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Related Music Theory Alchemy

“Don’t Let The Sun Go Down On Me” is a pop song by Elton John from the album “Caribou,” released in 1974. The song is set in the key of C Major, with some interesting chord changes and borrowed chords that are rich and reflective of Elton John’s unique harmonic style. The chorus especially impresses with unexpected chord shifts, demonstrating a sophisticated songwriting technique.

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.

“Right Where It Belongs” by Nine Inch Nails features a non-diatonic chord progression that creates a sense of tension and resolution. The progression makes use of borrowed chords from parallel keys, contributing to its distinctive sound. The overall key of the song is D minor.

The chord progression in the verse 1 of “Whole Lotta Love” by Led Zeppelin features just two chords: D and E. This fairly simple progression, used repetitively throughout the verse, creates a strong and energetic foundation for the song. The style of the song reflects 1960s heavy rock, and the simplicity of the chord progression adds to the rawness and drive of the music.

The chord progression in Tyler, The Creator’s “See You Again” can be characterized as a mixture of jazz harmonies and pop sensibilities. The verse progression features major and minor seventh chords, a few borrowed chords, and a prominent chromatic movement.

Chord progression analysis (including borrowed chords)
1. F#maj7 (I)
2. F#maj7/B (I6)
3. Fmaj7 (bImaj7 – borrowed chord)
4. G#m7 (iii7)
5. D7#5 (VI7#5 – borrowed chord)
6. F#maj7 (I)
7. F#maj7/B (I6)
8. Fmaj7 (bImaj7 – borrowed chord)
9. G#m7 (iii7)
10. D7#5 (VI7#5 – borrowed chord)

The chord progression starts with the tonic F#maj7 and moves through a first inversion of the same chord (F#maj7/B) before introducing borrowed chords (Fmaj7 and D7#5) from the parallel minor key, creating tension and color. The G#m7 is a diatonic iii7 chord, adding to the jazzy feel of the song.

Elton John – Dont Let The Sun Go Down On Me – Verse 1

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Chord Progression

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

Chord Progression Analysis

G (I), C/G (IV6), G (I), F (bVII), C (I), F/C (IV6), C (I), C/E (I6), F (IV), Bb/F (bII6), F (IV), G (V), C/G (I6), G (I), C/G (I6), G (I), G (I), C/G (IV6), G (I), F (bVII), C (I), F/C (IV6), C (I), C/E (I6), F (IV), Bb/F (bII6), F (IV), G (V), C/G (I6), G (I), C/G (I6), G (I), G (I), C/G (IV6), G (I), F (bVII), C (I), F/C (IV6), C (I), C/E (I6), F (IV), Bb/F (bII6), F (IV), G (V), C/G (I6), G (I), C/G (I6), G (I), G (I), C/G (IV6), G (I), F (bVII), C (I), F/C (IV6), C (I), C/E (I6), F (IV), Bb/F (bII6), F (IV), C/G (I6), G (I), G7 (V7).

Borrowed Chords:
“`
F (bVII, borrowed from the parallel minor, C minor)
Bb/F (bII6, borrowed from the parallel minor, C minor)
“`

Similar Chord Progressions

One artist that comes to mind with a similar style of rich harmonic progression is Billy Joel. “New York State of Mind” involves similar diatonic movements and “She’s Always a Woman” involves clever uses of borrowed and secondary chords that mirror Elton’s style.

“New York State of Mind” Verse Chord Progression:
Cmaj7 (I), Bb7 (bVII7), Ebmaj7 (bIIImaj7), Dm7 (IIm7), G7 (V7), C (I), F (IV), C (I), etc.

“She’s Always a Woman” Verse Chord Progression:
C (I), G/B (V6), Am (vi), Am/G (vi7), F (IV), G (V), etc.

Another song that can be considered with a similar progression to Elton John’s is John Lennon’s “Imagine”, which exhibits similar an amazing harmonic structure.
“Imagine” Verse Chord Progression:
C (I), Cmaj7 (Imaj7), F (IV), etc.

Musical Analysis

The chord progression is built around the key of C. The harmonic rhythm is occasionally quick, moving through one chord per beat in certain sections. The I – IV – I – bVII – I sequence laid over a steady 4/4 meter is the primary harmonic motif. This progression is classically Elton, using strong, functional harmonic movements with the occasional unexpected chord to add interest. The borrowed chords add a distinctive flavor to the progression, somewhat blurring the tonality at times.

Overall Analysis

The song “Don’t Let the Sun Go Down on Me” by Elton John is brilliantly harmonized, showcasing the great musical arrangement skills of John at his best. Primarily, the song is based in the key of C Major and uses a variety of moving bass lines over mostly diatonic chords in the verses and choruses. There are some key modulations and borrowed chords that give the harmony a rich and complex quality which sets it apart from many contemporary pop songs.

Verse

Style Analysis

Elton John is widely renowned for his grand and dramatic musical style with a hint of gospel influences in the harmonies. The chord progression in “Don’t Let the Sun Go Down on Me” is not dissimilar to his popular compositions – it’s rich, filled with borrowed chords, and major/minor key switches. The underlying F – bVII is a feature often used in gospel music and gives the track its soulful ambiance.

Chords in the Verse 1 section of Dont Let The Sun Go Down On Me by Elton John are:

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