Major view
D major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = C# (leading tone, pulls home)
- 4 = G (the note that leans on the 3rd)
Key D major – B minor Chords Bm, A, Dbm, Dm Easy key F
The Sun is setting, and you're right here by my side
And the movie's playing, but we won't be watching tonight
A Bm
Every look, every touch makes me wanna give you my heart
Dbm
I be crushin' on you, baby
Bm
Stay the way you are, 'cause
A Bm
I never knew, I never knew
Dbm Bm
You could have moonlight in your hands
A
'Til the night I held you
Bm Dbm Bm A
You're my moonlight, moo... oon.. light
A
I kiss his fingertips
Bm
As I'm wishing he's all mine
Dbm
He's giving me Elvis
Bm
With some James Dean in his eyes
A
Puts his lips on my neck
Bm
Makes me want to give him my body
Dbm
I be fallin' for you, baby
Bm
And I just can't stop, 'cause
A Bm
I never knew, I never knew
Dbm Bm
You could have moonlight in your hands
A
'Til the night I held you
Bm Dbm Bm A
You're my moonlight, moo oon light
A Bm
Baby I be fallin'
Dbm Bm A
You're my moonlight, moo oon light
A
He's so bossy
Bm
He makes me dance
A
Tryna sit in the back of his whip
Bm
And just cancel my plans
A
Sweet like candy
Bm
But he's such a man
A
He knows just what it does when he's holding me tight
Bm Dm A
And he calls me "Moonlight" too
End of song Play again?
Harmony analysis
The song opens on A and ends on A. Its chords belong to both D major and Bm, so every chord below is read both ways.
Major view
Brightness rank 2/7 (bright)
Characteristic notes
Minor view
Brightness rank 5/7 (leaning dark)
Characteristic notes
Which side does the ear lean to?
Our reading: to us the song feels closer to the B minor side because Bm is heard 20 times while D never appears. That is an interpretation, not a rule — the same chords are just as valid seen from D major, and switching between the two views is exactly where the practice value lies.
Show the degrees above the chords — relative to D or to Bm; 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 | D | Tonic — home | D · F# · A | — |
| i | Dm | Chromatic colour chordoutside the key | D · F · A | 1× |
| ii | Em | Supertonic — prepares the dominant | E · G · B | — |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | — |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | — |
| IV | G | Subdominant — moves away from home | G · B · D | — |
| V | A | Dominant — strongest pull home | A · C# · E | 16× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 20× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| vii | Dbm | Chromatic colour chordoutside the key | Db · Fb · Ab | 8× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 20× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| ii | Dbm | Chromatic colour chordoutside the key | Db · Fb · Ab | 8× |
| III | D | Relative major — the bright side | D · F# · A | — |
| iii | Dm | Chromatic colour chordoutside the key | D · F · A | 1× |
| iv | Em | Subdominant — moves away from home | E · G · B | — |
| v | F#m | Minor dominant — soft pull | F# · A · C# | — |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | — |
| VI | G | Submediant — warm colour | G · B · D | — |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 16× |
The key pair is D major and its relative B minor (2 sharps). 4 different chords appear 45 times in total; 2 of them sit naturally inside the shared scale. Dbm, Dm step outside the scale as colour chords.
The move to watch is A → Bm, heard 12 times. From the Bm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the D side it reads V → vi (deceptive cadence: expected D, lands on Bm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Empty slices are chords the song doesn't use.
The first chord is A; the ear learns where home is within a second. The backbone is Bm, A, Dbm, Dm — vi–V–vii–i from the D side, i–VII–ii–iii from the Bm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on A → Bm (V → vi in D, VII → i in Bm): Aeolian arrival — rises a whole tone into home. It closes on A, letting the D 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.
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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