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“Save Me” by Queen is in the key of G Major and it features a number of modulations to closely related keys. It resonates a distinct rock ballad style incorporating unique variations of common chord progressions from rock and pop genres. The progression’s utilization of inverted chords also brings depth and character to the melody.

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The overall use of chords highlights Queen’s blending of rock with more complex harmonic structures, moving beyond simple major & minor chords and incorporating 7th and inversions. Despite its pop/rock surface, “Somebody to Love” includes interesting modulation and chord choices that could be seen as more typical of more ‘classical’ forms of music.

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“Someone to Love” by Queen exhibits a blend of rock and gospel music, showcasing their musical brilliance and theatrical elements. The chord progression forms a classic example of a departure from the typical I-IV-V root progression seen in much of popular western music, demonstrating Queen’s ingenious writing style.

“Castles Made of Sand” is a song by Jimi Hendrix, found on his 1967 album “Axis: Bold as Love.” The song is in the key of G major and features a chord progression that is both simple and innovative in its use of borrowed chords and voice leading. The progression can be seen as an indirect approach to the IV chord (C) which gives the progression a sense of unresolved tension. The overall sound of the song is characterized by its dreamy, psychedelic atmosphere.

“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.

Good Old Fashioned Lover Boy

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“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.

The key of the song “Good Old Fashioned Lover Boy” by Queen is primarily in C Major. The song employs both diatonic chords (chords that naturally occur within the major scale key) and borrowed chords (chords from a parallel mode). There is a bit of modal mixture where the song borrows from an outside key, specifically the minor key, which is often used in pop music to add color and tension. You can see this in the use of some of the chords here like Fm and Eb7. The piece also utilizes secondary dominant chords and diminished chords. In the bridge, there is modulation to different keys, namely to Fm, which is a parallel minor of F, includes Eb7 (secondary dominant) and Ab (borrowed chord), and goes through sequence of V-I pattern (G7-C).

“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.

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.