
Rhodes melody, piano & acoustic guitar.

Rhodes melody, piano & acoustic guitar.
Answers from our automatic transcription. Key, tempo and chord labels may contain errors.
This transcription starts in G major. Later key changes are detected at 3:54 (A major).
The estimated tempo is 188 BPM, calculated from the median spacing between detected beats. This is a summary of the transcription; timing can vary during the song.
Recurring four-chord sequences in this transcription include D → G → Dmaj/3 → Em (6 occurrences); G → Dmaj/3 → Em → Gmaj7/5 (6 occurrences); Dmaj/3 → Em → Gmaj7/5 → C (6 occurrences). These are exact chord-label matches within sections, not a complete harmonic analysis.
Here are a few patterns to play with: V → I → V/3 → vi in G major; I → V/3 → vi → Imaj7/5 in G major; V/3 → vi → Imaj7/5 → IV in G major. Think of Roman numerals as chord names you can take into any key. Uppercase is major, lowercase is minor; in minor keys, we count from the natural-minor scale.
Yes! In G major: The I–vi–ii–V turnaround / circle-of-fifths progression (vi → ii → V → I) shows up in the verse at 0:20 and 0:33. A round trip through related chords, with the dominant setting up the return home. The hopscotch progression (V → vi → I → IV) shows up in the verse at 0:27 and 0:40. Three rising chord roots give this loop a lift before it hops back around. The ii–V–I progression (ii → V → I) shows up in the chorus at 1:26 and 1:39. Jazz’s trusty route home: set up some tension, turn it up, then let it resolve. The double-plagal progression (♭VII → IV → I) shows up in the verse at 2:00 and 2:10. Two falling-fourth moves bring it home with a broad, bluesy sweep.
The transcription starts in 4/4.
The detected sections are intro (0:00) → verse (0:12) → interlude (1:04) → chorus (1:16) → interlude (1:48) → verse (1:58) → chorus (2:17) → verse (2:37) → chorus (2:57) → bridge (3:17) → chorus (4:07) → outro (4:27) → silence (5:04).
The transcribed version lasts 5:14. Other recordings or edits may have a different duration.