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“Give Me The Night” is a jazz-funk composition with a rich harmonic texture and a catchy melody. It was produced by Quincy Jones and released in 1980. The verse chord progression of this piece features a series of diatonic seventh chords, with one borrowed chord from a parallel minor key, which are common to the jazz and R&B styles.

The chord progression in the chorus of George Benson’s “Give Me The Night” is an example of a smooth and groovy R&B progression from the early 1980s. It has a mix of minor chords, a major chord, and a major 7th chord, creating a soulful and slightly melancholic character. The progressions use diatonic chords from the F minor scale, with a hint of modal interchange.

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.

“Here Comes The Sun” is written by George Harrison from The Beatles and it is a key example of the band’s flirtation with what is commonly referred to as Mixolydian mode. The piece showcases their skillful blending of folk idioms with contemporary pop sensibilities.

“Whole Lotta Love” by Led Zeppelin is a classic rock song with a strong blues influence. It features a heavy riff-based progression and a powerful vocal performance by Robert Plant. The song is in the key of E Mixolydian, a mode based on the fifth degree of the A Major scale, and exhibits a heavy use of syncopation, pentatonic scales, and chromaticism throughout its structure. The rich harmonic language and distorted guitar tone makes the song an excellent example of the emerging Hard Rock and Heavy Metal styles of the late 1960s and early 1970s.

George Benson – Give Me The Night – Chorus 3

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Chord Progression

Db/Eb, Fm7, Bbm7, Cm7, Dbmaj7, Fm7, Bbm7, Cm7, Dbmaj7

Chord Progression Analysis

Db/Eb (sus♭II), Fm7 (vi7), Bbm7 (i7), Cm7 (ii7 borrowed from Db minor), Dbmaj7 (Imaj7), Fm7 (vi7), Bbm7 (i7), Cm7 (ii7 borrowed from Db minor), Dbmaj7 (Imaj7)

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Cm7 is a borrowed chord from the parallel minor key.
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Similar Chord Progressions

1. Stevie Wonder – Overjoyed:
Bmaj7 (Imaj7), Gm7 (vi7), Cm7 (ii7), F#m7 (v7), Bmaj7 (Imaj7), Gm7 (vi7), Cm7 (ii7), F#m7 (v7), Bmaj7 (Imaj7)

2. Michael Jackson – Human Nature:
Dmaj7 (Imaj7), Bm7 (vi7), C#m7 (ii7 borrowed from D minor), F#m7 (iii7), Dmaj7 (Imaj7), Bm7 (vi7), C#m7 (ii7 borrowed from D minor), F#m7 (iii7), Dmaj7 (Imaj7)

3. Earth, Wind & Fire – After the Love Has Gone:
Abmaj7 (Imaj7), Fm7 (vi7), Bbm7 (ii7), Ebmaj7 (V7), Abmaj7 (Imaj7), Fm7 (vi7), Bbm7 (ii7), Db/Eb (sus♭II)

Musical Analysis

The chord progression begins with a Db/Eb slash chord, which acts as an extended chord that creates tension and harmonic ambiguity. The following sequence of Fm7, Bbm7, and the borrowed Cm7 creates a sense of motion and movement in the piece. The resolution to the Dbmaj7 provides a sense of stability and release before the progression repeats.

Overall Analysis

The chord progression in the chorus of “Give Me The Night” by George Benson demonstrates the use of extended and borrowed chords. The progression consists of a mix of diatonic chords and chords borrowed from the parallel minor, which is a characteristic of jazz and R&B music. The use of the Db/Eb also adds a layer of harmonic ambiguity that creates tension, enriching the overall sound of the piece.

Style Analysis

“Give Me The Night” is a blend of jazz, R&B, and pop elements. The use of extended chords, borrowed chords, and harmonic ambiguity are characteristics commonly found in jazz and R&B music. The repetitive nature of the progression also reflects the influence of pop music on the piece.

Chords in the Chorus 3 section of Give Me The Night by George Benson are:

Db/Eb, Fm7, Bbm7, Cm7, Dbmaj7, Fm7, Bbm7, Cm7, Dbmaj7