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Related Music Theory Alchemy

“Don’t Let The Sun Go Down On Me” by George Michael displays a sophisticated use of common-pop progression with some borrowed chords and secondary dominants. The progression displays the pop and soul music influence, with its powerful use of dominant and subdominant movements.

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“Sorry Seems To Be The Hardest Word” is a song by Elton John written in the key of G major. However, the tonal center of this song fluctuates between G major and its relative minor, Em. Sensitive to the modality of the melody, Elton incorporates “color” via his diverse chord selections. The harmonic movement in this song is richly chromatic, creating a sense of tension and release that intensifies the melancholic aura of the lyrics.

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“Wild Horses” by the Rolling Stones is performed in the key of G major. However, the initial chord progression beginning on B minor gives it a modal feel, specifically borrowing chords from G Lydian mode (IV of D Major). It’s an interesting mixture of folky rock with a touch of the blues, and the chord progression is largely based around the typical I-IV-V progression found in many rock songs, but with many deviations and additions.

Key: G Major

The chord progression in the verse 2 of Beck’s “Morning” is an example of a common progression in popular music, involving the I, IV, iii, and ii chords. The harmony is mostly diatonic, staying within the key of E major. The progression features regular 4-chord phrases and a smooth, consonant flow between chords.

“Sour Times” by Portishead is largely written in the key of C# minor, with elements of modal interchange and chromaticism that contribute to its haunting, dark sound. The song exhibits a remarkable amount of harmonic complexity and non-diatonic harmony, which is a defining characteristic of the trip-hop genre. The piece makes use of intricate inversions and chromatic voice leading, along with a frequent use of sevenths and diminished chords for added tension.

Elton John – Dont Let The Sun Go Down On Me – Verse 2

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Chord Progression

[‘G’, ‘C/G’, ‘G7’, ‘F’, ‘C’, ‘F/C’, ‘C’, ‘C/E’, ‘F’, ‘Bb/F’, ‘F’, ‘G’, ‘C/G’, ‘G7’, ‘G’, ‘C/G’, ‘G’, ‘F’, ‘C’, ‘F/C’, ‘C’, ‘C/E’, ‘F’, ‘Bb/F’, ‘F’, ‘C/G’, ‘G’]

Chord Progression Analysis

“`
G Major (‘V’),
C/G (‘IV’),
G7 (‘V7’),
F Major (‘IV’),
C Major (‘I’),
F/C (‘IV’),
C Major (‘I’),
C/E (‘I’),
F Major (‘IV’),
Bb/F (‘bVII’),
F Major (‘IV’),
G Major (‘V’),
C/G (‘IV’),
G7 (‘V7’),
G Major (‘V’),
C/G (‘IV’),
G Major (‘V’),
F Major (‘IV’),
C Major (‘I’),
F/C (‘IV’),
C Major (‘I’),
C/E (‘I’),
F Major (‘IV’),
Bb/F (‘bVII’),
F Major (‘IV’),
C/G (‘IV’),
G Major (‘V’)
“`
The ‘bVII’ (Bb/F) is a borrowed chord from the parallel minor key (C minor). It’s a common pop music move that adds tension before resolving back to the ‘IV’ (F Major).

Similar Chord Progressions

1. “Hey Jude” by The Beatles follows a similar progression in its verses but remains in the key of F Major.
2. “Sweet Child O’ Mine” by Guns N’ Roses also uses a I-IV-V progression, along with the bVII (borrowed from the parallel minor), much like “Don’t Let The Sun Go Down On Me.”
3. “Let It Be” by The Beatles uses a similar progression, though it includes a minor vi chord.

Musical Analysis

Elton John masterfully employs inversions, borrowing the F over Bb chord from the parallel minor, and then utilizing secondary dominants like the G7, to create anticipation before landing back on the tonic or dominant.

Overall Analysis

This chord progression is in the key of C Major, but incorporates a variety of borrowed chords and slash chords that add complexity and color to the song. It’s a good example of how Elton John takes popularly-used chord progressions and puts his own unique spin on them.

Style Analysis

Elton John’s style is marked by a blend of pop, rock, and classical influences, with an emphasis on rich, colorful chord progressions and strong, memorable melodies. His use of borrowed chords and inversions in “Don’t Let The Sun Go Down On Me” are classic Elton John.

Chords in the Verse 2 section of Dont Let The Sun Go Down On Me by Elton John are:

[‘G’, ‘C/G’, ‘G7’, ‘F’, ‘C’, ‘F/C’, ‘C’, ‘C/E’, ‘F’, ‘Bb/F’, ‘F’, ‘G’, ‘C/G’, ‘G7’, ‘G’, ‘C/G’, ‘G’, ‘F’, ‘C’, ‘F/C’, ‘C’, ‘C/E’, ‘F’, ‘Bb/F’, ‘F’, ‘C/G’, ‘G’]