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Related Music Theory Alchemy

“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.

“My Name Is Jonas” by Weezer is a 90’s alternative rock song that features a catchy and memorable chord progression during its chorus. The harmony is simple and combines both major and minor chords, giving it a balanced and well-rounded sound. It is worth noting that this progression is fairly common in popular music, particularly in rock and indie genres.

“Bohemian Rhapsody”, composed by Queen, is a powerful anthem that merges elements of rock, opera, and progressive music. The chord progression demonstrates a sophisticated understanding of voice leading and functional harmony, contributing to its distinctive sound. Famous for its key changes and thematic progressions, the composition is often cited as an example of Freddie Mercury’s musical genius.

“Stairway to Heaven” is a progressive rock song by Led Zeppelin, released in 1971. The song showcases a movement between different styles and musical settings, as it starts with a gentle, fingerpicked acoustic section and gradually evolves into a powerful and climactic electric guitar solo, finishing with a full-band finale. The song is characterized by its ascending progression and intricate chord changes, which contribute to its unique and haunting atmosphere. The verse 1 chord progression features a blend of diatonic and chromatic elements, borrowed chords, and inversions, which create a sense of tension and resolution throughout the progression.

Tame Impala’s “Let It Happen” is a song in A major key. The chord progression seems simple at first, with a repetitive motive throughout the verse but it creates a hypnotic effect that is very much in line with Tame Impala’s psychedelic style.

Weezer – Buddy Holly – Verse 1

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Chord Progression

F#m, E/G#, A, A, F#m, E/G#, A, A

Chord Progression Analysis

F#m (vi), E/G# (V6), A (I), A (I), F#m (vi), E/G# (V6), A (I), A (I)

Similar Chord Progressions

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

2. Oasis – “Wonderwall”
Verse Chord Progression: Em7 (ii7), G (IV), Dsus4 (Isus4), A7sus4 (Vsus4), Em7 (ii7), G (IV), Dsus4 (Isus4), A7sus4 (Vsus4)

3. Green Day – “Wake Me Up When September Ends”
Verse Chord Progression: G (I), D/F# (V6), Em (vi), G (I), C (IV), G (I), Am (ii), Am (ii)

These chord progressions showcase a similar use of the vi-V-I pattern in different contexts, as well as how artists utilize variations and added tones for added interest within their music.

Musical Analysis

The chord progression starts with the F# minor chord (vi), which sets a slightly more introspective tone, giving a sense of melancholy. This is followed by E/G#, which introduces the first inversion of an E major chord (V6), providing tension and a sense of anticipation. The progression resolves to the A major chord (I), which is repeated for an extra measure. This progression highlights the simple yet effective use of the vi-V-I pattern, which provides a sense of resolution while adding emotional depth through contrasting minor and major chords.

Overall Analysis

“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.

Style Analysis

The style of “Buddy Holly” can be classified as pop-rock with a blend of alternative rock and power pop. Its catchy melodies and relatable lyrics resonate with a wide range of audiences. The frequent use of the vi-V-I progression in its verses is characteristic of the pop-rock genre, as it provides a sense of familiarity that helps it stand out, while its guitar-driven sound further solidifies its rock appeal.

Chords in the Verse 1 section of Buddy Holly by Weezer are:

F#m, E/G#, A, A, F#m, E/G#, A, A