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 Am, G, Dm, F Easy key G (capo 5)
Am G Dm
Am G Dm
Pave me a path to follow
Am G Dm
And I'll tread any dangerous road
Am G Dm
I will beg and I'll steal, I will borrow
Am G Dm
If I can make, if I can make your heart my home
Am G Dm
Throw me to the water
Am G Dm
I don't care how deep or shallow
Am G Dm
Because my heart can pound like thunder
Am G Dm
And your love, and your love can set me free
Am G Dm
I have promised I will love you till the end of time
Am G Dm
Through it all, the good, the bad, the ugly, and divine
Am G Dm
I will be the melody, the rhythm, and your rhyme
Am G Dm
All I want is for you to be mine
F Am G
So can I get it right now
F Am G
Can I get it right now
Can I get it
F Am G
Can I get it right now
F Am G
Can I get it right now
Let me, let me just come and get it
F Am G
Can I get it
Am G Dm
You tease me with your control
Am G Dm
Because I long to live under your spell
Am G Dm
And without your love I'm hollow
Am G Dm
I won't make it, I won't make it on my own
Am G Dm
I have promised I will love you till the end of time
Am G Dm
Through it all, the good, the bad, the ugly, and divine
Am G Dm
I will be the melody, the rhythm, and your rhyme
Am G Dm
All I want is for you to be mine
F Am G
So can I get it right now
F Am G
Can I get it right now
Can I get it
F Am G
Can I get it right now
F Am G
Can I get it right now
Let me, let me just come and get it
F Am G
Can I get it
F Am G
When will you run with me
Like I know you want to
F Am G
Like you want to, like you want
F Am G
You're the one for me
And I'm counting on you
F Am G
To put the pieces of me back together
F Am G
So can I get it right now
F Am G
Can I get it right now
F Am G
Can I get it
F Am G
Can I get it right now
Can I get it right now
Let me, let me just come and get it
End of song Play again?
Harmony analysis
The song opens on Am and ends on G. 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 A minor side because it opens on Am and Am is heard 39 times while C never appears. 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.
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 | — |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 21× |
| 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 | 18× |
| V | G | Dominant — strongest pull home | G · B · D | 39× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 39× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 39× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | — |
| iv | Dm | Subdominant — moves away from home | D · F · A | 21× |
| 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 | 18× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 39× |
The key pair is C major and its relative A minor (no sharps or flats). 4 different chords appear 117 times in total; 4 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
The move to watch is Dm → Am, heard 19 times. From the Am side it is iv → i (minor plagal: deep and melancholic); from the C side it reads ii → vi. 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 Am lays a solid floor for everything that follows. The backbone is Am, G, Dm, F — vi–V–ii–IV from the C side, i–VII–iv–VI from the Am side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm → Am (ii → vi in C, iv → i in Am): minor plagal — deep and melancholic. The final chord is G; 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.
Ready-made lists by difficulty and mood.
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