Major view
Gb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F (leading tone, pulls home)
- 4 = Cb (the note that leans on the 3rd)
Twenty One Pilots - Ride - Chord
Key Gb major – Eb minor Chords Ebm, Gb, Abm, Db, B Easy key G
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Key: Gb | D#m | Ebm
Capo: 0
Gb Gb Gb Abm Ebm Ebm Ebm B
Gb Gb Gb Abm Ebm Ebm Ebm Db
Gb Abm Ebm
I just wanna stay in the sun where I find
B
I know it’s hard sometimes
Gb Abm Ebm
Pieces of peace in the sun’s peace of mind
Db
I know it’s hard sometimes
Gb Abm Ebm
Yeah I think about the end just way too much
B
But it’s fun to fantasize
Gb Abm Ebm
On my enemies I wouldn’t wish who I was
Db
But it’s fun to fantasize
Gb Abm
Oh oh whoa, oh oh whoa
Ebm B Gb
I’m falling so I’m taking my time on my ride
Abm
Oh oh whoa
Ebm Gb Abm Ebm
I’m falling so I’m taking my time on my riiiiiiiiide
B Gb Abm Ebm Db
Taking my time on my riiiiiiiiiiiiiide
Gb
"I'd die for you," that's easy to say
Abm
We have a list of people that we would take
Ebm
A bullet for them, a bullet for you
B
A bullet for everybody in this room
Gb
But I don't seem to see many bullets coming through
Abm
See many bullets coming through
Ebm
Metaphorically I'm the man
Db
But literally I don't know what I'd do
Gb
"I'd live for you," and that's hard to do
Abm
Even harder to say when you know it's not true
Ebm
Even harder to write when you know that tonight
B
There were people back home who tried talking to you
Gb
But then you ignored them still
Abm
All these questions they’re for real
Ebm
Like who would you live for? Who would you die for?
Db
And would you ever kill?
Gb Abm
Oh oh whoa, oh oh whoa
Ebm B Gb
I’m falling so I’m taking my time on my ride
Abm
Oh oh whoa
Ebm Gb Abm Ebm
I’m falling so I’m taking my time on my riiiiiiiiide
B Gb Abm Ebm Db
Taking my time on my riiiiiiiiiiiiiide
Gb Abm Db
I’ve been thinking too much
Ebm Abm
I’ve been thinking too much
Ebm Db
I’ve been thinking too much
I’ve been thinking too much
Gb
Help me
Gb Abm Db
I’ve been thinking too much
Ebm Abm
I’ve been thinking too much
Ebm Db
I’ve been thinking too much
I’ve been thinking too much
Gb Abm
Oh oh whoa, oh oh whoa
Ebm B Gb
I’m falling so I’m taking my time on my ride
Abm
Oh oh whoa
Ebm Gb Abm Ebm
I’m falling so I’m taking my tiiiiiiiiiime
B Gb
I'm taking my time on my ri i ide
Abm Ebm Db
Whoa, oh, oh
Gb Abm
Oh oh whoa, oh oh whoa
Ebm B Gb
I’m falling so I’m taking my time on my ride
Abm
Oh oh whoa
Ebm Db Gb
I'm falling so I'm taking my time on my
Gb Abm Db Ebm Abm
I’ve been thinking too much, help me
Ebm Db Gb
I’ve been thinking too much, help me
Abm Db
I've been thinking too much (I've been thinking too much)
Ebm Abm
I've been thinking too much (Help me)
Ebm Db
I've been thinking too much (I've been thinking too much)
Gb
Help me
End of song Play again?
Twenty One Pilots - Ride Tabs
NotesX
Harmony analysis
Twenty One Pilots – Ride: key and chord analysis
The song opens on Gb and ends on Gb. Its chords belong to both Gb major and Ebm, so every chord below is read both ways.
Minor view
Eb minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Cb (the minor's melancholy)
- b7 = Db (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the Gb major side because it both starts and finishes on Gb and Ebm is heard 36 times against 35 for Gb. That is an interpretation, not a rule — hearing the same chords from Eb minor is just as valid and teaches you something different.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to Gb or to Ebm; 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 | Gb | Tonic — home | Gb · Bb · Db | 35× |
| ii | Abm | Supertonic — prepares the dominant | Ab · Cb · Eb | 32× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | — |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | — |
| IV | B | Subdominant — moves away from home | B · D# · F# | 12× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 17× |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 36× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 36× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| III | Gb | Relative major — the bright side | Gb · Bb · Db | 35× |
| iv | Abm | Subdominant — moves away from home | Ab · Cb · Eb | 32× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | — |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | B | Submediant — warm colour | B · D# · F# | 12× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 17× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 5 different chords appear 132 times in total; 5 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
- Abm Ebm Gbii → vi Ebmiv → iminor plagal ×28
- Db Gb GbV → Iauthentic cadence EbmVII → III ×13
- B Gb GbIV → Iplagal cadence EbmVI → III ×12
- Db Ebm GbV → videceptive cadence EbmVII → iAeolian arrival ×4
- Abm Db Gbii → Vii → V Ebmiv → VII ×4
The move to watch is Abm → Ebm, heard 28 times. From the Gb side it reads ii → vi; from the Ebm side it is iv → i (minor plagal: deep and melancholic). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Gb major pentatonic and Eb minor pentatonic are the same five notes (Gb – Ab – Bb – Db – Eb): start from Gb for a brighter phrase, from Eb for a bluesier one.
- Over Ebm, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
- Over Gb, land on Gb, Bb, Db — the chord's own tones always sound right on strong beats.
- Over Abm, land on Ab, Cb, Eb — 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 Gb major shapes
- Capo 2 + E shapes
- Capo 4 + D shapes
- Capo 6 + C shapes
With Eb minor shapes
- Capo 1 + Dm shapes
- Capo 6 + Am shapes
Easiest keys on guitar
- 1 semitone up
- 6 semitones up · capo 6 keeps the original pitch
The song's harmonic story
Starting on Gb, the song gives away its key from the very first bar. The backbone is Ebm, Gb, Abm, Db — vi–I–ii–V from the Gb side, i–III–iv–VII from the Ebm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Abm → Ebm (ii → vi in Gb, iv → i in Ebm): minor plagal — deep and melancholic. Ending on Gb, the song seals Gb 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.
Twenty One Pilots - Ride 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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