Major view
G major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F# (leading tone, pulls home)
- 4 = C (the note that leans on the 3rd)
Shawn Mendes - Isn't That Enough - Chord
Key G major – E minor Chords C, G, G/B, Am7, D Difficulty already in its easiest key
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Key: G | Em
Capo: 0
C G/B Am7 C G/B Am7 C G/B Am7 G Sweet is the sun C G/B Am7 G Warm is the rain C G/B Am7 G June is the month C G/B Am7 Free is the day G C My hands still shaking G C My mind’s still racing G D My heart’s still breaking in two G C I’m still changing G C My friends stay patient G D My mother still calls for the news C G/B Am7 Isn’t that enough C G/B Am7 Isn’t that enough C G/B Am7 Isn’t that enough C G/B Am7 G Gone are the birds C G/B Am7 G Close are the tears C G/B Am7 G A house full of love C G/B Am7 Space for your fears G C My hands still shaking G C My mind’s still racing G D My heart’s still breaking in two G C I’m still changing G C My friends stay patient G D My mother still calls for the news C G/B Am7 Isn’t that enough C G/B Am7 Isn’t that enough C G/B Am7 Isn’t that enough G C G C G C G
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Shawn Mendes - Isn't That Enough Tabs
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Harmony analysis
Shawn Mendes – Isn't That Enough: key and chord analysis
The song opens on C and ends on G. Its chords belong to both G major and Em, so every chord below is read both ways.
Minor view
E minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = C (the minor's melancholy)
- b7 = D (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the G major side because it comes to rest on G and G is heard 38 times while Em never appears. That is an interpretation, not a rule — hearing the same chords from E minor is just as valid and teaches you something different.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to G or to Em; 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 | G | Tonic — home | G · B · D | 22× |
| I | G/B | Tonic — home | G · B · D | 16× |
| ii7 | Am7 | Supertonic — prepares the dominant | A · C · E · G | 16× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| III | B | Chromatic colour chordoutside the key | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | 27× |
| V | D | Dominant — strongest pull home | D · F# · A | 4× |
| vi | Em | Relative minor — the melancholy side | E · G · B | — |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | — |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 22× |
| III | G/B | Relative major — the bright side | G · B · D | 16× |
| iv7 | Am7 | Subdominant — moves away from home | A · C · E · G | 16× |
| v | Bm | Minor dominant — soft pull | B · D · F# | — |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | 27× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 4× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 85 times in total; 5 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- C G/B GIV → Iplagal cadence EmVI → III ×16
- C G GIV → Iplagal cadence EmVI → III ×11
- D G GV → Iauthentic cadence EmVII → III ×2
The move to watch is C → G/B, heard 16 times. From the G side it reads IV → I (plagal cadence: the soft 'amen' ending); from the Em side it is VI → III. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- G major pentatonic and E minor pentatonic are the same five notes (G – A – B – D – E): start from G for a brighter phrase, from E 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 G/B, land on G, B, D — 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 G major shapes
- No capo — open G shapes
- Capo 3 + E shapes
- Capo 5 + D shapes
With E minor shapes
- No capo — open Em shapes
- Capo 2 + Dm shapes
- Capo 7 + Am 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, G/B, Am7; read them as IV–I–I–ii7 in G or VI–III–III–iv7 in Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C → G/B (IV → I in G, VI → III in Em): plagal cadence — the soft 'amen' ending. Ending on G, the song seals G 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.
Shawn Mendes - Isn't That Enough 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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