Michael Jackson - Dont Stop Till You Get Enough - Chord

Key A major – F# minor Chords B, A/B, Amaj7/B, Bm7/E, E/F#, Abm7, A Easy key C

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Capo 0

A/B  B  A/B  B

A/B            B
 Lovely Is The Feelin' Now
A/B                  B
 Fever, Temperatures Risin' Now
A/B                      B
 Power  Is The Force The Vow
A/B                              B
 That Makes It Happen It Asks No Questions Why 
       A/B                       B
So Get Closer  To My Body Now
     A/B              B
Just Love Me 'Til You Don't Know How 

Amaj7/B
 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
 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            B
Ain't Nothin' Like A Love Desire 
    A/B                            B
I'm Melting  Like Hot Candle Wax
    A/B                          B
Sen sation  Lovely Where We're At 
       A/B                      B
So Let Love Take Us Through The Hours
  A/B                               B
I Won't Be Complanin''Cause This Is Love Power 

Amaj7/B
 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
Amaj7/B
 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#  Abm7  A
B  Bm7/E  E/F#  Abm7  A
B  Bm7/E  E/F#  Abm7    B

A/B                   B
 Heartbreak Enemy Des pise
  A/B                                B
A/B                 B
So Let Love Take Us Through The Hours
                A/B                             B
I Won't Be Comp lanin'  'Cause Your Love Is Alright, Alright

Amaj7/B
 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
Amaj7/B
 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
Amaj7/B
 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
Amaj7/B
 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
 Lovely Is The Feelin' Now
  A/B                               B
I Won't Be Complanin''Cause This Is Love Power 

Amaj7/B
 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
Amaj7/B
 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 - Dont Stop Till You Get Enough Tabs

NotesX

Harmony analysis

Michael Jackson – Dont Stop Till You Get Enough: key and chord analysis

The song opens on A/B and ends on B. Its chords belong to both A major and F#m, so every chord below is read both ways.

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)

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.

Seen from A major
Degree	Chord	Role	Notes	In song
I	A/B	Tonic — home	A · C# · E	21×
Imaj7	Amaj7/B	Tonic — home	A · C# · E · G#	9×
I	A	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	Abm7	Chromatic colour chordoutside the key	Ab · Cb · Eb · Gb	3×

Seen from F# minor
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	Abm7	Chromatic colour chordoutside the key	Ab · Cb · Eb · Gb	3×
III	A/B	Relative major — the bright side	A · C# · E	21×
IIImaj7	Amaj7/B	Relative major — the bright side	A · C# · E · G#	9×
III	A	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). 7 different chords appear 75 times in total; 5 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/B, land on A, C#, E — the chord's own tones always sound right on strong beats.
Over Amaj7/B, land on A, C#, E — 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

3 semitones up
5 semitones up · capo 7 keeps the original pitch

The song's harmonic story

The first chord is A/B; the ear learns where home is within a second. The chords that keep coming back are B, A/B, Amaj7/B, Bm7/E; read them as V/V–I–Imaj7–ii7 in A or IV–III–IIImaj7–iv7 in F#m. 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. The final chord is B; the ear comes to rest in A.

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.