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Related Music Theory Alchemy

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.

“Undone – The Sweater Song” by Weezer features a chorus with a simple, yet effective chord progression that combines the use of power chords with major chords. This combination gives the song its distinctive indie rock sound and contributes to its overall catchiness. The chorus is based on a four-chord progression with three different chords, where G5 power chord is followed by two major chords, C and D.

The key of ‘Take Me Home, Country Roads’ is G Major, a common key for pop and country songs which provides a bright and uplifting sound. Throughout the song, only four different chords are used: G, D, Em and C. The progression is repeated consistently, with only the sudden introduction of an F major chord (borrowed from the parallel minor of G) towards the end of the song during a transition phase.

The given chord progression is from the chorus of “Earfquake” by Tyler, The Creator, a contemporary hip-hop and neo-soul artist. The progression features a smooth and mellow tonality, characterized by the use of 7th chords. The chord progression is in the key of Bb Major and showcases the use of mostly diatonic chords with a repetition that contributes to the song’s catchy nature.

“Beast of Burden” by The Rolling Stones uses a common rock arrangement with a focus on the V, I, and vi chords. The distinguishing factor for this particular progression is its consistent use of inverted chords to create more linear, and stepwise, bass lines.

Weezer – Buddy Holly – Chorus

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Chord Progression

A, D/F#, E, A, D/F#, E, F#m, D, E, A, A, D, E, A, A, D, E, A, A, D, E, A, A, D, E, A, F#m, E, F#m

Chord Progression Analysis

A (I) – D/F# (IV6) – E (V) – A (I) – D/F# (IV6) – E (V) – F#m (vi) – D (IV) – E (V) – A (I) – A (I) – D (IV) – E (V) – A (I) – A (I) – D (IV) – E (V) – A (I) – A (I) – D (IV) – E (V) – A (I) – A (I) – D (IV) – E (V) – A (I) – F#m (vi) – E (V) – F#m (vi)

Similar Chord Progressions

1. “Last Nite” by The Strokes – A (I) – D (IV) – E (V) – A (I)
2. “Livin’ on a Prayer” by Bon Jovi – Em (i) – C (VI) – D (VII) – Em (i)
3. “Don’t Look Back in Anger” by Oasis – C (I) – G (V) – Am (vi) – E (III) – F (IV) – G (V) – C (I)
4. “Teenage Kicks” by The Undertones – D (I) – G (IV) – A (V) – D (I)

These examples share a simple and effective, predominantly diatonic chord progression, which has proven to be successful in creating catchy hooks in the pop and rock genres. While some of these progressions feature slightly different chords or variations, their overall structure is similar and embodies the versatile and timeless appeal of the I-IV-V progression.

Musical Analysis

The chorus of “Buddy Holly” begins with a classic IV-V-I progression in A Major, which creates a sense of resolution and strong tonal center. The first and second chords, A (I) and D/F# (IV6), serve as the harmonic foundation. The E (V) creates tension that is resolved when returning to the A (I). This progression repeats during the first three lines of the chorus.

The relatively simple chord progression is then enriched by the use of secondary dominants. For example, the F#m (vi) chord in the second line serves as a pivot chord, leading to the D (IV) and E (V) chords. As the progression moves toward the end of the chorus, the tension continues to build through the repetition of the A (I) – D (IV) – E (V) sequence.

In the last line, the progression momentarily shifts the focus to the relative minor key, F#m (vi), but quickly returns to the A major key through the use of the E (V) chord. The F#m (vi) chord creates a sense of momentary darkness, contrasting the generally bright and uplifting atmosphere of the song.

Overall Analysis

The chord progression in the chorus of Weezer’s “Buddy Holly” is in the key of A major and has a mix of diatonic and borrowed chords. Overall, it has a distinct and memorable pop-rock feel, with a strong hook and melodic quality. Through its use of secondary dominants, the progression creates tension and release, pushing the harmony forward in a compelling manner.

Style Analysis

“Buddy Holly” is a quintessential example of Weezer’s power-pop and alternative rock style. The clean and bright electric guitars, catchy hooks, and upbeat harmonies are hallmarks of this genre. The use of a common diatonic harmony and chords, combined with occasional borrowed chords, showcases a strong melodic sensibility, characteristic of Weezer’s sound.

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

A, D/F#, E, A, D/F#, E, F#m, D, E, A, A, D, E, A, A, D, E, A, A, D, E, A, A, D, E, A, F#m, E, F#m