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 - Side To Side - Chord
Key A major – F# minor Chords Gbm, E, Dbm, D Easy key C
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Key: A | Gbm | F#m
Capo: 0
Gbm
I've been here all night,
Dbm E Gbm Dbm E
I've been here all day,
D E Gbm
And boy, you got me walkin' side to side
Gbm
I'm talkin' to ya
Dbm Gbm
See you standing over there with your body
Dbm D
Feeling like I wanna rock with your body
E Gbm Dbm
And we don't gotta think 'bout nothin'
Gbm
I'm comin' at ya
Dbm Gbm
Cause I know you got a bad reputation
Dbm D
Doesn't matter cause you give me temptation
E Gbm
And we don't gotta think 'bout nothin'
Gbm Dbm E Gbm
These friends keep talkin' way too much
Dbm E D
Saying I should give you up
E Gbm
Can't hear them no, cause I
Gbm Dbm
I've been here all night
E Gbm Dbm E
I've been here all day,
D E Gbm
And boy, you got me walkin' side to side
Gbm Dbm
I've been here all night
E Gbm Dbm E
I've been here all day,
D E Gbm
And boy, you got me walkin' side to side
Gbm
Been tryna hide it
Dbm Gbm
Baby what's it gonna hurt if they don't know
Dbm D
Makin' everybody think that we solo
E Gbm Dbm
Just as long as you know that you got me
Gbm
And boy, I got ya
Dbm Gbm
Cause tonight I'm making deals with the devil
Dbm D
And I know it's gonna get me in trouble
E Gbm
Just as long as you know that you got me
Gbm Dbm E Gbm
These friends keep talkin' way too much
Dbm E D
Saying I should give you up
E Gbm
Can't hear them no, cause I
Gbm Dbm
I've been here all night
E Gbm Dbm E
I've been here all day,
D E Gbm
And boy, you got me walkin' side to side
Gbm Dbm
I've been here all night
E Gbm Dbm E
I've been here all day,
D E Gbm
And boy, you got me walkin' side to side
NICKI MINAJ:
Gbm Dbm E
This the new style with the fresh type of flow
Gbm Dbm E
Wrist icicle, ride dick bicycle
D E
Come true yo, get you this type of blow
Gbm
If you wanna menage I got a tricycle
Gbm Dbm
All these bitches, hoes is my mini me
Gbm Dbm
I be smoking so they call me young Nicki chimney
D E
Rappers in they feelings cause they feelin' me
Gbm
Uh, I I give zero fucks and I got zero chill in me
Gbm Dbm
Kissing me, copped the blue box that say Tiffany
Gbm Dbm
Curry with the shot, just tell 'em to call me Stephanie
D E
Gun pop and I make my gum pop
Gbm
I'm the queen of rap, young Ariana run pop
ARIANA GRANDE
Gbm Dbm E Gbm
These friends keep talkin' way too much
Dbm E D
Saying I should give you up
E Gbm
Can't hear them no, cause I
Gbm Dbm
I've been here all night
E Gbm Dbm E
I've been here all day,
D E Gbm
And boy, you got me walkin' side to side
Gbm Dbm
I've been here all night
E Gbm Dbm E
I've been here all day,
D E Gbm
And boy, you got me walkin' side to side
NICKI MINAJ:
Gbm Dbm E
This the new style with the fresh type of flow
Gbm Dbm E
Wrist icicle, ride dick bicycle
D E
Come true yo, get you this type of blow
Gbm
If you wanna menage I got a tricycle
End of song Play again?
Ariana Grande - Side To Side Tabs
NotesX
Harmony analysis
Ariana Grande – Side To Side: key and chord analysis
The song opens on Gbm and ends on Gbm. 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: to us the song feels closer to the F# minor side because it both starts and finishes on F#m and F#m is heard 54 times while A never appears. That is an interpretation, not a rule — the same chords are just as valid seen from A 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 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 | — |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | — |
| iii | Dbm | Mediant — a tonic-family shade | Db · Fb · Ab | 38× |
| V/vi | C# | Secondary dominant V/vi — leads to Gbmsecondary dominant | C# · E# · G# | — |
| IV | D | Subdominant — moves away from home | D · F# · A | 18× |
| V | E | Dominant — strongest pull home | E · G# · B | 42× |
| vi | Gbm | Relative minor — the melancholy side | Gb · A · Db | 54× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gbm | Tonic — home | Gb · A · Db | 54× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | — |
| iv | Bm | Subdominant — moves away from home | B · D · F# | — |
| v | Dbm | Minor dominant — soft pull | Db · Fb · Ab | 38× |
| V | C# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# | — |
| VI | D | Submediant — warm colour | D · F# · A | 18× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | 42× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 4 different chords appear 152 times in total; 4 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
- E Gbm AV → videceptive cadence F#mVII → iAeolian arrival ×30
- D E AIV → VIV → V F#mVI → VIIVI → VII ×18
- Dbm Gbm Aiii → vi F#mv → inatural-minor cadence ×8
The move to watch is E → Gbm, heard 30 times. From the F#m side it is VII → i (Aeolian arrival: rises a whole tone into home); from the A side it reads V → vi (deceptive cadence: expected A, lands on F#m). 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 Gbm, land on Gb, A, Db — 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 Dbm, land on Db, Fb, Ab — 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 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
- 3 semitones up
- 4 semitones down · capo 4 keeps the original pitch
The song's harmonic story
Starting on Gbm, the song gives away its key from the very first bar. The chords that keep coming back are Gbm, E, Dbm, D; read them as vi–V–iii–IV in A or i–VII–v–VI in F#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on E → Gbm (V → vi in A, VII → i in F#m): Aeolian arrival — rises a whole tone into home. Ending on Gbm, the song seals F#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.
Ariana Grande - Side To Side 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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