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Related Music Theory Alchemy

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.

“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.

“Stairway to Heaven” is a progressive rock song by Led Zeppelin, released in 1971. The song showcases a movement between different styles and musical settings, as it starts with a gentle, fingerpicked acoustic section and gradually evolves into a powerful and climactic electric guitar solo, finishing with a full-band finale. The song is characterized by its ascending progression and intricate chord changes, which contribute to its unique and haunting atmosphere. The verse 1 chord progression features a blend of diatonic and chromatic elements, borrowed chords, and inversions, which create a sense of tension and resolution throughout the progression.

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Feels Like We Only Go Backwards by Tame Impala uses very interesting chord progressions that convey a feeling of constant motion. The song is primarily in the key of F Major, as revealed by the majority of the chords (F, C, Gm). However, the chord progression in the verse introduces Dm and Cmaj7/G, showing some clever use of modal interchange, also known as borrowed chords.

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Dead Flowers by The Rolling Stones is a classic track that exhibits some very traditional aspects of popular music and blues-based rock. The song is in D major and follows a fairly standard chord progression, using only three chords (D, A, and G), which make up four-measure phrases that are repeated throughout this part 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:
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F (bVII, borrowed from the parallel minor, C minor)
Bb/F (bII6, borrowed from the parallel minor, C minor)
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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’]