AnnenMayKantereit - Nicht Nichts - Chord

Key Bb major – G minor Chords Gm, D, Cm7, Eb, Bb, Dm, F Easy key C

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Capo 0

Gm  Cm7  Eb  D
 
     Gm                           Cm7
Ich lieg' seit Tagen in meinem Bett und hab' nichts zu tun
     Eb                                     D
Und nach dem Aufstehen fang' ich an, mich auszuruhen
     Gm                           Cm7
Und ich überlege oft, ob ich dir schreibe
     Eb                                   D
Und ärger' mich, weil ich immer liegen bleibe
 
      Gm                           Cm7
Jetzt   fehlt mir so viel, was mir wegen dir gefiel
               Eb
Ich schrei' zu Haus gegen die Wand
            D
Und draußen stumm in mich hinein
             Gm
Und manchmal denk' ich
             Cm7
Und manchmal denk' ich
           Eb                           F
Ich müsste wieder mit dir zusammen sein
 
Bb                  Dm
  Nicht nichts ohne dich
     Gm
Aber weniger, viel weniger für mich
Bb                  Dm
  Nicht nichts ohne dich
     Gm            D
Aber weniger, viel weniger für mich

Gm  Cm7  Eb  D

Gm                                Cm7
  Und dann hör' ich mir die Kommentare meiner Freunde an
Eb                         D
  Weil ja jeder was dazu sagen kann
     Gm                      Cm7
Aber eigentlich will ich das alles gar nicht hör'n
                Eb                D
Weil mich diese Ratschläge stör'n
 
          Gm                         Cm7
Und jetzt fehlt mir so viel, was mir wegen dir gefiel
               Eb
Ich schrei' zu Haus gegen die Wand
            D
Und draußen stumm in mich hinein
             Gm
Und manchmal denk' ich
             Cm7
Und manchmal denk' ich
            Eb                    D
Wir müssten wieder zusammen sein
 
Bb                  Dm
  Nicht nichts ohne dich
     Gm
Aber weniger, viel weniger für mich
Bb                  Dm
  Nicht nichts ohne dich
     Gm            D
Aber weniger, viel weniger für mich

                  Bb
Nicht nichts ohne dich
Dm                 Gm
  Aber weniger für mich
Bb                 Dm
  Nicht nichts ohne dich
     Gm
Aber weniger, viel weniger für mich
 
Bb                 Dm
  Nicht nichts ohne dich
     Gm
Aber weniger, viel weniger für mich

              Cm7                                       Eb
Und dann lieg' ich wieder in mei'm Bett und hab' nix zu tun
                     D
Und du schreibst mir, dass du nichts mehr von mir hören willst
   Gm                                          Cm7
Und dann denk' ich, ich hab dir nie alles gesagt
     Eb                  D
Aber immerhin nicht nichts

End of song Play again?

AnnenMayKantereit - Nicht Nichts Tabs

NotesX

Harmony analysis

AnnenMayKantereit – Nicht Nichts: key and chord analysis

The song opens on Gm and ends on D. Its chords belong to both Bb major and Gm, so every chord below is read both ways.

Major view

Bb major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

G minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Eb (the minor's melancholy)
b7 = F (natural-minor colour)
#7 = F# (harmonic-minor leading tone from the V chord)

Which side does the ear lean to?

Our reading: to us the song feels closer to the G minor side because it opens on Gm, Gm is heard 18 times against 7 for Bb and the major V chord points straight at Gm. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 Bb or to Gm; 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 Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	7×
ii7	Cm7	Supertonic — prepares the dominant	C · Eb · G · Bb	12×
iii	Dm	Mediant — a tonic-family shade	D · F · A	7×
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	13×
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	12×
V	F	Dominant — strongest pull home	F · A · C	1×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	18×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	18×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	7×
iv7	Cm7	Subdominant — moves away from home	C · Eb · G · Bb	12×
v	Dm	Minor dominant — soft pull	D · F · A	7×
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	13×
VI	Eb	Submediant — warm colour	Eb · G · Bb	12×
VII	F	Subtonic — steps back to the tonic	F · A · C	1×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 7 different chords appear 70 times in total; 6 of them sit naturally inside the shared scale. The major V of Gm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Bb, the same D is V/vi, a secondary dominant heading for Gm.

Chord movement

D Gm BbV/vi → vi GmV → iharmonic-minor cadence ×10
Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×7
F Bb BbV → Iauthentic cadence GmVII → III ×1
Eb F BbIV → VIV → V GmVI → VIIVI → VII ×1

The move to watch is D → Gm, heard 10 times. From the Gm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the Bb side it reads V/vi → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over D, land on D, F#, A — 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.
When D comes, swap the scale's F for F#: that single note is the harmonic-minor sound of the chord.

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 Bb major shapes

Capo 1 + A shapes
Capo 3 + G shapes
Capo 6 + E shapes

With G minor shapes

Capo 3 + Em shapes
Capo 5 + Dm shapes

Easiest keys on guitar

2 semitones up
3 semitones down · capo 3 keeps the original pitch

The song's harmonic story

Starting on Gm, the song gives away its key from the very first bar. The chords that keep coming back are Gm, D, Cm7, Eb; read them as vi–V/vi–ii7–IV in Bb or i–V–iv7–VI in Gm. D is the interesting twist: in Bb it is a chromatic chord (V/vi), while in Gm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on D → Gm (V/vi → vi in Bb, V → i in Gm): harmonic-minor cadence — the major V resolves dramatically. It closes on D, letting the Bb 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.