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 Em, C, Am, D, B7, G, A/C# Difficulty already in its easiest key
Em
Uh, Uh
Em C
Take a breath, take it deep
Am B7
Calm yourself, he says to me
Em C
If you play, you play for keeps
Am B7
Take the gun, and count to three
Em C
I'm sweating now, moving slow
Am B7
No time to think, my turn to go
Em C
And you can see my heart beating
D Am
You can see it through my chest
Em C
Said I'm terrified. but I'm not leaving
D Am
I know that I must pass this test
B7 Em
So just pull the trigger
Em C
Say a prayer, to yourself
Am B7
He says close your eyes, sometimes it helps
Em C
And then I get, a scary thought
Am B7
That he's here, means he's never lost
Em C
And you can see my heart beating
D Am
You can see it through my chest
Em C
Said I'm terrified, but I'm not leaving
D Am
I know that I must must pass this test
B7 C
So just pull the trigger
G
As my life flashes before my eyes
Am Em D
I'm wondering will I ever see another sunrise
C A/C#
So many won't get the chance to say goodbye
D B7
But it's too late too pick up the value of my life
Em C
And you can see my heart beating
D Am
You can see it through my chest
Em C
Said I'm terrified, but I'm not leaving
D Am
I know that I must must pass this test
Em C
And you can see my heart beating
D Am
You can see it through my chest
Em C
Said I'm terrified, but I'm not leaving
D Am
I know that I must must pass this test
B7 Em
So just pull the trigger
End of song Play again?
Harmony analysis
The song opens on Em and ends on Em. 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 C is heard 15 times against 14 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 | — |
| V/V | D | Secondary dominant V/V — leads to Gsecondary dominant | D · F# · A | 10× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 17× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | — |
| V | G | Dominant — strongest pull home | G · B · D | 1× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 14× |
| V/ii | A/C# | Secondary dominant V/ii — leads to Dmsecondary dominant | A · C# · E | 1× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| V7/iii | B7 | Secondary dominant V/iii — leads to Emsecondary dominant | B · D# · F# · A | 9× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 14× |
| V/iv | A/C# | Secondary dominant V/iv — leads to Dmsecondary dominant | A · C# · E | 1× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| V7/v | B7 | Secondary dominant V/v — leads to Emsecondary dominant | B · D# · F# · A | 9× |
| III | C | Relative major — the bright side | C · E · G | 15× |
| iv | Dm | Subdominant — moves away from home | D · F · A | — |
| IV | D | Major IV — Dorian / melodic-minor colourmodal colour | D · F# · A | 10× |
| v | Em | Minor dominant — soft pull | E · G · B | 17× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | — |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 1× |
The key pair is C major and its relative A minor (no sharps or flats). 7 different chords appear 67 times in total; 4 of them sit naturally inside the shared scale. D, B7, A/C# act as secondary dominants, briefly pointing at another chord of the key.
The move to watch is B7 → Em, heard 8 times. From the C side it reads V7/iii → iii (secondary resolution: B7 resolves a fourth up to Em); from the Am side it is V7/v → v. 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.
Starting on Em, the song gives away its key from the very first bar. Em, C, Am, D carry the song: iii–I–vi–V/V relative to C, v–III–i–IV relative to Am. D adds a moment of surprise: secondary dominant V/V — leads to G. Keep an ear on B7 → Em (V7/iii → iii in C, V7/v → v in Am): secondary resolution — B7 resolves a fourth up to Em. The final chord is Em; 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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