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)
Billie Eilish - idontwannabeyouanymore - Chord
Key G major – E minor Chords Cmaj7, Gmaj7, Am, D, B7, Dsus2, Em, Emadd9 Easy key C (capo 7)
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Key: G | Em
Capo: 0
Cmaj7 Gmaj7 Am Gmaj7
Cmaj7
Don't be that way
Gmaj7
Fall apart twice a day
Am Gmaj7
I just wish you could feel what you say
Cmaj7
Show, never tell
Gmaj7
But I know you too well
Am Dsus2 D
Kind of mood that you wish you could sell
Cmaj7
If teardrops could be bottled
Gmaj7
There'd be swimming pools filled by models
Am B7
Told "that tight dress is what makes you a whore"
Cmaj7
If "I love you" was a promise
Gmaj7
Would you break it, if you're honest
Am D Dsus2 D
Tell the mirror what you know she's heard before
Cmaj7 B7 Em
Idontwannabeyouanymore
Cmaj7
Hands getting cold
Gmaj7
Losing feeling's getting old
Am Gmaj7
Was I made from a broken mold?
Cmaj7
Hurt, I can't shake
Gmaj7
We've made every mistake
Am D Dsus2 D
Only you know the way that I break
Cmaj7
If teardrops could be bottled
Gmaj7
There'd be swimming pools filled by models
Am B7
Told "that tight dress is what makes you a whore"
Cmaj7
If "I love you" was a promise
Gmaj7
Would you break it, if you're honest
Am D Dsus2 D
Tell the mirror what you know she's heard before
Cmaj7 B7
Idontwannabeyou
Cmaj7 B7
Idontwannabeyou
Cmaj7 B7 Emadd9
Idontwannabeyou, anymore
End of song Play again?
Billie Eilish - idontwannabeyouanymore Tabs
NotesX
Harmony analysis
Billie Eilish – idontwannabeyouanymore: key and chord analysis
The song opens on Cmaj7 and ends on Emadd9. Its chords belong to both G major and Em, so every chord below is read both ways.
Minor view
E minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = C (the minor's melancholy)
- b7 = D (natural-minor colour)
- #7 = D# (harmonic-minor leading tone from the V chord)
Which side does the ear lean to?
Our reading: to us the song feels closer to the E minor side because it comes to rest on Em, G is heard 12 times against 2 for Em and the major V chord points straight at Em. That is an interpretation, not a rule — the same chords are just as valid seen from G major, and switching between the two views is exactly where the practice value lies.
Chord degrees: major and relative minor
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 |
|---|---|---|---|---|
| Imaj7 | Gmaj7 | Tonic — home | G · B · D · F# | 12× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 9× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| V7/vi | B7 | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# · A | 6× |
| IVmaj7 | Cmaj7 | Subdominant — moves away from home | C · E · G · B | 13× |
| V | D | Dominant — strongest pull home | D · F# · A | 7× |
| Vsus2 | Dsus2 | Dominant — strongest pull home | D · E · A | 4× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 1× |
| vi | Emadd9 | Relative minor — the melancholy side | E · G · B · F# | 1× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 1× |
| i | Emadd9 | Tonic — home | E · G · B · F# | 1× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| IIImaj7 | Gmaj7 | Relative major — the bright side | G · B · D · F# | 12× |
| iv | Am | Subdominant — moves away from home | A · C · E | 9× |
| v | Bm | Minor dominant — soft pull | B · D · F# | — |
| V7 | B7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# · A | 6× |
| VImaj7 | Cmaj7 | Submediant — warm colour | C · E · G · B | 13× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 7× |
| VIIsus2 | Dsus2 | Subtonic — steps back to the tonic | D · E · A | 4× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 8 different chords appear 53 times in total; 7 of them sit naturally inside the shared scale. The major V of Em brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from G, the same B7 is V7/vi, a secondary dominant heading for Em.
Chord movement
- Cmaj7 Gmaj7 GIVmaj7 → Imaj7plagal cadence EmVImaj7 → IIImaj7 ×9
- Am D Gii → Vii → V Emiv → VII ×3
- Am B7 Gii → V7/vi Emiv → V7iv → V ×2
- B7 Em GV7/vi → visecondary resolution EmV7 → iharmonic-minor cadence ×1
- B7 Emadd9 GV7/vi → visecondary resolution EmV7 → iharmonic-minor cadence ×1
The move to watch is Cmaj7 → Gmaj7, heard 9 times. From the Em side it is VImaj7 → IIImaj7; from the G side it reads IVmaj7 → Imaj7 (plagal cadence: the soft 'amen' ending). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- G major pentatonic and E minor pentatonic are the same five notes (G – A – B – D – E): start from G for a brighter phrase, from E for a bluesier one.
- Over Cmaj7, land on C, E, G — the chord's own tones always sound right on strong beats.
- Over Gmaj7, land on G, B, D — 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.
- When B7 comes, swap the scale's D for D#: that single note is the harmonic-minor sound of the chord.
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 G major shapes
- No capo — open G shapes
- Capo 3 + E shapes
- Capo 5 + D shapes
With E minor shapes
- No capo — open Em shapes
- Capo 2 + Dm shapes
- Capo 7 + Am shapes
Easiest keys on guitar
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
Starting on Cmaj7, the song gives away its key from the very first bar. Cmaj7, Gmaj7, Am, D carry the song: IVmaj7–Imaj7–ii–V relative to G, VImaj7–IIImaj7–iv–VII relative to Em. B7 is the interesting twist: in G it is a chromatic chord (V7/vi), while in Em it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Cmaj7 → Gmaj7 (IVmaj7 → Imaj7 in G, VImaj7 → IIImaj7 in Em): plagal cadence — the soft 'amen' ending. It closes on Emadd9, letting the Em side have the last word.
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.
Billie Eilish - idontwannabeyouanymore 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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