It’s after this repetition of 1-2-1 that the listener expects to hear it again after the last D of the verse goes to the first E of the chorus.
In other words, those Es act like classic neighbor tones. On the other hand, nearly every E in the melody is sandwiched between two Ds, which are either triadic tones or sevenths of each chord. It doesn’t change the emotional effect.) Even when the melody changes slightly in measure 15, that suspension-y sound of 1-4-3 puts at least as much emphasis on the F# as the G proceeding it. From that first bar of the verse, the listener is primed for the extensions those notes make with every chord: DM6, GM7, and Em9 (or alternatively, you can think of B, D, and F# as pedal tones that don’t affect the underlying harmony or name of each chord. The notes B, D, and F# are emphasized in every measure of the verse, and the major sixth between D and B is emphasized from the pickup measure of the tune. (You’ll see that the score below goes straight from Post’s verse to Swae’s verse, which isn’t how the song goes, but the chorus is already transcribed in the graphic.) Let’s look at how Post uses these two notes throughout his verse prior. I’d like to push their analysis a little bit farther using one word: contextualization.
(Disappointing, because I warned them that I might trash this graphic). Despite my initial doubts, I came to the conclusion after some analysis that Top40Theory was indeed correct. So why does the chordal sixth need to resolve over G but not over D? And it seems rather old-fashioned to assume that the 9 has to resolve down, especially when it’s repeated over an entire progression. On top of that, when it goes to IV (G), E is the sixth of that chord. The B in measure 1 never resolves to a chord tone, and B and E are the two pentatonic extensions of D Major, which means, to me, that they create a similar level of dissonance over that chord. This resolution to I is teased at in measures four and seven (using Top40’s numbering) when the melody, but not the harmony, goes to the tonic. In the chorus to Post Malone and Swae Lee’s Sunflower, the scale degree 2 at the end of almost every measure suggests an eventual melodic resolution down to D, or 1, on the tonic. I’ve reposted it below with the permission of the page admin. Xmas edit: Just letting you guys know I still have the link and will PM it to you when I see your message, just be aware that it may take me several weeks or even several months to see your comment/message because I really only browse reddit when a friend links me something to check out - 1 bloke had to wait 4 months for me to reply, but I got him in the end.A couple of weeks ago, a post came up on my Facebook feed from Top40Theory. If for some reason you need proof I'm not bullshitting, look up "Sacred Spirit Yeha Noha" on Youtube and skip about 50 seconds in, it's the sample they use in the middle of the song and I only know that because they told me. I only check Reddit sporadically so it could take me anywhere from a day to a month to respond to you). (Alternatively, you can PM them on Facebook yourself, they might give you a link too. Not gonna post it publicly because that would be disrespectful to them, but PM me if you found this thread through Google like I did, and want a link to it. Managed to get the URL off them personally to the private, unlisted Soundcloud page they uploaded it to.
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