Major view
A major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G# (leading tone, pulls home)
- 4 = D (the note that leans on the 3rd)
Ariana Grande - Intro (End Of The World) - Chord
Key A major – F# minor Chords Bb, D, G, G7, Cm, F Easy key B
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Key: A | Gbm | F#m
Capo: 0
Bb D G G7 Cm F
Uh
Bb D
How can I tell if I'm in the
G
Right relationship
G7
Aren't you really supposed
Cm
To know that shit
F
Feel it in your bones and own that shit
I don't know
Bb
Then I had this interaction
D
I've been thinkin' 'bout for
Like five weeks
G G7
Wonder if he's thinkin' 'bout it
Too and smiling
Cm
Wonder if he knows that that's been
What's inspirin' me
F
Wonder if he's judgin' me like
Bb D
I am right now
G G7
I don't care
Cm
I'd rather tell the truth
F
Than make it worse for you , mm
Bb D G G7
If the Sun refused to shine
Cm
Baby, would I still be your lover
F
Would you want me there
Bb D G G7
If the Moon went dark tonight
Cm
And if it all ended tomorrow
F Bb
Would I be the one on your mind
D G
Your mind, your mind
G7 Cm
And if it all ended tomorrow
F
Would you be the one on mine
End of song Play again?
Ariana Grande - Intro (End Of The World) Tabs
NotesX
Harmony analysis
Ariana Grande – Intro (End Of The World): key and chord analysis
The song opens on Bb and ends on F. Its chords belong to both A major and F#m, so every chord below is read both ways.
Minor view
F# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = D (the minor's melancholy)
- b7 = E (natural-minor colour)
Which side does the ear lean to?
Our reading: we can't honestly pick a side here — the song moves freely between A major and F# minor. Try reading the chords both ways and see which feels more like home to you.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to A or to F#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 | A | Tonic — home | A · C# · E | — |
| bII | Bb | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | Bb · D · F | 7× |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | — |
| biii | Cm | Chromatic colour chordoutside the key | C · Eb · G | 7× |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | — |
| III | C# | Chromatic colour chordoutside the key | C# · E# · G# | — |
| IV | D | Subdominant — moves away from home | D · F# · A | 7× |
| V | E | Dominant — strongest pull home | E · G# · B | — |
| bVI | F | Borrowed from the parallel minorborrowed chord | F · A · C | 7× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | — |
| bVII | G | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | G · B · D | 7× |
| bVII7 | G7 | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | G · B · D · F | 7× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | — |
| bII | G | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | G · B · D | 7× |
| bII7 | G7 | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | G · B · D · F | 7× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | — |
| #III | Bb | Chromatic colour chordoutside the key | Bb · D · F | 7× |
| iv | Bm | Subdominant — moves away from home | B · D · F# | — |
| #iv | Cm | Chromatic colour chordoutside the key | C · Eb · G | 7× |
| v | C#m | Minor dominant — soft pull | C# · E · G# | — |
| V | C# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# | — |
| VI | D | Submediant — warm colour | D · F# · A | 7× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | — |
| #VII | F | Chromatic colour chordoutside the key | F · A · C | 7× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 6 different chords appear 42 times in total; 1 of them sit naturally inside the shared scale. Bb, G, G7, F are borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- G7 Cm AbVII7 → biiisecondary resolution F#mbII7 → #iv ×7
The move to watch is G7 → Cm, heard 7 times. From the A side it reads bVII7 → biii (secondary resolution: G7 resolves a fourth up to Cm); from the F#m side it is bII7 → #iv. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- A major pentatonic and F# minor pentatonic are the same five notes (A – B – C# – E – F#): start from A for a brighter phrase, from F# for a bluesier one.
- Over Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- Over D, land on D, F#, A — the chord's own tones always sound right on strong beats.
- Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
- On Bb, follow the chord's notes (Bb · D · F) 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 A major shapes
- No capo — open A shapes
- Capo 2 + G shapes
- Capo 5 + E shapes
With F# minor shapes
- Capo 2 + Em shapes
- Capo 4 + Dm shapes
Easiest keys on guitar
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
Starting on Bb, the song gives away its key from the very first bar. The chords that keep coming back are Bb, D, G, G7; read them as bII–IV–bVII–bVII7 in A or #III–VI–bII–bII7 in F#m. Bb briefly darkens the picture: neapolitan bii — a dark, dramatic colour a half step above the tonic. Keep an ear on G7 → Cm (bVII7 → biii in A, bII7 → #iv in F#m): secondary resolution — G7 resolves a fourth up to Cm. It closes on F, letting the A 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.
Ariana Grande - Intro (End Of The World) 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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