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)
Ariana Grande - Into You - Chord
Key A major – F# minor Chords C, G, Em, Am, D, F#m, G6, Gbm Difficulty already in its easiest key
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Key: A | Gbm | F#m
Capo: 0
Em G C
I'm so into you, I can barely breathe
Am C G C
And all I wanna do is to fall in deep
Em Gbm G
But close ain't close enough 'til we cross the line, baby
C G C
So name a game to play and I'll role the dice, hey
Em
Oh baby, look what you started
The temperature's rising in here
G
Is this gonna happen
C
Been waiting and waiting for you to make a move
G C
Before I make a move
Em
So baby, come light me up
and maybe I'll let you on it
G
A little bit dangerous,
but baby, that's how I want it
C
A little less conversation and a little more touch my body
Am C D
Cause I'm so into you, into you, into you
Em
Got everyone watchin' us,
so baby, let's keep it secret
G
A little bit scandalous,
but baby, don't let them see it
C
A little less conversation and a little more touch my body
Am C D
Cause I'm so into you, into you, into you
Em G C
Ooh yeah, this could take some time, hey
Am
Made too many mistakes
G C
Better get this right, right, baby
Em
Oh baby, look what you started
The temperature's rising in here
G
Is this gonna happen
C
Been waiting and waiting for you to make a move
G C
Before I make a move
Em
So baby, come light me up
and maybe I'll let you on it
G
A little bit dangerous,
but baby, that's how I want it
C
A little less conversation and a little more touch my body
Am C D
Cause I'm so into you, into you, into you
Em
Got everyone watchin' us,
so baby, let's keep it secret
G
A little bit scandalous,
but baby, don't let them see it
C
A little less conversation and a little more touch my body
Am C D
Cause I'm so into you, into you, into you
Em F#m G
Tell me what you came here for
Em F#m G6 Am
Cause I can't, I can't wait no more
Em F#m G
I'm on the edge with no control
Em F#m G6 D
And I need, I need you to know , you to know, oh
Em
So baby, come light me up
and maybe I'll let you on it
G
A little bit dangerous,
but baby, that's how I want it
C
A little less conversation and a little more touch my body
Am C D
Cause I'm so into you, into you, into you
Em
Got everyone watchin' us,
so baby, let's keep it secret
G
A little bit scandalous,
but baby, don't let them see it
C
A little less conversation and a little more touch my body
Am C D
Cause I'm so into you, into you, into you
Em
So come light me up,
so come light me up my baby
G
Little dangerous,
a little dangerous my baby
C
A little less conversation and a little more touch my body
Am C D
Cause I'm so into you, into you, into you
Em *
End of song Play again?
Ariana Grande - Into You Tabs
NotesX
Harmony analysis
Ariana Grande – Into You: key and chord analysis
The song opens on Em and ends on D. 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 F# minor side because F#m is heard 5 times while A never appears. That is an interpretation, not a rule — the same chords are just as valid seen from A 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 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 | — |
| i | Am | Chromatic colour chordoutside the key | A · C · E | 10× |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | — |
| bIII | C | Borrowed from the parallel minorborrowed chord | C · E · G | 25× |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | — |
| V/vi | C# | Secondary dominant V/vi — leads to Gbmsecondary dominant | C# · E# · G# | — |
| IV | D | Subdominant — moves away from home | D · F# · A | 8× |
| V | E | Dominant — strongest pull home | E · G# · B | — |
| v | Em | Chromatic colour chordoutside the key | E · G · B | 16× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | 4× |
| vi | Gbm | Relative minor — the melancholy side | Gb · A · Db | 1× |
| bVII | G | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | G · B · D | 19× |
| bVII6 | G6 | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | G · B · D · E | 2× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | 4× |
| i | Gbm | Tonic — home | Gb · A · Db | 1× |
| bII | G | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | G · B · D | 19× |
| bII6 | G6 | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | G · B · D · E | 2× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | — |
| iii | Am | Chromatic colour chordoutside the key | A · C · E | 10× |
| iv | Bm | Subdominant — moves away from home | B · D · F# | — |
| #IV | C | Chromatic colour chordoutside the key | C · E · G | 25× |
| v | C#m | Minor dominant — soft pull | C# · E · G# | — |
| V | C# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# | — |
| VI | D | Submediant — warm colour | D · F# · A | 8× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | — |
| vii | Em | Chromatic colour chordoutside the key | E · G · B | 16× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 8 different chords appear 85 times in total; 3 of them sit naturally inside the shared scale. C, G, G6 are borrowed from the parallel minor, adding a darker shade to the major side.
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 C, land on C, E, G — 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 Em, land on E, G, B — the chord's own tones always sound right on strong beats.
- On C, follow the chord's notes (C · E · G) rather than the key's scale — it's a borrowed colour.
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
The song is already written in its easiest key for guitar.
The song's harmonic story
The opening Em lays a solid floor for everything that follows. The chords that keep coming back are C, G, Em, Am; read them as bIII–bVII–v–i in A or #IV–bII–vii–iii in F#m. C briefly darkens the picture: borrowed from the parallel minor. It closes on D, letting the A 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.
Ariana Grande - Into You 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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