Major view
C major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = B (leading tone, pulls home)
- 4 = F (the note that leans on the 3rd)
Justin Timberlake - Can`t Stop The Feeling - Chord
Key C major – A minor Chords Am7, C, Fmaj7, Bb/C, Ab/Bb, Bb, Fm7 Easy key G (capo 5)
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Key: C | Am
Capo: 0
C Am7 Fmaj7 Am7
C Am7
I got this feeling inside my bones
Fmaj7 Am7
It goes electric, wavy when I turn it on
C Am7
All through my city, all through my home
Fmaj7
We're flying up, no ceiling
Am7
When we in our zone
C
I got that sunshine in my pocket
Am7
Got that good song in my feet
Fmaj7
I feel that hot blood in my body
Am7
When it drops, oooh
C
I can't take my eyes up off it
Am7
Moving so phenomenally
Fmaj7
Room on lock the way we rock it
Am7
So don't stop
Bb/C C
And under the lights when everything goes
Bb/C C
Nowhere to hide when I'm getting you close
Ab/Bb Bb
When we move, well, you already know
Fm7
So just imagine, just imagine, Just imagine
C
Nothing I can see but you
Am7
When you dance, dance, dance
Fmaj7
Feeling good, good, creeping up on you
Am7
So just dance, dance, dance, come on
C
All those things I shouldn't do
Am7
But you dance, dance, dance
Fmaj7
And ain't nobody leaving soon
Am7
So keep dancing
C
I can't stop the feeling
Am7
So just dance, dance, dance
Fmaj7
I can't stop the feeling
Am7
So just dance, dance, dance, come on
Repete a Primeira Parte:
C Am7
Ooh, it's something magical
Fmaj7
It's in the air, it's in my blood
Am7
It's rushing on
C Am7
I don't need no reason, don't need control
Fmaj7
I fly so high, no ceiling
Am7
When I'm in my zone
C
I got that sunshine in my pocket
Am7
Got that good song in my feet
Fmaj7
I feel that hot blood in my body
Am7
When it drops, oooh
C
I can't take my eyes up off it
Am7
Moving so phenomenally
Fmaj7
Room on lock the way we rock it
Am7
So don't stop
Bb/C C
And under the lights when everything goes
Bb/C C
Nowhere to hide when I'm getting you close
Ab/Bb Bb
When we move, well, you already know
Fm7
So just imagine, just imagine, Just imagine
C
Nothing I can see but you
Am7
When you dance, dance, dance
Fmaj7
Feeling good, good, creeping up on you
Am7
So just dance, dance, dance, come on
C
All those things I shouldn't do
Am7
But you dance, dance, dance
Fmaj7
And ain't nobody leaving soon
Am7
So keep dancing
C
I can't stop the feeling
Am7
So just dance, dance, dance
Fmaj7
I can't stop the feeling
Am7
So just dance, dance, dance, come on
C
I can't stop the feeling
Am7
So just dance, dance, dance
Fmaj7
I can't stop the feeling
Am7
So keep dancing, come on
C Am7
Oh
Fmaj7 Am7
I can't stop the
C Am7
I can't stop the
Fmaj7 Am7
I can't stop the
I can't stop the
C
Nothing I can see but you
Am7
When you dance, dance, dance
Fmaj7
Feeling good, good, creeping up on you
Am7
So just dance, dance, dance, come on
C
All those things I shouldn't do
Am7
But you dance, dance, dance
Fmaj7
And ain't nobody leaving soon
Am7
So keep dancing, everybody sing
C
I can't stop the feeling
Am7
Got this feeling in my body
Fmaj7
I can't stop the feeling
Am7
Got this feeling in my body
C
I can't stop the feeling
Am7
Wanna see you move your body
Fmaj7
I can't stop the feeling
Am7
Got this feeling in my body
Got this feeling in my body, come on
End of song Play again?
Justin Timberlake - Can`t Stop The Feeling Tabs
NotesX
Harmony analysis
Justin Timberlake – Can`t Stop The Feeling: key and chord analysis
The song opens on C and ends on Am7. Its chords belong to both C major and Am, so every chord below is read both ways.
Minor view
A minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = F (the minor's melancholy)
- b7 = G (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the A minor side because it comes to rest on Am, it opens on C and Am is heard 44 times against 26 for C. That is an interpretation, not a rule — the same chords are just as valid seen from C major, and switching between the two views is exactly where the practice value lies.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to C or to Am; 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 | C | Tonic — home | C · E · G | 26× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | — |
| iii | Em | Mediant — a tonic-family shade | E · G · B | — |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IVmaj7 | Fmaj7 | Subdominant — moves away from home | F · A · C · E | 22× |
| iv7 | Fm7 | Minor iv — borrowed from the parallel minorborrowed chord | F · Ab · C · Eb | 2× |
| V | G | Dominant — strongest pull home | G · B · D | — |
| bVI | Ab/Bb | Borrowed from the parallel minorborrowed chord | Ab · C · Eb | 2× |
| vi7 | Am7 | Relative minor — the melancholy side | A · C · E · G | 44× |
| bVII | Bb/C | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | Bb · D · F | 4× |
| bVII | Bb | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | Bb · D · F | 2× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Am7 | Tonic — home | A · C · E · G | 44× |
| bII | Bb/C | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | Bb · D · F | 4× |
| bII | Bb | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | Bb · D · F | 2× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | 26× |
| iv | Dm | Subdominant — moves away from home | D · F · A | — |
| v | Em | Minor dominant — soft pull | E · G · B | — |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VImaj7 | Fmaj7 | Submediant — warm colour | F · A · C · E | 22× |
| vi7 | Fm7 | Chromatic colour chordoutside the key | F · Ab · C · Eb | 2× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | — |
| #VII | Ab/Bb | Chromatic colour chordoutside the key | Ab · C · Eb | 2× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 7 different chords appear 102 times in total; 3 of them sit naturally inside the shared scale. Bb/C, Ab/Bb, Bb, Fm7 are borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- Fmaj7 Am7 CIVmaj7 → vi7 AmVImaj7 → i7VI → i ×22
- Bb/C C CbVII → IbVII → I AmbII → III ×4
- Fm7 C Civ7 → Iminor plagal Amvi7 → III ×2
The move to watch is Fmaj7 → Am7, heard 22 times. From the Am side it is VImaj7 → i7 (VI → i: falls a half step into home); from the C side it reads IVmaj7 → vi7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
- Over Am7, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over C, land on C, E, G — the chord's own tones always sound right on strong beats.
- Over Fmaj7, land on F, A, C — the chord's own tones always sound right on strong beats.
- On Bb/C, follow the chord's notes (Bb · D · F) 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 C major shapes
- No capo — open C shapes
- Capo 3 + A shapes
- Capo 5 + G shapes
With A minor shapes
- No capo — open Am shapes
- Capo 5 + Em shapes
- Capo 7 + Dm shapes
Easiest keys on guitar
- 5 semitones down · capo 5 keeps the original pitch
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The first chord is C; the ear learns where home is within a second. The backbone is Am7, C, Fmaj7, Bb/C — vi7–I–IVmaj7–bVII from the C side, i7–III–VImaj7–bII from the Am side. Bb/C briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on Fmaj7 → Am7 (IVmaj7 → vi7 in C, VImaj7 → i7 in Am): VI → i — falls a half step into home. It closes on Am7, letting the Am 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.
Justin Timberlake - Can`t Stop The Feeling 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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