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)
Taylor Swift - No Body No Crime (Haim) - Chord
Key Bb major – G minor Chords Gm, Cm, F, Eb, Bb, Dm, D7 Easy key G (capo 3)
No ratings yet
or your user informations
Make it yours
Text size
Key: Bb | Gm
Capo: 0
Gm
He did it, he did it
Gm Eb F Cm Gm Eb F Cm
Gm Eb
Este's a friend of mine
F Cm Gm
We meet up every Tuesday night for dinner and a glass of wine
Eb
Este's been losin' sleep
F Cm Gm
Her husband's actin' different, and it smells like infidelity
Bb F
She says, "That ain't my merlot on his mouth
Cm Gm
That ain't my jewelry on our joint account"
Bb F
No, there ain't no doubt
I think I'm gonna call him out
Gm Cm Eb F Gm
She says, "I think he did it, but I just can't prove it"
Cm Eb F Gm
I think he did it, but I just can't prove it
Cm Bb F Gm
I think he did it, but I just can't prove it
Cm
No, no body, no crime
F Gm
But I ain't lettin' up until the day I die
Eb F Cm
No, no
Gm
I think he did it
Eb F Cm
No, no he did it
Gm Eb F
Este wasn't there Tuesday night at Olive Gardеn
Cm Gm
At her job or anywhere
Eb
Hе reports his missing wife
F
And I noticed when I passed his house
Cm Gm
His truck has got some brand new tires
Bb F
And his mistress moved in
Cm Gm
Sleeps in Este's bed and everything
Bb F
No, there ain't no doubt
Somebody's gotta catch him out, 'cause
Gm Cm Eb F Gm
I think he did it, but I just can't prove it
Cm Eb F Gm
I think he did it, but I just can't prove it
Cm Bb F Gm
I think he did it, but I just can't prove it
Cm
No, no body, no crime
F Gm
But I ain't lettin' up until the day I die
Eb F Cm
No, no
Gm
I think he did it
Eb F Cm
No, no he did it
Cm Gm
Good thing my daddy made me get a boating license when I was fifteen
Cm Gm
And I've cleaned enough houses to know how to cover up a scene
Dm Gm
Good thing Este's sister's gonna swear she was with me (She was with me, dude)
Cm D7
Good thing his mistress took out a big life insurance policy
Gm Cm Eb F Gm
They think she did it, but they just can't prove it
Cm Eb F Gm
They think she did it, but they just can't prove it
Cm Bb F Gm
She thinks I did it, but she just can't prove it
Cm
No, no body, no crime
Eb F Gm
I wasn't lettin' up until the day he
Cm
No, no body, no crime
Eb F Gm
I wasn't lettin' up until the day he
Cm
No, no body, no crime
F
I wasn't lettin' up until the day he died
End of song Play again?
Taylor Swift - No Body No Crime (Haim) Tabs
NotesX
Harmony analysis
Taylor Swift – No Body No Crime (Haim): key and chord analysis
The song opens on Gm and ends on F. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
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 32 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Bb | Tonic — home | Bb · D · F | 7× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 29× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 1× |
| V7/vi | D7 | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A · C | 1× |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 18× |
| V | F | Dominant — strongest pull home | F · A · C | 28× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 32× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 32× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | 7× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 29× |
| v | Dm | Minor dominant — soft pull | D · F · A | 1× |
| V7 | D7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A · C | 1× |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 18× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 28× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 7 different chords appear 116 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 D7 is V7/vi, a secondary dominant heading for Gm.
Chord movement
- Eb F BbIV → VIV → V GmVI → VIIVI → VII ×18
- F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×15
- Cm Gm Bbii → vi Gmiv → iminor plagal ×13
- Cm F Bbii → Vii → V Gmiv → VII ×3
- D7 Gm BbV7/vi → visecondary resolution GmV7 → iharmonic-minor cadence ×1
- Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×1
The move to watch is Eb → F, heard 18 times. From the Gm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Bb side it reads IV → V (IV → V: the lift that builds tension before home). 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 Cm, land on C, Eb, G — 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.
- When D7 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
- 3 semitones down · capo 3 keeps the original pitch
- 2 semitones up
The song's harmonic story
The opening Gm lays a solid floor for everything that follows. Gm, Cm, F, Eb carry the song: vi–ii–V–IV relative to Bb, i–iv–VII–VI relative to Gm. D7 is the interesting twist: in Bb it is a chromatic chord (V7/vi), while in Gm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Eb → F (IV → V in Bb, VI → VII in Gm): VI → VII — the rising step that heads for the tonic. The final chord is F; the ear comes to rest in Bb.
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.
Taylor Swift - No Body No Crime (Haim) 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.