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That'll Be The Day

Released: May 1957

That'll Be The Day is a song written by Buddy Holly and Jerry Allison. It was first recorded by Buddy Holly and the Three Tunes in 1956 and was re-recorded in 1957 by Holly and his new band, The Crickets. The 1957 recording achieved widespread success. Holly's producer, Norman Petty, was credited as a co-writer, although he did not contribute to the composition.

Many other versions have been recorded. It was the first song recorded (as a demonstration disc) by the Quarrymen, a skiffle group from Liverpool that evolved into The Beatles.

The 1957 recording was certified gold (for over a million US sales) by the Recording Industry Association of America (RIAA) in 1969. It was inducted into the Grammy Hall of Fame in 1998. It was placed in the National Recording Registry, a list of sound recordings that "are culturally, historically, or aesthetically important, and/or inform or reflect life in the United States", in 2005. (wikiwand);

The song was first recorded by Buddy Holly and the Three Tunes for Decca Records at Bradley's Barn, in Nashville, on July 22, 1956. Decca, displeased with Holly's previous two singles, did not issue recordings from this session. After the song was re-recorded by the Crickets in 1957 and became a hit, Decca released the original recording as a single (Decca D30434) on September 2, 1957, with "Rock Around with Ollie Vee" as the B-side. It was also the title track of the 1958 album That'll Be the Day. Despite Holly's newfound stardom, the single did not chart. (wikiwand);

That'll Be The Day is in the The Daily Ukulele — 365 Songs for Better Living book.

Strum a different song every day with easy arrangements of 365 of your favorite songs in one big songbook! The Daily Ukulele features ukulele arrangements with melody, lyrics and uke chord grids and are in ukulele-friendly keys that are particularly suited for groups of one to one hundred to play and sing.

The Daily Ukulele — 365 Songs for Better Living • INDEX of Songs

Theses and many other chords are covered in the Learn A Chord A Day series of lessons.

INTERVALS: Root=note that begins a scale of the starting key; C is C, D is D, Am is a, Em is E, etc... m=minor; M=Major; P=Perfect; D=Diminished; A=Augmented. • ↑ is up/ascending; ↓ is down/descending;

Visit the Harmonic Analysis for Scale and Chord Selection series of lessons for information on creating a your own Harmonic Analysis Worksheet

D

D

A

D

I

I

V

I

D:

D: Ionian/Pentatonic

A

D

A

B7

V

I

V

VI7
( V of II)

B Mixolydian

D

D

A

A

A7

I

I

V

V

1.

2.

D

D

A N.C.

E7 A :||

E7 A

I

I

V

II7
( V of V)

II7 to V

D

A

D

D#dim E7 A7

I

V

I

* II7 V

The D#dim chords, a Chromatic Passing Chord (Should have been named Ebdim to be en-harmonically correct within the current tonality), no need for a Harmonic Analysis as one beat chords can be ignored as far as subs go. For a solo address the chromatic part (D♯ to E).

D

A

B7

E7

I

V

VI7
( V of II)

E7

B Mixolydian

A Harmonic Analysis (RMA/HA) and its worksheet are intended to show the function of the chords, the harmonic principles used, the keys and tonalities the song explores. And, can be used for scale selections and chord and scale substitutions.

< NOTE: A Harmonic Analysis Worksheet is NOT intended to be a lead leadsheet. Minimal roadmap information such as repeats, fines, D.S., D.C., and codas has been used in preparing the worksheets to somewhat mirror the leadsheet in the Daily Ukulele book.

The worksheets will show 1st, 2nd Ending, turnbacks, etc. as in indicated the Yellow Book. You should start to recognize that 1st endings typically always return to a previous verse or an section. With a 2nd ending, a transition to a different part of the song, a or chorus. Harmonic Principles are used for these repeats and transitions.

If turnback chords are not indicated for the these 1st and 2nd endings in the original Yellow Book leadsheet recommended chord(s) will indicated in parentheses or as an alternate harmony in Red . Typically the last measures or turnbacks will be a chord that resolves to and harmonically leads you to the next section or turning you back to the same section. Typically a V or direct substitution of that next chord.

Reference Key

This is the key of the source leadsheet.

• That'll Be The Day is in 4/4 and the Key of D . The original is in the Key of A

Harmonic Principles Used:

These are the harmonic principles used in That'll Be The Day.

• Full Diatonic
• Partial Diatonic • Full Diatonic includes Secondary Dominant chords
• Chromatic

Nashville Numbering System always uses four bars/measures per line, no bar lines, and default is each number of the number of beats per bar/measure based on the time signature. If multiple chords in same bar then they are underlined. It can be as simple as convert the Roman Numerals above to Arabic number.

At its simplest you simply replace the roman numbers with aberic numbers. e.g., I becomes 1 , II becomes 2 , etc. The only exception is the bVII7 chord becomes 7 as this borrowed chord from the Mixolydian tonality is so common and the VII (half-diminished seventh) in a major chord is so rare (actually never).

Check the definitive book Nashville Number System

Once a Harmonic Analysis has been completed then scale selections can be made. These scale selections can be either vertical and horizontal choices. And, really only needed if you are going to take a solo or embellish the melody with added notes.

Scale Abbreviation Legend

Traditional Scale Names: Maj: Major, Dim: Diminished, WT: Whole Tone, Pent: Major Pentatonic,
Scale Mode Names: Ion: Ionian, Dor: Dorian, Phrygian: Phrygian, Lyd: Lydian, Mix: Mixolydian, Aeol: Aeolian, Loc: Locrian

Scale Abbreviation Legend

Traditional Scales: Maj: Major (Ionian), Dim: Diminished, WT: Whole Tone, Har Min: Harmonic Minor,
Contemporary Scales: Minor Pent: Minor Pentatonic, Pent: Major Pentatonic, Blues,
Scale/Mode Names: Ion: Ionian (Major), Dor: Dorian (Minor), Phrygian: Phrygian, Lyd: Lydian, Mix: Mixolydian (Dominant), Aeol: Aeolian (Natural Minor), Loc: Locrian

Checkout LESSONSeries : Harmonic Analysis for Scale and Chord Selection or download the Harmonic Analysis for Scale and Chord Selection book. And the QuickStart Series of Scale and Arpeggio books.

Intro

This is also performed as part of the solo at the end right before the Chorus.

Solos

The solos are pretty much the Blues scale.

• That'll Be The Day •
• Buddy Holly - That'll Be The Day •
• Buddy Holly & The Crickets "That'll Be The Day" on The Ed Sullivan Show •
• The Quarrymen — That'll Be The Day •