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Related Music Theory Alchemy

“Tiny Dancer” by Elton John, written in the key of C Major, is a classic example of elaborate pop song writing. The chord progression features common primary and secondary chords in the key of C Major, along with some borrowed chords to add color. This combination makes for a memorable and melodic song.

The most unique feature of the song is how it slowly changes to the key of C minor in the second half of the verse, making use of two borrowed chords. This is a powerful tool in songwriting, as it can dramatically affect the emotional tone of the song. Lastly, this song demonstrates Elton John’s use of Coloristic harmony, through chromatically altered chords.

“Your Song” is characterized by a varied and complex chord progression that helps to emphasize the emotional complexity of the lyrics. This is apparent in the progression used in Verse 2, which employs several techniques used frequently by Elton John. These include the use of secondary dominants, borrowed chords, modal mixture, and chromatic bass movements to add emotional color and reinforce the feeling of tension and resolution in the song’s narrative.

“My Name Is Jonas” by Weezer is a 90s alternative rock song featuring a catchy chord progression and memorable melodies. The verse 2 chord progression consists of a repeated set of chords: C, G, Am, F. This progression is common in popular music and creates a sense of familiarity for the listener. The key is C Major.

The chord progression in Verse 2 of Pink Floyd’s “Welcome to the Machine” is a complex and somewhat unconventional progression. It primarily features chords from the E natural minor scale, with some borrowed chords from the parallel E major scale. The progression creates an atmospheric and moody soundscape that is characteristic of Pink Floyd’s music, especially in their album “Wish You Were Here.” It also displays a certain level of sophistication in the harmony which underscores Pink Floyd’s musical depth.

“Every Day Is Exactly The Same” by Nine Inch Nails is primarily composed in the key of E minor. The song consists of four sections: Verse 1, Chorus, Verse 2, and Bridge. The chord progressions in the song are relatively simple, with a distinct alternation between E and C chords in the verses, while the chorus and bridge sections feature a broader range of chords such as A, C, and G.

Chord Progression Analysis (Verse 2):
E minor (i), C major (VI), E minor (i), C major (VI), E minor (i), C major (VI), G major (III), F major (♭VII; borrowed chord from E Phrygian), E minor (i)

*G major (III) and F major (♭VII) are both non-diatonic chords in E minor, with the F major chord being borrowed from the E Phrygian mode.

Elton John – Tiny Dancer – Verse 2

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Chord Progression

[‘C’, ‘F/C’, ‘C’, ‘F/C’, ‘C’, ‘F/A’, ‘G/B’, ‘C’, ‘F/C’, ‘C’, ‘F/C’, ‘C’, ‘F/A’, ‘G’, ‘F’, ‘Em7’, ‘Am7’, ‘D/F#’, ‘Dm7’, ‘E7’, ‘Am’, ‘G7’, ‘C’, ‘F’, ‘C’, ‘F’, ‘C’, ‘G’, ‘F’, ‘C/E’, ‘Dm’]

Chord Progression Analysis

Here are the roman numerals and full chord names for the verse:

“`
C Major (I),
F Major / C (IV / I),
C Major (I),
F Major / C (IV / I),
C Major (I),
F Major/ A (IV / vi),
G Major/B (V / vii),
C Major (I),
F Major / C (IV / I),
C Major (I),
F Major / C (IV / I),
C Major (I),
F Major/ A (IV / vi),
G Major (V),
F Major (IV),
E Minor 7 (iii7),
A Minor 7 (vi7),
D Major / F# (Borrowed chord from G Major, V/V),
D Minor 7 (ii7),
E Dominant 7 (Borrowed chord from A minor, V/vi),
A Minor (vi),
G Dominant 7 (V7),
C Major (I),
F Major (IV),
C Major (I),
F Major (IV),
C Major (I),
G Major (V),
F Major (IV),
C Major / E (I / iii),
D Minor (ii)
“`

Similar Chord Progressions

Billy Joel, another iconic piano man, has several songs with intricate chord progressions – an example is “New York State of Mind” which, like “Tiny Dancer,” makes use of borrowed chords and secondary dominants.

Another artist who uses a complex tapestry of chords is Paul McCartney, particularly in his Beatles years. For instance, the song “Let It Be” has a progression that shares similarities with “Tiny Dancer.”

Note, the chord progressions of these songs, while similar, aren’t exactly the same due to the individual styles of the respective artists.

Musical Analysis

Most of the chord progression occurs in the key of C major as suggested by the recurrent use of tonic (I – C Major) and subdominant (IV – F Major). There is a significant usage of inversions which adds tonal color and interesting movement. The progression IV/vi, V/vii, and IV/I literally step up the bass note while maintaining the melodic progression in the treble.

The D Major/F#, a secondary dominant, is a borrowed chord from the key of G Major and is used to create a temporary modulation to heighten musical tension. Another borrowed chord is the E7 which is from the key of A minor.

Overall Analysis

The verse of “Tiny Dancer” by Elton John is generally in the key of C major (with some temporary modulations) and features a varied and interesting chord progression that is indicative of Elton John’s complex, piano-driven musical style.

Style Analysis

Elton John is known for his highly expressive piano style which involves intricate chordal structures and varied harmonic progressions. This chord progression reflects that with its use of secondary dominants, borrowed chords, and chord inversions, all contributing to a dynamic and interesting aural landscape that is distinctly ‘Elton John.’

Chords in the Verse 2 section of Tiny Dancer by Elton John are:

[‘C’, ‘F/C’, ‘C’, ‘F/C’, ‘C’, ‘F/A’, ‘G/B’, ‘C’, ‘F/C’, ‘C’, ‘F/C’, ‘C’, ‘F/A’, ‘G’, ‘F’, ‘Em7’, ‘Am7’, ‘D/F#’, ‘Dm7’, ‘E7’, ‘Am’, ‘G7’, ‘C’, ‘F’, ‘C’, ‘F’, ‘C’, ‘G’, ‘F’, ‘C/E’, ‘Dm’]