Taylor Swift - Style - Chord

Key D major – B minor Chords G, Bm, D, F, Dm, Em, C Easy key A (capo 5)

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Capo 0

Bm  G  Bm  G


Bm                                   G
Midnight you come and pick me up, no headlights 
Bm                                          G
Long drive, could end in burnin flames, or paradise
     Bm
Fade in to view, oh, it's been a while since I have even 
G
Heard from you, heard from you

Dm                                          Em
 And I should just tell you to leave cause I
                                 F
Know exactly where It leads but I
                                 G  
Watch us go round and round each time


             D
You got that James Dean day dream look in your eye
               G
And I got that red lip classic thing that you like
               D
And when we go crashing down we come back every time
                  G
Cause we never go out of style, we never go out of style


            D
You got the long hair slicked back, white t-shirt
               G
And I got that good girl faith and a tight little skirt
               Bm
And when we go crashing down we come back every time
                  G
Cause we never go out of style, we never go out of style


Bm                                      G
So it goes, he can't keep his wild eyes on the road
Bm                                        G
Takes me home, lights are off he's taking off his coat
       Bm                                                      
I say "I heard (oh) that you've been out and about 
          G         
With some other girl"

Dm                                  Em
You say what you heard is true but I 
                                   F
Can't stop thinking about you and I
                                G
I say I've been there too a few times


                   D
Cause you got that James Dean day dream look in your eye
               G
And I got that red lip classic thing that you like
               D
And when we go crashing down we come back every time
                  G
Cause we never go out of style, we never go out of style


            D
You got the long hair slicked back, white t-shirt
               G
And I got that good girl faith and a tight little skirt
               Bm
And when we go crashing down we come back every time
                  G
Cause we never go out of style, we never go out of style


        D
Take me home
             G
Just take me home, yeah
             D        G
Just take me home, ohoh   


                   D
Cause you got that James Dean day dream look in your eye
               G
And I got that red lip classic thing that you like
               Bm
And when we go crashing down we come back every time
                  F                                      C
Cause we never go out of style, we never go out of style

End of song Play again?

Taylor Swift - Style Tabs

NotesX

Harmony analysis

Taylor Swift – Style: key and chord analysis

The song opens on Bm and ends on C. Its chords belong to both D major and Bm, so every chord below is read both ways.

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)

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 B minor side because it opens on Bm and Bm is heard 11 times against 9 for D. 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.

Seen from D major
Degree	Chord	Role	Notes	In song
I	D	Tonic — home	D · F# · A	9×
i	Dm	Chromatic colour chordoutside the key	D · F · A	2×
ii	Em	Supertonic — prepares the dominant	E · G · B	2×
bIII	F	Borrowed from the parallel minorborrowed chord	F · A · C	3×
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#	—
IV	G	Subdominant — moves away from home	G · B · D	21×
V	A	Dominant — strongest pull home	A · C# · E	—
vi	Bm	Relative minor — the melancholy side	B · D · F#	11×
bVII	C	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	C · E · G	1×
vii°	C#dim	Leading-tone chord — tension	C# · E · G	—

Seen from B minor
Degree	Chord	Role	Notes	In song
i	Bm	Tonic — home	B · D · F#	11×
bII	C	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	C · E · G	1×
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
III	D	Relative major — the bright side	D · F# · A	9×
iii	Dm	Chromatic colour chordoutside the key	D · F · A	2×
iv	Em	Subdominant — moves away from home	E · G · B	2×
#IV	F	Chromatic colour chordoutside the key	F · A · C	3×
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#	—
VI	G	Submediant — warm colour	G · B · D	21×
VII	A	Subtonic — steps back to the tonic	A · C# · E	—

Analysis

The key pair is D major and its relative B minor (2 sharps). 7 different chords appear 49 times in total; 4 of them sit naturally inside the shared scale. F, C are borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

G Bm DIV → vi BmVI → iVI → i ×10
G D DIV → Iplagal cadence BmVI → III ×9

The move to watch is G → Bm, heard 10 times. From the Bm side it is VI → i (VI → i: falls a half step into home); from the D side it reads IV → vi. 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 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.
Over D, land on D, F#, A — the chord's own tones always sound right on strong beats.
On F, follow the chord's notes (F · A · C) rather than the key's scale — it's a borrowed colour.

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 down · capo 5 keeps the original pitch

The song's harmonic story

The first chord is Bm; the ear learns where home is within a second. The chords that keep coming back are G, Bm, D, F; read them as IV–vi–I–bIII in D or VI–i–III–#IV in Bm. F briefly darkens the picture: borrowed from the parallel minor. Keep an ear on G → Bm (IV → vi in D, VI → i in Bm): VI → i — falls a half step into home. The final chord is C; the ear comes to rest in D.

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.