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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.

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“Sorry Seems To Be The Hardest Word” is a song by Elton John written in the key of G major. However, the tonal center of this song fluctuates between G major and its relative minor, Em. Sensitive to the modality of the melody, Elton incorporates “color” via his diverse chord selections. The harmonic movement in this song is richly chromatic, creating a sense of tension and release that intensifies the melancholic aura of the lyrics.

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The chord progression in the intro of “After the Storm” by Kali Uchis showcases a mix of diatonic and chromatic movements, borrowing elements from jazz and R&B. The use of 7th chords and an augmented chord suggests a harmonically rich and colorful tonality, creating an intriguing atmosphere that captures the listener’s attention.

“Sometimes It Snows In April” is commonly recognised as a hauntingly beautiful ballad that features gentle, intricate piano work and tender vocals. Musically, it explores a slightly complex harmonic structure that creates a profound emotive sound spectrum.

George Michael – Dont Let The Sun Go Down On Me – Intro

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Chord Progression

[‘G’, ‘F’, ‘C’, ‘F’, ‘G’, ‘G’, ‘F’, ‘C’, ‘F’, ‘G’, ‘G’, ‘F’, ‘C’, ‘F’, ‘G’, ‘G’, ‘F’, ‘C’, ‘F’, ‘C/G’, ‘G’, ‘C’, ‘C/Bb’, ‘F/A’, ‘D7/F#’, ‘C/G’, ‘Gsus4’, ‘G’, ‘C’, ‘C/Bb’, ‘F/A’, ‘Dm7’, ‘Em’, ‘Gsus’, ‘G’, ‘C’, ‘C/Bb’, ‘F/A’, ‘C/G’, ‘F’, ‘G’, ‘F’, ‘C’, ‘F’, ‘G’, ‘G’, ‘F’, ‘C’, ‘F’, ‘C/G’, ‘G’, ‘C’, ‘C/Bb’, ‘F/A’, ‘D7/F#’, ‘C/G’, ‘Gsus4’, ‘G’, ‘C’, ‘C/Bb’, ‘F/A’, ‘Dm7’, ‘Em’, ‘Gsus’, ‘G’, ‘C’, ‘C/Bb’, ‘F/A’, ‘C/G’, ‘F’, ‘Ab’, ‘Bb’, ‘C’, ‘C’, ‘C/Bb’, ‘F/A’, ‘D7/F#’, ‘C/G’, ‘Gsus4’, ‘G’, ‘C’, ‘C/Bb’, ‘F/A’, ‘Dm7’, ‘Em’, ‘Gsus’, ‘G’, ‘C’, ‘C/Bb’, ‘F/A’, ‘Ab’, ‘Bb’, ‘C’]

Chord Progression Analysis

The progression in the key of C major can be represented as follows:

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G (V), F (IV), C (I), F (IV), G (V), G (V), F (IV), C (I), F (IV), G (V), G (V), F (IV), C (I), F (IV), G (V),
G (V), F (IV), C (I), F (IV), C/G (I), G (V), C (I), C/Bb (bII), F/A (IV), D7/F# (V7/ii), C/G (I), Gsus4 (Vsus4),
G (V), C (I), C/Bb (bII), F/A (IV), Dm7 (ii7), Em (iii), Gsus (Vsus), G (V), C (I), C/Bb (bII), F/A (IV),
C/G (I), F (IV), G (V), F (IV), C (I), F (IV), G (V), G (V), F (IV), C (I), F (IV), C/G (I), G (V), C (I),
C/Bb (bII), F/A (IV), D7/F# (V7/ii), C/G (I), Gsus4 (Vsus4), G (V), C (I), C/Bb (bII), F/A (IV), Dm7 (ii7),
Em (iii), Gsus (Vsus), G (V), C (I), C/Bb (bII), F/A (IV), C/G (I), F (IV), Ab (bVI), Bb (bVII), C (I), C (I),
C/Bb (bII), F/A (IV), D7/F# (V7/ii), C/G (I), Gsus4 (Vsus4), G (V), C (I), C/Bb (bII), F/A (IV), Dm7 (ii7),
Em (iii), Gsus (Vsus), G (V), C (I), C/Bb (bII), F/A (IV), Ab (bVI), Bb (bVII), C (I).
“`

Borrowed Chords:
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‘C/Bb (bII)’, ‘Ab (bVI)’, ‘Bb (bVII)’
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These are examples of borrowed chords, as they derive from the parallel minor scale (here C minor), which is a common technique used in pop songs to add color to a progression.

Similar Chord Progressions

The V – IV – I – IV progression is very common in pop music. It can be found in countless songs, here are a few examples:
– “Let It Be” by The Beatles: C (I), G (V), Am (vi), F (IV)
– “No Woman No Cry” by Bob Marley: C (I), G (V), Am (vi), Fmaj7 (IV)

The use of borrowed chords can also be seen in songs like:
– “Creep” by Radiohead: G (I), B (III), C (IV), Cm (iv)
– “Every Breath You Take” by The Police: G (I), Em (vi), Bm (iii), C (IV), G (I)

Musical Analysis

The progression follows a fairly common pop pattern of lingering around the I – IV – V area for the majority of the time, but it adds interest with the introduction of the borrowed II˚ chord and the V7/ii secondary dominant. Including the borrowed chords from C minor adds a touch of color and tension that the song resolves in a satisfying manner.

Overall Analysis

“Don’t Let The Sun Go Down On Me” by George Michael displays a sophisticated use of common-pop progression with some borrowed chords and secondary dominants. The progression displays the pop and soul music influence, with its powerful use of dominant and subdominant movements.

Style Analysis

“Don’t Let The Sun Go Down On Me” is a monumental power ballad, and this progression supports that style. It’s got the grandeur and positive energy of pop, underscored by a soulful edge that’s reinforced by the clever chord choices.

Chords in the Intro section of Dont Let The Sun Go Down On Me by George Michael are:

[‘G’, ‘F’, ‘C’, ‘F’, ‘G’, ‘G’, ‘F’, ‘C’, ‘F’, ‘G’, ‘G’, ‘F’, ‘C’, ‘F’, ‘G’, ‘G’, ‘F’, ‘C’, ‘F’, ‘C/G’, ‘G’, ‘C’, ‘C/Bb’, ‘F/A’, ‘D7/F#’, ‘C/G’, ‘Gsus4’, ‘G’, ‘C’, ‘C/Bb’, ‘F/A’, ‘Dm7’, ‘Em’, ‘Gsus’, ‘G’, ‘C’, ‘C/Bb’, ‘F/A’, ‘C/G’, ‘F’, ‘G’, ‘F’, ‘C’, ‘F’, ‘G’, ‘G’, ‘F’, ‘C’, ‘F’, ‘C/G’, ‘G’, ‘C’, ‘C/Bb’, ‘F/A’, ‘D7/F#’, ‘C/G’, ‘Gsus4’, ‘G’, ‘C’, ‘C/Bb’, ‘F/A’, ‘Dm7’, ‘Em’, ‘Gsus’, ‘G’, ‘C’, ‘C/Bb’, ‘F/A’, ‘C/G’, ‘F’, ‘Ab’, ‘Bb’, ‘C’, ‘C’, ‘C/Bb’, ‘F/A’, ‘D7/F#’, ‘C/G’, ‘Gsus4’, ‘G’, ‘C’, ‘C/Bb’, ‘F/A’, ‘Dm7’, ‘Em’, ‘Gsus’, ‘G’, ‘C’, ‘C/Bb’, ‘F/A’, ‘Ab’, ‘Bb’, ‘C’]