Major view
E major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = D# (leading tone, pulls home)
- 4 = A (the note that leans on the 3rd)
The Weeknd - Creepin (21 Savage Metro Boomin) - Chord
Key E major – C# minor Chords C#m, G#m, A, G#7, E, B Easy key C (capo 4)
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Key: E | Dbm | C#m
Capo: 0
C#m G#m A E G#7
C#m G#m A
Somebody said they saw you
E G#7
The person you were kissing wasn't me
C#m G#m A B
And I would never ask you, I just kept it to myself
C#m G#m
I don't wanna know, if you're playing me
A
Keep it on the low
B G#7 C#m
Cause my heart can't take it anymore
G#m A
And if you creeping, please don't let it show
E G#7 C#m
Oh baby, I don't wanna know
C#m G#m A
I think about it when I hold you
E G#7
When looking in your eyes, I can't believe
C#m G#m A
And I don't need to know the truth
B
But baby keep it to yourself
C#m G#m
I don't wanna know, if you're playing me
A
Keep it on the low
B G#7 C#m
Cause my heart can't take it anymore
G#m A
And if you creeping, please don't let it show
E G#7 C#m
Oh baby, I don't wanna know
C#m G#m A E G#7 C#m G#m A E G#7 C#m
(This cycle continues in the rap parts as well)
(Rap kısımlarda da bu döngü devam eder)
Did he touch you better than me? (touch you better than me?)
Did he watch you fall asleep (watch you fall asleep?)
Did you show him all those things that you used to do to me?
If you're better off that way (better off that way)
Baby all that I can say (all that I can say)
If you're gonna do your thing, then don't come back to me
Woah, woah, woah
21
Had me crushing, I was cuffing like the precinct
How you go from housewife to a sneaky link
Got you ridin round in all types of benz's and rovers
Girl you used to ride in a rinky dink
I'm the one put you in Eliante (on God)
Fashion Nova model, I put you on the runway (on God)
You was rocking coach bags, got you chanaynay
Side --in frisco, I call her my bae bae (21)
I got a girl but I still feel alone
If you playing me that mean my home aint home
Having nightmares of going through your phone (21)
Can't even record you got me out my zone
End of song Play again?
The Weeknd - Creepin (21 Savage Metro Boomin) Tabs
NotesX
Harmony analysis
The Weeknd – Creepin (21 Savage Metro Boomin): key and chord analysis
The song opens on C#m and ends on C#m. Its chords belong to both E major and C#m, so every chord below is read both ways.
Minor view
C# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = A (the minor's melancholy)
- b7 = B (natural-minor colour)
- #7 = B# (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 C# minor side because it both starts and finishes on C#m, C#m is heard 14 times against 7 for E and the major V chord points straight at C#m. That is an interpretation, not a rule — the same chords are just as valid seen from E 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 E or to C#m; 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 | E | Tonic — home | E · G# · B | 7× |
| ii | F#m | Supertonic — prepares the dominant | F# · A · C# | — |
| iii | G#m | Mediant — a tonic-family shade | G# · B · D# | 11× |
| V7/vi | G#7 | Secondary dominant V/vi — leads to C#msecondary dominant | G# · B# · D# · F# | 9× |
| IV | A | Subdominant — moves away from home | A · C# · E | 11× |
| V | B | Dominant — strongest pull home | B · D# · F# | 4× |
| vi | C#m | Relative minor — the melancholy side | C# · E · G# | 14× |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | C#m | Tonic — home | C# · E · G# | 14× |
| ii° | D#dim | Supertonic — prepares the dominant | D# · F# · A | — |
| III | E | Relative major — the bright side | E · G# · B | 7× |
| iv | F#m | Subdominant — moves away from home | F# · A · C# | — |
| v | G#m | Minor dominant — soft pull | G# · B · D# | 11× |
| V7 | G#7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G# · B# · D# · F# | 9× |
| VI | A | Submediant — warm colour | A · C# · E | 11× |
| VII | B | Subtonic — steps back to the tonic | B · D# · F# | 4× |
Analysis
The key pair is E major and its relative C# minor (4 sharps). 6 different chords appear 56 times in total; 5 of them sit naturally inside the shared scale. The major V of C#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from E, the same G#7 is V7/vi, a secondary dominant heading for C#m.
Chord movement
- G#7 C#m EV7/vi → visecondary resolution C#mV7 → iharmonic-minor cadence ×9
- A E EIV → Iplagal cadence C#mVI → III ×7
- A B EIV → VIV → V C#mVI → VIIVI → VII ×4
- B C#m EV → videceptive cadence C#mVII → iAeolian arrival ×2
The move to watch is G#7 → C#m, heard 9 times. From the C#m side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the E side it reads V7/vi → vi (secondary resolution: G#7 resolves a fourth up to C#m). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- E major pentatonic and C# minor pentatonic are the same five notes (E – F# – G# – B – C#): start from E for a brighter phrase, from C# for a bluesier one.
- Over C#m, land on C#, E, G# — the chord's own tones always sound right on strong beats.
- Over G#m, land on G#, B, D# — the chord's own tones always sound right on strong beats.
- Over A, land on A, C#, E — the chord's own tones always sound right on strong beats.
- When G#7 comes, swap the scale's B for B#: 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 E major shapes
- No capo — open E shapes
- Capo 2 + D shapes
- Capo 4 + C shapes
With C# minor shapes
- Capo 4 + Am shapes
Easiest keys on guitar
- 4 semitones down · capo 4 keeps the original pitch
- 3 semitones up
The song's harmonic story
The opening C#m lays a solid floor for everything that follows. The chords that keep coming back are C#m, G#m, A, G#7; read them as vi–iii–IV–V7/vi in E or i–v–VI–V7 in C#m. G#7 is the interesting twist: in E it is a chromatic chord (V7/vi), while in C#m it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on G#7 → C#m (V7/vi → vi in E, V7 → i in C#m): harmonic-minor cadence — the major V resolves dramatically. It closes on C#m, letting the C#m 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.
The Weeknd - Creepin (21 Savage Metro Boomin) 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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