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Otis Redding · 1965

I've Been Loving You Too Long (to Stop Now)

10 notes across the harmonic analysis · 4 different passage shapes.

Chord-derived pitch classes, after David Temperley. The melody and other unannotated notes are not included. Method & limits

C2GD4A5E6B7G♭8D♭9A♭10E♭B♭0F1

All annotated harmonies combined

Whole analysis

Circle 1919 · 10 notes

C · D♭ · D · E · F · G♭ · A♭ · A · B♭ · B

Does not fit inside one diatonic scale. This combines notes across time; compare the passages below to see where the field changes.

CGDA0E1B2F♯C♯4G♯5D♯A♯F

Source passage · Ch

Chorus

Circle 59 · 5 notes

C♯ · E · G♯ · A · B

Fits within a diatonic collection; no tonic is implied. This field belongs to this passage, not necessarily the whole song.

C1GD3A4E5BG♭7D♭8A♭9E♭B♭F0

Source passage · Vr

Verse

Circle 887 · 8 notes

C · D♭ · D · E · F · G♭ · A♭ · A

Does not fit inside one diatonic scale. This field belongs to this passage, not necessarily the whole song.

CGDA0E1B2F♯C♯4G♯5D♯A♯F

Source passage · Ch2

Chorus 2

Circle 59 · 5 notes

C♯ · E · G♯ · A · B

Fits within a diatonic collection; no tonic is implied. This field belongs to this passage, not necessarily the whole song.

C6GD8A9EBG♭0D♭1A♭E♭B♭4F5

Source passage · Ch3

Chorus 3

Circle 827 · 7 notes

C · D♭ · D · F · G♭ · A · B♭

Does not fit inside one diatonic scale. This field belongs to this passage, not necessarily the whole song.

CGD8AEBG♭0D♭1A♭E♭B♭4F5

Source passage · Fadeout

Fadeout

Circle 409 · 5 notes

D♭ · D · F · G♭ · B♭

Does not fit inside one diatonic scale. This field belongs to this passage, not necessarily the whole song.

Source & interpretation

David Temperley’s harmonic analysis of I've Been Loving You Too Long (to Stop Now) ↗, from the de Clercq–Temperley RS 200 corpus. Retrieved 19 October 2026.

The complete field includes all harmonies in the source’s S rule. The passages are its named top-level units; direct chords outside those units still contribute to the whole field. Repeated units with the same notes are merged. Labels such as “Passage A” preserve the source where a conventional section name is not given.

Notes and circle assignments are calculated by Chordfields from that analysis. They have not been independently verified against the recording. Read the full method.