George Michael – Dont Let The Sun Go Down On Me – Intro
Dont Let The Sun Go Down On Me < All Analyses
Chord Progression
[‘G’, ‘F’, ‘C’, ‘F’, ‘G’, ‘G’, ‘F’, ‘C’, ‘F’, ‘G’, ‘G’, ‘F’, ‘C’, ‘F’, ‘G’, ‘G’, ‘F’, ‘C’, ‘F’, ‘C/G’, ‘G’, ‘C’, ‘C/Bb’, ‘F/A’, ‘D7/F#’, ‘C/G’, ‘Gsus4’, ‘G’, ‘C’, ‘C/Bb’, ‘F/A’, ‘Dm7’, ‘Em’, ‘Gsus’, ‘G’, ‘C’, ‘C/Bb’, ‘F/A’, ‘C/G’, ‘F’, ‘G’, ‘F’, ‘C’, ‘F’, ‘G’, ‘G’, ‘F’, ‘C’, ‘F’, ‘C/G’, ‘G’, ‘C’, ‘C/Bb’, ‘F/A’, ‘D7/F#’, ‘C/G’, ‘Gsus4’, ‘G’, ‘C’, ‘C/Bb’, ‘F/A’, ‘Dm7’, ‘Em’, ‘Gsus’, ‘G’, ‘C’, ‘C/Bb’, ‘F/A’, ‘C/G’, ‘F’, ‘Ab’, ‘Bb’, ‘C’, ‘C’, ‘C/Bb’, ‘F/A’, ‘D7/F#’, ‘C/G’, ‘Gsus4’, ‘G’, ‘C’, ‘C/Bb’, ‘F/A’, ‘Dm7’, ‘Em’, ‘Gsus’, ‘G’, ‘C’, ‘C/Bb’, ‘F/A’, ‘Ab’, ‘Bb’, ‘C’]
Chord Progression Analysis
The progression in the key of C major can be represented as follows:
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G (V), F (IV), C (I), F (IV), G (V), G (V), F (IV), C (I), F (IV), G (V), G (V), F (IV), C (I), F (IV), G (V),
G (V), F (IV), C (I), F (IV), C/G (I), G (V), C (I), C/Bb (bII), F/A (IV), D7/F# (V7/ii), C/G (I), Gsus4 (Vsus4),
G (V), C (I), C/Bb (bII), F/A (IV), Dm7 (ii7), Em (iii), Gsus (Vsus), G (V), C (I), C/Bb (bII), F/A (IV),
C/G (I), F (IV), G (V), F (IV), C (I), F (IV), G (V), G (V), F (IV), C (I), F (IV), C/G (I), G (V), C (I),
C/Bb (bII), F/A (IV), D7/F# (V7/ii), C/G (I), Gsus4 (Vsus4), G (V), C (I), C/Bb (bII), F/A (IV), Dm7 (ii7),
Em (iii), Gsus (Vsus), G (V), C (I), C/Bb (bII), F/A (IV), C/G (I), F (IV), Ab (bVI), Bb (bVII), C (I), C (I),
C/Bb (bII), F/A (IV), D7/F# (V7/ii), C/G (I), Gsus4 (Vsus4), G (V), C (I), C/Bb (bII), F/A (IV), Dm7 (ii7),
Em (iii), Gsus (Vsus), G (V), C (I), C/Bb (bII), F/A (IV), Ab (bVI), Bb (bVII), C (I).
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Borrowed Chords:
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‘C/Bb (bII)’, ‘Ab (bVI)’, ‘Bb (bVII)’
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These are examples of borrowed chords, as they derive from the parallel minor scale (here C minor), which is a common technique used in pop songs to add color to a progression.
Similar Chord Progressions
The V – IV – I – IV progression is very common in pop music. It can be found in countless songs, here are a few examples:
– “Let It Be” by The Beatles: C (I), G (V), Am (vi), F (IV)
– “No Woman No Cry” by Bob Marley: C (I), G (V), Am (vi), Fmaj7 (IV)
The use of borrowed chords can also be seen in songs like:
– “Creep” by Radiohead: G (I), B (III), C (IV), Cm (iv)
– “Every Breath You Take” by The Police: G (I), Em (vi), Bm (iii), C (IV), G (I)
Musical Analysis
The progression follows a fairly common pop pattern of lingering around the I – IV – V area for the majority of the time, but it adds interest with the introduction of the borrowed II˚ chord and the V7/ii secondary dominant. Including the borrowed chords from C minor adds a touch of color and tension that the song resolves in a satisfying manner.
Overall Analysis
“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.
Style Analysis
“Don’t Let The Sun Go Down On Me” is a monumental power ballad, and this progression supports that style. It’s got the grandeur and positive energy of pop, underscored by a soulful edge that’s reinforced by the clever chord choices.
What are the chords in: George Michael – Dont Let The Sun Go Down On Me – Intro?
[‘G’, ‘F’, ‘C’, ‘F’, ‘G’, ‘G’, ‘F’, ‘C’, ‘F’, ‘G’, ‘G’, ‘F’, ‘C’, ‘F’, ‘G’, ‘G’, ‘F’, ‘C’, ‘F’, ‘C/G’, ‘G’, ‘C’, ‘C/Bb’, ‘F/A’, ‘D7/F#’, ‘C/G’, ‘Gsus4’, ‘G’, ‘C’, ‘C/Bb’, ‘F/A’, ‘Dm7’, ‘Em’, ‘Gsus’, ‘G’, ‘C’, ‘C/Bb’, ‘F/A’, ‘C/G’, ‘F’, ‘G’, ‘F’, ‘C’, ‘F’, ‘G’, ‘G’, ‘F’, ‘C’, ‘F’, ‘C/G’, ‘G’, ‘C’, ‘C/Bb’, ‘F/A’, ‘D7/F#’, ‘C/G’, ‘Gsus4’, ‘G’, ‘C’, ‘C/Bb’, ‘F/A’, ‘Dm7’, ‘Em’, ‘Gsus’, ‘G’, ‘C’, ‘C/Bb’, ‘F/A’, ‘C/G’, ‘F’, ‘Ab’, ‘Bb’, ‘C’, ‘C’, ‘C/Bb’, ‘F/A’, ‘D7/F#’, ‘C/G’, ‘Gsus4’, ‘G’, ‘C’, ‘C/Bb’, ‘F/A’, ‘Dm7’, ‘Em’, ‘Gsus’, ‘G’, ‘C’, ‘C/Bb’, ‘F/A’, ‘Ab’, ‘Bb’, ‘C’]
