Major view
Gb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F (leading tone, pulls home)
- 4 = Cb (the note that leans on the 3rd)
Key Gb major – Eb minor Chords Db, Gb, B, Bb Easy key C (capo 6)
Gb
Here I go, here I go
Db
Feel better now, feel better now
Gb
Here I go, here I go
Db
It's better now, feel better now
Gb
Feel the light
Db
Shining like the stars tonight
Bb
Remember what we forgot
I know it's a long shot
B
But we're bringing it all back
Db
We're bringing it all back
Gb
Here I go, here I go
Db
Feel better now, feel better now
Gb
Here I go, here I go
Db
it's better now, feel better now
Gb B
I Still Remember when things were Broken
Bb B
But put together , the cracks we're closing
Gb Db
Hurry up, hurry up
There's no more waiting
Bb B
We're still worth saving
Gb
Feel the light
Db
Shining in the dark of night
Bb
Remember what we forgot
I know it's a long shot
B
But we're bringing it all back
Db
We're bringing it all back
Gb
Feel the light
Db
Shining like the stars tonight
Bb
Remember what we forgot
I know it's a long shot
B
But we're bringing it all back
Db
We're bringing it all back
Gb Db B
You and I can have it all Tonight
Bb B
So let's bring it back to Life
Gb Db Bb
Now we have another Chance To Fly
B Bb
Another Chance to Make it Right
Gb
Feel the light
Db
Shining like the stars tonight
Bb
Remember what we forgot
I know it's a long shot
B
But we're bringing it all back
Db
We're bringing it all back
Gb
Feel the light
Db
Shining like the stars tonight
Bb
Remember what we forgot
I know it's a long shot
B
But we're bringing it all back
Db
We're bringing it all back
Gb
Here we go, here we go
Db
Feel better now , Feel better now
Bb
Here we go, here we go
B Db Gb
it's better now, Feel Better Now .
End of song Play again?
Harmony analysis
The song opens on Gb and ends on Gb. Its chords belong to both Gb major and Ebm, 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 Gb major side because it both starts and finishes on Gb, Gb is heard 15 times while Ebm never appears and the major V chord points straight at Ebm. That is an interpretation, not a rule — hearing the same chords from Eb minor is just as valid and teaches you something different.
Show the degrees above the chords — relative to Gb or to Ebm; 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 | Gb | Tonic — home | Gb · Bb · Db | 15× |
| ii | Abm | Supertonic — prepares the dominant | Ab · Cb · Eb | — |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | — |
| III | Bb | Chromatic colour chordoutside the key | Bb · D · F | 11× |
| IV | B | Subdominant — moves away from home | B · D# · F# | 12× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 19× |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | — |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | — |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| III | Gb | Relative major — the bright side | Gb · Bb · Db | 15× |
| iv | Abm | Subdominant — moves away from home | Ab · Cb · Eb | — |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | — |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | 11× |
| VI | B | Submediant — warm colour | B · D# · F# | 12× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 19× |
The key pair is Gb major and its relative Eb minor (6 flats). 4 different chords appear 57 times in total; 3 of them sit naturally inside the shared scale. The major V of Ebm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull.
The move to watch is Db → Gb, heard 10 times. From the Gb side it reads V → I (authentic cadence: the strongest arrival home); from the Ebm side it is VII → III. 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 Gb lays a solid floor for everything that follows. The chords that keep coming back are Db, Gb, B, Bb; read them as V–I–IV–III in Gb or VII–III–VI–V in Ebm. Bb is the interesting twist: in Gb it is a chromatic chord (III), while in Ebm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Db → Gb (V → I in Gb, VII → III in Ebm): authentic cadence — the strongest arrival home. It closes on Gb, letting the Gb side have the last word.
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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