Major view
G major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F# (leading tone, pulls home)
- 4 = C (the note that leans on the 3rd)
Key G major – E minor Chords C, Em, G, Bm, D Difficulty already in its easiest key
Em C G
I think it's time that I be honest
Em C G
Should've told you not to go
Em C G
Thought I knew just what I wanted
Em C G
I didn't know myself at all
Bm C
You're with somebody I can't be, yeah
Bm C
But I can tell that you're happy
Em C G
It's time for me to finally meet somebody new
Em C G
Take her to all the places that I took us to
Em C G D Em
And she might help me forget but loving her is something I could never do
C G
Because I had
Em C G Em C G
Because I had you
Em C G
Hey, remember when I told you
Em C G
That you and I will go down in history together, yeah
Em C G
And does your sister ask about me
Em C G
You and I, what we had, is it gone forever
Bm C
You're with somebody I can't be, yeah
Bm C
But I can tell that you're happy
Em C G
It's time for me to finally meet somebody new
Em C G
Take her to all the places that I took us to
Em C G D Em
And she might help me forget but loving her is something I could never do
C G
Because I had
Em
Because I had you
C G
There's nothin', oh
Em
There's nothin' left to lose
C G
Because I had you, babe
Em C G
There's nothin'
Em
Nothin' that I could do
C G
I wish I had you
Em C G
But I think it's time I finally found somebody new
Em C G
And tell myself that she's the one that get me through
Em C G D Em
And she might help me forget but loving her is something I just couldn't do
C
Because I had you
End of song Play again?
Harmony analysis
The song opens on Em and ends on C. Its chords belong to both G major and Em, 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 E minor side because it opens on Em and Em is heard 26 times against 25 for G. That is an interpretation, not a rule — the same chords are just as valid seen from G major, and switching between the two views is exactly where the practice value lies.
Show the degrees above the chords — relative to G or to Em; 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 | G | Tonic — home | G · B · D | 25× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | — |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 4× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | 30× |
| V | D | Dominant — strongest pull home | D · F# · A | 3× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 26× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 26× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 25× |
| iv | Am | Subdominant — moves away from home | A · C · E | — |
| v | Bm | Minor dominant — soft pull | B · D · F# | 4× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | 30× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 3× |
The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 88 times in total; 5 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 C → G, heard 25 times. From the Em side it is VI → III; from the G side it reads IV → I (plagal cadence: the soft 'amen' ending). 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 song is already written in its easiest key for guitar.
The first chord is Em; the ear learns where home is within a second. The chords that keep coming back are C, Em, G, Bm; read them as IV–vi–I–iii in G or VI–i–III–v in Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C → G (IV → I in G, VI → III in Em): plagal cadence — the soft 'amen' ending. The final chord is C; the ear comes to rest in G.
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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