Major view
C major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = B (leading tone, pulls home)
- 4 = F (the note that leans on the 3rd)
LEA - Leiser - Chord
Key C major – A minor Chords Am, G, F, Em, Dm, C Easy key G (capo 5)
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Key: C | Am
Capo: 0
F
Ich lieg' in deinem Arm
Am G
Und du redest wieder nur von dir
F
Oh, warum hab' ich mich
Am G
Jetzt schon wieder hierher verirrt? (Uh-uh, uh)
Dm
Du sprichst von Partys in New York
Von Shootings in Paris
Am
Mal ganz nebenbei schmeißt du
G F
Den besten Rave in Wien, klar
Am G
Hab' schon verstanden
C
Und alle meine Freunde
G
Finden, dass ich leiser bin
Am
Dass ich leiser bin
F
Leiser, seit ich bei dir bin
C
Alle meine Freunde
G
Fragen, ob ich glücklich bin
Am
Weil ich leiser bin
F
Leiser, seit ich bei dir bin
F G Am Em
F Am
Du hörst mir nur zu, wenn ich Worte sag'
G
Die dir gefallen
F
Es ist Mitte Juli
Am G
Doch mir ist unendlich kalt (uh-uh, uh)
Dm
Du hältst an deinem Handy
Und ich fühl' mich einsam
Am
Ziehst an deiner Kippe
G F
Und ich ziehe weiter
Am
Denn bei dir, bin ich nie wie ich bin
G
Wie ich eigentlich bin
F G
Am Em
Ich hab's nicht mal gemerkt
F G
Nicht mal gemerkt
Am Em
Ich hab's nicht mal gemerkt
F G Am Em
End of song Play again?
LEA - Leiser Tabs
NotesX
Harmony analysis
LEA – Leiser: key and chord analysis
The song opens on F and ends on Em. Its chords belong to both C major and Am, so every chord below is read both ways.
Minor view
A minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = F (the minor's melancholy)
- b7 = G (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the A minor side because Am is heard 14 times against 2 for C. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 C or to Am; 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 | C | Tonic — home | C · E · G | 2× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 2× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 4× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | 12× |
| V | G | Dominant — strongest pull home | G · B · D | 14× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 14× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 14× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | 2× |
| iv | Dm | Subdominant — moves away from home | D · F · A | 2× |
| v | Em | Minor dominant — soft pull | E · G · B | 4× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | 12× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 14× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 48 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.
Chord movement
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×6
- F Am CIV → vi AmVI → iVI → i ×6
- F G CIV → VIV → V AmVI → VIIVI → VII ×4
- Dm Am Cii → vi Amiv → iminor plagal ×2
- G C CV → Iauthentic cadence AmVII → III ×1
- F C CIV → Iplagal cadence AmVI → III ×1
The move to watch is G → Am, heard 6 times. From the Am side it is VII → i (Aeolian arrival: rises a whole tone into home); from the C side it reads V → vi (deceptive cadence: expected C, lands on Am). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
- Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
- Over F, land on F, A, C — the chord's own tones always sound right on strong beats.
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 C major shapes
- No capo — open C shapes
- Capo 3 + A shapes
- Capo 5 + G shapes
With A minor shapes
- No capo — open Am shapes
- Capo 5 + Em shapes
- Capo 7 + Dm shapes
Easiest keys on guitar
- 5 semitones down · capo 5 keeps the original pitch
The song's harmonic story
The first chord is F; the ear learns where home is within a second. The backbone is Am, G, F, Em — vi–V–IV–iii from the C side, i–VII–VI–v from the Am side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G → Am (V → vi in C, VII → i in Am): Aeolian arrival — rises a whole tone into home. Ending on Em, the song seals C 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.
LEA - Leiser 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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