Major view
D major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = C# (leading tone, pulls home)
- 4 = G (the note that leans on the 3rd)
Key D major – B minor Chords Bm, F#7, Em, D, A, G Easy key C (capo 2)
Bm Em F#7 Bm
Bm
Peu importe où je vais
Em
Tant que j’ai l’audace
F#7
De tenir la main de l’autre
Bm
Pour aimer le temps qui passe
Bm
Dans tout ce que je fais
Em
La rage et l’amour s’embrassent
F#7
Qu’elle soit mienne ou qu’elle soit votre
Bm
La vie nous dépasse
Bm Em
Qué vendrá qué vendrá
F#7 Bm
Yo escribo mi camino
Em
Sin pensar sin pensar
F#7 Bm
Dónde acabará
Bm
Dans mes joies, dans mes peines, dans mes choix, dans mes larmes
Em
Je laisse aller mes sentiments
F#7
Au mieux on écrit son chemin comme on se soigne
Bm
Pour aimer indifféremment
Bm
Sur les sables mouvants d’un passé qui s’effondre
Em
Je me raccroche à ceux que j’aime
F#7
Prenant soin de chaque seconde
Bm
Les heures prendront soin d’elles-mêmes
Bm Em
Qué vendrá qué vendrá
F#7 Bm
Yo escribo mi camino
Em
Sin pensar sin pensar
F#7 Bm
Dónde acabará
Bm Em
Qué vendrá qué vendrá
F#7 Bm
Yo escribo mi camino
Em
Si me pierdo es que ya me he encontrado
F#7 Bm
Y sé que debo continuar
Bm Em F#7 Bm Em F#7 Bm
D A
Puisque nous sommes ici sans savoir
Bm
Ce qui nous attend un peu plus tard
F#7
Laisser parler mon instinct me guérit
G Em
Puisque tout cela est bien trop court
Bm
J’aimerai jusqu’à mon dernier jour
F#7
Jusqu’à mon dernier souffle de vie
Bm Em
Qué vendrá qué vendrá
F#7 Bm
Jusqu’où j’irai j’en sais rien
Em
Sin pensar sin pensar
F#7 Bm
Sans penser à demain
Bm Em
Qué vendrá qué vendrá
F#7 Bm
Yo escribo mi camino
Em
Si me pierdo es que ya me he encontrado
F#7 Bm
Y sé que debo continuar
Bm Em F#7 Bm
Bm Em
Qué vendrá qué vendrá
F#7 Bm
Yo escribo mi camino
Em
Si me pierdo es que ya me he encontrado
F#7 Bm
Y sé que debo continuar
Bm Em F#7
Bm Em
Si me pierdo es que ya me he encontrado
F#7 Bm
Y sé que debo continuar
End of song Play again?
Harmony analysis
The song opens on Bm and ends on Bm. Its chords belong to both D major and Bm, 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 B minor side because it both starts and finishes on Bm, Bm is heard 38 times against 1 for D and the major V chord points straight at Bm. That is an interpretation, not a rule — the same chords are just as valid seen from D major, and switching between the two views is exactly where the practice value lies.
Show the degrees above the chords — relative to D or to Bm; 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 | D | Tonic — home | D · F# · A | 1× |
| ii | Em | Supertonic — prepares the dominant | E · G · B | 23× |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | — |
| V7/vi | F#7 | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# · E | 24× |
| IV | G | Subdominant — moves away from home | G · B · D | 1× |
| V | A | Dominant — strongest pull home | A · C# · E | 1× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 38× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 38× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | 1× |
| iv | Em | Subdominant — moves away from home | E · G · B | 23× |
| v | F#m | Minor dominant — soft pull | F# · A · C# | — |
| V7 | F#7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# · E | 24× |
| VI | G | Submediant — warm colour | G · B · D | 1× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 1× |
The key pair is D major and its relative B minor (2 sharps). 6 different chords appear 88 times in total; 5 of them sit naturally inside the shared scale. The major V of Bm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from D, the same F#7 is V7/vi, a secondary dominant heading for Bm.
The move to watch is F#7 → Bm, heard 23 times. From the Bm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the D side it reads V7/vi → vi (secondary resolution: F#7 resolves a fourth up to Bm). 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 Bm lays a solid floor for everything that follows. The chords that keep coming back are Bm, F#7, Em, D; read them as vi–V7/vi–ii–I in D or i–V7–iv–III in Bm. F#7 is the interesting twist: in D it is a chromatic chord (V7/vi), while in Bm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on F#7 → Bm (V7/vi → vi in D, V7 → i in Bm): harmonic-minor cadence — the major V resolves dramatically. Ending on Bm, the song seals Bm 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.
Ready-made lists by difficulty and mood.
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