Major view
A major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G# (leading tone, pulls home)
- 4 = D (the note that leans on the 3rd)
CKay - Love Nwantiti - Chord
Key A major – F# minor Chords Fm, Ab, C7, Db, A, D, Db7, Gbm … Easy key Ab (capo 1)
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Key: A | Gbm | F#m
Capo: 0
D Db7
My baby my valentine (Uh)
Gbm A D
Girl na you dey make my temperature dey rise
Db7 Gbm
If you leave me, I go die (I swear)
A D
You are like the oxygen I need to survive
Db7
I'll be honest
Gbm A
Your loving dey totori me
D Db7
I I'm so obsessed
Gbm A
I want to chop your nkwobi
D Db7 Gbm
(Unle) Your body dey gbakam isi (Unle)
A D
Open am make I see (Unle)
Db7
Nyem love nwantiti
Gbm A
Wey fit make a bad man sing oh
Cmaj7 B
Ah Ah Ah Ah Ah Ah
Em A
Ah Ah Ah Ah Ah Ah Ah Ah Ahh
Db C7 Fm Ab
Db C7 Fm
(Unle) Your body dey dey gbakam isi (Unle)
Ab Db
Open am make I see (Unle)
C7
Nyem love nwantiti
Fm Ab
Wey fit make a bad man sing oh
Db C7
Ah Ah Ah Ah Ah Ah
Fm Ab
Ah Ah Ah Ah Ah Ah Ah Ah Ahh
Db C7
Baby girl, where you from come (Eh)
Fm Ab
Your body na follow come (Yeah)
Db C7
No be silicon (Eh)
Fm Ab Db
Baba God e finish work (Eh-eh-eh-eh-eh)
C7 Fm
Without you I go fit lose my mind
Ab
Without you I go fit fall and die
C7 Fm
Without you I go give all my life
Ab
Without you (without you)
Db C7
You mean the world to me
Fm Ab
You're my living fantasy
Db C7
Ah ya eiya I love you
Fm Ab
Ah ya eiya No one above you
Db C7
Lover, don't give this love to nobody
Fm Ab
Lover, don't call another nigga honey
Dv C7
Lover, lover, I wanna be your lover
Fm Ab
Forever, forever
Db C7
Ah Ah Ah Ah Ah Ah
Fm Ab
Ah Ah Ah Ah Ah Ah Ah Ah Ahh
End of song Play again?
CKay - Love Nwantiti Tabs
NotesX
Harmony analysis
CKay – Love Nwantiti: key and chord analysis
The song opens on D and ends on Ab. Its chords belong to both A major and F#m, so every chord below is read both ways.
Minor view
F# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = D (the minor's melancholy)
- b7 = E (natural-minor colour)
- #7 = E# (harmonic-minor leading tone from the V chord)
Which side does the ear lean to?
Our reading: we can't honestly pick a side here — the song moves freely between A major and F# minor because A is heard 7 times against 6 for F#m and the major V chord points straight at F#m. Try reading the chords both ways and see which feels more like home to you.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to A or to F#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 | A | Tonic — home | A · C# · E | 7× |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | — |
| V/V | B | Secondary dominant V/V — leads to Esecondary dominant | B · D# · F# | 1× |
| bIII7 | C7 | Borrowed from the parallel minorborrowed chord | C · E · G · Bb | 12× |
| bIIImaj7 | Cmaj7 | Borrowed from the parallel minorborrowed chord | C · E · G · B | 1× |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | — |
| V/vi | Db | Secondary dominant V/vi — leads to Gbmsecondary dominant | Db · F · Ab | 11× |
| V7/vi | Db7 | Secondary dominant V/vi — leads to Gbmsecondary dominant | Db · F · Ab · Cb | 6× |
| IV | D | Subdominant — moves away from home | D · F# · A | 6× |
| V | E | Dominant — strongest pull home | E · G# · B | — |
| v | Em | Chromatic colour chordoutside the key | E · G · B | 1× |
| bvi | Fm | Chromatic colour chordoutside the key | F · Ab · C | 13× |
| vi | Gbm | Relative minor — the melancholy side | Gb · A · Db | 6× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| V/iii | Ab | Secondary dominant V/iii — leads to Dbmsecondary dominant | Ab · C · Eb | 13× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gbm | Tonic — home | Gb · A · Db | 6× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| V/v | Ab | Secondary dominant V/v — leads to Dbmsecondary dominant | Ab · C · Eb | 13× |
| III | A | Relative major — the bright side | A · C# · E | 7× |
| iv | Bm | Subdominant — moves away from home | B · D · F# | — |
| IV | B | Major IV — Dorian / melodic-minor colourmodal colour | B · D# · F# | 1× |
| #IV7 | C7 | Chromatic colour chordoutside the key | C · E · G · Bb | 12× |
| #IVmaj7 | Cmaj7 | Chromatic colour chordoutside the key | C · E · G · B | 1× |
| v | C#m | Minor dominant — soft pull | C# · E · G# | — |
| V | Db | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Db · F · Ab | 11× |
| V7 | Db7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Db · F · Ab · Cb | 6× |
| VI | D | Submediant — warm colour | D · F# · A | 6× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | — |
| vii | Em | Chromatic colour chordoutside the key | E · G · B | 1× |
| #vii | Fm | Chromatic colour chordoutside the key | F · Ab · C | 13× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 11 different chords appear 77 times in total; 3 of them sit naturally inside the shared scale. The major V of F#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from A, the same Db / Db7 is V/vi, a secondary dominant heading for F#m. Ab, B act as secondary dominants, briefly pointing at another chord of the key. C7, Cmaj7 are borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- C7 Fm AbIII7 → bvisecondary resolution F#m#IV7 → #vii ×12
- Db7 Gbm AV7/vi → visecondary resolution F#mV7 → iharmonic-minor cadence ×6
The move to watch is C7 → Fm, heard 12 times. From the A side it reads bIII7 → bvi (secondary resolution: C7 resolves a fourth up to Fm); from the F#m side it is #IV7 → #vii. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- A major pentatonic and F# minor pentatonic are the same five notes (A – B – C# – E – F#): start from A for a brighter phrase, from F# for a bluesier one.
- Over Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
- Over Ab, land on Ab, C, Eb — the chord's own tones always sound right on strong beats.
- Over C7, land on C, E, G — the chord's own tones always sound right on strong beats.
- When Db7 comes, swap the scale's E for E#: that single note is the harmonic-minor sound of the chord.
- On C7, follow the chord's notes (C · E · G · Bb) rather than the key's scale — it's a borrowed colour.
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 A major shapes
- No capo — open A shapes
- Capo 2 + G shapes
- Capo 5 + E shapes
With F# minor shapes
- Capo 2 + Em shapes
- Capo 4 + Dm shapes
Easiest keys on guitar
- 1 semitone down · capo 1 keeps the original pitch
- 4 semitones down · capo 4 keeps the original pitch
The song's harmonic story
The opening D lays a solid floor for everything that follows. The backbone is Fm, Ab, C7, Db — bvi–V/iii–bIII7–V/vi from the A side, #vii–V/v–#IV7–V from the F#m side. Ab is the interesting twist: in A it is a chromatic chord (V/iii), while in F#m it becomes the dominant (V/v) that makes the minor side sound so determined. Keep an ear on C7 → Fm (bIII7 → bvi in A, #IV7 → #vii in F#m): secondary resolution — C7 resolves a fourth up to Fm. The final chord is Ab; the ear comes to rest in A.
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.
CKay - Love Nwantiti 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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