Bruno Mars - 24K Magic - Chord

Key A major – F# minor Chords Fm7, Bbm7, Cm7, Dbmaj7, C7, Cm11/Bb, Gm7 Easy key C#

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Capo 0

Fm7   Cm7
Tonight
                Dbmaj7         Gm7  C7
I just want to take you higher
                     Fm7
Throw your hands up in the sky
Cm7 Dbmaj7 Gm7 C7
Let's set this party off right

                                        Fm7
Players, put yo' pinky rings up to the moon
Bbm7                       Fm7
Girls, what y'all trying to do
Bbm7                       Fm7
24 karat magic in the air
Bbm7  Cm11/Bb  C7  Fm7
Head to toe soul player

Uh, look out

     Fm7
Pop pop, it's show time 

Show time 
Bbm7
Guess who's back again
               Fm7
Oh they don't know? 

Oh they don't know? 
            Bbm7
I bet they know soon as we walk in 
        Fm7
Wearing Cuban links 

Designer minks 
Bbm7                       Cm11/Bb  C7  Fm7
Inglewood's finest shoes 
       Fm7
Don't look too hard

Might hurt ya'self
         Bbm7
Known to give the color red the blues

      Dbmaj7   Cm7
Ooh shit,     I'm a dangerous man with some money in my pocket

Dbmaj7   Cm7
       So many pretty girls around me and they waking up the rocket

Dbmaj7   Cm7
         Why you mad? Fix ya face, ain't my fault y'all be jocking

Dbmaj7   Cm7                                                  Fm7
     Players only, come on, put your pinky rings up to the moon

Bbm7                       Fm7
Girls, what y'all trying to do
Bbm7                       Fm7
24 karat magic in the air
Bbm7   Cm11/Bb  C7    Fm7
Head to toe soul player

Uh, look out

                      Fm7
Second verse for the hustlas 

Gangstas 
Bbm7
Bad bitches and ya ugly ass friends 
      Fm7
Can I preach?  Can I preach? 
        Bbm7
I gotta show 'em how a pimp get it in
        Fm7
First, take your sip , do your dip 
Bbm7                      Cm11/Bb  C7         Fm7
Spend your money like money ain't shit 

We too fresh
                   Fm7
Got to blame in on Jesus

Hashtag blessed

They ain't ready for me

      Dbmaj7   Cm7
Ooh shit,     I'm a dangerous man with some money in my pocket

Dbmaj7   Cm7
       So many pretty girls around me and they waking up the rocket

Dbmaj7   Cm7
         Why you mad? Fix ya face, ain't my fault y'all be jocking

Dbmaj7   Cm7                                                    Fm7
     Players only, come on, put your pinky rings up to the moon

Bbm7                       Fm7
Girls, what y'all trying to do
Bbm7                    Fm7
24 karat magic in the air
Bbm7   Cm11/Bb  C7  Fm7
Head to toe soul player
       Fm7
Uh, look out

Fm7
Everywhere I go they be like
Bbm7
Ooh, soul player ooh
Fm7
Everywhere I go they be like
Bbm7
Ooh, soul player ooh
Fm7
Everywhere I go they be like
Bbm7
Ooh, soul player ooh
Fm7
Now, now, now
    Bbm7
Now watch me break it down like 
  Fm7    Bbm7
24 karat, 24 karat magic

What's that sound
Fm7    Bbm7
24 karat, 24 karat magic

Come on now
Fm7    Bbm7
24 karat, 24 karat magic
      Dbmaj7
Don't fight the feeling
  Cm7
Invite the feeling
                                    Fm7
Just put your pinky rings up to the moon

Bbm7                    Fm7
Girls, what y'all trying to do
Bbm7                    Fm7
24 karat magic in the air
Bbm7  Cm11/Bb  C7   Fm7
Head to toe soul player
                                Fm7
Put your pinky rings up to the moon
Bbm7                    Fm7
Girls, what y'all trying to do? 
Bbm7                    Fm7
24 karat magic in the air
Bbm7   Cm11/Bb  C7  Fm7
Head to toe soul player

Fm7
Uh, look out

End of song Play again?

Bruno Mars - 24K Magic Tabs

NotesX

Harmony analysis

Bruno Mars – 24K Magic: key and chord analysis

The song opens on Fm7 and ends on Fm7. Its chords belong to both A major and F#m, so every chord below is read both ways.

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)

Minor view

F# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = D (the minor's melancholy)
b7 = E (natural-minor colour)
#7 = E# (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 F# minor side because the major V chord points straight at F#m. 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.

Seen from A major
Degree	Chord	Role	Notes	In song
I	A	Tonic — home	A · C# · E	—
bii7	Bbm7	Chromatic colour chordoutside the key	Bb · Db · F · Ab	29×
ii	Bm	Supertonic — prepares the dominant	B · D · F#	—
biii7	Cm7	Chromatic colour chordoutside the key	C · Eb · G · Bb	11×
bIII7	C7	Borrowed from the parallel minorborrowed chord	C · E · G · Bb	9×
biii7	Cm11/Bb	Chromatic colour chordoutside the key	C · Eb · G · Bb · F	7×
iii	C#m	Mediant — a tonic-family shade	C# · E · G#	—
IIImaj7	Dbmaj7	Chromatic colour chordoutside the key	Db · F · Ab · C	11×
IV	D	Subdominant — moves away from home	D · F# · A	—
V	E	Dominant — strongest pull home	E · G# · B	—
bvi7	Fm7	Chromatic colour chordoutside the key	F · Ab · C · Eb	41×
vi	F#m	Relative minor — the melancholy side	F# · A · C#	—
bvii7	Gm7	Chromatic colour chordoutside the key	G · Bb · D · F	2×
vii°	G#dim	Leading-tone chord — tension	G# · B · D	—

Seen from F# minor
Degree	Chord	Role	Notes	In song
i	F#m	Tonic — home	F# · A · C#	—
bii7	Gm7	Chromatic colour chordoutside the key	G · Bb · D · F	2×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
III	A	Relative major — the bright side	A · C# · E	—
#iii7	Bbm7	Chromatic colour chordoutside the key	Bb · Db · F · Ab	29×
iv	Bm	Subdominant — moves away from home	B · D · F#	—
#iv7	Cm7	Chromatic colour chordoutside the key	C · Eb · G · Bb	11×
#IV7	C7	Chromatic colour chordoutside the key	C · E · G · Bb	9×
#iv7	Cm11/Bb	Chromatic colour chordoutside the key	C · Eb · G · Bb · F	7×
v	C#m	Minor dominant — soft pull	C# · E · G#	—
Vmaj7	Dbmaj7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	Db · F · Ab · C	11×
VI	D	Submediant — warm colour	D · F# · A	—
VII	E	Subtonic — steps back to the tonic	E · G# · B	—
#vii7	Fm7	Chromatic colour chordoutside the key	F · Ab · C · Eb	41×

Analysis

The key pair is A major and its relative F# minor (3 sharps). 7 different chords appear 110 times in total; 0 of them sit naturally inside the shared scale. The major V of F#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull. C7 is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

C7 Fm7 AbIII7 → bvi7secondary resolution F#m#IV7 → #vii7 ×9

The move to watch is C7 → Fm7, heard 9 times. From the F#m side it is #IV7 → #vii7; from the A side it reads bIII7 → bvi7 (secondary resolution: C7 resolves a fourth up to Fm7). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

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 Fm7, land on F, Ab, C — the chord's own tones always sound right on strong beats.
Over Bbm7, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
Over Cm7, land on C, Eb, G — the chord's own tones always sound right on strong beats.
When Dbmaj7 comes, swap the scale's E for E#: that single note is the harmonic-minor sound of the chord.
On C7, follow the chord's notes (C · E · G · Bb) 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

4 semitones up
1 semitone down · capo 1 keeps the original pitch

The song's harmonic story

The opening Fm7 lays a solid floor for everything that follows. The backbone is Fm7, Bbm7, Cm7, Dbmaj7 — bvi7–bii7–biii7–IIImaj7 from the A side, #vii7–#iii7–#iv7–Vmaj7 from the F#m side. Dbmaj7 is the interesting twist: in A it is a chromatic chord (IIImaj7), while in F#m it becomes the dominant (Vmaj7) that makes the minor side sound so determined. Keep an ear on C7 → Fm7 (bIII7 → bvi7 in A, #IV7 → #vii7 in F#m): secondary resolution — C7 resolves a fourth up to Fm7. The final chord is Fm7; the ear comes to rest in A.

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.