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)
Mariah Carey - Obsessed - Chord
Key Eb major – C minor Chords Cm, Ab, Bb, Fm, Eb, G Easy key G
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Key: Eb | Cm
Capo: 0
Ab Cm Ab Cm Bb Fm Eb G
Ab
So oh oh oh oh
Cm
So oh oh oh oh
Ab
So oh oh oh oh
Cm
So oh oh oh oh
Bb
Will the real MC please, step to the mike
Ab
So oh oh oh oh
Cm
So oh oh oh oh
Fm Eb
So oh oh oh oh
G
So oh oh oh oh
Ab
All up in the blogs
Saying we met at the bar
Cm
When I don't even know who you are
Ab
Saying we up in your house
Saying I'm up in your car
Cm Bb
But you in LA and I'm out at Jermaine's.
Ab
I'm up in the a you so so lame
Cm
and no one here even mentions your name
Fm Eb
It must be the weed. It must be the
G
Cause you be popping hood
Ab
You get it popping, Oh
Cm Ab
Why you so obsessed with me (Boy I wanna know)
Cm Bb Ab
Lying that you're sexing me (when everybody knows)
Cm
It's clear that you're upset with me
Fm Eb
Finally found a girl that you couldn't impress
G
Last man on the earth still couldn't hit this
Ab
You're delusional, you're delusional
Cm
Boy you're losing your mind
Ab
It's confusing yo, you're confused you know
Cm Bb
Why you wasting your time
Ab
Got you all fired up with your Napoleon complex
Cm Fm Eb G
Seeing right through you like you're bathing in Windex
Ab
Boy why you so obsessed with me
Cm Ab Cm Bb Ab Cm Fm Eb G
Ab
You on your job
You hating hard
Cm
Ain't gon' feed you
I'm gonna let you starve
Ab
Gasping for air
I'm ventilation
Cm
You out of breath
Bb
Hope you ain't waiting
Ab
Telling the world how much you miss me
Cm
But we never were
So why you trippin'
Fm
You a mom and pop
Eb
I'm a corporation
G
I'm the press conference
Ab
and you a conversation
Cm Ab
Why you so obsessed with me (Boy I wanna know)
Cm Bb Ab
Lying that you're sexing me (when everybody knows)
Cm
It's clear that you're upset with me
Fm Eb
Finally found a girl that you couldn't impress
G
Last man on the earth still couldn't hit this
Ab
You're delusional, you're delusional
Cm
Boy you're losing your mind
Ab
It's confusing yo, you're confused you know
Cm Bb
Why you wasting your time
Ab
Got you all fired up with your Napoleon complex
Cm Fm Eb G
Seeing right through you like you're bathing in Windex
Ab
Boy why you so obsessed with me
Cm Ab Cm Bb Ab Cm Fm Eb G
Cm Ab
Why you so obsessed with me (Boy I wanna know)
Cm Bb Ab
Lying that you're sexing me (when everybody knows)
Cm
It's clear that you're upset with me
Fm Eb
Finally found a girl that you couldn't impress
G
Last man on the earth still couldn't hit this
Ab
You're delusional, you're delusional
Cm
Boy you're losing your mind
Ab
It's confusing yo, you're confused you know
Cm Bb
Why you wasting your time
Ab
Got you all fired up with your Napoleon complex
Cm Fm Eb G
Seeing right through you like you're bathing in Windex
Ab
Boy why you so obsessed with me
Cm Ab Cm Bb Ab Cm Fm Eb G
End of song Play again?
Mariah Carey - Obsessed Tabs
NotesX
Harmony analysis
Mariah Carey – Obsessed: key and chord analysis
The song opens on Ab and ends on G. Its chords belong to both Eb major and Cm, so every chord below is read both ways.
Minor view
C minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Ab (the minor's melancholy)
- b7 = Bb (natural-minor colour)
- #7 = B (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 C minor side because Cm is heard 38 times against 13 for Eb and the major V chord points straight at Cm. That is an interpretation, not a rule — the same chords are just as valid seen from Eb 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 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Eb | Tonic — home | Eb · G · Bb | 13× |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | 13× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | — |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | 13× |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | 37× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 13× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 38× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 38× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | 13× |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | 13× |
| 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 | 13× |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | 37× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 13× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 127 times in total; 5 of them sit naturally inside the shared scale. The major V of Cm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Eb, the same G is V/vi, a secondary dominant heading for Cm.
Chord movement
- Ab Cm EbIV → vi CmVI → iVI → i ×37
- G Cm EbV/vi → vi CmV → iharmonic-minor cadence ×1
The move to watch is Ab → Cm, heard 37 times. From the Cm side it is VI → i (VI → i: falls a half step into home); from the Eb side it reads IV → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
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 Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Ab, land on Ab, C, Eb — the chord's own tones always sound right on strong beats.
- Over Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- When G comes, swap the scale's Bb for B: 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 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
- 4 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The opening Ab lays a solid floor for everything that follows. Cm, Ab, Bb, Fm carry the song: vi–IV–V–ii relative to Eb, i–VI–VII–iv relative to Cm. G is the interesting twist: in Eb it is a chromatic chord (V/vi), while in Cm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Ab → Cm (IV → vi in Eb, VI → i in Cm): VI → i — falls a half step into home. The final chord is G; 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.
Mariah Carey - Obsessed 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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