Major view
A major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G# (leading tone, pulls home)
- 4 = D (the note that leans on the 3rd)
Meghan Trainor - All About That Bass - Chord
Key A major – F# minor Chords A, Bm, E, D Easy key G (capo 2)
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Key: A | Gbm | F#m
Capo: 0
A
Because you know I'm all about that bass
'Bout that bass 'bout that bass, no treble
Bm
I'm all 'bout that bass, 'bout that bass, no treble
E
I'm all 'bout that bass, 'bout that bass, no treble
A
I'm all 'bout that bass, 'bout that bass
A
Yeah it's pretty clear, I ain't no size 2
Bm
But I can shake it, shake it like I'm supposed to do
E
'Cause I got that boom boom that all the boys chase
A
All the right junk in all the right places
A
I see the magazines working that Photoshop
Bm
We know that shit ain't real
Bm
Come on now, make it stop
E
If you got beauty beauty just raise 'em up
A
From the bottom to the top
A Bm
Yeah, my momma she told me don't worry about your size
E A
She says, boys they like a little more booty to hold at night
A Bm
You know I won't be no stick figure silicone Barbie doll
E
So, if that's what's you're into
A
Then go ahead and move along
A
Because you know I'm all about that bass
'Bout that bass 'bout that bass, no treble
Bm
I'm all 'bout that bass, 'bout that bass, no treble
E
I'm all 'bout that bass, 'bout that bass, no treble
A
I'm all 'bout that bass, 'bout that bass
A
I'm bringing booty back
Bm
Go ahead and tell them skinny bitches Hey!
E
No, I'm just playing I know you think you're fat
But I'm here to tell you that
A
Every inch of you is perfect from the bottom to the top!
A Bm
Yeah, my momma she told me don't worry about your size
E A
She says, boys they like a little more booty to hold at night
A Bm
You know I won't be no stick figure silicone Barbie doll,
E
So, if that's what's you're into
D A
Then go ahead and move along!
A
Because you know I'm all about that bass
'Bout that bass 'bout that bass, no treble
Bm
I'm all 'bout that bass, 'bout that bass, no treble
E
I'm all 'bout that bass, 'bout that bass, no treble
A
I'm all 'bout that bass, 'bout that bass
End of song Play again?
Meghan Trainor - All About That Bass Tabs
NotesX
Harmony analysis
Meghan Trainor – All About That Bass: key and chord analysis
The song opens on A and ends on A. Its chords belong to both A major and F#m, so every chord below is read both ways.
Minor view
F# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = D (the minor's melancholy)
- b7 = E (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the A major side because it both starts and finishes on A and A is heard 20 times while F#m never appears. That is an interpretation, not a rule — hearing the same chords from F# minor is just as valid and teaches you something different.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to A or to F#m; 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 | A | Tonic — home | A · C# · E | 20× |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | 11× |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | — |
| III | C# | Chromatic colour chordoutside the key | C# · E# · G# | — |
| IV | D | Subdominant — moves away from home | D · F# · A | 1× |
| V | E | Dominant — strongest pull home | E · G# · B | 10× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | — |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | — |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | 20× |
| iv | Bm | Subdominant — moves away from home | B · D · F# | 11× |
| v | C#m | Minor dominant — soft pull | C# · E · G# | — |
| V | C# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# | — |
| VI | D | Submediant — warm colour | D · F# · A | 1× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | 10× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 4 different chords appear 42 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
- Bm E Aii → Vii → V F#miv → VII ×10
- E A AV → Iauthentic cadence F#mVII → III ×9
- D A AIV → Iplagal cadence F#mVI → III ×1
The move to watch is Bm → E, heard 10 times. From the A side it reads ii → V (ii → V: the classic preparation of the dominant); from the F#m side it is iv → VII. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- A major pentatonic and F# minor pentatonic are the same five notes (A – B – C# – E – F#): start from A for a brighter phrase, from F# for a bluesier one.
- Over A, land on A, C#, E — the chord's own tones always sound right on strong beats.
- Over Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over E, land on E, G#, B — 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 A major shapes
- No capo — open A shapes
- Capo 2 + G shapes
- Capo 5 + E shapes
With F# minor shapes
- Capo 2 + Em shapes
- Capo 4 + Dm shapes
Easiest keys on guitar
- 2 semitones down · capo 2 keeps the original pitch
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
The first chord is A; the ear learns where home is within a second. The chords that keep coming back are A, Bm, E, D; read them as I–ii–V–IV in A or III–iv–VII–VI in F#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bm → E (ii → V in A, iv → VII in F#m): ii → V — the classic preparation of the dominant. It closes on A, letting the A 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.
Meghan Trainor - All About That Bass 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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