Adele - Make You Feel My Love - Chord

Key Bb major – G minor Chords Bb, Eb, C7, F7, F, Ab, Ebm, D7 Easy key A (capo 1)

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Capo 0

Bb                         F
When the rain is blowing in your face
Ab                      Eb
And the whole world is on your case
Ebm                  Bb
I would offer you a warm embrace
C7           F7       Bb
To make you feel my love

Bb                             F
When evening shadows and the stars appear
  Ab                            Eb
And there is no one there to dry your tears
Ebm                        Bb
I could hold you for a million years
C7           F7       Bb
To make you feel my love

Eb                             Bb
I know you haven't made your mind up yet
D7           Eb             Bb
But I would never do you wrong.
Eb                               Bb
I've known it from the moment that we met
C7                        F7  
No doubt in my mind where you belong

Bb                        F
I'd go hungry, I'd go black and blue
Ab                         Eb
I'd go crawling down the avenue
Ebm                       Bb
There's nothing that I wouldn't do
C7          F7       Bb
To make you feel my love

Bb  F   Ab  Eb  Ebm  Bb  C7   F7   Bb

Eb                             Bb
The storms are raging on the rollin sea
D7          Eb             Bb
And on the highway of regret
Eb                                   Bb
The winds of change are blowing wild and free
C7                  F7         Eb
You ain't seen nothing like me yet

Bb                         F
I could make you happy, make your dreams come true
Ab                          Eb
There’s nothing that I would not do
Ebm                        Bb
Go to the ends of the earth for you
C7            F7       Bb
To make you feel my love
C7           F7       Bb
To make you feel my love

End of song Play again?

Adele - Make You Feel My Love Tabs

NotesX

Harmony analysis

Adele – Make You Feel My Love: key and chord analysis

The song opens on Bb and ends on Bb. Its chords belong to both Bb major and Gm, so every chord below is read both ways.

Major view

Bb major

Brightness rank 2/7 (bright)

Characteristic notes

7 = A (leading tone, pulls home)
4 = Eb (the note that leans on the 3rd)

Minor view

G minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Eb (the minor's melancholy)
b7 = F (natural-minor colour)
#7 = F# (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 Bb major side because it both starts and finishes on Bb, Bb is heard 22 times while Gm never appears and the major V chord points straight at Gm. That is an interpretation, not a rule — hearing the same chords from G minor is just as valid and teaches you something different.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to Bb or to Gm; 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 Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	22×
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	—
V7/V	C7	Secondary dominant V/V — leads to Fsecondary dominant	C · E · G · Bb	8×
iii	Dm	Mediant — a tonic-family shade	D · F · A	—
III7	D7	Chromatic colour chordoutside the key	D · F# · A · C	2×
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	12×
iv	Ebm	Minor iv — borrowed from the parallel minorborrowed chord	Eb · Gb · Bb	5×
V7	F7	Dominant — strongest pull home	F · A · C · Eb	8×
V	F	Dominant — strongest pull home	F · A · C	5×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	—
bVII	Ab	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	Ab · C · Eb	5×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	—
bII	Ab	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	Ab · C · Eb	5×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	22×
iv	Cm	Subdominant — moves away from home	C · Eb · G	—
IV7	C7	Major IV — Dorian / melodic-minor colourmodal colour	C · E · G · Bb	8×
v	Dm	Minor dominant — soft pull	D · F · A	—
V7	D7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A · C	2×
VI	Eb	Submediant — warm colour	Eb · G · Bb	12×
vi	Ebm	Chromatic colour chordoutside the key	Eb · Gb · Bb	5×
VII7	F7	Subtonic — steps back to the tonic	F · A · C · Eb	8×
VII	F	Subtonic — steps back to the tonic	F · A · C	5×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 8 different chords appear 67 times in total; 4 of them sit naturally inside the shared scale. The major V of Gm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull. C7 acts as a secondary dominant, briefly pointing at another chord of the key. Ab, Ebm are borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

C7 F7 BbV7/V → V7secondary resolution GmIV7 → VII7 ×8
F7 Bb BbV7 → Iauthentic cadence GmVII7 → III ×7
Eb Bb BbIV → Iplagal cadence GmVI → III ×7
Ebm Bb Bbiv → Iminor plagal Gmvi → III ×5

The move to watch is C7 → F7, heard 8 times. From the Bb side it reads V7/V → V7 (secondary resolution: C7 resolves a fourth up to F7); from the Gm side it is IV7 → VII7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
Over Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
Over Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
Over C7, land on C, E, G — the chord's own tones always sound right on strong beats.
When D7 comes, swap the scale's F for F#: that single note is the harmonic-minor sound of the chord.
On Ab, follow the chord's notes (Ab · C · Eb) 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 Bb major shapes

Capo 1 + A shapes
Capo 3 + G shapes
Capo 6 + E shapes

With G minor shapes

Capo 3 + Em shapes
Capo 5 + Dm shapes

Easiest keys on guitar

1 semitone down · capo 1 keeps the original pitch
4 semitones up

The song's harmonic story

The opening Bb lays a solid floor for everything that follows. The chords that keep coming back are Bb, Eb, C7, F7; read them as I–IV–V7/V–V7 in Bb or III–VI–IV7–VII7 in Gm. D7 is the interesting twist: in Bb it is a chromatic chord (III7), while in Gm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on C7 → F7 (V7/V → V7 in Bb, IV7 → VII7 in Gm): secondary resolution — C7 resolves a fourth up to F7. Ending on Bb, the song seals Bb 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.