Adele - One And Only - Chord

Key F major – D minor Chords C, F, Am, Dm, Fsus4, Gm, Bb, Dm7 … Easy key C (capo 5)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

F/C  Fsus4  F  C  Csus2  C

                Fsus4   F
You've been on my mind
         C           C
I grow fonder every day
            Gm  Gm
Lose myself in time
          Dm
Just thinking of your face
 C         F   Fsus4  F
God only knows
          C           C
Why it's taken me so long
                  Gm
To let my doubts go
           Dm               C
You're the only one that I want

               Bb
I don't know why I'm scared
                  C
I've been here before
          Dm
Every feeling, every word
I've imagined it all
 Eb
You'll never know if you never try,
 Bb                                Csus4  C
To forget your past and simply be mine

               F   Fsus4  F             Dm     Dm7  Dm
I dare you to let me be  your, your one and only
                 Am  Am4  Am
Promise I'm worthy
                Bb  Am  Gm
To hold in your arms
 C              F    Fsus4   F
So come on and give me the chance
                  Dm    Dm7  Dm
To prove I am the one who   can
           Am  Am4  Am
walk that mile
          Bb    Am   Gm
Until the end starts

   C         F   Fsus4  F
If I've been on your   mind
         C         Dm7    C
You hang on every word I say
              Gm
Lose yourself in time
           Dm
At the mention of my name
 C       F    Fsus4  F         C            Dm7  C
Will I ever know how it feels to hold you close
              Gm                        Dm     C
And have you tell me whichever road I choose, you'll go

               Bb
I don't know why I'm scared
                  C
I've been here before
          Dm
Every feeling, every word

I've imagined it all
 Eb
You'll never know if you never try,
 Bb                                F   C
To forget your past and simply be mine

               F   Fsus4  F             Dm  Dm7  Dm
I dare you to let me be  your, your one and only
                 Am  Am4  Am
Promise I'm worthy
                Bb   Am  Gm  C
To hold in your arms
                         F   Fsus4  F
So come on and give me the chance
                  Dm    Dm7  Dm
To prove I am the one who   can
           Am  Am4  Am
walk that mile
          Bb    Am   Gm  C
Until the end starts

I know it ain't easy giving up your heart
I know it ain't easy giving up your heart
Nobody's pefect

Trust me I've learned it
Nobody's pefect

Trust me I've learned it
Nobody's pefect

Trust me I've learned it
Nobody's pefect                       C

Trust me I've learned it

               F  Fsus4  F            Dm      Dm
So I dare you to let me be your, your one and only
                 Am  Am4  Am
Promise I'm worthy
                Bb   Am  Gm  C
To hold in your arms
                         F   Fsus4  F
So come on and give me the chance
                  Dm       Dm
To prove I am the one who can
           Am  Am4  Am
walk that mile
          Bb    Am   Gm  C
Until the end starts

                         F   Fsus4  F
So come on and give me the chance
                  Dm    Dm7  Dm
To prove I am the one who   can
           Am  Am4  Am
walk that mile
          Bb    Am   Gm  C  F
Until the end starts

End of song Play again?

Adele - One And Only Tabs

NotesX

Harmony analysis

Adele – One And Only: key and chord analysis

The song opens on F/C and ends on F. Its chords belong to both F major and Dm, so every chord below is read both ways.

Major view

F major

Brightness rank 2/7 (bright)

Characteristic notes

7 = E (leading tone, pulls home)
4 = Bb (the note that leans on the 3rd)

Minor view

D minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Bb (the minor's melancholy)
b7 = C (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the F major side because it both starts and finishes on F and F is heard 37 times against 27 for Dm. That is an interpretation, not a rule — hearing the same chords from D minor is just as valid and teaches you something different.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to F or to Dm; 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 F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	24×
Isus4	Fsus4	Tonic — home	F · Bb · C	12×
I	F/C	Tonic — home	F · A · C	1×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	12×
iii	Am	Mediant — a tonic-family shade	A · C · E	21×
iii	Am4	Mediant — a tonic-family shade	A · C · E	7×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	—
IV	Bb	Subdominant — moves away from home	Bb · D · F	11×
V	C	Dominant — strongest pull home	C · E · G	25×
Vsus2	Csus2	Dominant — strongest pull home	C · D · G	1×
Vsus4	Csus4	Dominant — strongest pull home	C · F · G	1×
vi	Dm	Relative minor — the melancholy side	D · F · A	20×
vi7	Dm7	Relative minor — the melancholy side	D · F · A · C	7×
bVII	Eb	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	Eb · G · Bb	2×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	20×
i7	Dm7	Tonic — home	D · F · A · C	7×
bII	Eb	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	Eb · G · Bb	2×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	24×
IIIsus4	Fsus4	Relative major — the bright side	F · Bb · C	12×
III	F/C	Relative major — the bright side	F · A · C	1×
iv	Gm	Subdominant — moves away from home	G · Bb · D	12×
v	Am	Minor dominant — soft pull	A · C · E	21×
v	Am4	Minor dominant — soft pull	A · C · E	7×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VI	Bb	Submediant — warm colour	Bb · D · F	11×
VII	C	Subtonic — steps back to the tonic	C · E · G	25×
VIIsus2	Csus2	Subtonic — steps back to the tonic	C · D · G	1×
VIIsus4	Csus4	Subtonic — steps back to the tonic	C · F · G	1×

Analysis

The key pair is F major and its relative D minor (1 flat). 13 different chords appear 144 times in total; 12 of them sit naturally inside the shared scale. Eb is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

C F FV → Iauthentic cadence DmVII → III ×11
Gm C Fii → Vii → V Dmiv → VII ×7
Gm Dm Fii → vi Dmiv → iminor plagal ×4
C Dm FV → videceptive cadence DmVII → iAeolian arrival ×2
C Dm7 FV → vi7deceptive cadence DmVII → i7Aeolian arrival ×2
Bb C FIV → VIV → V DmVI → VIIVI → VII ×2

The move to watch is C → F, heard 11 times. From the F side it reads V → I (authentic cadence: the strongest arrival home); from the Dm side it is VII → III. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
Over C, land on C, E, G — 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.
Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
On Eb, follow the chord's notes (Eb · G · Bb) 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 F major shapes

Capo 1 + E shapes
Capo 3 + D shapes
Capo 5 + C shapes

With D minor shapes

No capo — open Dm shapes
Capo 5 + Am shapes

Easiest keys on guitar

5 semitones down · capo 5 keeps the original pitch
2 semitones up

The song's harmonic story

Starting on F/C, the song gives away its key from the very first bar. C, F, Am, Dm carry the song: V–I–iii–vi relative to F, VII–III–v–i relative to Dm. Eb briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on C → F (V → I in F, VII → III in Dm): authentic cadence — the strongest arrival home. The final chord is F; the ear comes to rest in F.

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.