Major view
Eb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = D (leading tone, pulls home)
- 4 = Ab (the note that leans on the 3rd)
Bruno Mars - Nothing On You - Chord
Key Eb major – C minor Chords Ebmaj7, Cm7, Dm7, F, Bbmaj7 Easy key F
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Key: Eb | Cm
Capo: 0
Ebmaj7
If I told you I was perfect I'd be lying
Cm7
If there's somethin I'm not doing, girl I'm trying
Dm7
I know I'm no angel
F
But I'm not so bad
Ebmaj7
If you see me at the party conversating
Cm7
That does not mean telephone numbers are exchanging
Dm7
I know I'm no angel
F
But I'm not so bad
Ebmaj7
You should know there's beautiful girls all over the world
Cm7
I could be chasing, but my time would be wasted
Dm7
They got nothin' on you, baby
F
Nothin' on you baby
Ebmaj7
They might say hi and I might say hey
Cm7
But you shouldn't worry about what they say
Dm7
Cause they got nothin' on you, baby
F
Nothin' on you, baby
Ebmaj7 Dm7 Cm7
Yeah
Bbmaj7
They got nothin' on you
End of song Play again?
Bruno Mars - Nothing On You Tabs
NotesX
Harmony analysis
Bruno Mars – Nothing On You: key and chord analysis
The song opens on Ebmaj7 and ends on Bbmaj7. Its chords belong to both Eb major and Cm, so every chord below is read both ways.
Minor view
C minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Ab (the minor's melancholy)
- b7 = Bb (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the Eb major side because it opens on Eb. That is an interpretation, not a rule — hearing the same chords from C minor is just as valid and teaches you something different.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to Eb or to Cm; 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 |
|---|---|---|---|---|
| Imaj7 | Ebmaj7 | Tonic — home | Eb · G · Bb · D | 5× |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | — |
| V/V | F | Secondary dominant V/V — leads to Bbsecondary dominant | F · A · C | 4× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | — |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | — |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | — |
| Vmaj7 | Bbmaj7 | Chromatic colour chordoutside the key | Bb · D · F · A | 1× |
| vi7 | Cm7 | Relative minor — the melancholy side | C · Eb · G · Bb | 5× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| vii7 | Dm7 | Chromatic colour chordoutside the key | D · F · A · C | 5× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Cm7 | Tonic — home | C · Eb · G · Bb | 5× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| ii7 | Dm7 | Chromatic colour chordoutside the key | D · F · A · C | 5× |
| IIImaj7 | Ebmaj7 | Relative major — the bright side | Eb · G · Bb · D | 5× |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | — |
| IV | F | Major IV — Dorian / melodic-minor colourmodal colour | F · A · C | 4× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | — |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | — |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | — |
| V/III | Bbmaj7 | Secondary dominant V/III — leads to Ebsecondary dominant | Bb · D · F · A | 1× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 20 times in total; 2 of them sit naturally inside the shared scale. F, Bbmaj7 act as secondary dominants, briefly pointing at another chord of the key.
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
- Eb major pentatonic and C minor pentatonic are the same five notes (Eb – F – G – Bb – C): start from Eb for a brighter phrase, from C for a bluesier one.
- Over Ebmaj7, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
- Over Cm7, land on C, Eb, 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.
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 Eb major shapes
- Capo 1 + D shapes
- Capo 3 + C shapes
- Capo 6 + A shapes
With C minor shapes
- Capo 3 + Am shapes
Easiest keys on guitar
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The first chord is Ebmaj7; the ear learns where home is within a second. The backbone is Ebmaj7, Cm7, Dm7, F — Imaj7–vi7–vii7–V/V from the Eb side, IIImaj7–i7–ii7–IV from the Cm side. F adds a moment of surprise: secondary dominant V/V — leads to Bb. The final chord is Bbmaj7; the ear comes to rest in Eb.
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.
Bruno Mars - Nothing On You 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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