Major view
E major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = D# (leading tone, pulls home)
- 4 = A (the note that leans on the 3rd)
Key E major – C# minor Chords E, A9/E, Ab7, D6/E, Dbm7, Gbm7, Ebm7, A7 … Easy key G
E A9/E D6/E A9/E E
E A9/E D6/E A9/E B4
E A9/E D6/E
If I could reach the stars
A9/E E
Pull one down for you
E A9/E D6/E
Shine it on my heart
A9/E E
So you could see the truth
A D9/A G6/A
That this love I have inside
D9/A A
Is everything it seems
E A9/E D6/E
But for now I find
A9/E Ab7
It's only in my dreams
Gbm7 Ab7 Dbm7
And I can change the world
Ebm7 Ab7 Dbm7
I'd be the sunlight in your universe
Ebm7 Ab7
You'd think my love was really
Dbm7 Cm7 Bm7
Someething good
E A7 E
Baby, if I could
Abm7 Gm7 Gbm7
Channnnnnnnge the world
E A9/E D6/E
If I could be king
A9/E E
Even for a day
E A9/E D6/E
I'd take you as my queen
A9/E E
I'd have it no other way
A D9/A G6/A
And our love would rule in this
D9/A A
Kingdom we have made
E A9/E D6/E
Till then I'd be a fool
A9/E Ab7
Wishin' for the day
Gbm7 Ab7 Dbm7
That I can change the world
Ebm7 Ab7 Dbm7
I'd be the sunlight in your universe
Ebm7 Ab7
You'd think my love was really
Dbm7 Cm7 Bm7
Someething good
E A7 E
Baby, if I could
Abm7 Gm7 Gbm7 E
Channnnnnnnge the world
A7 E
Baby, if I could
Abm7 Gm7 Gbm7
Channnnnnnnge the world
E A9/E D6/E A9/E E
E A9/E D6/E A9/E Ab7
Gbm7 Ab7 Dbm7
That I can change the world
Ebm7 Ab7 Dbm7
I'd be the sunlight in your universe
Ebm7 Ab7
You'd think my love was really
Dbm7 Cm7 Bm7
Someething good
E A7 E
Baby, if I could
Abm7 Gm7 Gbm7
Change the world
A7 E
Baby, if I could
Abm7 Gm7 Gbm7
Change the world
A7 E
Baby, if I could
Abm7 Gm7 Em11/G
Channnnnnnnge the world
E A9/E D6/E A9/E E
End of song Play again?
Harmony analysis
The song opens on E and ends on E. Its chords belong to both E major and C#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: to us the song feels closer to the E major side because it both starts and finishes on E, E is heard 28 times against 9 for C#m and the major V chord points straight at C#m. That is an interpretation, not a rule — hearing the same chords from C# minor is just as valid and teaches you something different.
Show the degrees above the chords — relative to E or to C#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 | E | Tonic — home | E · G# · B | 28× |
| i7 | Em11/G | Chromatic colour chordoutside the key | E · G · B · D · A | 1× |
| ii7 | Gbm7 | Supertonic — prepares the dominant | Gb · A · Db · Fb | 8× |
| biii7 | Gm7 | Chromatic colour chordoutside the key | G · Bb · D · F | 6× |
| bIII6 | G6/A | Borrowed from the parallel minorborrowed chord | G · B · D · E | 2× |
| iii7 | Abm7 | Mediant — a tonic-family shade | Ab · Cb · Eb · Gb | 6× |
| V7/vi | Ab7 | Secondary dominant V/vi — leads to Dbmsecondary dominant | Ab · C · Eb · Gb | 12× |
| IV | A | Subdominant — moves away from home | A · C# · E | 4× |
| IV7 | A9/E | Chromatic colour chordoutside the key | A · C# · E · G · B | 22× |
| IV7 | A7 | Chromatic colour chordoutside the key | A · C# · E · G | 6× |
| V | B4 | Dominant — strongest pull home | B · D# · F# | 1× |
| v7 | Bm7 | Chromatic colour chordoutside the key | B · D · F# · A | 3× |
| bvi7 | Cm7 | Chromatic colour chordoutside the key | C · Eb · G · Bb | 3× |
| vi7 | Dbm7 | Relative minor — the melancholy side | Db · Fb · Ab · Cb | 9× |
| bVII6 | D6/E | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | D · F# · A · B | 11× |
| bVII7 | D9/A | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | D · F# · A · C · E | 4× |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| vii7 | Ebm7 | Chromatic colour chordoutside the key | Eb · Gb · Bb · Db | 6× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Dbm7 | Tonic — home | Db · Fb · Ab · Cb | 9× |
| bII6 | D6/E | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | D · F# · A · B | 11× |
| bII7 | D9/A | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | D · F# · A · C · E | 4× |
| ii° | D#dim | Supertonic — prepares the dominant | D# · F# · A | — |
| ii7 | Ebm7 | Chromatic colour chordoutside the key | Eb · Gb · Bb · Db | 6× |
| III | E | Relative major — the bright side | E · G# · B | 28× |
| iii7 | Em11/G | Chromatic colour chordoutside the key | E · G · B · D · A | 1× |
| iv7 | Gbm7 | Subdominant — moves away from home | Gb · A · Db · Fb | 8× |
| #iv7 | Gm7 | Chromatic colour chordoutside the key | G · Bb · D · F | 6× |
| #IV6 | G6/A | Chromatic colour chordoutside the key | G · B · D · E | 2× |
| v7 | Abm7 | Minor dominant — soft pull | Ab · Cb · Eb · Gb | 6× |
| V7 | Ab7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Ab · C · Eb · Gb | 12× |
| VI | A | Submediant — warm colour | A · C# · E | 4× |
| VI7 | A9/E | Chromatic colour chordoutside the key | A · C# · E · G · B | 22× |
| VI7 | A7 | Chromatic colour chordoutside the key | A · C# · E · G | 6× |
| VII | B4 | Subtonic — steps back to the tonic | B · D# · F# | 1× |
| vii7 | Bm7 | Chromatic colour chordoutside the key | B · D · F# · A | 3× |
| #vii7 | Cm7 | Chromatic colour chordoutside the key | C · Eb · G · Bb | 3× |
The key pair is E major and its relative C# minor (4 sharps). 17 different chords appear 132 times in total; 6 of them sit naturally inside the shared scale. The major V of C#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from E, the same Ab7 is V7/vi, a secondary dominant heading for C#m. D6/E, D9/A, G6/A are borrowed from the parallel minor, adding a darker shade to the major side.
The move to watch is A9/E → D6/E, heard 11 times. From the E side it reads IV7 → bVII6 (secondary resolution: A9/E resolves a fourth up to D6/E); from the C#m side it is VI7 → bII6. 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 E lays a solid floor for everything that follows. The chords that keep coming back are E, A9/E, Ab7, D6/E; read them as I–IV7–V7/vi–bVII6 in E or III–VI7–V7–bII6 in C#m. A9/E is the interesting twist: in E it is a chromatic chord (IV7), while in C#m it becomes the dominant (VI7) that makes the minor side sound so determined. Keep an ear on A9/E → D6/E (IV7 → bVII6 in E, VI7 → bII6 in C#m): secondary resolution — A9/E resolves a fourth up to D6/E. It closes on E, letting the E 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.
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