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 - Where Were You In The Morning - Chord
Key G major – E minor Chords Bm7, Cmaj7, Am7, D Easy key C (capo 7)
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Key: G | Em
Capo: 0
Am7 Bm7 Cmaj7 Cmaj7 Bm7
Am7 Bm7 Cmaj7
You said, "I wanna get to know ya"
Cmaj7 Bm7
Why you gotta get my hopes up
Am7 Bm7 Cmaj7
You said that you were staying over
Cmaj7 Bm7
But then I woke up to the cold air
Am7 Bm7 Cmaj7
How could you make me believe
Cmaj7 Bm7 D
That there was something in between you and me, yeah
Am7 Bm7 Cmaj7
I look around and I don't see you
Am7 Bm7 Cmaj7
Where were you in the morning, baby
Cmaj7 Bm7 Am7 Bm7 Cmaj7
You didn't leave your number for me
Cmaj7 Bm7 Am7 Bm7 Cmaj7
Left me without a warning, baby
Cmaj7 Bm7 Am7 Bm7 Cmaj7
Where were you in the morning, baby
Am7 Bm7 Cmaj7
How do you, how do you just walk away
Cmaj7 Bm7 Am7 Bm7 Cmaj7
How do you, how do you just walk away
Bm7 Cmaj7
Am7 Bm7 Cmaj7
And I thought you really felt this
Cmaj7 Bm7
When we were talking about breakfast
Am7 Bm7 Cmaj7
You made it seem like we connected
Cmaj7 Bm7
I guess I just didn't expect this
Am7 Bm7 Cmaj7
How could you make me believe
Cmaj7 Bm7
That there was something in between you and me, yeah
Am7 Bm7 Cmaj7
I look around and I don't see you
Am7 Bm7 Cmaj7
Where were you in the morning, baby
Cmaj7 Bm7 Am7 Bm7 Cmaj7
You didn't leave your number for me
Cmaj7 Bm7 Am7 Bm7 Cmaj7
Left me without a warning, baby
Cmaj7 Bm7 Am7 Bm7 Cmaj7
Where were you in the morning, baby
C7M. Bm7
How do you, how do you just walk away
Am7 Bm7 Cmaj7
Where were, where were you
Cmaj7 Bm7
How do you, how do you just walk away
Am7 Bm7 Cmaj7
Where were, where were you
Am7 Bm7
And I hope you had a good reason
Cmaj7
'Cause I know you had a good time
Am7 Bm7
And I'm looking up at the ceiling
Cmaj7
And I keep wondering why
Am7 Bm7 Cmaj7
Where were you in the morning, baby
Cmaj7 Bm7 Am7 Bm7 Cmaj7
You didn't leave your number for me
Cmaj7 Bm7 Am7 Bm7 Cmaj7
Left me without a warning, baby
Cmaj7 Bm7 Am7 Bm7 Cmaj7
I said, where were you in the morning baby
Cmaj7 Bm7
How do you, how do you just walk away
Am7 Bm7 Cmaj7
Where were, where were you
Cmaj7 Bm7
How do you, how do you just walk away
Am7 Bm7 Cmaj7
Where were, where were you
C7M. Bm7
How do you, how do you just walk away
Am7 Bm7 Cmaj7
Where were, where were you
Cmaj7 Bm7
How do you, how do you just walk away
Am7 Bm7 Cmaj7
Where were, where were you
End of song Play again?
Shawn Mendes - Where Were You In The Morning Tabs
NotesX
Harmony analysis
Shawn Mendes – Where Were You In The Morning: key and chord analysis
The song opens on Am7 and ends on Cmaj7. 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: we can't honestly pick a side here — the song moves freely between G major and E minor. Try reading the chords both ways and see which feels more like home to you.
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 | — |
| ii7 | Am7 | Supertonic — prepares the dominant | A · C · E · G | 31× |
| iii7 | Bm7 | Mediant — a tonic-family shade | B · D · F# · A | 53× |
| III | B | Chromatic colour chordoutside the key | B · D# · F# | — |
| IVmaj7 | Cmaj7 | Subdominant — moves away from home | C · E · G · B | 53× |
| V | D | Dominant — strongest pull home | D · F# · A | 1× |
| 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 | — |
| iv7 | Am7 | Subdominant — moves away from home | A · C · E · G | 31× |
| v7 | Bm7 | Minor dominant — soft pull | B · D · F# · A | 53× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VImaj7 | Cmaj7 | Submediant — warm colour | C · E · G · B | 53× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 1× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 4 different chords appear 138 times in total; 4 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
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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 Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over Cmaj7, land on C, E, G — the chord's own tones always sound right on strong beats.
- Over Am7, land on A, C, E — 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
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
The first chord is Am7; the ear learns where home is within a second. The chords that keep coming back are Bm7, Cmaj7, Am7, D; read them as iii7–IVmaj7–ii7–V in G or v7–VImaj7–iv7–VII in Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. It closes on Cmaj7, letting the G 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.
Shawn Mendes - Where Were You In The Morning 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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