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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.

The outro of Jeff Buckley’s “Hallelujah” features a chord progression in the key of C Major. It includes common chords from the key, as well as some borrowed chords from the parallel minor key (C minor), which adds a level of tension and emotion to the progression. The outro has a cyclical nature, with the chords leading smoothly back into the beginning and building a sense of conclusion.

The verse of “Megalomania” by Muse is characterized by distinctive harmonic progressions, dynamic contrasts, and notable melodic lines that are typical of the band’s alternative rock style. Throughout this verse, Muse uses common harmonic devices such as secondary dominants, diatonic and chromatic mediants, borrowed chords from parallel keys, and deceptive cadences to create a sense of tension and forward momentum.

The chord progression in Weezer’s “Perfect Situation” is a simple and repetitive progression that cycles through three chords, G, D, and Am, with D being used as a transitional or “passing” chord. This progression is based on the I – V – ii structure in the key of G major.

“Give Me The Night” is a jazz-funk composition with a rich harmonic texture and a catchy melody. It was produced by Quincy Jones and released in 1980. The verse chord progression of this piece features a series of diatonic seventh chords, with one borrowed chord from a parallel minor key, which are common to the jazz and R&B styles.

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