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)
Tame Impala - Eventually - Chord
Key C major – A minor Chords C, Cmaj7, Am, F, Dm, Em, Bm, G Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Cmaj7 Bm Dm
Cmaj7 F Cmaj7
If only there could be another way to tell this
Dm Dm F Cmaj7
cause it feels like murder to put your heart through this
Dm Dm F
I know we al ways said that I could never hurt you
Cmaj7 Bm Em
Cmaj7 Bm Dm
Dm F
This is the very very last time I'm ever going to
Cmaj7 Bm Em
Cmaj7 Bm Dm
C Am
G C
C Am G C
But I know that I'll be happier and I know you will too
C Am G C
I said I know that I'll be happier and I know you will too
F Am Em
Eventually I I I
F Am Em
Eventually I I I
Cmaj7 F Cmaj7
Wish I could turn you back into a stranger
Dm F
Cause if I wasn't there in your life you wouldn't have to change it
Cmaj7 Bm Em
Cmaj7 Bm Dm
C Am G C
But I know that I'll be happier and I know you will too
C Am G C
I said I know that I'll be happier and I know you will too
F Am Em
Eventually I I I
F Am Em
Eventually I I I
C Am G C
And I know just what I've got to do, and it's got to be soon
C Am G C
Cause I know that I'll be happier and I know you will too
F Am Em
Eventually I I I
End of song Play again?
Tame Impala - Eventually Tabs
NotesX
Harmony analysis
Tame Impala – Eventually: key and chord analysis
The song opens on Cmaj7 and ends on Em. Its chords belong to both C major and Am, so every chord below is read both ways.
Minor view
A minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = F (the minor's melancholy)
- b7 = G (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the C major side because it opens on C and C is heard 26 times against 12 for Am. That is an interpretation, not a rule — hearing the same chords from A minor is just as valid and teaches you something different.
Chord degrees: major and relative minor
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 | 14× |
| Imaj7 | Cmaj7 | Tonic — home | C · E · G · B | 12× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 10× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 8× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | 11× |
| V | G | Dominant — strongest pull home | G · B · D | 7× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 12× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| vii | Bm | Chromatic colour chordoutside the key | B · D · F# | 7× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 12× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| ii | Bm | Chromatic colour chordoutside the key | B · D · F# | 7× |
| III | C | Relative major — the bright side | C · E · G | 14× |
| IIImaj7 | Cmaj7 | Relative major — the bright side | C · E · G · B | 12× |
| iv | Dm | Subdominant — moves away from home | D · F · A | 10× |
| v | Em | Minor dominant — soft pull | E · G · B | 8× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | 11× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 7× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 8 different chords appear 81 times in total; 7 of them sit naturally inside the shared scale. Bm step outside the scale as colour chords.
Chord movement
- G C CV → Iauthentic cadence AmVII → III ×7
- F Cmaj7 CIV → Imaj7plagal cadence AmVI → IIImaj7 ×6
- F Am CIV → vi AmVI → iVI → i ×5
The move to watch is G → C, heard 7 times. From the C side it reads V → I (authentic cadence: the strongest arrival home); from the Am side it is VII → III. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
- Over C, land on C, E, G — the chord's own tones always sound right on strong beats.
- Over Cmaj7, land on C, E, G — the chord's own tones always sound right on strong beats.
- Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
The song on the circle of fifths
- Played in the song — chord of the key
- Played — the minor's harmonic V or a secondary dominant
- Played — borrowed or outside chord
- Home region: IV–I–V and ii–vi–iii
Empty slices are chords the song doesn't use.
Capo and easier keys
With C major shapes
- No capo — open C shapes
- Capo 3 + A shapes
- Capo 5 + G shapes
With A minor shapes
- No capo — open Am shapes
- Capo 5 + Em shapes
- Capo 7 + Dm shapes
Easiest keys on guitar
The song is already written in its easiest key for guitar.
The song's harmonic story
The first chord is Cmaj7; the ear learns where home is within a second. The chords that keep coming back are C, Cmaj7, Am, F; read them as I–Imaj7–vi–IV in C or III–IIImaj7–i–VI in Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G → C (V → I in C, VII → III in Am): authentic cadence — the strongest arrival home. Ending on Em, the song seals C as home.
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.
Tame Impala - Eventually Chords on Guitar, Ukulele and Piano
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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