GRACE (Jeff Buckley)

ANALISYS AND DECODING

Structure
If you listen to the song as a whole, the structure seems very complicated, but when broken down it
is actually a clever arrangement of several deceptively simple ideas. Overall ‘Grace’ is in 4 large
sections, each one subdivided into smaller subsections.

SECTION 1
intro (7), verse 1 (6), pre-chorus (6) chorus (5)
SECTION 2
link (7), Verse 2 (6), pre-chorus (6), chorus (5)
SECTION 3
Bridge (Parts A & B ) (11)
SECTION 4
Link (7), verse 3 (6), outro
NB Each link is the same as the intro, with some changes

Chords/harmony/tonality
The chords for the verse and chorus look very complex on paper, but they are actually very simple
on the guitar. They use the old trick of moving the same chord shape up and down the fretboard
while keeping one or more open strings as a drone, giving a harmonic richness to the sound without
actually having to think about the name of the chords and where to play them – the harmonies
spring from the ideas played on the guitar, and not the other way round. The chord symbols are
given as Em over a power chord – this is because the top 3 open strings on a guitar (GBE) form the
chord of Em (EGB) but Buckley may only have hit 1 or 2 of the 3 strings each time.

Intro/links – Fm, Gm, Em, (D, A7), (D, A7), (D, A7),D
Verses – Em, (F,Em), Eb, (F,Em), Eb, Em
Pre-choruses – (Em,B7, Em, A) (Bm, A), (Em) x 2
Choruses – (F,Em), (Eb), (F Em), (Eb), ( Em)
Outro – (F, Em), (Eb) x?

NB ‘Drop D’ tuning ie the lowest string on the guitar tuned to D, not E causing the guitar to sound
deeper and darker.

Jeff Buckley (1966 – 97)

o Born in ANAHEIM, LA, California
o Formed his first cover band in 1982
o Studied at the Guitar Institute of Technology in Hollywood at 19
o Moved to New York in 1990 to break out of a music scene that was stifling him
o In New York he played in various punk and reggae bands and was also exposed to a Pakistani
devotional music called QAWWALI which he loved
o Returned to LA when things did not work out in New York
o His father Tim Buckley was a jazz-folk musician who left his mother shortly before Jeff was
born
o Big break in 1991 when he was asked to perform a tribute to his father – popular with New
Yorkers
o Sang in guitarist’s GARY LUCAS’s band, then went their own separate ways , but Lucas
returned to add guitar effects and loops to the Grace album
o In 1992 record companies were taking an interest in Jeff and were keen to sign someone
performing alternative music from Seatle grunge in the West Coast eg NIRVANA
 o Finally negotiated a deal with COLUMBIA records (owned by SONY), but his music is hard to
pigeonhole
o Grace Album released in August 1994 on the same day as Oasis Definitely Maybe Album
o Took 19 takes to lay down the basic track
o His music is best described as ECLECTIC ( wide range of styles)
o Uses OVERDUBS ie. multitrack recording device to layer recorded tracks
o Line up – DRUMS, BASS, GUITARS, VOCALS, SYNTH
o Has a unique voice from a ‘tortured howl to a gentle melody

TERMS
Reverb
Delay
Tremolo
Pedal
Modal
Root note
Double tracking
Slide (guitar)
Pizzicato
Arco
Multi-track
EQ
Virtuosity
Flanger

ANALYSIS
12/8 time 64 bpm

SECTION 1
Intro (part A)
o Key not clear at start – first a series of chords
o Ripples of notes played on a clean electric guitar sound
o Synthesised melody
o Lots of reverb and delay on background guitar
o Ends on a loud unison Em chord using tremolo arm and crash cymbal
Intro (part B)
o Full band (no vocals) – a driving rhythm
o D major key is obvious
o Instruments – DRUM KIT, BASS, 2 ELECTRIC GUITARS, ACOUSTIC GUITAR
o Bass guitar plays pedal tonic note with ascending riff
o High electric guitar sound
Verse 1
o Vocals enter
o High guitar riff stops
o Drums focus on the toms
o Acoustic guitar more prominent
o Modal harmonies, with E as the tonic note
o Electric guitar plays broken chords
o Guitar ‘whispers’ plus occasional noises
o Bass follows mainly the root note of the power chord
Pre-chorus 1
o Guitar whispers drop out
o Electric and acoustic guitars play similar chord shapes moving up the fretboard
o Other instruments remain as for verse 1
o Vocal range gets higher
o Mostly in Em
Chorus 1
o Backing vocals enter (double tracking)
o Sound effects on strings in background
o More of a straight drum rhythm
o Modal harmony centred on E
SECTION 2
Link (part 1)
As for part A of the Intro
Link (part B)
As for part B of the Intro
Verse 2
As for Verse 1
Some additional sound effects, eg SLIDE on guitar with lots of DELAY at 2.05 and a slide and
trill on strings imitating a guitar
Pre-chorus 2
As for pre-chorus 1 but strings more prominent plus PIZZICATO strings added
Chorus 2
As for chorus 1 plus drum roll into bridge
SECTION 3 (BRIDGE)
Part A
o Rather intense section with strings playing long sustained notes to fill out the chords
o Multi-tracked vocal harmonies
Part B
o Based on the chord sequence for the pre-chorus, but produced differently
o Instrumental backing is similar to the pre-chorus
o Main vocal line improvises a wordless melody over the backing
o EQ applied to the vocal when the lyrics return giving it a harsh, distant effect
o Beautifully hummed harmonies follow the chord pattern, contrasting sharply with the main
vocal
SECTION 4
Link Part A
o As for previous Link A, but with a rhythmic, percussive sound on the acoustic guitar
Link Part B
o As for previous Link B
Verse 3
o Similar to previous verses, but the vocal part has a more intense, forceful quality using the
higher part of the vocal range
o More and more special effects are added as the section progresses
Outro
o Very full texture
o Strings come to the fore
o Vocal improvisation (very high) showing off Buckley’s virtuosity
o Flanger effect added on electric guitar
o Ends with a short, unaccompanied, modal phrase in the vocal displaying his influence of
QAWWALI music
 MELODY
o Verse 1 – quite a low range from D to D (one octave)
o Pre-chorus 1 – the range gets higher starting on a high G and ending around G an octave
lower
o Chorus 1 – a vocal range of an octave generally, starting on a high G and ending around G an
octave lower
o Verse 2 – similar range to Verse 1 but ends on a high E
o Pre-chorus 2 – high as before even reaching a high B
o Chorus 2 – like Chorus 1
o Bridge – note the improvised, wordless melody in part B on ‘EEH’ reaching a very high E.
‘EQ’ is then applied to the voice (NB high D) making the vocals sound as though they are
being sung down a telephone line
o Verse 3 – the vocal line is very different; it is sung much more forcefully using the higher end
of the vocal range compared to verses 1 & 2 (more in the style of the pre-chorus, but
continually high)
TEXTURE
Intro/links
o A ripple of pull-offs to F minor and G minor chords give the impression of flowing water. The
guitar plays a constant semi-quaver rhythm. The shift from F minor to G minor is odd and
gives the piece an eerie lift. The guitar ‘whispers’ in the background highlight this eerie
effect. Overall a fairly sparse texture. A significantly different mood and texture is created
after the dense E minor chord with drums in bar 3. The lilting 6/8 major chords give the
piece a more optimistic feel. The busy strumming in both the acoustic guitar and electric
guitar (played high in the register)drive the piece on rhythmically, creating a much denser
texture
Verses/pre-choruses/choruses
o Typical rock band texture of guitars, vocals and drums (not too dense) for the sections.
Chords change once or twice per bar, with the exception of 2 bars in the pre-chorus
Bridge
o Backing vocals begin humming the chord sequence for the first 8 bars of the bridge,
therefore creating a dense vocal texture. Backing vocals in verse 3 also add to a denser
vocal texture

RHYTHM
o a lilting 12/8 rhythm established in the opening 2 bars giving a strong feel of 4 dotted
crotchet beats ie or
but played on a guitar as ie compound quadruple time. This
rhythm is then strongly reinforced by strumming guitars for the second part of the
introduction and links and below this we have a very rhythmically complex bass guitar
rhythm. A gentle rhythm then on guitars for the verses, pre-choruses and choruses could be
written as 6/8 or 12/8. Drums focus on the toms for verses 1 & 2 and play more of a straight
rhythm for the choruses. The 12/8 rhythm (4 dotted crotchet beats) is consistent
throughout the whole song.