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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.

The chord progression in the intro of “Loner” by Kali Uchis is a mixture of simple diatonic harmony and some more complex non-diatonic chords, which creates a jazzy and ethereal atmosphere. It is a 4-chord progression that resolves on F#m, making it a loop. The style of this progression is reminiscent of the Neo-Soul genre, and it can be found in some other songs across various musical styles.

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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 Beatles’ “Something” is a soulful ballad from their 1969 album “Abbey Road.” It’s primarily composed in the key of C major, but features modulations to other keys throughout its duration. The harmony of this song is somewhat complicated, but still rooted in traditional practices. “Something” effectively uses borrowed chords—chords from parallel keys—to create a fresh and memorable sound.

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:

“`
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’]