Tame Impala - Mind Mischief - Chord

Key F major – D minor Chords Gb, Abm, Ebm, Db Easy key F#

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Capo 0

Abm                  Gb
Feels like my life is ready to blow
Abm                  Gb
Me and my love we'll take it slow
Abm                  Gb
I hope she knows that I'll love her long
Abm                  Gb
I just don't know where the hell I belong

Abm                  Gb
How optimism led me astray
Abm                  Gb
Two hundred things I took the wrong way
Abm                  Gb
But I saw her love gauge running low
Abm                  Gb
I tried to fill but it overflowed

Abm                  Gb
Feels like my life is ready to blow
Abm                  Gb
Me and my love we'll take it slow
Abm                  Gb
I hope she knows that I'll love her long
Abm                  Gb
I just don't know where the hell I belong

Abm                  Gb
She remembers my name
Abm                  Gb
Could be blown way out
Abm                  Gb
It's all going to change
Abm                  Gb
She remembers my name

Ebm   Db         Ebm         Db         
But she was only messing around,
Ebm   Db         Ebm         Db   
Please, no more playing with my heart
Ebm   Db         Ebm         Db   
Ooh, go with Mr. Right just for once
Ebm   Db         Ebm         Db   
Oooh, no more mischief with my mind

Ebm   Db         Ebm         Db   
Then it all just came out
Ebm   Db         Ebm         Db   
Guess I'll hold it in next time

Abm                  Gb
No more getting it wrong
Abm                  Gb
I'll be frozen here on
Abm                  Gb
If forever we'll see,
Abm                  Gb
But no more guessing for me

Ebm   Db         Ebm         Db 
Oh, I was just so sure of everything
Ebm   Db         Ebm         Db 
Ooh, that's what you get for dreaming aloud

     Ebm            Db
Then it all just came out
            Ebm         Db
Guess I'll hold it now on
Ebm  Db                         Ebm       Gb
Ooh, the day that words are clearer to me

(If forever we'll see / But no more guessing for me)

End of song Play again?

Tame Impala - Mind Mischief Tabs

NotesX

Harmony analysis

Tame Impala – Mind Mischief: key and chord analysis

The song opens on Abm and ends on Gb. Its chords belong to both F major and Dm, so every chord below is read both ways.

Major view

F major

Brightness rank 2/7 (bright)

Characteristic notes

7 = E (leading tone, pulls home)
4 = Bb (the note that leans on the 3rd)

Minor view

D minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Bb (the minor's melancholy)
b7 = C (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 F major and D 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 F or to Dm; 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.

Seen from F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	—
bII	Gb	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	Gb · Bb · Db	21×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	—
biii	Abm	Chromatic colour chordoutside the key	Ab · Cb · Eb	20×
iii	Am	Mediant — a tonic-family shade	A · C · E	—
III	A	Chromatic colour chordoutside the key	A · C# · E	—
IV	Bb	Subdominant — moves away from home	Bb · D · F	—
V	C	Dominant — strongest pull home	C · E · G	—
bVI	Db	Borrowed from the parallel minorborrowed chord	Db · F · Ab	19×
vi	Dm	Relative minor — the melancholy side	D · F · A	—
bvii	Ebm	Chromatic colour chordoutside the key	Eb · Gb · Bb	20×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	—
bii	Ebm	Chromatic colour chordoutside the key	Eb · Gb · Bb	20×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	—
#III	Gb	Chromatic colour chordoutside the key	Gb · Bb · Db	21×
iv	Gm	Subdominant — moves away from home	G · Bb · D	—
#iv	Abm	Chromatic colour chordoutside the key	Ab · Cb · Eb	20×
v	Am	Minor dominant — soft pull	A · C · E	—
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VI	Bb	Submediant — warm colour	Bb · D · F	—
VII	C	Subtonic — steps back to the tonic	C · E · G	—
#VII	Db	Chromatic colour chordoutside the key	Db · F · Ab	19×

Analysis

The key pair is F major and its relative D minor (1 flat). 4 different chords appear 80 times in total; 0 of them sit naturally inside the shared scale. Gb, Db are borrowed from the parallel minor, adding a darker shade to the major side.

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

F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
Over Gb, land on Gb, Bb, Db — the chord's own tones always sound right on strong beats.
Over Abm, land on Ab, Cb, Eb — the chord's own tones always sound right on strong beats.
Over Ebm, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
On Gb, follow the chord's notes (Gb · Bb · Db) 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 F major shapes

Capo 1 + E shapes
Capo 3 + D shapes
Capo 5 + C shapes

With D minor shapes

No capo — open Dm shapes
Capo 5 + Am shapes

Easiest keys on guitar

1 semitone up
6 semitones up · capo 6 keeps the original pitch

The song's harmonic story

The first chord is Abm; the ear learns where home is within a second. The backbone is Gb, Abm, Ebm, Db — bII–biii–bvii–bVI from the F side, #III–#iv–bii–#VII from the Dm side. Gb briefly darkens the picture: neapolitan bii — a dark, dramatic colour a half step above the tonic. It closes on Gb, letting the F 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.