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Stevie Wonder - You Are The Sunshine Of My Life - Chord

Key B major – G# minor Chords Bmaj7, Gb7, E6, Dbm7, G7, Ebm7, F/G#, C … Easy key G (capo 4)

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Capo 0
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?

Stevie Wonder - You Are The Sunshine Of My Life Tabs

NotesX

Harmony analysis

Stevie Wonder – You Are The Sunshine Of My Life: key and chord 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

B major

Brightness rank 2/7 (bright)

Characteristic notes

  • 7 = A# (leading tone, pulls home)
  • 4 = E (the note that leans on the 3rd)

Minor view

G# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

  • b6 = E (the minor's melancholy)
  • b7 = F# (natural-minor colour)
  • #7 = G (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 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.

Chord degrees: major and relative minor

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.

Seen from B major
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×
Seen from G# minor
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×

Analysis

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.

Chord movement

  1. Gb7 Bmaj7 BV7 → Imaj7authentic cadence G#mVII7 → IIImaj7 ×9
  2. Dbm7 Gb7 Bii7 → V7ii → V G#miv7 → VII7 ×8
  3. E6 Bmaj7 BIV6 → Imaj7plagal cadence G#mVI6 → IIImaj7 ×4
  4. G7 C BbVI7 → bIIsecondary resolution G#m#VII7 → #III ×4
  5. Eb7 Abmaj7 BV7/vi → V/iisecondary resolution G#mV7 → V/iv ×2
  6. Db7 Gb7 BV7/V → V7secondary resolution G#mIV7 → VII7 ×2

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.

Improvisation tips

  • B major pentatonic and G# minor pentatonic are the same five notes (B – C# – D# – F# – G#): start from B for a brighter phrase, from G# for a bluesier one.
  • Over Bmaj7, land on B, D#, F# — the chord's own tones always sound right on strong beats.
  • Over Gb7, land on Gb, Bb, Db — the chord's own tones always sound right on strong beats.
  • Over E6, land on E, G#, B — the chord's own tones always sound right on strong beats.
  • When Eb7 comes, swap the scale's F# for G: that single note is the harmonic-minor sound of the chord.
  • On G7, follow the chord's notes (G · B · D · F) 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 B major shapes

    • Capo 2 + A shapes
    • Capo 4 + G shapes
    • Capo 7 + E shapes

    With G# minor shapes

    • Capo 4 + Em shapes
    • Capo 6 + Dm shapes

    Easiest keys on guitar

    • 4 semitones down · capo 4 keeps the original pitch
    • 1 semitone up

    The song's harmonic story

    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.

    Stevie Wonder - You Are The Sunshine Of My Life 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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