Bruno Mars - APT (feat ROSE) - Chord

Key Eb major – C minor Chords Cm, Bb, Eb, Ab, C, G7, F Easy key G

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Capo 0

Chaeyeongiga johaneun, Raendeom geim, Raendeom geim
Game start
Apateu, apateu, Apateu, apateu, Apateu, apateu
Uh, uh huh, uh huh
Apateu, apateu, Apateu, apateu, Apateu, apateu
Uh, uh huh, uh huh

Cm
Kissy face, kissy face, sent to your
       Bb
Phone but
Cm
I'm trying to kiss your lips for Real

Uh huh, uh huh

Red hearts, red hearts
                   Bb
That’s what I’m on yeah
Cm
Come give me somethin' I can Feel

Oh oh, oh

Ab                       Bb
Don't you want me like I want you Baby
Cm                       Eb
Don't you need me like I need you now
Ab                   Bb
Sleep tomorrow, but tonight, go crazy
Cm                       Eb
All you gotta do is just meet me at the

Ab
Apateu, apateu
            Bb
Apateu, apateu
Cm
Apateu, apateu

Uh, uh huh, uh huh

Cm
Apateu, apateu
            Bb
Apateu, apateu
Cm
Apateu, apateu
Eb
Uh, uh huh, uh huh

        Cm
It’s whatever, it’s whatever
                       Bb
It's whatever you like
 Cm
Turn this apateu into a club

              Cm
I’m talkin' drink, dance, smoke, freak
                Bb
Party all night
Cm
   Geonbae, geonbae, girl, what’s up

Oh oh, oh

Ab                       Bb
Don't you want me like I want you Baby
Cm                       Eb
Don't you need me like I need you now
Ab                   Bb
Sleep tomorrow, but tonight, go crazy
Cm                       Eb
All you gotta do is just meet me at the

Ab
Apateu, apateu
Bb
Apateu, apateu
Cm
Apateu, apateu
Eb
Uh, uh huh, uh huh

Ab
Apateu, apateu
Bb
Apateu, apateu
Cm
Apateu, apateu
Eb
Uh, uh huh, uh huh

G7
Hey, so now you know the game

Are you ready

'Cause I’m comin to get ya

 Cm           Bb
Hold on, hold on
           Eb  C
I’m on my way
                        Bb
Yeah, yeah, yeah yeah, yeah
           Eb  C
I’m on my way
 Cm           Bb
Hold on, hold on
           Eb  C
I’m on my way
Cm                      Bb
Yeah, yeah, yeah yeah, yeah
          F
I’m on my way

Ab                       Bb
Don't you want me like I want you Baby
Cm                       Eb
Don't you need me like I need you now
Ab                   Bb
Sleep tomorrow, but tonight, go crazy
Cm                       Eb
All you gotta do is just meet me at the

Ab
Apateu, apateu
Bb
Apateu, apateu
Cm
Apateu, apateu
      Eb
Just meet me at the 

Ab
Apateu, apateu
Bb
Apateu, apateu
Cm
Apateu, apateu
      Eb
Just meet me at the 

Ab
Apateu, apateu
Bb
Apateu, apateu
Cm
Apateu, apateu
      Eb
Just meet me at the 

Ab
Apateu, apateu
Bb
Apateu, apateu
Cm
Apateu, apateu
Eb
Uh, uh huh, uh huh

End of song Play again?

Bruno Mars - APT (feat ROSE) Tabs

NotesX

Harmony analysis

Bruno Mars – APT (feat ROSE): key and chord analysis

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

Major view

Eb major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

C minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Ab (the minor's melancholy)
b7 = Bb (natural-minor colour)
#7 = B (harmonic-minor leading tone from the V chord)

Which side does the ear lean to?

Our reading: to us the song feels closer to the C minor side because it comes to rest on Eb, it opens on Cm, Cm is heard 25 times against 16 for Eb and the major V chord points straight at Cm. That is an interpretation, not a rule — the same chords are just as valid seen from Eb 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 Eb or to Cm; 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 Eb major
Degree	Chord	Role	Notes	In song
I	Eb	Tonic — home	Eb · G · Bb	16×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	—
V/V	F	Secondary dominant V/V — leads to Bbsecondary dominant	F · A · C	1×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	—
V7/vi	G7	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D · F	1×
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	13×
V	Bb	Dominant — strongest pull home	Bb · D · F	22×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	25×
V/ii	C	Secondary dominant V/ii — leads to Fmsecondary dominant	C · E · G	3×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—

Seen from C minor
Degree	Chord	Role	Notes	In song
i	Cm	Tonic — home	C · Eb · G	25×
V/iv	C	Secondary dominant V/iv — leads to Fmsecondary dominant	C · E · G	3×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	16×
iv	Fm	Subdominant — moves away from home	F · Ab · C	—
IV	F	Major IV — Dorian / melodic-minor colourmodal colour	F · A · C	1×
v	Gm	Minor dominant — soft pull	G · Bb · D	—
V7	G7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D · F	1×
VI	Ab	Submediant — warm colour	Ab · C · Eb	13×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	22×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 7 different chords appear 81 times in total; 4 of them sit naturally inside the shared scale. The major V of Cm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Eb, the same G7 is V7/vi, a secondary dominant heading for Cm. C, F act as secondary dominants, briefly pointing at another chord of the key.

Chord movement

Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×18
Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×13
Bb Eb EbV → Iauthentic cadence CmVII → III ×3
G7 Cm EbV7/vi → visecondary resolution CmV7 → iharmonic-minor cadence ×1

The move to watch is Bb → Cm, heard 18 times. From the Cm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Eb side it reads V → vi (deceptive cadence: expected Eb, lands on Cm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Eb major pentatonic and C minor pentatonic are the same five notes (Eb – F – G – Bb – C): start from Eb for a brighter phrase, from C for a bluesier one.
Over Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
Over Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
Over Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
When G7 comes, swap the scale's Bb for B: that single note is the harmonic-minor sound of the chord.

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 Eb major shapes

Capo 1 + D shapes
Capo 3 + C shapes
Capo 6 + A shapes

With C minor shapes

Capo 3 + Am shapes

Easiest keys on guitar

4 semitones up
3 semitones down · capo 3 keeps the original pitch

The song's harmonic story

Starting on Cm, the song gives away its key from the very first bar. The chords that keep coming back are Cm, Bb, Eb, Ab; read them as vi–V–I–IV in Eb or i–VII–III–VI in Cm. C is the interesting twist: in Eb it is a chromatic chord (V/ii), while in Cm it becomes the dominant (V/iv) that makes the minor side sound so determined. Keep an ear on Bb → Cm (V → vi in Eb, VII → i in Cm): Aeolian arrival — rises a whole tone into home. It closes on Eb, letting the Eb 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.