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Related Music Theory Alchemy

The chord progression in question is from the verse 2 of Weezer’s “The Good Life.” It is a pop-rock song in the key of G major, and the progression features common chords found in the key, with one borrowed chord – B7 – to add a touch of tension and harmonic interest.

Chord Progression Analysis (with Roman Numerals):
G Major (I) – D Major (V) – A minor (ii) – E Major (VI) – G Major (I) – D Major (V) – A minor (ii) – E Major (VI) – G Major (I) – D Major (V) – A minor (ii) – E Major (VI) – G Major (I) – D Major (V) – A minor (ii) – E Major (VI) – G Major (I) – D Major (V) – A minor (ii) – B7 (`V7/iii`)

The borrowed chord in question is the B7, which is borrowed from the relative minor key (E minor) and functions as a secondary dominant to the iii chord (B minor).

The intro of “My Name Is Jonas” by Weezer is a simple, yet effective chord progression in the key of C major. The progression starts on the tonic, moves to a first inversion of a G6 chord, followed by an A minor chord, and finally back to the first inversion of the G6 chord. The progression has a circular nature, which adds to the song’s catchiness and memorability.

“Good Vibrations” by The Beach Boys is highly complex and represents an exceptional use of harmonic structuring. The richness of the piece lies in Brian Wilson’s innovative and unpredictable songwriting, who was making significant use of modulation at the time, constantly shifting keys, in this case especially during the transition bridge.

The chord progression in the bridge of “Gone, Gone” by Tyler, The Creator can be described as a combination of diatonic and borrowed chords from the parallel minor key. The key of the song is F major, and the progression combines elements of pop, R&B, and jazz, creating a distinctive harmonic sound.

The bridge of Beck’s “Think I’m In Love” is an interesting combination of chords, showcasing unusual harmonic choices and unexpected modulations. The tonal center of this progression appears to be ambiguous, as several key centers are explored throughout the progression, creating a sense of harmonic tension and release.

Weezer – The Good Life – Bridge

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Chord Progression

Am, D, G, Em, Am, D, G, Em, Am, D

Chord Progression Analysis

1. A minor (vi)
2. D Major (V/IV)
3. G Major (I)
4. E minor (vi)
5. A minor (vi)
6. D Major (V/IV)
7. G Major (I)
8. E minor (vi)
9. A minor (vi)
10. D Major (V/IV)

Borrowed Chord:
“`
D Major (V/IV) – Borrowed from G Mixolydian mode
“`

Similar Chord Progressions

1. Radiohead – “Creep” (1993)
Chord Progression: [‘G’, ‘B’, ‘C’, ‘Cm’] = G Major (I), B Major (III), C Major (IV), C minor (iv)

2. Oasis – “Don’t Look Back in Anger” (1995)
Chord Progression: [‘C’, ‘G’, ‘Am’, ‘E’, ‘F’, ‘G’, ‘C’, ‘Am’, ‘G’] = C Major (I), G Major (V), A minor (vi), E Major (V/vi), F Major (IV), G Major (V), C Major (I), A minor (vi), G Major (V)

Musical Analysis

The chord progression starts with the vi chord (A minor), creating a feeling of tension, which is resolved by the following V/IV (D Major) chord. This creates a sense of propulsion towards the G Major (I) chord. The progression then repeats, providing a strong sense of forward momentum. By incorporating the D Major borrowed chord, Weezer adds a touch of chromaticism, which enriches the overall sound of the progression.

Overall Analysis

The given chord progression consists of five unique chords: Am, D, G, Em, and D repeated in a structured pattern. The progression is in the key of G major, with one borrowed chord. This chord progression is a good example of Weezer’s mix of rock and pop styles, displaying a strong use of diatonic harmony with a touch of chromaticism.

Style Analysis

The use of both diatonic and borrowed chords is common in Weezer’s music, reflecting their blend of alternative rock and power pop elements. These chords create a sense of catchiness and familiarity, which is a large part of their style. The balance between simple and complex harmonic elements is also a hallmark of Weezer’s sound.

Chords in the Bridge section of The Good Life by Weezer are:

Am, D, G, Em, Am, D, G, Em, Am, D