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Related Music Theory Alchemy

“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.

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.

“Today” by The Smashing Pumpkins is composed in the key of E minor. The song has quite a simple structure and harmony with a strong emphasis on the I-IV-V (D-G-A in E minor key) chord progression which is one of the most common patterns in popular music. This I-IV-V progression vests the song with its harmonic backbone and creates a strong, wide-open sonic canvas.

“Whole Lotta Love” by Led Zeppelin is a classic rock song with a strong blues influence. It features a heavy riff-based progression and a powerful vocal performance by Robert Plant. The song is in the key of E Mixolydian, a mode based on the fifth degree of the A Major scale, and exhibits a heavy use of syncopation, pentatonic scales, and chromaticism throughout its structure. The rich harmonic language and distorted guitar tone makes the song an excellent example of the emerging Hard Rock and Heavy Metal styles of the late 1960s and early 1970s.

“Strawberry Fields Forever” by The Beatles is written in the key of A Major and features 4/4 time signature. The chord progression for Chorus 3, which you’ve mentioned, is quite sophisticated and creative, exhibiting the Beatles’ aptitude for blending conventional pop harmony with more unexpected changes, drawn from their broad palette of influences and their willingness to experiment.

Queen – Good Old Fashioned Lover Boy – Chorus 3

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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’, ‘G’, ‘C’]

Chord Progression Analysis

“`
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- Borrowed from C minor),
G7 (V7),
C (I),
G (V),
C (I)
“`

Similar Chord Progressions

While this exact chord progression might not appear in many songs due to its complexity, certain movements such as IV – I, I – vi, and V7 – I are very common in popular music. The use of chromatic mediants, secondary dominants and borrowed chords are also seen in many compositions by The Beatles, particularly in songs like “Penny Lane” and “Strawberry Fields Forever.”
Chord progression for “Penny Lane”:
“`
B (I),
E/F# (V/I),
G#m (iii),
F# (V),
B (I),
F#7/A# (V7/IV),
B/D# (I),
F# (V),
B (I)
“`

Musical Analysis

The progression starts brightly with the tonic C major chord (I), then moves to G7/B (V7/iii), functioning as a secondary dominant to set up the following Am chord (vi). Em is the mediant (iii), followed by a plagal cadence from F (IV) back to C (I). The Fm that appears is a borrowed chord from the C minor key, adding a touch of melancholy into the progression.

Overall Analysis

This chord progression is from the song, “Good Old-Fashioned Lover Boy” by Queen, which is known for its complex and intricate progressions. The song is set in the key of C major, and it features a mixture of triadic major and minor chords, dominant sevenths and the common use of borrowed and secondary dominant chords to create tension. This creates a lot of harmonic interest.

Style Analysis

Queen is noted for their unique blend of rock, pop and classical influences, and “Good Old Fashioned Lover Boy” exemplifies this with its mix of tonally stable and less predictable harmonic movements. It uses both diatonic and non-diatonic chords regularly, which is a characteristic trait of Queen’s harmonic language especially in their ballads and slower songs.

Chords in the Chorus 3 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’, ‘G’, ‘C’]