Major view
A major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G# (leading tone, pulls home)
- 4 = D (the note that leans on the 3rd)
Sia - Unstoppable - Chord
Key A major – F# minor Chords D, F#m, C#m, A, C#7, E Easy key C
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Key: A | Gbm | F#m
Capo: 0
F#m D A C#m
F#m D
I'll smile, I know what it takes to fool this town
A C#m
I'll do it till the sun goes down and all through the night time
F#m D
Oh yeah, oh yeah, I'll tell you what you wanna hear
A
Keep my sunglasses on while I shed a tear
C#m
It's never the right time, yeah, yeah
D E C#m D
I'll put my armor on, I'll show you how strong I am
D E C#m
I'll put my armor on, I'll show you that I am
F#m D A
I'm unstoppable, I'm a Porsche with no brakes
C#m C#7 F#m
I'm invincible, yeah, I win every single game
D A
I'm so powerful, I don't need batteries to play
C#m C#7 F#m
I'm so confident, yeah, I'm unstoppable today
F#m D A
Unstoppable today, unstoppable today
C#m C#7 F#m
Unstoppable today, I'm unstoppable today
F#m D
Break down, only alone I will cry on out
A C#m
You'll never see what's hiding out, hiding out deep down, yeah, yeah
F#m D
I know, I've heard that to let your feelings show
A
Is the only way to make friendships grow
C#m
But I'm too afraid now, yeah, yeah
D E C#m D
I'll put my armor on, I'll show you how strong I am
D E C#m
I'll put my armor on, I'll show you that I am
F#m D A
I'm unstoppable, I'm a Porsche with no brakes
C#m C#7 F#m
I'm invincible, yeah, I win every single game
D A
I'm so powerful, I don't need batteries to play
C#m C#7 F#m
I'm so confident, yeah, I'm unstoppable today
F#m D A
Unstoppable today, unstoppable today
C#m C#7 F#m
Unstoppable today, I'm unstoppable today
End of song Play again?
Sia - Unstoppable Tabs
NotesX
Harmony analysis
Sia – Unstoppable: key and chord analysis
The song opens on F#m and ends on F#m. Its chords belong to both A major and F#m, so every chord below is read both ways.
Minor view
F# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = D (the minor's melancholy)
- b7 = E (natural-minor colour)
- #7 = E# (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 F# minor side because it both starts and finishes on F#m, F#m is heard 15 times against 11 for A and the major V chord points straight at F#m. That is an interpretation, not a rule — the same chords are just as valid seen from A 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 A or to F#m; 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 | A | Tonic — home | A · C# · E | 11× |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | — |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | 15× |
| V7/vi | C#7 | Secondary dominant V/vi — leads to F#msecondary dominant | C# · E# · G# · B | 6× |
| IV | D | Subdominant — moves away from home | D · F# · A | 17× |
| V | E | Dominant — strongest pull home | E · G# · B | 4× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | 15× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | 15× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | 11× |
| iv | Bm | Subdominant — moves away from home | B · D · F# | — |
| v | C#m | Minor dominant — soft pull | C# · E · G# | 15× |
| V7 | C#7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# · B | 6× |
| VI | D | Submediant — warm colour | D · F# · A | 17× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | 4× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 6 different chords appear 68 times in total; 5 of them sit naturally inside the shared scale. The major V of F#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from A, the same C#7 is V7/vi, a secondary dominant heading for F#m.
Chord movement
- D A AIV → Iplagal cadence F#mVI → III ×11
- C#7 F#m AV7/vi → visecondary resolution F#mV7 → iharmonic-minor cadence ×6
- C#m F#m Aiii → vi F#mv → inatural-minor cadence ×5
- D E AIV → VIV → V F#mVI → VIIVI → VII ×4
The move to watch is D → A, heard 11 times. From the F#m side it is VI → III; from the A side it reads IV → I (plagal cadence: the soft 'amen' ending). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- A major pentatonic and F# minor pentatonic are the same five notes (A – B – C# – E – F#): start from A for a brighter phrase, from F# for a bluesier one.
- Over D, land on D, F#, A — the chord's own tones always sound right on strong beats.
- Over F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
- Over C#m, land on C#, E, G# — the chord's own tones always sound right on strong beats.
- When C#7 comes, swap the scale's E for E#: 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 A major shapes
- No capo — open A shapes
- Capo 2 + G shapes
- Capo 5 + E shapes
With F# minor shapes
- Capo 2 + Em shapes
- Capo 4 + Dm shapes
Easiest keys on guitar
- 3 semitones up
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
Starting on F#m, the song gives away its key from the very first bar. D, F#m, C#m, A carry the song: IV–vi–iii–I relative to A, VI–i–v–III relative to F#m. C#7 is the interesting twist: in A it is a chromatic chord (V7/vi), while in F#m it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on D → A (IV → I in A, VI → III in F#m): plagal cadence — the soft 'amen' ending. It closes on F#m, letting the F#m side have the last word.
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.
Sia - Unstoppable 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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