Frank Sinatra - All Of Me - Chord

Key G major – E minor Chords E7, Am7, D7, G6, B7, C, G, Am6 … Difficulty already in its easiest key

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Capo 0

C  Cm  G  G/F#  E7  C  D  G  Bm  Am7  D7

G6                       B7
All of me, why not take all of me? 
E7                      Am6
Can't you see, I'm no good without you
 B7                       Em7
Take my lips. I want to lose them 
A7                Am7          D7
Take my arms. I'll never use them
G6                       B7
Your good bye left me with eyes that cry
E7                       Am6
How can I   go on dear   without you
C6             Cm6        G6          E7
You took the part that once was my heart
Am7       D7           G6       Am7  D7
So why not take all of     me

End of song Play again?

Frank Sinatra - All Of Me Tabs

NotesX

Harmony analysis

Frank Sinatra – All Of Me: key and chord analysis

The song opens on C and ends on D7. Its chords belong to both G major and Em, so every chord below is read both ways.

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)

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: we can't honestly pick a side here — the song moves freely between G major and E minor because G is heard 7 times against 1 for Em and the major V chord points straight at Em. Try reading the chords both ways and see which feels more like home to you.

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.

Seen from G major
Degree	Chord	Role	Notes	In song
I6	G6	Tonic — home	G · B · D · E	4×
I	G	Tonic — home	G · B · D	2×
I	G/F#	Tonic — home	G · B · D	1×
ii7	Am7	Supertonic — prepares the dominant	A · C · E · G	4×
ii6	Am6	Supertonic — prepares the dominant	A · C · E · F#	2×
V7/V	A7	Secondary dominant V/V — leads to Dsecondary dominant	A · C# · E · G	1×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	1×
V7/vi	B7	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F# · A	3×
IV	C	Subdominant — moves away from home	C · E · G	2×
IV6	C6	Subdominant — moves away from home	C · E · G · A	1×
iv	Cm	Minor iv — borrowed from the parallel minorborrowed chord	C · Eb · G	1×
iv6	Cm6	Minor iv — borrowed from the parallel minorborrowed chord	C · Eb · G · A	1×
V7	D7	Dominant — strongest pull home	D · F# · A · C	4×
V	D	Dominant — strongest pull home	D · F# · A	1×
vi7	Em7	Relative minor — the melancholy side	E · G · B · D	1×
V7/ii	E7	Secondary dominant V/ii — leads to Amsecondary dominant	E · G# · B · D	4×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—

Seen from E minor
Degree	Chord	Role	Notes	In song
i7	Em7	Tonic — home	E · G · B · D	1×
V7/iv	E7	Secondary dominant V/iv — leads to Amsecondary dominant	E · G# · B · D	4×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III6	G6	Relative major — the bright side	G · B · D · E	4×
III	G	Relative major — the bright side	G · B · D	2×
III	G/F#	Relative major — the bright side	G · B · D	1×
iv7	Am7	Subdominant — moves away from home	A · C · E · G	4×
iv6	Am6	Subdominant — moves away from home	A · C · E · F#	2×
IV7	A7	Major IV — Dorian / melodic-minor colourmodal colour	A · C# · E · G	1×
v	Bm	Minor dominant — soft pull	B · D · F#	1×
V7	B7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F# · A	3×
VI	C	Submediant — warm colour	C · E · G	2×
VI6	C6	Submediant — warm colour	C · E · G · A	1×
vi	Cm	Chromatic colour chordoutside the key	C · Eb · G	1×
vi6	Cm6	Chromatic colour chordoutside the key	C · Eb · G · A	1×
VII7	D7	Subtonic — steps back to the tonic	D · F# · A · C	4×
VII	D	Subtonic — steps back to the tonic	D · F# · A	1×

Analysis

The key pair is G major and its relative E minor (1 sharp). 16 different chords appear 33 times in total; 11 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. E7, A7 act as secondary dominants, briefly pointing at another chord of the key. Cm, Cm6 are borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Am7 D7 Gii7 → V7ii → V Emiv7 → VII7 ×4
D7 G6 GV7 → I6authentic cadence EmVII7 → III6 ×3
B7 E7 GV7/vi → V7/iisecondary resolution EmV7 → V7/iv ×2
E7 Am6 GV7/ii → ii6secondary resolution EmV7/iv → iv6 ×2
D G GV → Iauthentic cadence EmVII → III ×1
B7 Em7 GV7/vi → vi7secondary resolution EmV7 → i7harmonic-minor cadence ×1

The move to watch is Am7 → D7, heard 4 times. From the G side it reads ii7 → V7 (ii → V: the classic preparation of the dominant); from the Em side it is iv7 → VII7. 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 E7, land on E, G#, B — the chord's own tones always sound right on strong beats.
Over Am7, land on A, C, E — the chord's own tones always sound right on strong beats.
Over D7, land on D, F#, A — 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

The song is already written in its easiest key for guitar.

The song's harmonic story

The first chord is C; the ear learns where home is within a second. The backbone is E7, Am7, D7, G6 — V7/ii–ii7–V7–I6 from the G side, V7/iv–iv7–VII7–III6 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 Am7 → D7 (ii7 → V7 in G, iv7 → VII7 in Em): ii → V — the classic preparation of the dominant. Ending on D7, 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.