Katy Perry - Teenage Dream - Chord

Key F major – D minor Chords Ebmaj7, F, Gm, Fm, Eb Easy key D (capo 3)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Ebmaj7                  F
You think I'm pretty, without any make up on
Ebmaj7                     F
You think I'm funny, when I tell the puch line wrong
Ebmaj7                 F
I know you get me, so I'll let my walls come
Ebmaj7 F
Down, down

Ebmaj7           Gm  F
Before you met me I was alright but
Ebmaj7                    Gm   F
Things were kinda heavy, you  brought me to life, now
Ebmaj7          Gm     F
Every February, you'll be my
   Ebmaj7      Gm    F
Valentine, valentine

         Ebmaj7   Gm   F
Let's go all, the way tonight
     Ebmaj7      Gm    F
No regrets, just love
       Ebmaj7   Gm     F
We can dance, until we die
       Ebmaj7       Gm    F
You and I, we'll be young forever

Ebmaj7     Gm   F
You make me     feel like I'm living a
Ebmaj7     Gm   F
Teenage Dream ,  the way you turn me on
Ebmaj7      Gm   F
I can't sleep     Let's runaway
Ebmaj7         Gm       F
And don't ever look back, don't ever look back

Ebmaj7      Gm   F
My heart stops,    when you look at me
Ebmaj7      Gm   F
Just one touch,    now baby I believe
Ebmaj7      Gm   F
This is real,      so take a chance
          Ebmaj7                Gm   F
And don't ever look back, don't ever look back

Ebmaj7             Gm      F
We drove to Cali, and got drunk on the beach
Ebmaj7            Gm     F
Got a motel and, built a floor out of sheets
Ebmaj7               Gm          F
I finally found you, my missing puzzle
Ebmaj7     Fm      Eb
Piece, I'm complete

         Ebmaj7   Gm   F
Let's go all, the way tonight
     Ebmaj7      Gm    F
No regrets, just love
       Ebmaj7   Gm     F
We can dance, until we die
       Ebmaj7       Gm    F
You and I, we'll be young forever

Ebmaj7     Gm   F
You make me     feel like I'm living a
Ebmaj7     Gm   F
Teenage Dream ,  the way you turn me on
Ebmaj7      Gm  F
I can't sleep     Let's runaway
Ebmaj7         Gm       F
And don't ever look back, don't ever look back

Ebmaj7      Gm   F
My heart stops,    when you look at me
Ebmaj7      Gm   F
Just one touch,    now baby I believe
Ebmaj7      Gm   F
This is real,      so take a chance
          Ebmaj7                Gm   F
And don't ever look back, don't ever look back

                 Ebmaj7           Gm      F
I might get your heart racing, in my skin tight jeans
        Ebmaj7          Gm   F
Be your teenage dream tonight
                 Ebmaj7          Gm      F
Let you put your hands on me, in my skin tight jeans
        Ebmaj7          Gm   F
Be your teenage dream tonight

Ebmaj7 Gm   F
2x

Ebmaj7   Gm   F

Ebmaj7     Gm  F
You make me    feel like I'm living a
Ebmaj7     Gm   F
Teenage Dream ,  the way you turn me on
Ebmaj7      Gm  F
I can't sleep     Let's runaway
Ebmaj7         Gm       F
And don't ever look back, don't ever look back

Ebmaj7      Gm   F
My heart stops,    when you look at me
Ebmaj7      Gm   F
Just one touch,    now baby I believe
Ebmaj7      Gm   F
This is real,      so take a chance
          Ebmaj7                Gm   F
And don't ever look back, don't ever look back

I might get your heart racing, in my skin tight jeans
        Ebmaj7          Gm   F
Be your teenage dream tonight
                 Ebmaj7          Gm      F
Let you put your hands on me, in my skin tight jeans
        Ebmaj7          Gm   F
Be your teenage dream tonight

End of song Play again?

Katy Perry - Teenage Dream Tabs

NotesX

Harmony analysis

Katy Perry – Teenage Dream: key and chord analysis

The song opens on Ebmaj7 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 comes to rest on F and F is heard 52 times while Dm never appears. 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	52×
i	Fm	Chromatic colour chordoutside the key	F · Ab · C	1×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	48×
iii	Am	Mediant — a tonic-family shade	A · C · E	—
III	A	Chromatic colour chordoutside the key	A · C# · E	—
IV	Bb	Subdominant — moves away from home	Bb · D · F	—
V	C	Dominant — strongest pull home	C · E · G	—
vi	Dm	Relative minor — the melancholy side	D · F · A	—
bVIImaj7	Ebmaj7	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	Eb · G · Bb · D	53×
bVII	Eb	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	Eb · G · Bb	1×
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	—
bIImaj7	Ebmaj7	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	Eb · G · Bb · D	53×
bII	Eb	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	Eb · G · Bb	1×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	52×
iii	Fm	Chromatic colour chordoutside the key	F · Ab · C	1×
iv	Gm	Subdominant — moves away from home	G · Bb · D	48×
v	Am	Minor dominant — soft pull	A · C · E	—
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VI	Bb	Submediant — warm colour	Bb · D · F	—
VII	C	Subtonic — steps back to the tonic	C · E · G	—

Analysis

The key pair is F major and its relative D minor (1 flat). 5 different chords appear 155 times in total; 2 of them sit naturally inside the shared scale. Ebmaj7, Eb are borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Ebmaj7 F FbVIImaj7 → IbVII → I DmbIImaj7 → III ×4

The move to watch is Ebmaj7 → F, heard 4 times. From the F side it reads bVIImaj7 → I (bVII → I: a rock / Mixolydian arrival); from the Dm side it is bIImaj7 → 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 Ebmaj7, land on Eb, G, Bb — 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 Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
On Ebmaj7, follow the chord's notes (Eb · G · Bb · D) 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

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

The song's harmonic story

The opening Ebmaj7 lays a solid floor for everything that follows. The chords that keep coming back are Ebmaj7, F, Gm, Fm; read them as bVIImaj7–I–ii–i in F or bIImaj7–III–iv–iii in Dm. Ebmaj7 briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on Ebmaj7 → F (bVIImaj7 → I in F, bIImaj7 → III in Dm): bVII → I — a rock / Mixolydian arrival. 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.