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“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.

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 Wind Cries Mary by Jimi Hendrix is a rock ballad with elements of blues, featuring a unique and expressive chord progression. The song is in the key of F major and the verse progression consists of 25 chords. The progression is largely diatonic, but includes chromatic lines and borrowed chords, which give the piece a rather unpredictable yet emotive quality.

The provided chord progression is quite simple, with a single chord (F) repeated four times. This type of progression creates a static or stable feel, with no harmonic tension to resolve. This chord progression alone isn’t enough to give a complete musical analysis, as it’s quite minimalistic, and it’s necessary to evaluate the progression in the context of the entire song. However, I can still offer some thoughts on the progression’s possible function, style notes, and similar chord progressions.

The song “Penny Lane” written by the Beatles is in the key of A major. The structure of Verse 4, specifically, has a very effective use of both diatonic (belonging naturally to the key) and borrowed chords (taken from a different key or mode). They have incorporated secondary dominants, pivot modulation, and modal interchange which reflect their knowledge of musical theory and compositional skills.

Jeff Buckley – Hallelujah – Verse 4

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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 (I), Am (vi), C (I), Am (vi), F (IV), G (V), C (I), G (V), C (I), F (IV), G (V), Am (vi), F (IV), G (V), E7 (V7/vi), Am (vi)

Similar Chord Progressions

1. “Let It Be” by The Beatles:
C (I), G (V), Am (vi), F (IV), C (I), G (V), F (IV), C (I)

2. “Can’t Help Falling in Love” by Elvis Presley:
C (I), Em (iii), Am (vi), F (IV), G (V), Am (vi), F (IV), G (V), Em (iii), Am (vi), F (IV), G (V), C (I)

3. “Wake Me Up When September Ends” by Green Day:
C (I), G (V), Am (vi), F (IV), C (I), G (V), F (IV), Gsus4 (V)

These similar chord progressions also feature the use of major and minor chords, perfect cadences, and occasional modulations to the relative minor key. These antecedents showcase how this particular chord progression style has shaped different genres, such as rock, pop, and singer-songwriter music.

Musical Analysis

The chord progression starts with a common I-vi alternation in the first four chords (C-Am-C-Am) characteristic of pop ballads. The following chords F- G- C (IV-V-I) form an authentic cadence, and the repetition of the V chord (G) highlights the dominant-tonic relationship, emphasizing the key of C major. The progression then shifts back to the IV-V-I progression (F-G-C), a perfect cadence that provides a strong sense of resolution.

However, the chord progression then introduces an interesting twist with the E7 chord (V7/vi). This is a secondary dominant chord that temporarily modulates to the relative minor key (Am). The E7 creates tension and expectation, propelling the progression forward and transitioning smoothly to the final Am chord (vi), which ultimately brings the listener back to the home key of C major.

Overall Analysis

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.

Style Analysis

The chord progression used in Hallelujah displays a mix of traditional and modern characteristics. The use of diatonic triadic chords, perfect cadences, and secondary dominants is reminiscent of classical and early popular music styles. Meanwhile, the blend of major and minor chords in the same progression is characteristic of modern popular music, often used to express emotional complexity and provide a sense of depth to a composition.

Chords in the Verse 4 section of Hallelujah by Jeff Buckley are:

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