Ed Sheeran - Shape Of You - Chord

Key E major – C# minor Chords Dbm7, A, B, Gbm7, C#m7, F#m7 Easy key G

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Capo 0

C#m7  F#m7  A  B

      Dbm7                Gbm7
The club isn't the best place 

To find a lover
        A              B
So the bar is where I go
 Dbm7
Me and my friends
        Gbm7
At the table doing shots
          A                      B
Drinking fast and then we talk slow

     Dbm7                       Gbm7
Come over and start up a conversation
 
With just me
      A                        B
And trust me, I'll give it a chance
             Dbm7
Now take my hand, stop
             Gbm7
Put Van The Man on the jukebox
      A               B
And then we start to dance

And now I'm singing like


 Dbm7             Gbm7
Girl, you know I want your love
 A
Your love was handmade 
 B                 Dbm7
For somebody like me
              Gbm7
Come on now, follow my lead
A                B
I may be crazy, don't mind me

      Dbm7           Gbm7
Say: Boy, let's not talk too much
  A
Grab on my waist 
     B                Dbm7
And put that body on me
              Gbm7
Come on now, follow my lead
       A                      B
Come, come on now, follow my lead


Dbm7         Gbm7                   A
     I'm in love with the shape of you
             B                  Dbm7
We push and pull like a magnet do
             Gbm7             A
Although my heart is falling too
        B                Dbm7
I'm in love with your body

          Gbm7                 A
And last night you were in my room
            B                    Dbm7
And now my bedsheets smell like you
                  Gbm7
Every day discovering 
                 A
Something brand new
        B                Dbm7
I'm in love with your body

            Gbm7
Oh I, oh I, oh I, oh I
A         B
  I'm in love with your body
Dbm7        Gbm7
Oh I, oh I, oh I, oh I
A         B
  I'm in love with your body
Dbm7        Gbm7
Oh I, oh I, oh I, oh I
A         B
  I'm in love with your body
Dbm7                   Gbm7
     Every day discovering 
                 A
Something brand new
        B
I'm in love with the shape of you


Dbm7                     Gbm7
One week in we let the story begin
            A                 B
We're going out on our first date
         Dbm7
You and me are thrifty
      Gbm7
So go all you can eat
              A                    B
Fill up your bag and I fill up a plate

             Dbm7
We talk for hours and hours
            Gbm7
About the sweet and the sour
              A                B
And how your family is doing okay
           Dbm7
Leave and get in a taxi
      Gbm7
Then kiss in the backseat
           A                     B
Tell the driver make the radio play

And I'm singing like


 Dbm7             Gbm7
Girl, you know I want your love
 A
Your love was handmade 
 B                 Dbm7
For somebody like me
              Gbm7
Come on now, follow my lead
A                B
I may be crazy, don't mind me

      Dbm7           Gbm7
Say: Boy, let's not talk too much
  A
Grab on my waist 
     B                Dbm7
And put that body on me
              Gbm7
Come on now, follow my lead
       A                      B
Come, come on now, follow my lead


Dbm7         Gbm7                   A
     I'm in love with the shape of you
             B                  Dbm7
We push and pull like a magnet do
             Gbm7             A
Although my heart is falling too
        B                Dbm7
I'm in love with your body

          Gbm7                 A
And last night you were in my room
            B                    Dbm7
And now my bedsheets smell like you
                  Gbm7
Every day discovering 
                 A
Something brand new
        B                Dbm7
I'm in love with your body

            Gbm7
Oh I, oh I, oh I, oh I
A         B
  I'm in love with your body
Dbm7        Gbm7
Oh I, oh I, oh I, oh I
A         B
  I'm in love with your body
Dbm7        Gbm7
Oh I, oh I, oh I, oh I
A         B
  I'm in love with your body
Dbm7                   Gbm7
     Every day discovering 
                 A
Something brand new
        B                      Dbm7
I'm in love with the shape of you


Come on, be my baby, come on
Dbm7                 Gbm7
     Come on, be my baby, come on
A                 B
  Come on, be my baby, come on
Dbm7                 Gbm7
     Come on, be my baby, come on
                 
  Come on, be my baby, come on


Dbm7         Gbm7                   A
     I'm in love with the shape of you
             B                  Dbm7
We push and pull like a magnet do
             Gbm7             A
Although my heart is falling too
        B                Dbm7
I'm in love with your body

          Gbm7                 A
And last night you were in my room
            B                    Dbm7
And now my bedsheets smell like you
                  Gbm7
Every day discovering 
                 A
Something brand new
        B                Dbm7
I'm in love with your body


Dbm7                 Gbm7
     Come on, be my baby, come on
A                 B
  Come on, be my baby, come on 
             
Dbm7                 Gbm7
     Come on, be my baby, come on
A                 B
  Come on, be my baby, come on 
             
Dbm7                 Gbm7
     Come on, be my baby, come on
A                 B
  Come on, be my baby, come on 
             
Dbm7                   Gbm7
     Every day discovering
                 A
Something brand new
        B                      Dbm7
I'm in love with the shape of you

End of song Play again?

Ed Sheeran - Shape Of You Tabs

NotesX

Harmony analysis

Ed Sheeran – Shape Of You: key and chord analysis

The song opens on C#m7 and ends on Dbm7. Its chords belong to both E major and C#m, so every chord below is read both ways.

Major view

E major

Brightness rank 2/7 (bright)

Characteristic notes

7 = D# (leading tone, pulls home)
4 = A (the note that leans on the 3rd)

Minor view

C# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = A (the minor's melancholy)
b7 = B (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the C# minor side because it both starts and finishes on C#m and C#m is heard 46 times while E never appears. That is an interpretation, not a rule — the same chords are just as valid seen from E 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 E or to C#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.

Seen from E major
Degree	Chord	Role	Notes	In song
I	E	Tonic — home	E · G# · B	—
ii7	Gbm7	Supertonic — prepares the dominant	Gb · A · Db · Fb	42×
ii7	F#m7	Supertonic — prepares the dominant	F# · A · C# · E	1×
iii	G#m	Mediant — a tonic-family shade	G# · B · D#	—
V/vi	G#	Secondary dominant V/vi — leads to C#msecondary dominant	G# · B# · D#	—
IV	A	Subdominant — moves away from home	A · C# · E	42×
V	B	Dominant — strongest pull home	B · D# · F#	42×
vi7	Dbm7	Relative minor — the melancholy side	Db · Fb · Ab · Cb	45×
vi7	C#m7	Relative minor — the melancholy side	C# · E · G# · B	1×
vii°	D#dim	Leading-tone chord — tension	D# · F# · A	—

Seen from C# minor
Degree	Chord	Role	Notes	In song
i7	Dbm7	Tonic — home	Db · Fb · Ab · Cb	45×
i7	C#m7	Tonic — home	C# · E · G# · B	1×
ii°	D#dim	Supertonic — prepares the dominant	D# · F# · A	—
III	E	Relative major — the bright side	E · G# · B	—
iv7	Gbm7	Subdominant — moves away from home	Gb · A · Db · Fb	42×
iv7	F#m7	Subdominant — moves away from home	F# · A · C# · E	1×
v	G#m	Minor dominant — soft pull	G# · B · D#	—
V	G#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G# · B# · D#	—
VI	A	Submediant — warm colour	A · C# · E	42×
VII	B	Subtonic — steps back to the tonic	B · D# · F#	42×

Analysis

The key pair is E major and its relative C# minor (4 sharps). 6 different chords appear 173 times in total; 6 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

B Dbm7 EV → vi7deceptive cadence C#mVII → i7Aeolian arrival ×42
A B EIV → VIV → V C#mVI → VIIVI → VII ×42
Gbm7 Dbm7 Eii7 → vi7 C#miv7 → i7minor plagal ×1

The move to watch is B → Dbm7, heard 42 times. From the C#m side it is VII → i7 (Aeolian arrival: rises a whole tone into home); from the E side it reads V → vi7 (deceptive cadence: expected E, lands on C#m). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

E major pentatonic and C# minor pentatonic are the same five notes (E – F# – G# – B – C#): start from E for a brighter phrase, from C# for a bluesier one.
Over Dbm7, land on Db, Fb, Ab — the chord's own tones always sound right on strong beats.
Over A, land on A, C#, E — the chord's own tones always sound right on strong beats.
Over B, land on B, D#, F# — 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 E major shapes

No capo — open E shapes
Capo 2 + D shapes
Capo 4 + C shapes

With C# minor shapes

Capo 4 + Am shapes

Easiest keys on guitar

3 semitones up
4 semitones down · capo 4 keeps the original pitch

The song's harmonic story

The opening C#m7 lays a solid floor for everything that follows. Dbm7, A, B, Gbm7 carry the song: vi7–IV–V–ii7 relative to E, i7–VI–VII–iv7 relative to C#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on B → Dbm7 (V → vi7 in E, VII → i7 in C#m): Aeolian arrival — rises a whole tone into home. The final chord is Dbm7; the ear comes to rest in C#m.

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.