords, highly characteristic of Queen’s eccentric and unique style of songwriting. In particular, Freddie Mercury, the primary songwriter, often incorporated complex harmonic structures from classical music into their rock/pop context.

The complexity and richness of the harmonics is among the aspects that make Queen’s songs stand out and, in this specific track, it contributes to the song’s upbeat yet nostalgic feel.

The chord progression in the chorus of “Breathe” by Pink Floyd is a non-diatonic progression, meaning it does not strictly follow a specific key. The progression features some borrowed chords and a dominant seventh alteration. The style is influenced by blues and jazz, with a relaxed and reflective mood.

Chorus 1

The chorus of “California Kids” by Weezer features an interesting mix of primarily diatonic chords, with some borrowed chords and chromaticism. The chord progression has a pop-rock feel, with uplifting major and minor chords, and the use of the E major chords adds tension and intrigue.

“Strawberry Fields Forever” by The Beatles is an iconic psychedelic rock track marked with rich harmonies and sophisticated musical elements. The song is primarily constructed around the key of A, but it employs several modal mixtures and non-diatonic chords, contributing to its intriguing tonality.

Queen – Good Old Fashioned Lover Boy – Chorus 1

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Chord Progression

[‘C’, ‘G7/B’, ‘Am’, ‘Em’, ‘F’, ‘C’, ‘G7/B’, ‘Am’, ‘E7/G#’, ‘Am’, ‘Em’, ‘Am’, ‘Em’, ‘Dm7’, ‘Fm’, ‘G7’, ‘C’]

Chord Progression Analysis

Here is the analysis of the Chorus 1 progression:

“`
C (‘I’),
G7/B (‘V7/III’),
Am (‘vi’),
Em (‘iii’),
F (‘IV’),
C (‘I’),
G7/B (‘V7/III’),
Am (‘vi’),
E7/G# (‘V7/vi’),
Am (‘vi’),
Em (‘iii’),
Am (‘vi’),
Em (‘iii’),
Dm7 (‘ii7’),
Fm (‘iv in minor mode’),
G7 (‘V7’),
C (‘I’)
“`

The Fm is a borrowed chord from the parallel minor.

Similar Chord Progressions

The Beatles song “Penny Lane” has a similar usage of borrowed chords and secondary dominants. Below is the chord progression of its chorus:

“`
B (‘I’),
F#/A# (‘V/III’),
D#m (‘vi’),
C#m (‘v’),
F# (‘V’),
B (‘I’),
F#/A# (‘V/III’)
D#m (‘vi’),
B/D# (‘I/vi’),
D#m (‘vi’),
C#m (‘v’),
F#7 (‘V7’),
B (‘I’)
“`

The F#7 is a dominant 7th chord guiding back to the tonal center, similar to the G7 in “Good Old Fashioned Lover Boy”. It also contains borrowed chords and uses secondary dominants in the progression.

Musical Analysis

From a melodic and harmonic perspective, the song uses a combination of simple triadic tonal harmony and complex borrowed and extended chords. The use of these borrowed chords, like F minor, adds dramatic tension and release in key parts of the song. The G7/B functions as a secondary dominant, further pushing the song toward the Am (sixth degree) and adding harmonic interest. The E7/G# also is a secondary dominant leading to the Am, adding another level of tension and release.

Overall Analysis

“Good Old Fashioned Lover Boy” by Queen exhibits rich harmonic complexity that falls within the signature rock style of the band. This is evident in the fluctuation between major and minor chord quality, frequent use of 7th chords as well as borrowed chords from the parallel minor. The progression moves fluidly between the tonics, subdominants, and dominants, with a strong cadential movement towards the end that resolves the tension built upon earlier in the piece.

Style Analysis

The song is characterized by Queen’s signature theatrical style, borrowing elements from a variety of genres including pop, rock and vaudeville music. It features lush harmonies, flamboyant melodies and dramatic mood shifts. The harmonic sophistication, including the use of borrowed chords and secondary dominants, is a key aspect of the Queen sound. The frequent chord changes and unexpected harmonic leaps are typical of the band’s flair for dramatic and unusual arrangements.

Chords in the Chorus 1 section of Good Old Fashioned Lover Boy by Queen are:

[‘C’, ‘G7/B’, ‘Am’, ‘Em’, ‘F’, ‘C’, ‘G7/B’, ‘Am’, ‘E7/G#’, ‘Am’, ‘Em’, ‘Am’, ‘Em’, ‘Dm7’, ‘Fm’, ‘G7’, ‘C’]