Major view
C major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = B (leading tone, pulls home)
- 4 = F (the note that leans on the 3rd)
Ramon Roselly - Eine Nacht - Chord
Key C major – A minor Chords D, Em, A, Bm, C, Dm, G, Am … Difficulty already in its easiest key
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Key: C | Am
Capo: 0
C Am Dm G
Ohohohohohohoh
C Dm G
Ich hab' dich heute geseh'n, und ich dachte, mein Herz bleibt steh'n
C Dm G
Ich hatte Gänsehaut, Konnte einfach nicht weitergeh'n
D Em
Ich hab es immer geahnt, dass es mal passieren muss (Oh-oh-oh-oh)
D Em A
Hab es mir ausgemalt, mit allein sein ist jetzt Schluss
D
Ich sag' nur: Eine Nacht und einen Tag mit dir
Bm
Ja, wie schön wär das? (Wie schön wär das?)
Em
Ich umarm' die Welt
A
Das Leben macht mir Spaß
D
Ich sag' nur: Eine Nacht und einen Tag allein
Bm
Ja, ich schwöre dir (Schwöre dir)
Em
Das halt ich nicht aus
A
Bei dir bin ich zuhaus
D
Ich kann es nicht begreifen, ich kann es nicht versteh'n
Bm
Gestern noch allein und heute ist es schön
Em
Am Ende bin ich König und du die Königin
A
Und auf einmal merk' ich, alles macht jetzt Sinn
D Bm Em A
Ohohohohohohoh
C
Der Himmel gibt sein Okay
Dm G
Oft hat man mir wehgetan (Oh-oh-oh-oh)
C
Wenn ich deine Augen seh'
Dm G
Weiß ich, dass ich dir vertrauen kann
D
Ich weiß, wir passen zusamm'n
Em A
Wie 'ne schöne Melodie (Oh-oh-oh-oh)
D
Herzen im Gleichgewicht
Em A
So wie jetzt war's noch nie
D
Ich sag' nur: Eine Nacht und einen Tag mit dir
Bm
Ja, wie schön wär das? (Wie schön wär das?)
Em
Ich umarm' die Welt
A
Das Leben macht mir Spaß
D
Ich sag' nur: Eine Nacht und einen Tag allein
Bm
Ja, ich schwöre dir (Schwöre dir)
Em
Das halt ich nicht aus
A
Bei dir bin ich zuhaus
E
Ich kann es nicht begreifen, ich kann es nicht versteh'n
C#m
Gestern noch allein und heute ist es schön
F#m
Am Ende bin ich König und du die Königin
B
Und auf einmal merk' ich, alles macht jetzt Sinn
End of song Play again?
Ramon Roselly - Eine Nacht Tabs
NotesX
Harmony analysis
Ramon Roselly – Eine Nacht: key and chord analysis
The song opens on C and ends on B. Its chords belong to both C major and Am, so every chord below is read both ways.
Minor view
A minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = F (the minor's melancholy)
- b7 = G (natural-minor colour)
- #7 = G# (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 C major side because it opens on C, C is heard 5 times against 1 for Am and the major V chord points straight at Am. That is an interpretation, not a rule — hearing the same chords from A minor is just as valid and teaches you something different.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to C or to Am; 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 | C | Tonic — home | C · E · G | 5× |
| bii | C#m | Chromatic colour chordoutside the key | C# · E · G# | 1× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 5× |
| V/V | D | Secondary dominant V/V — leads to Gsecondary dominant | D · F# · A | 10× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 10× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | 1× |
| IV | F | Subdominant — moves away from home | F · A · C | — |
| #iv | F#m | Chromatic colour chordoutside the key | F# · A · C# | 1× |
| V | G | Dominant — strongest pull home | G · B · D | 5× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 1× |
| V/ii | A | Secondary dominant V/ii — leads to Dmsecondary dominant | A · C# · E | 9× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| vii | Bm | Chromatic colour chordoutside the key | B · D · F# | 6× |
| V/iii | B | Secondary dominant V/iii — leads to Emsecondary dominant | B · D# · F# | 1× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 1× |
| V/iv | A | Secondary dominant V/iv — leads to Dmsecondary dominant | A · C# · E | 9× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| ii | Bm | Chromatic colour chordoutside the key | B · D · F# | 6× |
| V/v | B | Secondary dominant V/v — leads to Emsecondary dominant | B · D# · F# | 1× |
| III | C | Relative major — the bright side | C · E · G | 5× |
| #iii | C#m | Chromatic colour chordoutside the key | C# · E · G# | 1× |
| iv | Dm | Subdominant — moves away from home | D · F · A | 5× |
| IV | D | Major IV — Dorian / melodic-minor colourmodal colour | D · F# · A | 10× |
| v | Em | Minor dominant — soft pull | E · G · B | 10× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | 1× |
| VI | F | Submediant — warm colour | F · A · C | — |
| #vi | F#m | Chromatic colour chordoutside the key | F# · A · C# | 1× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 5× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 12 different chords appear 55 times in total; 5 of them sit naturally inside the shared scale. The major V of Am brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from C, the same E is V/vi, a secondary dominant heading for Am. D, A, B act as secondary dominants, briefly pointing at another chord of the key.
Chord movement
- Dm G Cii → Vii → V Amiv → VII ×5
- G C CV → Iauthentic cadence AmVII → III ×3
The move to watch is Dm → G, heard 5 times. From the C side it reads ii → V (ii → V: the classic preparation of the dominant); from the Am side it is iv → VII. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
- Over D, land on D, F#, A — the chord's own tones always sound right on strong beats.
- Over Em, land on E, G, B — 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.
- When E comes, swap the scale's G for G#: that single note is the harmonic-minor sound of the chord.
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 C major shapes
- No capo — open C shapes
- Capo 3 + A shapes
- Capo 5 + G shapes
With A minor shapes
- No capo — open Am shapes
- Capo 5 + Em shapes
- Capo 7 + 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 chords that keep coming back are D, Em, A, Bm; read them as V/V–iii–V/ii–vii in C or IV–v–V/iv–ii in Am. A is the interesting twist: in C it is a chromatic chord (V/ii), while in Am it becomes the dominant (V/iv) that makes the minor side sound so determined. Keep an ear on Dm → G (ii → V in C, iv → VII in Am): ii → V — the classic preparation of the dominant. It closes on B, letting the C 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.
Ramon Roselly - Eine Nacht 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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