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“Someone Saved My Life Tonight,” based on events from 1969, springs from a time when Elton evidently contemplated suicide until his friend and bandmate Long John Baldry (the “Sugarbear” of the song’s chorus) “saved his life” by convincing him not to risk ruining his burgeoning musical career by marrying his girlfriend and getting trapped in an unhappy relationship.
Example 3a shows the song’s signature introductory piano riff, which reappears at crucial junctures throughout the song and also serves as the repeating loop for the song’s fade-away coda.
Rather than fading out in E major, the third chorus instead gives way to a short but remarkable instrumental break—fully loaded with horns, strings, and a wailing lead guitar—that once again shines a spotlight on the soul dominant and consists of no fewer than three consecutive “truck driver’s modulations” up by semitone.
Out of all this the final chorus re-emerges a minor third higher in the chromatic mediant key of G major, above which Daryl Hall’s voice soars with passion and anguish as he hammers home the song’s title lyric and bemoans the loss of his lover for one last round.
ABSTRACT: This article explores the sometimes tricky question of tonality in pop and rock songs by positing three tonal scenarios: 1) songs with a fragile tonic, in which the tonic chord is present but its hierarchical status is weakened, either by relegating the tonic to a more unstable chord in first or second inversion or by positioning the tonic mid-phrase rather than at structural points of departure or arrival; 2) songs with an emergent tonic, in which the tonic chord is initially absent yet deliberately saved for a triumphant arrival later in the song, usually at the onset of the chorus; and 3) songs with an absent tonic, an extreme case in which the promised tonic chord never actually materializes. Audio Example 1 contains the end of the introduction through the first and on into the second verse.
In each of these scenarios, the composer’s toying with tonality and listeners’ expectations may be considered hermeneutically as a means of enriching the song’s overall message.  How are we to make sense of the tonal information that has been presented to us so far?
The verse begins on the same fragile second-inversion chords that occur at this point during the verse progression provide the only instances of root-position tonic chords in the whole song, yet they hardly sound like stable points of arrival.
In fact, after one repetition of the oscillating , with the verse culminating on a big half cadence decorated with a cadential six-four that this time does resolve conventionally.
Close analyses of songs with fragile, emergent, and absent tonics are offered, drawing representative examples from a wide range of styles and genres across the past fifty years of popular music, including 1960s Motown, 1970s soul, 1980s synthpop, 1990s alternative rock, and recent U. All of the chords conform to a key signature of four sharps, suggesting E major, and yet the tonic chord is notably absent from the verse’s chord progression.
 Skilled nineteenth-century song composers such as Robert Schumann and Johannes Brahms often exploited tonality and its expectations for symbolic or expressive purposes. Well over a minute into the track, the vocals enter with the first verse, the initial three lines of which are built upon this same oscillating vamp, yielding fleetingly to minor-seventh chords in the fourth line before returning to the vamp for the song’s second verse.