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)
Sabrina Carpenter - Slim Pickins - Chord
Key A major – F# minor Chords A, D, Gbm7, E, Dm, Db7, A7 Easy key G (capo 2)
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Key: A | Gbm | F#m
Capo: 0
Gbm7 D A E
A Gbm7
Guess I'll end this life alone
D
I am not dramatic
A E
These are just the thoughts that pass right through me
A Gbm7
All the douchebags in my phone
D
I play them like a slot machine
A E
If they're winning I'm just losing
Db7 Gbm7
A boy who's jacked and kind
D Dm
Can't find his ass to save my life
A Gbm7
Oh it's slim pickins
D
If I can't have the one I love
E
Then it's you who I'll be kissin
A A7
Just to get my fixings
D
Since the good ones are deceased or taken
Dm A
I'll just keep on moanin' and bitchin'
A Gbm7
Jesus what's a girl to do
D A
This boy doesn't even know the difference
E
Between "their" "there" and "they are"
A Gbm7
Yet he's naked in my room
D
Missin all the things he's missin
A E Db7
God knows that he isn't living large
Db7 Gbm7
A boy who's nice that breathes
D Dm
Well I swear he's nowhere to be seen
A Gbm7
It's slim pickins
D
If I can't have the one I love
A E
Guess it's you who I'll be kissin
A A7
Just to get my fixings
D
Since the good ones are deceased or taken
Dm A
I'll just keep on moanin' and bitchin'
Gbm7 D A E
Moanin' and bitchin'
D Dm
And since the good ones call their exes wasted
D Dm
And since the lord forgot my gay awakenin'
D
Then I'll just be here in the kitchen
E A
Serving up some moanin' and bitchin'
End of song Play again?
Sabrina Carpenter - Slim Pickins Tabs
NotesX
Harmony analysis
Sabrina Carpenter – Slim Pickins: key and chord analysis
The song opens on Gbm7 and ends on A. 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 it comes to rest on A, it opens on F#m, A is heard 20 times against 10 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 | 18× |
| V7/IV | A7 | Secondary dominant V/IV — leads to Dsecondary dominant | A · C# · E · G | 2× |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | — |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | — |
| V7/vi | Db7 | Secondary dominant V/vi — leads to Gbmsecondary dominant | Db · F · Ab · Cb | 3× |
| IV | D | Subdominant — moves away from home | D · F# · A | 15× |
| iv | Dm | Minor iv — borrowed from the parallel minorborrowed chord | D · F · A | 6× |
| V | E | Dominant — strongest pull home | E · G# · B | 9× |
| vi7 | Gbm7 | Relative minor — the melancholy side | Gb · A · Db · Fb | 10× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Gbm7 | Tonic — home | Gb · A · Db · Fb | 10× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | 18× |
| V7/VI | A7 | Secondary dominant V/VI — leads to Dsecondary dominant | A · C# · E · G | 2× |
| iv | Bm | Subdominant — moves away from home | B · D · F# | — |
| v | C#m | Minor dominant — soft pull | C# · E · G# | — |
| V7 | Db7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Db · F · Ab · Cb | 3× |
| VI | D | Submediant — warm colour | D · F# · A | 15× |
| vi | Dm | Chromatic colour chordoutside the key | D · F · A | 6× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | 9× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 7 different chords appear 63 times in total; 4 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 Db7 is V7/vi, a secondary dominant heading for F#m. A7 acts as a secondary dominant, briefly pointing at another chord of the key. Dm is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- D A AIV → Iplagal cadence F#mVI → III ×7
- E A AV → Iauthentic cadence F#mVII → III ×6
- Dm A Aiv → Iminor plagal F#mvi → III ×4
- Db7 Gbm7 AV7/vi → vi7secondary resolution F#mV7 → i7harmonic-minor cadence ×2
- D E AIV → VIV → V F#mVI → VIIVI → VII ×2
- A7 D AV7/IV → IVsecondary resolution F#mV7/VI → VI ×2
The move to watch is D → A, heard 7 times. From the A side it reads IV → I (plagal cadence: the soft 'amen' ending); from the F#m side it is VI → III. 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 A, land on A, C#, E — 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 Gbm7, land on Gb, A, Db — 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 Dm, follow the chord's notes (D · F · A) 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
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
Starting on Gbm7, the song gives away its key from the very first bar. The backbone is A, D, Gbm7, E — I–IV–vi7–V from the A side, III–VI–i7–VII from the F#m side. Db7 is the interesting twist: in A it is a chromatic chord (V7/vi), while in F#m it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on D → A (IV → I in A, VI → III in F#m): plagal cadence — the soft 'amen' ending. Ending on A, the song seals A 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.
Sabrina Carpenter - Slim Pickins 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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