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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.

“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.

“Can You Feel The Love Tonight” by Elton John is a heart-touching love song that carries a smooth flowing blend of pop and soft rock, showing Elton John’s inclination to use diatonic (major and minor) chords, 7th chords and inversions. The song, largely stays in its home key of C major, has an interesting chord progression that shifts between the tonic, subdominant, and dominant. Internally, there are multiple secondary dominant chords and borrowing from the parallel minor, providing color and contrast.

“Everything In Its Right Place” by Radiohead is a harmonically adventurous piece with an unconventional structure that features a mixture of modal and borrowed chords. The piece has an impressionistic quality influenced by classical lineage, while also regularly employing electronic and synthesized sounds.

The song “Get You” by Daniel Caesar features a smooth and soulful chord progression that reflects the style of contemporary R&B and neo-soul. The chords provide a sense of warmth and sincerity that complements the song’s intimate lyrics. The progression is primarily diatonic, but with some borrowed chords, which adds an interesting color to the music.

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’]