Celine Dion - Because You Loved Me - Chord

Key Db major – Bb minor Chords Ab4, Db, Bbm, Fm, Gb, Ab, Gbmaj7, Bmaj7 … Easy key G (capo 6)

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Capo 0

              Db
For all those times you stood by me
              Gb
For all the truth that you made me see
             Bbm
For all the joy you brought to my life
              Ab4
For all the wrong that you made right

            Fm
For every dream you made come true
             Gb9
For all the love I found in you
      Ab4
I'll be forever thankful baby
 Bmaj7(9)            Bbm
You're the one who held me up
 D#m7(9)
Never   let me fall
 Gbm                Gbm7
You're the one who saw me through
   Ab4         Ab
Through it all

               Db
You were my strength when I was weak
             Gb
You were my voice when I couldn't speak
            Bbm
You were my eyes when couldn't see
             Ab4
You saw the best there was in me
        Fm
Lift me up when I couldn't reach
             Gbmaj7              Bmaj7
You gave me faith 'coz you believed
    Ab4                         Db      Ab4
I'm everything I'm because you loved me

             Db
You gave me wings and made me fly
                Gb
You touched my hand I could touch the sky
           Bbm
I lost my faith, you gave it back to me
              Ab4
You said no star was out of reach

              Fm
You stood by me and I stood tall
            Gb9
I had your love I had it all
      Ab4
I'm grateful for each day you gave me
 Bmaj7(9)        Bbm
Maybe I don't know that much
        D#m7(9)
But I know this much is true
Gbm             Gbm7         Ab4      Ab
I was blessed because I was loved by you

               Db
You were my strength when I was weak
             Gb
You were my voice when I couldn't speak
            Bbm
You were my eyes when couldn't see
             Ab4
You saw the best there was in me
        Fm
Lift me up when I couldn't reach
             Gbmaj7              Bmaj7
You gave me faith 'coz you believed
    Ab4                         Db
I'm everything I'm because you loved me

 F7/A
You were always there for me
     Bbm
The tender wind that carried me
F7/A                                    
A light in the dark shining your love into 
Bbm
my life
        D#m7(4)
You've been my inspiration
             Fm
Through the lies you were the truth
    Ab4                                Ab7
My world is a better place because of you

               Db
You were my strength when I was weak
             Gb
You were my voice when I couldn't speak
            Bbm
You were my eyes when couldn't see
             Ab4
You saw the best there was in me
        Fm
Lift me up when I couldn't reach
             Gbmaj7              Bmaj7
You gave me faith 'coz you believed
    Ab4                         Db    Bb
I'm everything I'm because you loved me

               D#
You were my strength when I was weak
             Ab
You were my voice when I couldn't speak
            Cm
You were my eyes when couldn't see
             Bb4
You saw the best there was in me
             Gm
Lift me up when I couldn't reach
             Abmaj7             Dbmaj7
You gave me faith 'coz you believed
    Bb4                         D#
I'm everything I'm because you loved me
    Bb4/F                       D#
I'm everything I'm because you loved me

End of song Play again?

Celine Dion - Because You Loved Me Tabs

NotesX

Harmony analysis

Celine Dion – Because You Loved Me: key and chord analysis

The song opens on Db and ends on D#. Its chords belong to both Db major and Bbm, so every chord below is read both ways.

Major view

Db major

Brightness rank 2/7 (bright)

Characteristic notes

7 = C (leading tone, pulls home)
4 = Gb (the note that leans on the 3rd)

Minor view

Bb minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Gb (the minor's melancholy)
b7 = Ab (natural-minor colour)
#7 = A (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 Db major side because it opens on Db, Db is heard 9 times against 7 for Bbm and the major V chord points straight at Bbm. That is an interpretation, not a rule — hearing the same chords from Bb minor is just as valid and teaches you something different.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to Db or to Bbm; 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 Db major
Degree	Chord	Role	Notes	In song
I	Db	Tonic — home	Db · F · Ab	8×
Imaj7	Dbmaj7	Tonic — home	Db · F · Ab · C	1×
ii7	D#m7(9)	Supertonic — prepares the dominant	D# · F# · A# · C# · E#	2×
V/V	D#	Secondary dominant V/V — leads to Absecondary dominant	D# · G · A#	3×
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	6×
V7/vi	F7/A	Secondary dominant V/vi — leads to Bbmsecondary dominant	F · A · C · Eb	2×
IV	Gb	Subdominant — moves away from home	Gb · Bb · Db	5×
IVmaj7	Gbmaj7	Subdominant — moves away from home	Gb · Bb · Db · F	3×
IV7	Gb9	Chromatic colour chordoutside the key	Gb · Bb · Db · Fb · Ab	2×
iv	Gbm	Minor iv — borrowed from the parallel minorborrowed chord	Gb · A · Db	2×
iv7	Gbm7	Minor iv — borrowed from the parallel minorborrowed chord	Gb · A · Db · Fb	2×
#iv	Gm	Chromatic colour chordoutside the key	G · Bb · D	1×
V	Ab4	Dominant — strongest pull home	Ab · C · Eb	14×
V	Ab	Dominant — strongest pull home	Ab · C · Eb	3×
V7	Ab7	Dominant — strongest pull home	Ab · C · Eb · Gb	1×
Vmaj7	Abmaj7	Chromatic colour chordoutside the key	Ab · C · Eb · G	1×
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	7×
V/ii	Bb4	Secondary dominant V/ii — leads to D#msecondary dominant	Bb · D · F	2×
V/ii	Bb	Secondary dominant V/ii — leads to D#msecondary dominant	Bb · D · F	1×
V/ii	Bb4/F	Secondary dominant V/ii — leads to D#msecondary dominant	Bb · D · F	1×
bVIImaj7	Bmaj7	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	B · D# · F# · A#	3×
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	—
vii	Cm	Chromatic colour chordoutside the key	C · Eb · G	1×

Seen from Bb minor
Degree	Chord	Role	Notes	In song
i	Bbm	Tonic — home	Bb · Db · F	7×
V/iv	Bb4	Secondary dominant V/iv — leads to D#msecondary dominant	Bb · D · F	2×
V/iv	Bb	Secondary dominant V/iv — leads to D#msecondary dominant	Bb · D · F	1×
V/iv	Bb4/F	Secondary dominant V/iv — leads to D#msecondary dominant	Bb · D · F	1×
bIImaj7	Bmaj7	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	B · D# · F# · A#	3×
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
ii	Cm	Chromatic colour chordoutside the key	C · Eb · G	1×
III	Db	Relative major — the bright side	Db · F · Ab	8×
IIImaj7	Dbmaj7	Relative major — the bright side	Db · F · Ab · C	1×
iv7	D#m7(9)	Subdominant — moves away from home	D# · F# · A# · C# · E#	2×
IV	D#	Major IV — Dorian / melodic-minor colourmodal colour	D# · G · A#	3×
v	Fm	Minor dominant — soft pull	F · Ab · C	6×
V7	F7/A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C · Eb	2×
VI	Gb	Submediant — warm colour	Gb · Bb · Db	5×
VImaj7	Gbmaj7	Submediant — warm colour	Gb · Bb · Db · F	3×
VI7	Gb9	Chromatic colour chordoutside the key	Gb · Bb · Db · Fb · Ab	2×
vi	Gbm	Chromatic colour chordoutside the key	Gb · A · Db	2×
vi7	Gbm7	Chromatic colour chordoutside the key	Gb · A · Db · Fb	2×
#vi	Gm	Chromatic colour chordoutside the key	G · Bb · D	1×
VII	Ab4	Subtonic — steps back to the tonic	Ab · C · Eb	14×
VII	Ab	Subtonic — steps back to the tonic	Ab · C · Eb	3×
VII7	Ab7	Subtonic — steps back to the tonic	Ab · C · Eb · Gb	1×
V/III	Abmaj7	Secondary dominant V/III — leads to Dbsecondary dominant	Ab · C · Eb · G	1×

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 22 different chords appear 71 times in total; 10 of them sit naturally inside the shared scale. The major V of Bbm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Db, the same F7/A is V7/vi, a secondary dominant heading for Bbm. D#, Bb4, Bb, Abmaj7, Bb4/F act as secondary dominants, briefly pointing at another chord of the key. Bmaj7, Gbm, Gbm7 are borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Gb Bbm DbIV → vi BbmVI → iVI → i ×5
Ab4 Db DbV → Iauthentic cadence BbmVII → III ×4
Ab Db DbV → Iauthentic cadence BbmVII → III ×2
F7/A Bbm DbV7/vi → visecondary resolution BbmV7 → iharmonic-minor cadence ×2
Gb9 Ab4 DbIV7 → VIV → V BbmVI7 → VIIVI → VII ×2
Ab7 Db DbV7 → Iauthentic cadence BbmVII7 → III ×1

The move to watch is Gb → Bbm, heard 5 times. From the Db side it reads IV → vi; from the Bbm side it is VI → i (VI → i: falls a half step into home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Db major pentatonic and Bb minor pentatonic are the same five notes (Db – Eb – F – Ab – Bb): start from Db for a brighter phrase, from Bb for a bluesier one.
Over Ab4, land on Ab, C, Eb — the chord's own tones always sound right on strong beats.
Over Db, land on Db, F, Ab — the chord's own tones always sound right on strong beats.
Over Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
When F7/A comes, swap the scale's Ab for A: that single note is the harmonic-minor sound of the chord.
On Bmaj7, follow the chord's notes (B · D# · F# · A#) 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 Db major shapes

Capo 1 + C shapes
Capo 4 + A shapes
Capo 6 + G shapes

With Bb minor shapes

Capo 1 + Am shapes
Capo 6 + Em shapes

Easiest keys on guitar

6 semitones up · capo 6 keeps the original pitch
1 semitone down · capo 1 keeps the original pitch

The song's harmonic story

The first chord is Db; the ear learns where home is within a second. The backbone is Ab4, Db, Bbm, Fm — V–I–vi–iii from the Db side, VII–III–i–v from the Bbm side. Gb9 is the interesting twist: in Db it is a chromatic chord (IV7), while in Bbm it becomes the dominant (VI7) that makes the minor side sound so determined. Keep an ear on Gb → Bbm (IV → vi in Db, VI → i in Bbm): VI → i — falls a half step into home. It closes on D#, letting the Db 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.