Major view
Eb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = D (leading tone, pulls home)
- 4 = Ab (the note that leans on the 3rd)
Key Eb major – C minor Chords Cm, Bb, Ab, Gm, Csus2, Eb Easy key G
Eb Bb Cm Cm Eb Bb Cm Ab
Eb Bb
You shout it out
Cm
but I can't hear a word you say
Eb Bb Cm
I'm talking loud not saying much
Eb Bb Cm
I'm criticized but all your bullets ricochet
Eb Bb Cm
You shoot me down, but I get up
Ab Bb Gm
I'm bulletproof, nothing to lose
Cm Ab
Fire away, fire away
Bb Gm
Ricochet, you take your aim
Cm Ab
Fire away, fire away
Bb Gm
you shoot me down but I won't fall
Cm Csus2 Ab
I am tita ni um
Bb Gm
You shoot me down but I won't fall
Cm Csus2 Ab
I am tita ni um
Ab Bb Gm Cm
Eb Bb
Cut me down
Cm
but it's you who'll have further to fall
Eb Bb Cm
Ghost town, haunted love
Eb Bb Cm
Raise your voice, sticks and stones may break my bones
Eb Bb Cm
I'm talking loud not saying much
Ab Bb Gm
I'm bulletproof, nothing to lose
Cm Ab
Fire away, fire away
Bb Gm
Ricochet, you take your aim
Cm Ab
Fire away, fire away
Bb Gm
you shoot me down but I won't fall
Cm Csus2 Ab
I am tita ni um
Bb Gm
You shoot me down but I won't fall
Cm Csus2 Ab
I am tita ni um
Bb Gm Cm Csus2 Ab
I am tita ni um
Bb Gm Cm Csus2 Ab
I am tita ni um
Ab Bb Gm
Stone-hard, machine gun
Cm
Firing at the ones who run
Ab Bb Cm
Stone hard, as bulletproof glass
Ab Bb Gm
You shoot me down but I won't fall
Cm Csus2 Ab
I am tita ni um
Bb Gm
You shoot me down but I won't fall
Cm Csus2 Ab
I am tita ni um
Bb Gm
You shoot me down but I won't fall
Cm Csus2 Ab
I am tita ni um
Bb Gm
You shoot me down but I won't fall
Cm Csus2 Ab
I am tita ni um
Ab Bb Gm Cm
Ab Bb Gm
Cm Csus2 Ab
I am tita ni um
End of song Play again?
Harmony analysis
The song opens on Eb and ends on Ab. Its chords belong to both Eb major and Cm, 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: we can't honestly pick a side here — the song moves freely between Eb major and C minor because it opens on Eb and Cm is heard 30 times against 10 for Eb. Try reading the chords both ways and see which feels more like home to you.
Show the degrees above the chords — relative to Eb or to Cm; 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 | Eb | Tonic — home | Eb · G · Bb | 10× |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | — |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | 18× |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | — |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | 24× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 29× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 30× |
| VIsus2 | Csus2 | Relative minor — the melancholy side | C · D · G | 11× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 30× |
| Isus2 | Csus2 | Tonic — home | C · D · G | 11× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | 10× |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | — |
| v | Gm | Minor dominant — soft pull | G · Bb · D | 18× |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | — |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | 24× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 29× |
The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 122 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.
The move to watch is Ab → Bb, heard 19 times. From the Eb side it reads IV → V (IV → V: the lift that builds tension before home); from the Cm side it is VI → 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.
Empty slices are chords the song doesn't use.
Starting on Eb, the song gives away its key from the very first bar. Cm, Bb, Ab, Gm carry the song: vi–V–IV–iii relative to Eb, i–VII–VI–v relative to Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ab → Bb (IV → V in Eb, VI → VII in Cm): IV → V — the lift that builds tension before home. The final chord is Ab; the ear comes to rest in Eb.
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.
Ready-made lists by difficulty and mood.
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