Major view
C major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = B (leading tone, pulls home)
- 4 = F (the note that leans on the 3rd)
AnnenMayKantereit - Bitte Bleib - Chord
Key C major – A minor Chords E, Am, Dm, C, F, Eb Difficulty already in its easiest key
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Key: C | Am
Capo: 0
E Am E Am E Am E Am
E
Und du sagst, dass du gehst
Am
Und du sagst, dass du meinst, was du sagst, wenn du gehst
E Am
Und du sagst, dass du hoffst, dass ich das versteh'
E Am
Und du sagst, dass du hoffst, dass du einer meiner Freunde bleibst
E
Und, dass du mir mal schreibst, wie's dir geht
Am
Und du sagst, es tut dir fürchterlich Leid
E Am
Und dann sagst du zu mir: "sag' doch auch mal was"
E Am
Und dann denk' ich mir: "Gut, bevor du gehst sag' ich was"
Am Dm C F E Eb E
Bitte bleib, bitte bleib, bitte bleib, bitte bleib nicht, wie du bist
Am Dm C F E Eb E
Und wunder' dich nicht, wenn alles scheiße ist und du mich vermisst
E Am
Und vielleicht hätte ich das auch nur ganz gern gesagt, aber hab' es nicht
E Am E Am E Am E Am
E Am
Eigentlich wollt' ich dir nur sagen: ich hab' dir nicht verzieh'n
E Am
Man könnte sozusagen sagen: ich bin krass bedient
E Am
Und ich versprech' dir, wenn wir uns das nächste Mal zufällig irgendwo sehen
E Am
Dann wird das richtig peinlich
E Am
Und überhaupt dieses: sag doch auch mal was
E
Ich sag doch dauernd was
Am
Ich kann mich langsam selber nicht mehr hören
Am Dm C F E Eb E
Bitte bleib, bitte bleib, bitte bleib, bitte bleib nicht, wie du bist
Am Dm
Und ruf mich nicht mitten in der Nacht an
C F E Eb E
Wenn alles scheiße ist und du mich vermisst
End of song Play again?
AnnenMayKantereit - Bitte Bleib Tabs
NotesX
Harmony analysis
AnnenMayKantereit – Bitte Bleib: key and chord analysis
The song opens on E and ends on E. Its chords belong to both C major and Am, so every chord below is read both ways.
Minor view
A minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = F (the minor's melancholy)
- b7 = G (natural-minor colour)
- #7 = G# (harmonic-minor leading tone from the V chord)
Which side does the ear lean to?
Our reading: to us the song feels closer to the A minor side because Am is heard 25 times against 4 for C and the major V chord points straight at Am. That is an interpretation, not a rule — the same chords are just as valid seen from C major, and switching between the two views is exactly where the practice value lies.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to C or to Am; comparing both readings is a practice of its own.
Every chord of the key, listed 1 to 7 separately for each key. Chords played in the song show how often they appear; chords from outside the scale sit next to their own degree.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | C | Tonic — home | C · E · G | 4× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 4× |
| bIII | Eb | Borrowed from the parallel minorborrowed chord | Eb · G · Bb | 4× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | — |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | 29× |
| IV | F | Subdominant — moves away from home | F · A · C | 4× |
| V | G | Dominant — strongest pull home | G · B · D | — |
| vi | Am | Relative minor — the melancholy side | A · C · E | 25× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 25× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | 4× |
| iv | Dm | Subdominant — moves away from home | D · F · A | 4× |
| #IV | Eb | Chromatic colour chordoutside the key | Eb · G · Bb | 4× |
| v | Em | Minor dominant — soft pull | E · G · B | — |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | 29× |
| VI | F | Submediant — warm colour | F · A · C | 4× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | — |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 70 times in total; 4 of them sit naturally inside the shared scale. The major V of Am brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from C, the same E is V/vi, a secondary dominant heading for Am. Eb is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- E Am CV/vi → vi AmV → iharmonic-minor cadence ×23
The move to watch is E → Am, heard 23 times. From the Am side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the C side it reads V/vi → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
- Over E, land on E, G#, B — the chord's own tones always sound right on strong beats.
- Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
- When E comes, swap the scale's G for G#: that single note is the harmonic-minor sound of the chord.
- On Eb, follow the chord's notes (Eb · G · Bb) rather than the key's scale — it's a borrowed colour.
The song on the circle of fifths
- Played in the song — chord of the key
- Played — the minor's harmonic V or a secondary dominant
- Played — borrowed or outside chord
- Home region: IV–I–V and ii–vi–iii
Empty slices are chords the song doesn't use.
Capo and easier keys
With C major shapes
- No capo — open C shapes
- Capo 3 + A shapes
- Capo 5 + G shapes
With A minor shapes
- No capo — open Am shapes
- Capo 5 + Em shapes
- Capo 7 + Dm shapes
Easiest keys on guitar
The song is already written in its easiest key for guitar.
The song's harmonic story
Starting on E, the song gives away its key from the very first bar. The chords that keep coming back are E, Am, Dm, C; read them as V/vi–vi–ii–I in C or V–i–iv–III in Am. E is the interesting twist: in C it is a chromatic chord (V/vi), while in Am it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on E → Am (V/vi → vi in C, V → i in Am): harmonic-minor cadence — the major V resolves dramatically. It closes on E, letting the C side have the last word.
This analysis is generated from the song's chords by akorculuk's harmony engine using consistent rules. When you change key, the degrees stay the same; only the chord names change.
AnnenMayKantereit - Bitte Bleib Chords on Guitar, Ukulele and Piano
Hover over or tap a chord in the lyrics for its shapes, its degree in both keys and a listen button. Here you have every chord of the song side by side.
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