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)
Key C major – A minor Chords F, G, C, Am, Bb Easy key G (capo 5)
Am F
That Arizona sky burning in your eyes
C G
You look at me and, babe, I wanna catch on fire
Am F
It’s buried in my soul like California gold
C G
You found the light in me that I couldn’t find
F C
So when I'm all choked up and I can't find the words
Am G
Every time we say goodbye baby, it hurts
F G Am F G C
When the sun goes down And the band won't play
F G C
I'll always remember us this way
Am F
Lovers in the night poets trying to write
C G
We don't know how to rhyme but damn we try
Am F
But all I really know you're where I wanna go
C G
The part of me that's you will never die
F C
So when I'm all choked up and I can't find the words
Am G
Every time we say goodbye baby, it hurts
F G Am F G C
When the sun goes down And the band won't play
F G Bb Bb
I'll always remember us this way Oh, yeah
F C
I don't wanna be just a memory, baby, yeah
C
Hoo oo oo, hoo oo oo, oo oo.
Bb
Hoo oo oo, hoo oo oo, oo oo.
F G
Hoo oo oo, hoo oo oo, oo oo.
F C
So when I'm all choked up and I can't find the words
Am G
Every time we say goodbye baby, it hurts
F G Am F G C
When the sun goes down and the band won't play
F G Am
I'll always remember us this way – Wo o yeah
F G Am F G C
When you look at me and the whole world fades
F G F Bb F C
I'll always remember us this way
End of song Play again?
Harmony analysis
The song opens on Am and ends on C. Its chords belong to both C major and Am, 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 C major side because it comes to rest on C, it opens on Am and C is heard 15 times against 12 for Am. That is an interpretation, not a rule — hearing the same chords from A minor is just as valid and teaches you something different.
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 | 15× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | — |
| iii | Em | Mediant — a tonic-family shade | E · G · B | — |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | 23× |
| V | G | Dominant — strongest pull home | G · B · D | 20× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 12× |
| bVII | Bb | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | Bb · D · F | 4× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 12× |
| bII | Bb | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | Bb · D · F | 4× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | 15× |
| iv | Dm | Subdominant — moves away from home | D · F · A | — |
| v | Em | Minor dominant — soft pull | E · G · B | — |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | 23× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 20× |
The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 74 times in total; 4 of them sit naturally inside the shared scale. Bb is borrowed from the parallel minor, adding a darker shade to the major side.
The move to watch is F → G, heard 13 times. From the C side it reads IV → V (IV → V: the lift that builds tension before home); from the Am side it is VI → VII (VI → VII: the rising step that heads for the tonic). 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 first chord is Am; the ear learns where home is within a second. The backbone is F, G, C, Am — IV–V–I–vi from the C side, VI–VII–III–i from the Am side. Bb briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on F → G (IV → V in C, VI → VII in Am): IV → V — the lift that builds tension before home. The final chord is C; the ear comes to rest in C.
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.
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