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)
Sabrina Carpenter - Coincidence - Chord
Key E major – C# minor Chords E, E4, B4, A, Am, Bm, Ab, Cm Easy key A (capo 7)
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Key: E | Dbm | C#m
Capo: 0
E E4 B4
E E4 B4
E E E4 B4
The second I put my head on your chest
E E E4 B4
She knew, she's got a real sixth sense
A
Now her name comes up once, then it comes up twice
A
And without her even bein' here, she's back in your life
E E E4 B4
Now she's on the same damn city on the same damn night
Bm E
And you've lost all your common sense
A Am
What a coincidence
E E4 B4
Oh na na, na na na na
E E4 B4
Oh na na, na na na na
E E E4 B4
Last week, you didn't have any doubts
E E E4 B4
This week, you're holdin' space for her tongue in your mouth
A
Now she's sendin' you some pictures wearin' less and less
A
Tryna turn the past into the present tense, huh
E E E4 B4
Suckin' up to all of your mutual friends
Bm E
And you've lost all your common sense
Bm E
When you told me the truth, minus seven percent
A Am
What a coincidence, uh
E E4 B4
Oh na na, na na na na
E E4 B4
Oh na na, na na na na
E E4 B4
Na na na, na na na na
E E4 B4
Na na na, na na na na
E Ab A Am
What a surprise, your phone just died
E Ab A Am
Your car drove itself from LA to her thighs
E Ab A Am
Palm Springs looks nice, but who's by your side
Am Cm Bm A
Damn it, she looks kinda like the girl you outgrew
E
Least that's what you said
A Am
What a coincidence E Esus4 Bsus4
A E E4 B4
Oh, wow, you just broke up again
A Am
What a coincidence
E E4 B4
Oh na na, na na na na
E E4 B4
Oh na na, na na na na
E E4 B4
Na na na, na na na na
E E4 B4
Na na na, na na na na
End of song Play again?
Sabrina Carpenter - Coincidence Tabs
NotesX
Harmony analysis
Sabrina Carpenter – Coincidence: key and chord analysis
The song opens on E and ends on B4. 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)
- #7 = B# (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 E major side because it opens on E, E is heard 51 times while C#m never appears and the major V chord points straight at C#m. That is an interpretation, not a rule — hearing the same chords from C# minor is just as valid and teaches you something different.
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 | 32× |
| I | E4 | Tonic — home | E · G# · B | 19× |
| ii | F#m | Supertonic — prepares the dominant | F# · A · C# | — |
| iii | G#m | Mediant — a tonic-family shade | G# · B · D# | — |
| III | Ab | Chromatic colour chordoutside the key | Ab · C · Eb | 3× |
| IV | A | Subdominant — moves away from home | A · C# · E | 13× |
| iv | Am | Minor iv — borrowed from the parallel minorborrowed chord | A · C · E | 8× |
| V | B4 | Dominant — strongest pull home | B · D# · F# | 19× |
| v | Bm | Chromatic colour chordoutside the key | B · D · F# | 4× |
| bvi | Cm | Chromatic colour chordoutside the key | C · Eb · G | 1× |
| vi | C#m | Relative minor — the melancholy side | C# · E · G# | — |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | C#m | Tonic — home | C# · E · G# | — |
| ii° | D#dim | Supertonic — prepares the dominant | D# · F# · A | — |
| III | E | Relative major — the bright side | E · G# · B | 32× |
| III | E4 | Relative major — the bright side | E · G# · B | 19× |
| iv | F#m | Subdominant — moves away from home | F# · A · C# | — |
| v | G#m | Minor dominant — soft pull | G# · B · D# | — |
| V | Ab | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Ab · C · Eb | 3× |
| VI | A | Submediant — warm colour | A · C# · E | 13× |
| vi | Am | Chromatic colour chordoutside the key | A · C · E | 8× |
| VII | B4 | Subtonic — steps back to the tonic | B · D# · F# | 19× |
| vii | Bm | Chromatic colour chordoutside the key | B · D · F# | 4× |
| #vii | Cm | Chromatic colour chordoutside the key | C · Eb · G | 1× |
Analysis
The key pair is E major and its relative C# minor (4 sharps). 8 different chords appear 99 times in total; 4 of them sit naturally inside the shared scale. The major V of C#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull. Am is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- B4 E EV → Iauthentic cadence C#mVII → III ×13
- Am E Eiv → Iminor plagal C#mvi → III ×5
- A E EIV → Iplagal cadence C#mVI → III ×4
The move to watch is B4 → E, heard 13 times. From the E side it reads V → I (authentic cadence: the strongest arrival home); from the C#m side it is VII → III. 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 E, land on E, G#, B — the chord's own tones always sound right on strong beats.
- Over E4, land on E, G#, B — the chord's own tones always sound right on strong beats.
- Over B4, land on B, D#, F# — the chord's own tones always sound right on strong beats.
- When Ab comes, swap the scale's B for B#: that single note is the harmonic-minor sound of the chord.
- On Am, follow the chord's notes (A · C · E) 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 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
- 5 semitones up · capo 7 keeps the original pitch
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
The opening E lays a solid floor for everything that follows. E, E4, B4, A carry the song: I–I–V–IV relative to E, III–III–VII–VI relative to C#m. Ab is the interesting twist: in E it is a chromatic chord (III), while in C#m it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on B4 → E (V → I in E, VII → III in C#m): authentic cadence — the strongest arrival home. It closes on B4, letting the E 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.
Sabrina Carpenter - Coincidence 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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