Major view
B major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A# (leading tone, pulls home)
- 4 = E (the note that leans on the 3rd)
Sabrina Carpenter - How Many Things - Chord
Key B major – G# minor Chords C, G, Em, B7, D, A7, Am, D7 Difficulty already in its easiest key
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Key: B | Abm | G#m
Capo: 0
C
You used a fork once
G
It turns out forks are fucking everywhere
Em
There's no hiding from the thought of us
A7
I got ways to find you anywhere
C
We sat on the roof once
G
Conversation took us everywhere
Em
And we talked until the sun came up
A7
I wish we stayed just like we were up there
Am
I consider you, I'm not trying to
It doesn't matter whether or not I want to
D7
I can't help it, it's a habit
Your corner in my mind is well established
G B7
Ah, I, I wonder how many things you think about
C
Before you get to me
C
I wonder how many things you wanna do
G
You think I'm in between
Em
I feel myself falling further down your priorities
D
And I still make excuses for you constantly
B7
I wonder how many things you think about
C G
Before, before you get to me
C
Remember when you left once
G
That never made too much sense to me
Em
Well, it hurt you so bad hurting me
A7
You really came to me for sympathy
Am
Oh, I consider you, and I'm not trying to
It doesn't matter whether or not I want to
D7
I can't help it, it's a habit
Your corner in my mind is well established
G B7
Ah, I, I wonder how many things you think about
C
Before you get to me
C
I wonder how many things you wanna do
G
You think I'm in between
Em
I feel myself falling further down your priorities
D
And I still make excuses for you constantly
B7
I wonder how many things you think about
C G
Before, before you get to me
C D
Am I not even a second thought
I wonder how many things you think about
C
Before you get to me
C
I wonder how many things you wanna do
G
You think I'm in between
Em
I feel myself falling further down your priorities
D
And I still make excuses for you constantly
B7
I wonder how many things you think about
C G
Before, before you get to me
Wonder how many things
End of song Play again?
Sabrina Carpenter - How Many Things Tabs
NotesX
Harmony analysis
Sabrina Carpenter – How Many Things: key and chord analysis
The song opens on C and ends on G. Its chords belong to both B major and G#m, so every chord below is read both ways.
Minor view
G# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = E (the minor's melancholy)
- b7 = F# (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the B major side because B is heard 5 times while G#m never appears. That is an interpretation, not a rule — hearing the same chords from G# minor is just as valid and teaches you something different.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to B or to G#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 |
|---|---|---|---|---|
| V7/IV | B7 | Secondary dominant V/IV — leads to Esecondary dominant | B · D# · F# · A | 5× |
| bII | C | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | C · E · G | 13× |
| ii | C#m | Supertonic — prepares the dominant | C# · E · G# | — |
| bIII | D | Borrowed from the parallel minorborrowed chord | D · F# · A | 4× |
| bIII7 | D7 | Borrowed from the parallel minorborrowed chord | D · F# · A · C | 2× |
| iii | D#m | Mediant — a tonic-family shade | D# · F# · A# | — |
| III | D# | Chromatic colour chordoutside the key | D# · G · A# | — |
| IV | E | Subdominant — moves away from home | E · G# · B | — |
| iv | Em | Minor iv — borrowed from the parallel minorborrowed chord | E · G · B | 6× |
| V | F# | Dominant — strongest pull home | F# · A# · C# | — |
| bVI | G | Borrowed from the parallel minorborrowed chord | G · B · D | 11× |
| vi | G#m | Relative minor — the melancholy side | G# · B · D# | — |
| bVII7 | A7 | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | A · C# · E · G | 3× |
| bvii | Am | Chromatic colour chordoutside the key | A · C · E | 2× |
| vii° | A#dim | Leading-tone chord — tension | A# · C# · E | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | G#m | Tonic — home | G# · B · D# | — |
| bII7 | A7 | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | A · C# · E · G | 3× |
| bii | Am | Chromatic colour chordoutside the key | A · C · E | 2× |
| ii° | A#dim | Supertonic — prepares the dominant | A# · C# · E | — |
| V7/VI | B7 | Secondary dominant V/VI — leads to Esecondary dominant | B · D# · F# · A | 5× |
| #III | C | Chromatic colour chordoutside the key | C · E · G | 13× |
| iv | C#m | Subdominant — moves away from home | C# · E · G# | — |
| #IV | D | Chromatic colour chordoutside the key | D · F# · A | 4× |
| #IV7 | D7 | Chromatic colour chordoutside the key | D · F# · A · C | 2× |
| v | D#m | Minor dominant — soft pull | D# · F# · A# | — |
| V | D# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D# · G · A# | — |
| VI | E | Submediant — warm colour | E · G# · B | — |
| vi | Em | Chromatic colour chordoutside the key | E · G · B | 6× |
| VII | F# | Subtonic — steps back to the tonic | F# · A# · C# | — |
| #VII | G | Chromatic colour chordoutside the key | G · B · D | 11× |
Analysis
The key pair is B major and its relative G# minor (5 sharps). 8 different chords appear 46 times in total; 0 of them sit naturally inside the shared scale. B7 acts as a secondary dominant, briefly pointing at another chord of the key. C, G, Em, D, A7, D7 are borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- D7 G BbIII7 → bVIsecondary resolution G#m#IV7 → #VII ×2
The move to watch is D7 → G, heard 2 times. From the B side it reads bIII7 → bVI (secondary resolution: D7 resolves a fourth up to G); from the G#m side it is #IV7 → #VII. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- B major pentatonic and G# minor pentatonic are the same five notes (B – C# – D# – F# – G#): start from B for a brighter phrase, from G# for a bluesier one.
- Over C, land on C, E, G — the chord's own tones always sound right on strong beats.
- Over G, land on G, B, D — 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.
- On C, follow the chord's notes (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 B major shapes
- Capo 2 + A shapes
- Capo 4 + G shapes
- Capo 7 + E shapes
With G# minor shapes
- Capo 4 + Em shapes
- Capo 6 + 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 C; the ear learns where home is within a second. The chords that keep coming back are C, G, Em, B7; read them as bII–bVI–iv–V7/IV in B or #III–#VII–vi–V7/VI in G#m. B7 adds a moment of surprise: secondary dominant V/IV — leads to E. Keep an ear on D7 → G (bIII7 → bVI in B, #IV7 → #VII in G#m): secondary resolution — D7 resolves a fourth up to G. The final chord is G; the ear comes to rest in B.
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 - How Many Things 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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