Major view
A major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G# (leading tone, pulls home)
- 4 = D (the note that leans on the 3rd)
Key A major – F# minor Chords G, C, D, Em, Am, Bm, B Difficulty already in its easiest key
G C G C
G C D Bm
It's a little bit funny, this feeling inside
Em C
I'm not one of those who can easily hide
G D B Em G
I don't have much money but, boy if I did
G Am C D
I'd buy a big house where we both could live
G C D Bm
If I was a sculptor but, but then again no
Em C
Or a man who makes potions on a travelling show
G D B Em G
I know it's not much but it's the best I can do
G Am C G
My gift is my song and this one's for you
D Em Am C
And you can tell everybody this is your song
D Em Am C
It may be quite simple but now that it's done
Em C
I hope you don't mind, I hope you don't mind, that I put down in words
G C D
How wonderful life is now you're in the world
G C G C
Ooh ooh ooh
G C D Bm
I sat on the roof and kicked off the moss
Em C
Well a few of these verses, well they've got me quite cross
G D B Em G
But the sun's been quite kind, while I wrote this song
G Am C D
It's for people like you that keep it turned on
G C D Bm
So excuse me forgetting , but these things I do
Em C
You see I've forgotten if they're green or they're blue
G D B Em G
Well anyway the thing is, what I really mean
G Am C G
Cause yours are the sweetest eyes I've ever seen
D Em Am C
And you can tell everybody this is your song
D Em Am C
It may be quite simple but now that it's done
Em C
I hope you don't mind, I hope you don't mind, that I put down in words
G C D
How wonderful life is now you're in the world
Em C
I hope you don't mind, I hope you don't mind, that I put down in words
G C
How wonderful life is now you're in, you're in, you're in
N.C. G C G C
You're in the world
G C G C G
End of song Play again?
Harmony analysis
The song opens on G and ends on G. Its chords belong to both A major and F#m, 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 A major and F# minor. Try reading the chords both ways and see which feels more like home to you.
Show the degrees above the chords — relative to A or to F#m; 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 | A | Tonic — home | A · C# · E | — |
| i | Am | Chromatic colour chordoutside the key | A · C · E | 8× |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | 4× |
| V/V | B | Secondary dominant V/V — leads to Esecondary dominant | B · D# · F# | 4× |
| bIII | C | Borrowed from the parallel minorborrowed chord | C · E · G | 28× |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | — |
| III | C# | Chromatic colour chordoutside the key | C# · E# · G# | — |
| IV | D | Subdominant — moves away from home | D · F# · A | 16× |
| V | E | Dominant — strongest pull home | E · G# · B | — |
| v | Em | Chromatic colour chordoutside the key | E · G · B | 15× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | — |
| bVII | G | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | G · B · D | 28× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | — |
| bII | G | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | G · B · D | 28× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | — |
| iii | Am | Chromatic colour chordoutside the key | A · C · E | 8× |
| iv | Bm | Subdominant — moves away from home | B · D · F# | 4× |
| IV | B | Major IV — Dorian / melodic-minor colourmodal colour | B · D# · F# | 4× |
| #IV | C | Chromatic colour chordoutside the key | C · E · G | 28× |
| v | C#m | Minor dominant — soft pull | C# · E · G# | — |
| V | C# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# | — |
| VI | D | Submediant — warm colour | D · F# · A | 16× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | — |
| vii | Em | Chromatic colour chordoutside the key | E · G · B | 15× |
The key pair is A major and its relative F# minor (3 sharps). 7 different chords appear 103 times in total; 2 of them sit naturally inside the shared scale. B acts as a secondary dominant, briefly pointing at another chord of the key. G, C are borrowed from the parallel minor, adding a darker shade to the major side.
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
Empty slices are chords the song doesn't use.
The song is already written in its easiest key for guitar.
The first chord is G; the ear learns where home is within a second. The chords that keep coming back are G, C, D, Em; read them as bVII–bIII–IV–v in A or bII–#IV–VI–vii in F#m. B adds a moment of surprise: secondary dominant V/V — leads to E. Ending on G, the song seals A 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.
Ready-made lists by difficulty and mood.
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