Major view
D major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = C# (leading tone, pulls home)
- 4 = G (the note that leans on the 3rd)
Queen - I Want It All - Chord
Key D major – B minor Chords A, G, Bm, E, D, B, F#, Am Easy key G (capo 7)
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Key: D | Bm
Capo: 0
Bm G A Bm A
I want it all, I want it all, I want it all, and I want it now
Bm G A Bm A
Bm G
Adventure seeker on an empty street
A Bm A
Just an alley creeper, light on his feet
Bm G
A young fighter screaming, with no time for doubt
A Bm A
With the pain and anger can't see a way out
D G A
It ain't much I'm asking, I heard him say
G A G
Gotta find me a future move out of my way
Bm G
I want it all, I want it all
A Bm A
I want it all, I want it now
Bm G
Listen all the people, come gather round
A Bm A
I gotta get me a game plan, gotta shake you to the ground
Bm G
But just give me, huh, what I know is mine
A Bm A
People do you hear me, just gimme the sign
D G A
It ain't much i'm asking, if you want the truth
G A G
Here's to the future for the dreams of youth
Bm G
I want it all, I want it all
A Bm A
I want it all, I want it now
Bm G
I want it all, I want it all
A B E F#
I want it all, I want it now
B
I'm a man with a one track mind
E F#
So much to do in one life time(People Do you hear me?)
B
Not a man for compromise
E F#
And where's and why's and living lies
G
And I'm living it all yes i'm living it all
Am A
So I'm giving it all yes I'm giving it all
Bm G A E Bm G A E Bm G A E
Bm G A G A
D A
It ain't much I'm asking, if you want the truth
G A
Here's to the future
G
Hear the cry of youth
Bm G
I want it all, I want it all
A Bm A
I want it all, I want it now
Bm G A Bm A G
End of song Play again?
Queen - I Want It All Tabs
NotesX
Harmony analysis
Queen – I Want It All: key and chord analysis
The song opens on Bm and ends on G. Its chords belong to both D major and Bm, so every chord below is read both ways.
Minor view
B minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = G (the minor's melancholy)
- b7 = A (natural-minor colour)
- #7 = A# (harmonic-minor leading tone from the V chord)
Which side does the ear lean to?
Our reading: to us the song feels closer to the B minor side because it opens on Bm, Bm is heard 25 times against 3 for D and the major V chord points straight at Bm. That is an interpretation, not a rule — the same chords are just as valid seen from D major, and switching between the two views is exactly where the practice value lies.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to D or to Bm; 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 | D | Tonic — home | D · F# · A | 3× |
| ii | Em | Supertonic — prepares the dominant | E · G · B | — |
| V/V | E | Secondary dominant V/V — leads to Asecondary dominant | E · G# · B | 6× |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | — |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | 3× |
| IV | G | Subdominant — moves away from home | G · B · D | 26× |
| V | A | Dominant — strongest pull home | A · C# · E | 33× |
| v | Am | Chromatic colour chordoutside the key | A · C · E | 1× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 25× |
| V/ii | B | Secondary dominant V/ii — leads to Emsecondary dominant | B · D# · F# | 3× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 25× |
| V/iv | B | Secondary dominant V/iv — leads to Emsecondary dominant | B · D# · F# | 3× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | 3× |
| iv | Em | Subdominant — moves away from home | E · G · B | — |
| IV | E | Major IV — Dorian / melodic-minor colourmodal colour | E · G# · B | 6× |
| v | F#m | Minor dominant — soft pull | F# · A · C# | — |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | 3× |
| VI | G | Submediant — warm colour | G · B · D | 26× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 33× |
| vii | Am | Chromatic colour chordoutside the key | A · C · E | 1× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 8 different chords appear 100 times in total; 4 of them sit naturally inside the shared scale. The major V of Bm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from D, the same F# is V/vi, a secondary dominant heading for Bm. E, B act as secondary dominants, briefly pointing at another chord of the key.
Chord movement
- G A DIV → VIV → V BmVI → VIIVI → VII ×21
- A Bm DV → videceptive cadence BmVII → iAeolian arrival ×18
- A D DV → Iauthentic cadence BmVII → III ×3
- G Bm DIV → vi BmVI → iVI → i ×3
The move to watch is G → A, heard 21 times. From the Bm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the D side it reads IV → V (IV → V: the lift that builds tension before home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- D major pentatonic and B minor pentatonic are the same five notes (D – E – F# – A – B): start from D for a brighter phrase, from B for a bluesier one.
- Over A, land on A, C#, E — the chord's own tones always sound right on strong beats.
- Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
- Over Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
- When F# comes, swap the scale's A for A#: that single note is the harmonic-minor sound of the chord.
The song on the circle of fifths
- Played in the song — chord of the key
- Played — the minor's harmonic V or a secondary dominant
- Played — borrowed or outside chord
- Home region: IV–I–V and ii–vi–iii
Empty slices are chords the song doesn't use.
Capo and easier keys
With D major shapes
- No capo — open D shapes
- Capo 2 + C shapes
- Capo 5 + A shapes
With B minor shapes
- Capo 2 + Am shapes
- Capo 7 + Em shapes
Easiest keys on guitar
- 5 semitones up · capo 7 keeps the original pitch
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
Starting on Bm, the song gives away its key from the very first bar. A, G, Bm, E carry the song: V–IV–vi–V/V relative to D, VII–VI–i–IV relative to Bm. B is the interesting twist: in D it is a chromatic chord (V/ii), while in Bm it becomes the dominant (V/iv) that makes the minor side sound so determined. Keep an ear on G → A (IV → V in D, VI → VII in Bm): VI → VII — the rising step that heads for the tonic. Ending on G, the song seals D 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.
Queen - I Want It All Chords on Guitar, Ukulele and Piano
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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