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 Am7, F, C Easy key G (capo 5)
Am7 F C
Am7 F C
Walking down 29th and Park
Am7 F C
I saw you in another’s arms
Am7 F C
Only a month we’ve been apart
Am7 F C
You look happier
Am7 F C
Saw you walk inside a bar
Am7 F C
He said something to make you laugh
Am7 F C
I saw that both your smiles were twice as wide as ours
Am7 F C
Yeah, you look happier, you do
Am7 F C
Ain’t nobody hurt you like I hurt you
Am7 F C
But ain’t nobody love you like I do
Am7 F C
Promise that I will not take it personal, baby
Am7 F C
If you’re moving on with someone new
Am7 F C
Cause baby you look happier, you do
Am7 F C
My friends told me one day I’d feel it too
Am7 F C
And until then I'll smile to hide the truth
Am7 F C
But I know I was happier with you
Am7 F C
Sat in the corner of the room
Am7 F C
Everything’s reminding me of you
Am7 F C Am7
Nursing an empty bottle and telling myself you’re happier
F C
Aren’t you?
Am7 F C
Ain’t nobody hurt you like I hurt you
Am7 F C
But ain’t nobody need you like I do
Am7 F C
I know that there’s others that deserve you
Am7 F C
But my darling, I am still in love with you
Am7 F C
But I guess you look happier, you do
Am7 F C
My friends told me one day I’ll feel it too
Am7 F C
I could try to smile to hide the truth
Am7 F C
But I know I was happier with you
Heya heya heya
Am7 F C
Am7 F C
Baby, you look happier, you do
Am7 F C
I knew one day you’d fall for someone new
Am7 F C
But if he breaks your heart like lovers do
Am7 F C
Just know that I’ll be waiting here for you
End of song Play again?
Harmony analysis
The song opens on Am7 and ends on C. 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: we can't honestly pick a side here — the song moves freely between C major and A minor because it comes to rest on C and it opens on Am. Try reading the chords both ways and see which feels more like home to you.
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 | 34× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | — |
| 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 | 34× |
| V | G | Dominant — strongest pull home | G · B · D | — |
| vi7 | Am7 | Relative minor — the melancholy side | A · C · E · G | 34× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Am7 | Tonic — home | A · C · E · G | 34× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | 34× |
| iv | Dm | Subdominant — moves away from home | D · F · A | — |
| 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 | 34× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | — |
The key pair is C major and its relative A minor (no sharps or flats). 3 different chords appear 102 times in total; 3 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 F → C, heard 34 times. From the C side it reads IV → I (plagal cadence: the soft 'amen' ending); from the Am side it is VI → 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.
Starting on Am7, the song gives away its key from the very first bar. The backbone is Am7, F, C — vi7–IV–I from the C side, i7–VI–III from the Am side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F → C (IV → I in C, VI → III in Am): plagal cadence — the soft 'amen' ending. Ending on C, the song seals C 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.
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