Major view
G major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F# (leading tone, pulls home)
- 4 = C (the note that leans on the 3rd)
Key G major – E minor Chords C, G, D Difficulty already in its easiest key
C G D
Are we gonna make it? Is this gonna hurt?
C G D
Oh, we can try to sedate it but that never works, yeah
C G D
I start to imagine a world where we don't collide
C G D
It's making me sick but we'll heal and the sun will rise
C G
If you tell me you're leaving, I'll make it easy
D
It'll be okay
C G
If we can't stop the bleeding, we don't have to fix it
D
We don't have to stay
C
I will love you either way
G D
Ooh oh, it'll be o-, be okay
Ooh oh
C G D
Oh, the future we dreamed of is fading to black
Oh ohh, Oh ohh
C G
And no, thеre's nothing more painful
D
Nothing more painful, oh-woah (Oh-woah)
C G D
I start to imagine a world where we don't collide
C G D
It's making me sick but we'll heal and the sun will rise
C G
If you tell me you're leaving, I'll make it easy
D
It'll be okay (It'll be okay)
C G
And if we can't stop the bleeding, we don't have to fix it
D
We don't have to stay (Don't have to stay)
C
I will love you either way
G D
Ooh oh, it'll be o-, be okay
Ooh oh
C
I will love you either way
G
It might be so sweet
D
It might be so bitter
C
I will love you either way
G
It might be so sweet
D
It might be so bitter (Ooh ooh)
C G D
Oh, if the future we've dreamed of is fading to black
C Cadd9 C G Gadd11 G D
I will love you either way
End of song Play again?
Harmony analysis
The song opens on C and ends on D. Its chords belong to both G major and Em, 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: to us the song feels closer to the G major side because G is heard 17 times while Em never appears. That is an interpretation, not a rule — hearing the same chords from E minor is just as valid and teaches you something different.
Show the degrees above the chords — relative to G or to Em; 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 | G | Tonic — home | G · B · D | 17× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | — |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| III | B | Chromatic colour chordoutside the key | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | 17× |
| V | D | Dominant — strongest pull home | D · F# · A | 17× |
| vi | Em | Relative minor — the melancholy side | E · G · B | — |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | — |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 17× |
| iv | Am | Subdominant — moves away from home | A · C · E | — |
| v | Bm | Minor dominant — soft pull | B · D · F# | — |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | 17× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 17× |
The key pair is G major and its relative E minor (1 sharp). 3 different chords appear 51 times in total; 3 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 C → G, heard 17 times. From the G side it reads IV → I (plagal cadence: the soft 'amen' ending); from the Em 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 song is already written in its easiest key for guitar.
The opening C lays a solid floor for everything that follows. C, G, D carry the song: IV–I–V relative to G, VI–III–VII relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C → G (IV → I in G, VI → III in Em): plagal cadence — the soft 'amen' ending. Ending on D, the song seals G 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.
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.
Similar songs, ready to play: pick a list.
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.
We use cookies to provide you with the best experience on our website. For more information, please review our privacy policy.