Beyonce - Love On Top - Chord

Key C major – A minor Chords C, F/G, D/F#, Am/F, G, F, G/E, Am7 … Easy key G (capo 5)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

C  D/F#  Am/F  F/G
 
       C
Honey, honey
              D/F#                     Am/F
I can see the stars all the way from here
          F/G                   C
Can't you see the glow on the window pane?
               D/F#                  Am/F
I can feel the sun whenever you're near
               F/G
Every time you touch me I just melt away

    F                           G                      G/E
Now everybody asks me why I'm smiling out from ear to ear.
(They say love hurts)
        Am7
But I know
(It's gonna take the real work)
F                                    G                         G/E
Nothing's perfect, but it's worth it after fighting through my fears
                F/G            G
And finally you put me first

          C
Baby it's you
                 D/F#
You're the one I love
                 Am/F
You're the one I need
                      F/G
You're the only one I see
                   C
Come on baby it's you
                               D/F#
You're the one that gives your all
                            Am/F
You're the one I can always call
                                 F/G
When I need you Baby everything stops
                            C
Finally you put my love on top

        D/F#
Ooo! Come on Baby
                   Am/F                    F/G
You put my love on top, top, top, top, top
                    C
You put my love on top
        D/F#
Ooo! Come on Baby
                   Am/F                    F/G
You put my love on top, top, top, top, top

         C
Come on Baby
               D/F#                     Am/F
I can feel the wind whipping past my face
           F/G             C
As we dance the night away
              D/F#                      Am/F
Boy your lips taste like a night of champagne
              F/G
As I kiss you again, and again, and again and again

    F                           G                      G/E
Now everybody asks me why I'm smiling out from ear to ear
(They say love hurts)
        Am7
But I know
(It's gonna take the real work)
F                                    G                         G/E
Nothing's perfect, but it's worth it after fighting through my fears
                F/G            G
And finally you put me first

          C
Baby it's you
                 D/F#
You're the one I love
                 Am/F
You're the one I need
                      F/G
You're the only one I see
                   C
Come on baby it's you
                               D/F#
You're the one that gives your all
                            Am/F
You're the one I can always call
                                 F/G
When I need you Baby everything stops
                            C
Finally you put my love on top
 
       D/F#
Ooo! Come on Baby
                   Am/F                    F/G
You put my love on top, top, top, top, top
                    C
You put my love on top
        D/F#
Ooo! Come on Baby
                   Am/F                    F/G
You put my love on top, top, top, top, top

         D
Baby it's you
                 E/G#
You're the one I love
                 Bm/G
You're the one I need
                      G/A
You're the only one I see
                   D
Come on baby it's you
                               E/G#
You're the one that gives your all
                            Bm/G
You're the one I can always call
                                 G/A
When I need you Baby everything stops
                            Eb
Finally you put my love on top
 
         C
Baby it's you.
                 F/A
You're the one I love
                 Cm/Ab
You're the one I need
                      Ab/Bb
You're the only one I see
                   Eb
Come on baby it's you
                               F/A
You're the one that gives your all
                            Cm/Ab
You're the one I can always call
                                 Ab/Bb
When I need you Baby everything stops
                            F
Finally you put my love on top
 
         C
Baby it's you
                 G/B
You're the one I love
                 Dm/Bb
You're the one I need.
                      Bb/C
You're the only one I see
                   F
Come on baby it's you
                               G/B
You're the one that gives your all
                            Dm/Bb
You're the one I can always call
                                 Bb/C
When I need you Baby everything stops
                            G
Finally you put my love on top
 
         C
Baby it's you
                 A/C#
You're the one I love
                 Em/C
You're the one I need.
                      C/D
You're the only one I see.
                   G
Come on baby it's you.
                               A/C#
You're the one that gives your all
                            Em/C
You're the one I can always call
                                 C/D
When I need you Baby everything stops
                            G
Finally you put my love on top.

End of song Play again?

Beyonce - Love On Top Tabs

NotesX

Harmony analysis

Beyonce – Love On Top: key and chord analysis

The song opens on C and ends on G. 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 C major side because it opens on C, C is heard 18 times against 15 for Am and the major V chord points straight at Am. That is an interpretation, not a rule — hearing the same chords from A minor is just as valid and teaches you something different.

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	16×
I	C/D	Tonic — home	C · E · G	2×
i	Cm/Ab	Chromatic colour chordoutside the key	C · Eb · G	2×
ii	Dm/Bb	Supertonic — prepares the dominant	D · F · A	2×
V/V	D/F#	Secondary dominant V/V — leads to Gsecondary dominant	D · F# · A	13×
V/V	D	Secondary dominant V/V — leads to Gsecondary dominant	D · F# · A	2×
bIII	Eb	Borrowed from the parallel minorborrowed chord	Eb · G · Bb	2×
iii	Em/C	Mediant — a tonic-family shade	E · G · B	2×
V/vi	E/G#	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	2×
IV	F/G	Subdominant — moves away from home	F · A · C	15×
IV	F	Subdominant — moves away from home	F · A · C	6×
IV	F/A	Subdominant — moves away from home	F · A · C	2×
V	G	Dominant — strongest pull home	G · B · D	9×
V	G/E	Dominant — strongest pull home	G · B · D	4×
V	G/A	Dominant — strongest pull home	G · B · D	2×
V	G/B	Dominant — strongest pull home	G · B · D	2×
bVI	Ab/Bb	Borrowed from the parallel minorborrowed chord	Ab · C · Eb	2×
vi	Am/F	Relative minor — the melancholy side	A · C · E	13×
vi7	Am7	Relative minor — the melancholy side	A · C · E · G	2×
V/ii	A/C#	Secondary dominant V/ii — leads to Dmsecondary dominant	A · C# · E	2×
bVII	Bb/C	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	Bb · D · F	2×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—
vii	Bm/G	Chromatic colour chordoutside the key	B · D · F#	2×

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am/F	Tonic — home	A · C · E	13×
i7	Am7	Tonic — home	A · C · E · G	2×
V/iv	A/C#	Secondary dominant V/iv — leads to Dmsecondary dominant	A · C# · E	2×
bII	Bb/C	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	—
ii	Bm/G	Chromatic colour chordoutside the key	B · D · F#	2×
III	C	Relative major — the bright side	C · E · G	16×
III	C/D	Relative major — the bright side	C · E · G	2×
iii	Cm/Ab	Chromatic colour chordoutside the key	C · Eb · G	2×
iv	Dm/Bb	Subdominant — moves away from home	D · F · A	2×
IV	D/F#	Major IV — Dorian / melodic-minor colourmodal colour	D · F# · A	13×
IV	D	Major IV — Dorian / melodic-minor colourmodal colour	D · F# · A	2×
#IV	Eb	Chromatic colour chordoutside the key	Eb · G · Bb	2×
v	Em/C	Minor dominant — soft pull	E · G · B	2×
V	E/G#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	2×
VI	F/G	Submediant — warm colour	F · A · C	15×
VI	F	Submediant — warm colour	F · A · C	6×
VI	F/A	Submediant — warm colour	F · A · C	2×
VII	G	Subtonic — steps back to the tonic	G · B · D	9×
VII	G/E	Subtonic — steps back to the tonic	G · B · D	4×
VII	G/A	Subtonic — steps back to the tonic	G · B · D	2×
VII	G/B	Subtonic — steps back to the tonic	G · B · D	2×
#VII	Ab/Bb	Chromatic colour chordoutside the key	Ab · C · Eb	2×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 22 different chords appear 106 times in total; 13 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/G# is V/vi, a secondary dominant heading for Am. D/F#, D, A/C# act as secondary dominants, briefly pointing at another chord of the key. Eb, Ab/Bb, Bb/C are borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

F/G C CIV → Iplagal cadence AmVI → III ×10
F G CIV → VIV → V AmVI → VIIVI → VII ×4
G C CV → Iauthentic cadence AmVII → III ×3
G/E Am7 CV → vi7deceptive cadence AmVII → i7Aeolian arrival ×2
F/G G CIV → VIV → V AmVI → VIIVI → VII ×2
F C CIV → Iplagal cadence AmVI → III ×1

The move to watch is F/G → C, heard 10 times. From the C side it reads IV → I (plagal cadence: the soft 'amen' ending); from the Am side it is VI → III. 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 C, land on C, E, G — the chord's own tones always sound right on strong beats.
Over F/G, land on F, A, C — the chord's own tones always sound right on strong beats.
Over D/F#, land on D, F#, A — the chord's own tones always sound right on strong beats.
When E/G# comes, swap the scale's G for G#: that single note is the harmonic-minor sound of the chord.
On Eb, follow the chord's notes (Eb · G · Bb) 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

5 semitones down · capo 5 keeps the original pitch
2 semitones up

The song's harmonic story

Starting on C, the song gives away its key from the very first bar. C, F/G, D/F#, Am/F carry the song: I–IV–V/V–vi relative to C, III–VI–IV–i relative to Am. E/G# 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 F/G → C (IV → I in C, VI → III in Am): plagal cadence — the soft 'amen' ending. The final chord is G; the ear comes to rest in C.

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.