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.
“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.
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.
“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.
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.
“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.
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