Sabrina Carpenter - Opposite - Chord

Key C major – A minor Chords C, Fmaj7, G, Fm, Dm Easy key A (capo 3)

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Capo 0

Fmaj7  C

              Fmaj7
Oh, so you do have a type, and it's not me

Oh, so you can reply, just to not me
                C
If you wanted brown eyes, I could've got contacts
                Fmaj7
So y'all are in Paris now, guess it's public

Face like that other girl you're in love with
                 C
You knew I would see that

You knew I would notice

                  Fmaj7
She looks nothing like me
                          Fm
Can't really tell, should I be
                   C
Tryna take it as a compliment
                              G
It's kinda feelin' like the opposite
                  Fmaj7
She looks nothing like me
                      Fm
So why do you look so happy
                      C
Now I think I get the cause of it
                                   G
You were holdin' out to find the opposite

      Fmaj7
And I know now

Even if I try to change
     C
That somehow
      G
You'd end up with her anyway
      Fmaj7
Oh, I know now

Even if I try to change
     C
That somehow
      G
You'd end up with her anyway

             Fmaj7
Does she say nothin', so you feel good

Does she step out the spotlight, so you bathe in it
                   C
Does she get up on top of you, more than I would

Does she just love the picture 'cause you're paintin' it? 
             Dm
I care but I don't, just wonderin' when you 
         G
Said I'm beautiful, was I bein' lied to

                  Fmaj7
She looks nothing like me
                          Fm
Can't really tell, should I be
                   C
Tryna take it as a compliment
                              G
It's kinda feelin' like the opposite
                  Fmaj7
She looks nothing like me
                      Fm
So why do you look so happy
                      C
Now I think I get the cause of it
                                   G
You were holdin' out to find the opposite

      Fmaj7
And I know now

Even if I try to change
     C
That somehow
      G
You'd end up with her anyway 
      Fmaj7
Oh, I know now

Even if I try to change
     C
That somehow
      G
You'd end up with her anyway 

                   C
End up with her anyway

End of song Play again?

Sabrina Carpenter - Opposite Tabs

NotesX

Harmony analysis

Sabrina Carpenter – Opposite: key and chord analysis

The song opens on Fmaj7 and ends on C. Its chords belong to both C major and Am, so every chord below is read both ways.

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)

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 C major side because it comes to rest on C and C is heard 13 times while Am never appears. That is an interpretation, not a rule — hearing the same chords from A minor is just as valid and teaches you something different.

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.

Seen from C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	13×
ii	Dm	Supertonic — prepares the dominant	D · F · A	1×
iii	Em	Mediant — a tonic-family shade	E · G · B	—
III	E	Chromatic colour chordoutside the key	E · G# · B	—
IVmaj7	Fmaj7	Subdominant — moves away from home	F · A · C · E	12×
iv	Fm	Minor iv — borrowed from the parallel minorborrowed chord	F · Ab · C	4×
V	G	Dominant — strongest pull home	G · B · D	9×
vi	Am	Relative minor — the melancholy side	A · C · E	—
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	—
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	13×
iv	Dm	Subdominant — moves away from home	D · F · A	1×
v	Em	Minor dominant — soft pull	E · G · B	—
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×
vi	Fm	Chromatic colour chordoutside the key	F · Ab · C	4×
VII	G	Subtonic — steps back to the tonic	G · B · D	9×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 39 times in total; 4 of them sit naturally inside the shared scale. Fm is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Fmaj7 C CIVmaj7 → Iplagal cadence AmVImaj7 → III ×8
Fm C Civ → Iminor plagal Amvi → III ×4
G C CV → Iauthentic cadence AmVII → III ×1
Dm G Cii → Vii → V Amiv → VII ×1

The move to watch is Fmaj7 → C, heard 8 times. From the C side it reads IVmaj7 → I (plagal cadence: the soft 'amen' ending); from the Am side it is VImaj7 → III. 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 C, 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.
Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
On Fm, follow the chord's notes (F · Ab · C) rather than the key's scale — it's a borrowed colour.

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

3 semitones down · capo 3 keeps the original pitch
5 semitones down · capo 5 keeps the original pitch

The song's harmonic story

The opening Fmaj7 lays a solid floor for everything that follows. C, Fmaj7, G, Fm carry the song: I–IVmaj7–V–iv relative to C, III–VImaj7–VII–vi relative to Am. Fm briefly darkens the picture: minor iv — borrowed from the parallel minor. Keep an ear on Fmaj7 → C (IVmaj7 → I in C, VImaj7 → III in Am): plagal cadence — the soft 'amen' ending. It closes on C, 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.