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)
Sam Smith - Too Good At Goodbyes - Chord
Key F major – D minor Chords Dm, F, C, Gm Easy key G
No ratings yet
or your user informations
Make it yours
Text size
Key: F | Dm
Capo: 0
Dm F
You must think that I'm stupid
C Gm
You must think that I'm a fool
Dm F
You must think that I'm new to this
C Gm
But I have seen this all before
Dm
I'm never gonna let you close to me
F
Even though you mean the most to me
C Gm
Cause every time I open up, it hurts
Dm
So I'm never gonna get too close to you
F
Even when I mean the most to you
C Gm
In case you go and leave me in the dirt
Dm F
Every time you hurt me, the less that I cry
C Gm
And every time you leave me, the quicker these tears dry
Dm F
And every time you walk out, the less I love you
C Gm
Baby, we don't stand a chance, it's sad but it's true
Dm F
I'm way too good at goodbyes (I'm way too good at goodbyes)
C Gm
I'm way too good at goodbyes (I'm way too good at goodbyes)
Dm F
I know you're thinking I'm heartless
C Gm
I know you're thinking I'm cold
Dm F
I'm just protecting my innocence
C Gm
I'm just protecting my soul
Dm
I'm never gonna let you close to me
F
Even though you mean the most to me
C Gm
Cause every time I open up, it hurts
Dm
So I'm never gonna get too close to you
F
Even when I mean the most to you
C Gm
In case you go and leave me in the dirt
Dm F
Every time you hurt me, the less that I cry
C Gm
And every time you leave me, the quicker these tears dry
Dm F
And every time you walk out, the less I love you
C Gm
Baby, we don't stand a chance, it's sad but it's true
Dm F
I'm way too good at goodbyes (I'm way too good at goodbyes)
C Gm
I'm way too good at goodbyes (I'm way too good at goodbyes)
Dm F
No way that you'll see me cry (No way that you'll see me cry)
C Gm
I'm way too good at goodbyes (I'm way too good at goodbyes)
Dm F
No, no, no, no, no (I'm way too good at goodbyes)
C Gm
No, no, no, no, no, no, no (I'm way too good at goodbyes)
Dm F
(No way that you'll see me cry)
C Gm
(I'm way too good at goodbyes)
Dm F
Every time you hurt me, the less that I cry
C Gm
And every time you leave me, the quicker these tears dry
Dm F
And every time you walk out, the less I love you
C Gm
Baby, we don't stand a chance, it's sad but it's true
End of song Play again?
Sam Smith - Too Good At Goodbyes Tabs
NotesX
Harmony analysis
Sam Smith – Too Good At Goodbyes: key and chord analysis
The song opens on Dm and ends on Gm. Its chords belong to both F major and Dm, so every chord below is read both ways.
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: to us the song feels closer to the D minor side because it opens on Dm. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | F | Tonic — home | F · A · C | 19× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 19× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | — |
| V | C | Dominant — strongest pull home | C · E · G | 19× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 19× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 19× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | 19× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 19× |
| 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 | 19× |
Analysis
The key pair is F major and its relative D minor (1 flat). 4 different chords appear 76 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
- Gm Dm Fii → vi Dmiv → iminor plagal ×18
The move to watch is Gm → Dm, heard 18 times. From the Dm side it is iv → i (minor plagal: deep and melancholic); from the F side it reads ii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
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 Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over F, land on F, A, C — 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.
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
- 2 semitones up
- 5 semitones down · capo 5 keeps the original pitch
The song's harmonic story
The first chord is Dm; the ear learns where home is within a second. The chords that keep coming back are Dm, F, C, Gm; read them as vi–I–V–ii in F or i–III–VII–iv in Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gm → Dm (ii → vi in F, iv → i in Dm): minor plagal — deep and melancholic. Ending on Gm, the song seals F 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.
Sam Smith - Too Good At Goodbyes 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.
Repertoires with this song
Similar songs, ready to play: pick a list.
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.