Major view
D major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = C# (leading tone, pulls home)
- 4 = G (the note that leans on the 3rd)
Key D major – B minor Chords E, E7, A, Am Difficulty already in its easiest key
E E7
I cried enough tears
A Am
To see my own reflection in them
E E7
And then it was clear
A Am
I can't deny, I really miss him
E E7
To think that I was wrong
A Am
I guess you don’t know what you got 'til it's gone
E E7
Pain is just a consequence of love
A Am
I'm saying sorry for the sake of us
E E7 A
He wasn't my everything 'til we were nothing
Am E
And it's taking me a lot to say
E7 A
But now that he's gone, my heart is missing something
Am E
So it's time I push my pride away
E7 A Am E
'Cause you are, you are, you are my everything
E7 A Am E
You are, you are, you are my everything
E7
I know you’re not far
A Am
But I still can't handle all the distance
E E7
You're travelling with my heart
A Am
I hope this is a temporary feeling
E E7
'Cause it’s too much to bear
A Am
Without you and I know sorry ain't the cure
E E7
If I cross your mind just know I’m yours
A Am
'Cause what we got is worth fighting for
E
'Cause you are
E7 A
You were my everything 'til we were nothing
Am E
And it's taking me a lot to say
E7 A
But now that you're gone, my heart is missing something
Am E
So it's time I push my pride away
E7 A Am E
You are, you are, you are my everything
E7 A Am E E7 A Am
You are, you are, you are my everything
E E7 A Am E E7 A Am
You are, you are, you are
E E7 A Am E
You are, you are, you are my everything
End of song Play again?
Harmony analysis
The song opens on E and ends on E. Its chords belong to both D major and Bm, 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: we can't honestly pick a side here — the song moves freely between D major and B minor. Try reading the chords both ways and see which feels more like home to you.
Show the degrees above the chords — relative to D or to Bm; 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 | D | Tonic — home | D · F# · A | — |
| ii | Em | Supertonic — prepares the dominant | E · G · B | — |
| V/V | E | Secondary dominant V/V — leads to Asecondary dominant | E · G# · B | 21× |
| V7/V | E7 | Secondary dominant V/V — leads to Asecondary dominant | E · G# · B · D | 20× |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | — |
| III | F# | Chromatic colour chordoutside the key | F# · A# · C# | — |
| IV | G | Subdominant — moves away from home | G · B · D | — |
| V | A | Dominant — strongest pull home | A · C# · E | 20× |
| v | Am | Chromatic colour chordoutside the key | A · C · E | 20× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | — |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | — |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | — |
| iv | Em | Subdominant — moves away from home | E · G · B | — |
| IV | E | Major IV — Dorian / melodic-minor colourmodal colour | E · G# · B | 21× |
| IV7 | E7 | Major IV — Dorian / melodic-minor colourmodal colour | E · G# · B · D | 20× |
| v | F#m | Minor dominant — soft pull | F# · A · C# | — |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | — |
| VI | G | Submediant — warm colour | G · B · D | — |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 20× |
| vii | Am | Chromatic colour chordoutside the key | A · C · E | 20× |
The key pair is D major and its relative B minor (2 sharps). 4 different chords appear 81 times in total; 1 of them sit naturally inside the shared scale. E, E7 act as secondary dominants, briefly pointing at another chord of the key.
The move to watch is E7 → A, heard 20 times. From the D side it reads V7/V → V (secondary resolution: E7 resolves a fourth up to A); from the Bm side it is IV7 → VII. 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 opening E lays a solid floor for everything that follows. The chords that keep coming back are E, E7, A, Am; read them as V/V–V7/V–V–v in D or IV–IV7–VII–vii in Bm. E adds a moment of surprise: secondary dominant V/V — leads to A. Keep an ear on E7 → A (V7/V → V in D, IV7 → VII in Bm): secondary resolution — E7 resolves a fourth up to A. Ending on E, the song seals D 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.
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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