According to Middleton, the song, "at first glance major-key-with-modal-touches", reveals through its "Line of Latent Mode" "a deep kinship with typical blues melodic structures: it is centred on three of the notes of the minor-pentatonic mode (E-G-B), with the contradictory major seventh (B) set against that. Moreover, the "shape" assumed by these notes – the modal "frame" – as well as the abstract scale they represent, is revealed, too; and this – an initial, repeated circling round the dominant (G), with an excursion to its minor third (B), 'answered' by a fall to the 'symmetrical' minor third of the tonic (E) – is a common pattern in blues."