Major view
Ab major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G (leading tone, pulls home)
- 4 = Db (the note that leans on the 3rd)
Sabrina Carpenter - Nonsense - Chord
Key Ab major – F minor Chords Cmaj7, B7, Em, G, D, D7 Difficulty already in its easiest key
No ratings yet
or your user informations
Make it yours
Text size
Key: Ab | Fm
Capo: 0
Cmaj7 B7
Oh oh, oh oh, oh oh, oh oh
Em G
Oh oh, oh oh, oh oh, oh oh
Cmaj7 B7
Oh oh, oh oh, oh oh, oh oh
Em
Oh, oh, oh
G
Yeah
Cmaj7 B7
Think I only want one number in my phone
Em G
I might change your contact to "Don't leave me alone"
Cmaj7 B7
You said you like my eyes and you like to make 'em roll
Em G
Treat me like a queen, now you got me feelin' throned, oh
Cmaj7 B7
But I can't help myself when you get close to me
Em G
Baby, my tongue goes numb, sounds like "Blee blah blee"
Cmaj7 B7
I don't want no one else , baby, I'm in too deep
Em
Here's a little song I wrote
G
It's about you and me
Cmaj7
I'll be honest
B7 Em
Lookin' at you got me thinkin' nonsense
D7 G Cmaj7
Cartwheels in my stomach when you walk in
B7
And when you got your arms around me
Em G
Oh, it feels so good
Cmaj7
I had to jump the octave
B7 Em
I think I got an ex, but I forgot him
D7 G Cmaj7
And I can't find my chill, I must've lost it
B7 Em
I don't even know, I'm talkin' nonsense
G
I'm talkin', I'm talkin' , I'm talkin'
Cmaj7
I'm talkin' all around the clock
B7
I'm talkin' hope nobody knocks
Em
I'm talkin' opposite of soft
G
I'm talkin' wild, wild thoughts
Cmaj7
You gotta keep up with me
B7
I got some young energy
Em
I cop that L O V E
G
How do you do this to me
Cmaj7 B7
But I can't help myself when you get close to me
Em G
Baby, my tongue goes numb, sounds like "Blee blah blee"
Cmaj7 B7
I don't want no one else , baby, I'm in too deep
Em
Here's a little song I wrote
G
It's about you and me
Cmaj7
I'll be honest
B7 Em
Lookin' at you got me thinkin' nonsense
D G Cmaj7
Cartwheels in my stomach when you walked in
B7
When you got your arms around me
Em G
Oh, it feel so good
Cmaj7
I had to hit the octave
B7 Em
I think I got an ex, but I forgot him
D G Cmaj7
And I can't find my chill, I must've lost it
B7 Em
I don't even know , I'm talkin' nonsense
G
I'm talkin', I'm talkin', I'm talkin'
Cmaj7 B7
I'm talkin', I'm talkin', na na na
Em
I'm talkin'
G Cmaj7
Ah ah, ah ah, ah
B7 Em
I don't even know it anymore
G
Cmaj7 B7 Em
This song catchier than chickenpox is
D G Cmaj7
I bet your house is where my other sock is
B7 Em
Woke up this morning thought I'd write a pop hit
D G Cmaj7
How quickly can you take your clothes off? Pop quiz
B7
Hahaha
Em
That was not gonna make it
Ha, haha, haha
Most of these aren't gonna make it
End of song Play again?
Sabrina Carpenter - Nonsense Tabs
NotesX
Harmony analysis
Sabrina Carpenter – Nonsense: key and chord analysis
The song opens on Cmaj7 and ends on Em. Its chords belong to both Ab major and Fm, so every chord below is read both ways.
Minor view
F minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Db (the minor's melancholy)
- b7 = Eb (natural-minor colour)
- #7 = E (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 F minor side because the major V chord points straight at Fm. That is an interpretation, not a rule — the same chords are just as valid seen from Ab 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 Ab or to Fm; 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 | Ab | Tonic — home | Ab · C · Eb | — |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | — |
| bIII7 | B7 | Borrowed from the parallel minorborrowed chord | B · D# · F# · A | 23× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | — |
| IIImaj7 | Cmaj7 | Chromatic colour chordoutside the key | C · E · G · B | 23× |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | — |
| #IV | D | Chromatic colour chordoutside the key | D · F# · A | 4× |
| #IV7 | D7 | Chromatic colour chordoutside the key | D · F# · A · C | 2× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | — |
| bvi | Em | Chromatic colour chordoutside the key | E · G · B | 23× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | — |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| V/iii | G | Secondary dominant V/iii — leads to Cmsecondary dominant | G · B · D | 22× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | — |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| V/v | G | Secondary dominant V/v — leads to Cmsecondary dominant | G · B · D | 22× |
| III | Ab | Relative major — the bright side | Ab · C · Eb | — |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | — |
| #IV7 | B7 | Chromatic colour chordoutside the key | B · D# · F# · A | 23× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | — |
| Vmaj7 | Cmaj7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G · B | 23× |
| VI | Db | Submediant — warm colour | Db · F · Ab | — |
| #VI | D | Chromatic colour chordoutside the key | D · F# · A | 4× |
| #VI7 | D7 | Chromatic colour chordoutside the key | D · F# · A · C | 2× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | — |
| #vii | Em | Chromatic colour chordoutside the key | E · G · B | 23× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 6 different chords appear 97 times in total; 0 of them sit naturally inside the shared scale. The major V of Fm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull. G acts as a secondary dominant, briefly pointing at another chord of the key. B7 is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- B7 Em AbbIII7 → bvisecondary resolution Fm#IV7 → #vii ×23
- D7 G Ab#IV7 → V/iiisecondary resolution Fm#VI7 → V/v ×2
The move to watch is B7 → Em, heard 23 times. From the Fm side it is #IV7 → #vii; from the Ab side it reads bIII7 → bvi (secondary resolution: B7 resolves a fourth up to Em). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Ab major pentatonic and F minor pentatonic are the same five notes (Ab – Bb – C – Eb – F): start from Ab for a brighter phrase, from F for a bluesier one.
- Over Cmaj7, land on C, E, G — the chord's own tones always sound right on strong beats.
- Over B7, land on B, D#, F# — the chord's own tones always sound right on strong beats.
- Over Em, land on E, G, B — the chord's own tones always sound right on strong beats.
- When Cmaj7 comes, swap the scale's Eb for E: that single note is the harmonic-minor sound of the chord.
- On B7, follow the chord's notes (B · 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 Ab major shapes
- Capo 1 + G shapes
- Capo 4 + E shapes
- Capo 6 + D shapes
With F minor shapes
- Capo 1 + Em shapes
- Capo 3 + Dm shapes
Easiest keys on guitar
The song is already written in its easiest key for guitar.
The song's harmonic story
The first chord is Cmaj7; the ear learns where home is within a second. Cmaj7, B7, Em, G carry the song: IIImaj7–bIII7–bvi–V/iii relative to Ab, Vmaj7–#IV7–#vii–V/v relative to Fm. Cmaj7 is the interesting twist: in Ab it is a chromatic chord (IIImaj7), while in Fm it becomes the dominant (Vmaj7) that makes the minor side sound so determined. Keep an ear on B7 → Em (bIII7 → bvi in Ab, #IV7 → #vii in Fm): secondary resolution — B7 resolves a fourth up to Em. Ending on Em, the song seals Ab 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 - Nonsense 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.
Find something to play next
Ready-made lists by difficulty and mood.
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.