Major view
D major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = C# (leading tone, pulls home)
- 4 = G (the note that leans on the 3rd)
Boa - Duvet - Chord
Key D major – B minor Chords Bm, Em, G, D Easy key G (capo 7)
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Key: D | Bm
Capo: 0
G Bm
And you don't seem to understand
Em Bm
A shame you seemed an honest man
G Bm
And all the fears you hold so dear
Em Bm
Will turn to whisper in your ear
G
And you know what they say might hurt you
Bm
And you know that it means so much
Em Bm
And you don't even feel a thing
Em Bm G
I am falling, I am fading
Em Bm G
I have lost it all
G Bm
And you don't seem the lying kind
Em Bm
A shame then I can read your mind
G Bm
And all the things that I read there
Em Bm
Candlelit smile that we both share
G
And you know I don't mean to hurt you
Bm
But you know that it means so much
Em Bm
And you don't even feel a thing
Em Bm G Em
I am falling, I am fading, I am drowning
Bm G
Help me to breathe
Em Bm G
I am hurting, I have lost it all
Em
I am losing
Bm G
Help me to breathe
G G Em Bm G Em D Em Bm G
Bm Em Bm G Bm Em Bm
Em Bm G Em
I am falling, I am fading, I am drowning
Bm G
Help me to breathe
Em Bm G
I am hurting, I have lost it all
Em
I am losing
Bm G
Help me to breathe
Em
Hey
End of song Play again?
Boa - Duvet Tabs
NotesX
Harmony analysis
Boa – Duvet: key and chord analysis
The song opens on G and ends on Em. Its chords belong to both D major and Bm, so every chord below is read both ways.
Minor view
B minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = G (the minor's melancholy)
- b7 = A (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the B minor side because Bm is heard 28 times against 1 for D. That is an interpretation, not a rule — the same chords are just as valid seen from D 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 D or to Bm; 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 | D | Tonic — home | D · F# · A | 1× |
| ii | Em | Supertonic — prepares the dominant | E · G · B | 22× |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | — |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | — |
| IV | G | Subdominant — moves away from home | G · B · D | 21× |
| V | A | Dominant — strongest pull home | A · C# · E | — |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 28× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 28× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | 1× |
| iv | Em | Subdominant — moves away from home | E · G · B | 22× |
| v | F#m | Minor dominant — soft pull | F# · A · C# | — |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | — |
| VI | G | Submediant — warm colour | G · B · D | 21× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | — |
Analysis
The key pair is D major and its relative B minor (2 sharps). 4 different chords appear 72 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.
Chord movement
- Em Bm Dii → vi Bmiv → iminor plagal ×20
- G Bm DIV → vi BmVI → iVI → i ×8
The move to watch is Em → Bm, heard 20 times. From the Bm side it is iv → i (minor plagal: deep and melancholic); from the D side it reads ii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- D major pentatonic and B minor pentatonic are the same five notes (D – E – F# – A – B): start from D for a brighter phrase, from B for a bluesier one.
- Over Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over Em, land on E, G, B — 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.
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 D major shapes
- No capo — open D shapes
- Capo 2 + C shapes
- Capo 5 + A shapes
With B minor shapes
- Capo 2 + Am shapes
- Capo 7 + Em shapes
Easiest keys on guitar
- 5 semitones up · capo 7 keeps the original pitch
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
The opening G lays a solid floor for everything that follows. The chords that keep coming back are Bm, Em, G, D; read them as vi–ii–IV–I in D or i–iv–VI–III in Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Em → Bm (ii → vi in D, iv → i in Bm): minor plagal — deep and melancholic. The final chord is Em; the ear comes to rest in D.
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.
Boa - Duvet 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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