Music Theory Alchemy

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“Say It Ain’t So” by Weezer is an alternative rock song with a sense of melancholy in the verse and a catchy, anthemic chorus. The verse chords, which you provided, create a strong sense of movement and harmonic interest by using borrowed chords and a combination of diatonic and chromatic chord progressions.

The chord progression of the verse in Weezer’s “If You’re Wondering If I Want You To I Want You To” uses a combination of diatonic and borrowed chords in the key of D Major. The use of the borrowed chord from the parallel minor key contributes to the unique sound of the progression.

The song ‘Today’ by The Smashing Pumpkins is a classic example of mixing major and minor modes in rock music. The majority of the song is modal, centered around D major and B minor. However, the bridge section changes gears and revolves around E minor.

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“Here Comes the Sun” written by The Beatles is a seminal work from the Beatles’ output in pop music. The piece is composed in a modified strophic form with a circular pattern augmented with a repetitive and distinct bridge that modulates in key. The use of major chords and open voicings gives the song a sunny and positive feel, hence its title. It’s also notable for its mixed use of diatonic and borrowed chords, contributing to its unique sound.

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With a Little Help from My Friends’ exists in a rich harmonic landscape typical of the Beatles. Here, we can see signature moves like mixing major/minor tonalities, borrowed chords, and unconventional harmonic progressions.

Weezer – Say It Aint So – Bridge

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Chord Progression

G, G/F#, C, Eb, G, G/F#, C, Eb, G, G/F#, C, Eb, G, G/F#, C, Eb, Am, E, F, C

Chord Progression Analysis

G major (IV) – G/F# (IV/2) – C major (I) – Eb major (bIII) – G major (IV) – G/F# (IV/2) – C major (I) – Eb major (bIII) – G major (IV) – G/F# (IV/2) – C major (I) – Eb major (bIII) – G major (IV) – G/F# (IV/2) – C major (I) – Eb major (bIII) – A minor (vi) – E major (V/ii) – F major (IV) – C major (I)

Borrowed Chord:
`Eb major (bIII)`

Similar Chord Progressions

1. Radiohead – “Creep”
Chord progression: G major (I) – B major (III) – C major (IV) – Cm (iv)

2. David Bowie – “Space Oddity”
Chord progression: E minor (i) – G major (III) – C major (VI) – A major (IV) – F major (II)

In these examples, the chord progressions also utilize borrowed chords and chromatic harmony, giving the songs a similar sense of tension and unpredictability.

Musical Analysis

The chord progression in the bridge mainly employs diatonic chords like G major, C major, and A minor. However, the Eb major chord is borrowed from the parallel minor key (C minor) and creates a chromatic twist in the harmony. The slash chords such as G/F# add a stepwise bass motion that contributes to a smooth and interesting harmonic progression.

The gradual movement from the G major to G/F# displays an example of chromaticism and helps connect the IV chord smoothly to the I chord. Additionally, the E major chord towards the end can be analyzed as a secondary dominant (V/ii), which resolves to the F major chord before resolving back to the tonic.

Overall Analysis

The bridge of Weezer’s “Say It Ain’t So” features an intriguing chord progression, which presents both diatonic and borrowed chords, as well as chromatic harmony. The song’s key is C major, but it touches on the parallel minor key and incorporates unusual chords such as the Eb major chord, which adds tension and surprise. The chord progression and harmonic rhythm are fairly consistent throughout the bridge, creating a sense of unity.

Style Analysis

Weezer’s “Say It Ain’t So” bridge exemplifies the band’s alternative rock sound, incorporating some traditional components of pop-rock harmony while also exploring more experimental territory. The unexpected chords create a sense of tension and unpredictability that is a hallmark of Weezer’s music. The chord progression’s simplicity and repetitiveness make it a great example of what makes Weezer’s songwriting style unique.

Chords in the Bridge section of Say It Aint So by Weezer are:

G, G/F#, C, Eb, G, G/F#, C, Eb, G, G/F#, C, Eb, G, G/F#, C, Eb, Am, E, F, C