[Intro] Hopelessly devoted to you - Analysis

iv I iv I iv I

Dm A Dm A Dm A

[Verse 1]

I iii IV

A C#m7 D

Guess mine is not the first heart broken

ii V I I

Bm7 E7 Ama7 A6

My eyes are not the first to cry Oi oi this is a juicy line! Firstly, let’s dismiss the Cm7 as
anything special as it’s simply a chromatic passing
I VI VI ii iii biii ii chord. Now the F#7 seems like it is a secondary
dominant for the expected 2 5 1. However, they sneak
A F#7 C#m7-5/G F#7 Bm7 C#m7 Cm7
that C#m7-5/G in the middle before doing the
Bm7
resolution we so desire. I reckon that is supposed to
I'm not the first to know there's just no gettin' over act like sort mutant ii in Bm but that’s up for debate
you for sure.

Repeat mostly until: It’s interesting here as the 6 resolves to the minor 4.
However, my opinion is that Bm sort of acts like the
iii biii ii iv I major 4 as D is the relative major of B min so there’s
still that F# going to F. It’s also not that bad as it sort
C#m7 Cm7 Bm7 Dm A of sounds like a poor man’s 2 5 1 i.e. the bass B D A is
I'm hopelessly de - voted to you similar to B E A. Also, you can sort of slip the minor 4
in anywhere, it just delays the resolution essentially.
[Chorus]
This is a nice modulation. Not too far away from A, the
minor subdominant of the subdominant i.e. 2 turns
flatwise on the circle of 5ths – I know that would be
N.C. Gm7 C7 Caug the case for G major but as the dominant can function
for major and minor I’m taking it to be the same.
But now there's nowhere to hide since you pushed
Obviously, they need the N.C. cos they’re relying on
my love aside
the pivot A note in the melody. This implies the
F Fma7 Cdim Gm7 harmony: A – A7 – D7 before resolving to Gm. The C7
is a modulation to F which is actually more likely the
I'm out of my head, hopelessly devoted to you key of this section, just starting with a 2 5 1 essentially.

Nice chords in this section. The augmented C is just

trying to utilise the chromatic movement from C7 to F
Gdim Dm Faug/C# F/C G7/B via the G#. The Caug between the F and the Gm7 acts
Hopelessly devoted to you in a dominant role, and probably makes more sense as
a D7b9 as the melody has a D in it emphasising the root
of the chord… making less like Caug.

Gm7 Gdim Dm A Just a descending bass line over D min here, clearly
someone’s overthought these chords.
Hopelessly devoted to you

Repeat mostly until:

Clearly the Bbm to F is a iv to I in F which links us back
Gm7 Gdim Bbm F to the beginning giving general coherence.