Major view
C major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = B (leading tone, pulls home)
- 4 = F (the note that leans on the 3rd)
Key C major – A minor Chords C, F, Am, G Easy key G (capo 5)
C C F C
C
Pack yourself a toothbrush dear
F C
Pack yourself a favorite blouse
Take a withdrawlslip
F C
Take all of your savings out
Am G
'Cause if we don't leave this town
F C
We might never make it out
Am G
And I was not born to drown
C F C
Baby c'mon
C
Forget what father Brennan said
F C
We were not born in sin
C
Leave a note on your bed
F C
Let your mother know you're safe
Am G
And by the time she wakes
F C
We'll 've driven through the state
Am G
We'll 've driven through the night
C
Baby c'mon
C
If the sun don't shine on me today
F Am G C
And if the subways flood and bridges break
Will you lay yourself down and dig your grave
F Am G C
Or will you rail against your dying day
C F C
And when we looked outside, couldn't even see the sky
F C
How do you pay the rent, is it your parents
Am G F C
Or is hard work dear, holding the atmosphere
Am G
I don't wanna live like that
C F
If the sun don't shine on me today
Am G
And if the subways flood and bridges break
Am G C F Am G C
Je sus Christ, can't save me tonight
Am G C F Am G C
Put on your dress, yes wear something nice
Am G C F Am G C
Decide on me, yea decide on us
Am G C F Am G C
Oh, oh, oh, Illinois, Illinois
C
Pack yourself a toothbrush dear
F C
Pack yourself a favorite blouse
Take a withdrawlslip
F C
Take all of your savings out
Am G
'Cause if we don't leave this town
F C
We might never make it out
End of song Play again?
Harmony analysis
The song opens on C and ends on C. Its chords belong to both C major and Am, 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 C major side because it both starts and finishes on C and C is heard 35 times against 18 for Am. That is an interpretation, not a rule — hearing the same chords from A minor is just as valid and teaches you something different.
Show the degrees above the chords — relative to C or to Am; 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 | C | Tonic — home | C · E · G | 35× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | — |
| iii | Em | Mediant — a tonic-family shade | E · G · B | — |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | 21× |
| V | G | Dominant — strongest pull home | G · B · D | 18× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 18× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 18× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | 35× |
| iv | Dm | Subdominant — moves away from home | D · F · A | — |
| v | Em | Minor dominant — soft pull | E · G · B | — |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | 21× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 18× |
The key pair is C major and its relative A minor (no sharps or flats). 4 different chords appear 92 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 F → C, heard 14 times. From the C side it reads IV → I (plagal cadence: the soft 'amen' ending); from the Am 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 C lays a solid floor for everything that follows. The backbone is C, F, Am, G — I–IV–vi–V from the C side, III–VI–i–VII from the Am side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F → C (IV → I in C, VI → III in Am): plagal cadence — the soft 'amen' ending. Ending on C, the song seals C 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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