10-track Shiner album (2025, self-titled). Vocal-completed hybrid pass with section-by-section analysis. · Built 2026-06-15 11:04
A cross-album look at the major song elements and the most interesting vocal-chord interactions on Shiner's BELIEVEYOUME, with the vocal MIDI track held out of the chord-detection pool and then mapped back in as scale-degree commentary.
The album-wide insight up front: **Shiner's rhythm guitar and bass mostly voice power chords (root + 5), and the vocal supplies the third.** That single observation reframes the chord chart. The earlier MIDI extraction was treating vocal notes as chord tones, which inflated F5 power chords into spurious F5add9, Cmsus4, Bbm7 and so on. With the vocal removed from chord detection, the rhythm + bass voicing reads cleanly, and the vocal's role becomes legible as a separate harmonic decision: usually the third (completing the triad), sometimes a held pivot (same note across a chord change), sometimes a high-register decoration on the 6th or 7th.
Four behaviors recur across the record.
1. **Vocal-supplies-the-3rd.** The signature move. Tracks 1, 6, 9 are clearest. Rhythm + bass give a power chord, the vocal lands on the 3rd, the chord lands.
2. **Vocal-pivot.** The same vocal note is held across a chord change, so the listener feels the chord move underneath while the melody stays put. Tracks 2, 3, 5, 10.
3. **High-register decoration.** Vocal sits on the 6th or 7th of the chord, above the harmony rather than inside it. Tracks 8 and 10.
4. **Mode-mixing.** The rhythm guitar voices a power chord, and the vocal sometimes lands on ♮3 (major) and sometimes on b3 (minor), so the song slides between major and minor without changing chord. Tracks 2 and 5 most explicitly.
Rhythm + bass live on F5 for most of the song (the bar-level extraction shows F5 as the dominant chord for 121 bars). The rhythm guitar adds a high Db ringing on top, a Phrygian color above the power chord.
Verse signature. The vocal floats A natural over the F5 + Db bed. F to A is the major 3rd, not the minor 3rd that the surrounding F-minor context would predict. That's the song's central ambiguity, a bright vocal melody over a darker harmonic bed. The prior extraction was reading A as a chord tone and labeling F major or F6 in spots, but the rhythm + bass alone are unambiguously F5 with Db.
Most interesting. The chorus progression is Db5 → Bb5 → Ab5 → F5, and the vocal lands on each chord's 3rd or b3 in sequence:
Db5 + vocal F = Db major (vocal = ♮3) Bb5 + vocal Db = Bb minor (vocal = b3) Ab5 + vocal C = Ab major (vocal = ♮3) F5 + vocal Ab = F minor (vocal = b3)
The vocal completes every chord. No fourth voice is needed because the vocal IS the third.
Rhythm + bass voice G (with a strong B natural in the rhythm guitar's middle voice) alternating with Bb (♭III, borrowed from G minor). The verse riff sits between G major and G minor parallel modes.
Verse and hook signature. The entire vocal melody is two notes, B and C, alternating. The chord underneath changes (G → Bb → G → Bb), and the role of those two vocal notes changes with it.
Most interesting. The same B-C melody means three different things depending on the chord underneath:
Over G: B = ♮3, C = sus 4 (the vocal completes G major and decorates it) Over Bb: B = ♯1, C = 9 (the same vocal B is now a chromatic clash) Over B: B = root, C = b9 (briefly atonal, in the bridge passing chord)
Same melody, three meanings. That's the songwriting payoff. The prior extraction was reading the sus 4 vocal as a chord member and labeling Bb6/9 or Gadd9.
Rhythm voices F# (root + 5, with A# as the major 3rd) alternating with A#m (root + b3 + 5). Bass enters partway through the song; the first 38 bars are rhythm guitar and vocal only.
Verse signature. The vocal holds a sustained A# (= Bb in the extract) over the chord change.
Most interesting. A# is the ♮3 of F# AND the root of A#m, which means the same held vocal note has two different functions one bar apart:
Bar 1: F# chord, vocal A# = ♮3 (vocal completes F# major) Bar 2: A#m chord, vocal A# = root (vocal anchors the new chord)
The melody hasn't moved, but the song has. That's the cleanest vocal-pivot example on the album. Also the bridge contains an Fdim chromatic passing chord, F-Ab-B, and the vocal C natural lands on the ♭5 of that chord, the most-dissonant vocal-against-chord moment on the record.
Rhythm + bass anchor on D (the song lives on the D bass for 91 of its bars). The rhythm guitar adds F natural (b3, confirming D minor) and Bb (b6, Aeolian color).
Verse signature. The vocal anchors on A natural, the 5th of D minor. A is the most-stable possible scale degree, and the song uses that stability deliberately, the vocal sounds calm while the harmony churns underneath.
Most interesting. When the chord moves from Dm to Bb (the b6 chord), the held A natural in the vocal becomes the major 7th of Bb. That's a wistful lift, the same physical pitch suddenly carries a different emotional weight. The prior extraction labeled it Bbmaj7 because A was being counted as a chord tone. With the vocal excluded, the chord is plain Bb, and the vocal A is correctly a melodic ♮7 sitting on top.
Rhythm + bass voice E5 with a strong D in the rhythm guitar (the b7 of E, suggesting E Mixolydian or E Dorian rather than pure E Aeolian). The rhythm guitar also has G# in several bars, the major 3rd, which would make E major.
Verse signature. The vocal hovers on G# and B (the ♮3 and 5 of E), so the verse-with-vocal resolves as E major even though the chord is just E5. The mode-mixing is built into the song's basic voicing.
Most interesting. The vocal sometimes lands on F# natural, which is the major 2nd / 9th of E. F# is in E major scale but also in E Dorian (where the chord underneath would be Em, with F# = ♮9 / Dorian color). So F# is the vocal's mode-tester, it commits to neither pure major nor pure minor. The prior extraction had moments of E6 or Eadd9 from this F# being counted as a chord tone, when it's really a melodic decision.
Rhythm + bass live on Bb5 for 109 bars. This is the album's most-concentrated single-chord song, the entire structure orbits Bb.
Verse signature. The vocal centers on D natural, the major 3rd of Bb. So the same trick as track 1, vocal supplies the third, but now in the bright key. Bb5 + D = Bb major triad, completed by the vocal.
Most interesting. The vocal also visits Eb (the 4th of Bb, briefly a sus 4 color) and C (the 2nd / 9th). When the chord briefly drops to F5 in the bridge area, the C# (which had been a chromatic note over Bb) becomes the 5th of F#. There's a subtle pivot moment where C# moves from b6-of-F to 5-of-F# as the harmony shifts. The prior extraction was occasionally calling Bb6 or Bbsus when these decorative vocal notes got pulled in.
No vocal track in this MIDI. The song is built on a Drop-C rhythm guitar with C5 → Gm → G5 → Em movement.
Note for the band book. Lazarus is the album's instrumental, so the vocal-supplies-the-3rd pattern doesn't apply. The chord chart for this track is stable without vocal-degree commentary, the rhythm + bass voicing IS the harmony. The most-interesting feature is the Drop-C tuning itself, which gives the rhythm guitar a low C (C2) that sits below the bass's normal range in places, doubling and reinforcing the root.
Rhythm + bass voice Ab (root + 5, often with C completing Ab major in the rhythm) alternating with Bb5 and C5.
Verse signature. The vocal sits on F natural, which is the 6th of Ab major. The 6 is NOT a chord tone of a basic triad, the vocal is decorating from above rather than completing the chord. The completed chord is Ab major (rhythm gives the major 3rd C), and the vocal sits one step higher on the 6.
Most interesting. When the chord moves Ab → Bb, the same vocal F becomes the 5th of Bb. The vocal hasn't moved, but its function shifted from a high decoration (6 of Ab) to a structural chord tone (5 of Bb). The prior extraction was calling Ab6 or Ab(add9) because the F was being pulled into the chord label. With the vocal excluded, Ab is plainly Ab major, and the F is a melodic high-register decision.
Rhythm + bass voice Eb5 (with the rhythm guitar adding G = ♮3 in many bars to complete Eb major). Bass walks Eb → C → Ab → G → Bb across the verse.
Verse signature. The vocal anchors on the root and 5 of Eb, with D natural (the major 7) showing up as a leading-tone color on the cadences. The melody is more chord-anchored than the rest of the album.
Most interesting. The bridge has a C5 → Bb5 → F5 → Eb5 walk. The vocal sustains F across the C5 → Bb5 change, which means F moves from sus 4 of C to 5 of Bb in two bars. That's another vocal-pivot example, but quieter than the Mutiny version, the held note resolves a sus 4 by changing chord rather than by moving down. The prior extraction labeled Csus4 explicitly because F was sitting in the chord, but the rhythm + bass alone are just C5 with the vocal supplying the sus.
Rhythm + bass voice Cm, Eb, Ab in rotation. The bass walks C → Eb → Ab → G across the verse.
Verse signature. The vocal sits HIGH, mostly on the 6th and 7th of the chord underneath. This is the album's most-extreme high-register-decoration vocal, the melody almost never lands on the chord's root or third.
Most interesting. When the chord moves Eb → Ab, the held vocal G stays put. G is the major 3rd of Eb, then the major 7th of Ab. That's a fancy pivot: same vocal note, the chord moves IV → ♭VII (or III → VI in C minor), and the held G transforms from a stable 3rd into an unstable ♮7. The prior extraction was reading this as Ebmaj7 and Abmaj7 because the G was getting included in the chord labels. With the vocal excluded, the chord changes are plainly Eb and Ab, and the G is melodic, the song's emotional climb.
**Power chord + vocal-supplied third is the signature.** Asleep in the Trunk, Endless Summer, and Broken Satellites use it most explicitly. The rhythm + bass give a 5th, the vocal lands on the 3rd, the chord lands. This is why the prior extraction kept inventing 7ths and 9ths, the third was sitting in the vocal track, not the rhythm guitar.
**Vocal pivots are the slow-payoff move.** The Alligator, The Mutiny, My Mirror Hates Me, and Jackie all do this. The vocal holds, the chord changes, and the listener feels the harmonic shift through the unchanged melody. The Mutiny is the cleanest example (A# = ♮3 of F#, then root of A#m, one bar apart). Jackie is the most extreme (G = ♮3 of Eb, then ♮7 of Ab, the function flips from anchor to suspension).
**Two tracks decorate from above.** Not Too Much sits the vocal on the 6th of Ab. Jackie sits the vocal on the 6th and 7th of every chord. In both cases the vocal is not part of the triad, the rhythm + bass give the chord, and the vocal is doing high-register melodic work above it.
**Mode-mixing lives in the rhythm guitar's voicing.** The Alligator has both B and Bb in the rhythm. My Mirror Hates Me has both G and G# in the rhythm. The vocal then picks one or the other depending on the line. This isn't ambiguity, it's a deliberate songwriting choice, the song slides between major and minor parallel modes without changing the chord root.
Every per-song FIXED_HYBRID chart now has a "what changed from the earlier MIDI extraction" section spelling out which inflated chord names came from vocal contamination. The shared theme: the vocal's third, sus, 9, b9, or sus 4 was being counted as a chord member by the auto-detector. Once the vocal track is held out of the pool, the rhythm + bass voicing is unambiguous, and the vocal can be mapped back in as scale-degree commentary rather than chord material.
For the band book, the practical impact is that chord charts should list power-chord voicings as the base layer (what the listener can play on guitar), and the completed triad name as the layer the listener hears (what the band actually does). That two-layer view is what the per-song HYBRID charts now provide.
Tracks 4-10 covered in this synthesis only. If a single-song deep chart is needed for any of them, run the same extraction pipeline (rhythm + bass for chord, vocal as separate scale-degree map).
This chart shows three pieces of information at each chord change.
1. **Guitar + bass** , what the rhythm guitar and electric bass actually voice. These are mostly power chords (root + 5th) with occasional sus2 / b6 color from the rhythm guitar's high voicings.
2. **With vocal** , the full triad the listener hears once the vocal's third lands on top. This is what the prior FIXED chart was labeling.
3. **Vocal sits on** , the scale degree the vocal note is, relative to the completed chord.
Key center: F minor (Aeolian, with Phrygian Db color in the rhythm guitar).
Fm: F minor, often voiced as F5 by rhythm + bass, with the vocal supplying Ab as the b3
Db: D-flat major, voiced as Db5 by rhythm + bass, vocal supplies F as the major 3rd
Bbm: B-flat minor, voiced as Bb5 by rhythm + bass, vocal supplies Db as the b3
Ab: A-flat major, voiced as Ab5 by rhythm + bass, vocal supplies C as the major 3rd
Cm: C minor, voiced as C5 by rhythm + bass, vocal supplies Eb as the b3
C/Eb hybrid: the "you'll be rid of me in time" climb walks C5 to F5 with vocal moving Eb to E natural, briefly major-mode
Verse and pre-chorus center: F5 (root + 5; rhythm guitar also rings Db as a Phrygian/Aeolian color above)
Chorus movement: Db5 to Bb5 (Bbm with the vocal Db) to Ab5 to F5
Bridge: F5 with Ab in the rhythm guitar, an unambiguous Fm voicing
Late lift inside the layered return: Ab5 to Eb5 to F5
Pre-bridge cadence ("you'll be rid of me in time"): Db5 to Bb5 to C5 to F5
Final chorus close: Db5 to Bb5 to Ab5 to F5, with the last F5 sitting under a sustained C5 voicing in the rhythm guitar
Rhythm + bass: F5 (root F, 5th C, plus Db b6 color from rhythm guitar)
With vocal: Fm-with-floating-major-3rd, the song's signature ambiguity
Vocal sits on: A natural (the major 3rd above F), Bb (the 4th, sus color),
C (the 5th), Db (the b6, doubles the rhythm guitar)
[F5]
I'm begging for a favor
in this difficult time
Cut the zip ties from my ankles
we've both got a lot on our minds
Note. The verse is the cleanest example of the vocal-completes-the-chord behavior. Rhythm and bass alone give an F5 with a Phrygian Db ringing on top. The vocal floats A natural above that bed, which would make the implied chord F major, but the surrounding key context and the bass cadence still read as F minor. The result is the bright-vocal-over-dark-bed tension that the song lives in.
Rhythm + bass: F5 throughout, with brief Bb sus4 and A natural decorations
in the rhythm guitar as it climbs into the chorus
With vocal: F(no3) with a sus-tinged top
Vocal sits on: A natural (the major 3rd), Bb (the 4th, sus motion),
C (the 5th)
[F5]
I would cook for you
wash your dirty sheets
I would feed you grapes
wave a palm leaf
write a song for you
I would make you a symphony
Rhythm + bass: Db5 -> Bb5 -> Ab5 -> F5 (the four-bar chorus loop) With vocal: Db -> Bbm -> Ab -> Fm Vocal sits on: Db chord: vocal lands on F, the major 3rd, completing Dbmaj Bb chord: vocal lands on Db, the b3, completing Bbm Ab chord: vocal lands on C, the major 3rd, completing Abmaj F chord: vocal lands on Ab, the b3, completing Fm [Db] vocal F = 3rd I keep thinking that we're still in love [Bbm] vocal Db = b3 and believe you me, I tried, I tried [Ab] vocal C = 3rd I've guessed our destination [Fm] vocal Ab = b3 from the turns on this gravel road
Rhythm + bass: Bb5 -> Ab5 -> Db5 -> F5 With vocal: Bbm -> Ab -> Db -> Fm Vocal sits on: Bb chord: vocal Db = b3, completing Bbm Ab chord: vocal C = 3rd, completing Abmaj Db chord: vocal F = 3rd, completing Dbmaj F chord: vocal Ab = b3, completing Fm [Bbm] vocal Db = b3 I'm in love with you [Ab] vocal C = 3rd but you're blind to me [Db] vocal F = 3rd when you go to bed [Fm] vocal Ab = b3 you don't dream of me
Rhythm + bass: Bb5 -> C5 -> F5 (chromatic climb, distinct from the standard chorus loop) With vocal: Bbm-ish -> Cm walking to C major -> Fm Vocal sits on: C5 chord: vocal C (root), then Eb (b3, Cm color), briefly to E natural (the major 3rd of C, a chromatic lift just before the bridge) (F5) I know it's the only way on your way to work I'm not anywhere on your mind you'll be rid of me in time
Same rhythm + bass loop as chorus one. The vocal melody now lands on the chord 3rds and b3rds in the same way, so the completed chord names are the same: Db, Bbm, Ab, Fm. [Db] vocal F = 3rd I keep thinking that we're still in love [Bbm] vocal Db = b3 and believe you me, I tried, I tried [Ab] vocal C = 3rd I've been sleeping in the trunk while you drive [Fm] vocal Ab = b3 I have always been your ride or die
Rhythm + bass: F5 with Ab now sitting clearly in the rhythm guitar
With vocal: Fm, unambiguous (the rhythm guitar supplies the b3 itself
on this section, so the vocal does not need to complete it)
Vocal sits on: F (root), no third needed from the vocal
[Fm]
You love the sound
sound that my beating heart is making just for you
You love the sound
sound of my beating heart, you hold in front of you
Rhythm + bass: F5 (with the rhythm guitar still adding Ab) -> Ab5 -> Eb5 -> F5 With vocal: Fm -> Ab -> Eb -> Fm Vocal sits on: Fm chord: vocal A natural (the major 3rd, the same bright-over-dark color from verse one) and the brothers' Bb (sus color) Ab chord: vocal C = 3rd, completing Abmaj Eb chord: vocal Eb (root), Bb (5th), and a passing G (3rd of Eb) Fm chord: vocal F (root) on the held lyric "symphony" [Fm] I would cook for you wash your dirty sheets (you love the sound) I would feed you grapes wave a palm leaf (sound that my beating heart is making just for you) [Ab] vocal C = 3rd write a song for you, no, a symphony [Eb] vocal Eb = root, G passing I'm in love with you, but you're blind to me (you love the sound) [Fm] when you go to bed, you don't dream of me (sound that my beating heart, you hold it from the view) [Db] vocal F = 3rd on your way to work [Bbm] vocal Db = b3 I'm not anywhere on your mind
Rhythm + bass: Db5 -> Bb5 -> Ab5 -> F5, twice through, the second pass sustains the F5 under a held C5 voicing in the rhythm guitar With vocal: Db -> Bbm -> Ab -> Fm, twice Vocal sits on the same 3rds and b3rds as chorus one. [Db] vocal F = 3rd I keep thinking that we're still in love [Bbm] vocal Db = b3 and believe you me, I tried, I tried [Ab] vocal C = 3rd I've been sleeping in the trunk while you drive [Fm] vocal Ab = b3 I have always been your ride or die [Db] vocal F = 3rd I keep thinking that we're still in love [Bbm] vocal Db = b3 and believe you me, I tried, I tried [Ab] vocal C = 3rd I've been sleeping in the trunk while you drive [Fm] vocal Ab = b3, with the rhythm guitar's sustained C5 voicing on top I have always been your ride or die [Fm] End on F minor, held.
The earlier pass folded the vocal MIDI track into the chord detector. That single inclusion caused:
The verse to read as F-add9 in places, because the vocal A natural got counted as a chord tone over F + Db. With the vocal excluded, the rhythm + bass alone read cleanly as F5 with a Db Phrygian color.
The chorus Db chord to read as Csus4/F or Dbmaj7 in places, because the vocal F sustained over the Db root looked like a chord-tone 3rd, then dropped to Eb which the detector heard as a 9. With the vocal excluded, the rhythm + bass simply give Db5 plus Ab, and the vocal then supplies F as the completing 3rd.
The bridge "you love the sound" to read as F5add9, because the vocal high G (=2 above F) registered as an added 9. With the vocal excluded, the rhythm guitar's Ab is now visible as the actual b3, and the chord is plainly Fm.
The final cadence to read as Csus4/F, because the vocal's sustained C on "ride or die" got pulled in. With the vocal excluded, the bass is on F and the rhythm guitar holds a high C5 voicing, so the structural label is F5 with a C5 voicing on top, and the vocal's Ab completes Fm.
"Cut the zip ties" rather than "take the zip ties," from the more polished lyric source.
"Wash your dirty sheets" rather than "wash your dirty sheet."
"I've been sleeping" rather than "I been sleeping," for singability.
"I'm not anywhere on your mind" resolves the uncertain line near the layered ending.
The Cyrillic look-alike characters in "love" and "me" were normalized to ordinary Latin letters.
Key Eb. Root from bass MIDI, quality diatonic to key (guitar = power chords). Word alignment approximate , verify by ear.
Eb The human eye Ddim Cm Eb Can see more shades of green than any other color Ddim The human eye Fm Gm Can see more shades of green than any other color Eb Cm Late at night Ddim Cm I would lie awake and listen to you breathing Every night Eb Cm Ddim I would make us dinner while you were still teaching Cm I won’t wake you Gm Eb I won’t wake you Fm Ddim I won’t wake you up Fm Eb Gm The human eye closes in the light Cm Bb Eb Blind to what it doesn’t want to see Gm Cm We are riding broken satellites Bb Eb Burning brightly upon reentry Summer days Ddim Caught between the sun and the twilight Cm I won’t wake FmEb I won’t wake you Ddim I won’t take you up Eb Gm Cm The human eye closes in the light Bb Eb Gm Blind to what it doesn’t want to see Cm We are riding broken satellites Bb Burning brightly upon reentry Eb Gm Human eye closes in the light Cm Bb In the end we’ll set each other free
Key Bb. Root from bass MIDI, quality diatonic to key (guitar = power chords). Word alignment approximate , verify by ear.
The sun shines on me always The fun never leaves all day And I, I can see forever Ride these ocean waves And drink myself to sleep Tune the radio F Eb On these endless summer days F Eb Pray for rain F Bb We, we don't need no one We don't believe your answers We won't be fooled again, and Ride these ocean waves And drink ourselves to sleep Tune the radio F Eb On these endless summer days F Pray for rain Eb Bb Dance for rain You, you and I tonight Fly on our wings tonight They won't believe their eyes Ride these ocean waves And drink ourselves to sleep Tune the radio F Eb On these needless summer days F Pray for rain Eb Dance for rain
Key Eb major (disputed against Bb Mixolydian, verified:false). Root from bass MIDI (Unknown Artist-Jackie-05-29-2026.mid, Electric Bass trk1). Floored roots: Ab (verse, IV), Eb (chorus, I), C (outro). Bb rides as upper-structure dominant color (V), not a frequent bass root. Tempo 144 BPM (Songsterr s5418285 + GP set_tempo). Word alignment approximate, verify by ear.
Key: Eb major. Scale: Eb, F, G, Ab, Bb, C, D
[Intro/Chorus — Eb major, ♩=144] Gm Bb Ab Why'd you make a mess? Bb Waiting on your prince again Ab Bb Rip up half the yard Ab Bb Searching for your gold Eb Are you left alone? Gm Eb Have you been left alone? Ab Bb Ab If I knew what to say Bb Eb How to make you understand Bb If I could ease your pain Eb Ab And stay at home I would Bb Ab I wonder what you think Bb Eb When I'm far away from you Bb Did you find another love? Ab Bb Eb And chew up all their shoes too? Are you left alone? Have you been left alone? Bb Dm Did you get left alone tonight?
Key Cm. Root from bass MIDI, quality diatonic to key (guitar = power chords). Word alignment approximate , verify by ear.
Cm Fm Gb DdimFm Yeah you're high, so high Gm Fm Gb DdimFm The ruler of the earth Gm Eb E Cm Ddim Ab But the hair on your head Gm Bb Gm Has sewed you to the bed Fm Gb Ddim Fm Cm But the best of all Fm Gb DdimFm Gm Is when it opens up Eb DdimCm E Gm Now you sleep in the deep Bb Gm Fm Ab The fishes swimming by Gm Bb Fm Eb Fm Now you hear what they think Gb Ddim Gb Cm They’re planning your demise Fm Gb Ddim Fm Eb But the best of all E Fm DdimCm Fm Is when it opens up Cm I'm old then I'm young AbGm Burn til I freeze Bb Gm Dead and alive Fm Ab Gm Buried at sea Bb Gm Ab Gm Now you dance on your grave Bb Gm Lazarus arise Cm Now you’re high, so high Look down upon the flock Ab Gm Cm But the best of all Is when it opens up Gm I'm old then I'm young Cm Gm Cm Burn til I freeze Gm Dead and alive Cm Gm Buried at sea I'd trade in my pills Cm For one chance to fly
Key E minor. Charted from the song's own stems , rhythm guitar + bass + vocal MIDI, cross-checked with librosa chroma on the rhythm-guitar stem. These are composite chords: the guitar plays power-chord voicings and the vocal supplies the third. The verses ride an Em drone (Verse 2 leans to the C flat-VI), and the chorus rides a steady five-chord loop Em Bm G Am D (i v flatIII iv flatVII). Each chorus phrase enters on a different turn of that loop, so the chords above each line mark where they fall under the words. The vocal floats between the minor third (G natural) and a raised seventh (D sharp) over the V. Onset-approximate, verify by ear.
[Intro] Em [Verse 1] Em Does no one know I've lived a thousand years Without a minute to spare Am I the only one To lose entire years I don't know where Can no one see I'm bleeding out here And it's changed my hair Can no one see I'm slowly dying here Like a worn out chair [Pre-Chorus] (instrumental turn) Em C Em [Chorus] Bm G Am D My mirror hates me today Bm G Am D It lies to me this way Bm G Am D My mirror hates me I know Bm G Am Em I'm losing hours alone [Interlude] (instrumental, chorus loop x4) Em Bm G Am D [Verse 2] Em (with a C flat-VI lean, see note above) I don't recognize The stranger's swollen eyes But I believed his lies [Chorus] Bm G Am D My mirror hates me today Bm G Am D It lies to me this way Bm G Am D My mirror hates me I know Bm G Am Em I'm losing hours alone [Outro] (instrumental) Em
Key Ab. Root from bass MIDI, quality diatonic to key (guitar = power chords). Word alignment approximate , verify by ear.
Bbm Ab It's more than make believe Bbm There's things I can't unsee Ab Through the medicines Bbm And out to the evergreen Ab Past the traffic lights She revealed to me Db Bbm Db Only you see me Bbm Ab We'll find my keys and drive Bbm Out where stars are bright Ab All the battle scenes Bbm Ab Are reruns made for me I'm a cannon ball Shot through the evergreen Db Past the traffic lights Bbm She revealed to me Db Only you see me We'll find my keys and drive Cm Ab Bbm Out where stars are bright Eb Weaving through the cars Cm Ab We're disappearing stars Bbm GdimEb Cm You and I drive away Ab Fly away Bbm Eb Make it go away Db Weaving through the cars We're disappearing stars
Key Dm. Root from bass MIDI (sofarso-06-03-2026.mid, Electric Bass trk2). Verses = D pedal (i), choruses = Bb pedal (bVI) + Am reset (v). Em/F/C from the older CDN sheet are Genius-sourced and not confirmed from the sounded bass. Word alignment approximate, verify by ear.
Dm [Verse] I've been saved I've been blamed I got lost I've paid the cost I've been washed 'Cause I been saved And I've been blamed I've been clowned And fooled again Bb I've been washed Dm So far so, [Chorus] Bb But if you leave Dm And if you leave me now Bb Dm Bb The sky won't fall and the Earth won't open But if you lave Dm And if you leave me now The sky won't fall and the Earth won't swallow me whole [Verse] 'Cause I got sold Am For a speck of gold Baptized clean In gasoline Yes I got washed Bb So far so, Bb [Chorus] Bb But if you need Bb If you need something you can run from Then run from me Dm But if you leave Bb And if you leave me now Dm Bb The sky won't fall and the Earth won't open And if you leave Dm Bb And if you leave me now Dm The moon won't crash into the ocean Am Bb And if you leave And if you leave me now Dm The sky won't fall and the Earth won't swallow me whole
Three pieces of information appear at every chord change.
1. **Guitar + bass** , what the rhythm guitar and electric bass actually voice.
2. **With vocal** , the resulting chord once the vocal lands.
3. **Vocal sits on** , what scale degree the vocal is, relative to the completed chord.
Key center: G, mixed mode. The rhythm guitar oscillates between G (with a clear B natural, Mixolydian / major color) and Bb (♭III, borrowed from the parallel minor). The vocal sits in G Mixolydian / Dorian (B natural and C are the entire hook melody, with D and Eb showing up at the lifts). The FIXED chart's "G minor" label captures the Bb chord-color but understates how major the vocal melody is, the song lives in the gap between G major and G minor.
G: G major. Rhythm + bass voice G + D, with the rhythm guitar also adding B natural (the ♮3). The vocal sometimes adds C as a sus 4 color.
Bb: B-flat major. Rhythm + bass voice Bb + F, with G and D from rhythm filling in. The ♭III chord borrowed from G minor.
B: B major (passing). A chromatic upper-neighbor chord between Bb and G, voiced B + D + F♯ in the rhythm guitar's quick climb.
Cm: C minor. Rhythm + bass voice C + G, vocal supplies Eb as the b3.
Eb: E-flat major. Rhythm + bass voice Eb + Bb, vocal supplies G (the major 3rd) when it lands.
F: F major. Rhythm + bass voice F + C, present in the outro.
Verse pattern: G | Bb | (B passing) | G → G | Bb | (B passing) | G
Pre-chorus pattern ("I can let you see"): Cm Eb Cm G
Bridge pattern ("I can let you know"): B (chromatic) → G
Hook ("I'm an alligator"): G | Bb (two bars)
Outro ("I can eat you whole"): G → Bb → G → Eb → G → F → G → Eb → G
Rhythm + bass: G (with B natural and D in rhythm) → Bb → B passing → G With vocal: instrumental, no vocal yet Vocal sits on: silent
Rhythm + bass: G | Bb | B passing | G (repeats) With vocal: G(maj) | Bb | B | G(maj), the vocal anchors the major mode Vocal sits on: B natural (the ♮3 of G) and C natural (the 4 of G), a two-note hook that alternates B and C. The songwriting payoff is that the SAME two vocal notes mean different things over each chord underneath. Over G: B = ♮3, C = sus 4 Over Bb: B = ♯1 (chromatic clash, creates the unease), C = 9th Over B: B = root, C = b9 (briefly atonal, resolves down to Bb) [G] vocal B = ♮3 of G What is that you say? [Bb] vocal C = 9 of Bb What is it you think you have to say? [G] vocal B = ♮3 I know what you need. [Bb] vocal C = 9 I know what you love and where you've been. [B → G] vocal B over B = root, returning to ♮3 over G What is that you say? [G] vocal B = ♮3 I know what you think before you say it.
Rhythm + bass: G | Bb With vocal: Gmaj | Bb, the vocal completes G major on the title line Vocal sits on: B = ♮3 of G, C = 9 of Bb [G] vocal B = ♮3 I'm an alligator. [Bb] vocal C = 9 I'm an alligator.
Rhythm + bass: G | Eb | Cm | Eb | Cm | G With vocal: Gmaj | Eb (with vocal lift to D, the 7th of Eb) | Cm | Eb | Cm | Gmaj Vocal sits on: G chord: B = ♮3 Eb chord: D = ♮7 (a wistful lifted color), Eb = root Cm chord: D = 9 of Cm, Eb = b3 (completes Cm) [G] vocal B = ♮3 I know what you need. [Eb] vocal D = ♮7 of Eb (the lift) I know what you need and where to get it. [Cm] vocal Eb = b3 of Cm I can let you see. [Eb] vocal Eb = root, D leans down a half-step I won't leave you cold in stormy weather. [Cm] vocal Eb = b3 [G] vocal D resolves down to B = ♮3
Rhythm + bass: B (chromatic) → G → B → G With vocal: B (briefly) → Gmaj → B → Gmaj Vocal sits on: B chord: B = root, C = b9 (the chromatic anguish) G chord: B = ♮3, C = 4 [B] vocal B = root, C = b9 (chromatic tension) I can let you know. [B] vocal stays on B/C while the chord lingers I can keep you deep inside a hole. [G] vocal B = ♮3 I know what you need. [B → G] vocal pivots back to ♮3 of G I know what you need and where to get it.
Rhythm + bass: G | Bb | G | Bb | G (the hook extended) With vocal: same two-note hook (B and C) over the alternation Vocal sits on: B and C, exactly as before [G] vocal B = ♮3 I'm an alligator. [Bb] vocal C = 9 I'm an alligator. [G] vocal B = ♮3 I'm an alligator. (I can let you know) (I can let you know) [Bb] vocal C = 9 I'm an alligator. (I can let you know) [G] (I can eat you whole)
Rhythm + bass: G | Bb | G | Eb | G | F | G | Eb | G With vocal: G | Bb | G | Eb | G | F | G | Eb | G Vocal sits on: G chord: A = 9 (the new note, replacing B for the outro lift), G = root Eb chord: Bb = 5th, A = ♮7 (briefly, a pulled-up leading tone), D = 7th F chord: D = 6th of F, A = ♮3 (completes F major) [G] vocal A = 9 of G (new outro color, no longer the B-C hook) I can eat you whole. [Bb] vocal D = ♮3 of Bb I won't let you go. [G] vocal A = 9 I can eat you whole. [Eb] vocal Bb = 5, D = ♮7 lift, Eb = root I won't let you go. [G] vocal A = 9 I can eat you whole. (I am an alligator) [F] vocal A = ♮3 of F I can eat you whole. [G] vocal A = 9 I won't let you go. (I am an alligator) [Eb] vocal D = ♮7, then to A which is the ♯4 (Lydian color, briefly) [G] vocal G = root, A = 9 (the song settles) I can eat you whole. I won't let you go.
The earlier pass folded the vocal MIDI track into the chord detector. The most visible distortions:
The verse chord on bar 2 read as G6 or Gadd9, because the vocal C was counted as a chord tone (sus 4) over G + D + B in rhythm. With the vocal excluded, the rhythm + bass alone read as a plain G with its ♮3 in the rhythm guitar, and the vocal C is correctly identified as a top-line sus tone rather than a chord member.
The Bb chord at bar 4 read as Bb6/9, because the vocal C (9 of Bb) and the rhythm's G note (which is the 6 of Bb) both got pulled into the label. With the vocal excluded, the chord is plainly Bb with a high G ringing on top (Bb + D + F + G, a common Shiner voicing where the high G is structural to the chord shape), and the vocal C is the top-line 9.
The bridge "B" chord read as Bdim or Bm7 in the prior pass, because the vocal C against B in the rhythm read as a b9. With the vocal excluded, the rhythm + bass alone give a B major triad (B + D♯ + F♯ in the rhythm guitar's voicing), and the vocal C is correctly identified as a chromatic b9 melody note, not a chord tone.
The outro F chord read as F6/9, because the vocal A (♮3) and D (6) were both melodic, not chordal. With the vocal excluded, the chord is plainly F major (F + A from rhythm guitar, C in rhythm), and the vocal degrees stand out as melodic decisions rather than chord-spelling.
"Where you've been" rather than "where you been," for grammatical consistency.
"I won't let you go" (not "let you know"), the title-line cadence everywhere else in the outro.
"I won't leave you cold" left intact, that phrase reads correctly against the bass and the imagery.
The glued "EbGm" pair was separated into "Eb G" for readability.
Confirm the bridge chord is genuinely B major rather than the F♯aug voicing (F♯-A♯-D), the bass extraction can read either depending on inversion.
Confirm the outro "Eb G" is two distinct bars or a single Eb to G slide inside one bar.
Count the "I'm an alligator" hook repetitions, the chart prints three or four, the recording may have a fourth pass before the (I can let you know) parenthetical.
**Key correction, 2026-06-11.** An earlier pass keyed this song to **F# major** and built a full per-syllable degree map on that tonic. The 2026-06-11 claim audit (`_audits/deep_chapter_claim_audit_mutiny_2026-06-11.md`) overturns it. The tonal center is **B♭**, and the loud pitch the old pass read as an "F#" tonic is **G♭, the flat sixth**, the most-rung note in the rootless Drop C rhythm guitar. The old per-syllable F#-degree map is **withdrawn** below, since every degree in it was measured against the wrong tonic. What follows is the verified B♭ reading from the audit. The major quality rests on the sung third and stays **`verified: false`** until Brandon's ear-check of the 180 to 240 s body.
Intro : bare B♭5 (lead only, no bass, no vocal); bar 3 adds G♭ as the one-bar mixture tell Verses : pedal G♭ (♭VI), the voice holds B♭ over the moving floor Bridge : pedal A♭ (♭VII) Build : F (V) Body : lands B♭ (I); chorus approaches F → B♭ Band-drop : bars 51 to 53 silent, F5 returns at bar 54 Outro : B♭maj7 (A natural enters), then bare B♭5, final B♭1
The old chart's per-syllable "vocal sits on" degrees are withdrawn (wrong tonic). The audit verified vocal behavior at the section level:
A full per-syllable degree map in B♭ is owed once the key clears the ear-check, and is not re-derived here to avoid carrying forward unverified per-note labels.
Captain I believe we've sprung a leak Captain I believe we're lost at sea All the men are at their stations But now they're at the end of their patience B♭ Captain I believe we've sprung a leak G♭ Portside breach and taking on the sea Now the men abandoned stations A♭ Our destiny has finally found us Soon the men will come to hang us F The dawn will come and they won't find us In the waves Who would think A♭ I'd die with you tonight? Set the sails ablaze and partied F They drank a toast to their mutiny Then they danced And rowed away B♭ And left us in the waves Captain our ship is almost gone Listing badly, waiting for the dawn I can't say I ever really knew G♭ Who you were and why I died with you A♭ B♭ Captain I believe I see it clear The sun is rising as we disappear