Shawn Mendes - Lost In Japan - Chord

Key Bb major – G minor Chords Bm7, Amaj7, Dmaj7, Gbm7, Dbm7, Bm7/E, Dbm/F# Easy key C#

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Capo 0

Amaj7  Bm7  Dbm/F#  Dmaj7

Amaj7
    All it takes is one flight
Bm7
    We'd be in the same timezone
Gbm7
     Looking through your timeline
Dmaj7                          Amaj7
    Seeing all the rainbows, I

I got an idea
Bm7
    And I know that it sounds crazy
Gbm7
     I just wanna see ya
Dmaj7    Dbm7  Bm7
Oh, I gotta  ask

             Amaj7
Do you got plans tonight
       Bm7
I'm a couple hundred miles 
        Gbm7
From Japan, and I
        Dmaj7
I was thinking I could fly 
           Amaj7
To your hotel tonight
       Bm7                     Gbm7
'Cause I can't get you off my mind
                
Can't get you off my mind
 Dmaj7          Dbm7    Bm7
Can't get you off my mind 

Amaj7
    I could feel the tension
Bm7
    We could cut it with a knife
Gbm7
I know it's more than just a friendship
Dmaj7
I can hear you thinking about it, yeah

Amaj7
    Do I gotta convince you
Bm7
    That you shouldn't fall asleep
Gbm7
     It'll only be a couple hours
    Dmaj7   Dbm7    Bm7
And I'm about to leave

             Amaj7
Do you got plans tonight
       Bm7
I'm a couple hundred miles 
        Gbm7
From Japan, and I
        Dmaj7
I was thinking I could fly 
           Amaj7
To your hotel tonight
       Bm7                     Gbm7
'Cause I can't get you off my mind
                
Can't get you off my mind
 Dmaj7          Dbm7    Bm7
Can't get you off my mind

             Amaj7
Do you got plans tonight
       Bm7
I was hoping 
                          Gbm7
I could get lost in your paradise
    Dmaj7
The only thing 
                       Amaj7
I'm thinking 'bout is you and I
       Bm7                     Gbm7
'Cause I can't get you off my mind

Can't get you off my mind
Dmaj7      Dbm7    Bm7    Bm7/E   Amaj7
I can't seem to get you off my mind

                  Bm7
Let's get lost tonight
                  Gbm7
Let's get lost tonight , baby you and
Dmaj7      Dbm7    Bm7    Bm7/E   Amaj7
I can't seem to get you off my mind
                  Bm7
Let's get lost tonight
                  Gbm7
Let's get lost tonight, baby you and
Dmaj7      Dbm7    Bm7    Bm7/E   Amaj7
I can't seem to get you off my mind
     Bm7   Gbm7  Dmaj7  Dbm7  Bm7
Oh ohoh  ohoh  ohoh

             Amaj7
Do you got plans tonight
       Bm7
I'm a couple hundred miles 
        Gbm7
From Japan, and I
        Dmaj7
I was thinking I could fly 
           Amaj7
To your hotel tonight
       Bm7                     Gbm7
'Cause I can't get you off my mind
   Dmaj7          Dbm7    Bm7
I can't get you off my mind

             Amaj7
Do you got plans tonight, baby
       Bm7
I was hoping 
                          Gbm7
I could get lost in your paradise
    Dmaj7
The only thing 
                       Amaj7
I'm thinking 'bout is you and I
    Bm7                     Gbm7
And I can't get you off my mind

Can't get you off my mind
Dmaj7      Dbm7    Bm7    Bm7/E   Amaj7
I can't seem to get you off my mind 

                  Bm7
Let's get lost tonight
                  Gbm7
Let's get lost tonight , baby you and
Dmaj7      Dbm7    Bm7    Bm7/E   Amaj7
I can't seem to get you off my mind
                  Bm7
Let's get lost tonight
                  Gbm7
Let's get lost tonight, baby you and
Dmaj7      Dbm7    Bm7    
I can't seem to get you off my mind

End of song Play again?

Shawn Mendes - Lost In Japan Tabs

NotesX

Harmony analysis

Shawn Mendes – Lost In Japan: key and chord analysis

The song opens on Amaj7 and ends on Bm7. 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 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	—
bii7	Bm7	Chromatic colour chordoutside the key	B · D · F# · A	32×
bii7	Bm7/E	Chromatic colour chordoutside the key	B · D · F# · A	5×
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	—
biii7	Dbm7	Chromatic colour chordoutside the key	Db · Fb · Ab · Cb	12×
biii	Dbm/F#	Chromatic colour chordoutside the key	Db · Fb · Ab	1×
iii	Dm	Mediant — a tonic-family shade	D · F · A	—
IIImaj7	Dmaj7	Chromatic colour chordoutside the key	D · F# · A · C#	20×
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	—
V	F	Dominant — strongest pull home	F · A · C	—
bvi7	Gbm7	Chromatic colour chordoutside the key	Gb · A · Db · Fb	19×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	—
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—
V/iii	Amaj7	Secondary dominant V/iii — leads to Dmsecondary dominant	A · C# · E · G#	20×

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	—
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
V/v	Amaj7	Secondary dominant V/v — leads to Dmsecondary dominant	A · C# · E · G#	20×
III	Bb	Relative major — the bright side	Bb · D · F	—
#iii7	Bm7	Chromatic colour chordoutside the key	B · D · F# · A	32×
#iii7	Bm7/E	Chromatic colour chordoutside the key	B · D · F# · A	5×
iv	Cm	Subdominant — moves away from home	C · Eb · G	—
#iv7	Dbm7	Chromatic colour chordoutside the key	Db · Fb · Ab · Cb	12×
#iv	Dbm/F#	Chromatic colour chordoutside the key	Db · Fb · Ab	1×
v	Dm	Minor dominant — soft pull	D · F · A	—
Vmaj7	Dmaj7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A · C#	20×
VI	Eb	Submediant — warm colour	Eb · G · Bb	—
VII	F	Subtonic — steps back to the tonic	F · A · C	—
#vii7	Gbm7	Chromatic colour chordoutside the key	Gb · A · Db · Fb	19×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 7 different chords appear 109 times in total; 0 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. Amaj7 acts as a secondary dominant, briefly pointing at another chord of the key.

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

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 Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
Over Amaj7, land on A, C#, E — 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.
When Dmaj7 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 up
2 semitones down · capo 2 keeps the original pitch

The song's harmonic story

Starting on Amaj7, the song gives away its key from the very first bar. The chords that keep coming back are Bm7, Amaj7, Dmaj7, Gbm7; read them as bii7–V/iii–IIImaj7–bvi7 in Bb or #iii7–V/v–Vmaj7–#vii7 in Gm. Amaj7 is the interesting twist: in Bb it is a chromatic chord (V/iii), while in Gm it becomes the dominant (V/v) that makes the minor side sound so determined. The final chord is Bm7; 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.