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)
Sabrina Carpenter - Already Over - Chord
Key A major – F# minor Chords Gmaj7, Dmaj7, Bm, A, D, G Easy key D (capo 7)
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Key: A | Gbm | F#m
Capo: 0
Gmaj7 Dmaj7
Gmaj7
We been talkin' for hours
Dmaj7
'Bout how we shouldn't talk for hours on end
Gmaj7
Kissin' after a conversation
Dmaj7
About how we'd probably be better off as friends
Gmaj7
Same time here next weekend
Dmaj7
Say we won't do this again
Gmaj7 Dmaj7
Make me fall where I stand
Only like you can
Gmaj7
I say I'm done, but I'm still confused
Dmaj7
How am I supposed to close the door
When I still need the closure?
Gmaj7
And I change my mind, but it's still on you
Dmaj7
How am I supposed to leave you
Now that you're already over
Gmaj7
Selfishly, don't wanna give you
Dmaj7
Time to be on someone else's lips
Gmaj7
But I'll take three short hours over three long weeks
Dmaj7
Pretendin' like we don't exist, hmm
Gmaj7
Same time here next weekend
Dmaj7
Say we won't do this again
Gmaj7 Dmaj7
Make me fall where I stand
Only like you can
Gmaj7
I say I'm done, but I'm still confused
Dmaj7
How am I supposed to close the door
When I still need the closure?
Gmaj7
And I change my mind, but it's still on you
Dmaj7
How am I supposed to leave you
Now that you're already over
Bm A Gmaj7 D Bm
After the aftermath, I know you'll be comin' back
A Gmaj7 D Bm
To the back bedroom, and it won't be the last
A G D Bm
Of the aftermath, I know you'll be comin' back
A Gmaj7 D G
To the back bedroom, and it won't be the last time
Gmaj7
I say I'm done, but I'm still confused
Dmaj7
How am I supposed to close the door
When I still need the closure?
Gmaj7
And I change my mind, but it's still on you
Dmaj7
How am I supposed to leave you
Now that you're already over
Gmaj7
Yeah, I like my bed, but it likes you too
Bm A
How am I supposed to leave you
Gmaj7
Now that you're already over
End of song Play again?
Sabrina Carpenter - Already Over Tabs
NotesX
Harmony analysis
Sabrina Carpenter – Already Over: key and chord analysis
The song opens on Gmaj7 and ends on Gmaj7. 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 A is heard 5 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 | 5× |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | 5× |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | — |
| III | C# | Chromatic colour chordoutside the key | C# · E# · G# | — |
| IVmaj7 | Dmaj7 | Subdominant — moves away from home | D · F# · A · C# | 15× |
| IV | D | Subdominant — moves away from home | D · F# · A | 4× |
| V | E | Dominant — strongest pull home | E · G# · B | — |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | — |
| bVIImaj7 | Gmaj7 | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | G · B · D · F# | 20× |
| bVII | G | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | G · B · D | 2× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | — |
| bIImaj7 | Gmaj7 | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | G · B · D · F# | 20× |
| bII | G | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | G · B · D | 2× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | 5× |
| iv | Bm | Subdominant — moves away from home | B · D · F# | 5× |
| 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# | — |
| VImaj7 | Dmaj7 | Submediant — warm colour | D · F# · A · C# | 15× |
| VI | D | Submediant — warm colour | D · F# · A | 4× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | — |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 6 different chords appear 51 times in total; 4 of them sit naturally inside the shared scale. Gmaj7, G are borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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 Gmaj7, land on G, B, D — the chord's own tones always sound right on strong beats.
- Over Dmaj7, land on D, F#, A — 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.
- On Gmaj7, follow the chord's notes (G · B · D · F#) 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 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
- 5 semitones up · capo 7 keeps the original pitch
- 5 semitones down · capo 5 keeps the original pitch
The song's harmonic story
The first chord is Gmaj7; the ear learns where home is within a second. The chords that keep coming back are Gmaj7, Dmaj7, Bm, A; read them as bVIImaj7–IVmaj7–ii–I in A or bIImaj7–VImaj7–iv–III in F#m. Gmaj7 briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). It closes on Gmaj7, 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.
Sabrina Carpenter - Already Over 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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