Tina Turner - Lets Stay Together - Chord

Key A major – F# minor Chords C#m7, F#m, D, E, F#m7, Amaj7, A, E7 … Easy key G (capo 2)

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Capo 0

F#m7  Dsus2

A
Let me say since, babe
                    C#m7
Since we've been together
                  D
Ooo loving you forever
          Dm   Dsus2
Is all I need
E             Amaj7                 C#m7
Let me be the one you come running to
E    Amaj7         C#m7
I'll never be untrue, oh baby  
                        
 F#m                 C#m7
Let's, let's stay together
            F#m7
Loving you whether, whether
            F#m         D        E7
Times are good or bad, happy or sad

A          C#m7
I'm so in love with you
              D
Whatever you want to do
                 Dm   Dsus2
Is alright with me
E            Amaj7      C#m7 
You make me feel so in you 
E           Amaj7                  C#m7
I want to spend my all life, with you

A
Let me say since, babe
                    C#m7
Since we've been together
                  D
Ooo loving you forever
          Dm   Dsus2
Is all I need
E             Amaj7                 C#m7
Let me be the one you come running to
E    Amaj7         C#m7
I'll never be untrue, oh baby   
                      
 F#m                 C#m7
Let's, let's stay together
            F#m7
Loving you whether, whether
            F#m         D        E7
Times are good or bad, happy or sad

F#m7  F#m  Em  G  E  
A     C#m7

A            F#m         D        E7  D  E  D E
Times are good or bad, happy or sad

A                                C#m7
Why, oh tell me, why do people break up
                         D
Oh then turn around and make up
                 Dm   Dsus2
I just came to see
E           Amaj7      C#m7
You'd never do that to me, would you baby
E                    Amaj7        C#m7
'Cause being around you is all I see

 F#m                         C#m7
So baby, let's, we oughta together
            F#m7
Loving you whether, whether
            F#m         D        E7
Times are good or bad, happy or sad
 F#m                C#m7
Let's, ooo, stay together
            F#m7
Loving you whether, whether
            F#m         D        E7
Times are good or bad, happy or sad
 F#m                         C#m7
ebony could taste like me
 F#m                C#m7
Let's, ooo, stay together
            F#m7
Loving you whether, whether
            F#m         D        E7
Times are good or bad, happy or sad
            F#m         D        E7
Times are good or bad, happy or sad
 F#m                C#m7
Let's, ooo, stay together
            F#m7
Loving you whether, whether
            F#m         D        A
Times are good or bad, happy or sad

End of song Play again?

Tina Turner - Lets Stay Together Tabs

NotesX

Harmony analysis

Tina Turner – Lets Stay Together: key and chord analysis

The song opens on F#m7 and ends on A. Its chords belong to both A major and F#m, so every chord below is read both ways.

Major view

A major

Brightness rank 2/7 (bright)

Characteristic notes

7 = G# (leading tone, pulls home)
4 = D (the note that leans on the 3rd)

Minor view

F# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = D (the minor's melancholy)
b7 = E (natural-minor colour)

Which side does the ear lean to?

Our reading: we can't honestly pick a side here — the song moves freely between A major and F# minor because it comes to rest on A, it opens on F#m and F#m is heard 24 times against 15 for A. 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 A or to F#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 A major
Degree	Chord	Role	Notes	In song
Imaj7	Amaj7	Tonic — home	A · C# · E · G#	8×
I	A	Tonic — home	A · C# · E	7×
ii	Bm	Supertonic — prepares the dominant	B · D · F#	—
iii7	C#m7	Mediant — a tonic-family shade	C# · E · G# · B	20×
V/vi	C#	Secondary dominant V/vi — leads to F#msecondary dominant	C# · E# · G#	—
IV	D	Subdominant — moves away from home	D · F# · A	14×
IVsus2	Dsus2	Subdominant — moves away from home	D · E · A	5×
iv	Dm	Minor iv — borrowed from the parallel minorborrowed chord	D · F · A	4×
V	E	Dominant — strongest pull home	E · G# · B	11×
V7	E7	Dominant — strongest pull home	E · G# · B · D	7×
v	Em	Chromatic colour chordoutside the key	E · G · B	1×
vi	F#m	Relative minor — the melancholy side	F# · A · C#	16×
vi7	F#m7	Relative minor — the melancholy side	F# · A · C# · E	8×
bVII	G	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	G · B · D	1×
vii°	G#dim	Leading-tone chord — tension	G# · B · D	—

Seen from F# minor
Degree	Chord	Role	Notes	In song
i	F#m	Tonic — home	F# · A · C#	16×
i7	F#m7	Tonic — home	F# · A · C# · E	8×
bII	G	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	G · B · D	1×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
IIImaj7	Amaj7	Relative major — the bright side	A · C# · E · G#	8×
III	A	Relative major — the bright side	A · C# · E	7×
iv	Bm	Subdominant — moves away from home	B · D · F#	—
v7	C#m7	Minor dominant — soft pull	C# · E · G# · B	20×
V	C#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G#	—
VI	D	Submediant — warm colour	D · F# · A	14×
VIsus2	Dsus2	Submediant — warm colour	D · E · A	5×
vi	Dm	Chromatic colour chordoutside the key	D · F · A	4×
VII	E	Subtonic — steps back to the tonic	E · G# · B	11×
VII7	E7	Subtonic — steps back to the tonic	E · G# · B · D	7×
vii	Em	Chromatic colour chordoutside the key	E · G · B	1×

Analysis

The key pair is A major and its relative F# minor (3 sharps). 12 different chords appear 102 times in total; 9 of them sit naturally inside the shared scale. Dm, G are borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

E Amaj7 AV → Imaj7authentic cadence F#mVII → IIImaj7 ×8
D E7 AIV → V7IV → V F#mVI → VII7VI → VII ×7
C#m7 F#m7 Aiii7 → vi7 F#mv7 → i7natural-minor cadence ×6
E7 F#m AV7 → videceptive cadence F#mVII7 → iAeolian arrival ×4
Dsus2 E AIVsus2 → VIV → V F#mVIsus2 → VIIVI → VII ×4
C#m7 F#m Aiii7 → vi F#mv7 → inatural-minor cadence ×4

The move to watch is E → Amaj7, heard 8 times. From the A side it reads V → Imaj7 (authentic cadence: the strongest arrival home); from the F#m side it is VII → IIImaj7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

A major pentatonic and F# minor pentatonic are the same five notes (A – B – C# – E – F#): start from A for a brighter phrase, from F# for a bluesier one.
Over C#m7, land on C#, E, G# — the chord's own tones always sound right on strong beats.
Over F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
Over D, land on D, F#, A — the chord's own tones always sound right on strong beats.
On Dm, follow the chord's notes (D · F · A) 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 A major shapes

No capo — open A shapes
Capo 2 + G shapes
Capo 5 + E shapes

With F# minor shapes

Capo 2 + Em shapes
Capo 4 + Dm shapes

Easiest keys on guitar

2 semitones down · capo 2 keeps the original pitch
3 semitones up

The song's harmonic story

The first chord is F#m7; the ear learns where home is within a second. The chords that keep coming back are C#m7, F#m, D, E; read them as iii7–vi–IV–V in A or v7–i–VI–VII in F#m. Dm briefly darkens the picture: minor iv — borrowed from the parallel minor. Keep an ear on E → Amaj7 (V → Imaj7 in A, VII → IIImaj7 in F#m): authentic cadence — the strongest arrival home. The final chord is A; the ear comes to rest in A.

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.