Major view
B major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A# (leading tone, pulls home)
- 4 = E (the note that leans on the 3rd)
Key B major – G# minor Chords Bmaj7, Gb7, E6, Dbm7, G7, Ebm7, F/G#, C … Easy key G (capo 4)
Bmaj7 E6 Ebm7 F/G#
You are the sunshine of my life
Dbm7 Gb7 Bmaj7 Dbm7 Gb7
That's why I'll always be (stay) a round
Bmaj7 E6 Ebm7 F/G#
You are the apple of my eye
Dbm7 Gb7 Bmaj7 Dbm7 Gb7
Forever you'll stay in my heart
Bmaj7 E6 Bmaj7 E6
I feel like this is the beginning
Bmaj7 E Bbm7 Eb7
Though I've loved you for a million years
Abmaj7 Dbmaj7 Abm7
And if I thought our love was ending
Db7 Gb7
I'd find myself drowning in my own tears. Whoa whoa
Bmaj7 E6 Ebm7 F/G#
You are the sunshine of my life
Dbm7 Gb7 Bmaj7 Dbm7 Gb7
That's why I'll always be (stay) a round
Bmaj7 E6 Ebm7 F/G#
You are the apple of my eye
Dbm7 Gb7 Bmaj7 Dbm7 Gb7
Forever you'll stay in my heart
Bmaj7 E6 Bmaj7 E6
You must have known that I was lonely
Bmaj7 E Bbm7 Eb7
Because you came to my rescue
Abmaj7 Dbmaj7 Abm7
And I know that this must be heaven
Db7 Gb7 G7
How could so much love be inside of you?
C F6 Em7 Gb/A
You are the sunshine of my life
Dm7 G7 C Dm7 G7
That's why I'll always be (stay) a round
C F6 Em7 Gb/A
You are the apple of my eye
Dm7 G7 C Dm7 G7
Forever you'll stay in my heart
End of song Play again?
Harmony analysis
The song opens on Bmaj7 and ends on G7. Its chords belong to both B major and G#m, 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 B major side because it opens on B, B is heard 14 times against 2 for G#m and the major V chord points straight at G#m. That is an interpretation, not a rule — hearing the same chords from G# minor is just as valid and teaches you something different.
Show the degrees above the chords — relative to B or to G#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 |
|---|---|---|---|---|
| Imaj7 | Bmaj7 | Tonic — home | B · D# · F# · A# | 14× |
| bII | C | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | C · E · G | 4× |
| ii7 | Dbm7 | Supertonic — prepares the dominant | Db · Fb · Ab · Cb | 8× |
| V/V | Dbmaj7 | Secondary dominant V/V — leads to Gbsecondary dominant | Db · F · Ab · C | 2× |
| V7/V | Db7 | Secondary dominant V/V — leads to Gbsecondary dominant | Db · F · Ab · Cb | 2× |
| biii7 | Dm7 | Chromatic colour chordoutside the key | D · F · A · C | 4× |
| iii7 | Ebm7 | Mediant — a tonic-family shade | Eb · Gb · Bb · Db | 4× |
| V7/vi | Eb7 | Secondary dominant V/vi — leads to Abmsecondary dominant | Eb · G · Bb · Db | 2× |
| IV6 | E6 | Subdominant — moves away from home | E · G# · B · C# | 8× |
| IV | E | Subdominant — moves away from home | E · G# · B | 2× |
| iv7 | Em7 | Minor iv — borrowed from the parallel minorborrowed chord | E · G · B · D | 2× |
| #IV | F/G# | Chromatic colour chordoutside the key | F · A · C | 4× |
| #IV6 | F6 | Chromatic colour chordoutside the key | F · A · C · D | 2× |
| V7 | Gb7 | Dominant — strongest pull home | Gb · Bb · Db · Fb | 10× |
| V | Gb/A | Dominant — strongest pull home | Gb · Bb · Db | 2× |
| bVI7 | G7 | Borrowed from the parallel minorborrowed chord | G · B · D · F | 5× |
| vi7 | Abm7 | Relative minor — the melancholy side | Ab · Cb · Eb · Gb | 2× |
| V/ii | Abmaj7 | Secondary dominant V/ii — leads to Dbmsecondary dominant | Ab · C · Eb · G | 2× |
| vii° | A#dim | Leading-tone chord — tension | A# · C# · E | — |
| vii7 | Bbm7 | Chromatic colour chordoutside the key | Bb · Db · F · Ab | 2× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Abm7 | Tonic — home | Ab · Cb · Eb · Gb | 2× |
| V/iv | Abmaj7 | Secondary dominant V/iv — leads to Dbmsecondary dominant | Ab · C · Eb · G | 2× |
| ii° | A#dim | Supertonic — prepares the dominant | A# · C# · E | — |
| ii7 | Bbm7 | Chromatic colour chordoutside the key | Bb · Db · F · Ab | 2× |
| IIImaj7 | Bmaj7 | Relative major — the bright side | B · D# · F# · A# | 14× |
| #III | C | Chromatic colour chordoutside the key | C · E · G | 4× |
| iv7 | Dbm7 | Subdominant — moves away from home | Db · Fb · Ab · Cb | 8× |
| IVmaj7 | Dbmaj7 | Major IV — Dorian / melodic-minor colourmodal colour | Db · F · Ab · C | 2× |
| IV7 | Db7 | Major IV — Dorian / melodic-minor colourmodal colour | Db · F · Ab · Cb | 2× |
| #iv7 | Dm7 | Chromatic colour chordoutside the key | D · F · A · C | 4× |
| v7 | Ebm7 | Minor dominant — soft pull | Eb · Gb · Bb · Db | 4× |
| V7 | Eb7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Eb · G · Bb · Db | 2× |
| VI6 | E6 | Submediant — warm colour | E · G# · B · C# | 8× |
| VI | E | Submediant — warm colour | E · G# · B | 2× |
| vi7 | Em7 | Chromatic colour chordoutside the key | E · G · B · D | 2× |
| #VI | F/G# | Chromatic colour chordoutside the key | F · A · C | 4× |
| #VI6 | F6 | Chromatic colour chordoutside the key | F · A · C · D | 2× |
| VII7 | Gb7 | Subtonic — steps back to the tonic | Gb · Bb · Db · Fb | 10× |
| VII | Gb/A | Subtonic — steps back to the tonic | Gb · Bb · Db | 2× |
| #VII7 | G7 | Chromatic colour chordoutside the key | G · B · D · F | 5× |
The key pair is B major and its relative G# minor (5 sharps). 19 different chords appear 81 times in total; 8 of them sit naturally inside the shared scale. The major V of G#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from B, the same Eb7 is V7/vi, a secondary dominant heading for G#m. Abmaj7, Dbmaj7, Db7 act as secondary dominants, briefly pointing at another chord of the key. G7, C, Em7 are borrowed from the parallel minor, adding a darker shade to the major side.
The move to watch is Gb7 → Bmaj7, heard 9 times. From the B side it reads V7 → Imaj7 (authentic cadence: the strongest arrival home); from the G#m side it is VII7 → IIImaj7. 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 opening Bmaj7 lays a solid floor for everything that follows. The chords that keep coming back are Bmaj7, Gb7, E6, Dbm7; read them as Imaj7–V7–IV6–ii7 in B or IIImaj7–VII7–VI6–iv7 in G#m. Eb7 is the interesting twist: in B it is a chromatic chord (V7/vi), while in G#m it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Gb7 → Bmaj7 (V7 → Imaj7 in B, VII7 → IIImaj7 in G#m): authentic cadence — the strongest arrival home. The final chord is G7; the ear comes to rest in B.
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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