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)
Taylor Swift - Peter - Chord
Key C major – A minor Chords G, F, Am, C, Dm, Em Easy key G (capo 5)
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Key: C | Am
Capo: 0
C Em Am G
F G
C
Forgive me, Peter
Em
My lost fearless leader
Am
In closets like cedar
G F
Preserved from when we were just kids
G
Is it something I did
C
The goddess of timing
Em
Once found us beguiling
Am
She said she was trying
G
Peter, was she lying
F G
My ribs get the feeling she did
Am G F
And I didn't wanna come down
Am G F
I thought it was just goodbye for now
Dm
You said you were gonna grow up
F
Then you were gonna come find me
Am
Said you were gonna grow up
G
Thеn you were gonna come find mе
Dm
Said you were gonna grow up
F
Then you were gonna come find me
Am
Words from the mouths of babes
G F Dm
Promises oceans deep
C Em Am G
But never to keep
F G
Oh, never to keep
C
Are you still a mind reader
Em
A natural scene stealer
Am
I've heard great things, Peter
G F
But life was always easier on you
G
Than it was on me
C
And sometimes it gets me
Em
When crossing your jet stream
Am G
We both did the best we could do
F
Underneath the same moon
G
In different galaxies
Am G F
And I didn't wanna hang around
Am G F
We said it was just goodbye for now
Dm
You said you were gonna grow up
F
Then you were gonna come find me
Am
Said you were gonna grow up
G
Thеn you were gonna come find mе
Dm
Said you were gonna grow up
F
Then you were gonna come find me
Am
Words from the mouths of babes
G F Dm
Promises oceans deep
C Em Am G
But never to keep
F G
Never to keep
C Am
And I won't confess that I waited, but I let the lamp burn
F G
As the men masqueraded, I hoped you'd return
C Am
With your feet on the ground, tell me all that you'd learned
F G
'Cause love's never lost when perspective is earned
C Am
And you said you'd come and get me, but you were twenty five
F G
And the shelf life of those fantasies has expired
C Am
Lost to the "Lost Boys" chapter of your life
F G
Forgive me, Peter, please know that I tried
Am G
To hold on to the days
F
When you were mine
Am G
But the woman who sits by the window
F Dm
Has turned out the light
Dm
You said you were gonna grow up
F
Then you were gonna come find me
Am G
Said you were gonna grow up
Dm
You said you were gonna grow up
F
Then you were gonna come find me
Am G
Said you were gonna grow up
Dm
You said you were gonna grow up
F
Then you were gonna come find me
Am
Said you were gonna grow up
G
Then you were gonna come find me
Dm
Said you were gonna grow up
F
Then you were gonna come find me
Am
Words from the mouths of babes
G F Dm
Promises oceans deep
C
But never to keep
End of song Play again?
Taylor Swift - Peter Tabs
NotesX
Harmony analysis
Taylor Swift – Peter: key and chord analysis
The song opens on C and ends on C. 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 C major side because it both starts and finishes on C and Am is heard 25 times against 12 for C. That is an interpretation, not a rule — hearing the same chords from A minor is just as valid and teaches you something different.
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 | 12× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 12× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 7× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | 28× |
| V | G | Dominant — strongest pull home | G · B · D | 32× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 25× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 25× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | 12× |
| iv | Dm | Subdominant — moves away from home | D · F · A | 12× |
| v | Em | Minor dominant — soft pull | E · G · B | 7× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | 28× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 32× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 116 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
- F G CIV → VIV → V AmVI → VIIVI → VII ×11
- F Am CIV → vi AmVI → iVI → i ×11
- G C CV → Iauthentic cadence AmVII → III ×8
- Em Am Ciii → vi Amv → inatural-minor cadence ×7
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×3
The move to watch is F → G, heard 11 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.
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 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.
- Over Am, land on A, C, E — 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 opening C lays a solid floor for everything that follows. The backbone is G, F, Am, C — V–IV–vi–I from the C side, VII–VI–i–III from the Am side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F → G (IV → V in C, VI → VII in Am): IV → V — the lift that builds tension before home. Ending on C, 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.
Taylor Swift - Peter 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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