Major view
Bb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A (leading tone, pulls home)
- 4 = Eb (the note that leans on the 3rd)
Olivia Rodrigo - Drivers License - Chord
Key Bb major – G minor Chords Bb, Ebmaj7, F, Gm, Eb, Dm7, Cm, Gm7 Easy key G (capo 3)
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Key: Bb | Gm
Capo: 0
Bb
I got my driver’s license last week
Gm
Just like we always talked about
'Cause you were so excited for me
Eb
To finally drive up to your house
But today I drove through the suburbs
Bb
Crying 'cause you weren't around
Bb
And you're probably with that blonde girl
Who always made me doubt
Gm
She's so much older than me
She's everything I'm insecure about
Eb
Yeah, today I drove through the suburbs
Bb
'Cause how could I ever love someone else?
Ebmaj7
And I know we weren't perfect
Bb
but I've never felt this way for no one
Ebmaj7
And I just can't imagine how you could be so okay
Bb
now that I'm gone
Gm F Bb Dm7 Ebmaj7
Guess you didn't mean what you wrote in that song about me
Cm F Bb
'Cause you said forever, now I drive alone past your street
Bb
And all my friends are tired
of hearing how much I miss you, but
Gm
I kinda feel sorry for them
'Cause they'll never know you the way that I do, yeah
Eb
Today I drove through the suburbs
Bb
and pictured I was driving home to you
Ebmaj7
And I know we weren't perfect
Bb
but I've never felt this way for no one
Ebmaj7
And I just can't imagine how you could be so okay
Bb
now that I'm gone
Gm F Bb Dm7 Ebmaj7
Guess you didn't mean what you wrote in that song about me
Cm F Bb
'Cause you said forever, now I drive alone past your street
Gm
Red lights, stop signs
Ebmaj7 Bb
I still see your face in the white cars, front yards
F Gm
Can't drive past the places we used to go to
Ebmaj7 Bb
'Cause I still fuckin' love you, babe
F
Ooooooh
Gm
Sidewalks we crossed
Ebmaj7 Bb
I still hear your voice in the traffic, we're laughing
F
over all the noise
Gm
God I'm so blue, know we're through
Ebmaj7 Bb
But I still fuckin' love you, babe
F
Ooooooh
Ebmaj7
I know we weren't perfect
Bb
but I've never felt this way for no one
Ebmaj7
And I just can't imagine how you could be so okay
Bb
now that I'm gone
Gm F Dm7 F Ebmaj7
Guess you didn't mean what you wrote in that song about me
Cm F Bb
'Cause you said forever, now I drive alone past your street
Ebmaj7 F Gm7
Yeah, you said forever, now I drive alone past your street
End of song Play again?
Olivia Rodrigo - Drivers License Tabs
NotesX
Harmony analysis
Olivia Rodrigo – Drivers License: key and chord analysis
The song opens on Bb and ends on Gm7. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Minor view
G minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Eb (the minor's melancholy)
- b7 = F (natural-minor colour)
Which side does the ear lean to?
Our reading: we can't honestly pick a side here — the song moves freely between Bb major and G minor because it comes to rest on Gm, it opens on Bb and Bb is heard 21 times against 11 for Gm. 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 Bb or to Gm; 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 | Bb | Tonic — home | Bb · D · F | 21× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 3× |
| iii7 | Dm7 | Mediant — a tonic-family shade | D · F · A · C | 3× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IVmaj7 | Ebmaj7 | Subdominant — moves away from home | Eb · G · Bb · D | 14× |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 3× |
| V | F | Dominant — strongest pull home | F · A · C | 12× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 10× |
| vi7 | Gm7 | Relative minor — the melancholy side | G · Bb · D · F | 1× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 10× |
| i7 | Gm7 | Tonic — home | G · Bb · D · F | 1× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | 21× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 3× |
| v7 | Dm7 | Minor dominant — soft pull | D · F · A · C | 3× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VImaj7 | Ebmaj7 | Submediant — warm colour | Eb · G · Bb · D | 14× |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 3× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 12× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 8 different chords appear 67 times in total; 8 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
- Ebmaj7 Bb BbIVmaj7 → Iplagal cadence GmVImaj7 → III ×10
- F Bb BbV → Iauthentic cadence GmVII → III ×5
- Eb Bb BbIV → Iplagal cadence GmVI → III ×3
- F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×3
- Cm F Bbii → Vii → V Gmiv → VII ×3
- F Gm7 BbV → vi7deceptive cadence GmVII → i7Aeolian arrival ×1
The move to watch is Ebmaj7 → Bb, heard 10 times. From the Bb side it reads IVmaj7 → I (plagal cadence: the soft 'amen' ending); from the Gm side it is VImaj7 → III. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
- Over Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- Over Ebmaj7, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
- Over F, land on F, A, C — 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 Bb major shapes
- Capo 1 + A shapes
- Capo 3 + G shapes
- Capo 6 + E shapes
With G minor shapes
- Capo 3 + Em shapes
- Capo 5 + Dm shapes
Easiest keys on guitar
- 3 semitones down · capo 3 keeps the original pitch
- 2 semitones up
The song's harmonic story
The first chord is Bb; the ear learns where home is within a second. Bb, Ebmaj7, F, Gm carry the song: I–IVmaj7–V–vi relative to Bb, III–VImaj7–VII–i relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ebmaj7 → Bb (IVmaj7 → I in Bb, VImaj7 → III in Gm): plagal cadence — the soft 'amen' ending. It closes on Gm7, letting the Gm 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.
Olivia Rodrigo - Drivers License 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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