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)
Bruno Mars - Young Girls - Chord
Key A major – F# minor Chords D, E, A, Dbm, Gbm, Bm, Dm7, C#m … Easy key C
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Key: A | Gbm | F#m
Capo: 0
A C#m F#m D E
A
I spend all my money
Dbm
On a big old fancy car
Gbm
For this bright eyed honeys
D E
Oh yeah, you know who you are
A
Keep me up 'til the sun is high
Dbm
'Til the birds start calling my name
Gbm
I'm addicted and I don't know why
D E
Guess I've always been this way
Bm E
All these roads steer me wrong
Dbm Gbm
But I still drive them all night long
D Dm7
All night long
A
All you young, wild girls
Dbm
You make a mess of me
Gbm
Yeah you young, wild girls
D
You'll be the death of me
E
The death of me
A
Oh you young, wild girls
Dbm
No matter what you do
Gbm
Yeah you young, wild girls
D
I'll always come back to you
E
Come back to you
A
I get lost under these lights
Dbm
I get lost in the words I say
Gbm
Stop believing my own lies
D E
Like everything will be ok
A
Oh, I still dream of simple life
Dbm
Boy meets girl makes her his wife
Gbm
But love don't exist when you live like this
D
That much I know
E
Yes, I know
Bm E
All these roads steer me wrong
Dbm Gbm
But I still drive them all night long
D Dm7
All night long
A
All you young, wild girls
Dbm
You make a mess of me
Gbm
Yeah you young, wild girls
D
You'll be the death of me
E
The death of me
A
Oh you young, wild girls
Dbm
No matter what you do
Gbm
Yeah you young, wild girls
D
I'll always come back to you
E
Come back to you
A Dbm
You, you, you, you
Gbm
Yeah you you you
D E
You you you you
A
All you young, wild girls
Dbm
You make a mess of me
Gbm
Yeah you young, wild girls
D
You'll be the death of me
E
The death of me
A
Oh you young, wild girls
Dbm
No matter what you do
Gbm
Yeah you young, wild girls
D
I'll always come back to you
E A
Come back to you
End of song Play again?
Bruno Mars - Young Girls Tabs
NotesX
Harmony analysis
Bruno Mars – Young Girls: key and chord analysis
The song opens on A and ends on A. 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 A major side because it both starts and finishes on A and F#m is heard 14 times against 13 for A. That is an interpretation, not a rule — hearing the same chords from F# minor is just as valid and teaches you something different.
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 | 13× |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | 2× |
| iii | Dbm | Mediant — a tonic-family shade | Db · Fb · Ab | 13× |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | 1× |
| V/vi | C# | Secondary dominant V/vi — leads to F#msecondary dominant | C# · E# · G# | — |
| IV | D | Subdominant — moves away from home | D · F# · A | 14× |
| iv7 | Dm7 | Minor iv — borrowed from the parallel minorborrowed chord | D · F · A · C | 2× |
| V | E | Dominant — strongest pull home | E · G# · B | 14× |
| vi | Gbm | Relative minor — the melancholy side | Gb · A · Db | 13× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | 1× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gbm | Tonic — home | Gb · A · Db | 13× |
| i | F#m | Tonic — home | F# · A · C# | 1× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | 13× |
| iv | Bm | Subdominant — moves away from home | B · D · F# | 2× |
| v | Dbm | Minor dominant — soft pull | Db · Fb · Ab | 13× |
| v | C#m | Minor dominant — soft pull | C# · E · G# | 1× |
| V | C# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# | — |
| VI | D | Submediant — warm colour | D · F# · A | 14× |
| vi7 | Dm7 | Chromatic colour chordoutside the key | D · F · A · C | 2× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | 14× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 9 different chords appear 73 times in total; 8 of them sit naturally inside the shared scale. Dm7 is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- Dbm Gbm Aiii → vi F#mv → inatural-minor cadence ×13
- D E AIV → VIV → V F#mVI → VIIVI → VII ×12
- E A AV → Iauthentic cadence F#mVII → III ×10
- Dm7 A Aiv7 → Iminor plagal F#mvi7 → III ×2
- Bm E Aii → Vii → V F#miv → VII ×2
- C#m F#m Aiii → vi F#mv → inatural-minor cadence ×1
The move to watch is Dbm → Gbm, heard 13 times. From the A side it reads iii → vi; from the F#m side it is v → i (natural-minor cadence: gentle, modal arrival). 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 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, land on A, C#, E — the chord's own tones always sound right on strong beats.
- On Dm7, follow the chord's notes (D · F · A · C) 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
- 3 semitones up
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
The opening A lays a solid floor for everything that follows. The chords that keep coming back are D, E, A, Dbm; read them as IV–V–I–iii in A or VI–VII–III–v in F#m. Dm7 briefly darkens the picture: minor iv — borrowed from the parallel minor. Keep an ear on Dbm → Gbm (iii → vi in A, v → i in F#m): natural-minor cadence — gentle, modal arrival. The final chord is A; the ear comes to rest in A.
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.
Bruno Mars - Young Girls 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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