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 F, C, Am, Em Easy key A (capo 5)
C F Am F
When did it go wrong, I will never know I have loved you all my life
C F Am F
How did it slow down, I go round and round Thinking about it all the time
C F
I gave you heaven on a platter baby I gave you everything you never gave me
Am F
I never lied and I never faked it Only wanted for you to save me
C F Am F
This love, it ain't over yet There's too much that I haven't said
C F C F
Did you find the note that I wrote? I hid it in the seam of your coat
Am F C F C
It was hard to write with a lump in my throat Do you even know that I can't let go
C F Am F
Why were you so cold, let the truth be told Tell me was it all for the thrill
C F Am F
What was I thinking, I gave you everything But you still went for the kill
C F
I gave you heaven on a platter baby I gave you everything you never gave me
Am F
I never lied and I never faked it Only wanted for you to save me
C F C F
Did you find the note that I wrote? I hid it in the seam of your coat
Am F C F C
It was hard to write with a lump in my throat Do you even know that I can't let go
F Am Em F
Oooh sometimes I feel like I'm in the dark
F Am Em F
Oooh I thought I died in your arms
C F C F
Did you find the note that I wrote? I hid it in the seam of your coat
Am F C F C
It was hard to write with a lump in my throat Do you even know that I can't let go
C F C
Hope you know, I won't let go
End of song Play again?
Harmony analysis
The song opens on C and ends on C. 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: we can't honestly pick a side here — the song moves freely between D major and B minor. Try reading the chords both ways and see which feels more like home to you.
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 | — |
| ii | Em | Supertonic — prepares the dominant | E · G · B | 2× |
| bIII | F | Borrowed from the parallel minorborrowed chord | F · A · C | 31× |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | — |
| III | F# | Chromatic colour chordoutside the key | F# · A# · C# | — |
| IV | G | Subdominant — moves away from home | G · B · D | — |
| V | A | Dominant — strongest pull home | A · C# · E | — |
| v | Am | Chromatic colour chordoutside the key | A · C · E | 12× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | — |
| bVII | C | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | C · E · G | 21× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | — |
| bII | C | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | C · E · G | 21× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | — |
| iv | Em | Subdominant — moves away from home | E · G · B | 2× |
| #IV | F | Chromatic colour chordoutside the key | F · A · C | 31× |
| 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 | — |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | — |
| vii | Am | Chromatic colour chordoutside the key | A · C · E | 12× |
The key pair is D major and its relative B minor (2 sharps). 4 different chords appear 66 times in total; 1 of them sit naturally inside the shared scale. F, 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 opening C lays a solid floor for everything that follows. The chords that keep coming back are F, C, Am, Em; read them as bIII–bVII–v–ii in D or #IV–bII–vii–iv in Bm. F briefly darkens the picture: borrowed from the parallel minor. It closes on C, 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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