Major view
Db major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = C (leading tone, pulls home)
- 4 = Gb (the note that leans on the 3rd)
Key Db major – Bb minor Chords Bbm, Ab, Gb, Db Easy key G (capo 6)
Bbm Ab Gb
Bbm Ab Gb
I won't lie to you
Bbm Ab Gb
I know he's just not right for you
Bbm
And you can tell me if I'm off
Ab
But I see it on your face
Gb
When you say that he's the one that you want
Bbm
And you're spending all your time
Ab
In this wrong situation
Gb
And anytime you want it to stop
Bbm Ab Gb
I know I can treat you better
Db
Than he can
Bbm Ab Gb Db
And any girl like you deserves a gentleman
Bbm
Tell me why are we wasting time
Ab
On all on your wasted crying
Gb Db
When you should be with me instead
Bbm Ab Gb
I know I can treat you better
Db
Better than he can
Bbm Ab Gb
I'll stop time for you
Bbm Ab Gb
The second you say you'd like me to
Bbm Ab
I just wanna give you the loving that you're missing
Gb
Baby, just to wake up with you
Bbm Ab
Could be everything I need and this could be so different
Gb
Tell me what you want to do
Bbm Ab Gb
Cause I know I can treat you better
Db
Than he can
Bbm Ab Gb Db
And any girl like you deserves a gentleman
Bbm
Tell me why are we wasting time
Ab
On all on your wasted crying
Gb Db
When you should be with me instead
Bbm Ab Gb
I know I can treat you better
Db
Better than he can
Bbm Ab Gb Db
Better than he can
Bbm Ab Gb Db
Bbm Ab
Give me a sign
Db Gb
Take my hand, we'll be fine
Bbm Ab Gb
Promise I won't let you down
Bbm Ab
Just know that you don't
Db Gb
Have to do this alone
Bbm Ab Gb
Promise I'll never let you down
Bbm Ab Gb
Cause I know I can treat you better
Db
Than he can
Bbm Ab Gb Db
And any girl like you deserves a gentleman
Bbm
Tell me why are we wasting time
Ab
On all on your wasted crying
Gb Db
When you should be with me instead
Bbm Ab Gb
I know I can treat you better
Db
Better than he can
Bbm Ab Gb Db
Better than he can
Bbm Ab Gb Db
Better than he can
Bbm Ab Gb Db
End of song Play again?
Harmony analysis
The song opens on Bbm and ends on Db. Its chords belong to both Db major and Bbm, 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 Db major and Bb minor because it comes to rest on Db, it opens on Bbm and Bbm is heard 30 times against 19 for Db. Try reading the chords both ways and see which feels more like home to you.
Show the degrees above the chords — relative to Db or to Bbm; 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 | Db | Tonic — home | Db · F · Ab | 19× |
| ii | Ebm | Supertonic — prepares the dominant | Eb · Gb · Bb | — |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | — |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | — |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | 30× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 30× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 30× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 30× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| III | Db | Relative major — the bright side | Db · F · Ab | 19× |
| iv | Ebm | Subdominant — moves away from home | Eb · Gb · Bb | — |
| v | Fm | Minor dominant — soft pull | F · Ab · C | — |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | 30× |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | 30× |
The key pair is Db major and its relative Bb minor (5 flats). 4 different chords appear 109 times in total; 4 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 Gb → Db, heard 17 times. From the Db side it reads IV → I (plagal cadence: the soft 'amen' ending); from the Bbm side it is VI → III. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Empty slices are chords the song doesn't use.
The opening Bbm lays a solid floor for everything that follows. The chords that keep coming back are Bbm, Ab, Gb, Db; read them as vi–V–IV–I in Db or i–VII–VI–III in Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gb → Db (IV → I in Db, VI → III in Bbm): plagal cadence — the soft 'amen' ending. The final chord is Db; the ear comes to rest in Db.
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.
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