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)
AnnenMayKantereit - Vielleicht Vielleicht - Chord
Key Bb major – G minor Chords F, Gm, Bb, Cm7, Am, D, D7, Cm Easy key C
No ratings yet
or your user informations
Make it yours
Text size
Key: Bb | Gm
Capo: 0
Cm7 F
Es ist so leicht
Cm7
ehrlich zu dir zu sein
F
Es ist so einfach,
Cm7
wenn ich sage, "nein"
F
Oder, "Ich bin noch nicht so weit"
D7
Du gibst mir Zeit
Cm7
Und du bist süß
F Cm
Wie du aussiehst, wenn du genießt
F
Dass es im Winter endlich schneit
Cm7
Du magst jede Jahreszeit
F
Und morgens muss ich lächeln
Cm7
Weil mich deine Küsse wecken
F
Und dann merk ich, es ist leicht
Am
Weil dir so wenig reicht
D
Du gibst mir Zeit
Gm F Bb
Und dann denk ich, dass es vielleicht, vielleicht
Gm F Bb
Für immer so bleibt
Gm F Bb
Und dann denk ich, dass es vielleicht, vielleicht
Gm F Bb
Für immer so bleibt
Gm F Bb
Ja, es ist leicht, leicht, leicht, leicht
Gm F Bb
Ja, es ist leicht, leicht, leicht, leicht
Cm7 F
Cm7 F
Es ist so schön
Cm7
Dir zuzusehen
F
Wenn du duschen gehst
Cm7
Und dann vor mir stehst
F
Und sagst, es wird ein langer Tag
Cm7
Und wenn du mich dann fragst
F
Was wir heut Abend machen
Cm7
Und wir zwischen Küssen lachen
F
Dann merk ich, es ist leicht
Am
Weil dir so wenig reicht
D7
Du gibst mir Zeit
Gm F Bb
Und dann denk ich, dass es vielleicht, vielleicht
Gm F Bb
Für immer so bleibt
Gm F Bb
Und dann denk ich, dass es vielleicht, vielleicht
Gm F Bb
Für immer so bleibt
Gm F Bb
Ja, es ist leicht, leicht, leicht, leicht
Gm F Bb
Ja, es ist leicht, leicht, leicht, leicht
Am D
Weil du siehst was ich sonst niemandem zeige
Am D
Ich kann dir erzählen was ich mir selbst verschweige
Gm F Bb
Und ich will, dass es für immer so bleibt
Gm F Bb
Und ich glaube, das geht
Gm
Vielleicht, vielleicht
F Bb
Vielleicht, vielleicht
Gm
Vielleicht, vieleicht
F Bb
Vielleicht, vielleicht
End of song Play again?
AnnenMayKantereit - Vielleicht Vielleicht Tabs
NotesX
Harmony analysis
AnnenMayKantereit – Vielleicht Vielleicht: key and chord analysis
The song opens on Cm7 and ends on Bb. 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)
- #7 = F# (harmonic-minor leading tone from the V chord)
Which side does the ear lean to?
Our reading: we can't honestly pick a side here — the song moves freely between Bb major and G minor because it comes to rest on Bb and the major V chord points straight at Gm. Try reading the chords both ways and see which feels more like home to you.
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 | 16× |
| ii7 | Cm7 | Supertonic — prepares the dominant | C · Eb · G · Bb | 12× |
| 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 | 3× |
| V7/vi | D7 | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A · C | 2× |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | — |
| V | F | Dominant — strongest pull home | F · A · C | 29× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 16× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| vii | Am | Chromatic colour chordoutside the key | A · C · E | 4× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 16× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| ii | Am | Chromatic colour chordoutside the key | A · C · E | 4× |
| III | Bb | Relative major — the bright side | Bb · D · F | 16× |
| iv7 | Cm7 | Subdominant — moves away from home | C · Eb · G · Bb | 12× |
| 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 | 3× |
| V7 | D7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A · C | 2× |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | — |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 29× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 8 different chords appear 83 times in total; 5 of them sit naturally inside the shared scale. The major V of Gm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Bb, the same D / D7 is V/vi, a secondary dominant heading for Gm. Am step outside the scale as colour chords.
Chord movement
- F Bb BbV → Iauthentic cadence GmVII → III ×16
- Cm7 F Bbii7 → Vii → V Gmiv7 → VII ×12
- D Gm BbV/vi → vi GmV → iharmonic-minor cadence ×2
- D7 Gm BbV7/vi → visecondary resolution GmV7 → iharmonic-minor cadence ×1
- Cm F Bbii → Vii → V Gmiv → VII ×1
The move to watch is F → Bb, heard 16 times. From the Bb side it reads V → I (authentic cadence: the strongest arrival home); from the Gm side it is VII → III. 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 F, land on F, A, C — the chord's own tones always sound right on strong beats.
- Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- When D7 comes, swap the scale's F for F#: 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 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
Starting on Cm7, the song gives away its key from the very first bar. The chords that keep coming back are F, Gm, Bb, Cm7; read them as V–vi–I–ii7 in Bb or VII–i–III–iv7 in Gm. D is the interesting twist: in Bb it is a chromatic chord (V/vi), while in Gm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on F → Bb (V → I in Bb, VII → III in Gm): authentic cadence — the strongest arrival home. The final chord is Bb; the ear comes to rest in Bb.
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.
AnnenMayKantereit - Vielleicht Vielleicht 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.
Find something to play next
Ready-made lists by difficulty and mood.
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.