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, F, Gm, Cm, Gb Easy key G (capo 3)
Eb Bb F
Eb Bb
For a while there it was rough
F Gm
But lately, I've been doin' better
Eb Bb
Than the last four cold Decembers
F
I recall
Eb Bb
And I see my family every month
F Gm
I found a girl my parents love
Eb
She'll come and stay the night
Bb F
And I think I might have it all
Eb Bb
And I thank God every day
F F#° Gm
For the girl he sent my way
Eb Bb
But I know the things he gives me
F
He can take away
Eb Bb
And I hold you every night
Gm
And that's a feeling
F Eb
I wanna get used to
Cm
But there's no man as terrified as the
F
Man who stands to lose you
Eb Bb
F Gm
Oh, I hope I don't lose you
Eb Bb F
Mm please stay
Gm Eb
I want you, I need you, oh God
Bb F
Don't take
Eb
These beautiful things that I've got
Bb Gm
Please stay
F Eb
I want you, I need you, oh God
Bb Gm
Don't take
F Eb
Thеse beautiful things that I've got
Bb Gm F Eb
Oh oh oh oh, oh, oh, oh oh oh
Bb F
Please don't take
Eb Bb
I found my mind, I'm feelin' sane
F
It's been a while
Gm
But I'm finding my faith
Eb
If everything's good and it's great
Bb F
Why do I sit and wait 'til it's gone
Oh, I'll tell ya
Eb Bb
I know I've got enough
F Gb Gm
I've got peace and I've got love
Eb
But I'm up at night thinkin'
Bb F
I just might lose it all
Eb Bb Gm
Please stay
F Eb
I want you, I need you, oh God
Bb Gm
Don't take
F Eb
Thеse beautiful things that I've got
Bb Gm F Eb
Oh oh oh oh, oh, oh, oh oh oh
Bb F
Please stay
Eb
I want you, I need you, oh God
Bb F
I need
These beautiful things that I've got
End of song Play again?
Harmony analysis
The song opens on Eb and ends on F. 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 Bb is heard 24 times against 13 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 | Tonic — home | Bb · D · F | 24× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 1× |
| 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 | 25× |
| V | F | Dominant — strongest pull home | F · A · C | 24× |
| bVI | Gb | Borrowed from the parallel minorborrowed chord | Gb · Bb · Db | 1× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 13× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 13× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | 24× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 1× |
| 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 | 25× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 24× |
| #VII | Gb | Chromatic colour chordoutside the key | Gb · Bb · Db | 1× |
The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 88 times in total; 5 of them sit naturally inside the shared scale. Gb is borrowed from the parallel minor, adding a darker shade to the major side.
The move to watch is Eb → Bb, heard 24 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.
Starting on Eb, the song gives away its key from the very first bar. The chords that keep coming back are Eb, Bb, F, Gm; read them as IV–I–V–vi in Bb or VI–III–VII–i in Gm. Gb briefly darkens the picture: borrowed from the parallel minor. Keep an ear on Eb → Bb (IV → I in Bb, VI → III in Gm): plagal cadence — the soft 'amen' ending. Ending on F, the song seals Bb 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.
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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