Search

Related Music Theory Alchemy

“Buddy Holly” is a song by Weezer with an upbeat, pop-rock feel. It exists in the key of A major and showcases a recurring chord progression in its verse consisting of F#m, E/G#, and A.

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.

“If You’re Wondering If I Want You To (I Want You To)” by Weezer has a chorus featuring a chord progression in the key of D major. The progression includes chords from both the major and minor scales while still primarily using diatonic chords from D major. The style of the progression is reminiscent of 90s alternative rock, and it finds similarity with other iconic chord progressions in rock music.

“Time” by Pink Floyd is a progressive rock song from their iconic album, The Dark Side of the Moon (1973). The listed chords form the harmonic basis of the chorus section. The harmony is characterized by diatonic major seventh chords, interspersed with a few borrowed chords. The chorus features a fluctuating major/minor tonality, giving the song an emotional and contemplative feel.

“Hurt” by Nine Inch Nails features a melancholic and introspective chord progression. The song is predominantly in the key of B minor. The verse and outro sections revolve around the Bm, D, and E chords, while the chorus uses a progression of Bm, G, D, A. The use of borrowed chords enriches the harmonic landscape, adding depth to the composition.

Weezer – Buddy Holly – Chorus

Add To Favorites Remove From Favorites

< All Analyses

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