It's All Coming Back to Me Now by Celine Dion

Overview

Key: C major · Chords used: 28 · Sections: 41

Where these chords come from: an expert transcription of the original recording made for the Uspop2002 chord annotations (Music and Audio Research Lab, New York University). This page shows that transcription as-is: the analysis below is generated directly from it by code, not written by AI. Consecutive repeats of a chord are shown once, and the piano voicings are our playable arrangement of each chord symbol, not a note-for-note transcription.

Section by section

Part 1 (0:00)

• C – Gadd11/C
  I – Vadd11 (bass C)

Part 2 (0:09)

• F/C
  IV⁶₄

Part 3 (0:20)

• C – G/B – F/A – G7
  I – V⁶ – IV⁶ – V7

Part 4 (0:32)

• C – G/B – Fmaj7/A – G11
  I – V⁶ – IVmaj⁶₅ – V11

Part 5 (0:43)

• C – C/E – F – Dm
  I – I⁶ – IV – ii

Part 6 (0:55)

• Em – Am7 – Dm – F – Gsus4 – G – C – C/E
  iii – vi7 – ii – IV – Vsus4 – V – I – I⁶

Part 7 (1:07)

• F – Dm – Em – Am7 – Dm – F – C/G
  IV – ii – iii – vi7 – ii – IV – I⁶₄

Part 8 (1:19)

• G – Em – Am – F – G7 – C – E7 – Am – F
  V – iii – vi – IV – V7 – I – III7 – vi – IV

Part 9 (1:30)

• Gsus4 – G – Em – Am – F – G – Fsus2 – G11
  Vsus4 – V – iii – vi – IV – V – IVsus2 – V11

Part 10 (1:41)

• C – G/B – Am7 – Dm7
  I – V⁶ – vi7 – ii7

Part 11 (1:52)

• Fmaj7 – G7 – C – G/B – Am7
  IVmaj7 – V7 – I – V⁶ – vi7

Part 12 (2:03)

• Dm7 – Fmaj7 – G7 – C – F – G – Am7
  ii7 – IVmaj7 – V7 – I – IV – V – vi7

Part 13 (2:14)

• F – Em – F – Am7 – F – Em – F – Am – Em7
  IV – iii – IV – vi7 – IV – iii – IV – vi – iii7

Part 14 (2:27)

• Am – F – Dm – Fmaj9/G – C
  vi – IV – ii – IVmaj9 (bass G) – I

Part 15 (2:38)

• G/B – Am7 – Dm7 – Fmaj7 – G7 – C
  V⁶ – vi7 – ii7 – IVmaj7 – V7 – I

Part 16 (2:50)

• G/B – Am7 – Dm7 – Fmaj7 – G7 – Am7 – Dm7 – Fmaj7
  V⁶ – vi7 – ii7 – IVmaj7 – V7 – vi7 – ii7 – IVmaj7

Part 17 (3:01)

• G7 – Am7 – Dm7 – F – Dmadd11/G – Am – G/B
  V7 – vi7 – ii7 – IV – iiadd11 (bass G) – vi – V⁶

Part 18 (3:11)

• Cadd11/F – Dm – Am – G7/B
  Iadd11 (bass F) – ii – vi – V⁶₅

Part 19 (3:22)

• Cadd11/F – Dm7 – C
  Iadd11 (bass F) – ii7 – I

Part 20 (3:33)

• C/E – Fmaj7 – Dm – Em – Am7 – Dm – F
  I⁶ – IVmaj7 – ii – iii – vi7 – ii – IV

Part 21 (3:44)

• Gsus4 – G – C – C/E – F – Dm – Em
  Vsus4 – V – I – I⁶ – IV – ii – iii

Part 22 (3:55)

• Am7 – Dm – F – C/G – G – Em – Am – F
  vi7 – ii – IV – I⁶₄ – V – iii – vi – IV

Part 23 (4:07)

• G7 – C – Em – Am – F – Gsus4 – G – Em – Am – F
  V7 – I – iii – vi – IV – Vsus4 – V – iii – vi – IV

Part 24 (4:18)

• G – Fsus2 – G11 – C – C/E
  V – IVsus2 – V11 – I – I⁶

Part 25 (4:29)

• Am7 – Dm7 – Fmaj7 – G7 – C
  vi7 – ii7 – IVmaj7 – V7 – I

Part 26 (4:40)

• C/E – Am7 – Dm7 – Fmaj7 – G7 – C
  I⁶ – vi7 – ii7 – IVmaj7 – V7 – I

Part 27 (4:52)

• Fadd9 – G
  IVadd9 – V
• Am7 – F – Em – F (×2)
  vi7 – IV – iii – IV

Part 28 (5:05)

• Am – Em7 – Am – F – Dm – Fmaj9/G
  vi – iii7 – vi – IV – ii – IVmaj9 (bass G)

Part 29 (5:17)

• C – G/B – Am7 – Dm7 – Fmaj7 – G7
  I – V⁶ – vi7 – ii7 – IVmaj7 – V7

Part 30 (5:28)

Same chords as Part 29 (5:17).

Part 31 (5:40)

• Am7 – Dm7 – Fmaj7 – G7 (×2)
  vi7 – ii7 – IVmaj7 – V7
• F
  IV

Part 32 (5:51)

• C – F (×2)
  I – IV

Part 33 (6:01)

• Dm – Fmaj7 – G11
  ii – IVmaj7 – V11

Part 34 (6:12)

• C – G/B
  I – V⁶

Part 35 (6:23)

• Am7 – Dm – Fmaj7 – G7 – C – G/B
  vi7 – ii – IVmaj7 – V7 – I – V⁶

Part 36 (6:34)

• Am7 – Dm – Fmaj7 – G7 – Am7 – Dm
  vi7 – ii – IVmaj7 – V7 – vi7 – ii

Part 37 (6:45)

• Fmaj7 – G7 – Am7 – Dm – Fmaj7 – G7 – C
  IVmaj7 – V7 – vi7 – ii – IVmaj7 – V7 – I

Part 38 (6:55)

• Dm/F – C/E – Fmaj7
  ii⁶ – I⁶ – IVmaj7

Part 39 (7:06)

• C – Fmaj7 – C
  I – IVmaj7 – I

Part 40 (7:17)

• F – C
  IV – I

Part 41 (7:28)

• C
  I

Chord vocabulary

Harmonic highlights

• E7 acts as V/vi: it resolves to Am.

Sources & accuracy

• Chords: the Uspop2002 chord annotations (Music and Audio Research Lab, New York University). Chord annotation of the original recording (Falling Into You), time-stamped by researchers; CC BY 4.0 via ChoCo.
• Section names: this annotation doesn't name verses or choruses, so they aren't guessed. Instead, code used the chord timings to find the bars and cut the song into 8-bar parts. Each part is labelled with the time it starts in the annotated recording (Falling Into You), and a part with exactly the same chords as an earlier one says so.
• The key was estimated by code from the chords; this annotation doesn't state it.
• Not verified: only one expert transcription of this song is available so far.
• Rhythm and chord durations aren't shown; each step is one chord change.