Major view
Gb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F (leading tone, pulls home)
- 4 = Cb (the note that leans on the 3rd)
Bruno Mars - That's What I Like - Chord
Key Gb major – Eb minor Chords Ebm7, Fm7, Ab4, Bb4, Bb7, Bbm7, F7, Bbm7/G# … Easy key F (capo 1)
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Key: Gb | D#m | Ebm
Capo: 0
Ebm7 Ebm7 Ebm7
Ay, ay, ay
Ebm7
I got a condo in Manhattan
Baby girl, what's hatnin'
Ab4
You and your ass invited
So gon' and get to clappin'
Fm7
So pop it for a pimp
Pop, pop it for me
Bb4
Turn around and drop it for a pimp
Bb7
Drop, drop it for me
Ebm7
I'll rent a beach house in Miami
Wake up with no jammies
Ab4
Lobster tail for dinner
Julio, serve that scampi
Fm7
You got it if you want it
Got, got it if you want it
Bb4
Said you got it if you want it
Bb7
Take my wallet if you want it now
Ebm7 Fm7
Jump in the Cadillac
G#m7 F#7+
Anything you want
Ebm7 Fm7
You deserve it, baby, you deserve it all
Bbm7 Bbm7/G# F7
And I'm gonna give it to you
Ebm7
Gold jewelry shining so bright
Ab4
Strawberry champagne on ice
Fm7
Lucky for you, that's what I like, that's what I like
Bb4 Bb7
Lucky for you, that's what I like, that's what I like
Ebm7
Sex by the fire at night
Ab4
Silk sheets and diamonds all white
Fm7
Lucky for you, that's what I like, that's what I like
Bbm7 Bbm7/G# Bbm7/F# F7
Lucky for you, that's what I like, that's what I like
Ebm7
I'm talkin' trips to Puerto Rico
Say the word and we go
Ab4
You can be my freaka
Fm7
Girl, I'll be a fleeko, mamacita
I will never make a promise that I can't keep
Bb4 Bb7
I promise that your smile ain't gon' never leave
Ebm7
Shopping sprees in Paris
Everything 24 karats
Ab4
Take a look in that mirror
Now tell me who's the fairest
Fm7
Is it you? Is it me?
Bb4 Bb7
Say it's us and I'll agree, baby
Ebm7 Fm7
Jump in the Cadillac
G#m7 F#7+
Anything you want
Ebm7 Fm7
You deserve it, baby, you deserve it all
Bbm7 Bbm7/G# F7
And I'm gonna give it to you
Ebm7
Gold jewelry shining so bright
Ab4
Strawberry champagne on ice
Fm7
Lucky for you, that's what I like, that's what I like
Bb4 Bb7
Lucky for you, that's what I like, that's what I like
Ebm7
Sex by the fire at night
Ab4
Silk sheets and diamonds all white
Fm7
Lucky for you, that's what I like, that's what I like
Bbm7 Bbm7/G# Bbm7/F# F7
Lucky for you, that's what I like, that's what I like
Gbmaj7 Ebm7
If you say you want a good time
Fm7 Bbm7
Well here I am, baby, here I am, baby
Gbmaj7 Ebm7
Talk to me, talk to me, talk to me
Fm7 Abm7 Db7
Tell me what's on your mind
Gbmaj7 F7
If you want it, girl come and get it
F7 Gº Aº Bbm7
All this is here for you
Ebm7
Tell me, baby, tell me, tell me, baby
Bbm7 Bbm7/G# F7
What you tryna do
Ebm7
Gold jewelry shining so bright
Ab4
Strawberry champagne on ice
Fm7
Lucky for you, that's what I like, that's what I like
Bb4 Bb7
Lucky for you, that's what I like, that's what I like
Ebm7
Sex by the fire at night
Ab4
Silk sheets and diamonds all white
Fm7
Lucky for you, that's what I like, that's what I like
Bbm7 Bbm7/G# Bbm7/F# F7
Lucky for you, that's what I like, that's what I like
End of song Play again?
Bruno Mars - That's What I Like Tabs
NotesX
Harmony analysis
Bruno Mars – That's What I Like: key and chord analysis
The song opens on Ebm7 and ends on F7. Its chords belong to both Gb major and Ebm, so every chord below is read both ways.
Minor view
Eb minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Cb (the minor's melancholy)
- b7 = Db (natural-minor colour)
- #7 = D (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 Eb minor side because it opens on Ebm, Ebm is heard 20 times against 3 for Gb and the major V chord points straight at Ebm. That is an interpretation, not a rule — the same chords are just as valid seen from Gb 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 Gb or to Ebm; 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 |
|---|---|---|---|---|
| Imaj7 | Gbmaj7 | Tonic — home | Gb · Bb · Db · F | 3× |
| ii7 | Abm7 | Supertonic — prepares the dominant | Ab · Cb · Eb · Gb | 1× |
| V/V | Ab4 | Secondary dominant V/V — leads to Dbsecondary dominant | Ab · C · Eb | 10× |
| iii7 | Bbm7 | Mediant — a tonic-family shade | Bb · Db · F · Ab | 7× |
| iii7 | Bbm7/G# | Mediant — a tonic-family shade | Bb · Db · F · Ab | 6× |
| iii7 | Bbm7/F# | Mediant — a tonic-family shade | Bb · Db · F · Ab | 3× |
| V/vi | Bb4 | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | 7× |
| V7/vi | Bb7 | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F · Ab | 7× |
| IV | Cb | Subdominant — moves away from home | Cb · Eb · Gb | — |
| V7 | Db7 | Dominant — strongest pull home | Db · F · Ab · Cb | 1× |
| vi7 | Ebm7 | Relative minor — the melancholy side | Eb · Gb · Bb · Db | 20× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| vii7 | Fm7 | Chromatic colour chordoutside the key | F · Ab · C · Eb | 16× |
| V7/iii | F7 | Secondary dominant V/iii — leads to Bbmsecondary dominant | F · A · C · Eb | 7× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Ebm7 | Tonic — home | Eb · Gb · Bb · Db | 20× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| ii7 | Fm7 | Chromatic colour chordoutside the key | F · Ab · C · Eb | 16× |
| V7/v | F7 | Secondary dominant V/v — leads to Bbmsecondary dominant | F · A · C · Eb | 7× |
| IIImaj7 | Gbmaj7 | Relative major — the bright side | Gb · Bb · Db · F | 3× |
| iv7 | Abm7 | Subdominant — moves away from home | Ab · Cb · Eb · Gb | 1× |
| IV | Ab4 | Major IV — Dorian / melodic-minor colourmodal colour | Ab · C · Eb | 10× |
| v7 | Bbm7 | Minor dominant — soft pull | Bb · Db · F · Ab | 7× |
| v7 | Bbm7/G# | Minor dominant — soft pull | Bb · Db · F · Ab | 6× |
| v7 | Bbm7/F# | Minor dominant — soft pull | Bb · Db · F · Ab | 3× |
| V | Bb4 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | 7× |
| V7 | Bb7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F · Ab | 7× |
| VI | Cb | Submediant — warm colour | Cb · Eb · Gb | — |
| VII7 | Db7 | Subtonic — steps back to the tonic | Db · F · Ab · Cb | 1× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 12 different chords appear 88 times in total; 7 of them sit naturally inside the shared scale. The major V of Ebm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Gb, the same Bb4 / Bb7 is V/vi, a secondary dominant heading for Ebm. Ab4, F7 act as secondary dominants, briefly pointing at another chord of the key.
Chord movement
- Bb7 Ebm7 GbV7/vi → vi7secondary resolution EbmV7 → i7harmonic-minor cadence ×7
- Db7 Gbmaj7 GbV7 → Imaj7authentic cadence EbmVII7 → IIImaj7 ×1
- Abm7 Db7 Gbii7 → V7ii → V Ebmiv7 → VII7 ×1
The move to watch is Bb7 → Ebm7, heard 7 times. From the Ebm side it is V7 → i7 (harmonic-minor cadence: the major V resolves dramatically); from the Gb side it reads V7/vi → vi7 (secondary resolution: Bb7 resolves a fourth up to Ebm7). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Gb major pentatonic and Eb minor pentatonic are the same five notes (Gb – Ab – Bb – Db – Eb): start from Gb for a brighter phrase, from Eb for a bluesier one.
- Over Ebm7, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
- Over Fm7, land on F, Ab, C — the chord's own tones always sound right on strong beats.
- Over Ab4, land on Ab, C, Eb — the chord's own tones always sound right on strong beats.
- When Bb4 comes, swap the scale's Db for D: 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 Gb major shapes
- Capo 2 + E shapes
- Capo 4 + D shapes
- Capo 6 + C shapes
With Eb minor shapes
- Capo 1 + Dm shapes
- Capo 6 + Am shapes
Easiest keys on guitar
- 1 semitone down · capo 1 keeps the original pitch
- 6 semitones up · capo 6 keeps the original pitch
The song's harmonic story
The opening Ebm7 lays a solid floor for everything that follows. Ebm7, Fm7, Ab4, Bb4 carry the song: vi7–vii7–V/V–V/vi relative to Gb, i7–ii7–IV–V relative to Ebm. Bb4 is the interesting twist: in Gb it is a chromatic chord (V/vi), while in Ebm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Bb7 → Ebm7 (V7/vi → vi7 in Gb, V7 → i7 in Ebm): harmonic-minor cadence — the major V resolves dramatically. Ending on F7, the song seals Gb 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.
Bruno Mars - That's What I Like 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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