Major view
G major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F# (leading tone, pulls home)
- 4 = C (the note that leans on the 3rd)
Key G major – E minor Chords C, D, G, D/F#, Em Difficulty already in its easiest key
G D/F# C D
G D/F# C D
It's late in the evening, she's wondering what clothes to wear.
G D/F# C D
She puts on her make-up, and brushes her long blond hair.
C D G D/F# Em
And then she asks me "Do I look all right?"
C D G
And I say "Yes, you look wonderful tonight!"
G D/F# C D
G D/F# C D
We'd go to party, and everyone turns to see
G D/F# C D
This beautiful lady, that's walking around with me.
C D G Em
And then she asks me: "Do you feel all right?"
C D G
And I say: "Yes, I feel wonderful tonight!"
C D G D/F# Em
I feel wonderful because I see the love light in your eyes,
C D C D
And the wonder of it all is that you just don't realize,
G
How much I love you!
G D/F# C D
D/F# C D
It's time to go home now, and I've got an aching head
G D/F# C D
So I give her the carkeys, and she helps me to bed.
C D G D/F# Em
And then I tell her, as I turn off the light:
C D G D/F# Em
I say: "My darling, you are wonderful tonight!
C D G
Oh my darling, you were wonderful tonight."
G D/F# C D
G
End of song Play again?
Harmony analysis
The song opens on G and ends on G. Its chords belong to both G major and Em, 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 G major side because it both starts and finishes on G and G is heard 19 times against 5 for Em. That is an interpretation, not a rule — hearing the same chords from E minor is just as valid and teaches you something different.
Show the degrees above the chords — relative to G or to Em; 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 | G | Tonic — home | G · B · D | 19× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | — |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | 20× |
| V | D | Dominant — strongest pull home | D · F# · A | 20× |
| V | D/F# | Dominant — strongest pull home | D · F# · A | 14× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 5× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 5× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 19× |
| iv | Am | Subdominant — moves away from home | A · C · E | — |
| v | Bm | Minor dominant — soft pull | B · D · F# | — |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | 20× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 20× |
| VII | D/F# | Subtonic — steps back to the tonic | D · F# · A | 14× |
The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 78 times in total; 5 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
The move to watch is C → D, heard 20 times. From the G side it reads IV → V (IV → V: the lift that builds tension before home); from the Em side it is VI → VII (VI → VII: the rising step that heads for the tonic). 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 song is already written in its easiest key for guitar.
Starting on G, the song gives away its key from the very first bar. The backbone is C, D, G, D/F# — IV–V–I–V from the G side, VI–VII–III–VII from the Em side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C → D (IV → V in G, VI → VII in Em): IV → V — the lift that builds tension before home. It closes on G, letting the G side have the last word.
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.
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