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)
Key C major – A minor Chords Am, F, C, Dm, G, Em Easy key G (capo 5)
Am G
We gather here, we line up
Em F
Weepin' in a sunlit room
Am G Em
And if I'm on fire, you'll
F
Be made of ashes, too
Am
Even on my worst day
G Em
Did I deserve, babe
F
All the hell you gave me
Am G
'Cause I loved you
I swear I loved you
Em F C
'Til my dying day
Dm Am
I didn't have it in
F C
Myself to go with grace
Dm Am
And you're the hero
F C
Flying around, saving face
Dm Am
And if I'm dead to you
F C
Why are you at the wake
Dm Am
Cursing my name, wishing I stayed
F
Look at how my tears ricochet
Am G Em
We gather stones, never
F
Knowing what they'll mean
Am G Em
Some to throw, some to
F
Make a diamond ring
Am
You know I didn't want
G
To have to haunt you
Em F
But what a ghostly scene
Am
You wear the same jewels
G
That I gave you
Em F C
As you bury me
Dm Am
I didn't have it in
F C
Myself to go with grace
Dm Am
'Cause when I'd fight
F C
You used to tell me I was brave
Dm Am
And if I'm dead to you
F C
Why are you at the wake
Dm Am
Cursing my name, wishing I stayed
F
Look at how my tears ricochet
C Dm
And I can go anywhere I want
Am F
Anywhere I want
Just not home
C
And you can aim for
Dm
My heart, go for blood
Am
But you would still
F
Miss me in your bones
C Dm
And I still talk to you
Am F
C Dm
And when you can't sleep at night
Am F
C Dm Am
I didn't have it in
F C
Myself to go with grace
Dm Am
And so the battleships
F C
Will sink beneath the waves
Dm Am
You had to kill me, but it
F
Killed you just the same
C Dm Am
Cursing my name, wishing I stayed
F
You turned into your worst fears
C Dm
And you're tossing out blame
Am
Drunk on this pain
F
Crossing out the good years
C Dm
And you're cursing my name
Am
Wishing I stayed
F
Look at how my tears ricochet
End of song Play again?
Harmony analysis
The song opens on Am and ends on F. Its chords belong to both C major and Am, 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 A minor side because it opens on Am and Am is heard 26 times against 18 for C. That is an interpretation, not a rule — the same chords are just as valid seen from C major, and switching between the two views is exactly where the practice value lies.
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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | C | Tonic — home | C · E · G | 18× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 18× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 8× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | 26× |
| V | G | Dominant — strongest pull home | G · B · D | 8× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 26× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 26× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | 18× |
| iv | Dm | Subdominant — moves away from home | D · F · A | 18× |
| v | Em | Minor dominant — soft pull | E · G · B | 8× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | 26× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 8× |
The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 104 times in total; 6 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 F → C, heard 18 times. From the Am side it is VI → III; from the C side it reads IV → I (plagal cadence: the soft 'amen' ending). 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 Am lays a solid floor for everything that follows. The chords that keep coming back are Am, F, C, Dm; read them as vi–IV–I–ii in C or i–VI–III–iv in Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F → C (IV → I in C, VI → III in Am): plagal cadence — the soft 'amen' ending. Ending on F, the song seals C 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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