AnnenMayKantereit - Barfuss Am Klavier - Chord

Key C major – A minor Chords F, C, Am, Em, Dm, Fm Easy key G (capo 5)

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Capo 0

Am  F  C

Am         F        C     Am   F        C
 Und ich sitz schon wieder barfuß am Klavier
Am       F        C                    Am  F  C
 Ich träume Liebeslieder und sing dabei von dir

Dm                          C
 Du und ich wir waren wunderlich
           F
Nicht für mich
                 Em
Für die, die es störte
                    F
Wenn man uns nachts hörte
            C                       F
Ich hab mit dir gemeinsam einsam rumgesessen und geschwiegen
    Em                           F
Ich erinner mich am besten ans gemeinsam einsam Liegen
      C          F
Jeden Morgen danach bei dir
Em                     F
 Du nackt im Bett und ich barfuß am Klavier

Am         F        C     Am   F        C
 Und ich sitz schon wieder barfuß am Klavier
Am       F        C                    Am  F  C
 Ich träume Liebeslieder und sing dabei von dir

Dm                             C  F  Em  F
Und du und ich, das ging so nicht
 
C                            F
Du wolltest alles wissen und das hat mich vertrieben
Em                          F                         Em
Eigentlich dich, du bist nicht länger geblieben, bei mir

                     F
Also sitz' ich um zu leben
          Em        Dm
lieber barfuß am Klavier

Am         F        C     Am   F        C
 Und ich sitz schon wieder barfuß am Klavier
Am       F        C                    Am  F  C
 Ich träume Liebeslieder und sing dabei von dir
 
Dm                       C  F  Fm
 Du und ich das war zu wenig
 
C  F  Em  F  C  F  Em  F

Am         F        C     Am   F        C
 Und ich sitz schon wieder barfuß am Klavier
Am       F        C                    Am  F  C
 Ich träume Liebeslieder und sing dabei von dir
Am           F        C
 Ich träum dabei von dir
Am           F        C
 Ich träum dabei von dir
Am           F        C
 Und träum dabei von dir

Am  F  C

End of song Play again?

AnnenMayKantereit - Barfuss Am Klavier Tabs

NotesX

Harmony analysis

AnnenMayKantereit – Barfuss Am Klavier: key and chord analysis

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

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)

Minor view

A minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = F (the minor's melancholy)
b7 = G (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the C major side because it comes to rest on C, it opens on Am and C is heard 29 times against 21 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.

Chord degrees: major and relative minor

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.

Seen from C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	29×
ii	Dm	Supertonic — prepares the dominant	D · F · A	4×
iii	Em	Mediant — a tonic-family shade	E · G · B	9×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	37×
iv	Fm	Minor iv — borrowed from the parallel minorborrowed chord	F · Ab · C	1×
V	G	Dominant — strongest pull home	G · B · D	—
vi	Am	Relative minor — the melancholy side	A · C · E	21×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	21×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	29×
iv	Dm	Subdominant — moves away from home	D · F · A	4×
v	Em	Minor dominant — soft pull	E · G · B	9×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VI	F	Submediant — warm colour	F · A · C	37×
vi	Fm	Chromatic colour chordoutside the key	F · Ab · C	1×
VII	G	Subtonic — steps back to the tonic	G · B · D	—

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 101 times in total; 5 of them sit naturally inside the shared scale. Fm is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

F C CIV → Iplagal cadence AmVI → III ×25
F Am CIV → vi AmVI → iVI → i ×2
Dm Am Cii → vi Amiv → iminor plagal ×1
Fm C Civ → Iminor plagal Amvi → III ×1

The move to watch is F → C, heard 25 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.

Improvisation tips

C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
Over F, land on F, A, C — the chord's own tones always sound right on strong beats.
Over C, land on C, E, G — the chord's own tones always sound right on strong beats.
Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
On Fm, follow the chord's notes (F · Ab · C) rather than the key's scale — it's a borrowed colour.

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 C major shapes

No capo — open C shapes
Capo 3 + A shapes
Capo 5 + G shapes

With A minor shapes

No capo — open Am shapes
Capo 5 + Em shapes
Capo 7 + Dm shapes

Easiest keys on guitar

5 semitones down · capo 5 keeps the original pitch

The song's harmonic story

Starting on Am, the song gives away its key from the very first bar. F, C, Am, Em carry the song: IV–I–vi–iii relative to C, VI–III–i–v relative to Am. Fm briefly darkens the picture: minor iv — borrowed from the parallel minor. 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.