1. Jeff Buckley – Grace Analysis

2. Full analysis Intro- A SectionBarDescription Intro – A1-3 0:00 – 0:11 The song is in 12/8 time. Tempo = 64 dotted crotchet bpm (beats per minute). The key is not clear at the beginning- it is just a series of chords. The combined notes of the first two chords make an ascending F melodic minor scale. Ripple of notes played on a clean electric guitar sound. Background guitar whisper made by picking the note with the volume turned down then turning the volume up quickly- reverb and delay. Ends with loud unison chord of Em with scoops on the tremelo arm of the guitar and a roll on crash cymbal.

3. Full analysis Intro - B SectionBarDescription Intro – B4 – 7 0:11 – 0:26 Full band play, but no vocals yet. D major Drum-kit, bass, two electric guitars and acoustic guitar. 3 rd electric guitar punctuates the texture with a low C# note (with wide vibrato) clashing against the pedal D (just added for effect, not for harmonic reasons). Acoustic guitar and hi-hat work closely together to drive the rhythm. Bass guitar plays the pedal D, occasionally wandering off for a little ascending riff. Main feature is the rhythmic, semi-strummed chord pattern played high up on the clean (or very slightly distorted) electric guitar.

4. Full analysis Verse 1 SectionBarDescription Verse 18 – 13 0:26 – 0:48 Vocals enter. High electric guitar riff drops out. Guitar whispers return, plus occasional additional noises to add interest. Drum pattern focuses on the toms. Acoustic guitar seems more prominent, with the sound of the plectrum hitting the strings heard clearly, making it as much a percussion instrument as if it was part of the drum-kit. Electric guitar plays broken chords. Bass mainly follows the root note of the power chord. The harmonies depend on the chord pattern, but overall it is modal, with E as the tonic note.

5. Full analysis Pre-Chorus 1 SectionBarDescription Pre- Chorus 1 14 – 19 0:49 – 1:11 Guitar whispers drop out. Electric guitar plays similar rhythm to acoustic guitar with chord shapes moving up the neck. Other instruments remain as they were for the verse. The vocal range starts to get higher. This section is mostly in E minor (with hints of the E- dorian mode).

6. Full analysis Chorus SectionBarDescription Chorus20 -24 1:11 – 1:29 Backing vocals enter- very subtle, sometimes just doubling the main vocal (double tracking). A whispered voice part can be heard behind the main vocals. Strings can be heard subtly in the background, more for sound effects than for harmonic reasons. The harmony is based on the chord pattern, but it is again modal, centred on E. Drum part stops using the toms so extensively- more of a straight rhythm, if a little sparse.

7. Full analysis Link A and Link B SectionBarDescription Link - A25 – 27 1:30 – 1:41 As for section A of the intro, but with a mandolin effect added on the acoustic guitar. Vocal oh to lead to part B. Link – B28 – 31 1:41 – 1:55 As for part B of intro.

8. Full analysis Verse 2 SectionBarDescription Verse 232-37 1:56 – 2:19 As for verse 1. Additional sound effects eg. Descending slide at 2:05 (using slide on guitar with lots of delay), followed by a slide and trill on the strings imitating the guitar.

9. Full analysis Pre-Chorus 2 SectionBarDescription Pre- Chorus 2 38-43 2:19 – 2:41 As for Pre-chorus 1, but strings more prominent adding considerably to the texture. Pizzicato strings added.

10. Full analysis Chorus SectionBarDescription Chorus44-48 2:41 – 2:59 As for previous chorus. Drum roll leading into middle 8.

11. Full analysis Mid 8- A SectionBarDescription Mid 8 A 49-52 3:00 – 3:14 Rather intense section with the strings playing long, sustained notes to fill out the chords. Multi-tracked vocal harmonies in counterpoint with each other (polyphonic texture). Drum-kit plays a similar rhythm on the snare as to what was played on the toms previously, lending it more intensity- much more cymbal throughout.

12. Full analysis Mid 8 - B SectionBarDescription Mid 8 B 53-59 3:15 – 3:41 This section is based on the chord sequence for the pre-chorus, but has been produced very differently. The instrumental backing is similar to pre-chorus 2. The main vocal line improvises a wordless melody above the backing, then a telephone EQ effect is applied to the vocal when the lyrics come back in, giving it a harsh, distant effect. Beautiful, hummed harmonies follow the chord pattern with the sound opening out to vocal aahs toward the end of the section- an almost angelic quality. This contrasts sharply with the harshness of the vocal part.

13. Full analysis Link A and Link B SectionBarDescription Link A60-62 3:41 – 3:52 As for the previous link, part A, but with a rhythmic, percussive sound of hitting the deadened acoustic guitar strings added. A percussive hit of the acoustic guitar body at the end of the section leads into part B. Link B63-66 3:52 – 4:07 As for previous link part B.

14. Full analysis Verse 3 SectionBarDescription Verse 367-71 4:07 – 4:26 The backing is similar as for previous verses, but there is much more use of cymbal in the drum-kit. The vocal part has a much more intense, forceful quality to it, using the higher part of the vocal range. More and more special effects are added as the section progresses.

15. Full analysis Outro SectionBarDescription Outro72 – end 4:26 – 5:19 The strings come to the fore. Vocal improvisations very high in the vocal range (as high as the top G of a sopranos range!) showing off Buckleys vocal virtuosity. An electric guitar is added with flanger effect (bringing out the open droning, discordant notes), adding even more to the intensity. The song ends with a short, unaccompanied, modal phrase in the vocal clearly highlighting the influence of qawwali music.