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)
Key D major – B minor Chords A, D, Em, G, Bm Easy key G (capo 7)
Em D A
Em D A Em D A
I remember all of the things that I thought I wanted to be
Em D A Em D A
So desperate, found a way out of my world and finally breathe
Em D A
Right before my eyes, I saw
Em D A
My heart, it came to life
G A
This ain't easy, it's not meant to be
G
Every story has its scars
D A
But When the pain cuts you deep
Em G Bm
And when the night keeps you from sleeping
D A
Just look and you will see
G A
That I will be your remedy
D A
When the world seems so cruel
Em G Bm
And your heart makes you feel like a fool
D A
I promise you will see
G A Em D A
That I will be, I will be, your remedy
Em D A Em D A
No river is too wide or too, deep for me, too swim to you
Em D A Em
Come whatever, I'll be the shelter that won't
D A
let the rain come through
Em D A
Your loving is my truth
Em D A
And I will always love you
G A G
Love you, oh
D A
When the pain cuts you deep
Em G Bm
And when the night keeps you from sleeping
D A
Just look and you will see
G A
That I will be your remedy
D A
When the world seems so cruel
Em G Bm
And your heart makes you feel like a fool
D A
I promise you will see
G A Em D A
That I will be, I will be, your remedy, oh
D A
When the pain cuts you deep
Em G Bm
And when the night keeps you from sleeping
D A
Just look and you will see
G
That I will be, I will be
D A
When the world seems so cruel
Em G Bm
And your heart makes you feel like a fool
D A
I promise you will see
G D
That I will be, I will be, I will be
Em D A
Your remedy
Em D A
Hmmm hmmm
End of song Play again?
Harmony analysis
The song opens on Em and ends on A. Its chords belong to both D major and Bm, 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 D major side because D is heard 30 times against 6 for Bm. That is an interpretation, not a rule — hearing the same chords from B minor is just as valid and teaches you something different.
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 | 30× |
| ii | Em | Supertonic — prepares the dominant | E · G · B | 23× |
| 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 | 16× |
| V | A | Dominant — strongest pull home | A · C# · E | 35× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 6× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 6× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | 30× |
| iv | Em | Subdominant — moves away from home | E · G · B | 23× |
| 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 | 16× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 35× |
The key pair is D major and its relative B minor (2 sharps). 5 different chords appear 110 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 G → A, heard 6 times. From the D side it reads IV → V (IV → V: the lift that builds tension before home); from the Bm side it is VI → VII (VI → VII: the rising step that heads for the tonic). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Empty slices are chords the song doesn't use.
Starting on Em, the song gives away its key from the very first bar. The chords that keep coming back are A, D, Em, G; read them as V–I–ii–IV in D or VII–III–iv–VI in Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G → A (IV → V in D, VI → VII in Bm): IV → V — the lift that builds tension before home. It closes on A, letting the D side have the last word.
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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