Major view
Ab major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G (leading tone, pulls home)
- 4 = Db (the note that leans on the 3rd)
Oasis - Don't Look Back In Anger - Chord
Key Ab major – F minor Chords G, C, Am, F, E, Fm, E/G# Difficulty already in its easiest key
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Key: Ab | Fm
Capo: 0
C F C F
C G Am
Slip inside the eye of your mind
E F G
Don't you know you might find
C Am G
A better place to play
C G Am
You said that you'd never been
E F G
But all the things that you've seen
C Am G F
Slowly fade away
F Fm C
So I start a revolution from my bed
F Fm C
'Cos you said the brains I had went to my head
F Fm C
Step outside, the summertime's in bloom
G
Stand up beside the fireplace
E
And take that look from off your face
Am G F G
You ain't ever gonna burn my heart out
C G Am E F
So Sally can wait, she knows it's too late
G C Am G
as she's walking on by
C G Am E
Her soul slides away,
F G
but don't look back in anger
C G Am E F G C Am G
I heard you say
C G Am
Take me to the place where you go
E F G C Am G
Where nobody knows, if it's night or day
C G Am
Please don't put your life in the hands
E F G C Am G
of a rock and roll band, who'll throw it all away
F Fm C
I'm gonna start a revolution from my bed
F Fm C
'Cos you said the brains I had went to my head
F Fm C
Step outside, the summertime's in bloom
G
Stand up beside the fireplace
E
Take that look from off your face
Am G F G
'Cos you ain't ever gonna burn my heart out
C G Am E F
So Sally can wait, she knows it's too late
G C Am G
as she's walking on by
C G Am E
My soul slides away,
F G
but don't look back in anger
C Am G
I heard you say
F Fm C
G E/G#
Am G F G
C G Am E F
So Sally can wait, she knows it's too late
G C Am G
as we're walking on by
C G Am E
Her soul slides away,
F G
but don't look back in anger
C Am G
I heard you say
C G Am E F
So Sally can wait, she knows it's too late
G C Am G
as she's walking on by
C G Am
My soul slides away
F
But don't look back in anger
Fm
Don't look back in anger
C G Am E F Fm C
I heard you say At least not today
End of song Play again?
Oasis - Don't Look Back In Anger Tabs
NotesX
Harmony analysis
Oasis – Don't Look Back In Anger: key and chord analysis
The song opens on C and ends on C. Its chords belong to both Ab major and Fm, so every chord below is read both ways.
Minor view
F minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Db (the minor's melancholy)
- b7 = Eb (natural-minor colour)
- #7 = E (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 F minor side because Fm is heard 9 times while Ab never appears and the major V chord points straight at Fm. That is an interpretation, not a rule — the same chords are just as valid seen from Ab major, and switching between the two views is exactly where the practice value lies.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to Ab or to Fm; 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 | Ab | Tonic — home | Ab · C · Eb | — |
| bii | Am | Chromatic colour chordoutside the key | A · C · E | 28× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | — |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | — |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | 35× |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | — |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | — |
| bVI | E | Borrowed from the parallel minorborrowed chord | E · G# · B | 15× |
| bVI | E/G# | Borrowed from the parallel minorborrowed chord | E · G# · B | 1× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 9× |
| VI | F | Chromatic colour chordoutside the key | F · A · C | 27× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| V/iii | G | Secondary dominant V/iii — leads to Cmsecondary dominant | G · B · D | 46× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 9× |
| I | F | Chromatic colour chordoutside the key | F · A · C | 27× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| V/v | G | Secondary dominant V/v — leads to Cmsecondary dominant | G · B · D | 46× |
| III | Ab | Relative major — the bright side | Ab · C · Eb | — |
| #iii | Am | Chromatic colour chordoutside the key | A · C · E | 28× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | — |
| v | Cm | Minor dominant — soft pull | C · Eb · G | — |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | 35× |
| VI | Db | Submediant — warm colour | Db · F · Ab | — |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | — |
| #VII | E | Chromatic colour chordoutside the key | E · G# · B | 15× |
| #VII | E/G# | Chromatic colour chordoutside the key | E · G# · B | 1× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 7 different chords appear 161 times in total; 1 of them sit naturally inside the shared scale. The major V of Fm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Ab, the same C is V/vi, a secondary dominant heading for Fm. G acts as a secondary dominant, briefly pointing at another chord of the key. E, E/G# are borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
Improvisation tips
- Ab major pentatonic and F minor pentatonic are the same five notes (Ab – Bb – C – Eb – F): start from Ab for a brighter phrase, from F for a bluesier one.
- Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
- Over C, land on C, E, G — 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 C comes, swap the scale's Eb for E: that single note is the harmonic-minor sound of the chord.
- On E, follow the chord's notes (E · G# · B) 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 Ab major shapes
- Capo 1 + G shapes
- Capo 4 + E shapes
- Capo 6 + D shapes
With F minor shapes
- Capo 1 + Em shapes
- Capo 3 + Dm shapes
Easiest keys on guitar
The song is already written in its easiest key for guitar.
The song's harmonic story
The opening C lays a solid floor for everything that follows. The backbone is G, C, Am, F — V/iii–V/vi–bii–VI from the Ab side, V/v–V–#iii–I from the Fm side. G is the interesting twist: in Ab it is a chromatic chord (V/iii), while in Fm it becomes the dominant (V/v) that makes the minor side sound so determined. The final chord is C; the ear comes to rest in Ab.
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.
Oasis - Don't Look Back In Anger 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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