Major view
D major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = C# (leading tone, pulls home)
- 4 = G (the note that leans on the 3rd)
Key D major – B minor Chords Bm, A, G, D Easy key G (capo 7)
Bm A G D
I was on my way
Bm
Always knew you
A G
Even when I didn't know you
D Bm
Don't make sense, but it do
A G D
I was on my way to you (I was on my way to you, my way to you)
Bm A
Every teardrop felt so heavy
G D Bm
Hurt like hell but heaven sent me through
A G
I was on my way to you (I was on my way to you)
Bm A
And every heartbreak was a yellow brick road
G D
Pointing me straight, just taking me home
Bm A G
I was never lost, I was just passing through
I was on my way to you
Bm A G D
Oooooooh
Bm A
Hope was hopeless, faith was running
G D Bm
Didn't notice you were coming through
A G D
You were on your way too
Bm A
And you don't believe in meant to be
G D Bm
But somehow you were meant for me, it's true
A G D
Yeah, you were on your way too, heaven
Bm A
And every heartbreak was a yellow brick road
G D
Pointing me straight, just taking me home
Bm A G
I was never lost, I was just passing through
Bm
I was on my way to you
A G
I was on my way to you
D Bm
I was on my way to you
A G
I was on my way to you
Bm
I'm on my way
A
On my way to you
G
On my way
On my way to you
Bm
On my way
A G
On my way to you, oh, oh (darling)
Bm
I'm on my way
A
I'm on my way
G
On my way, on my way
Bm
On my way
A G
On my way to you, oh, oh
Bm A
And every heartbreak was a yellow brick road
G
Pointing me straight, just taking me home
Bm A G
I was never lost, I was just passing through (on my way)
Bm A
'Cause I was on my way to you, oh (ooh, ooh, ooh)
G D
I was on my way to you (ohh, ohh, ohh)
Bm A G
I was on my way to you, on was on my way to you (darling)
Bm
Oh my darling, I'm on my way
A
I was on, I was on my way
G D Bm
I was on, I was on my way
A G
On my way to you
Bm A
Oh my darling, woah
G D
Oh oh, ooh whoa
End of song Play again?
Harmony analysis
The song opens on Bm and ends on D. Its chords belong to both D major and Bm, 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 D major and B minor because it comes to rest on D, it opens on Bm and Bm is heard 27 times against 15 for D. Try reading the chords both ways and see which feels more like home to you.
Show the degrees above the chords — relative to D or to Bm; 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 | D | Tonic — home | D · F# · A | 15× |
| ii | Em | Supertonic — prepares the dominant | E · G · B | — |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | — |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | — |
| IV | G | Subdominant — moves away from home | G · B · D | 27× |
| V | A | Dominant — strongest pull home | A · C# · E | 27× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 27× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 27× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | 15× |
| iv | Em | Subdominant — moves away from home | E · G · B | — |
| v | F#m | Minor dominant — soft pull | F# · A · C# | — |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | — |
| VI | G | Submediant — warm colour | G · B · D | 27× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 27× |
The key pair is D major and its relative B minor (2 sharps). 4 different chords appear 96 times in total; 4 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
The move to watch is G → D, heard 15 times. From the D side it reads IV → I (plagal cadence: the soft 'amen' ending); from the Bm 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.
Starting on Bm, the song gives away its key from the very first bar. The backbone is Bm, A, G, D — vi–V–IV–I from the D side, i–VII–VI–III from the Bm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G → D (IV → I in D, VI → III in Bm): plagal cadence — the soft 'amen' ending. It closes on D, letting the D 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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