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Related Music Theory Alchemy

This is a rich verse chord progression where The Beatles use diatonic and borrowed chords to enrich the melody. This progression follows their signature style of pop music with strong melodious and harmonic elements.

The progression is in the key of C major. The use of the Bb major is known as modal interchange, where a chord that is not in the key is borrowed from a parallel key, which in this case is C minor. This contributes an interesting tone color to the overall sound. The chord progression does consist a use of slash chords (C/B, C/G) which adds a more complex bassline creating a more harmonically active feeling, and yielding more tension and release.

Muse’s “New Born” is a rock composition with progressive and alternative elements. The harmonic structure is simple, making use of common chords and progressions. In the given chord progression from Verse 3, there is a sense of tension and release between the major and minor chords, creating a sense of dynamics and urgency. The chord progression itself is repetitive, with subtle variations added to keep interest.

The chord progression in Verse 3 of Daniel Caesar’s “Get You” consists of a mix of diatonic chords and borrowed chords from the parallel minor. The overall tonality is in the B minor key. The smooth, soulful sound of the progression is achieved through the use of minor chords, mixed with major seventh chords, and the cycle of fifths progression in some measures.

“Sexx Laws” by Beck is a unique and interesting piece that combines elements of various musical styles including funk, rock, and pop. The chord progression found in Verse 3 is quite simple yet effective, creating a sense of tension and release.

The Beatles – Penny Lane – Verse 3

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Chord Progression

[‘A’, ‘F#m’, ‘Bm’, ‘E7’, ‘A’, ‘F#m’, ‘Am’, ‘F’, ‘E7’]

Chord Progression Analysis

“`
Verse 3:
A Major (I)
F# minor (vi)
B minor (ii)
E7 (V7)
A Major (I)
F# minor (vi)
A minor (borrowed iv chord from parallel minor)
F Major (borrowed flat VI chord from parallel minor)
E7 (V7)
“`

The progression starts with the I-vi-ii-V7, a common cadence in pop music. Following this, it repeats the I-vi before introducing the A minor and the F major chords, borrowed from A minor, which is the parallel minor of A Major. E7 then acts as the dominant, leading to next key area.

Similar Chord Progressions

There are countless songs throughout pop history that use similar songwriting devices, however, few songs use these techniques with the finesse of The Beatles. For example:

– “Creep” by Radiohead also uses the borrowed flat Major chord from the parallel minor key.
“`
Chord progression:
G Major (I)
B Major (Borrowed III from parallel minor)
C Major (IV)
C minor (iv)
“`

– “Hotel California” by The Eagles uses borrowed chords, it progresses from a major key to a minor key.
“`
Chord progression:
B minor (i)
F# (V)
A Major (VII)
E Major (IV)
G Major (VI)
D Major (III)
Em (v)
F# (V)
“`

– “God Only Knows” by The Beach Boys, being a baroque pop, utilizes similar key changes and complex chord progressions.
“`
Chord progression:
A Major (I)
Bm (ii)
C#m (iii)
D Major (IV)
Dm (iv)
A Major (I)
“`

Musical Analysis

The Beatles apply advanced songwriting techniques. Interestingly, they move from the relative minor (F# minor) to the minor iv (Am) – a borrowed chord from the parallel minor (A minor) which infuses a little bit of melancholy into the melody. This is then followed by an F Major chord, another borrowed chord which provides a jazzy and bluesy touch to the song.

Overall Analysis

“Penny Lane” by The Beatles is an eclectic and elegant piece of music evident in its rhythm, harmony, melody, and lyrics. It is predominantly in the key of A Major, but it has several key changes and introduces chords that are non-diatonic, giving it a progressive and unexpected feel.

Style Analysis

“Penny Lane” reflects the pop, rock, and baroque-pop style of The Beatles. The lush melody, counterpoint-like writing, and secondary dominant chords reflect baroque music and early music influence. The use of borrowed chords also reflects the broader influence of jazz and blues on The Beatles.

Chords in the Verse 3 section of Penny Lane by The Beatles are:

[‘A’, ‘F#m’, ‘Bm’, ‘E7’, ‘A’, ‘F#m’, ‘Am’, ‘F’, ‘E7’]