Major view
Eb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = D (leading tone, pulls home)
- 4 = Ab (the note that leans on the 3rd)
Key Eb major – C minor Chords G, D, A, Bm7, Bm Easy key Ab (capo 7)
D Bm G A
Oohh wooaah, ohh wooaah, ohh wooaah, ohh wooaah
G D
You know you love me,I know you care
Bm7
Just shout whenever, And I'll be there
G
You want my love, You want my heart
A
And we will never ever ever be apart
G D
Are we an item? Girl quit playing
Bm7
We're just friends, What are you saying
G
Said there's another and Looked right in my eyes
A
My first love broke my heart for the first time
G
And I was like
D
Baby, baby, baby nooo
Bm7
I'm like baby, baby, baby noo
G
I'm like baby, baby, baby nooo
A G
I thought you'd always be mine mine
D
Baby, baby, baby nooo
Bm7
I'm like baby, baby, baby noo
G
I'm like baby, baby, baby nooo
A G
I thought you'd always be mine
D
For you, I would have done whatever
Bm7
And I just can't believe we ain't together
G
And I wanna play it cool, but I'm loosin' you
A
I'll buy you anything, I'll buy you any ring
G D
And now I'm in pieces, baby fix me
Bm7
And you shake me 'til you wake, me from this bad dream
G
I'm going down, down, dooown
A G
And I just can't believe my first love won't be around
And I'm like
D
Baby, baby, baby nooo
Bm7
I'm like baby, baby, baby noo
G
I'm like baby, baby, baby nooo
A G
I thought you'd always be mine mine
D
Baby, baby, baby nooo
Bm7
I'm like baby, baby, baby noo
G
I'm like baby, baby, baby nooo
A G
I thought you'd always be mine
D
Yeahh, yeah, yeah
Now I'm all gone
Bm7
Yeahh, yeah, yeah
Now I'm all gone
G
Yeahh, yeah, yeah
Now I'm all gone
A
Yeahh, yeah, yeah
Now I'm all gone
End of song Play again?
Harmony analysis
The song opens on D and ends on A. Its chords belong to both Eb major and Cm, 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 C minor side because the major V chord points straight at Cm. That is an interpretation, not a rule — the same chords are just as valid seen from Eb major, and switching between the two views is exactly where the practice value lies.
Show the degrees above the chords — relative to Eb or to Cm; 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 | Eb | Tonic — home | Eb · G · Bb | — |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | — |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | — |
| III | G | Chromatic colour chordoutside the key | G · B · D | 19× |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | — |
| #IV | A | Chromatic colour chordoutside the key | A · C# · E | 10× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | — |
| bvi7 | Bm7 | Chromatic colour chordoutside the key | B · D · F# · A | 9× |
| bvi | Bm | Chromatic colour chordoutside the key | B · D · F# | 1× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | — |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| V/iii | D | Secondary dominant V/iii — leads to Gmsecondary dominant | D · F# · A | 10× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | — |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| V/v | D | Secondary dominant V/v — leads to Gmsecondary dominant | D · F# · A | 10× |
| III | Eb | Relative major — the bright side | Eb · G · Bb | — |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | — |
| v | Gm | Minor dominant — soft pull | G · Bb · D | — |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | 19× |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | — |
| #VI | A | Chromatic colour chordoutside the key | A · C# · E | 10× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | — |
| #vii7 | Bm7 | Chromatic colour chordoutside the key | B · D · F# · A | 9× |
| #vii | Bm | Chromatic colour chordoutside the key | B · D · F# | 1× |
The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 49 times in total; 0 of them sit naturally inside the shared scale. The major V of Cm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull. D acts as a secondary dominant, briefly pointing at another chord of the key.
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 first chord is D; the ear learns where home is within a second. G, D, A, Bm7 carry the song: III–V/iii–#IV–bvi7 relative to Eb, V–V/v–#VI–#vii7 relative to Cm. G is the interesting twist: in Eb it is a chromatic chord (III), while in Cm it becomes the dominant (V) that makes the minor side sound so determined. The final chord is A; the ear comes to rest in Eb.
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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