Major view
E major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = D# (leading tone, pulls home)
- 4 = A (the note that leans on the 3rd)
Ace of Base - All That She Wants - Chord
Key E major – C# minor Chords C#m, F#m, B, G#, C#, F#, G#m, C Easy key C (capo 4)
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Key: E | Dbm | C#m
Capo: 0
C#m B F#m
She leads a lonely life
She leads a lonely life
C#
When she woke up late in the morning
B F#
light and the day had just begun
C#
She opened up her eyes and thought
G#
oh what a morning
C#
It’s not a day for work
F#m
It’s a day for catching tan
C# G# F#
Just laying on the beach and having fun
G#
She’s going to get you
C#m B
All that she wants is another baby
F#m
She’s gone tomorrow boy
C#m B F#m
All that she wants is another baby, yeah
All that she wants is another baby
She’s gone tomorrow boy
All that she wants is another baby, yeah
(All that she wants - all that she wants)
C#m
So if you are in sight and the day is right
B F#m
She’s a hunter you’re the fox
C#m
The gentle voice that talks to you
G#
Won’t talk forever
C#m
It’s a night for passion
F#m
But the morning means goodbye
C#m G#m F#m
Beware of what is flashing in her eyes
G#m
She’s going to get you
All that she wants...
C#m G# B C
End of song Play again?
Ace of Base - All That She Wants Tabs
NotesX
Harmony analysis
Ace of Base – All That She Wants: key and chord analysis
The song opens on C#m and ends on C. Its chords belong to both E major and C#m, so every chord below is read both ways.
Minor view
C# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = A (the minor's melancholy)
- b7 = B (natural-minor colour)
- #7 = B# (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 C# minor side because it opens on C#m, C#m is heard 8 times while E never appears and the major V chord points straight at C#m. That is an interpretation, not a rule — the same chords are just as valid seen from E major, and switching between the two views is exactly where the practice value lies.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to E or to C#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 |
|---|---|---|---|---|
| I | E | Tonic — home | E · G# · B | — |
| ii | F#m | Supertonic — prepares the dominant | F# · A · C# | 7× |
| V/V | F# | Secondary dominant V/V — leads to Bsecondary dominant | F# · A# · C# | 2× |
| iii | G#m | Mediant — a tonic-family shade | G# · B · D# | 2× |
| V/vi | G# | Secondary dominant V/vi — leads to C#msecondary dominant | G# · B# · D# | 5× |
| IV | A | Subdominant — moves away from home | A · C# · E | — |
| V | B | Dominant — strongest pull home | B · D# · F# | 6× |
| bVI | C | Borrowed from the parallel minorborrowed chord | C · E · G | 1× |
| vi | C#m | Relative minor — the melancholy side | C# · E · G# | 8× |
| V/ii | C# | Secondary dominant V/ii — leads to F#msecondary dominant | C# · E# · G# | 4× |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | C#m | Tonic — home | C# · E · G# | 8× |
| V/iv | C# | Secondary dominant V/iv — leads to F#msecondary dominant | C# · E# · G# | 4× |
| ii° | D#dim | Supertonic — prepares the dominant | D# · F# · A | — |
| III | E | Relative major — the bright side | E · G# · B | — |
| iv | F#m | Subdominant — moves away from home | F# · A · C# | 7× |
| IV | F# | Major IV — Dorian / melodic-minor colourmodal colour | F# · A# · C# | 2× |
| v | G#m | Minor dominant — soft pull | G# · B · D# | 2× |
| V | G# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G# · B# · D# | 5× |
| VI | A | Submediant — warm colour | A · C# · E | — |
| VII | B | Subtonic — steps back to the tonic | B · D# · F# | 6× |
| #VII | C | Chromatic colour chordoutside the key | C · E · G | 1× |
Analysis
The key pair is E major and its relative C# minor (4 sharps). 8 different chords appear 35 times in total; 4 of them sit naturally inside the shared scale. The major V of C#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from E, the same G# is V/vi, a secondary dominant heading for C#m. C#, F# act as secondary dominants, briefly pointing at another chord of the key. C is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- F#m C#m Eii → vi C#miv → iminor plagal ×4
- G# C#m EV/vi → vi C#mV → iharmonic-minor cadence ×2
- G#m C#m Eiii → vi C#mv → inatural-minor cadence ×1
The move to watch is F#m → C#m, heard 4 times. From the C#m side it is iv → i (minor plagal: deep and melancholic); from the E side it reads ii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- E major pentatonic and C# minor pentatonic are the same five notes (E – F# – G# – B – C#): start from E for a brighter phrase, from C# for a bluesier one.
- Over C#m, 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 B, land on B, D#, F# — the chord's own tones always sound right on strong beats.
- When G# comes, swap the scale's B for B#: that single note is the harmonic-minor sound of the chord.
- On C, follow the chord's notes (C · E · 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 E major shapes
- No capo — open E shapes
- Capo 2 + D shapes
- Capo 4 + C shapes
With C# minor shapes
- Capo 4 + Am shapes
Easiest keys on guitar
- 4 semitones down · capo 4 keeps the original pitch
- 1 semitone up
The song's harmonic story
Starting on C#m, the song gives away its key from the very first bar. The chords that keep coming back are C#m, F#m, B, G#; read them as vi–ii–V–V/vi in E or i–iv–VII–V in C#m. G# is the interesting twist: in E it is a chromatic chord (V/vi), while in C#m it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on F#m → C#m (ii → vi in E, iv → i in C#m): minor plagal — deep and melancholic. Ending on C, the song seals E 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.
Ace of Base - All That She Wants 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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