Major view
G major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F# (leading tone, pulls home)
- 4 = C (the note that leans on the 3rd)
Key G major – E minor Chords G, C, D, Em, A Difficulty already in its easiest key
G
You better watch out
C
You better not cry
G
You better not pout
C
I'm telling you why
G C
Santa Claus is comin' to town
G C
Santa Claus is comin' to town
G Em C D G
Santa Claus is comin' to town
C D G
He's making a list
C
He's checking it twice
G
He's gonna find out
C
Who's naughty or nice
G C
Santa Claus is comin' to town
G C
Santa Claus is comin' to town
G Em C D G
Santa Claus is comin' to town
G C
He sees you when you're sleeping
G C
He knows when you're awake
A D
He knows if you've been bad or good
A D
So be good for goodness sake
G
So you better watch out
C
You better not cry
G
You better not pout
C
I'm telling you why
G C
Santa Claus is comin' to town
G C
Santa Claus is comin' to town
G Em C D G C D
Santa Claus is comin' to town
G C G C
G C G C
G Em C D G
G C
The kids in girl and boyland
G C
Will have a jubilee
A D
They're gonna build a toyland
A D
All around the Christmas tree
G
So you better watch out
C
You better not cry
G
You better not pout
C
I'm telling you why
G C
Santa Claus is comin' to town
G C
Santa Claus is comin' to town
G C
Santa Claus is comin'
G C
Santa Claus is comin'
G Em C D
Santa Claus is comin'
G
To town
End of song Play again?
Harmony analysis
The song opens on G and ends on G. Its chords belong to both G major and Em, 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 G major side because it both starts and finishes on G and G is heard 36 times against 5 for Em. That is an interpretation, not a rule — hearing the same chords from E minor is just as valid and teaches you something different.
Show the degrees above the chords — relative to G or to Em; 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 | G | Tonic — home | G · B · D | 36× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | — |
| V/V | A | Secondary dominant V/V — leads to Dsecondary dominant | A · C# · E | 4× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | 33× |
| V | D | Dominant — strongest pull home | D · F# · A | 11× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 5× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 5× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 36× |
| iv | Am | Subdominant — moves away from home | A · C · E | — |
| IV | A | Major IV — Dorian / melodic-minor colourmodal colour | A · C# · E | 4× |
| v | Bm | Minor dominant — soft pull | B · D · F# | — |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | 33× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 11× |
The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 89 times in total; 4 of them sit naturally inside the shared scale. A acts as a secondary dominant, briefly pointing at another chord of the key.
The move to watch is C → G, heard 24 times. From the G side it reads IV → I (plagal cadence: the soft 'amen' ending); from the Em side it is VI → III. 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 song is already written in its easiest key for guitar.
The first chord is G; the ear learns where home is within a second. The chords that keep coming back are G, C, D, Em; read them as I–IV–V–vi in G or III–VI–VII–i in Em. A adds a moment of surprise: secondary dominant V/V — leads to D. Keep an ear on C → G (IV → I in G, VI → III in Em): plagal cadence — the soft 'amen' ending. Ending on G, the song seals G as home.
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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