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Related Music Theory Alchemy

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Generally, the chord progression follows the conventional guidelines of western music, utilizing strong resolution from B (V) to E (I). However, it also employs some harmony techniques very typical in pop/rock music, such as the use of slash chords and chord inversions (A/E, F#m7/E) to add harmonic interest. In addition, it incorporates chromatic mediant relationships (E to C#m) to create a sense of progression.

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“Goodbye Yellow Brick Road” is a song written by Elton John that features a complex chord progression that effectively complements the haunting and nostalgic quality of the song’s lyrics. The primary key of the song is D major, while parts of the progression borrow from both the parallel minor (D minor) and the relative minor (B minor). The use of these borrowed chords adds harmonic interest and enhances the song’s evocative, wistful mood.

The chord progression in verse 2 of “Telepatia” by Kali Uchis is a jazz-influenced progression in the key of E minor. It features several extended chords, such as the Em9 and Gmaj7 used throughout, and a dominant chord, B7, which provides tension and resolution in the progression. The G/A chord, which is essentially an A11 chord without the 3rd, also gives the progression a sense of blending major and minor tonalities.

“The Long and Winding Road” by The Beatles is written in the key of D major and utilizes various chord progressions that contribute to its melancholic and nostalgic atmosphere.

“Someone to Love” by Queen is a rock song infused with gospel and blues influences. It’s written in the key of Ab major but the second verse you have provided seems to be in G major.

Elton John – Im Still Standing – Verse 2

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Chord Progression

[‘E’, ‘A/E’, ‘B’, ‘E’, ‘F#m7/E’, ‘A/E’, ‘B’, ‘C#m’, ‘A’, ‘E’, ‘F#m/E’, ‘E’]

Chord Progression Analysis

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E (‘I’)

A/E (‘IV/V’)

B (‘V’)

E (‘I’)

F#m7/E (‘ii7/V’)

A/E (‘IV/V’)

B (‘V’)

C#m (‘vi’)

A (‘IV’)

E (‘I’)

F#m/E (‘ii7’)

E (‘I’)

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Similar Chord Progressions

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There are not many that perfectly match Elton’s exact chord progression, since the chords he chose and their arrangements are quite unique. However, there are some similarities to other artists’ progressions.

The Beatles, “Let it Be” – The use of IV/V is quite similar, despite it being in C Major.

C (‘I’)

G (‘V’)

Am (‘vi’)

F (‘IV’)

Paul McCartney’s resolve to the IV chord (‘F’) can be compared to the A/E in Elton John’s “I’m Still Standing”.

“Imagine” by John Lennon also uses the I-V and IV-V resolve but with fewer chords:

C (‘I’),

Cmaj7 (‘I’),

F (‘IV’)

Dm (‘ii’)

F (‘IV’)

C (‘I’)

Musical Analysis

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You will notice that ‘Im Still Standing’ applies flipping principles in the chord, A/E and F#m7/E, where E is the sustained bass note. This gives a steady edge to the song, as commonly applied in rock and pop music.

Lyrically, the song moves from phrases of resolution (E, ‘I’) to tension (B, ‘V’) and back to resolution. This gives a cyclical feeling to the music, mirroring the lyrics about persistence and resilience. The ‘C#m’ (‘vi’) introduces a minor chord, adding depth and a dynamic change to the song.

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Overall Analysis

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“Im Still Standing” by Elton John is a classic rock/pop song composed in E Major. You can see that this is a complex composition with frequent chord changes, giving it a rich musical texture. The chord progression is not diatonic, which means that it includes chords from outside of its home key of E Major.

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Style Analysis

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Elton John’s use of non-diatonic chords and complex progressions reflects a distinct blend of rock, pop and elements of jazz. His diverse influences can be heard in the song’s structure. The chord inversions, the prevalent usage of the V-I resolution and the mixture of major and minor chords are all hallmarks of his innovative style. John’s songs often feature extensive piano work, and ‘Im Still Standing’ is no exception, with its driving piano chords forming the bedrock of the song’s structure.

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Chords in the Verse 2 section of Im Still Standing by Elton John are:

[‘E’, ‘A/E’, ‘B’, ‘E’, ‘F#m7/E’, ‘A/E’, ‘B’, ‘C#m’, ‘A’, ‘E’, ‘F#m/E’, ‘E’]