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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.

“My Name Is Jonas” by Weezer is an alternative rock song with a memorable guitar riff and chord progression. The song features a dynamic structure with a mix of different sections, including the refrain, which we will analyze here. Written in the key of G major, the chord progression presents a mixture of chords from both the major and the minor modes, giving it an interesting and varied sound.

“Riptide” by Vance Joy is in the key of C major. The chord progression is a repeated sequence of Am, G, C and Fmaj7, with the Fmaj7 being a borrowed chord from the parallel minor, C minor. Given that the majority of the song follows this pattern, it’s simple yet effective, providing a catchy and persistent structure to the song.

“In My Head” by Queens of the Stone Age shows a variety of complex chord progressions that are often seen in alternative rock and other sub-genres of rock music. The chord progressions seem to use a combination of modal and chromatic harmony which gives it an edgy and intriguing sound quality.

“Girl” by The Beatles is a classic example of their use of chromatic harmony and modal interchange. The chord progression shows complexity in both its chord choices and structure, a distinguishing feature in much of their music. By closely examining this piece, we can better understand The Beatles’ harmonic technique where they blend the techniques of classical music (like chromaticism and harmonic diversity) with pop songwriting.

Weezer – Buddy Holly – Bridge

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Chord Progression

A, F#m, A/C#, B, A, F#m, A/C#, B, A, A, F#m, A/C#, B, A, F#m, A/C#, B, A

Chord Progression Analysis

A (I) – F#m (vi) – A/C# (I6) – B (II) – A (I) – F#m (vi) – A/C# (I6) – B (II) – A (I) – A (I) – F#m (vi) – A/C# (I6) – B (II) – A (I) – F#m (vi) – A/C# (I6) – B (II) – A (I)

Similar Chord Progressions

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

2. Oasis – “Wonderwall”
Chord progression: Em7 (ii7) – G (IV) – Dsus4 (I) – Asus7 (V7)

These chord progressions share similarities such as the use of diatonic progressions within a key and the shifting between major and minor chords, creating a sense of tension and release. Although they may not be identical, the emotional impact and the style share common ground with “Buddy Holly.”

Musical Analysis

The progression starts with the tonic (I) chord, A major, which establishes the key center. Moving to the next chord, F#m (vi), creates a shift to the relative minor, adding a sense of melancholy to the music. Following F#m is an inversion of the A major chord, A/C# (I6), creating a smooth bass transition from F# to C#.

The use of the B major chord (II) in this progression is interesting, as it is not diatonic to the key of A major. Here, it functions as a borrowed chord from A’s parallel Lydian mode. This borrowing creates a change in harmonic color, giving the progression a unique touch.

Overall Analysis

The chord progression from the bridge of Weezer’s “Buddy Holly” is in the key of A major. The progression presents a strong sense of tonality and features common rock/pop techniques, such as diatonic chord progressions, inversions, and the use of the minor subdominant.

Style Analysis

The chord progression features techniques and elements that are common in pop and rock music, such as the use of diatonic chord progressions within the key, the inclusion of chord inversions for smoother bass transitions, and the borrowing of chords from other modes. The progression evokes a sense of nostalgia, which can also be associated with Weezer’s overall musical style.

Chords in the Bridge section of Buddy Holly by Weezer are:

A, F#m, A/C#, B, A, F#m, A/C#, B, A, A, F#m, A/C#, B, A, F#m, A/C#, B, A