Major view
E major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = D# (leading tone, pulls home)
- 4 = A (the note that leans on the 3rd)
Selena Gomez - We Don't Talk Anymore (Charlie Puth) - Chord
Key E major – C# minor Chords B, A, C#m, G#m Easy key G
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Key: E | Dbm | C#m
Capo: 0
A
We don't talk anymore
B
We don't talk anymore
C#m
We don't talk anymore
G#m
Like we used to do
A
We don't laugh anymore
B
What was all of it for?
C#m
Oh, we don't talk anymore
B
Like we used to do
Charlie
A
I just heard you found the one you've been looking
B
You've been looking for
C#m G#m
I wish I would have known that wasn't me
A
Cause even after all this time I still wonder
B
Why I can't move on
C#m G#m
Just the way you did so easily
A
Don't wanna know
B
What kind of dress you're wearing tonight
C#m
If he's holding onto you so tight
G#m
The way I did before
A
I overdosed
B
Should've known your love was a game
C#m
Now I can't get you out of my brain
Oh, it's such a shame
A
We don't talk anymore
B
We don't talk anymore
C#m
We don't talk anymore
G#m
Like we used to do
A
We don't laugh anymore
B
What was all of it for?
C#m
Oh, we don't talk anymore
G#m
Like we used to do
Selena
A
I just hope you're lying next to somebody
B
Who knows how to love you like me
C#m G#m
There must be a good reason that you're gone
A
Every now and then I think you
B
Might want me to come show up at your door
C#m G#m
But I'm just too afraid that I'll be wrong
A
Don't wanna know
B
If you're looking into her eyes
C#m G#m
If she's holding onto you so tight the way I did before
A
I overdosed
B
Should've known your love was a game
C#m
Now I can't get you out of my brain
Oh, it's such a shame
Charlie - Selena
A
We don't talk anymore
B
We don't talk anymore
C#m
We don't talk anymore
G#m
Like we used to do
A
We don't laugh anymore
B
What was all of it for?
C#m
Oh, we don't talk anymore
G#m
Like we used to do
A B C#m G#m
Charlie - Selena
A
Don't wanna know
B
What kind of dress you're wearing tonight
C#m
If he's giving it to you just right
G#m
The way I did before
A
I overdosed
B
Should've known your love was a game
C#m
Now I can't get you out of my brain
Oh, it's such a shame
Charlie - Selena
A
We don't talk anymore
B
We don't talk anymore
C#m
We don't talk anymore
G#m
Like we used to do
A
We don't laugh anymore
B
What was all of it for?
C#m
Oh, we don't talk anymore
G#m
Like we used to do
A
Don't wanna know
B
What kind of dress you're wearing tonight (Oh)
C#m
If he's holding onto you so tight (Oh)
G#m
The way I did before (We don't talk anymore)
A
I overdosed
B
Should've known your love was a game (Oh)
C#m
Now I can't get you out of my brain (Woah)
G#m
Oh, it's such a shame
End of song Play again?
Selena Gomez - We Don't Talk Anymore (Charlie Puth) Tabs
NotesX
Harmony analysis
Selena Gomez – We Don't Talk Anymore (Charlie Puth): key and chord analysis
The song opens on A and ends on G#m. Its chords belong to both E major and C#m, so every chord below is read both ways.
Minor view
C# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = A (the minor's melancholy)
- b7 = B (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the C# minor side because C#m is heard 21 times while E never appears. That is an interpretation, not a rule — the same chords are just as valid seen from E 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 E or to C#m; 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 | E | Tonic — home | E · G# · B | — |
| ii | F#m | Supertonic — prepares the dominant | F# · A · C# | — |
| iii | G#m | Mediant — a tonic-family shade | G# · B · D# | 17× |
| V/vi | G# | Secondary dominant V/vi — leads to C#msecondary dominant | G# · B# · D# | — |
| IV | A | Subdominant — moves away from home | A · C# · E | 21× |
| V | B | Dominant — strongest pull home | B · D# · F# | 22× |
| vi | C#m | Relative minor — the melancholy side | C# · E · G# | 21× |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | C#m | Tonic — home | C# · E · G# | 21× |
| ii° | D#dim | Supertonic — prepares the dominant | D# · F# · A | — |
| III | E | Relative major — the bright side | E · G# · B | — |
| iv | F#m | Subdominant — moves away from home | F# · A · C# | — |
| v | G#m | Minor dominant — soft pull | G# · B · D# | 17× |
| V | G# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G# · B# · D# | — |
| VI | A | Submediant — warm colour | A · C# · E | 21× |
| VII | B | Subtonic — steps back to the tonic | B · D# · F# | 22× |
Analysis
The key pair is E major and its relative C# minor (4 sharps). 4 different chords appear 81 times in total; 4 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- B C#m EV → videceptive cadence C#mVII → iAeolian arrival ×21
- A B EIV → VIV → V C#mVI → VIIVI → VII ×21
The move to watch is B → C#m, heard 21 times. From the C#m side it is VII → i (Aeolian arrival: rises a whole tone into home); from the E side it reads V → vi (deceptive cadence: expected E, lands on C#m). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- E major pentatonic and C# minor pentatonic are the same five notes (E – F# – G# – B – C#): start from E for a brighter phrase, from C# for a bluesier one.
- Over B, land on B, D#, F# — the chord's own tones always sound right on strong beats.
- Over A, land on A, C#, E — the chord's own tones always sound right on strong beats.
- Over C#m, land on C#, E, G# — the chord's own tones always sound right on strong beats.
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 E major shapes
- No capo — open E shapes
- Capo 2 + D shapes
- Capo 4 + C shapes
With C# minor shapes
- Capo 4 + Am shapes
Easiest keys on guitar
- 3 semitones up
- 4 semitones down · capo 4 keeps the original pitch
The song's harmonic story
Starting on A, the song gives away its key from the very first bar. The backbone is B, A, C#m, G#m — V–IV–vi–iii from the E side, VII–VI–i–v from the C#m side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on B → C#m (V → vi in E, VII → i in C#m): Aeolian arrival — rises a whole tone into home. Ending on G#m, the song seals E as home.
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.
Selena Gomez - We Don't Talk Anymore (Charlie Puth) 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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