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“God Only Knows” by The Beach Boys showcases the artistic depth and compositional craft of Brian Wilson, the band’s primary songwriter. The song utilizes a complex chord progression and key changes that are unconventional for pop music of its time. The chord progression creates a sense of constant mood transitions, similar to arias in Romantic era music.

The chord progression for “Kokomo” by The Beach Boys is an example of sophisticated pop songwriting that combines elements of traditional tonal harmony, modal interchange (borrowed chords), and secondary dominants for dramatic effect. This song is in the key of C major.

Queen’s ‘Don’t Stop Me Now’ contains a rich mixture of chord progressions, which is typical of the band’s complex songwriting. The outro of the song makes use of the F, F7, Bb, and Gm7 chords. This progression is in the key of F Major, with F being the tonic (I), F7 being the dominant 7th (V7), Bb being the subdominant (IV) and Gm7 being the submediant 7th (vi7). The Bb chord is a borrowed chord from the parallel minor key (F Minor) and the usage of F7 serves to add a level of tension before resolving to the Bb.

“Welcome to the Machine” by Pink Floyd is a progressive rock piece that features a rather minimalistic chord progression, with only one chord during the outro. The piece is characterized by its lush soundscape, synthesizer layering, and the use of sound effects to create an atmosphere of a mechanized world.

“Paper Tiger” by Beck is a song from his album “Sea Change,” released in 2002. The style of this song is primarily alternative rock, with elements of psychedelia and baroque pop. The outro of “Paper Tiger” features a simple chord progression of E, E7, and Bm, with interesting harmonic techniques, such as secondary dominants and borrowed chords.

The Beach Boys – God Only Knows – Outro

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Chord Progression

[‘A’, ‘E/G#’, ‘F#m7’, ‘E/G#’]

Chord Progression Analysis

“`
– A (I)
– E/G# (V/vi)
– F#m7 (vi7)
– E/G# (V/vi)
“`

borrowed chords:
“`
E/G# (V/vi)
“`

Similar Chord Progressions

“Here, There and Everywhere” – The Beatles
Chord progression:
“`
‘G’ (I),
‘B/G’ (III/IV),
Am7 (ii7),
‘B/G’ (III/IV)
“`

“Can’t Help Falling in Love” – Elvis Presley
Chord progression:
“`
‘D’ (I),
‘B/D#’ (IV/V),
‘Em7’ (ii7),
‘B/D#’ (IV/V)
“`

Both of these songs by other artists feature similar use of inversions and seventh chords to create distinctive progressions. While each song is distinctive, they share common elements with the innovative sound of “God Only Knows”.

Musical Analysis

The outro begins with the A chord which is the tonic of the key the song is in (A major). The ‘E/G#’ is a first inversion dominant of the vi chord (F#m) and is also a borrowed chord. The ‘F#m7’ is just the vi chord with the added seventh. Again, we have the E/G# (V/vi), and this alternation creates a tension-like resolution fashion and adds an interesting twist to the traditional pattern of chordal shifts.

Overall Analysis

“God Only Knows” by The Beach Boys is one of their most well-known pieces and a primary example of the sophisticated harmonic writing characteristic of the group’s 1966 “Pet Sounds” record. This piece is particularly designed in the key of A major. The Outro of the song includes the following chords: ‘A’, ‘E/G#’, ‘F#m7’, ‘E/G#’ and many other chords throughout the song with complex chord changes that might not be typical in a pop song, but are characteristic of the band’s sound.

Style Analysis

The Beach Boys were known for their sophisticated, complex harmonies that pushed the boundaries of popular music in their era. One of the groundbreaking aspects of their work was their use of non-traditional chords and progressions in their music. This outro is one such example – it uses non-diatonic, borrowed chords to create a sound that is uniquely Beach Boys.

Chords in the Outro section of God Only Knows by The Beach Boys are:

[‘A’, ‘E/G#’, ‘F#m7’, ‘E/G#’]