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 임현정 - 사랑은 봄비처럼 이별은 겨울비처럼 (2003년). Tutti analyzed the YouTube audio to extract key F# Major, 83 BPM. a progression of 27 chords. Check the progression, each chord's notes and practice tips, then play along with the cursor in the Tutti app.
“임현정 - 사랑은 봄비처럼 이별은 겨울비처럼 (2003년)” runs at 83 BPM in 4/4, in F# Major. The chart spans 95 bars and uses 27 distinct chords, changing roughly every 1.8 seconds.
Part A, the most repeated section, loops F# → D#m → D#7 → G#m7 → B → C#m7 — I–vi–vi–ii–IV–V in scale degrees.
23 of the chords need a barre (A#m, A#m7, B, Bmaj7, C#, C#m, C#m7, C#maj7, D#7, D#m, D#m7, E6, Esus2, F#, F#7, F#m7, F#sus4, F7, Fm, G#, G#7, G#m, G#m7), so this sits at a advanced level.
With a capo on fret 4 you can play it with F#m · F#m7 · G · Gmaj7 · A · Am … shapes instead — 16 of 27 become open chords.
Start around 58 BPM with a metronome and work up to 83.
Tempo swings by ±37.8 BPM, so follow the recording rather than a metronome.
Dynamic range is 21 dB — a moderate swing between soft and loud passages.
Balance of the mix: Bass 31%, Vocals 25%, Drums 22%.
The vocal sits between C3 and A♯4 (centred on D♯4), which helps if you are picking a key to sing in.
| Part | Starts | Bars | Plays | Progression |
|---|---|---|---|---|
| Part A | 0:00 | 1–4 | 1 | B → Emaj7 → E → B → C#m7 → E → E → F# |
| Part B | 0:12 | 5–8 | 2 | F# → B → Bmaj7 → Emaj7 → D#m7 → C#m7 |
| Part C | 0:23 | 9–12 | 2 | F#7 → D#m7 → D#7 → G#m → G#m7 → F# → E |
| Part B | 0:35 | 13–16 | 2 | F#sus4 → B → Emaj7 → C#m7 → B → C#m7 → Emaj7 → C#m7 |
| Part D | 0:47 | 17–20 | 1 | F#7 → F#m7 → D#m7 → F#7 → G#m7 → B → C#m7 |
| Part E | 0:59 | 21–24 | 2 | F#7 → F#m7 → B → Emaj7 → B → C#m7 → E |
| Part F | 1:10 | 25–28 | 1 | F#7 → D#m7 → G#m7 → B → E |
| Part G | 1:22 | 29–32 | 1 | E → F#sus4 → B → Bmaj7 → G#m7 → G#m → B → C#m |
| Part H ★ | 1:34 | 33–36 | 4 | F# → D#m → D#7 → G#m7 → B → C#m7 |
| Part I | 1:45 | 37–40 | 1 | F#7 → B → Bmaj7 → G#m7 → C#m7 |
| Part H ★ | 1:57 | 41–44 | 4 | F#7 → C#m7 → D#m7 → D#m → D#7 → G#m7 → C#m7 |
| Part J | 2:09 | 45–48 | 1 | F#7 → F# → B → Em → B |
★ most repeated — likely the chorus
The Roman numeral on each chord shows its function relative to the key, revealing the harmonic flow.
