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.
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.
“Riptide” by Vance Joy is in the key of C major. The chord progression is a repeated sequence of Am, G, C and Fmaj7, with the Fmaj7 being a borrowed chord from the parallel minor, C minor. Given that the majority of the song follows this pattern, it’s simple yet effective, providing a catchy and persistent structure to the song.
The chord progression in the refrain of MGMT’s “Weekend Wars” is an intriguing combination of diatonic and borrowed chords. It primarily features chords from the key of A minor and C major, with some noticeable out-of-key chords that add color and tension to the progression.
“Rocket Man” by Elton John is primarily in the key of Bb minor (the verses and chorus), but its outro transposes to the key of C Major, which gives a sensation of resolution. The chord progression in the Outro is a simple two-chord progression (I – V), which is extremely common in all styles of music and impacts the listener with its familiarity and stability.
Acoustic Outro Break Bridge Bridge 1 Bridge 2 Chords Chorus Chorus/Outro Chorus 1 Chorus 2 Chorus 3 Chorus 4 Coda Ending Guitar Solo 2 Hook HOOK 1 Hook 2 Hook 3 Instrumental Interlude Intro Main Riff Mid-section Middle 8 Outro Outro with fade out Post-Chorus Pre-chorus Pre-Chorus 1 Pre-Chorus 2 Pre-Chorus 4 Pre-Chorus 5 Pre-Solo Refrain Riff Sax Solo Solo Verse Verse 1 Verse 2 Verse 3 Verse 4 Verse 5 Сhorus
The chord progression in Verse 3 of Daniel Caesar’s “Get You” consists of a mix of diatonic chords and borrowed chords from the parallel minor. The overall tonality is in the B minor key. The smooth, soulful sound of the progression is achieved through the use of minor chords, mixed with major seventh chords, and the cycle of fifths progression in some measures.
“Feeling Good” by Muse is a cover of the song originally written by Anthony Newley and Leslie Bricusse for the 1964 musical “The Roar of the Greasepaint – The Smell of the Crowd”. Muse’s version is characterized by its distinct blend of jazz, rock, and pop influences, with strong orchestration and stylistically unique elements that give the song a modern edge while still paying homage to its classic roots.
The chorus of “Perfect Situation” by Weezer features a fairly straightforward chord progression using diatonic chords from the G major scale. The progression is composed primarily of the tonic (I), dominant (V), and submediant (vi) chords, with a focus on their harmonic interplay. This creates a catchy and memorable chorus, which is characteristic of Weezer’s style and is often found in pop and rock music.
“Time To Pretend” by MGMT features a non-conventional and interesting chord progression. The progression can be primarily analyzed in the key of D Major with a brief modulation to the relative minor (F#m). The chords are not sophisticated in terms of extensions, but the arrangement and harmonic movement provide a unique and memorable melody. This chorus is an example of diatonic and modal mixture, using chords not only from the primary key but also borrowing chords from other modes.
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