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)
Frank Sinatra - LOVE - Chord
Key G major – E minor Chords A, E7, G, D7, Am7, A7, Bm7, D … Easy key C (capo 7)
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Key: G | Em
Capo: 0
G Em7 Am7 D7 L is for the way you look at me Am7 D7 G O is for the only one I see G7 C V is very, very extraordinary A A7 D A7 D7 E is even more than anyone that you adore can G Em7 Am7 D7 Love is all that I can give to you Am7 D7 G Love is more than just a game for two G7 Two in love can make it C Cm Take my heart and please dont break it G D7 G Ab Love was made for me and you A Gbm7 Bm7 E7 L is for the way you look at me Bm7 E7 A O is for the only one I see A7 D V is very, very extraordinary B7 E E7 E is even more than anyone that you adore can A Gbm7 Bm7 E7 Love is all that I can give to you Bm7 E7 A Love is more than just a game for two A7 Two in love can make it D Take my heart and please don't break it A E7 A Love was made for me and you A E7 A Love was made for me and you A E7 A G Gb F E A Love was made for me and you
End of song Play again?
Frank Sinatra - LOVE Tabs
NotesX
Harmony analysis
Frank Sinatra – LOVE: key and chord analysis
The song opens on G and ends on A. Its chords belong to both G major and Em, so every chord below is read both ways.
Minor view
E minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = C (the minor's melancholy)
- b7 = D (natural-minor colour)
- #7 = D# (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 G major side because it opens on G, G is heard 9 times against 2 for Em and the major V chord points straight at Em. That is an interpretation, not a rule — hearing the same chords from E minor is just as valid and teaches you something different.
Chord degrees: major and relative minor
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 | 7× |
| V7/IV | G7 | Secondary dominant V/IV — leads to Csecondary dominant | G · B · D · F | 2× |
| bII | Ab | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | Ab · C · Eb | 1× |
| ii7 | Am7 | Supertonic — prepares the dominant | A · C · E · G | 4× |
| V/V | A | Secondary dominant V/V — leads to Dsecondary dominant | A · C# · E | 12× |
| V7/V | A7 | Secondary dominant V/V — leads to Dsecondary dominant | A · C# · E · G | 4× |
| iii7 | Bm7 | Mediant — a tonic-family shade | B · D · F# · A | 4× |
| V7/vi | B7 | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# · A | 1× |
| IV | C | Subdominant — moves away from home | C · E · G | 2× |
| iv | Cm | Minor iv — borrowed from the parallel minorborrowed chord | C · Eb · G | 1× |
| V7 | D7 | Dominant — strongest pull home | D · F# · A · C | 6× |
| V | D | Dominant — strongest pull home | D · F# · A | 3× |
| vi7 | Em7 | Relative minor — the melancholy side | E · G · B · D | 2× |
| V7/ii | E7 | Secondary dominant V/ii — leads to Amsecondary dominant | E · G# · B · D | 8× |
| V/ii | E | Secondary dominant V/ii — leads to Amsecondary dominant | E · G# · B | 2× |
| bVII | F | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | F · A · C | 1× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| vii7 | Gbm7 | Chromatic colour chordoutside the key | Gb · A · Db · Fb | 2× |
| V/iii | Gb | Secondary dominant V/iii — leads to Bmsecondary dominant | Gb · Bb · Db | 1× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Em7 | Tonic — home | E · G · B · D | 2× |
| V7/iv | E7 | Secondary dominant V/iv — leads to Amsecondary dominant | E · G# · B · D | 8× |
| V/iv | E | Secondary dominant V/iv — leads to Amsecondary dominant | E · G# · B | 2× |
| bII | F | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | F · A · C | 1× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| ii7 | Gbm7 | Chromatic colour chordoutside the key | Gb · A · Db · Fb | 2× |
| V/v | Gb | Secondary dominant V/v — leads to Bmsecondary dominant | Gb · Bb · Db | 1× |
| III | G | Relative major — the bright side | G · B · D | 7× |
| V7/VI | G7 | Secondary dominant V/VI — leads to Csecondary dominant | G · B · D · F | 2× |
| #III | Ab | Chromatic colour chordoutside the key | Ab · C · Eb | 1× |
| iv7 | Am7 | Subdominant — moves away from home | A · C · E · G | 4× |
| IV | A | Major IV — Dorian / melodic-minor colourmodal colour | A · C# · E | 12× |
| IV7 | A7 | Major IV — Dorian / melodic-minor colourmodal colour | A · C# · E · G | 4× |
| v7 | Bm7 | Minor dominant — soft pull | B · D · F# · A | 4× |
| V7 | B7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# · A | 1× |
| VI | C | Submediant — warm colour | C · E · G | 2× |
| vi | Cm | Chromatic colour chordoutside the key | C · Eb · G | 1× |
| VII7 | D7 | Subtonic — steps back to the tonic | D · F# · A · C | 6× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 3× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 18 different chords appear 63 times in total; 7 of them sit naturally inside the shared scale. The major V of Em brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from G, the same B7 is V7/vi, a secondary dominant heading for Em. A, E7, A7, G7, E, Gb act as secondary dominants, briefly pointing at another chord of the key. Cm, Ab, F are borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- E7 A GV7/ii → V/Vsecondary resolution EmV7/iv → IV ×6
- D7 G GV7 → Iauthentic cadence EmVII7 → III ×4
- Am7 D7 Gii7 → V7ii → V Emiv7 → VII7 ×4
- A7 D GV7/V → Vsecondary resolution EmIV7 → VII ×3
- G7 C GV7/IV → IVsecondary resolution EmV7/VI → VI ×2
- Cm G Giv → Iminor plagal Emvi → III ×1
The move to watch is E7 → A, heard 6 times. From the G side it reads V7/ii → V/V (secondary resolution: E7 resolves a fourth up to A); from the Em side it is V7/iv → IV. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- G major pentatonic and E minor pentatonic are the same five notes (G – A – B – D – E): start from G for a brighter phrase, from E for a bluesier one.
- Over A, land on A, C#, E — the chord's own tones always sound right on strong beats.
- Over E7, land on E, G#, B — the chord's own tones always sound right on strong beats.
- Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
- When B7 comes, swap the scale's D for D#: that single note is the harmonic-minor sound of the chord.
- On Cm, follow the chord's notes (C · Eb · G) 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 G major shapes
- No capo — open G shapes
- Capo 3 + E shapes
- Capo 5 + D shapes
With E minor shapes
- No capo — open Em shapes
- Capo 2 + Dm shapes
- Capo 7 + Am shapes
Easiest keys on guitar
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
Starting on G, the song gives away its key from the very first bar. The backbone is A, E7, G, D7 — V/V–V7/ii–I–V7 from the G side, IV–V7/iv–III–VII7 from the Em side. E7 is the interesting twist: in G it is a chromatic chord (V7/ii), while in Em it becomes the dominant (V7/iv) that makes the minor side sound so determined. Keep an ear on E7 → A (V7/ii → V/V in G, V7/iv → IV in Em): secondary resolution — E7 resolves a fourth up to A. The final chord is A; the ear comes to rest in G.
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.
Frank Sinatra - LOVE 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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