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“Somebody To Love” by Queen is a classic rock ballad in the key of G major, drawing heavily from influences of gospel music and blues progressions. Its bridge, aside from the characteristic gospel and rock elements, includes a modulating progression that is particularly interesting due to its use of borrowed chords, which adds contrast and emphasizes the emotive quality of the song.
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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.
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“Killer Queen” is a unique composition with a hybrid style. It manages to combine rock and pop structure with complex harmonic techniques often found in classical and jazz music. Queen’s unique sound can be attributed to Freddie Mercury’s diverse musical influences, hence creating such sophisticated progressions.
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The given chord progression is found in Verse 2 of Tyler, The Creator’s song “Are We Still Friends.” The song is in the key of E major, and the progression features a mix of major, minor, and dominant seventh chords. The distinctive chromatic movement and the use of borrowed chords make for a memorable and unique progression. The combination of these elements results in a lush and emotionally charged progression which contributes greatly to the overall feel of the song.
“Strawberry Fields Forever” by The Beatles is one of the excellent examples of the unique and complex style popular in the late 1960’s. It is in the key of E and further progresses to F# minor. The progression utilizes modal interchange, chromaticism, and unusual chord progressions to create a dreamlike and psychedelic landscape that perfectly suits the lyrical theme of the song.
“Dont Stop Me Now” by Queen has a key of F major. The song takes you on a journey of a unique blend of chords and progression. Freddie Mercury and the entire band are known for their diverse songwriting abilities, apparent in ‘Don’t Stop Me Now’. The chord progression in Verse 2 hints a story-telling stalwart of pop music production – the major-to-relative-minor movement (I to vi), with some interesting additions of minor seven, major seven and diminished seventh chords, giving it a more sophisticated feel.
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.
Queen’s ‘Don’t Stop Me Now’ contains a rich mixture of chord progressions, which is typical of the band’s complex songwriting. The outro of the song makes use of the F, F7, Bb, and Gm7 chords. This progression is in the key of F Major, with F being the tonic (I), F7 being the dominant 7th (V7), Bb being the subdominant (IV) and Gm7 being the submediant 7th (vi7). The Bb chord is a borrowed chord from the parallel minor key (F Minor) and the usage of F7 serves to add a level of tension before resolving to the Bb.
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