Major view
D major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = C# (leading tone, pulls home)
- 4 = G (the note that leans on the 3rd)
Milow - Ayo Technology - Chord
Key D major – B minor Chords Bm, A, G Easy key G (capo 7)
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Key: D | Bm
Capo: 0
Bm Bm A G
Bm
She work it girl, she work the pole
She break it down, she take it low
A
She fine as hell, she about the dough
G
She doing her thing out on the floor
Bm
Her money money, she makin' makin'
Look at the way she shakin' shakin'
A
Make you want to touch it, make you want to taste it
G A G
Have you lustin' for her, go crazy face it
Bm
She's so much more than you're used to
She know's just how to move to seduce you
A
She gone do the right thing and touch the right spot
G
Dance in you're lap till you're ready to pop
Bm
She always ready, when you want it she want it
A G
Like a nympho, the info, I show you where to meet her
Bm
On the late night, till daylight the club jumpin'
A G
If you want a good time, she gone give you what you want
Bm
Baby this a new age, you like my new craze
A G
Let's get together maybe we can start a new phase
Bm
The smokes got the club all hazy, spotlights don't do you justice baby
A G
Why don't you come over here, you got me saying
Bm
Aayooh
A G
I'm tired of using technologyyy, why don't you sit down on top of me
Bm
Aayooh
A G A G
I'm tired of using technologyyy, I need you right in front of me
Bm Bm A G
Bm
In her fantasy, there's plain to see
A
Just how it be, on me, backstrokin', sweat soaking
G
All into my set sheets
Bm
When she ready to ride, I'm ready to roll
I'll be in this bitch till the club close
A
What should I do, one thing on all fours
G
Now that that shit should be against the law
Bm
Different style, different move, girl I like the way you move
A G
Girl you got me thinking about, all the things I do to you
Bm
Let's get it poppin' shorty we can switch positions
A G
From the couch to the counters in my kitchen
Bm
Baby this a new age, you like my new craze
A G
Let's get together maybe we can start a new phase
Bm
The smokes got the club all hazy, spotlights don't do you justice baby
A G
Why don't you come over here, you got me saying
Bm
Aayooh
A G
I'm tired of using technologyyy, why don't you sit down on top of me
Bm
Aayooh
A G A G
I'm tired of using technologyyy, I need you right in front of me
Bm
Ooh, she wants it, ooh, she wants it
A G Bm
Ooh, she wants it, I got to give it to her
Ooh, she wants it, ooh, she wants it
A G Bm
Ooh, she wants it, I got to give it to her
A G
I got to give it to her
Bm
Baby this a new age, you like my new craze
A G
Let's get together maybe we can start a new phase
Bm
The smokes got the club all hazy, spotlights don't do you justice baby
A G
Why don't you come over here, you got me saying
Bm
Aayooh
Bm
Aayooh
A G
I'm tired of using technologyyy, why don't you sit down on top of me
Bm
Aayooh
A G A G Bm
I'm tired of using technologyyy, I need you right in front of me
End of song Play again?
Milow - Ayo Technology Tabs
NotesX
Harmony analysis
Milow – Ayo Technology: key and chord analysis
The song opens on Bm and ends on Bm. Its chords belong to both D major and Bm, so every chord below is read both ways.
Minor view
B minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = G (the minor's melancholy)
- b7 = A (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the B minor side because it both starts and finishes on Bm and Bm is heard 30 times while D never appears. That is an interpretation, not a rule — the same chords are just as valid seen from D 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 D or to Bm; 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 | D | Tonic — home | D · F# · A | — |
| ii | Em | Supertonic — prepares the dominant | E · G · B | — |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | — |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | — |
| IV | G | Subdominant — moves away from home | G · B · D | 30× |
| V | A | Dominant — strongest pull home | A · C# · E | 30× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 30× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 30× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | — |
| iv | Em | Subdominant — moves away from home | E · G · B | — |
| v | F#m | Minor dominant — soft pull | F# · A · C# | — |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | — |
| VI | G | Submediant — warm colour | G · B · D | 30× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 30× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 3 different chords appear 90 times in total; 3 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
- G Bm DIV → vi BmVI → iVI → i ×26
- G A DIV → VIV → V BmVI → VIIVI → VII ×4
The move to watch is G → Bm, heard 26 times. From the Bm side it is VI → i (VI → i: falls a half step into home); from the D side it reads IV → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- D major pentatonic and B minor pentatonic are the same five notes (D – E – F# – A – B): start from D for a brighter phrase, from B for a bluesier one.
- Over Bm, land on B, D, F# — 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.
- Over G, land on G, B, D — 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 D major shapes
- No capo — open D shapes
- Capo 2 + C shapes
- Capo 5 + A shapes
With B minor shapes
- Capo 2 + Am shapes
- Capo 7 + Em shapes
Easiest keys on guitar
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
The opening Bm lays a solid floor for everything that follows. The backbone is Bm, A, G — vi–V–IV from the D side, i–VII–VI from the Bm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G → Bm (IV → vi in D, VI → i in Bm): VI → i — falls a half step into home. It closes on Bm, letting the Bm 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.
Milow - Ayo Technology 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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