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 - Good Luck, Babe! - Chord
Key A major – F# minor Chords D, A, Gbm, E, Bm, Am Easy key G (capo 2)
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Key: A | Gbm | F#m
Capo: 0
D E
It's fine, it's cool
A
You could say that we had nothing but
Gbm
You know the truth
D E
And guess I'm the fool
A
With her arms out like an angel
Gbm
Through the car sunroof
Bm
I don't wanna call it off
Bm
But you don't wanna call it love
Bm
You only wanna be the one that I call
Baby
D E
You could kiss a hundred boys in bars
A Gbm
Shoot another shot, try to stop the
Feeling
D E
You can say it's just the way you are
A Gbm
Make a new excuse, another stupid
Reason
D E
Good luck babe, well good luck babe
A
You'd have to stop the world just to
Gbm
Stop the feeling
D E
Good luck babe, well good luck babe
A
You'd have to stop the world just to
Gbm
Stop the feeling
D E
I´m cliché, "Who cares?"
A Gbm
It's a sexually explicit kind of love
Affair
D E
And I cry, it's not fair
A
I just need a little lovin', I just
Gbm
Need a little air
Bm
Think I'm gonna call it off
Bm
Even if you call it love
Bm Am
I just wanna love someone who calls me
Baby
D E
You could kiss a hundred boys in bars
A Gbm
Shoot another shot, try to stop the
Feeling
D E
You can say it's just the way you are
A Gbm
Make a new excuse, another stupid
Reason
D E
Good luck babe, well good luck babe
A
You'd have to stop the world just to
Gbm
Stop the feeling
D E
Good luck babe, well good luck babe
A
You'd have to stop the world just to
Gbm
Stop the feeling
Bm A Bm
D
And when you wake up next to him in
Bm
The middle of the night
D
With your head in your hands, you're
Bm
Nothing more than his wife
D
And when you think about me all of
Bm
Those years ago
D
You're standing face to face with "I
Bm
Told you so"
You know I hate to say it, I told you
So
Bm
You know I hate to say it but, I told
D
You so
D E
You could kiss a hundred boys in bars
A Gbm
Shoot another shot, try to stop the
Feeling
D E
You can say it's just the way you are
A Gbm
Make a new excuse, another stupid
Reason
D E
Good luck babe, well good luck babe
A
You'd have to stop the world just to
Gbm
Stop the feeling
D E
Good luck babe, well good luck babe
A
You'd have to stop the world just to
Gbm
Stop the feeling
D E
Good luck
A
You'd have to stop the world just to
Gbm D E
Stop the feeling
A
You'd have to stop the world just to
Gbm D
Stop the feeling
E
Well good luck
A
You'd have to stop the world just to
Gbm
Stop the feeling
A
You'd have to stop the world just to
Gbm
Stop the feeling
A
You'd have to stop the world just to
Gbm D
Stop the feeling
Stop the feeling
End of song Play again?
Sabrina Carpenter - Good Luck, Babe! Tabs
NotesX
Harmony analysis
Sabrina Carpenter – Good Luck, Babe!: key and chord analysis
The song opens on D and ends on D. 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the A major side because A is heard 22 times against 21 for F#m. That is an interpretation, not a rule — hearing the same chords from F# minor is just as valid and teaches you something different.
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 | 22× |
| i | Am | Chromatic colour chordoutside the key | A · C · E | 1× |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | 13× |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | — |
| V/vi | C# | Secondary dominant V/vi — leads to Gbmsecondary dominant | C# · E# · G# | — |
| IV | D | Subdominant — moves away from home | D · F# · A | 25× |
| V | E | Dominant — strongest pull home | E · G# · B | 19× |
| vi | Gbm | Relative minor — the melancholy side | Gb · A · Db | 21× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gbm | Tonic — home | Gb · A · Db | 21× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | 22× |
| iii | Am | Chromatic colour chordoutside the key | A · C · E | 1× |
| iv | Bm | Subdominant — moves away from home | B · D · F# | 13× |
| v | C#m | Minor dominant — soft pull | C# · E · G# | — |
| V | C# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# | — |
| VI | D | Submediant — warm colour | D · F# · A | 25× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | 19× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 6 different chords appear 101 times in total; 5 of them sit naturally inside the shared scale. Am step outside the scale as colour chords.
Chord movement
- E A AV → Iauthentic cadence F#mVII → III ×19
- D E AIV → VIV → V F#mVI → VIIVI → VII ×19
The move to watch is E → A, heard 19 times. From the A side it reads V → I (authentic cadence: the strongest arrival home); from the F#m side it is VII → 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 D, land on D, F#, A — 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 Gbm, land on Gb, A, Db — 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 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
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
The first chord is D; the ear learns where home is within a second. D, A, Gbm, E carry the song: IV–I–vi–V relative to A, VI–III–i–VII relative to F#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on E → A (V → I in A, VII → III in F#m): authentic cadence — the strongest arrival home. It closes on D, letting the A 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 - Good Luck, Babe! 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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