Celine Dion - All By Myself - Chord

Key D major – B minor Chords A, Em7/G, Gb7, Gb7/A#, Bm7, Dbm7, Dm7/F, Dm7/A … Easy key F

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Capo 0

A
When I was young
        Dm7/A      A   Em7/G
I never needed anyone
           Gb7     Gb7/A#    Bm7   Dm7
And makin' love was just for fun
               A/C#   B°  E/G#
Those days are gone

A
Livin' alone
           Dm7/A                  A   Em7/G
I think of all the friends I've known
           Gb7     Gb7/A#   Bm7   Dm7
But when I dial the tele   phone
         A/C#
Nobody's home

A        Dbm7
All by myself
             Em7/G  Gb7 Gb7/A#  Bm7  Dm7/F E
Don't wanna be, all by    my   self anymore

A
Hard to be sure
           Dm7/A         A   Em7/G
Sometimes I feel so insecure
            Gb7   Gb7/A#    Bm7   Dm7
And love so distant and obscure
            A/C#
Remains the cure

A        Dbm7
All by myself
             Em7/G  Gb7 Gb7/A#  Bm7  Dm7/F E
Don't wanna be, all by    my   self anymore
A        Dbm7
All by myself
               Em7/G  Gb7 Gb7/A#  Bm7  Dm7/F E
Don't wanna live, all by    my   self anymore
A        Dbm7
All by myself
             Em7/G  Gb7 Gb7/A#  Bm7  Dm7/F
Don't wanna be, all by    my   self anymore
Db        Fm7
All by myself
             Abm7/B  Bb7 Bb7/D  Ebm7 Gbm7/A Ab
Don't wanna be,  all by    my   self anymore
Db        Fm7
All by myself
               Abm7/B  Bb7 Bb7/D  Ebm7 Gbm7/A Ab
Don't wanna live,  all by    my   self anymore

End of song Play again?

Celine Dion - All By Myself Tabs

NotesX

Harmony analysis

Celine Dion – All By Myself: key and chord analysis

The song opens on A and ends on Ab. Its chords belong to both D major and Bm, so every chord below is read both ways.

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)

Minor view

B minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = G (the minor's melancholy)
b7 = A (natural-minor colour)
#7 = A# (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 B minor side because Bm is heard 7 times while D never appears and the major V chord points straight at Bm. 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.

Chord degrees: major and relative minor

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.

Seen from D major
Degree	Chord	Role	Notes	In song
I	D	Tonic — home	D · F# · A	—
i7	Dm7/F	Chromatic colour chordoutside the key	D · F · A · C	4×
i7	Dm7/A	Chromatic colour chordoutside the key	D · F · A · C	3×
i7	Dm7	Chromatic colour chordoutside the key	D · F · A · C	3×
bii7	Ebm7	Chromatic colour chordoutside the key	Eb · Gb · Bb · Db	2×
ii7	Em7/G	Supertonic — prepares the dominant	E · G · B · D	7×
V/V	E	Secondary dominant V/V — leads to Asecondary dominant	E · G# · B	3×
biii7	Fm7	Chromatic colour chordoutside the key	F · Ab · C · Eb	2×
iii7	Gbm7/A	Mediant — a tonic-family shade	Gb · A · Db · Fb	2×
V7/vi	Gb7	Secondary dominant V/vi — leads to Bmsecondary dominant	Gb · Bb · Db · Fb	7×
V7/vi	Gb7/A#	Secondary dominant V/vi — leads to Bmsecondary dominant	Gb · Bb · Db · Fb	7×
IV	G	Subdominant — moves away from home	G · B · D	—
#iv7	Abm7/B	Chromatic colour chordoutside the key	Ab · Cb · Eb · Gb	2×
#IV	Ab	Chromatic colour chordoutside the key	Ab · C · Eb	2×
V	A	Dominant — strongest pull home	A · C# · E	10×
V	A/C#	Dominant — strongest pull home	A · C# · E	2×
bVI7	Bb7	Borrowed from the parallel minorborrowed chord	Bb · D · F · Ab	2×
bVI7	Bb7/D	Borrowed from the parallel minorborrowed chord	Bb · D · F · Ab	2×
vi7	Bm7	Relative minor — the melancholy side	B · D · F# · A	7×
vii°	C#dim	Leading-tone chord — tension	C# · E · G	—
vii7	Dbm7	Chromatic colour chordoutside the key	Db · Fb · Ab · Cb	4×
V/iii	Db	Secondary dominant V/iii — leads to Gbmsecondary dominant	Db · F · Ab	2×

Seen from B minor
Degree	Chord	Role	Notes	In song
i7	Bm7	Tonic — home	B · D · F# · A	7×
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
ii7	Dbm7	Chromatic colour chordoutside the key	Db · Fb · Ab · Cb	4×
V/v	Db	Secondary dominant V/v — leads to Gbmsecondary dominant	Db · F · Ab	2×
III	D	Relative major — the bright side	D · F# · A	—
iii7	Dm7/F	Chromatic colour chordoutside the key	D · F · A · C	4×
iii7	Dm7/A	Chromatic colour chordoutside the key	D · F · A · C	3×
iii7	Dm7	Chromatic colour chordoutside the key	D · F · A · C	3×
#iii7	Ebm7	Chromatic colour chordoutside the key	Eb · Gb · Bb · Db	2×
iv7	Em7/G	Subdominant — moves away from home	E · G · B · D	7×
IV	E	Major IV — Dorian / melodic-minor colourmodal colour	E · G# · B	3×
#iv7	Fm7	Chromatic colour chordoutside the key	F · Ab · C · Eb	2×
v7	Gbm7/A	Minor dominant — soft pull	Gb · A · Db · Fb	2×
V7	Gb7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	Gb · Bb · Db · Fb	7×
V7	Gb7/A#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	Gb · Bb · Db · Fb	7×
VI	G	Submediant — warm colour	G · B · D	—
#vi7	Abm7/B	Chromatic colour chordoutside the key	Ab · Cb · Eb · Gb	2×
#VI	Ab	Chromatic colour chordoutside the key	Ab · C · Eb	2×
VII	A	Subtonic — steps back to the tonic	A · C# · E	10×
VII	A/C#	Subtonic — steps back to the tonic	A · C# · E	2×
#VII7	Bb7	Chromatic colour chordoutside the key	Bb · D · F · Ab	2×
#VII7	Bb7/D	Chromatic colour chordoutside the key	Bb · D · F · Ab	2×

Analysis

The key pair is D major and its relative B minor (2 sharps). 19 different chords appear 73 times in total; 5 of them sit naturally inside the shared scale. The major V of Bm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from D, the same Gb7 / Gb7/A# is V7/vi, a secondary dominant heading for Bm. E, Db act as secondary dominants, briefly pointing at another chord of the key. Bb7, Bb7/D are borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Gb7/A# Bm7 DV7/vi → vi7secondary resolution BmV7 → i7harmonic-minor cadence ×7
Em7/G Gb7 Dii7 → V7/vi Bmiv7 → V7iv → V ×7
Bb7/D Ebm7 DbVI7 → bii7secondary resolution Bm#VII7 → #iii7 ×2

The move to watch is Gb7/A# → Bm7, heard 7 times. From the Bm side it is V7 → i7 (harmonic-minor cadence: the major V resolves dramatically); from the D side it reads V7/vi → vi7 (secondary resolution: Gb7/A# resolves a fourth up to Bm7). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

D major pentatonic and B minor pentatonic are the same five notes (D – E – F# – A – B): start from D for a brighter phrase, from B for a bluesier one.
Over A, land on A, C#, E — the chord's own tones always sound right on strong beats.
Over Em7/G, land on E, G, B — the chord's own tones always sound right on strong beats.
Over Gb7, land on Gb, Bb, Db — the chord's own tones always sound right on strong beats.
When Gb7 comes, swap the scale's A for A#: that single note is the harmonic-minor sound of the chord.
On Bb7, follow the chord's notes (Bb · D · F · Ab) 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 D major shapes

No capo — open D shapes
Capo 2 + C shapes
Capo 5 + A shapes

With B minor shapes

Capo 2 + Am shapes
Capo 7 + Em shapes

Easiest keys on guitar

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

The song's harmonic story

The opening A lays a solid floor for everything that follows. A, Em7/G, Gb7, Gb7/A# carry the song: V–ii7–V7/vi–V7/vi relative to D, VII–iv7–V7–V7 relative to Bm. Gb7 is the interesting twist: in D it is a chromatic chord (V7/vi), while in Bm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Gb7/A# → Bm7 (V7/vi → vi7 in D, V7 → i7 in Bm): harmonic-minor cadence — the major V resolves dramatically. The final chord is Ab; the ear comes to rest in D.

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.

Celine Dion - All By Myself 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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