Frank Sinatra - Fly Me To The Moon - Chord

Key C major – A minor Chords Dm7, G7, Am, C, Cmaj7, F, Dm, A7 … Difficulty already in its easiest key

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Am            Dm7          G7             Cmaj7 
Fly me to the moon, let me play among the stars,  
F               Dm                E7          Am  A7
Let me see what spring is like on Jupiter and mars, 
 
   Dm7       G7  C       Am
In other words,  hold my hand!  
   Dm7       G7 C         E   
In other words, baby kiss me! 
 
Am                 Dm7              G7           Cmaj7 
Fill my heart with song, and let me sing forever more  
F             Dm             E          Am   A7
you are all I long for all I worship & adore 
 
   Dm7       G7  C         Am   E7
In other words,  please be true! 
   Dm7       G7 Fm     C       
In other words  I love you 

Am Dm7 G7 Cmaj7 F Dm E Am   Dm7 G7 Em A7 E7   Dm7 G7 C

Am                 Dm7              G7           Cmaj7 
Fill my heart with song, and let me sing forever more  
F             Dm             E          Am   A7
you are all I long for all I worship & adore 
 
   Dm7       G7  C         Am
In other words,  please be true! 
   Dm7       G7  
In other words 
   Dm7          G G7   C
In other words  I love you!

End of song Play again?

Frank Sinatra - Fly Me To The Moon Tabs

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Harmony analysis

Frank Sinatra – Fly Me To The Moon: key and chord analysis

The song opens on Am and ends on C. 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: we can't honestly pick a side here — the song moves freely between C major and A minor because it comes to rest on C, it opens on Am and the major V chord points straight at Am. Try reading the chords both ways and see which feels more like home to you.

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	7×
Imaj7	Cmaj7	Tonic — home	C · E · G · B	4×
ii7	Dm7	Supertonic — prepares the dominant	D · F · A · C	13×
ii	Dm	Supertonic — prepares the dominant	D · F · A	4×
iii	Em	Mediant — a tonic-family shade	E · G · B	1×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	4×
V7/vi	E7	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B · D	3×
IV	F	Subdominant — moves away from home	F · A · C	4×
iv	Fm	Minor iv — borrowed from the parallel minorborrowed chord	F · Ab · C	1×
V7	G7	Dominant — strongest pull home	G · B · D · F	13×
V	G	Dominant — strongest pull home	G · B · D	1×
vi	Am	Relative minor — the melancholy side	A · C · E	11×
V7/ii	A7	Secondary dominant V/ii — leads to Dmsecondary dominant	A · C# · E · G	4×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	11×
V7/iv	A7	Secondary dominant V/iv — leads to Dmsecondary dominant	A · C# · E · G	4×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	7×
IIImaj7	Cmaj7	Relative major — the bright side	C · E · G · B	4×
iv7	Dm7	Subdominant — moves away from home	D · F · A · C	13×
iv	Dm	Subdominant — moves away from home	D · F · A	4×
v	Em	Minor dominant — soft pull	E · G · B	1×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	4×
V7	E7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B · D	3×
VI	F	Submediant — warm colour	F · A · C	4×
vi	Fm	Chromatic colour chordoutside the key	F · Ab · C	1×
VII7	G7	Subtonic — steps back to the tonic	G · B · D · F	13×
VII	G	Subtonic — steps back to the tonic	G · B · D	1×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 13 different chords appear 70 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 / E7 is V/vi, a secondary dominant heading for Am. A7 acts as a secondary dominant, briefly pointing at another chord of the key. Fm is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Dm7 G7 Cii7 → V7ii → V Amiv7 → VII7 ×12
G7 C CV7 → Iauthentic cadence AmVII7 → III ×6
G7 Cmaj7 CV7 → Imaj7authentic cadence AmVII7 → IIImaj7 ×4
E Am CV/vi → vi AmV → iharmonic-minor cadence ×4
A7 Dm7 CV7/ii → ii7secondary resolution AmV7/iv → iv7 ×3
Dm E Cii → V/vi Amiv → Viv → V ×3

The move to watch is Dm7 → G7, heard 12 times. From the C side it reads ii7 → V7 (ii → V: the classic preparation of the dominant); from the Am side it is iv7 → VII7. 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 Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
Over G7, land on G, B, D — the chord's own tones always sound right on strong beats.
Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
When E7 comes, swap the scale's G for G#: that single note is the harmonic-minor sound of the chord.
On Fm, follow the chord's notes (F · Ab · C) 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 Am, the song gives away its key from the very first bar. Dm7, G7, Am, C carry the song: ii7–V7–vi–I relative to C, iv7–VII7–i–III relative to Am. A7 is the interesting twist: in C it is a chromatic chord (V7/ii), while in Am it becomes the dominant (V7/iv) that makes the minor side sound so determined. Keep an ear on Dm7 → G7 (ii7 → V7 in C, iv7 → VII7 in Am): ii → V — the classic preparation of the dominant. Ending on C, 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.