Major view
E major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = D# (leading tone, pulls home)
- 4 = A (the note that leans on the 3rd)
Selena Gomez - Love You Like A Love Song (The Scene) - Chord
Key E major – C# minor Chords F#m, C#m, E, A, G#, B Easy key C (capo 4)
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Key: E | Dbm | C#m
Capo: 0
C#m
It's been said and done
F#m B
Every beautiful thought's been already sung
E A
And I guess right now here's another one
F#m G#
So your melody will play on and on, with best of 'em
C#m F#m B
You are beautiful, like a dream come alive, incredible
E A
A centerfold miracle, lyrical
F#m G#
You saved my life again
And I want you to know baby
C#m F#m
I, I love you like a love song, baby
B E
I, I love you like a love song, baby
A F#m
I, I love you like a love song, baby
G# C#m
And I keep hittin' re pe pe pe pe peat
C#m F#m B
Constantly, boy you play through my mind like a symphony
E A
There's no way to describe what you do to me
F#m G#
You just do to me, what you do
C#m
And it feels like I've been rescued
F#m
I've been set free
B E
I am hyptonized by your destiny
A F#m
You are magical, lyrical, beautiful
G#
You are... and I want you to know baby
C#m F#m
I, I love you like a love song, baby
B E
I, I love you like a love song, baby
A F#m
I, I love you like a love song, baby
G# C#m
And I keep hittin' re pe pe pe pe peat
A E
No one compares
B C#m
You stand alone, to every record I own
A E G#
Music to my heart, that's what you are
G#
A song that goes on and on
C#m F#m
I, I love you like a love song, baby
B E
I, I love you like a love song, baby
A F#m
I, I love you like a love song, baby
G# C#m
And I keep hittin' re pe pe pe pe peat
End of song Play again?
Selena Gomez - Love You Like A Love Song (The Scene) Tabs
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Harmony analysis
Selena Gomez – Love You Like A Love Song (The Scene): key and chord analysis
The song opens on C#m and ends on C#m. Its chords belong to both E major and C#m, so every chord below is read both ways.
Minor view
C# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = A (the minor's melancholy)
- b7 = B (natural-minor colour)
- #7 = B# (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# minor side because it both starts and finishes on C#m, C#m is heard 11 times against 9 for E and the major V chord points straight at C#m. That is an interpretation, not a rule — the same chords are just as valid seen from E 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 E or to C#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 | E | Tonic — home | E · G# · B | 9× |
| ii | F#m | Supertonic — prepares the dominant | F# · A · C# | 14× |
| iii | G#m | Mediant — a tonic-family shade | G# · B · D# | — |
| V/vi | G# | Secondary dominant V/vi — leads to C#msecondary dominant | G# · B# · D# | 9× |
| IV | A | Subdominant — moves away from home | A · C# · E | 9× |
| V | B | Dominant — strongest pull home | B · D# · F# | 8× |
| vi | C#m | Relative minor — the melancholy side | C# · E · G# | 11× |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | C#m | Tonic — home | C# · E · G# | 11× |
| ii° | D#dim | Supertonic — prepares the dominant | D# · F# · A | — |
| III | E | Relative major — the bright side | E · G# · B | 9× |
| iv | F#m | Subdominant — moves away from home | F# · A · C# | 14× |
| v | G#m | Minor dominant — soft pull | G# · B · D# | — |
| V | G# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G# · B# · D# | 9× |
| VI | A | Submediant — warm colour | A · C# · E | 9× |
| VII | B | Subtonic — steps back to the tonic | B · D# · F# | 8× |
Analysis
The key pair is E major and its relative C# minor (4 sharps). 6 different chords appear 60 times in total; 5 of them sit naturally inside the shared scale. The major V of C#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from E, the same G# is V/vi, a secondary dominant heading for C#m.
Chord movement
- G# C#m EV/vi → vi C#mV → iharmonic-minor cadence ×8
- B E EV → Iauthentic cadence C#mVII → III ×7
- F#m B Eii → Vii → V C#miv → VII ×7
- F#m G# Eii → V/vi C#miv → Viv → V ×7
- A E EIV → Iplagal cadence C#mVI → III ×2
- B C#m EV → videceptive cadence C#mVII → iAeolian arrival ×1
The move to watch is G# → C#m, heard 8 times. From the C#m side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the E side it reads V/vi → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- E major pentatonic and C# minor pentatonic are the same five notes (E – F# – G# – B – C#): start from E for a brighter phrase, from C# for a bluesier one.
- Over F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
- Over C#m, land on C#, E, G# — the chord's own tones always sound right on strong beats.
- Over E, land on E, G#, B — the chord's own tones always sound right on strong beats.
- When G# comes, swap the scale's B for B#: 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 E major shapes
- No capo — open E shapes
- Capo 2 + D shapes
- Capo 4 + C shapes
With C# minor shapes
- Capo 4 + Am shapes
Easiest keys on guitar
- 4 semitones down · capo 4 keeps the original pitch
- 3 semitones up
The song's harmonic story
The opening C#m lays a solid floor for everything that follows. The chords that keep coming back are F#m, C#m, E, A; read them as ii–vi–I–IV in E or iv–i–III–VI in C#m. G# is the interesting twist: in E it is a chromatic chord (V/vi), while in C#m it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on G# → C#m (V/vi → vi in E, V → i in C#m): harmonic-minor cadence — the major V resolves dramatically. Ending on C#m, the song seals C#m 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.
Selena Gomez - Love You Like A Love Song (The Scene) 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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