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“Buddy Holly” by Weezer is a power-pop/alternative rock song from their debut studio album “Weezer” (also known as the Blue Album) released in 1994. The verse chord progression features diatonic chords from the A major key, along with some inversions and techniques borrowed from other musical styles such as blues and rock.

The chord progression in question is from the verse 2 of Weezer’s “The Good Life.” It is a pop-rock song in the key of G major, and the progression features common chords found in the key, with one borrowed chord – B7 – to add a touch of tension and harmonic interest.

Chord Progression Analysis (with Roman Numerals):
G Major (I) – D Major (V) – A minor (ii) – E Major (VI) – G Major (I) – D Major (V) – A minor (ii) – E Major (VI) – G Major (I) – D Major (V) – A minor (ii) – E Major (VI) – G Major (I) – D Major (V) – A minor (ii) – E Major (VI) – G Major (I) – D Major (V) – A minor (ii) – B7 (`V7/iii`)

The borrowed chord in question is the B7, which is borrowed from the relative minor key (E minor) and functions as a secondary dominant to the iii chord (B minor).

“Somewhere Only We Know” by Keane uses a handful of straightforward major and minor chords which contribute to a pop, atmospheric, and emotive sound indicative of the band’s alternative rock aesthetic. The chord progression of the pre-chorus is fairly common and creates a cyclical and slightly unsettled feel that fits well with the song’s lyrical themes of uncertainty and longing for return.

“I Sat By The Ocean” by Queens of the Stone Age is in the key of E major and utilizes a mix of diatonic chords (i.e., chords native to the key of E major) and borrowed chords (i.e., chords borrowed from parallel or related keys).

Pre-Chorus

The pre-chorus of Weezer’s “If You’re Wondering If I Want You To (I Want You To)” features a simple yet effective chord progression primarily centered around the D major chord. The piece overall follows a pop-rock, alternative musical style consistent with the typical sound of Weezer.

Weezer – Buddy Holly – Pre-Chorus

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Chord Progression

D, C#m, F#m, D, C#m, F#m, D, Dm

Chord Progression Analysis

D Major (IV), C# Minor (vi), F# Minor (vi), D Major (IV), C# Minor (vi), F# Minor (vi), D Major (IV), D Minor (iv)

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Borrowed Chord: D Minor (iv)
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Similar Chord Progressions

1. Green Day – “When I Come Around”
Chord Progression: G Major (IV), D Minor (vi), C Major (V), E Minor (ii)

2. Blink-182 – “All The Small Things”
Chord Progression: C Major (I), G Major (V), F Major (IV), G Major (V)

Musical Analysis

The pre-chorus begins with a D major chord, creating a sense of tension by moving away from the tonic A major. The subsequent C# minor chord serves as a relative minor of the E major, which is the dominant chord in the key of A major. This builds anticipation for a resolution back to the tonic that is eventually satisfied by the repeated use of F# minor chords. The progression ends with a return to the D major chord, followed by the borrowed D minor chord, which adds an unexpected and intriguing twist that increases the catchiness and memorability of the song.

Overall Analysis

This pre-chorus from Weezer’s “Buddy Holly” features an eight-chord progression in the key of A major. It includes a borrowed chord (Dm) from the parallel minor key (A minor). The harmonic movement consists of alternating D major and C# minor chords, followed by F# minor chords, before returning to the D major root and finally resolving with the borrowed Dm chord. This progression contributes to the energetic, catchy, and upbeat style of the song.

Style Analysis

Weezer’s “Buddy Holly” falls within the genre of alternative rock – specifically, power-pop. The energetic and upbeat chord progression is characteristic of this style, along with the use of electric guitar-driven riffs and catchy hooks. The harmony employs simple diatonic chords and includes a borrowed chord (Dm) to add some variation and maintain listener interest, which is another hallmark of power-pop music.

Chords in the Pre-chorus section of Buddy Holly by Weezer are:

D, C#m, F#m, D, C#m, F#m, D, Dm