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 - Read your Mind - Chord
Key Ab major – F minor Chords Cmaj7, Dm7, A7, Dm Difficulty already in its easiest key
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Key: Ab | Fm
Capo: 0
Dm7 Dm
Ah, ah ah
Cmaj7
Ah ah, ah ah
Dm7 Dm
Ah, ah ah
Cmaj7
Ah, ah, ah
Dm7
Made it clear when you told me
Cmaj7
Don't know why, but you gotta be lonely
Dm7
Say it's hard, but you make it look easy
Cmaj7 A7
So I'm trying to live a reality
Dm7 Dm
Decompressin', tryna ease the tension
Cmaj7
But you got me stressin'
Cmaj7
Feelin' like I need to go
Dm7
And you sneak up on me
Dm Cmaj7
Tell me that you miss me in your life
A7 Dm7
I can't read your mind
You say that you need to be alone
Cmaj7
But night and day
Dm7
Want me at your beck and call, you'll say
Cmaj7
You know that you might be crossin' the line
A7 Dm7
Wastin' all our time
To think that we could be casual
Cmaj7
You're not my friend
And baby you never were
Dm7
Why the fuss
Cmaj7
If you say you just wanna be mine
A7
I can't read your mind
Dm7
Tell me what's gonna happen
When it's you and me in a room
Cmaj7
But you know you can't have it
Oh, I'll be laughing
Dm7
When you say that you really have changed
Finally found your way
Cmaj7
'Cause I'm close to your face
Dm7
Double checkin'
Dm
Did I get the message
Cmaj7
In the way you intended
Cmaj7
Got me second guessing when you
Dm7
Sneak up on me
Dm Cmaj7
Tell me that you need me in your life
A7 Dm7
I can't read your mind
You say that you need to be alone
Cmaj7
But night and day
Dm7
Want me at your beck and call, you'll say
Cmaj7
You know that you might be crossin' the line
A7 Dm7
Wastin' all our time
To think that we could be casual
Cmaj7
You're not my friend
And baby you never were
Dm7
Why the fuss
Cmaj7
If you say you just wanna be mine
A7 Dm7
I can't read your mind
You say that you need to be alone
Cmaj7
But night and day
Dm7
Want me at your beck and call, you'll say
Cmaj7
You know that you might be crossin' the line
A7 Dm7
I can't read your mind
You say that you need to be alone
Cmaj7
But night and day
Dm7
Want me at your beck and call, you'll say
Cmaj7
You know that you might be crossin' the line
A7 Dm7
Wastin' all our time
To think that we could be casual
Cmaj7
You're not my friend
And baby you never were
Dm7
Why the fuss?
Cmaj7
If you say you just wanna be mine
A7 Dm7
I can't read your mind
Cmaj7 A7 Dm7
Ha, oh, oh, oh, mm hmm
End of song Play again?
Sabrina Carpenter - Read your Mind Tabs
NotesX
Harmony analysis
Sabrina Carpenter – Read your Mind: key and chord analysis
The song opens on Dm7 and ends on Dm7. 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 | — |
| bII7 | A7 | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | A · C# · E · G | 11× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | — |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | — |
| IIImaj7 | Cmaj7 | Chromatic colour chordoutside the key | C · E · G · B | 27× |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | — |
| #iv7 | Dm7 | Chromatic colour chordoutside the key | D · F · A · C | 26× |
| #iv | Dm | Chromatic colour chordoutside the key | D · F · A | 6× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | — |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | — |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | — |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | — |
| #III7 | A7 | Chromatic colour chordoutside the key | A · C# · E · G | 11× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | — |
| 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 | 27× |
| VI | Db | Submediant — warm colour | Db · F · Ab | — |
| #vi7 | Dm7 | Chromatic colour chordoutside the key | D · F · A · C | 26× |
| #vi | Dm | Chromatic colour chordoutside the key | D · F · A | 6× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | — |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 4 different chords appear 70 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. A7 is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- A7 Dm7 AbbII7 → #iv7secondary resolution Fm#III7 → #vi7 ×11
The move to watch is A7 → Dm7, heard 11 times. From the Fm side it is #III7 → #vi7; from the Ab side it reads bII7 → #iv7 (secondary resolution: A7 resolves a fourth up to Dm7). 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 Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over A7, land on A, C#, E — 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 A7, follow the chord's notes (A · C# · E · G) 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 Dm7; the ear learns where home is within a second. Cmaj7, Dm7, A7, Dm carry the song: IIImaj7–#iv7–bII7–#iv relative to Ab, Vmaj7–#vi7–#III7–#vi 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 A7 → Dm7 (bII7 → #iv7 in Ab, #III7 → #vi7 in Fm): secondary resolution — A7 resolves a fourth up to Dm7. It closes on Dm7, letting the Ab 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 - Read your Mind 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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