Major view
Bb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A (leading tone, pulls home)
- 4 = Eb (the note that leans on the 3rd)
V - Love Me Again - Chord
Key Bb major – G minor Chords Ebmaj7, Ab7, Bbmaj7, Gm7, Bb7, Bmaj7 Easy key A (capo 1)
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Key: Bb | Gm
Capo: 0
Ebmaj7 Ab7 Bbmaj7 Gm7
Ebmaj7 Ab7 Bbmaj7
Chueokdo uimi eopsi
Gm7 Ebmaj7
Naege neon sarajigo
Ab7
Ijjeumedo I can't
Bbmaj7 Gm7
Let you go, let you go
Ebmaj7 Ab7 Bbmaj7
Geu mari dain geoni
Gm7 Ebmaj7
Hanmadiman namgigo
Ab7
Huhoehamyeon
Bbmaj7 Gm7
Won't you let me know? Let me know?
Ebmaj7
Geurae na soljikage
Ab7
Da malhallae
Bbmaj7 Gm7
Neoneun maeil eotteon saram eotteon gose
Ebmaj7 Ab7
Myeot beonssigina mwol haneunji neol saenggakae
Bbmaj7 Gm7
Lost without you, baby
Ebmaj7 Ab7 Bbmaj7
I wish you would love me again
Gm7 Ebmaj7
No, I don't want nobody else
Ab7 Bbmaj7 Bb7
I wish you could love me again, again
Ebmaj7 Ab7 Bbmaj7
I wish you would love me again
Gm7 Ebmaj7
No, I don't want nobody else
Ab7 Bbmaj7 Bb7
I wish you could love me again, again
Ebmaj7 Ab7 Bbmaj7
Naman jakku ireon geonji
Gm7 Ebmaj7
Nae yeope ttan saram gwaenchanni
Ab7
Yejeoneuro cheoncheonhi
Bbmaj7 Gm7
Make it feel better, yeah, make it forever
Ebmaj7 Ab7
Gwaenchanta malhaji ma
Bbmaj7 Gm7
Said I'm alright, said I'll be fine
Ebmaj7 Ab7 Bbmaj7
I'm sorry, geojinmariya tteonajima
Gm7
Jeori gajima meolli
Ebmaj7
Geurae na soljikage
Ab7
Da malhallae
Bbmaj7 Gm7
Neoneun maeil eotteon saram eotteon gose
Ebmaj7 Ab7
Myeot beonssigina mwol haneunji neol saenggakae
Bbmaj7 Gm7
Lost without you, baby
Bbmaj7
Lost without you, baby
Ebmaj7 Ab7 Bmaj7 Gm7 Ebmaj7 Ab7
Bbmaj7
Lost without you, baby
Ebmaj7 Ab7 Bbmaj7
I wish you would love me again
Gm7 Ebmaj7
No, I don't want nobody else
Ab7 Bbmaj7 Bb7
I wish you could love me again, again
End of song Play again?
V - Love Me Again Tabs
NotesX
Harmony analysis
V – Love Me Again: key and chord analysis
The song opens on Ebmaj7 and ends on Bb7. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Minor view
G minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Eb (the minor's melancholy)
- b7 = F (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the Bb major side because it comes to rest on Bb and Bb is heard 24 times against 17 for Gm. That is an interpretation, not a rule — hearing the same chords from G minor is just as valid and teaches you something different.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to Bb or to Gm; 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 | Bbmaj7 | Tonic — home | Bb · D · F · A | 21× |
| V7/IV | Bb7 | Secondary dominant V/IV — leads to Ebsecondary dominant | Bb · D · F · Ab | 3× |
| bIImaj7 | Bmaj7 | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | B · D# · F# · A# | 1× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | — |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IVmaj7 | Ebmaj7 | Subdominant — moves away from home | Eb · G · Bb · D | 21× |
| V | F | Dominant — strongest pull home | F · A · C | — |
| vi7 | Gm7 | Relative minor — the melancholy side | G · Bb · D · F | 17× |
| bVII7 | Ab7 | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | Ab · C · Eb · Gb | 21× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Gm7 | Tonic — home | G · Bb · D · F | 17× |
| bII7 | Ab7 | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | Ab · C · Eb · Gb | 21× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| IIImaj7 | Bbmaj7 | Relative major — the bright side | Bb · D · F · A | 21× |
| V7/VI | Bb7 | Secondary dominant V/VI — leads to Ebsecondary dominant | Bb · D · F · Ab | 3× |
| #IIImaj7 | Bmaj7 | Chromatic colour chordoutside the key | B · D# · F# · A# | 1× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | — |
| v | Dm | Minor dominant — soft pull | D · F · A | — |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VImaj7 | Ebmaj7 | Submediant — warm colour | Eb · G · Bb · D | 21× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | — |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 84 times in total; 3 of them sit naturally inside the shared scale. Bb7 acts as a secondary dominant, briefly pointing at another chord of the key. Ab7, Bmaj7 are borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- Ab7 Bbmaj7 BbbVII7 → Imaj7bVII → I GmbII7 → IIImaj7 ×20
- Bb7 Ebmaj7 BbV7/IV → IVmaj7secondary resolution GmV7/VI → VImaj7 ×2
The move to watch is Ab7 → Bbmaj7, heard 20 times. From the Bb side it reads bVII7 → Imaj7 (bVII → I: a rock / Mixolydian arrival); from the Gm side it is bII7 → IIImaj7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
- Over Ebmaj7, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
- Over Ab7, land on Ab, C, Eb — the chord's own tones always sound right on strong beats.
- Over Bbmaj7, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- On Ab7, follow the chord's notes (Ab · C · Eb · Gb) 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 Bb major shapes
- Capo 1 + A shapes
- Capo 3 + G shapes
- Capo 6 + E shapes
With G minor shapes
- Capo 3 + Em shapes
- Capo 5 + Dm shapes
Easiest keys on guitar
- 1 semitone down · capo 1 keeps the original pitch
- 4 semitones up
The song's harmonic story
Starting on Ebmaj7, the song gives away its key from the very first bar. The chords that keep coming back are Ebmaj7, Ab7, Bbmaj7, Gm7; read them as IVmaj7–bVII7–Imaj7–vi7 in Bb or VImaj7–bII7–IIImaj7–i7 in Gm. Bb7 adds a moment of surprise: secondary dominant V/IV — leads to Eb. Keep an ear on Ab7 → Bbmaj7 (bVII7 → Imaj7 in Bb, bII7 → IIImaj7 in Gm): bVII → I — a rock / Mixolydian arrival. The final chord is Bb7; the ear comes to rest in Bb.
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.
V - Love Me Again 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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