Ariana Grande - Tattooed Heart - Chord

Key C major – A minor Chords D/F#, G, C/E, Em, Ab, Eb/G, C, Db/F … Difficulty already in its easiest key

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G                                 G  D/F#
    You don't need a lot of money
Em                                        Em  D/F#
    Honey you don't have to play no games
C                                 C/E  G
    All I need is all your loving
D/F#                                          D/F#  C/E
    To get the blood rushing through my veins
G                                G  D/F#
    I Wanna say we're going steady
Em                    Em  D/F#
    Like it's 1954, nah
C                                 C/E  G
    It doesn't have to be forever
C/E  G       D/F#
    Just as long as I'm the name 

        D/F#  C/E   G    
On your Tattooed Heart 

D/F#  C/E       G
         You don't need to worry about
 G    D/F#  Em
Making me crazy, cause I'm way past that
Em  D/F#           C
         So just call me, if you want me
                            C/E   G                           
Cause you got me, and I'll show you 
    D/F#
How much I want to be

        D/F#  C/E   G    
On your Tattooed Heart 

C/E  G      D/F#                                     Ab        
    Just as long as I'm the name on your Tattooed Heart
                      Ab  Eb/G  Fm
Wrap me in your jacket, my baby

And lay me your bed
Fm  Eb/G    Db
      And kiss me underneath the moonlight
Db/F  Ab     Eb/G
    Darling let me trace the lines

       Eb/G  Db/F    Ab    
On your Tattooed Heart 

Db/F  Ab     Eb/G
     Just as long as I'm the name on your Tattooed Heart

End of song Play again?

Ariana Grande - Tattooed Heart Tabs

NotesX

Harmony analysis

Ariana Grande – Tattooed Heart: key and chord analysis

The song opens on G and ends on Eb/G. Its chords belong to both C major and Am, so every chord below is read both ways.

Major view

C major

Brightness rank 2/7 (bright)

Characteristic notes

7 = B (leading tone, pulls home)
4 = F (the note that leans on the 3rd)

Minor view

A minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = F (the minor's melancholy)
b7 = G (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the C major side because C is heard 12 times while Am never appears. That is an interpretation, not a rule — hearing the same chords from A minor is just as valid and teaches you something different.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to C or to Am; 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.

Seen from C major
Degree	Chord	Role	Notes	In song
I	C/E	Tonic — home	C · E · G	9×
I	C	Tonic — home	C · E · G	3×
bII	Db/F	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	Db · F · Ab	3×
bII	Db	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	Db · F · Ab	1×
ii	Dm	Supertonic — prepares the dominant	D · F · A	—
V/V	D/F#	Secondary dominant V/V — leads to Gsecondary dominant	D · F# · A	14×
bIII	Eb/G	Borrowed from the parallel minorborrowed chord	Eb · G · Bb	5×
iii	Em	Mediant — a tonic-family shade	E · G · B	6×
III	E	Chromatic colour chordoutside the key	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	—
iv	Fm	Minor iv — borrowed from the parallel minorborrowed chord	F · Ab · C	2×
V	G	Dominant — strongest pull home	G · B · D	13×
bVI	Ab	Borrowed from the parallel minorborrowed chord	Ab · C · Eb	5×
vi	Am	Relative minor — the melancholy side	A · C · E	—
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	—
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C/E	Relative major — the bright side	C · E · G	9×
III	C	Relative major — the bright side	C · E · G	3×
#III	Db/F	Chromatic colour chordoutside the key	Db · F · Ab	3×
#III	Db	Chromatic colour chordoutside the key	Db · F · Ab	1×
iv	Dm	Subdominant — moves away from home	D · F · A	—
IV	D/F#	Major IV — Dorian / melodic-minor colourmodal colour	D · F# · A	14×
#IV	Eb/G	Chromatic colour chordoutside the key	Eb · G · Bb	5×
v	Em	Minor dominant — soft pull	E · G · B	6×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VI	F	Submediant — warm colour	F · A · C	—
vi	Fm	Chromatic colour chordoutside the key	F · Ab · C	2×
VII	G	Subtonic — steps back to the tonic	G · B · D	13×
#VII	Ab	Chromatic colour chordoutside the key	Ab · C · Eb	5×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 10 different chords appear 61 times in total; 4 of them sit naturally inside the shared scale. D/F# acts as a secondary dominant, briefly pointing at another chord of the key. Ab, Eb/G, Db/F, Fm, Db are borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

G C/E CV → Iauthentic cadence AmVII → III ×2

The move to watch is G → C/E, heard 2 times. From the C side it reads V → I (authentic cadence: the strongest arrival home); from the Am side it is VII → III. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
Over D/F#, land on D, F#, A — 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/E, land on C, E, G — the chord's own tones always sound right on strong beats.
On Ab, follow the chord's notes (Ab · C · Eb) 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 C major shapes

No capo — open C shapes
Capo 3 + A shapes
Capo 5 + G shapes

With A minor shapes

No capo — open Am shapes
Capo 5 + Em shapes
Capo 7 + Dm 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 G; the ear learns where home is within a second. D/F#, G, C/E, Em carry the song: V/V–V–I–iii relative to C, IV–VII–III–v relative to Am. D/F# adds a moment of surprise: secondary dominant V/V — leads to G. Keep an ear on G → C/E (V → I in C, VII → III in Am): authentic cadence — the strongest arrival home. The final chord is Eb/G; the ear comes to rest in C.

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.