Major view
G major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F# (leading tone, pulls home)
- 4 = C (the note that leans on the 3rd)
Key G major – E minor Chords G, Em, D, C, Bm Difficulty already in its easiest key
Bm
We are the crowd
We're c_coming out
got my flash on, it's true
need that picture of you
G
It's so magical
Bm
We'd be so fantastical
Bm
Leather and jeans
garage glamorous
Not sure what it means
but this photo of us
G
it don't have a price
Em
Ready for those flashing lights
'Cause you know that, baby, I
G
I'm your biggest fan
D Em
I'll follow you until you love me
C
Papa_Paparazzi
G D
Baby there's no other superstar
Em
you know that I'll be your
C
Papa_Paparazzi
G D
Promise I'll be kind
Em C
But I won't stop until that boy is mine
G
Baby you'll be famous
D Em
Chase you down until you love me
C
Papa_Paparazzi
Bm
I'll be your girl backstage at your show
Volvet ropes and guitars, yeah
'cause you're my rockstar
G
in between the sets, eyeliner and cigarettes
Bm
Shadow is burnt, yellow dance and return
My lashes are dry, purple teardrops I cry
G
It don't have a price
Em
Loving you is Cherry Pie
'Cause you know that baby I
G
I'm your biggest fan
D Em
I'll follow you until you love me
C
Papa_Paparazzi
G D
Baby there's no other superstar
Em
you know that I'll be your
C
Papa_Paparazzi
G D
Promise I'll be kind
Em C
But I won't stop until that boy is mine
G
Baby you'll be famous
D Em
Chase you down until you love me
C
Papa_Paparazzi
Bm
Real good, we're dancing in the studio
Snap, snap to that shit on the radio
Don't stop, for anyone
We're plastic but we still have fun
G
I'm your biggest fan
D Em
I'll follow you until you love me
C
Papa_Paparazzi
G D
Baby there's no other superstar
Em
you know that I'll be your
C
Papa_Paparazzi
G D
Promise I'll be kind
Em C
But I won't stop until that boy is mine
G
Baby you'll be famous
D Em
Chase you down until you love me
C
Papa_Paparazzi
End of song Play again?
Harmony analysis
The song opens on Bm and ends on C. Its chords belong to both G major and Em, 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 G major side because G is heard 16 times against 14 for Em. That is an interpretation, not a rule — hearing the same chords from E minor is just as valid and teaches you something different.
Show the degrees above the chords — relative to G or to Em; 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 | G | Tonic — home | G · B · D | 16× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | — |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 6× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | 12× |
| V | D | Dominant — strongest pull home | D · F# · A | 12× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 14× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 14× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 16× |
| iv | Am | Subdominant — moves away from home | A · C · E | — |
| v | Bm | Minor dominant — soft pull | B · D · F# | 6× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | 12× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 12× |
The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 60 times in total; 5 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 D → Em, heard 12 times. From the G side it reads V → vi (deceptive cadence: expected G, lands on Em); from the Em 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 song is already written in its easiest key for guitar.
The first chord is Bm; the ear learns where home is within a second. The chords that keep coming back are G, Em, D, C; read them as I–vi–V–IV in G or III–i–VII–VI in Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on D → Em (V → vi in G, VII → i in Em): deceptive cadence — expected G, lands on Em. The final chord is C; the ear comes to rest in G.
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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