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)
The Weeknd - Open Hearts - Chord
Key Bb major – G minor Chords Gm, F, Dm, Eb Easy key C
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Key: Bb | Gm
Capo: 0
Gm F Dm Eb
Gm F
I can hear the wind blow, even through the window
Dm Eb
I can hear the whisper, even with my ears closed
Gm F
All the silver and gold only made my skin cold
Dm Eb
I told myself I would never get old, then you pulled me in close
Oh, oh, oh, oh
Gm F
Falling, angels call my name
Dm
But the things you say
Eb
Keeps me alive again
Gm
Where do I start
F
When I open my heart?
Dm Eb
It's never easy falling in love again
Gm
Cover my scars
F
When I open my arms
Dm Eb
It's nevеr easy falling in love again
Gm F
Falling in, falling in love
Dm Eb
It’s nеver easy falling in love again
Gm F Dm
Falling in, falling in love
Eb
Falling in love again
Gm F Dm
Trapped inside a limbo, watching through a window of my soul
Eb
Suffering, I’ve been low, then I seen your halo
Oh, oh, oh
Gm F
Falling, angels call my name
Dm
But the things you say
Eb
Keeps me alive for another day
Gm
Where do I start
F
When I open my heart?
Dm Eb
It's never easy falling in love again
Gm
Cover my scars (cover my scars)
F
When I open my arms (open my arms)
Dm Eb
It's never easy falling in love again
Gm F
Falling in, falling in love
Dm Eb
It’s never easy falling in love again
Gm F Dm
Falling in, falling in love
Eb Gm
Falling in love again
End of song Play again?
The Weeknd - Open Hearts Tabs
NotesX
Harmony analysis
The Weeknd – Open Hearts: key and chord analysis
The song opens on Gm and ends on Gm. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Minor view
G minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Eb (the minor's melancholy)
- b7 = F (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the G minor side because it both starts and finishes on Gm and Gm is heard 15 times while Bb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Bb major, and switching between the two views is exactly where the practice value lies.
Chord degrees: major and relative minor
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 | — |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | — |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 14× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 14× |
| V | F | Dominant — strongest pull home | F · A · C | 14× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 15× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 15× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | — |
| v | Dm | Minor dominant — soft pull | D · F · A | 14× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 14× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 14× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 4 different chords appear 57 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.
Chord movement
- Eb Gm BbIV → vi GmVI → iVI → i ×14
The move to watch is Eb → Gm, heard 14 times. From the Gm side it is VI → i (VI → i: falls a half step into home); from the Bb side it reads IV → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
- Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over F, land on F, A, C — the chord's own tones always sound right on strong beats.
- Over Dm, land on D, F, A — 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 Bb major shapes
- Capo 1 + A shapes
- Capo 3 + G shapes
- Capo 6 + E shapes
With G minor shapes
- Capo 3 + Em shapes
- Capo 5 + Dm shapes
Easiest keys on guitar
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The opening Gm lays a solid floor for everything that follows. The chords that keep coming back are Gm, F, Dm, Eb; read them as vi–V–iii–IV in Bb or i–VII–v–VI in Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Eb → Gm (IV → vi in Bb, VI → i in Gm): VI → i — falls a half step into home. It closes on Gm, letting the Gm 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.
The Weeknd - Open Hearts 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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