Major view
F major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = E (leading tone, pulls home)
- 4 = Bb (the note that leans on the 3rd)
Amy Winehouse - You Know I'm No Good - Chord
Key F major – D minor Chords Dm, Am, E7, Gm, A7, F Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Dm Gm
Meet you downstairs in the bar and heard
A7 Dm
Your rolled up sleeves in your skull t-shirt
Gm
You say, “What did you do with him today?”
A7 Dm
And sniffed me out like I was Tanqueray
Gm
Cause you're my fella, my guy
E7
Hand me your stella and fly
F
By the time I'm out the door
E7 A7
You tear men down like Roger Moore
Dm Am E7 Am
I cheated myself like I knew I would
Dm Am E7 Am
I told ya I was trouble, you know that I'm no good
Dm Gm
Upstairs in bed with my ex boy
A7 Dm
He's in a place but I can't get joy
Gm
Thinking of you in the final throws
A7 Dm
This is when my buzzer goes
Gm
Run out to meet your chips and pitta
E7
You say, “When we're married,” cause you're not bitter
F
There'll be none of him no more
E7 A7
I cried for you on the kitchen floor
Dm Am E7 Am
I cheated myself like I knew I would
Dm Am E7 Am
I told ya I was trouble, you know that I'm no good
Dm Gm
Sweet reunion, Jamaica and Spain
A7 Dm
We're like how we were again
Gm
I'm in the tub, you on the seat
A7 Dm
Lick your lips as I soak my feet
Gm
Then you notice little carpet burn
E7
My stomach drops and my guts churn
F
You shrug and it's the worst
E7 A7
To truly stuck the knife in first
Dm Am E7 Am
I cheated myself like I knew I would
Dm Am E7 Am
I told ya I was trouble, you know that I'm no good
Dm Am E7 Am
I cheated myself like I knew I would
Dm Am E7 Am
I told ya I was trouble, you know that I'm no good
End of song Play again?
Amy Winehouse - You Know I'm No Good Tabs
NotesX
Harmony analysis
Amy Winehouse – You Know I'm No Good: key and chord analysis
The song opens on Dm and ends on Am. Its chords belong to both F major and Dm, so every chord below is read both ways.
Minor view
D minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Bb (the minor's melancholy)
- b7 = C (natural-minor colour)
- #7 = C# (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 D minor side because it opens on Dm, Dm is heard 17 times against 3 for F and the major V chord points straight at Dm. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 F or to Dm; 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 | F | Tonic — home | F · A · C | 3× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 9× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 16× |
| V7/vi | A7 | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E · G | 9× |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | — |
| V | C | Dominant — strongest pull home | C · E · G | — |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 17× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| V7/iii | E7 | Secondary dominant V/iii — leads to Amsecondary dominant | E · G# · B · D | 14× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 17× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| V7/v | E7 | Secondary dominant V/v — leads to Amsecondary dominant | E · G# · B · D | 14× |
| III | F | Relative major — the bright side | F · A · C | 3× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 9× |
| v | Am | Minor dominant — soft pull | A · C · E | 16× |
| V7 | A7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E · G | 9× |
| VI | Bb | Submediant — warm colour | Bb · D · F | — |
| VII | C | Subtonic — steps back to the tonic | C · E · G | — |
Analysis
The key pair is F major and its relative D minor (1 flat). 6 different chords appear 68 times in total; 4 of them sit naturally inside the shared scale. The major V of Dm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from F, the same A7 is V7/vi, a secondary dominant heading for Dm. E7 acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- A7 Dm FV7/vi → visecondary resolution DmV7 → iharmonic-minor cadence ×9
- E7 Am FV7/iii → iiisecondary resolution DmV7/v → v ×8
- Am Dm Fiii → vi Dmv → inatural-minor cadence ×7
- Gm A7 Fii → V7/vi Dmiv → V7iv → V ×6
- E7 A7 FV7/iii → V7/visecondary resolution DmV7/v → V7 ×3
The move to watch is A7 → Dm, heard 9 times. From the Dm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the F side it reads V7/vi → vi (secondary resolution: A7 resolves a fourth up to Dm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
- Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over E7, land on E, G#, B — the chord's own tones always sound right on strong beats.
- When A7 comes, swap the scale's C for C#: 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 F major shapes
- Capo 1 + E shapes
- Capo 3 + D shapes
- Capo 5 + C shapes
With D minor shapes
- No capo — open Dm shapes
- Capo 5 + Am shapes
Easiest keys on guitar
- 5 semitones down · capo 5 keeps the original pitch
The song's harmonic story
The first chord is Dm; the ear learns where home is within a second. The backbone is Dm, Am, E7, Gm — vi–iii–V7/iii–ii from the F side, i–v–V7/v–iv from the Dm side. E7 is the interesting twist: in F it is a chromatic chord (V7/iii), while in Dm it becomes the dominant (V7/v) that makes the minor side sound so determined. Keep an ear on A7 → Dm (V7/vi → vi in F, V7 → i in Dm): harmonic-minor cadence — the major V resolves dramatically. It closes on Am, letting the F 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.
Amy Winehouse - You Know I'm No Good 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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