Auto-generated chord chart from YouTube analysis
Tutti is a free tool that analyzes a YouTube link or audio/video file to detect the key, tempo (BPM), time signature and chord progression, then builds guitar chord charts and TAB. Results are shown with a playback cursor so you can play along.
A chord progression lists the chords in the order they change. At each chord name (e.g. G, Em, C), fret that chord and strum in time.
Guitar chord chart for DAY6 "You Were Beautiful(예뻤어)" M/V. Tutti analyzed the YouTube audio to extract key D# Major, 83 BPM. a progression of 30 chords. Check the progression, each chord's notes and practice tips, then play along with the cursor in the Tutti app.
“DAY6 "You Were Beautiful(예뻤어)" M/V” runs at 83 BPM in 4/4, in D# Major. The chart spans 98 bars and uses 30 distinct chords, changing roughly every 1.9 seconds.
Part A, the most repeated section, loops Am → F → G#m → D# → Cm7 → Cm → Fm7 → G#m7 — ?–ii–IV–I–vi–vi–ii–IV in scale degrees.
27 of the chords need a barre (A#, A#7, A#m, A#m7, A#sus4, Adim, Am7b5, C#, C#7, Cm, Cm6, Cm7, D#, D#m, D#m6, F#6, F#aug, Fm, Fm7, G#, G#6, G#m, G#m6, G#m7, G#sus2, Gm, Gm7), so this sits at a advanced level.
With a capo on fret 1 you can play it with A · A7 · Am · Am7 · Asus4 · G#dim … shapes instead — 12 of 30 become open chords.
Start around 58 BPM with a metronome and work up to 83.
Tempo swings by ±38.7 BPM, so follow the recording rather than a metronome.
Dynamic range is 18 dB — a moderate swing between soft and loud passages.
Balance of the mix: Vocals 34%, Bass 26%, Drums 14%.
The vocal sits between C♯3 and F5 (centred on F4), which helps if you are picking a key to sing in.
| Part | Starts | Bars | Plays | Progression |
|---|---|---|---|---|
| Part A | 0:00 | 1–8 | 1 | Am → G#m6 → D# → Am7 → G#m6 → D# → Am7 → G#m6 |
| Part B | 0:23 | 9–16 | 2 | Am7 → G#m6 → D# → D#m → D#m6 → Fm7 → D# → A#sus4 |
| Part C | 0:46 | 17–24 | 1 | Am7 → G#m6 → Gm7 → F#6 → Fm7 → Fm7 → A# → D# |
| Part D ★ | 1:09 | 25–32 | 3 | Am → F → G#m → D# → Cm7 → Cm → Fm7 → G#m7 |
| Part E | 1:32 | 33–40 | 1 | Am → F → G#m → D# → Cm → Fm → Fm7 → G#m7 |
| Part B | 1:54 | 41–48 | 2 | D# → Am7 → G#m6 → G#m → D# → F#6 → Fm7 → A#m7 |
| Part F | 2:17 | 49–56 | 1 | D# → Am7 → G#m6 → D# → Gm7 → F#aug → Fm7 → Fm7 |
| Part D ★ | 2:40 | 57–64 | 3 | A#m7 → Adim → F → G#m → D# → Cm → Fm → G#m7 |
| Part G | 3:03 | 65–72 | 2 | A#m7 → A#m → Am → F → G#m → D# → Cm → Fm |
| Part H | 3:26 | 73–80 | 1 | Cm → Cm → D# → G# → G# → A#sus4 → A# → A#sus4 |
| Part D ★ | 3:49 | 81–88 | 3 | A#m7 → Cm6 → G#m → D# → Cm7 → Fm7 → Fm → G#m7 |
| Part G | 4:12 | 89–96 | 2 | A#m7 → A#m → F → G#m → D# → Cm → Fm7 → G#m7 |
★ most repeated — likely the chorus
The Roman numeral on each chord shows its function relative to the key, revealing the harmonic flow.
