Major view
G major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F# (leading tone, pulls home)
- 4 = C (the note that leans on the 3rd)
Key G major – E minor Chords G, Em7, C9, D4, Em, C Difficulty already in its easiest key
Em7 C9 G
Em7 C9 G
Oh no, did I get too close? Oh,
D4 Em7 C9 G
Did I almost see what's really on the inside
Em7 C9 G
All your insecurities
D4 Em7
All the dirty laundry
C9 G
Never made me blink one time
Em7 C9 G D4
Unconditional, unconditionally
Em7 C9 G
I will love you unconditionally
Em7 C9
There is no fear now
G D4
Let go and just be free
Em7 C9 G
I will love you unconditionally
Em7 C9 G
Come just as you are to me
D4 Em7
Don't need apologies
C9 G
Know that you are worthy
Em7 C9 G
I'll take your bad days with your good
D4 Em7
Walk through this storm I would
C9 G
I'd do it all because I love you,
Em7 G once
I love you
Em7 C9 G D4
Unconditional, unconditionally
Em7 C9 G
I will love you unconditionally
Em7 C9
There is no fear now
G D4
Let go and just be free
Em7 C9 G
I will love you unconditionally
Em C
So open up your heart and just let it begin
Em G
Open up your heart, and just let it begin
Em C
Open up your heart, and just let it begin
G
Open up your heart
Em7 C9 G
Acceptance is the key to be
D4 Em7
To be truly free
C9 G
Will you do the same for me
Em7 C9 G D4
Unconditional, unconditionally
Em7 C9 G
I will love you unconditionally
Em7 C9
There is no fear now
G D4
Let go and just be free
Em7 C9 G
I will love you unconditionally(oh, yeah)
Em7 C9 G
Em7 C9 G
I will love you (unconditionally)
Em7 C9 G
I will love you
Em7 C9 G
I will love you unconditionally
End of song Play again?
Harmony analysis
The song opens on Em7 and ends on G. Its chords belong to both G major and Em, 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 G major and E minor because it comes to rest on G, it opens on Em and Em is heard 30 times against 29 for G. Try reading the chords both ways and see which feels more like home to you.
Show the degrees above the chords — relative to G or to Em; 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 | G | Tonic — home | G · B · D | 29× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | — |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | 2× |
| IV7 | C9 | Chromatic colour chordoutside the key | C · E · G · Bb · D | 27× |
| V | D4 | Dominant — strongest pull home | D · F# · A | 11× |
| vi7 | Em7 | Relative minor — the melancholy side | E · G · B · D | 27× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 3× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Em7 | Tonic — home | E · G · B · D | 27× |
| i | Em | Tonic — home | E · G · B | 3× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 29× |
| iv | Am | Subdominant — moves away from home | A · C · E | — |
| v | Bm | Minor dominant — soft pull | B · D · F# | — |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | 2× |
| VI7 | C9 | Chromatic colour chordoutside the key | C · E · G · Bb · D | 27× |
| VII | D4 | Subtonic — steps back to the tonic | D · F# · A | 11× |
The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 99 times in total; 5 of them sit naturally inside the shared scale. C9 step outside the scale as colour chords.
The move to watch is C9 → G, heard 27 times. From the G side it reads IV7 → I (plagal cadence: the soft 'amen' ending); from the Em side it is VI7 → III. 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 song is already written in its easiest key for guitar.
Starting on Em7, the song gives away its key from the very first bar. The backbone is G, Em7, C9, D4 — I–vi7–IV7–V from the G side, III–i7–VI7–VII from the Em side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C9 → G (IV7 → I in G, VI7 → III in Em): plagal cadence — the soft 'amen' ending. It closes on G, letting the G 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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