Shawn Mendes - Senorita (Camila Cabello) - Chord

Key C major – A minor Chords Am, Cmaj7, Fmaj7, G, Em7 Difficulty already in its easiest key

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Capo 0

Am  Am  Cmaj7  Cmaj7  Fmaj7  Fmaj7  Em7  G

                   Am
I love it when you call me señorita
                   Cmaj7
I wish I could pretend I didn't need ya
                    Fmaj7
But every touch is ooh la la la

It's true, la la la
Em7
Oh, I should be runnin'
G
Oh, you keep me coming for ya

Am
Late in Miami
                             Cmaj7
The air was hot from summer rains

Sweat drippin' off me
                        Fmaj7
Before I even knew her name, la la la
              Em7            G
It felt like ooh la la la, yeah no
 Am
Sapphire and moonlight, we danced for hours in the sand
Cmaj7                                          Fmaj7
Tequila sunrise, her body fit right in my hands, ooh la la la
              Em7            G
It felt like ooh la la la, yeah

                    Am
I love it when you call me señorita
                   Cmaj7
I wish I could pretend I didn't need ya
                    Fmaj7
But every touch is ooh la la la

It's true, la la la
Em7
Oh, I should be runnin'
G
Oh, you keep me coming for ya

                             Am
You know I love it when you call me señorita
                  Cmaj7
I wish it wasn't so damn hard to leave ya
                    Fmaj7
But every touch is ooh la la la

It's true, la la la
Em7
Oh, I should be runnin'
G
Oh, you keep me coming for ya

 Am
Locked in the hotel, there's
                             Cmaj7
Just somethings that never change

You say we're just friends
                                    Fmaj7
But friends don't know the way you taste
     Em7
God knows it's been a long time coming
                 G
Don't ya let me fall, ooh
 Am
Hooked on your lips, undress me
 Cmaj7
Hooked on your tongue
                                G
Ooh, love your kiss is deadly, don't stop

                    Am
I love it when you call me señorita
                   Cmaj7
I wish I could pretend I didn't need ya
                    Fmaj7
But every touch is ooh la la la

It's true, la la la
Em7
Oh, I should be runnin'
G
Oh, you keep me coming for ya

                             Am
You know I love it when you call me señorita
                  Cmaj7
I wish it wasn't so damn hard to leave ya
                    Fmaj7
But every touch is ooh la la la

It's true, la la la
Em7
Oh, I should be runnin'
G
Oh, you keep me coming for ya

Am                              Cmaj7
All along I've been coming for ya (for you)
                                  Fmaj7
And I hope it means something to you
                                  Em7
Call my name, I'll be coming for ya
             G
Calling for ya
     Am
For ya
     Cmaj7
For ya (Ooh, she loves it when I come)
     Fmaj7
For ya
Em7
Oh, I should be runnin'
G
Oh, you keep me coming for ya

End of song Play again?

Shawn Mendes - Senorita (Camila Cabello) Tabs

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Harmony analysis

Shawn Mendes – Senorita (Camila Cabello): key and chord analysis

The song opens on Am and ends on G. 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 A minor side because it opens on Am. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 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
Imaj7	Cmaj7	Tonic — home	C · E · G · B	13×
ii	Dm	Supertonic — prepares the dominant	D · F · A	—
iii7	Em7	Mediant — a tonic-family shade	E · G · B · D	11×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IVmaj7	Fmaj7	Subdominant — moves away from home	F · A · C · E	12×
V	G	Dominant — strongest pull home	G · B · D	12×
vi	Am	Relative minor — the melancholy side	A · C · E	13×
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	13×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
IIImaj7	Cmaj7	Relative major — the bright side	C · E · G · B	13×
iv	Dm	Subdominant — moves away from home	D · F · A	—
v7	Em7	Minor dominant — soft pull	E · G · B · D	11×
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×
VII	G	Subtonic — steps back to the tonic	G · B · D	12×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 61 times in total; 5 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.

Chord movement

G Am CV → videceptive cadence AmVII → iAeolian arrival ×11

The move to watch is G → Am, heard 11 times. From the Am side it is VII → i (Aeolian arrival: rises a whole tone into home); from the C side it reads V → vi (deceptive cadence: expected C, lands on Am). 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 Am, land on A, C, E — the chord's own tones always sound right on strong beats.
Over Cmaj7, 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.

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

The song is already written in its easiest key for guitar.

The song's harmonic story

Starting on Am, the song gives away its key from the very first bar. The backbone is Am, Cmaj7, Fmaj7, G — vi–Imaj7–IVmaj7–V from the C side, i–IIImaj7–VImaj7–VII from the Am side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G → Am (V → vi in C, VII → i in Am): Aeolian arrival — rises a whole tone into home. It closes on G, 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.