Bruno Mars - Nothing On You - Chord

Key Eb major – C minor Chords Ebmaj7, Cm7, Dm7, F, Bbmaj7 Easy key F

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Ebmaj7
If I told you I was perfect I'd be lying
            Cm7
If there's somethin I'm not doing, girl I'm trying
               Dm7 
I know I'm no angel
                 F  
But I'm not so bad

       Ebmaj7
If you see me at the party conversating
               Cm7
That does not mean telephone numbers are exchanging
               Dm7  
I know I'm no angel
                 F  
But I'm not so bad

                                   Ebmaj7
You should know there's beautiful girls all over the world
            Cm7
I could be chasing, but my time would be wasted 
                    Dm7
They got nothin' on you, baby
            F  
Nothin' on you baby

              Ebmaj7
They might say hi and I might say hey
                   Cm7
But you shouldn't worry about what they say
                          Dm7
Cause they got nothin' on you, baby
            F
Nothin' on you, baby
      Ebmaj7  Dm7  Cm7 
Yeah 
                         Bbmaj7
They got nothin' on you

End of song Play again?

Bruno Mars - Nothing On You Tabs

NotesX

Harmony analysis

Bruno Mars – Nothing On You: key and chord analysis

The song opens on Ebmaj7 and ends on Bbmaj7. Its chords belong to both Eb major and Cm, so every chord below is read both ways.

Major view

Eb major

Brightness rank 2/7 (bright)

Characteristic notes

7 = D (leading tone, pulls home)
4 = Ab (the note that leans on the 3rd)

Minor view

C minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Ab (the minor's melancholy)
b7 = Bb (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the Eb major side because it opens on Eb. That is an interpretation, not a rule — hearing the same chords from C minor is just as valid and teaches you something different.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to Eb or to Cm; 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 Eb major
Degree	Chord	Role	Notes	In song
Imaj7	Ebmaj7	Tonic — home	Eb · G · Bb · D	5×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	—
V/V	F	Secondary dominant V/V — leads to Bbsecondary dominant	F · A · C	4×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	—
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	—
Vmaj7	Bbmaj7	Chromatic colour chordoutside the key	Bb · D · F · A	1×
vi7	Cm7	Relative minor — the melancholy side	C · Eb · G · Bb	5×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—
vii7	Dm7	Chromatic colour chordoutside the key	D · F · A · C	5×

Seen from C minor
Degree	Chord	Role	Notes	In song
i7	Cm7	Tonic — home	C · Eb · G · Bb	5×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
ii7	Dm7	Chromatic colour chordoutside the key	D · F · A · C	5×
IIImaj7	Ebmaj7	Relative major — the bright side	Eb · G · Bb · D	5×
iv	Fm	Subdominant — moves away from home	F · Ab · C	—
IV	F	Major IV — Dorian / melodic-minor colourmodal colour	F · A · C	4×
v	Gm	Minor dominant — soft pull	G · Bb · D	—
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	—
V/III	Bbmaj7	Secondary dominant V/III — leads to Ebsecondary dominant	Bb · D · F · A	1×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 20 times in total; 2 of them sit naturally inside the shared scale. F, Bbmaj7 act as secondary dominants, 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

Eb major pentatonic and C minor pentatonic are the same five notes (Eb – F – G – Bb – C): start from Eb for a brighter phrase, from C for a bluesier one.
Over Ebmaj7, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
Over Cm7, land on C, Eb, G — the chord's own tones always sound right on strong beats.
Over Dm7, land on D, F, A — 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 Eb major shapes

Capo 1 + D shapes
Capo 3 + C shapes
Capo 6 + A shapes

With C minor shapes

Capo 3 + Am shapes

Easiest keys on guitar

2 semitones up
3 semitones down · capo 3 keeps the original pitch

The song's harmonic story

The first chord is Ebmaj7; the ear learns where home is within a second. The backbone is Ebmaj7, Cm7, Dm7, F — Imaj7–vi7–vii7–V/V from the Eb side, IIImaj7–i7–ii7–IV from the Cm side. F adds a moment of surprise: secondary dominant V/V — leads to Bb. The final chord is Bbmaj7; the ear comes to rest in Eb.

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.