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)
Shawn Mendes - Senorita (Camila Cabello) - Chord
Key C major – A minor Chords Am, Cmaj7, Fmaj7, G, Em7 Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Am Am Cmaj7 Cmaj7 Fmaj7 Fmaj7 Em7 G
Am
I love it when you call me señorita
Cmaj7
I wish I could pretend I didn't need ya
Fmaj7
But every touch is ooh la la la
It's true, la la la
Em7
Oh, I should be runnin'
G
Oh, you keep me coming for ya
Am
Late in Miami
Cmaj7
The air was hot from summer rains
Sweat drippin' off me
Fmaj7
Before I even knew her name, la la la
Em7 G
It felt like ooh la la la, yeah no
Am
Sapphire and moonlight, we danced for hours in the sand
Cmaj7 Fmaj7
Tequila sunrise, her body fit right in my hands, ooh la la la
Em7 G
It felt like ooh la la la, yeah
Am
I love it when you call me señorita
Cmaj7
I wish I could pretend I didn't need ya
Fmaj7
But every touch is ooh la la la
It's true, la la la
Em7
Oh, I should be runnin'
G
Oh, you keep me coming for ya
Am
You know I love it when you call me señorita
Cmaj7
I wish it wasn't so damn hard to leave ya
Fmaj7
But every touch is ooh la la la
It's true, la la la
Em7
Oh, I should be runnin'
G
Oh, you keep me coming for ya
Am
Locked in the hotel, there's
Cmaj7
Just somethings that never change
You say we're just friends
Fmaj7
But friends don't know the way you taste
Em7
God knows it's been a long time coming
G
Don't ya let me fall, ooh
Am
Hooked on your lips, undress me
Cmaj7
Hooked on your tongue
G
Ooh, love your kiss is deadly, don't stop
Am
I love it when you call me señorita
Cmaj7
I wish I could pretend I didn't need ya
Fmaj7
But every touch is ooh la la la
It's true, la la la
Em7
Oh, I should be runnin'
G
Oh, you keep me coming for ya
Am
You know I love it when you call me señorita
Cmaj7
I wish it wasn't so damn hard to leave ya
Fmaj7
But every touch is ooh la la la
It's true, la la la
Em7
Oh, I should be runnin'
G
Oh, you keep me coming for ya
Am Cmaj7
All along I've been coming for ya (for you)
Fmaj7
And I hope it means something to you
Em7
Call my name, I'll be coming for ya
G
Calling for ya
Am
For ya
Cmaj7
For ya (Ooh, she loves it when I come)
Fmaj7
For ya
Em7
Oh, I should be runnin'
G
Oh, you keep me coming for ya
End of song Play again?
Shawn Mendes - Senorita (Camila Cabello) Tabs
NotesX
Harmony analysis
Shawn Mendes – Senorita (Camila Cabello): key and chord analysis
The song opens on Am and ends on G. 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 opens on Am. 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 |
|---|---|---|---|---|
| Imaj7 | Cmaj7 | Tonic — home | C · E · G · B | 13× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | — |
| iii7 | Em7 | Mediant — a tonic-family shade | E · G · B · D | 11× |
| 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 | 12× |
| V | G | Dominant — strongest pull home | G · B · D | 12× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 13× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 13× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| IIImaj7 | Cmaj7 | Relative major — the bright side | C · E · G · B | 13× |
| iv | Dm | Subdominant — moves away from home | D · F · A | — |
| v7 | Em7 | Minor dominant — soft pull | E · G · B · D | 11× |
| 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 | 12× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 12× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 61 times in total; 5 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
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×11
The move to watch is G → Am, heard 11 times. From the Am side it is VII → i (Aeolian arrival: rises a whole tone into home); from the C side it reads V → vi (deceptive cadence: expected C, lands on Am). 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 Am, land on A, C, E — 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 Fmaj7, land on F, A, C — 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 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
The song is already written in its easiest key for guitar.
The song's harmonic story
Starting on Am, the song gives away its key from the very first bar. The backbone is Am, Cmaj7, Fmaj7, G — vi–Imaj7–IVmaj7–V from the C side, i–IIImaj7–VImaj7–VII from the Am side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G → Am (V → vi in C, VII → i in Am): Aeolian arrival — rises a whole tone into home. It closes on G, letting the C 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 - Senorita (Camila Cabello) 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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