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)
Taylor Swift - All Too Well - Chord
Key C major – A minor Chords G, Am, F, C Easy key G (capo 5)
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Key: C | Am
Capo: 0
C G Am F
C G
I walked through the door with you, the air was cold
Am F
But something 'bout it felt like home somehow, and I,
C G
Left my scarf there at your sister's house
Am F
And you still got it, in your drawer, even now
C G Am F
C G
Oh your sweet dispositon and my wide eyed gaze
Am F
We're singing in the car getting lost upstate
C G
Autumn leaves falling down like pieces into place
Am F
And I can picture it after all these days
C G
And I know it's long gone and, that magic's not here no more
Am G F G Am F
And I might be okay but I'm not fine at all oh, oh, oh
C G
'Cause there we are again on that little town street
Am F
You almost ran the red 'cause you were lookin' over at me
C G Am F
Wind in my hair, I was there, I remember it all too well
C G
Photo album on the counter your cheeks were turning red
Am F
You used to be a little kid with glasses in a twin size bed
C G
And your mother's telling stories 'bout you on a t-ball team
Am F
You tell me 'bout your past thinkin' your future was me
C G
And I know it's long gone and it was nothing else I could do
Am G F G Am F
And I forget about you long enough to forget why I needed to
C G
'Cause here we are again in the middle of the night
Am F
We're dancing 'round the kitchen in the refrigerator light
C G Am F
Down the stairs, I was there, I remember it all too well
C G Am F G
C G
Maybe we got lost in translation maybe I asked for too much
Am F
But maybe this thing was a masterpiece 'til you tore it all up
C G Am F
Running scared, I was there, I remember it all too well
C G
Hey, you call me up again just to break me like a promise
Am F
So casually cruel in the name of being honest
C G
I'm a crumpled up piece of paper lyin' here
Am F C G Am F
Cause I remember it all all all too well
C G
Time won't fly it's like I'm paralyzed by it
Am F
I'd like to be my old self again but I'm still tryin' to find it
C G
After plaid shirt days and nights when you made me your own
Am F
Now you mail back my things and I walk home alone
C G
But you keep my old scarf from that very first week
Am F
'Cause it reminds you of innocence and it smells like me
C G Am F
You can't get rid of it 'cause you remember it all too well, yeah
C G
'Cause there we are again when I loved you so
Am F
Back before you lost the one real thing you've ever known
C G Am F
It was rare, I was there, I remember it all too well
C G
Wind in my hair, you were there, you remember it all
Am F
Down the stairs, you were there, you remember it all
C G Am F
It was rare, I was there, I remember it all too well
End of song Play again?
Taylor Swift - All Too Well Tabs
NotesX
Harmony analysis
Taylor Swift – All Too Well: key and chord analysis
The song opens on C and ends on F. 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)
Which side does the ear lean to?
Our reading: we can't honestly pick a side here — the song moves freely between C major and A minor because it opens on C and Am is heard 30 times against 28 for C. Try reading the chords both ways and see which feels more like home to you.
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 | 28× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | — |
| iii | Em | Mediant — a tonic-family shade | E · G · B | — |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | 30× |
| V | G | Dominant — strongest pull home | G · B · D | 33× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 30× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 30× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | 28× |
| iv | Dm | Subdominant — moves away from home | D · F · A | — |
| v | Em | Minor dominant — soft pull | E · G · B | — |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | 30× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 33× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 4 different chords appear 121 times in total; 4 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×30
- F C CIV → Iplagal cadence AmVI → III ×26
- F G CIV → VIV → V AmVI → VIIVI → VII ×3
- G C CV → Iauthentic cadence AmVII → III ×1
The move to watch is G → Am, heard 30 times. From the C side it reads V → vi (deceptive cadence: expected C, lands on Am); from the Am side it is VII → i (Aeolian arrival: rises a whole tone into home). 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 G, land on G, B, D — 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.
- Over F, land on F, A, C — 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 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
- 5 semitones down · capo 5 keeps the original pitch
The song's harmonic story
The opening C lays a solid floor for everything that follows. G, Am, F, C carry the song: V–vi–IV–I relative to C, VII–i–VI–III relative to Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G → Am (V → vi in C, VII → i in Am): deceptive cadence — expected C, lands on Am. The final chord is F; the ear comes to rest in C.
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.
Taylor Swift - All Too Well 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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