Major view
D major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = C# (leading tone, pulls home)
- 4 = G (the note that leans on the 3rd)
Key D major – B minor Chords D, G, A7, Dmaj7, Em7, D7, Gm6, A … Easy key G (capo 7)
D Gbm
And now the end is near
Am6/C B4 B7
And so I face the final curtain
Em Em7
My friend, I'll say it clear
A7 D
I'll state my case of which I'm certain
D Dmaj7 D7
I've lived a life that's full
G Gm6
I've travelled each and every highway
D A7
And more, much more than this
G D
I did it my way
D Dmaj7
Regrets, I've had a few
Am6/C B4 B7
But then again, too few to mention
Em Em7
I did what I had to do
A7 D
And saw it through without exemption
D Dmaj7 D7
I planned each charted course
G Gm6
Each careful step along the byway
D A7
And more, much more than this
G D
I did it my way
A D Dmaj7 D7
Yes there were times, I'm sure you knew
G Gmaj7
When I bit off more than I could chew
Em7 A7
But through it all when there was doubt
Gbm7 Bm7
I ate it up and spit it out
Em7 A7
I faced it all, and I stood tall
G D
And did it my way
D Dmaj7
I've loved, I've laughed and cried
Am6/C B4 B7
I've had my fill, my share of loosing
Em Em7
And now as tears subside
A7 D
I find it all so amusing
D Dmaj7 D7
To think I did all that
G Gm6
And may I say, not in a shy way
D A7
Oh, no, oh, no not me
G D
I did it my way
A D Dmaj7 D7
For what is a man, what has he got
G Gmaj7
If not himself, then he has naught
Em7 A7
To say the things, he truly feels
Gbm7 Bm7
And not the words of one who kneels
Em7 A7
The record shows, I took the blows
G D
And did it my way
A D Dmaj7 Am7 D7 G Gm6 D F#m/C# Bm7
A G D
Yes, it was my way
End of song Play again?
Harmony analysis
The song opens on D and ends on D. Its chords belong to both D major and Bm, 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 D major side because it both starts and finishes on D and D is heard 36 times against 3 for Bm. That is an interpretation, not a rule — hearing the same chords from B minor is just as valid and teaches you something different.
Show the degrees above the chords — relative to D or to Bm; 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 | D | Tonic — home | D · F# · A | 22× |
| Imaj7 | Dmaj7 | Tonic — home | D · F# · A · C# | 8× |
| V7/IV | D7 | Secondary dominant V/IV — leads to Gsecondary dominant | D · F# · A · C | 6× |
| ii7 | Em7 | Supertonic — prepares the dominant | E · G · B · D | 7× |
| ii | Em | Supertonic — prepares the dominant | E · G · B | 3× |
| iii7 | Gbm7 | Mediant — a tonic-family shade | Gb · A · Db · Fb | 2× |
| iii | Gbm | Mediant — a tonic-family shade | Gb · A · Db | 1× |
| iii | F#m/C# | Mediant — a tonic-family shade | F# · A · C# | 1× |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | — |
| IV | G | Subdominant — moves away from home | G · B · D | 12× |
| IVmaj7 | Gmaj7 | Subdominant — moves away from home | G · B · D · F# | 2× |
| iv6 | Gm6 | Minor iv — borrowed from the parallel minorborrowed chord | G · Bb · D · E | 4× |
| V7 | A7 | Dominant — strongest pull home | A · C# · E · G | 10× |
| V | A | Dominant — strongest pull home | A · C# · E | 4× |
| v6 | Am6/C | Chromatic colour chordoutside the key | A · C · E · F# | 3× |
| v7 | Am7 | Chromatic colour chordoutside the key | A · C · E · G | 1× |
| vi7 | Bm7 | Relative minor — the melancholy side | B · D · F# · A | 3× |
| V/ii | B4 | Secondary dominant V/ii — leads to Emsecondary dominant | B · D# · F# | 3× |
| V7/ii | B7 | Secondary dominant V/ii — leads to Emsecondary dominant | B · D# · F# · A | 3× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Bm7 | Tonic — home | B · D · F# · A | 3× |
| V/iv | B4 | Secondary dominant V/iv — leads to Emsecondary dominant | B · D# · F# | 3× |
| V7/iv | B7 | Secondary dominant V/iv — leads to Emsecondary dominant | B · D# · F# · A | 3× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | 22× |
| IIImaj7 | Dmaj7 | Relative major — the bright side | D · F# · A · C# | 8× |
| V7/VI | D7 | Secondary dominant V/VI — leads to Gsecondary dominant | D · F# · A · C | 6× |
| iv7 | Em7 | Subdominant — moves away from home | E · G · B · D | 7× |
| iv | Em | Subdominant — moves away from home | E · G · B | 3× |
| v7 | Gbm7 | Minor dominant — soft pull | Gb · A · Db · Fb | 2× |
| v | Gbm | Minor dominant — soft pull | Gb · A · Db | 1× |
| v | F#m/C# | Minor dominant — soft pull | F# · A · C# | 1× |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | — |
| VI | G | Submediant — warm colour | G · B · D | 12× |
| VImaj7 | Gmaj7 | Submediant — warm colour | G · B · D · F# | 2× |
| vi6 | Gm6 | Chromatic colour chordoutside the key | G · Bb · D · E | 4× |
| VII7 | A7 | Subtonic — steps back to the tonic | A · C# · E · G | 10× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 4× |
| vii6 | Am6/C | Chromatic colour chordoutside the key | A · C · E · F# | 3× |
| vii7 | Am7 | Chromatic colour chordoutside the key | A · C · E · G | 1× |
The key pair is D major and its relative B minor (2 sharps). 18 different chords appear 95 times in total; 12 of them sit naturally inside the shared scale. D7, B4, B7 act as secondary dominants, briefly pointing at another chord of the key. Gm6 is borrowed from the parallel minor, adding a darker shade to the major side.
The move to watch is Em7 → A7, heard 7 times. From the D side it reads ii7 → V7 (ii → V: the classic preparation of the dominant); from the Bm side it is iv7 → VII7. 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 D lays a solid floor for everything that follows. D, G, A7, Dmaj7 carry the song: I–IV–V7–Imaj7 relative to D, III–VI–VII7–IIImaj7 relative to Bm. D7 adds a moment of surprise: secondary dominant V/IV — leads to G. Keep an ear on Em7 → A7 (ii7 → V7 in D, iv7 → VII7 in Bm): ii → V — the classic preparation of the dominant. The final chord is D; the ear comes to rest in D.
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.
Ready-made lists by difficulty and mood.
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