Mariah Carey - Emotions - Chord

Key C major – A minor Chords Fmaj7, Am7, Em7, Gm7, C7, Am, Am/G#, F … Difficulty already in its easiest key

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Capo 0

Fmaj7  Em7  Am7  C 
D  E  Fmaj7  Em7  Am7
Gm7  C  Fmaj7  Em  Am7  

Fmaj7           Em7      Am7
You've got me feeling emotions
Fmaj7              Em7          Am7
Deeper than I've ever dreamed of
    Fmaj7            Em7      Am7   Gm7   C7
Oh, you've got me feeling emotions
Fmaj7             Em7       Am7
Higher than the heavens above

Fmaj7           Em7      Am7
I feel good, I feel nice
Fmaj7              Em7       Am7
I've never felt so satisfied
    Fmaj7            Em7  Am7  Gm7   C7
I'm in love, I'm alive
Fmaj7             Em7       Am7
Intoxicated, flying high

Am              Am/G#
It feels like a dream
          Am/G          F#m7
When you touch me tenderly
Am                   Am/G#
I don't know if it's real
    Dm          Em  
But I like the way I feel
F
Inside

Fmaj7           Em7      Am7
You've got me feeling emotions
Fmaj7              Em7          Am7
Deeper than I've ever dreamed of
    Fmaj7            Em7      Am7  Gm7  C7
Oh, you've got me feeling emotions
Fmaj7             Em7       Am7
Higher than the heavens above

In the morning when I rise

You are the first thing on my mind

And in the middle of the night

I feel your heartbeat next to mine

Am              Am/G#
It feels like a dream
          Am/G          F#m7
When you touch me tenderly
Am                   Am/G#
I don't know if it's real
    Dm          Em        F
But I like the way I feel inside

Fmaj7           Em7      Am7
You've got me feeling emotions
Fmaj7              Em7          Am7
Deeper than I've ever dreamed of
    Fmaj7            Em7      Am7    Gm7  C7
Oh, you've got me feeling emotions
Fmaj7             Em7       Am7
Higher than the heavens above

Fmaj7           Em7      Am7
You've got me feeling emotions
Fmaj7              Em7          Am7
Deeper than I've ever dreamed of
    Fmaj7            Em7      Am7    Gm7  C7
Oh, you've got me feeling emotions
Fmaj7             Em7       Am7
Higher than the heavens above

Bb  F
    You know the way
    C                    
To make me lose control
Bb                    F
When you're looking into my eyes
    E7
You make me feel so high

Oh, oh baby, oh baby
Hey
All right, all right, oh

Oh, oh, hey, hey

Fmaj7           Em7      Am7
You've got me feeling emotions
Fmaj7              Em7          Am7
Deeper than I've ever dreamed of
    Fmaj7            Em7      Am7    Gm7  C7
Oh, you've got me feeling emotions
Fmaj7             Em7       Am7
Higher than the heavens above

End of song Play again?

Mariah Carey - Emotions Tabs

NotesX

Harmony analysis

Mariah Carey – Emotions: key and chord analysis

The song opens on Fmaj7 and ends on Am7. 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 it comes to rest on Am, Am is heard 37 times against 9 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	Tonic — home	C · E · G	3×
V7/IV	C7	Secondary dominant V/IV — leads to Fsecondary dominant	C · E · G · Bb	6×
ii	Dm	Supertonic — prepares the dominant	D · F · A	2×
V/V	D	Secondary dominant V/V — leads to Gsecondary dominant	D · F# · A	1×
iii7	Em7	Mediant — a tonic-family shade	E · G · B · D	26×
iii	Em	Mediant — a tonic-family shade	E · G · B	3×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	1×
V7/vi	E7	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B · D	1×
IVmaj7	Fmaj7	Subdominant — moves away from home	F · A · C · E	27×
IV	F	Subdominant — moves away from home	F · A · C	4×
#iv7	F#m7	Chromatic colour chordoutside the key	F# · A · C# · E	2×
V	G	Dominant — strongest pull home	G · B · D	—
v7	Gm7	Chromatic colour chordoutside the key	G · Bb · D · F	7×
vi7	Am7	Relative minor — the melancholy side	A · C · E · G	27×
vi	Am	Relative minor — the melancholy side	A · C · E	4×
vi	Am/G#	Relative minor — the melancholy side	A · C · E	4×
vi	Am/G	Relative minor — the melancholy side	A · C · E	2×
bVII	Bb	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	Bb · D · F	2×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i7	Am7	Tonic — home	A · C · E · G	27×
i	Am	Tonic — home	A · C · E	4×
i	Am/G#	Tonic — home	A · C · E	4×
i	Am/G	Tonic — home	A · C · E	2×
bII	Bb	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	Bb · D · F	2×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	3×
V7/VI	C7	Secondary dominant V/VI — leads to Fsecondary dominant	C · E · G · Bb	6×
iv	Dm	Subdominant — moves away from home	D · F · A	2×
IV	D	Major IV — Dorian / melodic-minor colourmodal colour	D · F# · A	1×
v7	Em7	Minor dominant — soft pull	E · G · B · D	26×
v	Em	Minor dominant — soft pull	E · G · B	3×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	1×
V7	E7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B · D	1×
VImaj7	Fmaj7	Submediant — warm colour	F · A · C · E	27×
VI	F	Submediant — warm colour	F · A · C	4×
#vi7	F#m7	Chromatic colour chordoutside the key	F# · A · C# · E	2×
VII	G	Subtonic — steps back to the tonic	G · B · D	—
vii7	Gm7	Chromatic colour chordoutside the key	G · Bb · D · F	7×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 17 different chords appear 122 times in total; 10 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 / E7 is V/vi, a secondary dominant heading for Am. C7, D act as secondary dominants, briefly pointing at another chord of the key. Bb is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Em7 Am7 Ciii7 → vi7 Amv7 → i7natural-minor cadence ×26
C7 Fmaj7 CV7/IV → IVmaj7secondary resolution AmV7/VI → VImaj7 ×6
F C CIV → Iplagal cadence AmVI → III ×1
Em Am7 Ciii → vi7 Amv → i7natural-minor cadence ×1

The move to watch is Em7 → Am7, heard 26 times. From the Am side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the C side it reads iii7 → vi7. 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 Fmaj7, land on F, A, C — the chord's own tones always sound right on strong beats.
Over Am7, land on A, C, E — the chord's own tones always sound right on strong beats.
Over Em7, land on E, G, B — 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.
On Bb, follow the chord's notes (Bb · D · F) 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 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 Fmaj7, the song gives away its key from the very first bar. The backbone is Fmaj7, Am7, Em7, Gm7 — IVmaj7–vi7–iii7–v7 from the C side, VImaj7–i7–v7–vii7 from the Am side. C7 is the interesting twist: in C it is a chromatic chord (V7/IV), while in Am it becomes the dominant (V7/VI) that makes the minor side sound so determined. Keep an ear on Em7 → Am7 (iii7 → vi7 in C, v7 → i7 in Am): natural-minor cadence — gentle, modal arrival. The final chord is Am7; the ear comes to rest in Am.

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.