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)
Michael Jackson - Don't Stop 'till You Get Enough - Chord
Key A major – F# minor Chords B, A, Bm7/E, E/F#, G#m7, A/B Easy key G (capo 2)
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Key: A | Gbm | F#m
Capo: 0
A B A B
A B
Lovely is the feelin' now
A B
Fever, temperatures risin' now
A B
Power (ah power) is the force the vow
A B
That makes it happen it asks no questions why (Ooh)
A B
So get closer (closer now) to my body now
A B
Just love me 'til you don't know how (Ooh)
A
Keep on with the force don't stop
Don't stop 'til you get enough
B
Keep on with the force don't stop
Don't stop 'til you get enough
A
Keep on with the force don't stop
Don't stop 'til you get enough
B
Keep on with the force don't stop
Don't stop 'til you get enough
A/B B
Touch Me And I Feel On Fire
A B
Ain't Nothin' Like A Love Desire (ooh)
A B
I'm Melting (I'm melting) Like Hot Candle Wax
A B
Sensation (ah sensation) Lovely Where We're At (ooh)
A B
So Let Love Take Us Through The Hours
A B
I Won't Be Complanin''Cause This Is Love Power (ooh)
A
Keep on with the force don't stop
Don't stop 'til you get enough
B
Keep on with the force don't stop
Don't stop 'til you get enough
A
Keep on with the force don't stop
Don't stop 'til you get enough
B
Keep on with the force don't stop
Don't stop 'til you get enough
B Bm7/E E/F# G#m7 A
B Bm7/E E/F# G#m7 A
B Bm7/E E/F# G#m7 B
A/B B
Heartbreak Enemy Despise
A B
E|ternal (ah eternal) Love Shines In My Eyes (ooh)
A B
So Let Love Take Us Through The Hours
A B
I Won't Be Comp-lanin' (no no) 'Cause Your Love Is Alright, Alright
A
Keep on with the force don't stop
Don't stop 'til you get enough
B
Keep on with the force don't stop
Don't stop 'til you get enough
A
Keep on with the force don't stop
Don't stop 'til you get enough
B
Keep on with the force don't stop
Don't stop 'til you get enough
A
Keep on with the force don't stop
Don't stop 'til you get enough
B
Keep on with the force don't stop
Don't stop 'til you get enough
A
Keep on with the force don't stop
Don't stop 'til you get enough
B
Keep on with the force don't stop
Don't stop 'til you get enough
A B
Lovely is the feelin' now
A B
I won't be complanin''cause this is love power (ooh)
A
Keep on with the force don't stop
Don't stop 'til you get enough
B
Keep on with the force don't stop
Don't stop 'til you get enough
A
Keep on with the force don't stop
Don't stop 'til you get enough
B
Keep on with the force don't stop
Don't stop 'til you get enough
End of song Play again?
Michael Jackson - Don't Stop 'till You Get Enough Tabs
NotesX
Harmony analysis
Michael Jackson – Don't Stop 'till You Get Enough: key and chord analysis
The song opens on A and ends on B. Its chords belong to both A major and F#m, so every chord below is read both ways.
Minor view
F# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = D (the minor's melancholy)
- b7 = E (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the A major side because it opens on A and A is heard 32 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.
Chord degrees: major and relative minor
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 | 30× |
| I | A/B | Tonic — home | A · C# · E | 2× |
| ii7 | Bm7/E | Supertonic — prepares the dominant | B · D · F# · A | 3× |
| V/V | B | Secondary dominant V/V — leads to Esecondary dominant | B · D# · F# | 34× |
| 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 | — |
| V | E/F# | Dominant — strongest pull home | E · G# · B | 3× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | — |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| vii7 | G#m7 | Chromatic colour chordoutside the key | G# · B · D# · F# | 3× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | — |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| ii7 | G#m7 | Chromatic colour chordoutside the key | G# · B · D# · F# | 3× |
| III | A | Relative major — the bright side | A · C# · E | 30× |
| III | A/B | Relative major — the bright side | A · C# · E | 2× |
| iv7 | Bm7/E | Subdominant — moves away from home | B · D · F# · A | 3× |
| IV | B | Major IV — Dorian / melodic-minor colourmodal colour | B · D# · F# | 34× |
| 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 | — |
| VII | E/F# | Subtonic — steps back to the tonic | E · G# · B | 3× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 6 different chords appear 75 times in total; 4 of them sit naturally inside the shared scale. B acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Bm7/E E/F# Aii7 → Vii → V F#miv7 → VII ×3
The move to watch is Bm7/E → E/F#, heard 3 times. From the A side it reads ii7 → V (ii → V: the classic preparation of the dominant); from the F#m side it is iv7 → VII. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- A major pentatonic and F# minor pentatonic are the same five notes (A – B – C# – E – F#): start from A for a brighter phrase, from F# for a bluesier one.
- Over B, land on B, D#, F# — the chord's own tones always sound right on strong beats.
- Over A, land on A, C#, E — the chord's own tones always sound right on strong beats.
- Over Bm7/E, land on B, D, F# — the chord's own tones always sound right on strong beats.
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 A major shapes
- No capo — open A shapes
- Capo 2 + G shapes
- Capo 5 + E shapes
With F# minor shapes
- Capo 2 + Em shapes
- Capo 4 + Dm shapes
Easiest keys on guitar
- 2 semitones down · capo 2 keeps the original pitch
- 3 semitones up
The song's harmonic story
The opening A lays a solid floor for everything that follows. The backbone is B, A, Bm7/E, E/F# — V/V–I–ii7–V from the A side, IV–III–iv7–VII from the F#m side. B adds a moment of surprise: secondary dominant V/V — leads to E. Keep an ear on Bm7/E → E/F# (ii7 → V in A, iv7 → VII in F#m): ii → V — the classic preparation of the dominant. Ending on B, the song seals A 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.
Michael Jackson - Don't Stop 'till You Get Enough Chords on Guitar, Ukulele and Piano
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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