Major view
Eb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = D (leading tone, pulls home)
- 4 = Ab (the note that leans on the 3rd)
Key Eb major – C minor Chords Eb, Bb, Cm, Ab Easy key G
Eb
When the days are cold
Bb
And the cards all fold
Cm
And the saints we see
Ab
Are all made of gold
Eb
When your dreams all fail
Bb
And the ones we hail
Cm
Are the worst of all
Ab
And the blood's run stale
Eb Bb
I want to hide the truth
Cm
I want to shelter you
Ab
But with the beast inside
Eb
There's nowhere we can hide
Bb
No matter what we breed
Cm
We still are made of greed
Ab
This is my kingdom come
Eb
This is my kingdom come
Eb Bb
When you feel my heat
Cm
Look into my eyes
Ab
It's where my demons hide
Eb
It's where my demons hide
Bb
Don't get too close
Cm
It's dark inside
Ab
It's where my demons hide
Eb
It's where my demons hide
Eb
When the curtain's call
Bb
Is the last of all
Cm
When the lights fade out
Ab
All the sinners crawl
Eb
So they dug your grave
Bb
And the masquerade
Cm
Will come calling out
Ab
At the mess you made
Eb Bb
Don't want to let you down
Cm
But I am hell bound
Ab
Though this is all for you
Eb
Don't want to hide the truth
Bb
No matter what we breed
Cm
We still are made of greed
Ab
This is my kingdom come
Eb
This is my kingdom come
Eb Bb
When you feel my heat
Cm
Look into my eyes
Ab
It's where my demons hide
Eb
It's where my demons hide
Bb
Don't get too close
Cm
It's dark inside
Ab
It's where my demons hide
Eb
It's where my demons hide
Eb Bb
They say it's what you make
Cm
I say it's up to fate
Ab
It's woven in my soul
Eb
I need to let you go
Bb
Your eyes they shine so bright
Cm
I want to save that light
Ab
I can't escape this now
Eb
Unless you show me how
Eb Bb
When you feel my heat
Cm
Look into my eyes
Ab
It's where my demons hide
Eb
It's where my demons hide
Bb
Don't get too close
Cm
It's dark inside
Ab
It's where my demons hide
Eb
It's where my demons hide
End of song Play again?
Harmony analysis
The song opens on Eb and ends on Eb. Its chords belong to both Eb major and Cm, 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: to us the song feels closer to the Eb major side because it both starts and finishes on Eb and Eb is heard 22 times against 16 for Cm. That is an interpretation, not a rule — hearing the same chords from C minor is just as valid and teaches you something different.
Show the degrees above the chords — relative to Eb or to Cm; 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 | Eb | Tonic — home | Eb · G · Bb | 22× |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | — |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | — |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | — |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | 16× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 16× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 16× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 16× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | 22× |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | — |
| v | Gm | Minor dominant — soft pull | G · Bb · D | — |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | — |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | 16× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 16× |
The key pair is Eb major and its relative C minor (3 flats). 4 different chords appear 70 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 Bb → Cm, heard 16 times. From the Eb side it reads V → vi (deceptive cadence: expected Eb, lands on Cm); from the Cm side it is VII → i (Aeolian arrival: rises a whole tone 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. Eb, Bb, Cm, Ab carry the song: I–V–vi–IV relative to Eb, III–VII–i–VI relative to Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bb → Cm (V → vi in Eb, VII → i in Cm): deceptive cadence — expected Eb, lands on Cm. Ending on Eb, the song seals Eb as home.
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.
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