Major view
Bb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A (leading tone, pulls home)
- 4 = Eb (the note that leans on the 3rd)
Key Bb major – G minor Chords Eb, Bb/D, Bb, F, Gm, F/A, Bb/F, C/E … Easy key G (capo 3)
Bb F/A Eb/G Bb/F Eb Bb/D
F/A Bb C4 Bb/D
Eb Bb/D
There's a calm surrender
Eb Bb/D
To the rush of day
Eb Bb/D
When the heat of the rolling wind
Cm7 F
Can be turned away
Eb Bb/D
An enchanted moment
Eb Bb/D
And it sees me through
Eb Gm
It's enough for this restless warrior
Ab F
Just to be with you
Bb F/A Gm Eb
And can you feel the love tonight
Bb Eb C/E F
It is where we are
Eb Bb/D Gm Bb/F Eb
It's enough for this wide eyed wanderer
Cm Bb/D Eb C/E F
That we got this far
Bb F/A Gm Eb
And can you feel the love tonight
Bb Eb C/E F
How it's laid to rest
Eb Bb/D Gm Bb/F Eb
It's enough to make kings and vagabonds
Cm Bb/D Eb F Bb4 Bb
Believe the veeery best
F/A Eb/G Bb/F Eb Bb/D
F/A Bb C4 Bb/D
Eb Bb/D
There's a time for everyone
Eb Bb/D
If they only learn
Eb Bb/D
That the twisting kaleidoscope
Cm7 F
Moves us all in turn
Eb Bb/D
There's a rhyme and reason
Eb Bb/D
To the wild outdoors
Eb Gm
When the heart of this star crossed voyager
Ab F
Beats in time with yours
Bb F/A Gm Eb
And can you feel the love tonight
Bb Eb C/E F
It is where we are
Eb Bb/D Gm Bb/F Eb
It's enough for this wide eyed wanderer
Cm Bb/D Eb C/E F
That we got this far
Bb F/A Gm Eb
And can you feel the love tonight
Bb Eb C/E F
How it's laid to rest
Eb Bb/D Gm Bb/F Eb
It's enough to make kings and vagabonds
Cm Bb/D Eb F Bb4 Bb
Believe the veeery best
Eb Bb/D Gm Bb/F Eb
It's enough to make kings and vagabonds
Cm Bb/D Eb F Bb4 Bb
Believe the veeery best
End of song Play again?
Harmony analysis
The song opens on Bb and ends on Bb. Its chords belong to both Bb major and Gm, 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 Bb major side because it both starts and finishes on Bb and Bb is heard 48 times against 11 for Gm. That is an interpretation, not a rule — hearing the same chords from G minor is just as valid and teaches you something different.
Show the degrees above the chords — relative to Bb or to Gm; 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 | Bb/D | Tonic — home | Bb · D · F | 24× |
| I | Bb | Tonic — home | Bb · D · F | 14× |
| I | Bb/F | Tonic — home | Bb · D · F | 7× |
| I | Bb4 | Tonic — home | Bb · D · F | 3× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 5× |
| ii7 | Cm7 | Supertonic — prepares the dominant | C · Eb · G · Bb | 2× |
| V/V | C/E | Secondary dominant V/V — leads to Fsecondary dominant | C · E · G | 6× |
| V/V | C4 | Secondary dominant V/V — leads to Fsecondary dominant | C · E · G | 2× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 37× |
| IV | Eb/G | Subdominant — moves away from home | Eb · G · Bb | 2× |
| V | F | Dominant — strongest pull home | F · A · C | 13× |
| V | F/A | Dominant — strongest pull home | F · A · C | 8× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 11× |
| bVII | Ab | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | Ab · C · Eb | 2× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 11× |
| bII | Ab | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | Ab · C · Eb | 2× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb/D | Relative major — the bright side | Bb · D · F | 24× |
| III | Bb | Relative major — the bright side | Bb · D · F | 14× |
| III | Bb/F | Relative major — the bright side | Bb · D · F | 7× |
| III | Bb4 | Relative major — the bright side | Bb · D · F | 3× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 5× |
| iv7 | Cm7 | Subdominant — moves away from home | C · Eb · G · Bb | 2× |
| IV | C/E | Major IV — Dorian / melodic-minor colourmodal colour | C · E · G | 6× |
| IV | C4 | Major IV — Dorian / melodic-minor colourmodal colour | C · E · G | 2× |
| v | Dm | Minor dominant — soft pull | D · F · A | — |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 37× |
| VI | Eb/G | Submediant — warm colour | Eb · G · Bb | 2× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 13× |
| VII | F/A | Subtonic — steps back to the tonic | F · A · C | 8× |
The key pair is Bb major and its relative G minor (2 flats). 14 different chords appear 136 times in total; 11 of them sit naturally inside the shared scale. C/E, C4 act as secondary dominants, briefly pointing at another chord of the key. Ab is borrowed from the parallel minor, adding a darker shade to the major side.
The move to watch is Eb → Bb/D, heard 17 times. From the Bb side it reads IV → I (plagal cadence: the soft 'amen' ending); from the Gm side it is VI → 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 opening Bb lays a solid floor for everything that follows. The backbone is Eb, Bb/D, Bb, F — IV–I–I–V from the Bb side, VI–III–III–VII from the Gm side. C/E adds a moment of surprise: secondary dominant V/V — leads to F. Keep an ear on Eb → Bb/D (IV → I in Bb, VI → III in Gm): plagal cadence — the soft 'amen' ending. It closes on Bb, letting the Bb 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.
Similar songs, ready to play: pick a list.
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.
We use cookies to provide you with the best experience on our website. For more information, please review our privacy policy.