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“Buddy Holly” by Weezer is a power-pop/alternative rock song from their debut studio album “Weezer” (also known as the Blue Album) released in 1994. The verse chord progression features diatonic chords from the A major key, along with some inversions and techniques borrowed from other musical styles such as blues and rock.

“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.

“Maxwell’s Silver Hammer,” composed by Paul McCartney, is a pop song that sits in the key of D Major throughout. However, it does borrow chords from the parallel minor. This technique, known as modal interchange or borrowed chords, is common in popular music and especially in classical compositions by iconic bands like The Beatles.

The chord progression in the chorus of Kali Uchis’ “After The Storm” features a repeating progression of Am7, Bm7, and Eaug that occurs three times, with slight variations in harmony and tonality. It is a unique and interesting progression that creates tension through the use of both minor 7th and augmented chords. The overall style evokes a dreamy, jazzy atmosphere with elements of R&B and soul.

Vance Joy’s “Riptide” is a remarkably simple yet highly effective song written in the key of C Major. The song follows a repetitive I-vi-IV chord progression, which is only varied in the bridge where a minor seventh chord introduces tension before leading back to the song’s major tonality.

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