Athena - For Real - Chord

Key Eb major – C minor Chords G, Cm, Fm, A#, D#, G#, Bb Easy key C (capo 3)

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Capo 0

G   Fm  G  Fm  G#  G

Cm  Fm  G  Fm  G

Fm
Ohhhh... Comin' up, comin' up, comin' up now
Bb
What you doing? 
Cm
What you waiting for?
Fm
Ohh, it's time to push it, break it, rush it
A#                  Cm 
Don't ever let life pass you by

Cm
All I know is you don't want to be part of the crowd
Realize yourself
You say it but don't feel it, 
what you're sayin' has no meanin'
Don't hide your soul

D#                G
For real, I'm for real
Come on

Cm                    G
Up, I wanna bring you up
                  Cm
I wanna bring you up
                  G
I wanna bring you up
                  Cm
I wanna bring you up
                    Fm
Do you want, do you want
G                     
Up, I wanna bring you up, up
                  Cm           Fm G  Fm G
I wanna bring you up

Fm
Please, please
No questions, no answers
A#              Cm           
No more runnin' around in circles
Fm
Are you in, are you out? 
Do you know your way out?
A#                   Cm
Let me take you up, into sky

D#                G
For real, I'm for real
Come on

Cm                    G
Up, I wanna bring you up
                  Cm
I wanna bring you up
                  G
I wanna bring you up
                  Cm
I wanna bring you up
                    Fm
Do you want, do you want
G                     
Up, I wanna bring you up, up
                  Cm           
I wanna bring you up
                 G
I wanna bring you!

Come on....
Come on....
G
Risin' up now, risin' up now... 

Cm   Fm   G   Fm   G

End of song Play again?

Athena - For Real Tabs

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Harmony analysis

Athena – For Real: key and chord analysis

The song opens on G and ends on G. Its chords belong to both Eb major and Cm, so every chord below is read both ways.

Major view

Eb major

Brightness rank 2/7 (bright)

Characteristic notes

7 = D (leading tone, pulls home)
4 = Ab (the note that leans on the 3rd)

Minor view

C minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Ab (the minor's melancholy)
b7 = Bb (natural-minor colour)
#7 = B (harmonic-minor leading tone from the V chord)

Which side does the ear lean to?

Our reading: to us the song feels closer to the C minor side because Cm is heard 15 times against 2 for Eb and the major V chord points straight at Cm. That is an interpretation, not a rule — the same chords are just as valid seen from Eb 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 Eb or to Cm; 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.

Seen from Eb major
Degree	Chord	Role	Notes	In song
I	D#	Tonic — home	D# · G · A#	2×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	14×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	—
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	19×
IV	G#	Subdominant — moves away from home	G# · B# · D#	1×
V	A#	Dominant — strongest pull home	A# · D · E#	3×
V	Bb	Dominant — strongest pull home	Bb · D · F	1×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	15×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—

Seen from C minor
Degree	Chord	Role	Notes	In song
i	Cm	Tonic — home	C · Eb · G	15×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	D#	Relative major — the bright side	D# · G · A#	2×
iv	Fm	Subdominant — moves away from home	F · Ab · C	14×
v	Gm	Minor dominant — soft pull	G · Bb · D	—
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	19×
VI	G#	Submediant — warm colour	G# · B# · D#	1×
VII	A#	Subtonic — steps back to the tonic	A# · D · E#	3×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	1×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 7 different chords appear 55 times in total; 6 of them sit naturally inside the shared scale. The major V of Cm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Eb, the same G is V/vi, a secondary dominant heading for Cm.

Chord movement

G Cm EbV/vi → vi CmV → iharmonic-minor cadence ×10
Fm G Ebii → V/vi Cmiv → Viv → V ×9
A# Cm EbV → videceptive cadence CmVII → iAeolian arrival ×3
Fm A# Ebii → Vii → V Cmiv → VII ×3
Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×1
Fm Bb Ebii → Vii → V Cmiv → VII ×1

The move to watch is G → Cm, heard 10 times. From the Cm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the Eb side it reads V/vi → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Eb major pentatonic and C minor pentatonic are the same five notes (Eb – F – G – Bb – C): start from Eb for a brighter phrase, from C for a bluesier one.
Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
Over Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
Over Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
When G comes, swap the scale's Bb for B: that single note is the harmonic-minor sound of the chord.

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 Eb major shapes

Capo 1 + D shapes
Capo 3 + C shapes
Capo 6 + A shapes

With C minor shapes

Capo 3 + Am shapes

Easiest keys on guitar

3 semitones down · capo 3 keeps the original pitch
4 semitones up

The song's harmonic story

Starting on G, the song gives away its key from the very first bar. The backbone is G, Cm, Fm, A# — V/vi–vi–ii–V from the Eb side, V–i–iv–VII from the Cm side. G is the interesting twist: in Eb it is a chromatic chord (V/vi), while in Cm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on G → Cm (V/vi → vi in Eb, V → i in Cm): harmonic-minor cadence — the major V resolves dramatically. The final chord is G; the ear comes to rest in Eb.

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.