The chord progression in Daniel Caesar’s “Get You” from Verse 4 features a mixture of diatonic chords and borrowed chords from parallel modes. The progression showcases a smooth, soulful, and somewhat melancholic atmosphere that blends elements of R&B, jazz, and neo-soul.
The pre-chorus section of George Benson’s “Give Me The Night” is a smooth and interesting progression that exhibits characteristics of the jazz, funk, and R&B styles. It features a mix of seventh chords and inversions, and utilizes both diatonic and borrowed chords from the parallel minor key.
“Rocket Man” by Elton John is primarily in the key of Bb minor (the verses and chorus), but its outro transposes to the key of C Major, which gives a sensation of resolution. The chord progression in the Outro is a simple two-chord progression (I – V), which is extremely common in all styles of music and impacts the listener with its familiarity and stability.
“Roads” by Portishead is set in the key of Am, also known as A minor. In the verse, there is an interesting use of the flat major 7 (Fmaj7) chord. This chord is not typically found within the natural minor key but is considered a borrowed chord from the A major key. Thus, this use of said borrowed chord and its resolution to the E7 dominants gives the song a unique feel, contributing to its mesmerizing and emotive ambience. Portishead tends to blend the use of A minor and A Dorian modality in their music, especially apparent in this composition.
“The Sound Of Silence” by Simon & Garfunkel is written in the key of Am and follows the Verse-Chorus form common in pop and rock music. The progression consists of a beachfront of common and borrowed chords, showing the use of modal interchange and diatonic chords in creating a memorable and emotive sound.
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