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 Em7, Cmaj7, G, D, Ebdim Difficulty already in its easiest key
Em7 G D Em7 Cmaj7 Cmaj7 Ebdim
Em7
I had a bad week
G D
Spent the evening pretending it wasn't that deep
Em7 Cmaj7
You could see in my eyes that it was taking over
G Cmaj7
I guess I was just blind and caught up in the moment
Ebdim Em7
You know you take all of my stress right down
G D
Help me get it off my chest and out
Em7 Cmaj7 Em7
Into the ether with the rest of this mess that just keeps us depressed
Cmaj7 Ebdim
We forget that we're here right now
Em7
'Cause we're livin' life at a different pace, stuck in a constant race
G D
Keep the pressure on, you're bound to break, something's got to change
Em7 Cmaj7
We should just be cancelling all our plans and not give a damn
Em7 Cmaj7 Ebdim
If we're missin' out on what the people think is right
Em7
Seein' through a picture behind the screen and forget to be
G D
Lose the conversation for the message that you'll never read
Em7 Cmaj7
I think maybe you and me
Oh, we should head out to the place where the music plays
Ebdim
And then
Em7
We'll go all night
G D
Two-steppin' with the woman I love
Em7 Cmaj7 Em7
All my troubles turnin' up and when I'm on your eyes, electrified
Cmaj7 Ebdim Em7
We'll keep turnin' up and go all night
G D
Oh, we had dips and falls in our time
Em7 Cmaj7 Em7
But we know what it feels to be low, then up, alone and loved
Cmaj7
And all we need is us to go all
Em7 G D
Night, night
Em7 Cmaj7
Two-steppin' with the woman I love
Em7
Night, yeah
Cmaj7 Ebdim
All we need is us
Em7
What do you reckon, is it just me?
G D
Words are weapons and occasionally they cut deep
Em7 Cmaj7 Em7
Crisis of confidence, it tends to come when I feel the dark and I open my heart
Cmaj7 Ebdim Em7
If you don't see it, you should trust me
Em7
I feel like I've got nothin' left right now
G D
Except this beauty in her dress right now
Em7 Cmaj7
She got me feelin' like the best and the rest are just less
Em7 Cmaj7 Ebdim
Then she needs, so we press play and step to the beat
Em7
'Cause we're livin' life at a different pace, stuck in a constant race
G D
Keep the pressure on, you're bound to break, something's got to change
Em7 Cmaj7
We should just be cancelling all our plans and not give a damn
Em7 Cmaj7 Ebdim
If we're missin' out on what the people think is right
Em7
Seein' through a picture behind the screen and forget to be
G D
Lose the conversation for the message that you'll never read
Em7 Cmaj7
I think maybe you and me
Oh, we should head out to the place where the music plays
Ebdim
And then
Em7
We'll go all night
G D
Two-steppin' with the woman I love
Em7 Cmaj7 Em7
All my troubles turnin' up and when I'm on your eyes, electrified
Cmaj7 Ebdim Em7
We'll keep turnin' up and go all night
G D
Oh, we had dips and falls in our time
Em7 Cmaj7 Em7
But we know what it feels to be low, then up, alone and loved
Cmaj7
And all we need is us to go all
Em7 G D
Night, night
Em7 Cmaj7
Two-steppin' with the woman I love
Em7
Night, yeah
Cmaj7 Ebdim
All we need is us
End of song Play again?
Harmony analysis
The song opens on Em7 and ends on Ebdim. 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 E minor side because it opens on Em and Em is heard 42 times against 16 for G. 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.
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 | 16× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | — |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IVmaj7 | Cmaj7 | Subdominant — moves away from home | C · E · G · B | 28× |
| V | D | Dominant — strongest pull home | D · F# · A | 15× |
| vii°/vi | Ebdim | Secondary leading-tone chord vii°/vi — leads to Emsecondary dominant | Eb · Gb · A | 13× |
| vi7 | Em7 | Relative minor — the melancholy side | E · G · B · D | 42× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Em7 | Tonic — home | E · G · B · D | 42× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 16× |
| 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# | — |
| VImaj7 | Cmaj7 | Submediant — warm colour | C · E · G · B | 28× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 15× |
| #vii° | Ebdim | Leading-tone chord (harmonic minor)harmonic minor | Eb · Gb · A | 13× |
The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 114 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 D → Em7, heard 15 times. From the Em side it is VII → i7 (Aeolian arrival: rises a whole tone into home); from the G side it reads V → vi7 (deceptive cadence: expected G, lands on Em). 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.
Starting on Em7, the song gives away its key from the very first bar. The backbone is Em7, Cmaj7, G, D — vi7–IVmaj7–I–V from the G side, i7–VImaj7–III–VII from the Em side. Ebdim adds a moment of surprise: secondary leading-tone chord vii°/vi — leads to Em. Keep an ear on D → Em7 (V → vi7 in G, VII → i7 in Em): Aeolian arrival — rises a whole tone into home. It closes on Ebdim, letting the G 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.
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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