Major view
Bb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A (leading tone, pulls home)
- 4 = Eb (the note that leans on the 3rd)
Key Bb major – G minor Chords Eb, Gm, Bb, F Easy key G (capo 3)
Eb Gm Bb F
Eb
Why you always in a mood
Gm
Fuckin 'round, actin' brand new
Bb F
I ain't tryna tell you what to do
Eb
But try to play it cool
Gm
Baby, I ain't playing by your rules
Bb F
Everything look better with a view
Eb
I could never get attached
Gm
When I start to feel under attack
Bb F
Somehow always end up feeling bad
Eb Gm
Baby, I am not your dad, is that all you want from me
Bb F
I just want your company
Eb Gm
Girl, it's obvious, elephant in the room
Bb F
And we're a part of it, don't act so confused
Eb Gm
And you love startin' it, now I'm in a mood
Bb F
Now we arguin' in my bedroom
Eb Gm Bb F
We play games of love to avoid the depression
Eb Gm
We been here before
Bb F
And I won't be your victim
Eb
Why you always in a mood
Gm
Fuckin 'round, actin' brand new
Bb F
I ain't tryna tell you what to do
Eb
But try to play it cool
Gm
Baby, I ain't playing by your rules
Bb F
Everything look better with a view
Eb Gm
So why you tryin' to fake your love on the regular
Bb F
When you could be blowin' up just like my cellular
Eb Gm
I won't ever let a shorty go and set me up
Bb F
Only thing I need to know is if you had enough
Eb Gm
I'm talking slick back, kick back, gang sippin' fourties
Bb F
You keep playin, not another day with you shorty
Eb Gm
Mismatch, bitch, that was way before you know me
Bb F
Got a lot of love, well you better save it for me
Eb Gm Bb F
We play games of love to avoid the depression
Eb Gm
We been here before
Bb F
And I won't be your victim
Eb
Why you always in a mood
Gm
Fuckin 'round, actin' brand new
Bb F
I ain't tryna tell you what to do
Eb
But try to play it cool
Gm
Baby, I ain't playing by your rules
Bb F
Everything look better with a view
End of song Play again?
Harmony analysis
The song opens on Eb and ends on F. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Major view
Brightness rank 2/7 (bright)
Characteristic notes
Minor view
Brightness rank 5/7 (leaning dark)
Characteristic notes
Which side does the ear lean to?
Our reading: we can't honestly pick a side here — the song moves freely between Bb major and G minor. Try reading the chords both ways and see which feels more like home to you.
Show the degrees above the chords — relative to Bb or to Gm; 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 | Bb | Tonic — home | Bb · D · F | 19× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | — |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 19× |
| V | F | Dominant — strongest pull home | F · A · C | 19× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 19× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 19× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | 19× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | — |
| v | Dm | Minor dominant — soft pull | D · F · A | — |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 19× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 19× |
The key pair is Bb major and its relative G minor (2 flats). 4 different chords appear 76 times in total; 4 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
The move to watch is Eb → Gm, heard 19 times. From the Bb side it reads IV → vi; from the Gm side it is VI → i (VI → i: falls a half step into home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Empty slices are chords the song doesn't use.
The opening Eb lays a solid floor for everything that follows. The backbone is Eb, Gm, Bb, F — IV–vi–I–V from the Bb side, VI–i–III–VII from the Gm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Eb → Gm (IV → vi in Bb, VI → i in Gm): VI → i — falls a half step into home. It closes on F, letting the Bb 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.
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.
Ready-made lists by difficulty and mood.
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