Major view
F major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = E (leading tone, pulls home)
- 4 = Bb (the note that leans on the 3rd)
Harry Styles - Watermelon Sugar - Chord
Key F major – D minor Chords Dm7, Am7, C, G Difficulty already in its easiest key
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Key: F | Dm
Capo: 0
Dm7
Tastes like strawberries
Am7
On a summer evening
C G
And it sounds just like a song
Dm7
I want more berries
Am7
And that summer feeling
C G
It's so wonderful and warm
Dm7 Am7
Breathe me in, breathe me out
C G
I don't know if I could ever go without
Dm7 Am7
I'm just thinking out loud
C G
I don't know if I could ever go without
Dm7
Watermelon sugar high
Am7
Watermelon sugar high
C
Watermelon sugar high
Watermelon sugar high
(Watermelon sugar)
Dm7
Strawberries
Am7
On a summer evening
C G
Baby, you're the end of June
Dm7
I want your belly
Am7
And that summer feeling
C G
Getting washed away in you
Dm7 Am7
Breathe me in, breathe me out
C
I don't know if I could ever go without
Dm7
Watermelon sugar high
Am7
Watermelon sugar high
C
Watermelon sugar high
G
Watermelon sugar high
Dm7
Watermelon sugar high
Am7
Watermelon sugar high
C
Watermelon sugar high
G
Watermelon sugar high
Dm7
I just wanna taste it
Am7
I just wanna taste it
C G
Watermelon sugar high
Dm7
Tastes like strawberries
Am7
On a summer evening
C G
And it sounds just like a song
Dm7
I want your belly
Am7
And that summer feeling
I don't know if I could ever go without
Dm7
Watermelon sugar high
Am7
Watermelon sugar high
C
Watermelon sugar high (Sugar)
G
Watermelon sugar high (Sugar)
Dm7
Watermelon sugar high
Am7
Watermelon sugar high
C
Watermelon sugar high
G
Watermelon sugar high
Dm7
I just wanna taste it
Am7
I just wanna taste it (Yeah)
C G
Watermelon sugar high
Dm7
I just wanna taste it
Am7
I just wanna taste it
C G
Watermelon sugar high
Watermelon sugar
End of song Play again?
Harry Styles - Watermelon Sugar Tabs
NotesX
Harmony analysis
Harry Styles – Watermelon Sugar: key and chord analysis
The song opens on Dm7 and ends on G. Its chords belong to both F major and Dm, so every chord below is read both ways.
Minor view
D minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Bb (the minor's melancholy)
- b7 = C (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the D minor side because it opens on Dm and Dm is heard 17 times while F never appears. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 F or to Dm; 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 | F | Tonic — home | F · A · C | — |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | — |
| V/V | G | Secondary dominant V/V — leads to Csecondary dominant | G · B · D | 14× |
| iii7 | Am7 | Mediant — a tonic-family shade | A · C · E · G | 17× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | — |
| V | C | Dominant — strongest pull home | C · E · G | 16× |
| vi7 | Dm7 | Relative minor — the melancholy side | D · F · A · C | 17× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Dm7 | Tonic — home | D · F · A · C | 17× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | — |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | — |
| IV | G | Major IV — Dorian / melodic-minor colourmodal colour | G · B · D | 14× |
| v7 | Am7 | Minor dominant — soft pull | A · C · E · G | 17× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | — |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 16× |
Analysis
The key pair is F major and its relative D minor (1 flat). 4 different chords appear 64 times in total; 3 of them sit naturally inside the shared scale. G acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- C Dm7 FV → vi7deceptive cadence DmVII → i7Aeolian arrival ×2
- Am7 Dm7 Fiii7 → vi7 Dmv7 → i7natural-minor cadence ×1
The move to watch is C → Dm7, heard 2 times. From the Dm side it is VII → i7 (Aeolian arrival: rises a whole tone into home); from the F side it reads V → vi7 (deceptive cadence: expected F, lands on Dm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
- Over Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Am7, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over C, land on C, E, G — 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 F major shapes
- Capo 1 + E shapes
- Capo 3 + D shapes
- Capo 5 + C shapes
With D minor shapes
- No capo — open Dm shapes
- Capo 5 + Am 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 Dm7; the ear learns where home is within a second. The chords that keep coming back are Dm7, Am7, C, G; read them as vi7–iii7–V–V/V in F or i7–v7–VII–IV in Dm. G adds a moment of surprise: secondary dominant V/V — leads to C. Keep an ear on C → Dm7 (V → vi7 in F, VII → i7 in Dm): Aeolian arrival — rises a whole tone into home. The final chord is G; the ear comes to rest in F.
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.
Harry Styles - Watermelon Sugar 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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