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Related Music Theory Alchemy

“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.

“Save Me” by Queen is a rock ballad that uses a complex mix of traditional popular song structures and common rock chord progressions. The song structure is largely verse-chorus, but then there’s a bridge serving as the solo section, and finally ends with repeating choruses. The chord progression for the chorus utilizes a variety of chord inversions, diatonic chords, and non-diatonic or borrowed chords, which are typical of Queen’s music style.

“Time To Pretend” by MGMT features a non-conventional and interesting chord progression. The progression can be primarily analyzed in the key of D Major with a brief modulation to the relative minor (F#m). The chords are not sophisticated in terms of extensions, but the arrangement and harmonic movement provide a unique and memorable melody. This chorus is an example of diatonic and modal mixture, using chords not only from the primary key but also borrowing chords from other modes.

“While My Guitar Gently Weeps” by The Beatles is in the minor mode and its chord progression showcases rich harmonic content and unexpected key changes, common to The Beatles’ music. Harmonically, it features an interesting mixture of chords from the parallel major and minor keys, which is indicative of modal interchange, a key characteristic of The Beatles’ songwriting.

The song “Killer Queen” by Queen is primarily set in the key of F Major, while the Chorus 1 is in the key of G Major. The song’s harmonic voice leading and progressions reveal a sophisticated and nuanced approach that involves a continuous change of tonal center and utilization of secondary dominant and borrowed chords.

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’]