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Creedence Clearwater Revival · 1969

Fortunate Son

10 notes across the harmonic analysis · 2 different passage shapes.

Chord-derived pitch classes, after David Temperley. The melody and other unannotated notes are not included. Method & limits

C3G4D5A6E7B8G♭9D♭10A♭E♭0B♭F2

All annotated harmonies combined

Whole analysis

Circle 1535 · 10 notes

C · D♭ · D · E♭ · E · F · G♭ · G · A · B

Does not fit inside one diatonic scale. This combines notes across time; compare the passages below to see where the field changes.

C1G2D3A4E5B6G♭D♭A♭E♭B♭F0

Source passage · In

Intro

Circle 127 · 7 notes

C · D · E · F · G · A · B

Fits within a diatonic collection; no tonic is implied. This field belongs to this passage, not necessarily the whole song.

C1G2D3A4E5B6G♭D♭A♭E♭B♭F0

Source passage · Vr

Verse

Circle 127 · 7 notes

C · D · E · F · G · A · B

Fits within a diatonic collection; no tonic is implied. This field belongs to this passage, not necessarily the whole song.

C0G1D2A3E4B5F♯6C♯G♯D♯A♯F

Source passage · Ch

Chorus

Circle 127 · 7 notes

C · D · E · F♯ · G · A · B

Fits within a diatonic collection; no tonic is implied. This field belongs to this passage, not necessarily the whole song.

C5G6D7A8E9B10G♭D♭0A♭E♭2B♭F4

Source passage · Inst

Instrumental

Circle 1407 · 9 notes

C · D♭ · D · E♭ · E · F · G · A · B

Does not fit inside one diatonic scale. This field belongs to this passage, not necessarily the whole song.

C0G1D2A3E4B5F♯6C♯G♯D♯A♯F

Source passage · Fadeout

Fadeout

Circle 127 · 7 notes

C · D · E · F♯ · G · A · B

Fits within a diatonic collection; no tonic is implied. This field belongs to this passage, not necessarily the whole song.

Source & interpretation

David Temperley’s harmonic analysis of Fortunate Son ↗, from the de Clercq–Temperley RS 200 corpus. Retrieved 19 October 2026.

The complete field includes all harmonies in the source’s S rule. The passages are its named top-level units; direct chords outside those units still contribute to the whole field. Repeated units with the same notes are merged. Labels such as “Passage A” preserve the source where a conventional section name is not given.

Notes and circle assignments are calculated by Chordfields from that analysis. They have not been independently verified against the recording. Read the full method.