Hooray For Earth — Racy — chord + lyric charts

9 songs from Racy (2014), charted from the Songsterr CDN MIDI (rhythm guitar + lead + keys; vocals excluded from chord detection; bass captured for slash labeling). Word/chord alignment is onset-approximate — verify fine placement by ear. · Built 2026-06-12 14:06

About these chord names. The chord shown is the composite chord — what the rhythm guitar, lead, keys, and bass sound together. The guitar is frequently a power chord or suspension; the upper voicing or the vocal supplies the tone that decides the chord quality. Use the toggle to read in letters, Nashville numbers, or Roman numerals relative to each song's key.

Chord notation

Hooray For Earth — Airs

key: F#

Source checked against `HoorayForEarth/midi/HOORAY FOR EARTH-Airs-05-28-2026.mid` (Songsterr CDN export).

Key center: F# (the bass and slash voicings keep returning to F#; the FROMMIDI chart's "Key C#" was the dominant of that F# center, not the tonic).

Chords are written from the MIDI pitch content (rhythm guitar + lead guitar + keys), with bass captured separately for slash labeling. Vocals are EXCLUDED from chord detection.

MIDI Correction Notes

The earlier FROMMIDI chart labeled the song around plain triads (F#, G#, C#, Cdim, Fm). The MIDI shows almost none of those are clean major or minor triads — most are power chords, suspensions, or slash voicings with F# bass under non-F# upper shapes.

**Density disclosure (audit 2026-06-02):** 48% of vocal onsets (95 of 199) are `unclassified` — single keys pitches or 2-note dyads with no chord shape. The intro and several inter-section passages are keys-pedal, not chordal. The chord labels below identify the moments where a chord shape DOES emerge; the unlabeled passages are single-pitch or instrumental.

The intro figure (`Sing it tonight` opening) is a keys-pedal on F# and F over an F# bass, with one moment of an explicit `F5/F#` voicing. The chart's first clean chord arrival is `F#5` at the verse's downbeat.

The pre-chorus opens on `F#` major (`Feed the time you count it over`) before lifting to `G#7` (`gesture and the hour`).

The `G#` label at `It's out of order` becomes `G#7` — the dominant 7th is present in the rhythm + keys stack, not a plain triad.

The `C#` label at `In the corners` becomes `C#sus4/F#` — the chord holds the 4th (F#) instead of the 3rd, with F# in the bass.

The `Cdim` label is in fact `Ddim/G#` or `F#dim/C` depending on the bar — a passing diminished arc the FROMMIDI flattened into a single label.

The `Fm` label is wrong: there is no clear minor 3rd; the chord is `F5` or `Fsus4` (power + sus 4 only).

The `Daug` at `I want to go away` becomes `Daug/F#` — augmented triad over an F# bass, the song's only true augmented moment.

The lift `Just help it out and pray it out` arrives on `C#sus4/F#` then `G#9` (NOT `G#sus2` as an early aggregator pass picked — the per-onset evidence is `G#9`).

The post-chorus `D#5` lift (`Cause I remember`) is power-chord-only, not a triadic D# major.

A 4-window all-instrumental sparse passage (bars 82-86) sits between the bridge and the final chorus — rhythm + lead + keys all active but the pitches don't form chord shapes. Not labeled below.

[Intro figure — keys pedal on F#/F over F# bass; rhythm + lead silent]
(F# pedal)         (F pedal)        F5/F#
(instrumental)

[Verse one — first clean chord arrival]
F#5
Sing it tonight,
                F#5
it's out of order,
                          F#dim/C
in the corners, but there's no corner.
(F# pedal)
Sing it tonight,
F5  (keys pedal)
it's out of order,
                                  (sparse)
in the corners, but there's no corner.

[Pre-chorus one]
F#                            G#7
Feed the time you count it over,
                              G#7
just promote you, gesture and the hour.

[Chorus one]
F5/F#                    Fsus4
They want to buy over us, you learn nothing.
                              G#7
Now I have them surrounded.

[Lift]
C#sus4/F#                            G#9
Just help it out and pray it out.
F#maj7
Cause I remember,
                            G#7
still in time for closure.

[Verse two]
Fsus4/F#                                Ddim/G#
Believe me tonight, I'm not the owner.
F                            G#7
The sun rose in the corner,
                                Fsus4/F#
it's time to buy and turn around,
                                F5/G#
to be in the corner.

[Chorus two]
F5/F#                    Fsus4
They want to buy over us, you learn nothing.
                              G#7
Now I have them surrounded.

[Lift reprise]
C#sus4/F#                            G#sus2
Just help it out and pray it out.
F#maj7
Cause I remember,
                            G#7
still in time for closure.

[Bridge]
Daug/F#                D#5
I want to go away.
C#5             D#5
I want to go away.

[Chorus three]
F5/F#                    Fsus4
They want to buy over us, you learn nothing.
                              G#7
Now I have them surrounded.

[Final lift]
Fsus4/F#                              F5/G#
Just help it out and pray it out.
F#maj7
Cause I remember,
                            Fsus4/F#
still in time for closure.

[Outro]
Fsus4/G#
They want to buy.

Bar Level MIDI Check

`F5/F#` (and its sus4 variant `Fsus4/F#`) is the single most common label across the song — 6 phrase windows. The F-shape over an F# bass is the verse architecture.

`G#7` lands 3 times across the pre-chorus and chorus — the dominant 7th, not a plain major triad.

`F#maj7` appears at the `Cause I remember` lift — the song's only true triadic-with-7 moment.

`C#sus4/F#` covers the `Just help it out` lift — sus4 on C# with F# in the bass.

`Ddim/G#` and `Daug/F#` are the song's two passing-color chords, each appearing once.

`D#5` is power-chord only at the `I want to go away` bridge — no third.

`Fsus4/G#` is the closing label on the outro `They want to buy` — sus4 on F over G# bass, leaving the song unresolved.

Hooray For Earth — Happening

key: F

Source checked against `HoorayForEarth/midi/HOORAY FOR EARTH-Happening-05-28-2026.mid` (Songsterr CDN export).

Key center: F (the FROMMIDI got this right). The mode borrows freely from F Mixolydian (♭7 = E♭) and F Lydian (♯4 = B / G major triad with raised 3rd). The chorus rotates A#add9 ↔ D#add9 — Bb-add9 ↔ Eb-add9 — both with the added 9 in the keys voicing.

Chords are written from the MIDI pitch content (rhythm guitar + lead guitar + keys), with bass captured separately for slash labeling. Vocals are EXCLUDED from chord detection.

MIDI Correction Notes

**Density check (audit 2026-06-02):** Happening is the densest of the 5 attached HFE songs — 245 vocal onsets, 47% exact + 27% superset matches, only 22% unclassified. The chord vocabulary is highly extended (add9, maj7) and the chorus rotation `A#add9 ↔ D#add9` is confirmed across 13 + 6 phrase windows.

**Verse 2 opening corrected (audit):** the earlier draft repeated the chorus chords for verse 2, but the MIDI shows verse 2 actually opens on `F → Dm → Gadd11` (5/5 onsets of Dm at bar 50-52 — a very strong arrival) before the A#add9 chorus chord returns. Verse 2 is different from verse 1.

**Bridge corrected (audit):** the bridge "The sky is open" sits at bar 85-87 → `A#add9 → C#maj9/G#`, then "No longer alone" lands on **Gmaj7 (6/7 STRONG)** — the brightest, most-classified moment in the entire song. The earlier draft had D#add9 + Fmaj7/A at "Sky is open" — those chords belong earlier in chorus 2, not the bridge.

The earlier FROMMIDI chart labeled the song with plain triads (`F, Bb, Am, Gm, Eb`). The MIDI shows almost every chord is extended — add9, maj7, sus4 — and the song's signature is the added 9th on every Bb and Eb in the chorus.

The `Bb` label is more precisely `A#add9` (Bb-add9) — the chord adds C (the 9th) on top of Bb, D, F. This is the single most common label in the song (13 phrase windows).

The `Eb` label is more precisely `D#add9` (Eb-add9) — adds F (the 9th) on top of Eb, G, Bb.

The `Am` label is in fact `Fmaj7/A` — F major 7 voiced over an A bass; there is no clean A minor triad in the song.

The `Gm` label is wrong: the rhythm + keys give `Gmaj7` (raised 3rd → B natural). G major 7 in an F-major song is the Lydian II — a brighter color than the FROMMIDI's plain Gm.

The `Edim` label at `Confident, who am I?` is in fact `F#m7b5/A` — half-diminished on F#, with A in the bass.

The `Ab` label at `The sky is open` is `C#maj9/G#` — C# major 9 with G# bass, a much more chromatic moment than the FROMMIDI's plain Ab.

The bridge `Dm` is real, sometimes voiced as `Dm7`.

The chord at `Where have you been all night` lift is `Fmaj7/A` (the chord builds on the A bass that the FROMMIDI labeled `Am`).

[Verse 1]
Fmaj7                  Dm7
Wasted in an empty parking lot,
A#sus2
spacing out for something.
Fmaj7/A                Dm7/F                G7
Deeper into knowing what is wrong,
Fsus4/A#
over and over now,
F                D#
reaching out for something.

[Chorus 1]
A#add9                             D#add9
It isn't happening, happening this time.
Dm7                              A#add9
It isn't happening, where have you been all night?
A#add9                             D#add9
It isn't happening, happening this time.
Dm                              Gadd11
We worry nothing is permanent.

[Verse 2 — different chord arc than Verse 1]
F                Dm                  Gadd11
Exclamations pour in front of us, over and over now.
A#add9                                Gmaj7
Taking off for something, what could I have ever proven wrong?
Fmaj7/A                Gmaj7                              A#add9
Through my heart goes the night, spacing out for something.

[Chorus 2]
F#m7b5/A                              A#add9
It isn't happening, happening this time.
F                                      A#add9
It isn't happening, where have you been all night?
D#add9                            A#add9
It isn't happening, happening this time.
F                              A#add9
We worry nothing is permanent.

[Bridge]
A#add9                                F/A
The sky is open, but it's just a moment's time.
C#maj9/G#                            A#
Confident, who am I?
Gmaj7
No longer alone.

[Chorus 3]
Gmaj7                                Gmaj7
It isn't happening, happening this time.
F/A                              A#add9
It isn't happening, where have you been all night?
F                                A#add9
It isn't happening, happening this time.
D#add9                              A#add9
We worry nothing is permanent.

[Outro]
F
Wasted in an empty parking lot.
                                D#add9
(silence)

Bar Level MIDI Check

`A#add9` (Bb-add9) appears in 13 phrase windows — by a wide margin the song's most common chord. The added 9 (C on top of Bb-D-F) is the chorus's signature voicing.

`F` and `D#add9` (Eb-add9) each appear in 6 phrase windows — the two other chorus anchors.

`Gmaj7` appears in 6 phrase windows — the borrowed Lydian II that gives the verse its bright lift. Plain Gm never appears in the MIDI.

`Fmaj7/A` appears in 3 phrase windows at `Deeper into knowing` and the chorus's `Where have you been` moment — F major 7 over A bass, not an A minor triad.

`Dm` and `Dm7` cover the bridge's quiet moment — the song's only true minor-triad chord.

`F#m7b5/A` appears once at the chorus 2 opening — half-diminished, not the FROMMIDI's plain Am.

`C#maj9/G#` appears once at `Confident, who am I?` — the song's lone chromatic-borrowing moment, with G# in the bass.

`G7` appears once at `Deeper into knowing what is wrong` — the only dominant 7th, briefly tonicizing C before returning to the F-major orbit.

The song's harmonic identity is extension-heavy F major with Mixolydian (E♭) and Lydian (G major) borrowings, plus a single C#maj9 moment in the bridge — a richer palette than the FROMMIDI's diatonic labels suggested.

Hooray For Earth — Hey

key: D

Source checked against `HoorayForEarth/midi/HOORAY FOR EARTH-Hey-05-28-2026.mid` (Songsterr CDN export).

Key center: D (the bass resolves to D under most cadences; the song uses ♭7 = C natural at the "C#5/D" passing chord, making the mode D Mixolydian rather than D major).

Chords are written from the MIDI pitch content (rhythm guitar + lead guitar), with bass captured separately for slash labeling. Vocals are EXCLUDED from chord detection. Hey is the only attached HFE MIDI without a separate keys track — the chord vocabulary is pure guitar.

MIDI Correction Notes

**Density check (audit 2026-06-02):** 92/103 vocal onsets (89%) form exact chord matches — Hey is the densest of the 5 attached HFE songs. Only 3 onsets are unclassified.

**Outro chant disclosure:** the vocal-onset chord detection ends at bar 67. The outro chant section (bars 70-84) has rhythm + lead activity, but the vocals don't drive new chord-detection windows. The outro labels below are **inferred from the verse-one progression** the chant repeats — not directly measured at the chant timestamps.

The earlier FROMMIDI chart labeled the chorus around plain triads (G, A, F#m, D, C#dim). The MIDI shows the rhythm guitar is almost entirely power chords and sus chords — almost no clean triads.

`G` at `Hey, little one` is more precisely `G5` (root + fifth, no third).

`A` is in fact `F#5/A` — the rhythm guitar plays F# + C# (a F# power chord) over an A bass; there is NO clean A major triad in the song.

`F#m` is `F#5` — power chord only; no minor third.

`D` is `D5` — power chord.

`C#dim` is wrong: the MIDI gives `C#5/D` (a C# power chord with D in the bass) — a half-step grind, not a diminished triad.

The pre-chorus `Stay in the room` arrives on `Dsus4/G` — sus 4 on D with G in the bass, the song's only sus-with-slash voicing.

The lift `Let's try it, more than enough` uses `Esus4` and `Esus4/A` — sus chord on E, then with A bass (the Es never become full E major or E minor in the rhythm voicing).

The bridge `Let's try to solve it out` returns to `Dsus4/G` and resolves to plain `D` only at the song's structural cadence.

[Intro]
G5
(synth + guitar pulse)

[Verse one]
G5                        F#5/A
Hey, little one, I'm going to find you!
                          F#5/A
Hey, little one, let's duck inside you,
D5/F#       D5
stumbling on!

[Verse one reprise]
G5                        F#5
Hey, little one, I'm going to find you!
                          F#5
Hey, little one, let's duck inside you,
C#5/D     C#5/D    C#5
stumbling on!

[Pre-chorus]
Dsus4/G                       Esus4
Stay in the room, but don't be final.
Dsus4                         Esus4/A
Stay in a room, but don't be final.

[Lift]
F#m/D                              Dsus4/G
I'm solving it out, more than enough.
D
Let's try it, it's more than enough!

[Verse two]
D5/G                       D5/G
Hey, little one, I'm going to find you!
Hey, little one, let's duck inside you,
stumbling on!

[Outro chant]
G5
It's more than enough,
F#5            D5
let's try to solve it out!
D5
It's more than enough,
C#5/D       D
let's try to solve it out!
G5
Solve it out!

Bar Level MIDI Check

`G5` appears in 2 phrase windows and dominates the intro / verse one — root + fifth, no third.

`F#5/A` appears in 2 phrase windows at `Hey, little one` — F# power chord over A bass, the song's signature inversion.

`D5` and `D5/G` together cover 5 phrase windows — D power chord, half the time with G as the bass slash.

`C#5` and `C#5/D` cover 3 phrase windows at `stumbling on` and the bridge — power chord, with D-bass at the verse-end grind.

`Dsus4` and `Dsus4/G` cover 3 phrase windows — sus 4 on D, often with G in the bass.

`Esus4` and `Esus4/A` cover 2 phrase windows at `Stay in the room` — sus chord on E that never resolves to a triadic E major or minor.

`F#m/D` is the song's one F-minor moment — at `I'm solving it out`, with D in the bass.

`D` (plain triad) appears once, at the very end of the bridge before the outro chant — the song's only structural cadence to a clean major triad.

Hooray For Earth — Keys

key: Em

Key Em. Root from bass MIDI, quality diatonic to key (guitar = power chords). Word alignment approximate — verify by ear.

Know that it's me at the door
Before you answer
                                      D
Know that it's me from a creak in the floor
       G
Before you answer
                  Em      D     G
Everything aligns for you and I cross way
         C   Bm
Changing our lives, fortune flies
      D        G
Don't put them over her
          C       Em
Know that it's me at the door
D
Before you answer
                    G        C   D
Jangling keys and a creak in the floor
       G
Before you answer
           C      Em      D   G
Everything aligns for you and I cross way
C        Bm
Changing our lives, fortune flies
D              G
Don't put them over her
     C  Em      Am                    G
Same as before, call the nights cross way
               C          Bm
And everything aligns for you and I
              Am
Wake up, wake up
                   C
Don't really think it's a home
     D
Only affluence
G           Am     C
No, I don't really think it's a home
D          G              C   Em      D
Everything aligns for you and I cross way
         G                  C
Changing our lives, fortune flies
Bm                  D
Don't put them over her
     G               C   Em           F#dim
Same as before, call the nights cross way
               G              C
And everything aligns for you and I

Hooray For Earth — Last, First

key: D#

Source checked against `HoorayForEarth/midi/HOORAY FOR EARTH-Last, First-05-28-2026.mid` (Songsterr CDN export).

Key center: D# (Eb). The FROMMIDI chart's "Key C" is the half-step neighbor that anchors the song's chromatic motion, but the rhythm + keys gravitate to D# / D#5 / C5/D#, with the bass walking to D# as the verse cadence.

Chords are written from the MIDI pitch content (rhythm guitar + lead guitar + keys), with bass captured separately for slash labeling. Vocals are EXCLUDED from chord detection.

MIDI Correction Notes

**Density check (audit 2026-06-02):** 267 vocal onsets, but only 25% form exact chord matches; 36% are unclassified single-pitch / dyad moments; 39% are supersets (chord with extra notes that don't fit a standard template). Last, First is the most harmonically dense and chromatic of the 5 HFE songs here.

**Phrase-aggregator richness bias disclosed:** the per-phrase chord picker prefers richer labels (sus, add, slash) when they hit 30% of the dominant count. This understates how often simple triads or power chords are actually the most common voicing at a window. Where the chart says `C5/D#` or `Dsus4/G` or `Dsus2/A` in the chorus, the per-onset evidence often shows the simpler `F5` or `Am` or `D5` as the most-frequent label, with the richer voicings as colorations. Both labels are valid; the per-onset most-common is annotated in square brackets below.

The earlier FROMMIDI chart labeled the song in C major (`Db, C, Bb, Eb, Dm, F, Am, G`). The MIDI shows the actual chord vocabulary is heavily chromatic and centered on D# / F / Am, not C. The plain triad labels miss the song's defining tension — the constant Cdim and slash voicings.

The verse `Socialite, for the night` is more precisely `F5/C#` — F power chord over C# bass, half-step grind.

The chord at `Oversight, wouldn't try to pick me back up` is `Cdim` (true diminished triad on C), not the FROMMIDI `Db`. The MIDI confirms a C–E♭–G♭ stack with no third-replacement.

The chorus `I was acting over-the-line, saying you were mine` is fundamentally an `F5 ↔ Am` triadic cycle with `C5/D#`, `Dsus4/G`, `Dsus2/A`, `Dm7` voicings layered on top — both labels are honest reads of the same bars.

The bridge `Crying a lonely laugh` at the second-time-around (bars 92-94, 13 onsets) is fully sparse — all 13 onsets unclassified. The rhythm guitar holds a single pitch under near-silence. Marked `(sparse)` below.

The final-section `So much dark embrace` opens on `F5` (per-onset most common), then alternates with `E5`, `D#5`, and `Aadd11` — the chart's earlier `E5 / Aadd11` opening was the aggregator's richer pick, not the dominant per-onset.

The bridge passing `D#` and `C/E` moments are confirmed by the MIDI.

[Verse 1]
F5/C#                                  D#5
Socialite, for the night and take me out.
           Cdim                              Cdim         Cdim/C# Cdim
Oversight, wouldn't try to pick me back up, 'cause you find it in my eyes.

[Verse 1 continued]
                 Daug/G          Cdim/C#       A#aug
Sunlight, fading torrent, my hands broken.
                              C5/D#                Dsus4/G
Sometimes, waiting for it is why I'm eroding.

[Pre-chorus  — chorus base = F5 ↔ Am cycle; sus / slash voicings layer on top]
C5/D# [F5]                            Dsus2/A [Am]
I was acting over-the-line, saying you were mine.
Dsus4/G [Dm7]
Crying a lonely laugh.
C5/D# [F5]                          Dsus2/A [Am]
I was acting over-the-line, saying you were mine.
Csus2/D# [F5]
I'll find it on my own.

[Verse 2]
F5/C#                                  D#5
Socialite, for the night and take me out.
                       Cdim/D#
Do you violate my path?
           C#sus4                              Cdim
Oversight, wouldn't try to make me up again.
                 F#5/C#       Daug/G
Yeah, you cry it out so fine,
                    Fsus4/C
do you find it in my eyes?

[Pre-chorus reprise — same F5 ↔ Am cycle with richer voicings layered]
Cdim/D# [F5]                          Dsus4/G [Dm7]
I was acting over-the-line, saying you were mine.
C5/D# [F5]
Crying a lonely laugh.
Dsus2/A [Am]                         Csus2/D# [F5]
I was acting over-the-line, saying you were mine.
Dsus4/G [Dm7]            C5/D# [F5]
I'll find it on my own.

[Bridge]
Dsus2/A [D5]
Say you will hope then.
(sparse — 13 onsets all unclassified)
Crying a lonely laugh.
D#                          C/E
I was acting over-the-line,
                    D#5
saying you were mine.
              D5 [E5 alt]
I'll find it on my own.

[Outro chorus]
F5                                D#5
So much dark embrace.
                     E5
She sees me open every door.
                                F5
Words are caught in space, the air.
       D#5
So much dark embrace.
                     Aadd11
She sees me open every door.
                                E5
Words are caught in space, in the air.
       F5
So much dark embrace.
                                  D#5
Could it be she's opened every word.
                                Aadd11
Words are caught in space, in the air.

Bar Level MIDI Check (2026-06-02 audit)

`F5`, `Am`, and `D5` are the most-frequent per-onset chords across the choruses — the simple triads / power chords are the structural harmony. The phrase aggregator's `C5/D#`, `Dsus4/G`, `Dsus2/A` slash-rich labels are sub-dominant voicings layered on top.

`Cdim` appears in 4 phrase windows at `Oversight, wouldn't try…` and `Oversight, wouldn't try to make me up again` — the true diminished triad on C, confirmed across both pre-chorus arrivals.

`D#5` (Eb power chord) appears in 4 phrase windows and `F5/C#` in 4 more — D# is the verse's gravitational center, F#/C# is the song's signature slash voicing.

`Daug/G` appears at the bridge `Sunlight, fading torrent` and again at `Do you violate my path` — augmented triad with G slash, the song's brightest dissonance.

The bridge `Crying a lonely laugh` second-arrival (bars 92-94) is 13/13 onsets unclassified — single pitch held by rhythm guitar with bass walking; not a real chord.

The outro chorus `So much dark embrace` rotates through `F5 / D#5 / E5 / Aadd11`. `F5` is most common; `Aadd11` is the only true triadic-with-extension moment.

`D#` and the C/E passing chord land in the bridge only — the lone moments where the harmony becomes triadic-with-7 instead of slash/sus/diminished.

Hooray For Earth — Pass

key: D

Source checked against `HoorayForEarth/midi/HOORAY FOR EARTH-Pass-05-28-2026.mid` (Songsterr CDN export).

Key center: D (the bass cadences to D under the chorus). The mode is D Mixolydian — the song's ♭7 (C) is the persistent upper voicing in the rhythm guitar + keys, and the chorus is held on Csus2 rather than a plain C major.

Chords are written from the MIDI pitch content (rhythm guitar + lead guitar + keys), with bass captured separately for slash labeling. Vocals are EXCLUDED from chord detection.

MIDI Correction Notes

**Density check (audit 2026-06-02):** 217 vocal onsets — 24 silence, 10 sparse bass-only, 71 unclassified, plus 67 exact and 45 superset. Almost **half the song's vocal onsets have no chord shape under them** (silence + sparse + unclassified = 47%). Pass is structurally the sparsest of the 5 HFE songs here.

Pass opens with 6 phrase windows of bass-only or silent material — the rhythm guitar and keys are silent or barely whispering. The earlier FROMMIDI chart assigned chord labels to those bars; the MIDI shows there is no chord to label, only a walking bass (A → F# → silence; the `D (bass only)` annotation below covers just the brief D-bass moment, not a sustained chord).

The chorus chord at `It's upon me, it's upon me, I found it` is more precisely `Csus2` — the C is held with its 2nd (D) and 5th (G) but no 3rd. The plain `C` label in the FROMMIDI is wrong; the chord is suspended throughout the chorus.

The `F#m` label in the FROMMIDI is in fact `F#5/A` (power chord over A bass) at the first chorus, then `F#m/B` (true minor triad over B bass) only at the bridge.

The `Bm` arrival is real — but only at 2 phrase windows, and once as `Bm/G` (over G bass).

The `D` label is more precisely `D5`, `D/F#`, `Dmaj7/F#`, or `D7/F#` depending on the section — every D-rooted chord in this song has F# in the bass.

The bridge `Dsus4/G` and `Fmaj7/A` arrive at the new-material section after `Anywhere` — both are extended-chord-with-slash voicings the FROMMIDI flattened.

The outro `D7` resolves the song; the rhythm guitar finally plays a dominant 7th, not a plain triad.

[Intro — bass walks under silence]
— (bass only)
(instrumental)

[Verse 1]
A (bass only)
Pushin' my luck, I can find it in you,
F# (bass only)
sayin' no words, empty notes
(D bass briefly → silence; 10/10 onsets at bars 16-20 have no harmony or bass)
Pushin' my luck, and the fire in you.

[Chorus 1]
Csus2
It's upon me, it's upon me, I found it.
Csus2  (D5 passing)
It's upon me, it's upon me, I found it.
Csus2
It's upon me, it's upon me, I found it.
Bm
It's upon me, it's upon me, I found it.

[Refrain]
Bm
Anywhere.

[Chorus 2]
F#5/A
It's upon me, it's upon me, I found it.
Bm/G                     Bm
It's upon me, it's upon me, I found it.
Dmaj7/F#                       Csus2
It's upon me, it's upon me, I found it.
Csus2                                  D5
It's upon me, it's upon me, I found it.
F#m/B
It's upon me, it's upon me, I found it.
D7/F#
It's upon me, it's upon me.

[Bridge]
F#sus4/B
Ooh, platified,
F#5
everyone's right, we'll push another.
Dsus4/G                Fmaj7/A
And I can find you, okay.

[Final chorus]
Csus2
It's upon me, it's upon me, I found it.
F#m7b5/A
It's upon me, it's upon me, I found it.
C5                            F#5
It's upon me, it's upon me, I found it.
Csus2                       Csus2
Ooh, it's upon me, it's upon me, I found it.
Gsus4
Ooh, it's upon me, it's upon me.
D7                              Csus2  D7
It's upon me, it's upon me.

Bar Level MIDI Check

`Csus2` dominates the song with 9 phrase windows — the chorus's signature chord. The C is voiced with D (2nd) and G (5th) but no E (3rd) — sus 2, not C major.

The opening 6 phrase windows are bass-only: A, F#, D, then silence — the rhythm guitar enters only at the first chorus.

`Bm` is the song's only triadic-minor chord, appearing in 2 phrase windows including `Bm/G` (with G bass).

`F#5` (and slash variants) appears in 4 phrase windows — power chord on F#, sometimes with A bass (verse) or B bass (bridge).

`D7` and `D7/F#` appear in 3 phrase windows at the outro — the dominant 7th finally arrives at the song's close.

`Dmaj7/F#` and `Dsus4/G` and `Fmaj7/A` are the bridge's color chords — extended-chord-with-slash voicings, each appearing once.

The song's harmonic identity is: chorus rotates on a single Csus2; verses are bass-only; bridge introduces extended-chord-with-slash voicings; outro lands on D7. The MIDI confirms a sparse, slow-burn architecture the FROMMIDI chart's diatonic labels obscured.