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)
Foo Fighters - Everlong (Acoustic) - Chord
Key D major – B minor Chords Dmaj7, Bsus2, Gsus2, A Easy key G (capo 7)
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Key: D | Bm
Capo: 0
Dmaj7
Dmaj7 Bsus2 Gsus2 Bsus2
Dmaj7 Bsus2
Hello, I've waited here for you
Gsus2 Bsus2
Eeeeeeverlong
Dmaj7 Bsus2
Tonight, I throw myself into
Gsus2 Bsus2
And out of the red
Out of her head, she sang
Dmaj7 Bsus2 Gsus2 Bsus2
Dmaj7 Bsus2
Come down, and waste away with me
Gsus2 Bsus2
Down with me
Dmaj7 Bsus2
Slow how you wanted it to be
Gsus2 Bsus2
And over my head, out of her head she sang
Dmaj7 A Dmaj7
And I wonder
Dmaj7 A Dmaj7
When I sing along with you
Bsus2 Gsus2 Dmaj7
If everything could ever feel this real forever
Bsus2 Gsus2 Dmaj7
If anything could ever be this good again
Bsus2 Gsus2
The only thing I'll ever ask of you
Dmaj7 A Gsus2
You've got to promise not to stop when I say when
She sang
Dmaj7 Bsus2
Breathe out, so I can breathe you in
Gsus2 Bsus2
Hold you in
Dmaj7 Bsus2
And now I know you've always been
Gsus2 Bsus2
And over my head, out of my head I sang
Dmaj7 A Dmaj7
And I wonder
Dmaj7 A Dmaj7
When I sing along with you
Bsus2 Gsus2 Dmaj7
If everything could ever feel this real forever
Bsus2 Gsus2 Dmaj7
If anything could ever be this good again
Bsus2 Gsus2
The only thing I'll ever ask of you
Dmaj7 A Gsus2
You've got to promise not to stop when I say when
End of song Play again?
Foo Fighters - Everlong (Acoustic) Tabs
NotesX
Harmony analysis
Foo Fighters – Everlong (Acoustic): key and chord analysis
The song opens on Dmaj7 and ends on Gsus2. 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the D major side because it opens on D and D is heard 23 times while Bm never appears. That is an interpretation, not a rule — hearing the same chords from B minor is just as valid and teaches you something different.
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 |
|---|---|---|---|---|
| Imaj7 | Dmaj7 | Tonic — home | D · F# · A · C# | 23× |
| ii | Em | Supertonic — prepares the dominant | E · G · B | — |
| 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# | — |
| IVsus2 | Gsus2 | Subdominant — moves away from home | G · A · D | 16× |
| IV | G | Subdominant — moves away from home | G · B · D | — |
| V | A | Dominant — strongest pull home | A · C# · E | 6× |
| VIsus2 | Bsus2 | Relative minor — the melancholy side | B · C# · F# | 22× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | — |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| Isus2 | Bsus2 | Tonic — home | B · C# · F# | 22× |
| i | Bm | Tonic — home | B · D · F# | — |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| IIImaj7 | Dmaj7 | Relative major — the bright side | D · F# · A · C# | 23× |
| iv | Em | Subdominant — moves away from home | E · G · B | — |
| 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# | — |
| VIsus2 | Gsus2 | Submediant — warm colour | G · A · D | 16× |
| VI | G | Submediant — warm colour | G · B · D | — |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 6× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 4 different chords appear 67 times in total; 4 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- Gsus2 Dmaj7 DIVsus2 → Imaj7plagal cadence BmVIsus2 → IIImaj7 ×7
- A Dmaj7 DV → Imaj7authentic cadence BmVII → IIImaj7 ×4
The move to watch is Gsus2 → Dmaj7, heard 7 times. From the D side it reads IVsus2 → Imaj7 (plagal cadence: the soft 'amen' ending); from the Bm side it is VIsus2 → IIImaj7. 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 Dmaj7, land on D, F#, A — the chord's own tones always sound right on strong beats.
- Over Bsus2, land on B, C#, F# — the chord's own tones always sound right on strong beats.
- Over Gsus2, land on G, A, D — the chord's own tones always sound right on strong beats.
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
The first chord is Dmaj7; the ear learns where home is within a second. The chords that keep coming back are Dmaj7, Bsus2, Gsus2, A; read them as Imaj7–VIsus2–IVsus2–V in D or IIImaj7–Isus2–VIsus2–VII in Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gsus2 → Dmaj7 (IVsus2 → Imaj7 in D, VIsus2 → IIImaj7 in Bm): plagal cadence — the soft 'amen' ending. Ending on Gsus2, 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.
Foo Fighters - Everlong (Acoustic) 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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