Queen – Killer Queen – Chorus 3
Killer Queen < All Analyses
Chord Progression
[‘G’, ‘Bm’, ‘Em’, ‘Bm’, ‘Em’, ‘F#7’, ‘Bm’, ‘E7’, ‘D/F#’, ‘E7/G#’, ‘A’, ‘G’, ‘F#’, ‘Bm’, ‘E7’, ‘A’, ‘A’, ‘G’, ‘D’, ‘G/D’, ‘C/D’, ‘D’, ‘G’, ‘C/G’, ‘C/D’, ‘D’, ‘G’, ‘C/G’, ‘D’, ‘G’]
Chord Progression Analysis
Let’s analyze the chord progression in terms of Roman numerals:
‘G (‘I)’, ‘Bm (‘iii)’, ‘Em (‘vi)’, ‘Bm (‘iii)’, ‘Em (‘vi)’, ‘F#7 (‘V7/vi)’, ‘Bm (‘iii)’, ‘E7 (‘V7/vi)’, ‘D/F# (‘V6)’, ‘E7/G# (‘V7/vi)’, ‘A (‘II)’, ‘G (‘I)’, ‘F# (‘#vii°)’, ‘Bm (‘iii)’, ‘E7 (‘V7/vi)’, ‘A (‘II)’, ‘A (‘II)’, ‘G (‘I)’, ‘D (‘V)’, ‘G/D (‘I/V)’, ‘C/D (‘IV/V)’, ‘D (‘V)’, ‘G (‘I)’, ‘C/G (‘IV/I)’, ‘C/D (‘IV/V)’, ‘D (‘V)’, ‘G (‘I)’, ‘C/G (‘IV/I)’, ‘D (‘V)’, ‘G (‘I)’
In the key of G Major, we normally don’t have A Major, E7, or F# chords. These are borrowed chords. Borrowed chords are chords borrowed from the parallel minor key or the related minor key, they are used to add harmonic variety.
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Borrowed Chords: A, E7, F#
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Similar Chord Progressions
The Beatles’ ‘I Am the Walrus’ utilizes a similar shift between vi and II (the equivalent of Em and A in ‘Killer Queen’). Paul McCartney’s ‘Maybe I’m Amazed’ also uses a similar descending pattern from the tonic to vii°, akin to the progression from G to F# in ‘Killer Queen’. However, the complexity and sophistication of the ‘Killer Queen’ chorus aren’t frequently found in popular music, which is part of what makes it such a standout piece.
In terms of
Musical Analysis
The chorus starts off with a move from the tonic, G, to Bm, the mediant (or iii), which is a soft transition within the diatonic key. The next intriguing move is the switch from the third degree (Bm) to the vi, the Em, creating an emotional, melancholic sound.
The really interesting transitions come with the coming of the F#7 and E7 which are borrowed from the parallel minor key. These are secondary dominant chords, they provide tension and expect resolution, which enhances the harmonic richness of the chorus.
Overall Analysis
Killer Queen’ is one of Queen’s signature songs, abounding with Freddie Mercury’s flamboyant melodic invention, clever harmonies, and theatrical presentation. Its chorus in particular uses an array of chords to create a sophisticated and fluid progression. Before embarking on a note-by-note analysis, we can note that it principally operates in the key of G Major and involves a number of borrowed and secondary chords that bring intrigue and depth to the progression.
Style Analysis
This song is a great example of Queen’s eclectic style, blending elements of rock, pop, and opera. It is indicative of their unique approach to music making, with a genre-blending style that is all their own. The use of borrowed chords, in this case, adds a layer of harmonic complexity to the composition, and it’s characteristic of Queen’s music.
What are the chords in: Queen – Killer Queen – Chorus 3?
[‘G’, ‘Bm’, ‘Em’, ‘Bm’, ‘Em’, ‘F#7’, ‘Bm’, ‘E7’, ‘D/F#’, ‘E7/G#’, ‘A’, ‘G’, ‘F#’, ‘Bm’, ‘E7’, ‘A’, ‘A’, ‘G’, ‘D’, ‘G/D’, ‘C/D’, ‘D’, ‘G’, ‘C/G’, ‘C/D’, ‘D’, ‘G’, ‘C/G’, ‘D’, ‘G’]
