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)
Robbie Williams - She's The One - Chord
Key A major – F# minor Chords A, D, Bm, E, A7, Gbm, Esus4 Easy key G (capo 2)
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Key: A | Gbm | F#m
Capo: 0
A D A D
A D
I was her, she was me
A D
We were one, we were free
Bm E
And if there's somebody calling me on
A D
She's the one
Bm E
If there's somebody calling me on
A D
She's the one
A D
We were young, we were wrong
A D
We were fine, all along
Bm E
And if there's somebody calling me on
A A7
She's the one
D
When you get to where you wanna go
and you know the things you wanna know
A A7
you're smiling
D
When you say what you wanna say and you know the way you wanna play
Bm Esus4 E
You'll be so high you'll be flying
A D
For the sea, we'll be strong
A D
I know we'll, carry on
Bm E
'Cause if there's somebody calling me on
A D
She's the one
Bm E
If there's somebody calling me on
A A7
She's the one
D
When you get to where you wanna go
and you know the things you wanna know,
A A7
you're smiling
D
When you say what you wanna say
and you know the way you wanna play
Bm Esus4 E
You'll be so high you'll be flying
A D
I was her, she was me
A D
We were one, we were free
Bm E
And if there's somebody calling me on
A A7
She's the one
Bm E
If there's somebody calling me on
A A7
She's the one
Bm E
If there's somebody calling me on
Gbm D
She's the one, yeah she's the one
Bm E
If there's somebody calling me on
Gbm D
She's the one, she's the one
Bm E
If there's somebody calling me on
Gbm D
She's the one, she's the one
Bm E
If there's somebody calling me on
A D A D
She's the one
A
She's the one
End of song Play again?
Robbie Williams - She's The One Tabs
NotesX
Harmony analysis
Robbie Williams – She's The One: key and chord analysis
The song opens on A and ends on A. Its chords belong to both A major and F#m, so every chord below is read both ways.
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 both starts and finishes on A and A is heard 28 times against 3 for F#m. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | A | Tonic — home | A · C# · E | 22× |
| V7/IV | A7 | Secondary dominant V/IV — leads to Dsecondary dominant | A · C# · E · G | 6× |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | 13× |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | — |
| V/vi | C# | Secondary dominant V/vi — leads to Gbmsecondary dominant | C# · E# · G# | — |
| IV | D | Subdominant — moves away from home | D · F# · A | 22× |
| V | E | Dominant — strongest pull home | E · G# · B | 13× |
| Vsus4 | Esus4 | Dominant — strongest pull home | E · A · B | 2× |
| vi | Gbm | Relative minor — the melancholy side | Gb · A · Db | 3× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gbm | Tonic — home | Gb · A · Db | 3× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | 22× |
| V7/VI | A7 | Secondary dominant V/VI — leads to Dsecondary dominant | A · C# · E · G | 6× |
| iv | Bm | Subdominant — moves away from home | B · D · F# | 13× |
| 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 | 22× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | 13× |
| VIIsus4 | Esus4 | Subtonic — steps back to the tonic | E · A · B | 2× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 7 different chords appear 81 times in total; 6 of them sit naturally inside the shared scale. A7 acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- D A AIV → Iplagal cadence F#mVI → III ×11
- Bm E Aii → Vii → V F#miv → VII ×11
- E A AV → Iauthentic cadence F#mVII → III ×10
- A7 D AV7/IV → IVsecondary resolution F#mV7/VI → VI ×4
- E Gbm AV → videceptive cadence F#mVII → iAeolian arrival ×3
- Bm Esus4 Aii → Vsus4ii → V F#miv → VIIsus4 ×2
The move to watch is D → A, heard 11 times. From the A side it reads IV → I (plagal cadence: the soft 'amen' ending); from the F#m side it is VI → III. 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 A, land on A, C#, E — the chord's own tones always sound right on strong beats.
- Over D, land on D, F#, A — the chord's own tones always sound right on strong beats.
- Over Bm, land on B, D, F# — 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
- 2 semitones down · capo 2 keeps the original pitch
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
Starting on A, the song gives away its key from the very first bar. The backbone is A, D, Bm, E — I–IV–ii–V from the A side, III–VI–iv–VII from the F#m side. A7 adds a moment of surprise: secondary dominant V/IV — leads to D. Keep an ear on D → A (IV → I in A, VI → III in F#m): plagal cadence — the soft 'amen' ending. It closes on A, letting the A 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.
Robbie Williams - She's The One 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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