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)
Selena Gomez - De Una Vez - Chord
Key A major – F# minor Chords A, C#m/A, Bm, Dmaj7 Easy key C
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Key: A | Gbm | F#m
Capo: 0
C#m/A
E--x--|
B--5--|
G--6--|
D--7--|
A--x--|
E--x--|
A Bm A C#m/A
A Bm
Ya no duele como antes, no
A C#m/A
La herida de tu amor sanó
A Bm
De una vez por toda', ahahah
A C#m/A
Soy más fuerte sola, ahahah
Dmaj7
Es que no me arrepiento del pasado
Bm A
Sé que el tiempo a tu lado cortó mis alas
C#m/A
Pero ahora este pecho es antibalas
A
No te tengo, me tengo a mí
Bm
No es para que piense' que to' es pa' ti, nah
A
Yo me fui para que no se te olvide
C#m/A
Que a una muerte como tú se revivе
A
Cuando se seque еl último mar
Bm
Es cuando pensaré en regresar
A
Tú has sobreentendido lo que siento
C#m/A
Ya no estás, qué bueno es el tiempo
A
Estoy curá' de ti, te dije ya
Bm
Ya no te siento aquí, no te siento ya
A C#m/A
Nunca supiste, no me supiste valorar, ahah
A Bm
De una vez por toda', ahahah
A C#m/A
Soy más fuerte sola, ahahah
A
Es que no me arrepiento del pasado
Bm A
Sé que el tiempo a tu lado cortó mis alas
C#m/A
Pero ahora este pecho es antibalas
A Bm A C#m/A
Dmaj7 Bm A C#m/A
A Bm A C#m/A
Ahora este pecho es antibalas
End of song Play again?
Selena Gomez - De Una Vez Tabs
NotesX
Harmony analysis
Selena Gomez – De Una Vez: key and chord analysis
The song opens on C#m/A and ends on C#m/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 A is heard 22 times while F#m never appears. 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 | 22× |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | 12× |
| iii | C#m/A | Mediant — a tonic-family shade | C# · E · G# | 13× |
| III | C# | Chromatic colour chordoutside the key | C# · E# · G# | — |
| IVmaj7 | Dmaj7 | Subdominant — moves away from home | D · F# · A · C# | 2× |
| V | E | Dominant — strongest pull home | E · G# · B | — |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | — |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | — |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | 22× |
| iv | Bm | Subdominant — moves away from home | B · D · F# | 12× |
| v | C#m/A | Minor dominant — soft pull | C# · E · G# | 13× |
| V | C# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# | — |
| VImaj7 | Dmaj7 | Submediant — warm colour | D · F# · A · C# | 2× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | — |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 4 different chords appear 49 times in total; 4 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
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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 A, land on A, C#, E — the chord's own tones always sound right on strong beats.
- Over C#m/A, land on C#, E, G# — the chord's own tones always sound right on strong beats.
- Over Bm, land on B, D, F# — 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 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 C#m/A lays a solid floor for everything that follows. A, C#m/A, Bm, Dmaj7 carry the song: I–iii–ii–IVmaj7 relative to A, III–v–iv–VImaj7 relative to F#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Ending on C#m/A, the song seals A as home.
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.
Selena Gomez - De Una Vez 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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