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Related Music Theory Alchemy

The chorus from Jeff Buckley’s rendition of “Hallelujah” in the key of C major beautifully demonstrates a diverse range of chords and harmonic techniques. The chord progression incorporates diatonic chords, borrowed chords, and some unexpected harmonic twists, all of which work together to create a sense of emotional depth and tension throughout the chorus.

“Hallelujah” by Jeff Buckley is a popular and iconic song that showcases Jeff Buckley’s unique vocal talent and emotional delivery. The song is in the key of C major and features a simple yet effective chord progression. The song’s memorable melody is accompanied by guitar, which uses arpeggiated fingerpicking. This adds to its musical depth and also creates dynamic rhythmic interest. The song builds in intensity as it progresses, and this, along with the powerful lyrics, contributes to the overall emotional impact of the piece.

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Feels Like We Only Go Backwards by Tame Impala uses very interesting chord progressions that convey a feeling of constant motion. The song is primarily in the key of F Major, as revealed by the majority of the chords (F, C, Gm). However, the chord progression in the verse introduces Dm and Cmaj7/G, showing some clever use of modal interchange, also known as borrowed chords.

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The chord progression in the verse of Beck’s “Paper Tiger” can be considered a combination of common and non-diatonic chords. The progression moves from a major chord to its dominant 7th and then resolves to the relative minor. Stylistically, this progression is used in rock, pop, and jazz music to create tension and resolution while maintaining a sense of movement or flow.

The chord progression in the verse 1 of “Whole Lotta Love” by Led Zeppelin features just two chords: D and E. This fairly simple progression, used repetitively throughout the verse, creates a strong and energetic foundation for the song. The style of the song reflects 1960s heavy rock, and the simplicity of the chord progression adds to the rawness and drive of the music.

Jeff Buckley – Hallelujah – Verse 1

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Chord Progression

C, Am, C, Am, F, G, C, G, C, F, G, Am, F, G, E7, Am

Chord Progression Analysis

C major (‘I’), A minor (‘vi’), C major (‘I’), A minor (‘vi’), F major (‘IV’), G major (‘V’), C major (‘I’), G major (‘V’), C major (‘I’), F major (‘IV’), G major (‘V’), A minor (‘vi’), F major (‘IV’), G major (‘V’), E7 (‘V7/vi’), A minor (‘vi’)

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Borrowed chord: E7 (‘V7/vi’)
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Similar Chord Progressions

1. “Imagine” by John Lennon: C (‘I’), E7 (‘V7/vi’), F (‘IV’), G (‘V’), G11, F (‘IV’), G (‘V’), C (‘I’)
2. “Let It Be” by The Beatles: C (‘I’), G (‘V’), A minor (‘vi’), F (‘IV’), C (‘I’), G (‘V’), F (‘IV’), C (‘I’)

These examples showcase a similar emotional impact through the use of borrowed chords and diatonic patterns. While not identical to “Hallelujah,” they demonstrate how different artists modify canonical progressions for their own purposes, evoking various emotions in listeners.

Musical Analysis

The chord progression starts with a simple I-vi alternation, establishing the tonality of C major. The first borrowed chord, E7, is a secondary dominant that leads perfectly to A minor (‘VI’), evoking emotions in the listener. This borrowed chord adds tension and richness to the progression.

The progression makes use of many standard moves such as the IV-V-I (F-G-C) and subsequent V-IV-V (G-F-G) patterns. However, the introduction of the borrowed E7 chord creates a notable deviation from the norm, making this chord progression more unique and memorable.

Overall Analysis

“Hallelujah” by Jeff Buckley is a well-known example of a poignant, introspective ballad with a mix of pop, folk, and gospel elements. It features intricate, emotionally evocative chord progressions that move beyond typical diatonic patterns and uses borrowed chords to create an emotionally charged atmosphere.

Style Analysis

Jeff Buckley’s “Hallelujah” demonstrates a fusion of musical styles, including elements of pop, folk, and gospel. This is exemplified by the chord progression, which combines standard diatonic moves with the more unexpected, such as the borrowed E7 chord. The rich harmonic texture contributes to the introspective, contemplative feel of the song, a characteristic of many singer-songwriter ballads from the era.

Chords in the Verse 1 section of Hallelujah by Jeff Buckley are:

C, Am, C, Am, F, G, C, G, C, F, G, Am, F, G, E7, Am