Major view
E major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = D# (leading tone, pulls home)
- 4 = A (the note that leans on the 3rd)
Ava Max - Kings - Queens - Chord
Key E major – C# minor Chords F#m, C#m, E, A, B, G#m, D, G# Easy key C (capo 4)
No ratings yet
or your user informations
Make it yours
Text size
Key: E | Dbm | C#m
Capo: 0
C#m F#m B E
If all of the kings had their queens on the throne
A F#m G#m C#m
We would pop champagne and raise a toast
F#m B E
To all of the queens who are fighting alone
A F#m G#m C#m
Baby, you're not dancing on your own
C#m F#m B E
Can't live without me, you wanna, but you can't, na na na
A F#m G#m C#m
Think it's funny, but honey, can't run this show on your own
F#m B E
I can feel my body shake, there's only so much I can take
A F#m G#m C#m
I'll show you how a real queen behaves
C#m F#m B E A
Oh, no damsel in distress, don't need to save me
F#m G#m C#m
Once I start breathing fire, you can't tame me
F#m B E A
And you might think I'm weak without a sword
F#m G#m C#m
But if I had one, it'd be bigger than yours
C#m F#m B E
If all of the kings had their queens on the throne
A F#m G#m C#m
We would pop champagne and raise a toast
F#m B E
To all of the queens who are fighting alone
A F#m G#m C#m
Baby, you're not dancing on your own
C#m F#m B E
Disobey me, then baby, it's off with your head
A F#m G#m C#m
Gonna change it and make it a world you won't forget
C#m F#m B E A
Oh, no damsel in distress, don't need to save me
F#m G#m C#m
Once I start breathing fire, you can't tame me
F#m B E A
And you might think I'm weak without a sword
F#m G#m C#m
But I'm stronger than I ever was before
C#m F#m B E
If all of the kings had their queens on the throne
A F#m G#m C#m
We would pop champagne and raise a toast
F#m B E
To all of the queens who are fighting alone
A F#m G#m C#m
Baby, you're not dancing on your own
C#m F#m B E A F#m G#m C#m
C#m F#m B E A F#m G#m C#m
D A
In chess, the king can move one space at a time
E B
But queens are free to go wherever they like
D A
You get too close, you'll get a royalty high
E G#
So breathe it in to feel the life
C#m F#m B E
If all of the kings had their queens on the throne
A F#m G#m C#m
We would pop champagne and raise a toast
F#m B E
To all of the queens who are fighting alone
A F#m G#m C#m
Baby, you're not dancing on your own
C#m F#m B E A F#m G#m C#m
Oh oh oh oh oh oh oh oh oh oh oh oh
End of song Play again?
Ava Max - Kings - Queens Tabs
NotesX
Harmony analysis
Ava Max – Kings - Queens: key and chord analysis
The song opens on C#m and ends on C#m. Its chords belong to both E major and C#m, so every chord below is read both ways.
Minor view
C# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = A (the minor's melancholy)
- b7 = B (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 it both starts and finishes on C#m, C#m is heard 29 times against 20 for E and the major V chord points straight at C#m. That is an interpretation, not a rule — the same chords are just as valid seen from E 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 E or to C#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 | E | Tonic — home | E · G# · B | 20× |
| ii | F#m | Supertonic — prepares the dominant | F# · A · C# | 36× |
| iii | G#m | Mediant — a tonic-family shade | G# · B · D# | 18× |
| V/vi | G# | Secondary dominant V/vi — leads to C#msecondary dominant | G# · B# · D# | 1× |
| IV | A | Subdominant — moves away from home | A · C# · E | 20× |
| V | B | Dominant — strongest pull home | B · D# · F# | 19× |
| vi | C#m | Relative minor — the melancholy side | C# · E · G# | 29× |
| bVII | D | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | D · F# · A | 2× |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | C#m | Tonic — home | C# · E · G# | 29× |
| bII | D | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | D · F# · A | 2× |
| ii° | D#dim | Supertonic — prepares the dominant | D# · F# · A | — |
| III | E | Relative major — the bright side | E · G# · B | 20× |
| iv | F#m | Subdominant — moves away from home | F# · A · C# | 36× |
| v | G#m | Minor dominant — soft pull | G# · B · D# | 18× |
| V | G# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G# · B# · D# | 1× |
| VI | A | Submediant — warm colour | A · C# · E | 20× |
| VII | B | Subtonic — steps back to the tonic | B · D# · F# | 19× |
Analysis
The key pair is E major and its relative C# minor (4 sharps). 8 different chords appear 145 times in total; 6 of them sit naturally inside the shared scale. The major V of C#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from E, the same G# is V/vi, a secondary dominant heading for C#m. D is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- B E EV → Iauthentic cadence C#mVII → III ×18
- F#m B Eii → Vii → V C#miv → VII ×18
- G#m C#m Eiii → vi C#mv → inatural-minor cadence ×18
- A E EIV → Iplagal cadence C#mVI → III ×2
- G# C#m EV/vi → vi C#mV → iharmonic-minor cadence ×1
The move to watch is B → E, heard 18 times. From the C#m side it is VII → III; from the E side it reads V → I (authentic cadence: the strongest arrival home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- E major pentatonic and C# minor pentatonic are the same five notes (E – F# – G# – B – C#): start from E for a brighter phrase, from C# for a bluesier one.
- Over F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
- Over C#m, land on C#, E, G# — the chord's own tones always sound right on strong beats.
- Over E, land on E, G#, B — the chord's own tones always sound right on strong beats.
- When G# comes, swap the scale's B for B#: that single note is the harmonic-minor sound of the chord.
- On D, follow the chord's notes (D · F# · A) 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 E major shapes
- No capo — open E shapes
- Capo 2 + D shapes
- Capo 4 + C shapes
With C# minor shapes
- Capo 4 + Am shapes
Easiest keys on guitar
- 4 semitones down · capo 4 keeps the original pitch
- 3 semitones up
The song's harmonic story
The opening C#m lays a solid floor for everything that follows. The backbone is F#m, C#m, E, A — ii–vi–I–IV from the E side, iv–i–III–VI from the C#m side. G# is the interesting twist: in E it is a chromatic chord (V/vi), while in C#m it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on B → E (V → I in E, VII → III in C#m): authentic cadence — the strongest arrival home. Ending on C#m, the song seals C#m as home.
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.
Ava Max - Kings - Queens 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.
Repertoires with this song
Similar songs, ready to play: pick a list.
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.