Bb
Ebm7
Cm/Eb
Gm/D
Am7b5
D7sus4
D7
Gm
Gm
What have I got to
Bb/F
do to make you l
Cm7+9
ove
me
F
What have I got to do to make you
Bb
care
Adim
Cdim
Gm
What do I
Bb/F
do when lightning s
Cm7+9
trikes
me
F
And I wake to find that you’re not
Bb
there
Adim
Cdim
Gm
What do I
Bb/F
do to make you w
Cm7+9
ant
me
F
What have I got to do to be
Bb
heard
Adim
Cdim
Gm
What do I
Gm7+9
say when it’s all
Cm7+9
over
F
Sorry seems to be the hardest
Bb
word
F
{soc}
Eb/G
It’s sad,
D/F#
it’s so sad
Bb/F
It’s a sad, sad s
Em7b5
ituation
Cm/Eb
And it’s getting
D7
more and more absurd
Gm
Am7b5
D7
Eb/G
It’s
sad,
D/F#
so
sad
Bb/F
Why can’t we talk it o
C7/E
ver
Eb
Oh it seems to me
Cm7
That sorry seems to
D7
be the hardest word
Gm
{eoc}
{c:Instrumental }
{c: Repeat Chorus}
Gm
What do I
Bb/F
do to make you
Cm7+9
love
me
F7
What have I got to do to be
Bb
heard
Adim
Cdim
Gm
What do I do when lightning
Cm
strikes
me
Am7b5
What have I got to
D7
do
Gm
What have I got to
Cm
do
Am7b5
sorry seems to b
D
e the hardest word
Bb
Ebm7
Cm/Eb
Gm/D
Am7b5
D7sus4
D7
Gm
HI, I appreciate this site and hope you don’t mind my input – Adim into Cdim isn’t really much different to Am7b5 into D7. 1st of those chords is more or less the same anyway – Adim is Amb5 and I think it works nicely going into D7. I tend to run with the Am7b5 D7 all the way through if you see what I mean.
If you look at what he’s calling the Cdim, it’s probably more of a D7b9 (D,F#,A,C,Eb) which is a Cdim spelled differently – and the added D root (C,Eb,Gb,A = C,Eb,F#,A). I always think on 7b9 chords as a diminished chord in the RH and a different note (root) in the left.
Also from a chord function POV – it’s ii (half dim) to V (with the added b9) of G – which Elton uses as a deceptive resolution going to a G in the bass – as expected – but an Eb triad above. Very cool!