Major view
Ab major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G (leading tone, pulls home)
- 4 = Db (the note that leans on the 3rd)
Key Ab major – F minor Chords Fm, Db, Eb, Gbm, B, D, Bbm, Abm … Easy key D (capo 6)
Fm Db Cm Bbm Ab Eb
Bbm Fm
I used to cry myself to sleep at night
Eb Db
But that was all before he came
Bbm Fm
I thought love had to hurt to turn out right
Eb Db
But now he's here, it's not the same
C
It's not the same
Fm Bb
He fills me up, he gives me love
Db Ab Abm
More love than I've ever seen
Fm Bb
He's all I've got, he's all I've got in this world
Eb Fm Fm Eb Db
But he's all the man that I need
Bbm Fm
And in the morning when I kiss his eyes
Eb Db
He takes me down and rocks me slow
Bbm Fm
And in the evening when the moon is high
Eb Db
He holds me close and won't let go
C
He won't let go
Fm Bb
He fills me up, he gives me love
Db Ab Abm
More love than I've ever seen
Fm Bb
He's all I've got, he's all I've got in this world
Eb Fm Fm Eb Db
But he's all the man that I need
Gbm B
He fills me up, he gives me love
D A Abm
More love than I've ever seen
Gbm B
He's all I've got, he's all I've got in this world
D E Gbm
But he's all the man that I need
Gbm B
He fills me up, he gives me love
D A Abm
More love than I've ever seen
Gbm B
He's all I've got, he's all I've got in this world
D E Gbm
But he's all the man that I need
Gbm B
He fills me up, he gives me love
D A Abm
More love than I've ever seen
Gbm B
He's all I've got, he's all I've got in this world
D E Gbm
But he's all the man that I need
End of song Play again?
Harmony analysis
The song opens on Fm and ends on Gbm. Its chords belong to both Ab major and Fm, so every chord below is read both ways.
Major view
Brightness rank 2/7 (bright)
Characteristic notes
Minor view
Brightness rank 5/7 (leaning dark)
Characteristic notes
Which side does the ear lean to?
Our reading: to us the song feels closer to the F minor side because it opens on Fm, Fm is heard 13 times against 3 for Ab and the major V chord points straight at Fm. That is an interpretation, not a rule — the same chords are just as valid seen from Ab major, and switching between the two views is exactly where the practice value lies.
Show the degrees above the chords — relative to Ab or to Fm; 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 | Ab | Tonic — home | Ab · C · Eb | 3× |
| i | Abm | Chromatic colour chordoutside the key | Ab · Cb · Eb | 5× |
| bII | A | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | A · C# · E | 3× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 5× |
| V/V | Bb | Secondary dominant V/V — leads to Ebsecondary dominant | Bb · D · F | 4× |
| bIII | B | Borrowed from the parallel minorborrowed chord | B · D# · F# | 6× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 1× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | 2× |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 9× |
| #IV | D | Chromatic colour chordoutside the key | D · F# · A | 6× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 9× |
| bVI | E | Borrowed from the parallel minorborrowed chord | E · G# · B | 3× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 13× |
| bvii | Gbm | Chromatic colour chordoutside the key | Gb · A · Db | 9× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 13× |
| bii | Gbm | Chromatic colour chordoutside the key | Gb · A · Db | 9× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | 3× |
| iii | Abm | Chromatic colour chordoutside the key | Ab · Cb · Eb | 5× |
| #III | A | Chromatic colour chordoutside the key | A · C# · E | 3× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 5× |
| IV | Bb | Major IV — Dorian / melodic-minor colourmodal colour | Bb · D · F | 4× |
| #IV | B | Chromatic colour chordoutside the key | B · D# · F# | 6× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 1× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | 2× |
| VI | Db | Submediant — warm colour | Db · F · Ab | 9× |
| #VI | D | Chromatic colour chordoutside the key | D · F# · A | 6× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 9× |
| #VII | E | Chromatic colour chordoutside the key | E · G# · B | 3× |
The key pair is Ab major and its relative F minor (4 flats). 14 different chords appear 78 times in total; 6 of them sit naturally inside the shared scale. The major V of Fm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Ab, the same C is V/vi, a secondary dominant heading for Fm. Bb acts as a secondary dominant, briefly pointing at another chord of the key. B, A, E are borrowed from the parallel minor, adding a darker shade to the major side.
The move to watch is Bbm → Fm, heard 4 times. From the Fm side it is iv → i (minor plagal: deep and melancholic); from the Ab side it reads ii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Empty slices are chords the song doesn't use.
The opening Fm lays a solid floor for everything that follows. The chords that keep coming back are Fm, Db, Eb, Gbm; read them as vi–IV–V–bvii in Ab or i–VI–VII–bii in Fm. C is the interesting twist: in Ab it is a chromatic chord (V/vi), while in Fm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Bbm → Fm (ii → vi in Ab, iv → i in Fm): minor plagal — deep and melancholic. Ending on Gbm, the song seals Ab as home.
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.
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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