Major view
Bb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A (leading tone, pulls home)
- 4 = Eb (the note that leans on the 3rd)
AnnenMayKantereit - Nicht Nichts - Chord
Key Bb major – G minor Chords Gm, D, Cm7, Eb, Bb, Dm, F Easy key C
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Key: Bb | Gm
Capo: 0
Gm Cm7 Eb D
Gm Cm7
Ich lieg' seit Tagen in meinem Bett und hab' nichts zu tun
Eb D
Und nach dem Aufstehen fang' ich an, mich auszuruhen
Gm Cm7
Und ich überlege oft, ob ich dir schreibe
Eb D
Und ärger' mich, weil ich immer liegen bleibe
Gm Cm7
Jetzt fehlt mir so viel, was mir wegen dir gefiel
Eb
Ich schrei' zu Haus gegen die Wand
D
Und draußen stumm in mich hinein
Gm
Und manchmal denk' ich
Cm7
Und manchmal denk' ich
Eb F
Ich müsste wieder mit dir zusammen sein
Bb Dm
Nicht nichts ohne dich
Gm
Aber weniger, viel weniger für mich
Bb Dm
Nicht nichts ohne dich
Gm D
Aber weniger, viel weniger für mich
Gm Cm7 Eb D
Gm Cm7
Und dann hör' ich mir die Kommentare meiner Freunde an
Eb D
Weil ja jeder was dazu sagen kann
Gm Cm7
Aber eigentlich will ich das alles gar nicht hör'n
Eb D
Weil mich diese Ratschläge stör'n
Gm Cm7
Und jetzt fehlt mir so viel, was mir wegen dir gefiel
Eb
Ich schrei' zu Haus gegen die Wand
D
Und draußen stumm in mich hinein
Gm
Und manchmal denk' ich
Cm7
Und manchmal denk' ich
Eb D
Wir müssten wieder zusammen sein
Bb Dm
Nicht nichts ohne dich
Gm
Aber weniger, viel weniger für mich
Bb Dm
Nicht nichts ohne dich
Gm D
Aber weniger, viel weniger für mich
Bb
Nicht nichts ohne dich
Dm Gm
Aber weniger für mich
Bb Dm
Nicht nichts ohne dich
Gm
Aber weniger, viel weniger für mich
Bb Dm
Nicht nichts ohne dich
Gm
Aber weniger, viel weniger für mich
Cm7 Eb
Und dann lieg' ich wieder in mei'm Bett und hab' nix zu tun
D
Und du schreibst mir, dass du nichts mehr von mir hören willst
Gm Cm7
Und dann denk' ich, ich hab dir nie alles gesagt
Eb D
Aber immerhin nicht nichts
End of song Play again?
AnnenMayKantereit - Nicht Nichts Tabs
NotesX
Harmony analysis
AnnenMayKantereit – Nicht Nichts: key and chord analysis
The song opens on Gm and ends on D. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Minor view
G minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Eb (the minor's melancholy)
- b7 = F (natural-minor colour)
- #7 = F# (harmonic-minor leading tone from the V chord)
Which side does the ear lean to?
Our reading: to us the song feels closer to the G minor side because it opens on Gm, Gm is heard 18 times against 7 for Bb and the major V chord points straight at Gm. That is an interpretation, not a rule — the same chords are just as valid seen from Bb major, and switching between the two views is exactly where the practice value lies.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to Bb or to Gm; comparing both readings is a practice of its own.
Every chord of the key, listed 1 to 7 separately for each key. Chords played in the song show how often they appear; chords from outside the scale sit next to their own degree.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Bb | Tonic — home | Bb · D · F | 7× |
| ii7 | Cm7 | Supertonic — prepares the dominant | C · Eb · G · Bb | 12× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 7× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | 13× |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 12× |
| V | F | Dominant — strongest pull home | F · A · C | 1× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 18× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 18× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | 7× |
| iv7 | Cm7 | Subdominant — moves away from home | C · Eb · G · Bb | 12× |
| v | Dm | Minor dominant — soft pull | D · F · A | 7× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | 13× |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 12× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 1× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 7 different chords appear 70 times in total; 6 of them sit naturally inside the shared scale. The major V of Gm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Bb, the same D is V/vi, a secondary dominant heading for Gm.
Chord movement
- D Gm BbV/vi → vi GmV → iharmonic-minor cadence ×10
- Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×7
- F Bb BbV → Iauthentic cadence GmVII → III ×1
- Eb F BbIV → VIV → V GmVI → VIIVI → VII ×1
The move to watch is D → Gm, heard 10 times. From the Gm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the Bb side it reads V/vi → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
- Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over D, land on D, F#, A — the chord's own tones always sound right on strong beats.
- Over Cm7, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- When D comes, swap the scale's F for F#: that single note is the harmonic-minor sound of the chord.
The song on the circle of fifths
- Played in the song — chord of the key
- Played — the minor's harmonic V or a secondary dominant
- Played — borrowed or outside chord
- Home region: IV–I–V and ii–vi–iii
Empty slices are chords the song doesn't use.
Capo and easier keys
With Bb major shapes
- Capo 1 + A shapes
- Capo 3 + G shapes
- Capo 6 + E shapes
With G minor shapes
- Capo 3 + Em shapes
- Capo 5 + Dm shapes
Easiest keys on guitar
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
Starting on Gm, the song gives away its key from the very first bar. The chords that keep coming back are Gm, D, Cm7, Eb; read them as vi–V/vi–ii7–IV in Bb or i–V–iv7–VI in Gm. D is the interesting twist: in Bb it is a chromatic chord (V/vi), while in Gm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on D → Gm (V/vi → vi in Bb, V → i in Gm): harmonic-minor cadence — the major V resolves dramatically. It closes on D, letting the Bb side have the last word.
This analysis is generated from the song's chords by akorculuk's harmony engine using consistent rules. When you change key, the degrees stay the same; only the chord names change.
AnnenMayKantereit - Nicht Nichts Chords on Guitar, Ukulele and Piano
Hover over or tap a chord in the lyrics for its shapes, its degree in both keys and a listen button. Here you have every chord of the song side by side.
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