Celine Dion - To love you more - Chord

Key C major – A minor Chords E, A, D, E4, Gbm, Dm, A/C#, Am/C … Difficulty already in its easiest key

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Capo 0

A  E  F#m  D  E

 A                    E
take me back into the arms I love 
 Gbm                    D   E/D
need me like you did before
         A/C#      Am/C       G/B       Gm/Bb
touch me once again    and remember when
            Dm/A        A          E4  E
there's was no one that you wanted more
 A                     E
don't go you know will break my heart
 Gbm                       D   E/D
she won't love you like I will
        A/C#           Am/C         G/B        Gm/Bb
I'm the one who'll stay    when she walk's away
         Dm            A          E4  E
and you know I'll be stading here still

          A            E Gbm             Dbm
I'll be waiting for you  here inside my heart
        D                  E4       A   E
I'm the one who want's to love you more
         A         E       Gbm             Dbm
You will see I can give you everything you need  
       D              E4   E     A   
Let me be the one to love you more

 A                E
see me as if you never knew me
 Gbm                     D  E/D
hold me so you can't let go
        A/C#     Am/C      G/B         Gm/Bb
just believe in me  I will make you see
          Dm              A             E4  E
all the things that your heart needs to know

     F      Dm                      A          
and some way  all the love that we had can be saved
F              Dm          E
  whatever it takes we'll find away

solo  A  B/A  E/G#  Em/G  D/F#  
     C/E  G/D  C  F/A  E/G#

   A/C#       Am/C     G/B       Gm/Bb
believe in me  I will make you see 
          Dm               A             E   
all the things that your heart needs to know


A  E  F#m  C#m  D  E4  E  A  
A  E  Gbm  Dbm  D  E4  E  A

End of song Play again?

Celine Dion - To love you more Tabs

NotesX

Harmony analysis

Celine Dion – To love you more: key and chord analysis

The song opens on A and ends on A. Its chords belong to both C major and Am, so every chord below is read both ways.

Major view

C major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

A minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = F (the minor's melancholy)
b7 = G (natural-minor colour)
#7 = G# (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 A minor side because Am is heard 4 times against 2 for C and the major V chord points straight at Am. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 C or to Am; 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 C major
Degree	Chord	Role	Notes	In song
I	C/E	Tonic — home	C · E · G	1×
I	C	Tonic — home	C · E · G	1×
bii	Dbm	Chromatic colour chordoutside the key	Db · Fb · Ab	3×
bii	C#m	Chromatic colour chordoutside the key	C# · E · G#	1×
ii	Dm	Supertonic — prepares the dominant	D · F · A	5×
ii	Dm/A	Supertonic — prepares the dominant	D · F · A	1×
V/V	D	Secondary dominant V/V — leads to Gsecondary dominant	D · F# · A	8×
iii	Em	Mediant — a tonic-family shade	E · G · B	—
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	18×
V/vi	E4	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	7×
V/vi	E/D	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	3×
V/vi	E/G#	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	1×
IV	F	Subdominant — moves away from home	F · A · C	2×
IV	F/A	Subdominant — moves away from home	F · A · C	1×
#iv	Gbm	Chromatic colour chordoutside the key	Gb · A · Db	6×
#iv	F#m	Chromatic colour chordoutside the key	F# · A · C#	2×
V	G/B	Dominant — strongest pull home	G · B · D	4×
V	G/D	Dominant — strongest pull home	G · B · D	1×
v	Gm/Bb	Chromatic colour chordoutside the key	G · Bb · D	4×
vi	Am/C	Relative minor — the melancholy side	A · C · E	4×
V/ii	A	Secondary dominant V/ii — leads to Dmsecondary dominant	A · C# · E	17×
V/ii	A/C#	Secondary dominant V/ii — leads to Dmsecondary dominant	A · C# · E	4×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am/C	Tonic — home	A · C · E	4×
V/iv	A	Secondary dominant V/iv — leads to Dmsecondary dominant	A · C# · E	17×
V/iv	A/C#	Secondary dominant V/iv — leads to Dmsecondary dominant	A · C# · E	4×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C/E	Relative major — the bright side	C · E · G	1×
III	C	Relative major — the bright side	C · E · G	1×
#iii	Dbm	Chromatic colour chordoutside the key	Db · Fb · Ab	3×
#iii	C#m	Chromatic colour chordoutside the key	C# · E · G#	1×
iv	Dm	Subdominant — moves away from home	D · F · A	5×
iv	Dm/A	Subdominant — moves away from home	D · F · A	1×
IV	D	Major IV — Dorian / melodic-minor colourmodal colour	D · F# · A	8×
v	Em	Minor dominant — soft pull	E · G · B	—
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	18×
V	E4	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	7×
V	E/D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	3×
V	E/G#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	1×
VI	F	Submediant — warm colour	F · A · C	2×
VI	F/A	Submediant — warm colour	F · A · C	1×
#vi	Gbm	Chromatic colour chordoutside the key	Gb · A · Db	6×
#vi	F#m	Chromatic colour chordoutside the key	F# · A · C#	2×
VII	G/B	Subtonic — steps back to the tonic	G · B · D	4×
VII	G/D	Subtonic — steps back to the tonic	G · B · D	1×
vii	Gm/Bb	Chromatic colour chordoutside the key	G · Bb · D	4×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 21 different chords appear 94 times in total; 9 of them sit naturally inside the shared scale. The major V of Am brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from C, the same E / E4 / E/D / E/G# is V/vi, a secondary dominant heading for Am. A, D, A/C# act as secondary dominants, briefly pointing at another chord of the key.

Chord movement

G/D C CV → Iauthentic cadence AmVII → III ×1
Dm E Cii → V/vi Amiv → Viv → V ×1

The move to watch is G/D → C, heard once. From the Am side it is VII → III; from the C side it reads V → I (authentic cadence: the strongest arrival home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

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

No capo — open C shapes
Capo 3 + A shapes
Capo 5 + G shapes

With A minor shapes

No capo — open Am shapes
Capo 5 + Em shapes
Capo 7 + Dm shapes

Easiest keys on guitar

The song is already written in its easiest key for guitar.

The song's harmonic story

Starting on A, the song gives away its key from the very first bar. The chords that keep coming back are E, A, D, E4; read them as V/vi–V/ii–V/V–V/vi in C or V–V/iv–IV–V in Am. E is the interesting twist: in C it is a chromatic chord (V/vi), while in Am it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on G/D → C (V → I in C, VII → III in Am): authentic cadence — the strongest arrival home. Ending on A, the song seals C 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.