Bruno Mars - Versace On The Floor - Chord

Key G major – E minor Chords Gmaj7, D, Gbm7, A6, A, G, Gm, Em7 … Easy key C (capo 7)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

D                 Gbm7          Gmaj7
  Let's take our time tonight, girl
                                A6
Above us all the stars are watchin'
D                       Gbm7              Gmaj7
  There's no place I'd rather be in this world
                         G   A
Your eyes are where I'm lost in
  C6                B7
  Underneath the chandelier
       Gmaj7        Gm
We're dancin' all alone
            Em7
There's no reason to hide
            Bm7
What we're feelin' inside
       A4 A
Right now

                    Gmaj7
So baby let's just turn down the lights
      A/G
And close the door
Bm7/G
Oooh I love that dress
               Am7    D D/F#  Gmaj7
But you won't need it anymore
              A/F#        Bm7
No you won't need it no more
            Em7             Gbm7   Gmaj7
Let's just kiss 'til we're naked, baby

    A6           D
Versace on the floor
Gbm7                  Gmaj7
Oooh take it off for me, for me, for me, for me now, girl
    A6           D
Versace on the floor
Gbm7                  Gmaj7                              A6
Oooh take it off for me, for me, for me, for me now, girl

D              Gbm7             Gmaj7
  I unzip the back to watch it fall
                                 A6
While I kiss your neck and shoulders
D                Gbm7           Gmaj7
  No don't be afraid to show it off
                             G   A6
I'll be right here ready to hold you
  C6                      B7
  Girl you know you're perfect from
      Gmaj7             Gm
Your head down to your heels
             Em7
Don't be confused by my smile
                Bm7                 A4     A
'Cause I ain't never been more for real, for real

         Gmaj7
So just turn down the lights
      A/G
And close the door
Bm7/G
Oooh I love that dress
               Am7   D D/F#   Gmaj7
But you won't need it anymore
              A/F#         Bm7
No you won't need it no more
            Em7             Gbm7   Gmaj7
Let's just kiss 'til we're naked, baby

    A            D
Versace on the floor
Gbm                   G
Oooh take it off for me, for me, for me, for me now, girl
    A            D
Versace on the floor
Gbm                   G                                  A
Oooh take it off for me, for me, for me, for me now, girl
Dance

Ab
  It's warmin' up
         Bb/Ab
Can you feel it
It's warmin' up
         Cm/Ab
Can you feel it
It's warmin' up
         Bb/Ab
Can you feel it, baby
It's warmin' up
Cm   Fm                          Cm
Oh, seems like you're ready for more, more, more
            Ab
Let's just kiss 'til we're naked

    Bb           Eb
Versace on the floor
     Gm
Hey baby
                 Ab
Take it off for me, for me, for me, for me now, girl
    Bb           Eb
Versace on the floor
  Gm                  Ab
Oooh take it off for me, for me, for me, for me now, girl

    Bb           B
Versace on the floor
  Db
Floor
E
Floor

End of song Play again?

Bruno Mars - Versace On The Floor Tabs

NotesX

Harmony analysis

Bruno Mars – Versace On The Floor: key and chord analysis

The song opens on D and ends on E. Its chords belong to both G major and Em, so every chord below is read both ways.

Major view

G major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

E minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

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

Which side does the ear lean to?

Our reading: we can't honestly pick a side here — the song moves freely between G major and E minor because G is heard 18 times against 4 for Em and the major V chord points straight at Em. Try reading the chords both ways and see which feels more like home to you.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to G or to Em; 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 G major
Degree	Chord	Role	Notes	In song
Imaj7	Gmaj7	Tonic — home	G · B · D · F#	14×
I	G	Tonic — home	G · B · D	4×
i	Gm	Chromatic colour chordoutside the key	G · Bb · D	4×
bII	Ab	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	Ab · C · Eb	4×
ii7	Am7	Supertonic — prepares the dominant	A · C · E · G	2×
V/V	A6	Secondary dominant V/V — leads to Dsecondary dominant	A · C# · E · F#	6×
V/V	A	Secondary dominant V/V — leads to Dsecondary dominant	A · C# · E	6×
V/V	A4	Secondary dominant V/V — leads to Dsecondary dominant	A · C# · E	2×
V/V	A/G	Secondary dominant V/V — leads to Dsecondary dominant	A · C# · E	2×
V/V	A/F#	Secondary dominant V/V — leads to Dsecondary dominant	A · C# · E	2×
bIII	Bb	Borrowed from the parallel minorborrowed chord	Bb · D · F	3×
bIII	Bb/Ab	Borrowed from the parallel minorborrowed chord	Bb · D · F	2×
iii7	Bm7	Mediant — a tonic-family shade	B · D · F# · A	4×
iii7	Bm7/G	Mediant — a tonic-family shade	B · D · F# · A	2×
V7/vi	B7	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F# · A	2×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	1×
IV6	C6	Subdominant — moves away from home	C · E · G · A	2×
iv	Cm	Minor iv — borrowed from the parallel minorborrowed chord	C · Eb · G	2×
iv	Cm/Ab	Minor iv — borrowed from the parallel minorborrowed chord	C · Eb · G	1×
#IV	Db	Chromatic colour chordoutside the key	Db · F · Ab	1×
V	D	Dominant — strongest pull home	D · F# · A	10×
V	D/F#	Dominant — strongest pull home	D · F# · A	2×
bVI	Eb	Borrowed from the parallel minorborrowed chord	Eb · G · Bb	2×
vi7	Em7	Relative minor — the melancholy side	E · G · B · D	4×
V/ii	E	Secondary dominant V/ii — leads to Amsecondary dominant	E · G# · B	1×
bvii	Fm	Chromatic colour chordoutside the key	F · Ab · C	1×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—
vii7	Gbm7	Chromatic colour chordoutside the key	Gb · A · Db · Fb	8×
vii	Gbm	Chromatic colour chordoutside the key	Gb · A · Db	2×

Seen from E minor
Degree	Chord	Role	Notes	In song
i7	Em7	Tonic — home	E · G · B · D	4×
V/iv	E	Secondary dominant V/iv — leads to Amsecondary dominant	E · G# · B	1×
bii	Fm	Chromatic colour chordoutside the key	F · Ab · C	1×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
ii7	Gbm7	Chromatic colour chordoutside the key	Gb · A · Db · Fb	8×
ii	Gbm	Chromatic colour chordoutside the key	Gb · A · Db	2×
IIImaj7	Gmaj7	Relative major — the bright side	G · B · D · F#	14×
III	G	Relative major — the bright side	G · B · D	4×
iii	Gm	Chromatic colour chordoutside the key	G · Bb · D	4×
#III	Ab	Chromatic colour chordoutside the key	Ab · C · Eb	4×
iv7	Am7	Subdominant — moves away from home	A · C · E · G	2×
IV6	A6	Major IV — Dorian / melodic-minor colourmodal colour	A · C# · E · F#	6×
IV	A	Major IV — Dorian / melodic-minor colourmodal colour	A · C# · E	6×
IV	A4	Major IV — Dorian / melodic-minor colourmodal colour	A · C# · E	2×
IV	A/G	Major IV — Dorian / melodic-minor colourmodal colour	A · C# · E	2×
IV	A/F#	Major IV — Dorian / melodic-minor colourmodal colour	A · C# · E	2×
#IV	Bb	Chromatic colour chordoutside the key	Bb · D · F	3×
#IV	Bb/Ab	Chromatic colour chordoutside the key	Bb · D · F	2×
v7	Bm7	Minor dominant — soft pull	B · D · F# · A	4×
v7	Bm7/G	Minor dominant — soft pull	B · D · F# · A	2×
V7	B7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F# · A	2×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	1×
VI6	C6	Submediant — warm colour	C · E · G · A	2×
vi	Cm	Chromatic colour chordoutside the key	C · Eb · G	2×
vi	Cm/Ab	Chromatic colour chordoutside the key	C · Eb · G	1×
#VI	Db	Chromatic colour chordoutside the key	Db · F · Ab	1×
VII	D	Subtonic — steps back to the tonic	D · F# · A	10×
VII	D/F#	Subtonic — steps back to the tonic	D · F# · A	2×
#VII	Eb	Chromatic colour chordoutside the key	Eb · G · Bb	2×

Analysis

The key pair is G major and its relative E minor (1 sharp). 28 different chords appear 96 times in total; 9 of them sit naturally inside the shared scale. The major V of Em brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from G, the same B7 / B is V7/vi, a secondary dominant heading for Em. A6, A, A4, A/G, A/F#, E act as secondary dominants, briefly pointing at another chord of the key. Ab, Bb, Bb/Ab, Cm, Eb, Cm/Ab are borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

D/F# Gmaj7 GV → Imaj7authentic cadence EmVII → IIImaj7 ×2
Am7 D Gii7 → Vii → V Emiv7 → VII ×2
Bm7 Em7 Giii7 → vi7 Emv7 → i7natural-minor cadence ×2

The move to watch is D/F# → Gmaj7, heard 2 times. From the G side it reads V → Imaj7 (authentic cadence: the strongest arrival home); from the Em side it is VII → IIImaj7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

G major pentatonic and E minor pentatonic are the same five notes (G – A – B – D – E): start from G for a brighter phrase, from E for a bluesier one.
Over Gmaj7, land on G, B, D — the chord's own tones always sound right on strong beats.
Over D, land on D, F#, A — the chord's own tones always sound right on strong beats.
Over Gbm7, land on Gb, A, Db — the chord's own tones always sound right on strong beats.
When B7 comes, swap the scale's D for D#: that single note is the harmonic-minor sound of the chord.
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 G major shapes

No capo — open G shapes
Capo 3 + E shapes
Capo 5 + D shapes

With E minor shapes

No capo — open Em shapes
Capo 2 + Dm shapes
Capo 7 + Am shapes

Easiest keys on guitar

5 semitones up · capo 7 keeps the original pitch
2 semitones down · capo 2 keeps the original pitch

The song's harmonic story

The first chord is D; the ear learns where home is within a second. The chords that keep coming back are Gmaj7, D, Gbm7, A6; read them as Imaj7–V–vii7–V/V in G or IIImaj7–VII–ii7–IV6 in Em. B7 is the interesting twist: in G it is a chromatic chord (V7/vi), while in Em it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on D/F# → Gmaj7 (V → Imaj7 in G, VII → IIImaj7 in Em): authentic cadence — the strongest arrival home. The final chord is E; the ear comes to rest in G.

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.