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)
Mariah Carey - My All - Chord
Key Bb major – G minor Chords Cm, D7, Gm7, Gm7/F, Ebmaj7, Gm, F7, Bbmaj7 … Easy key C
No ratings yet
or your user informations
Make it yours
Text size
Key: Bb | Gm
Capo: 0
Cm D7 Gm7
I am thinking of you in my sleepless solitude tonight
Cm D7 Gm7
if it's wrong to love you, then my heart just won't let me be right
Gm7/F Ebmaj7 D7
'cause I've drowned in you, and I won't pull through
Gm
without you by my side
Cm D7 Gm Gm7/F Ebmaj7
I'd give my all to have just one more night with you
Cm F7 Bbmaj7 Ebmaj7
I'd risk my life to feel your body next to mine
Am7b5 Ab7 Gm7 Gm7/F Em7b5
'cause I can't go on living in the memory of our song
Cm D7 Gm
I'd give my all for your love tonight
Cm D7 Gm
Baby can you feel me, imagining I'm looking in your eyes
Cm D7 Gm7
I can see you clearly, vividly emblazoned in my mind
Gm7/F Ebmaj7 D7
and yet you're so far like a distant star
Gm7
I'm wishing on tonight
Cm D7 Gm Gm7/F Ebmaj7
I'd give my all to have just one more night with you
Cm F7 Bbmaj7 Ebmaj7
I'd risk my life to feel your body next to mine
Am7b5 Ab7 Gm7 Gm7/F Em7b5
'cause I can't go on living in the memory of our song
Cm D7 Gm
I'd give my all for your love tonight
End of song Play again?
Mariah Carey - My All Tabs
NotesX
Harmony analysis
Mariah Carey – My All: key and chord analysis
The song opens on Cm and ends on Gm. 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)
- #7 = F# (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 G minor side because it comes to rest on Gm, Gm is heard 18 times against 2 for Bb and the major V chord points straight at Gm. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 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 | 2× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 10× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| V7/vi | D7 | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A · C | 10× |
| IVmaj7 | Ebmaj7 | Subdominant — moves away from home | Eb · G · Bb · D | 6× |
| viiø7/V | Em7b5 | Secondary leading-tone chord viiø7/V — leads to Fsecondary dominant | E · G · Bb · D | 2× |
| V7 | F7 | Dominant — strongest pull home | F · A · C · Eb | 2× |
| vi7 | Gm7 | Relative minor — the melancholy side | G · Bb · D · F | 6× |
| vi7 | Gm7/F | Relative minor — the melancholy side | G · Bb · D · F | 6× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 6× |
| bVII7 | Ab7 | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | Ab · C · Eb · Gb | 2× |
| viiø7 | Am7b5 | Leading-tone chord — tension | A · C · Eb · G | 2× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Gm7 | Tonic — home | G · Bb · D · F | 6× |
| i7 | Gm7/F | Tonic — home | G · Bb · D · F | 6× |
| i | Gm | Tonic — home | G · Bb · D | 6× |
| bII7 | Ab7 | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | Ab · C · Eb · Gb | 2× |
| iiø7 | Am7b5 | Supertonic — prepares the dominant | A · C · Eb · G | 2× |
| IIImaj7 | Bbmaj7 | Relative major — the bright side | Bb · D · F · A | 2× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 10× |
| v | Dm | Minor dominant — soft pull | D · F · A | — |
| V7 | D7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A · C | 10× |
| VImaj7 | Ebmaj7 | Submediant — warm colour | Eb · G · Bb · D | 6× |
| viiø7/VII | Em7b5 | Secondary leading-tone chord viiø7/VII — leads to Fsecondary dominant | E · G · Bb · D | 2× |
| VII7 | F7 | Subtonic — steps back to the tonic | F · A · C · Eb | 2× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 11 different chords appear 54 times in total; 8 of them sit naturally inside the shared scale. The major V of Gm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Bb, the same D7 is V7/vi, a secondary dominant heading for Gm. Em7b5 acts as a secondary dominant, briefly pointing at another chord of the key. Ab7 is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- Cm D7 Bbii → V7/vi Gmiv → V7iv → V ×8
- D7 Gm BbV7/vi → visecondary resolution GmV7 → iharmonic-minor cadence ×6
- D7 Gm7 BbV7/vi → vi7secondary resolution GmV7 → i7harmonic-minor cadence ×4
- F7 Bbmaj7 BbV7 → Imaj7authentic cadence GmVII7 → IIImaj7 ×2
- Cm F7 Bbii → V7ii → V Gmiv → VII7 ×2
The move to watch is Cm → D7, heard 8 times. From the Gm side it is iv → V7 (iv → V: the minor side's tension builder); from the Bb side it reads ii → V7/vi. 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 Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over D7, land on D, F#, A — the chord's own tones always sound right on strong beats.
- Over Gm7, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- When D7 comes, swap the scale's F for F#: that single note is the harmonic-minor sound of the chord.
- 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
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The first chord is Cm; the ear learns where home is within a second. The chords that keep coming back are Cm, D7, Gm7, Gm7/F; read them as ii–V7/vi–vi7–vi7 in Bb or iv–V7–i7–i7 in Gm. D7 is the interesting twist: in Bb it is a chromatic chord (V7/vi), while in Gm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Cm → D7 (ii → V7/vi in Bb, iv → V7 in Gm): iv → V — the minor side's tension builder. The final chord is Gm; the ear comes to rest in Gm.
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.
Mariah Carey - My All 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.
Repertoires with this song
Similar songs, ready to play: pick a list.
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.