Miley Cyrus - Flowers - Chord

Key C major – A minor Chords Am, Dm, G, C, C/B, E7, F, Cmaj7 Easy key G (capo 5)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Cmaj7

        Am            Dm
We were good, we were gold
        G                   C
Kind of dream that can't be sold
        Am            Dm
We were right 'til we weren't
        G                   C
Built a home and watched it burn

     Am                        Dm
Mmm, I didn't wanna leave you, I didn't wanna lie
 E7
Started to cry but then remembered, I

Am               Dm
I can buy myself flowers
G                     C   C/B
 Write my name in the sand
Am                  Dm
 Talk to myself for hours
G                           C   C/B
 Say things you don't understand
Am                 Dm
 I can take myself dancing
G                      C   C/B
 And I can hold my own hand
            F              E7       Am
Yeah, I can love me better than you can

Am                   Dm
 Can love me better, I can love me better, baby
G                    C             C/B
 Can love me better, I can love me better, baby

         Am            Dm
Paint my nails, cherry red
          G              C   Cmaj7
Match the roses that you left
     Am          Dm
No remorse, no regret
     G                  C   Cmaj7
I forget every word you said

     Am                              Dm
Ooh, I didn't wanna leave you, baby, I didn't wanna fight
 E7
Started to cry but then remembered I

Am               Dm
I can buy myself flowers
G                     C   C/B
 Write my name in the sand
Am                  Dm
 Talk to myself for hours
G                           C   C/B
 Say things you don't understand
Am                 Dm
 I can take myself dancing, yeah
G                      C   C/B
 And I can hold my own hand
            F              E7       Am
Yeah, I can love me better than you can

Am                  Dm
 Can love me better, I can love me better, baby
G                    C             C/B
 Can love me better, I can love me better, baby
Am                   Dm
 Can love me better, I can love me better, baby
G                    C
 Can love me better, I

Am                              Dm
I didn't wanna leave you, baby, I didn't wanna fight
 E7
Started to cry but then remembered I

Am               Dm
I can buy myself flowers (Uh-uh)
G                     C   C/B
 Write my name in the sand
Am                  Dm
 Talk to myself for hours (Yeah-eah)
G                           C   C/B
 Say things you don't understand
Am                 Dm
 I can take myself dancing (Yeah-eah)
G                      C   C/B
 And I can hold my own hand
            F              E7
Yeah, I can love me better than
            F              E7       Am
Yeah, I can love me better than you can

Am                 Dm
 Can love me better, I can love me better, baby
G                    C             C/B
 Can love me better, I can love me better, baby (Baby yeah)
Am                   Dm
 Can love me better, I can love me better, baby
G                    C   C/B   Am
 Can love me better, I

End of song Play again?

Miley Cyrus - Flowers Tabs

NotesX

Harmony analysis

Miley Cyrus – Flowers: key and chord analysis

The song opens on Cmaj7 and ends on Am. Its chords belong to both C major and Am, so every chord below is read both ways.

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)

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: we can't honestly pick a side here — the song moves freely between C major and A minor because it comes to rest on Am, it opens on C, C is heard 34 times against 25 for Am and the major V chord points straight at Am. Try reading the chords both ways and see which feels more like home to you.

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.

Seen from C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	18×
I	C/B	Tonic — home	C · E · G	13×
Imaj7	Cmaj7	Tonic — home	C · E · G · B	3×
ii	Dm	Supertonic — prepares the dominant	D · F · A	21×
iii	Em	Mediant — a tonic-family shade	E · G · B	—
V7/vi	E7	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B · D	7×
IV	F	Subdominant — moves away from home	F · A · C	4×
V	G	Dominant — strongest pull home	G · B · D	18×
vi	Am	Relative minor — the melancholy side	A · C · E	25×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
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	18×
III	C/B	Relative major — the bright side	C · E · G	13×
IIImaj7	Cmaj7	Relative major — the bright side	C · E · G · B	3×
iv	Dm	Subdominant — moves away from home	D · F · A	21×
v	Em	Minor dominant — soft pull	E · G · B	—
V7	E7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B · D	7×
VI	F	Submediant — warm colour	F · A · C	4×
VII	G	Subtonic — steps back to the tonic	G · B · D	18×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 8 different chords appear 109 times in total; 7 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 E7 is V7/vi, a secondary dominant heading for Am.

Chord movement

G C CV → Iauthentic cadence AmVII → III ×18
Dm G Cii → Vii → V Amiv → VII ×18
E7 Am CV7/vi → visecondary resolution AmV7 → iharmonic-minor cadence ×6
Dm E7 Cii → V7/vi Amiv → V7iv → V ×3

The move to watch is G → C, heard 18 times. From the C side it reads V → I (authentic cadence: the strongest arrival home); from the Am side it is VII → III. 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 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.
Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
When E7 comes, swap the scale's G for G#: that single note is the harmonic-minor sound of the chord.

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

5 semitones down · capo 5 keeps the original pitch

The song's harmonic story

Starting on Cmaj7, the song gives away its key from the very first bar. The backbone is Am, Dm, G, C — vi–ii–V–I from the C side, i–iv–VII–III from the Am side. E7 is the interesting twist: in C it is a chromatic chord (V7/vi), while in Am it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on G → C (V → I in C, VII → III in Am): authentic cadence — the strongest arrival home. The final chord is Am; the ear comes to rest in Am.

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.