Major view
A major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G# (leading tone, pulls home)
- 4 = D (the note that leans on the 3rd)
Key A major – F# minor Chords E, D, A, G, B Easy key D (capo 7)
E D
E D E D
Hey pretty baby with the high heels on
E D E D
You give me fever like I've never, ever known
E D E D
You're just a product of loveliness
E D E D
I like the groove of your walk, your talk, your dress
A G A G
I feel your fever from miles around
A G A B
I'll pick you up in my car and we'll paint the town
E D E D
Just kiss me baby and tell me twice
E D E
That you're the one for me
E D E
The way you make me feel (the way you make me feel)
D E D E
You really turn me on (you really turn me on)
D E D E
You knock me off of my feet (you knock me off of my feet)
D E D E D
My lonely days are gone (my lonely days are gone)
E D E D
I like the feelin' you're givin' me
E D E D
Just hold me baby and I'm in ecstasy
E D E D
Oh I'll be workin' from nine to five
E D E D
To buy you things to keep you by my side
A G A G
I never felt so in love before
A G A B
Just promise baby, you'll love me forevermore
E D E D
I swear I'm keepin' you satisfied
E D E
Cause you're the one for me
E D E
The way you make me feel (the way you make me feel)
D E D E
You really turn me on (you really turn me on)
D E D E
You knock me off of my feet (you knock me off of my feet)
D E D E D
My lonely days are gone (my lonely days are gone)
Go on girl!
Go on, hee, hee, aaow!
Go on girl!
A G A G
I never felt so in love before
A G A B
Just promise baby, you'll love me forevermore
E D E D
I swear I'm keepin you satisfied
E D E
Cause you're the one for me
E D E
The way you make me feel (the way you make me feel)
D E D E
You really turn me on (you really turn me on)
D E D E
You knock me off of my feet (you knock me off of my feet)
D E D E D
My lonely days are gone (my lonely days are gone)
The way you make me feel (the way you make me feel)
D E D E
You really turn me on (you really turn me on)
D E D E
You knock me off of my feet (you knock me off of my feet)
D E D E D
My lonely days are gone (my lonely days are gone)
D E D E
Ain't nobody's business, ain't nobody's business
D E D E D E
Ain't nobody's business, ain't nobody's business but mine and my baby
D E D E
Hee hee hee hee! ooh!
D E D E
Give it to me, give me some time
D E D E
Come on be my girl, I want you to be with mine
D E D E D E
Ain't nobody's business, ain't nobody's business but mine and my baby's
E D
E D E
The way you make me feel (the way you make me feel)
D E D E
You really turn me on (you really turn me on)
D E D E
You knock me off of my feet (you knock me off of my feet)
D E D E D
My lonely days are gone (my lonely days are gone)
The way you make me feel (the way you make me feel)
D E D E
You really turn me on (you really turn me on)
D E D E
You knock me off of my feet (you knock me off of my feet)
D E D E D
My lonely days are gone (my lonely days are gone)
End of song Play again?
Harmony analysis
The song opens on E and ends on D. Its chords belong to both A major and F#m, 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 A major side because A is heard 12 times while F#m never appears. That is an interpretation, not a rule — hearing the same chords from F# minor is just as valid and teaches you something different.
Show the degrees above the chords — relative to A or to F#m; 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 | A | Tonic — home | A · C# · E | 12× |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | — |
| V/V | B | Secondary dominant V/V — leads to Esecondary dominant | B · D# · F# | 3× |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | — |
| III | C# | Chromatic colour chordoutside the key | C# · E# · G# | — |
| IV | D | Subdominant — moves away from home | D · F# · A | 87× |
| V | E | Dominant — strongest pull home | E · G# · B | 88× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | — |
| bVII | G | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | G · B · D | 9× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | — |
| bII | G | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | G · B · D | 9× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | 12× |
| iv | Bm | Subdominant — moves away from home | B · D · F# | — |
| IV | B | Major IV — Dorian / melodic-minor colourmodal colour | B · D# · F# | 3× |
| v | C#m | Minor dominant — soft pull | C# · E · G# | — |
| V | C# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# | — |
| VI | D | Submediant — warm colour | D · F# · A | 87× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | 88× |
The key pair is A major and its relative F# minor (3 sharps). 5 different chords appear 199 times in total; 3 of them sit naturally inside the shared scale. B acts as a secondary dominant, briefly pointing at another chord of the key. G is borrowed from the parallel minor, adding a darker shade to the major side.
The move to watch is D → E, heard 80 times. From the A side it reads IV → V (IV → V: the lift that builds tension before home); from the F#m 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 opening E lays a solid floor for everything that follows. E, D, A, G carry the song: V–IV–I–bVII relative to A, VII–VI–III–bII relative to F#m. B adds a moment of surprise: secondary dominant V/V — leads to E. Keep an ear on D → E (IV → V in A, VI → VII in F#m): IV → V — the lift that builds tension before home. It closes on D, letting the A 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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