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, G, Dm, D, Em Easy key G (capo 5)
Dm Am Dm F Am
Ahh ahhh
F Am F Am F Am F Am Em
F
Ich weiß nicht, war das alles Liebe zwischen uns
Am G
Ich hab' geliebt ohne Vernunft, ich will nur lieben, ich will uns
F
Ich will nur einmal spür'n, dass ich noch lebe, das war nur mit dir
Am G
Weil ich zu Hause durch die Streitigkeiten mich nur selbst verlier'
F
Ich wein' jede Nacht, ich wein' jede Nacht
Am G
Du hörst das nicht mehr, weil du nicht danach fragst
F
Wie kann dir das egal sein
Am G
Nach allem, was war, kann dir das egal sein
F
Und ich lieg'
Am G F
In meinem Bett, es rеgnet rein, bis ich durch Kälte dann еrfrier'
Am G
Während du sie hast, während du sie hast
D F Am
Ich immer wach bleib', obwohl du ihr schreibst
Am G
Während du sie hast, während du sie hast
F
Du immer wach bleibst, damit du sie fragst
Am G
Wie es ihr geht nachts, wie es ihr geht nachts
F Am
Deine impulsive, warme Art lockt Herzen an, die dich erfüll'n
G
Nur weil du selber nicht weißt, wie man Schmerzen heilt
F
Blaulichtfarben leuchten hell
Am G
Ich stell' mir vor, sie woll'n mir helfen
F
Ich wein' jede Nacht, ich wein' jede Nacht
Am G
Du hörst das nicht mehr, weil du nicht danach fragst
F
Wie kann dir das egal sein
Am G
Nach allem, was war, kann dir das egal sein
F
Und ich lieg'
Am G F
In meinem Bett, es rеgnet rein, bis ich durch Kälte dann еrfrier'
Am G
Während du sie hast, während du sie hast
D F Am
Ich immer wach bleib', obwohl du ihr schreibst
Am G
Während du sie hast, während du sie hast
F
Du immer wach bleibst, damit du sie fragst
Am G
Wie es ihr geht nachts, wie es ihr geht nachts
End of song Play again?
Harmony analysis
The song opens on Dm and ends on G. 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 Am is heard 24 times while C never appears. 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 | — |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 2× |
| V/V | D | Secondary dominant V/V — leads to Gsecondary dominant | D · F# · A | 2× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 1× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | 21× |
| V | G | Dominant — strongest pull home | G · B · D | 16× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 24× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 24× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | — |
| iv | Dm | Subdominant — moves away from home | D · F · A | 2× |
| IV | D | Major IV — Dorian / melodic-minor colourmodal colour | D · F# · A | 2× |
| v | Em | Minor dominant — soft pull | E · G · B | 1× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | 21× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 16× |
The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 66 times in total; 5 of them sit naturally inside the shared scale. D acts as a secondary dominant, briefly pointing at another chord of the key.
The move to watch is F → Am, heard 21 times. From the Am side it is VI → i (VI → i: falls a half step into home); from the C side it reads IV → vi. 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 first chord is Dm; the ear learns where home is within a second. The chords that keep coming back are Am, F, G, Dm; read them as vi–IV–V–ii in C or i–VI–VII–iv in Am. D adds a moment of surprise: secondary dominant V/V — leads to G. Keep an ear on F → Am (IV → vi in C, VI → i in Am): VI → i — falls a half step into home. The final chord is G; the ear comes to rest in C.
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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