Major view
D major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = C# (leading tone, pulls home)
- 4 = G (the note that leans on the 3rd)
Sabrina Carpenter - Feather - Chord
Key D major – B minor Chords Bm7, Amaj7, Gb7 Easy key F
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Key: D | Bm
Capo: 0
Bm7 Amaj7
Do do do do, do do do do
Gb7
Oh, not another take
Bm7
Oh, it's like that
I'm your dream come true
Amaj7 Gb7
When it's on a platter for you
Bm7
Then you pulled back
When I try to make plans
Amaj7 Gb7
More than two hours in advance, hmm
Bm7
I slam the door, I hit ignore
Amaj7 Gb7
I say, "no, no, no, no, no more"
Bm7
I got you blocked after this, an afterthought
Amaj7 Gb7
I finally cut you off
Bm7 Amaj7 Gb7
I feel so much lighter like a feather with you off my mind, ah
Bm7
Floatin' through the memories, like whatever
Amaj7 Gb7
You're a waste of time, ah
Bm7
Your signals are mixed, you act like a bitch
Amaj7 Gb7
You fit every stereotype, "send a pic"
Bm7 Amaj7
I feel so much lighter like a feather with you out my life
Gb7
With you out my life
Bm7 Amaj7
Do do do do, do do do do
Gb7
Like a feather, like a feather, like a feather
Bm7 Amaj7 Gb7
It feels so good not carin' where you are tonight
Bm7 Amaj7 Gb7
And it feels so good not pretendin' to like the wine you like
Bm7
I slam the door , i hit ignore
Amaj7 Gb7
I say, "no, no, no, no, no more"
Bm7
I got you blocked, excited to never talk
Amaj7
I am so sorry for your loss
Bm7 Amaj7 Gb7
I feel so much lighter like a feather with you off my mind, ah
Bm7
Floatin' through the memories, like whatever
Amaj7 Gb7
You're a waste of time, ah
Bm7
Your signals are mixed, you act like a bitch
Amaj7 Gb7
You fit every stereotype, "send a pic"
Bm7 Amaj7
I feel so much lighter like a feather with you out my life
Gb7
With you out my life
Bm7 Amaj7
Do do do do, do do do do
Gb7
Like a feather, like a feather, like a feather
Bm7
You want me, I'm done
You miss me, no duh
Amaj7 Gb7
Where I am, in love where I'm at
Bm7
You want me, I'm done
You miss me, no duh
Amaj7 Gb7
Where I'm at, I'm up where I'm at
Bm7
You want me, I'm done
You miss me, no duh
Amaj7 Gb7
Where I'm at, I'm up where I'm at
Bm7
You want me, I'm done
You miss me, no duh
Amaj7 Gb7
Where I'm at, I'm up where I'm at
End of song Play again?
Sabrina Carpenter - Feather Tabs
NotesX
Harmony analysis
Sabrina Carpenter – Feather: key and chord analysis
The song opens on Bm7 and ends on Gb7. Its chords belong to both D major and Bm, so every chord below is read both ways.
Minor view
B minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = G (the minor's melancholy)
- b7 = A (natural-minor colour)
- #7 = A# (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 B minor side because it opens on Bm, Bm is heard 23 times while D never appears and the major V chord points straight at Bm. That is an interpretation, not a rule — the same chords are just as valid seen from D 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 D or to Bm; 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 | D | Tonic — home | D · F# · A | — |
| ii | Em | Supertonic — prepares the dominant | E · G · B | — |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | — |
| V7/vi | Gb7 | Secondary dominant V/vi — leads to Bmsecondary dominant | Gb · Bb · Db · Fb | 22× |
| IV | G | Subdominant — moves away from home | G · B · D | — |
| Vmaj7 | Amaj7 | Chromatic colour chordoutside the key | A · C# · E · G# | 23× |
| vi7 | Bm7 | Relative minor — the melancholy side | B · D · F# · A | 23× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Bm7 | Tonic — home | B · D · F# · A | 23× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | — |
| iv | Em | Subdominant — moves away from home | E · G · B | — |
| v | F#m | Minor dominant — soft pull | F# · A · C# | — |
| V7 | Gb7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Gb · Bb · Db · Fb | 22× |
| VI | G | Submediant — warm colour | G · B · D | — |
| VIImaj7 | Amaj7 | Chromatic colour chordoutside the key | A · C# · E · G# | 23× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 3 different chords appear 68 times in total; 1 of them sit naturally inside the shared scale. The major V of Bm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from D, the same Gb7 is V7/vi, a secondary dominant heading for Bm. Amaj7 step outside the scale as colour chords.
Chord movement
- Gb7 Bm7 DV7/vi → vi7secondary resolution BmV7 → i7harmonic-minor cadence ×21
- Amaj7 Bm7 DVmaj7 → vi7 BmVIImaj7 → i7Aeolian arrival ×1
The move to watch is Gb7 → Bm7, heard 21 times. From the Bm side it is V7 → i7 (harmonic-minor cadence: the major V resolves dramatically); from the D side it reads V7/vi → vi7 (secondary resolution: Gb7 resolves a fourth up to Bm7). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- D major pentatonic and B minor pentatonic are the same five notes (D – E – F# – A – B): start from D for a brighter phrase, from B for a bluesier one.
- Over Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over Amaj7, land on A, C#, E — the chord's own tones always sound right on strong beats.
- Over Gb7, land on Gb, Bb, Db — the chord's own tones always sound right on strong beats.
- When Gb7 comes, swap the scale's A for A#: that single note is the harmonic-minor sound of the chord.
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 D major shapes
- No capo — open D shapes
- Capo 2 + C shapes
- Capo 5 + A shapes
With B minor shapes
- Capo 2 + Am shapes
- Capo 7 + Em shapes
Easiest keys on guitar
- 3 semitones up
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
The first chord is Bm7; the ear learns where home is within a second. The chords that keep coming back are Bm7, Amaj7, Gb7; read them as vi7–Vmaj7–V7/vi in D or i7–VIImaj7–V7 in Bm. Amaj7 is the interesting twist: in D it is a chromatic chord (Vmaj7), while in Bm it becomes the dominant (VIImaj7) that makes the minor side sound so determined. Keep an ear on Gb7 → Bm7 (V7/vi → vi7 in D, V7 → i7 in Bm): harmonic-minor cadence — the major V resolves dramatically. The final chord is Gb7; the ear comes to rest in D.
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 - Feather 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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