Happening keeps sliding downhill and never leaves home. It is a warm F major, and the vocal keeps sinking from C through Bb and A to G, then climbing back to the same C. The melancholy is in the shape of the line, not in any borrowed chord. Grounded in a pyin read of the vocal stem and the Racy chord chart, which matches the audio.
Happening · Hooray For Earth
F major · verse · a descending line anchored on C, the fifth
Reading the numbers over each vocal note: 1 root, 3 major third, 5 fifth, 7 major seventh, 9 ninth, 11 the fourth sung as a color tone, 13 thirteenth (the sixth), b7 / b3 the lowered seventh and third, #11 / b9 the raised fourth and lowered ninth. Every label is the interval that sung note makes against the chord sounding beneath it in the staff directly below.
The verse runs F (I), Dm (vi), Bb (IV), C (V), a full major-key turn.
The vocal keeps sliding down from C through Bb and A to G, then climbs back up.
C is the anchor, the fifth of F, and the line keeps returning to it, about a third of the notes.
When Dm (vi) is under that C, the note reads as the flat seventh, a touch of the relative minor.
When Bb (IV) arrives, the same C is the ninth, a small added brightness.
The descending shape gives the verse its slouch, tired and settling, matching the empty parking lot.
Every note stays inside F major, so the melancholy is in the shape and not in any borrowed chord.
favorite momentThe falling C to G line, the same slide every phrase, tired and settling into the words.
Verse staves: vocal with the engraved lyric (pyin melody), guitar and bass with rendered standard-tuning tab. Chords from the Racy chord chart, which matches the audio.
F major · chorus · the four-chord turn, IV back through I and V to the vi
The chorus runs Bb (IV), F (I), C (V), Dm (vi).
It opens on the IV, so the home chord arrives second and the phrase leans forward into it.
The vocal still leans on C and E, the fifth and the seventh of F, the same bright anchor tones.
When the line dips to G and A over the C chord, the melody outlines the dominant from above.
The turn ends on Dm, the vi, the one minor shade that keeps the sunlight from getting flat.
The whole loop stays diatonic, four chords rolling through the key with no borrowing.
favorite momentOpening the hook on the IV, so the home chord lands a beat late and the phrase keeps leaning.
Chorus staves: vocal with the engraved lyric, guitar and bass with rendered tab. Vocal from a pyin read of the isolated stem.
F major · outro · the plagal rock, IV to I
The outro is just Bb (IV) and F (I).
IV to I is the plagal cadence, the amen turn, soft with no dominant push.
The song lands home by settling rather than by pulling.
It is the calmest exit, two chords breathing on the tonic.
After the sliding verses, the outro just rests on F.
The plagal move keeps the whole song inside plain F major to the end.
favorite momentThe bare Bb to F rock, the amen turn closing the song with no dominant to force it.
The outro is instrumental (Bb to F), so the vocal staff rests, marked tacet. Guitar and bass carry rendered tab staves.