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Related Music Theory Alchemy

The song “Hallelujah” written by Leonard Cohen and popularly covered by Jeff Buckley is a solemn ballad consisting of poetic lyrics set to a haunting melody. This particular chord progression in Verse 4 highlights the song’s delicate balance between tension and resolution. The tonality revolves around C major, with deviations into other tonal areas, which adds complexity and emotional impact.

“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.

“Comfortably Numb” is a song by Pink Floyd from their 1979 album, The Wall. It is written in the key of D major and has a slow, dreamy tempo. The second verse of the song features a chord progression that is a blend of major and minor chords, giving the song a sense of melancholy mixed with a calming atmosphere. It also deviates from the typical pop/rock chord progressions, signifying Pink Floyd’s distinct sound and innovative use of harmony.

“Castles Made of Sand” by Jimi Hendrix is a psychedelic rock song that features a unique and colorful chord progression, blending major and minor tonalities in a way that creates tension and a sense of longing. The verse consists of a 12-chord progression that builds upon the foundation of the major key of C, even though it starts with the IV chord (F), which contributes to the song’s unusual character. The progression includes borrowed chords from the parallel minor and elements specific to Hendrix’s own style, making it a remarkable piece in terms of its harmonic complexity and eclecticism.

“Zombie” by The Cranberries is in the key of E minor. Its structure is generally pop and rock, with the power of distorted guitars and a heavy drumbeat complemented by Dolores O’Riordan’s haunting vocals. It utilizes a four-chord progression, which is common in many pop and rock tracks and has been a popular choice amongst songwriters for its simplicity and versatility.

Jeff Buckley – Hallelujah – Verse 2

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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 (V/vi) – A minor (vi)

Borrowed Chords:
None in this particular progression.

Similar Chord Progressions

1. The Beatles – “Let It Be”:
C Major (I) – G Major (V) – A Minor (vi) – F Major (IV) – C Major (I) – G Major (V) – F Major (IV) – C major (I)

2. Journey – “Don’t Stop Believin’”:
E Major (I) – B Major (V) – C# Minor (vi) – A Major (IV) – E Major (I) – B Major (V) – A Major (IV) – E Major (I)

3. Adele – “Someone Like You”:
A major (I) – E Major (V) – F# Minor (vi) – D Major (IV)

While these examples do not follow the exact chord progression found in “Hallelujah,” they do share the I-vi-IV-V pattern, giving them a similar sense of resolution and emotional depth within their respective styles.

Musical Analysis

The second verse of “Hallelujah” follows a cyclic chord progression that prominently features the I-vi-IV-V progression, which is an extremely common progression in popular music. This progression has a strong sense of resolution, particularly when moving from the V to the I chord. The use of the secondary dominant (E7, or V/vi) in the 15th measure of this verse brings additional tension and interest, as it creates an expectation that the progression will resolve within the relative minor key (A minor).

Overall Analysis

“Hallelujah” is a song by singer-songwriter Jeff Buckley and is a cover of a song originally written by Leonard Cohen. The song is in the key of C major and features a moderate tempo with a 6/8 time signature. This particular chord progression, taken from the second verse, consists mainly of diatonic chords found within the key, but also includes a few borrowed chords and a secondary dominant, giving the song a sense of tension and release.

Style Analysis

“Hallelujah” contains a mixture of contrasting moods and imageries, which can be musically described as haunting and introspective. The chord progression, particularly the repeated use of the I-vi-IV-V, harkens back to the classic doo-wop era of the 1950s and 60s, but the overall style is more in line with the alternative and indie rock of the 1990s, when Buckley’s version was released. The addition of the secondary dominant gives the progression an unexpected twist, contributing to the overall sense of longing and emotional depth.

Chords in the Verse 2 section of Hallelujah by Jeff Buckley are:

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