Ariana Grande - Honeymoon Avenue - Chord

Key B major – G# minor Chords D, E, A/C#, C, Am/C, Dbm, E/D, Gbm7 … Difficulty already in its easiest key

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Capo 0

Amaj7  Gbm7  Dmaj7  A/C#  Am/C

                        E   D
Shoo da doo d'n doo    dah daah
                        E   Gbº
Shoo da doo d'n doo    dah daah

Sha ba da b'm sha ba da b'm

 E           D
Dah, dah     Dah, d'wah
Dbm          C    D7/F#
Dah, dah     Dah, daah 

E                                D
 I looked in my rearview mirror and
                             A/C#
It seemed to make a lot more sense
                 C
Than what I see ahead of us

Ahead of us, yeah

E                        D
 I'm ready to make that turn
                         A/C#
Before we both crash and burn
                       C
Cause that can be the death of us

The death of us

D      E
Baby, you know how to drive in rain
     D                       A/C#
And you decide not to make change

Stuck in the same old lane
C
Going the wrong way home

D              E
I feel like my heart is stuck in bumper to bumper
 D                                         A/C#
Traffic, I'm under pressure cause I can't have you the way that I want
              C
Let's just go back to the way it was
     D           E
When we were on Honeymoon Avenue
D
Honeymoon Avenue
 A/C#
Baby, coastin' like crazy
           C                      D
Can we get back to the way it was

E                                  D
 Hey, what happened to the butterflies
                                     A/C#
Guess they didn't count at that stop sign
                     C
And my heart is at a yellow light

A yellow light

E                                 D
 Hey, right when I think that we found it
                                   A/C#
Well that's at least I turned it around

You're saying baby don't worry
    C
But we're still going the wrong way
D     E
Baby, you know how to drive in rain
     D                       A/C#
And you decide not to make change

Stuck in the same old lane
C
Going the wrong way home

D              E
I feel like my heart is stuck in bumper to bumper
D                                         A/C#
Traffic, I'm under pressure cause I can't have you the way that I want
              C
Let's just go back to the way it was
     D           E
When we were on Honeymoon Avenue
D
Honeymoon Avenue
A/C#
Baby, coastin' like crazy
         C                      D
Can we go back to the way it was

Dbm                           Ab/C
 They say only fools fall in love
                                    B9
But they must've been talking about us
                                        Gb
Sometimes I feel like we've been here before
             A
I could be wrong but I know I'm right
               Abm7                    Dbm7
Think we're in love but we continue to fight
         Gbm7
Honey I know, yeah
                    B4    B7
We can find our way home

                E
I feel like my heart is stuck in bumper to bumper
D                                         Dbm
Traffic, I'm under pressure cause I can't have you the way that I want
              Am/C
Let's just go back to the way it was
     D           E
When we were on Honeymoon Avenue
D
Honeymoon Avenue
   A/C#
My baby, coastin' like crazy
           C
Can we get back to the way it was
         D      E
When we were on Honeymoon Avenue
D
Honeymoon Avenue
A/C#
Baby, coastin' like crazy
           Am/C                   D
Can we get back to the way it was

D      E
Ooh, you know how to drive in rain
    E/D                       A/C#
And you decide not to make change

Stuck in the same old lane
Am/C
Going the wrong way home

D              E
I feel like my heart is stuck in
E/D                         A/C#
Traffic, I'm under pressure,     pressure
              Am/C
Let's just go back to the way it was
     D
When we were on

E
Honeymoon Avenue, Honeymoon Avenue
E/D
Honeymoon Avenue, Honeymoon Avenue
A/C#
Avenue
C
Let's just go back 
D
Hey

End of song Play again?

Ariana Grande - Honeymoon Avenue Tabs

NotesX

Harmony analysis

Ariana Grande – Honeymoon Avenue: key and chord analysis

The song opens on Amaj7 and ends on D. Its chords belong to both B major and G#m, so every chord below is read both ways.

Major view

B major

Brightness rank 2/7 (bright)

Characteristic notes

7 = A# (leading tone, pulls home)
4 = E (the note that leans on the 3rd)

Minor view

G# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = E (the minor's melancholy)
b7 = F# (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the B major side because B is heard 3 times against 1 for G#m. That is an interpretation, not a rule — hearing the same chords from G# minor is just as valid and teaches you something different.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to B or to G#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.

Seen from B major
Degree	Chord	Role	Notes	In song
I	B4	Tonic — home	B · D# · F#	1×
V7/IV	B9	Secondary dominant V/IV — leads to Esecondary dominant	B · D# · F# · A · C#	1×
V7/IV	B7	Secondary dominant V/IV — leads to Esecondary dominant	B · D# · F# · A	1×
bII	C	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	C · E · G	13×
ii	Dbm	Supertonic — prepares the dominant	Db · Fb · Ab	3×
ii7	Dbm7	Supertonic — prepares the dominant	Db · Fb · Ab · Cb	1×
bIII	D	Borrowed from the parallel minorborrowed chord	D · F# · A	30×
bIIImaj7	Dmaj7	Borrowed from the parallel minorborrowed chord	D · F# · A · C#	1×
bIII7	D7/F#	Borrowed from the parallel minorborrowed chord	D · F# · A · C	1×
iii	D#m	Mediant — a tonic-family shade	D# · F# · A#	—
V/vi	D#	Secondary dominant V/vi — leads to Abmsecondary dominant	D# · G · A#	—
IV	E	Subdominant — moves away from home	E · G# · B	18×
IV	E/D	Subdominant — moves away from home	E · G# · B	3×
V	Gb	Dominant — strongest pull home	Gb · Bb · Db	1×
v7	Gbm7	Chromatic colour chordoutside the key	Gb · A · Db · Fb	2×
vi7	Abm7	Relative minor — the melancholy side	Ab · Cb · Eb · Gb	1×
V/ii	Ab/C	Secondary dominant V/ii — leads to Dbmsecondary dominant	Ab · C · Eb	1×
bVII	A/C#	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	A · C# · E	16×
bvii	Am/C	Chromatic colour chordoutside the key	A · C · E	5×
bVIImaj7	Amaj7	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	A · C# · E · G#	1×
bVII	A	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	A · C# · E	1×
vii°	A#dim	Leading-tone chord — tension	A# · C# · E	—

Seen from G# minor
Degree	Chord	Role	Notes	In song
i7	Abm7	Tonic — home	Ab · Cb · Eb · Gb	1×
V/iv	Ab/C	Secondary dominant V/iv — leads to Dbmsecondary dominant	Ab · C · Eb	1×
bII	A/C#	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	A · C# · E	16×
bii	Am/C	Chromatic colour chordoutside the key	A · C · E	5×
bIImaj7	Amaj7	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	A · C# · E · G#	1×
bII	A	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	A · C# · E	1×
ii°	A#dim	Supertonic — prepares the dominant	A# · C# · E	—
III	B4	Relative major — the bright side	B · D# · F#	1×
V7/VI	B9	Secondary dominant V/VI — leads to Esecondary dominant	B · D# · F# · A · C#	1×
V7/VI	B7	Secondary dominant V/VI — leads to Esecondary dominant	B · D# · F# · A	1×
#III	C	Chromatic colour chordoutside the key	C · E · G	13×
iv	Dbm	Subdominant — moves away from home	Db · Fb · Ab	3×
iv7	Dbm7	Subdominant — moves away from home	Db · Fb · Ab · Cb	1×
#IV	D	Chromatic colour chordoutside the key	D · F# · A	30×
#IVmaj7	Dmaj7	Chromatic colour chordoutside the key	D · F# · A · C#	1×
#IV7	D7/F#	Chromatic colour chordoutside the key	D · F# · A · C	1×
v	D#m	Minor dominant — soft pull	D# · F# · A#	—
V	D#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D# · G · A#	—
VI	E	Submediant — warm colour	E · G# · B	18×
VI	E/D	Submediant — warm colour	E · G# · B	3×
VII	Gb	Subtonic — steps back to the tonic	Gb · Bb · Db	1×
vii7	Gbm7	Chromatic colour chordoutside the key	Gb · A · Db · Fb	2×

Analysis

The key pair is B major and its relative G# minor (5 sharps). 19 different chords appear 101 times in total; 7 of them sit naturally inside the shared scale. Ab/C, B9, B7 act as secondary dominants, briefly pointing at another chord of the key. D, A/C#, C, Amaj7, Dmaj7, D7/F#, A are borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

B7 E BV7/IV → IVsecondary resolution G#mV7/VI → VI ×1

The move to watch is B7 → E, heard once. From the B side it reads V7/IV → IV (secondary resolution: B7 resolves a fourth up to E); from the G#m side it is V7/VI → VI. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

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

Capo 2 + A shapes
Capo 4 + G shapes
Capo 7 + E shapes

With G# minor shapes

Capo 4 + Em shapes
Capo 6 + Dm shapes

Easiest keys on guitar

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

The song's harmonic story

The first chord is Amaj7; the ear learns where home is within a second. The backbone is D, E, A/C#, C — bIII–IV–bVII–bII from the B side, #IV–VI–bII–#III from the G#m side. Ab/C adds a moment of surprise: secondary dominant V/ii — leads to Dbm. Keep an ear on B7 → E (V7/IV → IV in B, V7/VI → VI in G#m): secondary resolution — B7 resolves a fourth up to E. It closes on D, letting the B 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 - Honeymoon Avenue 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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