Bruno Mars - Leave The Door Open - Chord

Key Db major – Bb minor Chords Fmaj7, Em7, G7sus4, Ab, G/F, Am7, Abadd9, Dbmaj7 … Easy key C (capo 1)

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Capo 0

         Fmaj7
What you doin'?  Where you at? 
             G/F
Oh, you got plans?  Don't say that 
            Em7
I'm sippin' wine  in a robe 
           Am7
I look too good To be alone 

         Fmaj7
My house clean , my pool warm 
       G/F
Just shaved, smooth like a newborn
              Em7
We should be dancin', romancin'
                  Am7
In the east wing and the west wing of this mansion, what's happenin'

Ebmaj7
    I ain't playin' no games
                  Abadd9
Every word that I say is coming straight from the heart
   Abmaj7 Gm7   Fm7          G7sus4
So if you tryna lay in these arms

                    Fmaj7
I'ma leave the door open 

                     Em7      
I'ma leave the door open, girl

         Fmaj7
That you feel the way I feel
                                  G7sus4
And you want me like I want you tonight, baby
N.C.                        Cmaj7  A7
Tell me that you’re coming through

          Fmaj7
You're so sweet , so tight 
         G/F
I won't bite , unless you like 
       Em7
If you smoke  I got the haze 
               Am7
And if you're hungry, girl, I got filets 
Fmaj7
Ooh, baby, don't keep me waitin'
            G/F
There's so much love we could be making 
              Em7
I'm talking kissing, cuddling
            Am7
Rose petals in the bathtub. Girl, let's jump in, it's bubblin'

Ebmaj7
I ain't playin' no games
                  Abadd9
Every word that I say is coming straight from the heart
   Abmaj7 Gm7  Fm7           G7sus4
So if you tryna lay in these arms

                   Fmaj7   
I'ma leave the door open 
                     G/F

                     Em7      
I'ma leave the door open, girl
                            Am7

         Fmaj7
That you feel the way I feel
                                  G7sus4
And you want me like I want you tonight, baby
N.C.                        Cmaj7   A7
Tell me that you’re coming through 

Abadd9               G7sus4
La la laaaa la la la la 
Abadd9               G7sus4
La la laaaa la la la la .....[Key change]
Gbadd9               F7sus4
La la laaaa la la la la 

Gb Ab Ab7sus4 Ab

Ab                       Gbmaj7                              Ab/Gb
Hey, hey, I'ma leave my door open, baby
                  Fm7                                           Bbm7
I'ma leave, I'ma leave my door open, girl 
                                 Gbmaj7
And I'm hopin', hopin' that you feel the way I feel
                                 Ab7sus4
And you want me like I want you tonight, baby
                            Dbmaj7   Bb7
Tell me that you’re coming through 

A                    Ab
La la laaaa la la la la 
                            Dbmaj7               Bb7
Tell me that you're coming through   
A                     Ab
La la laaaa la la la la 
                     Dbmaj7
Tell me that you're coming through, Girl, I'm here just waiting for you
Bb7
Come on over, I'll adore you 
A                      Ab
La la laaaaa la la la la 
                           Dbmaj7
Tell me that you're coming through  Girl, I'm here just waiting for you
Bb7
Come on over, I'll adore you
A
La la laaaa la la la la

End of song Play again?

Bruno Mars - Leave The Door Open Tabs

NotesX

Harmony analysis

Bruno Mars – Leave The Door Open: key and chord analysis

The song opens on Fmaj7 and ends on A. Its chords belong to both Db major and Bbm, so every chord below is read both ways.

Major view

Db major

Brightness rank 2/7 (bright)

Characteristic notes

7 = C (leading tone, pulls home)
4 = Gb (the note that leans on the 3rd)

Minor view

Bb minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Gb (the minor's melancholy)
b7 = Ab (natural-minor colour)
#7 = A (harmonic-minor leading tone from the V chord)

Which side does the ear lean to?

Our reading: we can't honestly pick a side here — the song moves freely between Db major and Bb minor because Db is heard 4 times against 1 for Bbm and the major V chord points straight at Bbm. 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 Db or to Bbm; 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 Db major
Degree	Chord	Role	Notes	In song
Imaj7	Dbmaj7	Tonic — home	Db · F · Ab · C	4×
ii	Ebm	Supertonic — prepares the dominant	Eb · Gb · Bb	—
V/V	Ebmaj7	Secondary dominant V/V — leads to Absecondary dominant	Eb · G · Bb · D	2×
biii7	Em7	Chromatic colour chordoutside the key	E · G · B · D	6×
iii7	Fm7	Mediant — a tonic-family shade	F · Ab · C · Eb	3×
V/vi	Fmaj7	Secondary dominant V/vi — leads to Bbmsecondary dominant	F · A · C · E	8×
V7/vi	F7sus4	Secondary dominant V/vi — leads to Bbmsecondary dominant	F · Bb · C · Eb	1×
IVmaj7	Gbmaj7	Subdominant — moves away from home	Gb · Bb · Db · F	2×
IV	Gbadd9	Subdominant — moves away from home	Gb · Bb · Db · Ab	1×
IV	Gb	Subdominant — moves away from home	Gb · Bb · Db	1×
#IV7sus4	G7sus4	Chromatic colour chordoutside the key	G · C · D · F	6×
#IV	G/F	Chromatic colour chordoutside the key	G · B · D	5×
#iv7	Gm7	Chromatic colour chordoutside the key	G · Bb · D · F	2×
V	Ab	Dominant — strongest pull home	Ab · C · Eb	6×
V	Abadd9	Dominant — strongest pull home	Ab · C · Eb · Bb	4×
V7sus4	Ab7sus4	Dominant — strongest pull home	Ab · Db · Eb · Gb	2×
V	Ab/Gb	Dominant — strongest pull home	Ab · C · Eb	1×
Vmaj7	Abmaj7	Chromatic colour chordoutside the key	Ab · C · Eb · G	2×
bvi7	Am7	Chromatic colour chordoutside the key	A · C · E · G	5×
bVI	A	Borrowed from the parallel minorborrowed chord	A · C# · E	4×
vi7	Bbm7	Relative minor — the melancholy side	Bb · Db · F · Ab	1×
V7/ii	Bb7	Secondary dominant V/ii — leads to Ebmsecondary dominant	Bb · D · F · Ab	4×
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	—

Seen from Bb minor
Degree	Chord	Role	Notes	In song
i7	Bbm7	Tonic — home	Bb · Db · F · Ab	1×
V7/iv	Bb7	Secondary dominant V/iv — leads to Ebmsecondary dominant	Bb · D · F · Ab	4×
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
IIImaj7	Dbmaj7	Relative major — the bright side	Db · F · Ab · C	4×
iv	Ebm	Subdominant — moves away from home	Eb · Gb · Bb	—
IVmaj7	Ebmaj7	Major IV — Dorian / melodic-minor colourmodal colour	Eb · G · Bb · D	2×
#iv7	Em7	Chromatic colour chordoutside the key	E · G · B · D	6×
v7	Fm7	Minor dominant — soft pull	F · Ab · C · Eb	3×
Vmaj7	Fmaj7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C · E	8×
V7sus4	F7sus4	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · Bb · C · Eb	1×
VImaj7	Gbmaj7	Submediant — warm colour	Gb · Bb · Db · F	2×
VI	Gbadd9	Submediant — warm colour	Gb · Bb · Db · Ab	1×
VI	Gb	Submediant — warm colour	Gb · Bb · Db	1×
#VI7sus4	G7sus4	Chromatic colour chordoutside the key	G · C · D · F	6×
#VI	G/F	Chromatic colour chordoutside the key	G · B · D	5×
#vi7	Gm7	Chromatic colour chordoutside the key	G · Bb · D · F	2×
VII	Ab	Subtonic — steps back to the tonic	Ab · C · Eb	6×
VII	Abadd9	Subtonic — steps back to the tonic	Ab · C · Eb · Bb	4×
VII7sus4	Ab7sus4	Subtonic — steps back to the tonic	Ab · Db · Eb · Gb	2×
VII	Ab/Gb	Subtonic — steps back to the tonic	Ab · C · Eb	1×
V/III	Abmaj7	Secondary dominant V/III — leads to Dbsecondary dominant	Ab · C · Eb · G	2×
#vii7	Am7	Chromatic colour chordoutside the key	A · C · E · G	5×
#VII	A	Chromatic colour chordoutside the key	A · C# · E	4×

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 21 different chords appear 70 times in total; 10 of them sit naturally inside the shared scale. The major V of Bbm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Db, the same Fmaj7 / F7sus4 is V/vi, a secondary dominant heading for Bbm. Bb7, Ebmaj7, Abmaj7 act as secondary dominants, briefly pointing at another chord of the key. A is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Ab Dbmaj7 DbV → Imaj7authentic cadence BbmVII → IIImaj7 ×3
Ab7sus4 Dbmaj7 DbV7sus4 → Imaj7authentic cadence BbmVII7sus4 → IIImaj7 ×1
Gb Ab DbIV → VIV → V BbmVI → VIIVI → VII ×1
Gbmaj7 Ab/Gb DbIVmaj7 → VIV → V BbmVImaj7 → VIIVI → VII ×1
Fm7 Bbm7 Dbiii7 → vi7 Bbmv7 → i7natural-minor cadence ×1
Gbmaj7 Ab7sus4 DbIVmaj7 → V7sus4IV → V BbmVImaj7 → VII7sus4VI → VII ×1

The move to watch is Ab → Dbmaj7, heard 3 times. From the Db side it reads V → Imaj7 (authentic cadence: the strongest arrival home); from the Bbm side it is VII → IIImaj7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Db major pentatonic and Bb minor pentatonic are the same five notes (Db – Eb – F – Ab – Bb): start from Db for a brighter phrase, from Bb for a bluesier one.
Over Fmaj7, land on F, A, C — the chord's own tones always sound right on strong beats.
Over Em7, land on E, G, B — the chord's own tones always sound right on strong beats.
Over G7sus4, land on G, C, D — the chord's own tones always sound right on strong beats.
When Fmaj7 comes, swap the scale's Ab for A: that single note is the harmonic-minor sound of the chord.
On A, follow the chord's notes (A · C# · E) 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 Db major shapes

Capo 1 + C shapes
Capo 4 + A shapes
Capo 6 + G shapes

With Bb minor shapes

Capo 1 + Am shapes
Capo 6 + Em shapes

Easiest keys on guitar

1 semitone down · capo 1 keeps the original pitch
4 semitones up

The song's harmonic story

Starting on Fmaj7, the song gives away its key from the very first bar. The backbone is Fmaj7, Em7, G7sus4, Ab — V/vi–biii7–#IV7sus4–V from the Db side, Vmaj7–#iv7–#VI7sus4–VII from the Bbm side. Fmaj7 is the interesting twist: in Db it is a chromatic chord (V/vi), while in Bbm it becomes the dominant (Vmaj7) that makes the minor side sound so determined. Keep an ear on Ab → Dbmaj7 (V → Imaj7 in Db, VII → IIImaj7 in Bbm): authentic cadence — the strongest arrival home. It closes on A, letting the Db 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.