Major view
Db major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = C (leading tone, pulls home)
- 4 = Gb (the note that leans on the 3rd)
Magic - Rude - Chord
Key Db major – Bb minor Chords F#, G#, C#, A#m Easy key G (capo 6)
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Key: Db | A#m | Bbm
Capo: 0
F# G# C# A#m
F# G# C#
Saturday morning jumped out of bed
A#m
And put on my best suit
F# G# C#
Got in my car and raced like a jet
A#m
All the way to you
F# G# C#
Knocked on your door with heart in my hand
A#m
To ask you a question
F# G# C# A#m
'Cause I know that you're an old-fashioned man, yeah
F# G#
Can I have your daughter for the rest of my life?
C# A#m
Say yes, say yes 'cause I need to know
F# G#
You say I'll never get your blessing 'til the day I die
C# A#m
Tough luck, my friend, but the answer is 'No'
F# G#
Why you gotta be so rude?
C# A#m
Don't you know I'm human too?
F# G#
Why you gotta be so rude?
C# A#m
I'm gonna marry her anyway
F#
Marry that girl
G#
Marry her anyway
C#
Marry that girl
A#m
Yeah, no matter what you say
F#
Marry that girl
G#
And we'll be a family
C# A#m
Why you gotta be so
F# G# C# A#m
Rude
F# G# C#
I hate to do this, you leave no choice
A#m
Can't live without her
F# G# C#
Love me or hate me we will be boys
A#m
Standing at that altar
F# G#
Or we will run away
C# A#m
To another galaxy, you know
F# G#
You know she's in love with me
C# A#m
She will go anywhere I go
F# G#
Can I have your daughter for the rest of my life?
C# A#m
Say yes, say yes 'cause I need to know
F# G#
You say I'll never get your blessing 'til the day I die
C# A#m
Tough luck, my friend, 'cause the answer's still 'No"
F# G#
Why you gotta be so rude?
C# A#m
Don't you know I'm human too?
F# G#
Why you gotta be so rude?
C# A#m
I'm gonna marry her anyway
F#
Marry that girl
G#
Marry her anyway
C#
Marry that girl
A#m
Yeah, no matter what you say
F#
Marry that girl
G#
And we'll be a family
C# A#m
Why you gotta be so
F# G# C# A#m
Rude
F# G# C# A#m
Rude
F# G#
Can I have your daughter for the rest of my life?
C# A#m
Say yes, say yes 'cause I need to know
F# G#
You say I'll never get your blessing 'til the day I die
C# A#m
Tough luck, my friend, but 'No' still means 'No'
F# G#
Why you gotta be so rude?
C# A#m
Don't you know I'm human too?
F# G#
Why you gotta be so rude?
C# A#m
I'm gonna marry her anyway
F#
Marry that girl
G#
Marry her anyway
C#
Marry that girl
A#m
Yeah, no matter what you say
F#
Marry that girl
G#
And we'll be a family
C# A#m
Why you gotta be so
F# G#
Rude
C# A#m
Why you gotta be so
F# G#
Rude
C# A#m
Why you gotta be so rude?
End of song Play again?
Magic - Rude Tabs
NotesX
Harmony analysis
Magic – Rude: key and chord analysis
The song opens on F# and ends on A#m. Its chords belong to both Db major and Bbm, so every chord below is read both ways.
Minor view
Bb minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Gb (the minor's melancholy)
- b7 = Ab (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the Bb minor side because it comes to rest on Bbm. That is an interpretation, not a rule — the same chords are just as valid seen from Db 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 Db or to Bbm; 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 | C# | Tonic — home | C# · E# · G# | 32× |
| ii | Ebm | Supertonic — prepares the dominant | Eb · Gb · Bb | — |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | — |
| V/vi | F | Secondary dominant V/vi — leads to A#msecondary dominant | F · A · C | — |
| IV | F# | Subdominant — moves away from home | F# · A# · C# | 32× |
| V | G# | Dominant — strongest pull home | G# · B# · D# | 32× |
| vi | A#m | Relative minor — the melancholy side | A# · C# · E# | 32× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | A#m | Tonic — home | A# · C# · E# | 32× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| III | C# | Relative major — the bright side | C# · E# · G# | 32× |
| iv | Ebm | Subdominant — moves away from home | Eb · Gb · Bb | — |
| v | Fm | Minor dominant — soft pull | F · Ab · C | — |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VI | F# | Submediant — warm colour | F# · A# · C# | 32× |
| VII | G# | Subtonic — steps back to the tonic | G# · B# · D# | 32× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 4 different chords appear 128 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
- G# C# DbV → Iauthentic cadence BbmVII → III ×32
- F# G# DbIV → VIV → V BbmVI → VIIVI → VII ×32
The move to watch is G# → C#, heard 32 times. From the Bbm side it is VII → III; from the Db side it reads V → I (authentic cadence: the strongest arrival home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Db major pentatonic and Bb minor pentatonic are the same five notes (Db – Eb – F – Ab – Bb): start from Db for a brighter phrase, from Bb for a bluesier one.
- Over F#, land on F#, A#, C# — 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.
- 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 Db major shapes
- Capo 1 + C shapes
- Capo 4 + A shapes
- Capo 6 + G shapes
With Bb minor shapes
- Capo 1 + Am shapes
- Capo 6 + Em shapes
Easiest keys on guitar
- 6 semitones up · capo 6 keeps the original pitch
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
The first chord is F#; the ear learns where home is within a second. The backbone is F#, G#, C#, A#m — IV–V–I–vi from the Db side, VI–VII–III–i from the Bbm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G# → C# (V → I in Db, VII → III in Bbm): authentic cadence — the strongest arrival home. Ending on A#m, the song seals Bbm 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.
Magic - Rude 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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