Major view
E major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = D# (leading tone, pulls home)
- 4 = A (the note that leans on the 3rd)
Far Caspian - A Dream of You - Chord
Key E major – C# minor Chords Amaj7, B, Emaj7, C#m, G#m, E Easy key C (capo 4)
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Key: E | Dbm | C#m
Capo: 0
Emaj7
Amaj7 B Emaj7
Amaj7 B
Could you be wrong about the night
Emaj7
While dreamin' of the day
Amaj7 B
I stopped to take in what was mine
Emaj7
So terrified by nothin'
Amaj7 C#m B G#m
Wavin' my hand out into the road
Amaj7 C#m B
Makin' your plans, oh, I never know
Amaj7 B Emaj7
Amaj7 B
Could you be wrong about the light
Emaj7
While tryin' to make your way
Amaj7 B
I hold your hand and you hold mine
Emaj7
So terrified by nothin'
Amaj7 C#m B G#m
Wavin' my hand out into the road
Amaj7 C#m B
Makin' your plans, oh, I never know
Amaj7 B Emaj7
Oh, so terrified, I've felt it all before
C#m
I already know
Amaj7 B Emaj7
I'm runnin' for my life, I've let it in so long
C#m
It's takin' its toll
Amaj7 B E
Holdin' onto time, oh, everything must go
C#m
I already know
Amaj7 B Emaj7
All with sacrifice, I let them move on
End of song Play again?
Far Caspian - A Dream of You Tabs
NotesX
Harmony analysis
Far Caspian – A Dream of You: key and chord analysis
The song opens on Emaj7 and ends on Emaj7. Its chords belong to both E major and C#m, so every chord below is read both ways.
Minor view
C# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = A (the minor's melancholy)
- b7 = B (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the E major side because it both starts and finishes on E and E is heard 11 times against 7 for C#m. That is an interpretation, not a rule — hearing the same chords from C# minor is just as valid and teaches you something different.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to E or to C#m; 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 |
|---|---|---|---|---|
| Imaj7 | Emaj7 | Tonic — home | E · G# · B · D# | 10× |
| I | E | Tonic — home | E · G# · B | 1× |
| ii | F#m | Supertonic — prepares the dominant | F# · A · C# | — |
| iii | G#m | Mediant — a tonic-family shade | G# · B · D# | 2× |
| V/vi | G# | Secondary dominant V/vi — leads to C#msecondary dominant | G# · B# · D# | — |
| IVmaj7 | Amaj7 | Subdominant — moves away from home | A · C# · E · G# | 14× |
| V | B | Dominant — strongest pull home | B · D# · F# | 14× |
| vi | C#m | Relative minor — the melancholy side | C# · E · G# | 7× |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | C#m | Tonic — home | C# · E · G# | 7× |
| ii° | D#dim | Supertonic — prepares the dominant | D# · F# · A | — |
| IIImaj7 | Emaj7 | Relative major — the bright side | E · G# · B · D# | 10× |
| III | E | Relative major — the bright side | E · G# · B | 1× |
| iv | F#m | Subdominant — moves away from home | F# · A · C# | — |
| v | G#m | Minor dominant — soft pull | G# · B · D# | 2× |
| V | G# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G# · B# · D# | — |
| VImaj7 | Amaj7 | Submediant — warm colour | A · C# · E · G# | 14× |
| VII | B | Subtonic — steps back to the tonic | B · D# · F# | 14× |
Analysis
The key pair is E major and its relative C# minor (4 sharps). 6 different chords appear 48 times in total; 6 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
- Amaj7 B EIVmaj7 → VIV → V C#mVImaj7 → VIIVI → VII ×10
- B Emaj7 EV → Imaj7authentic cadence C#mVII → IIImaj7 ×9
- Amaj7 C#m EIVmaj7 → vi C#mVImaj7 → iVI → i ×4
- B E EV → Iauthentic cadence C#mVII → III ×1
The move to watch is Amaj7 → B, heard 10 times. From the E side it reads IVmaj7 → V (IV → V: the lift that builds tension before home); from the C#m side it is VImaj7 → VII (VI → VII: the rising step that heads for the tonic). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- E major pentatonic and C# minor pentatonic are the same five notes (E – F# – G# – B – C#): start from E for a brighter phrase, from C# for a bluesier one.
- Over Amaj7, land on A, C#, E — the chord's own tones always sound right on strong beats.
- Over B, land on B, D#, F# — the chord's own tones always sound right on strong beats.
- Over Emaj7, land on E, G#, B — 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 E major shapes
- No capo — open E shapes
- Capo 2 + D shapes
- Capo 4 + C shapes
With C# minor shapes
- Capo 4 + Am shapes
Easiest keys on guitar
- 4 semitones down · capo 4 keeps the original pitch
- 3 semitones up
The song's harmonic story
The opening Emaj7 lays a solid floor for everything that follows. The backbone is Amaj7, B, Emaj7, C#m — IVmaj7–V–Imaj7–vi from the E side, VImaj7–VII–IIImaj7–i from the C#m side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Amaj7 → B (IVmaj7 → V in E, VImaj7 → VII in C#m): IV → V — the lift that builds tension before home. It closes on Emaj7, letting the E 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.
Far Caspian - A Dream of You 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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