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Bruno Mars - Too Good To Say Goodbye - Chord

Key D major – B minor Chords A, Gbm, Dmaj7, Dbm, Amaj7, Em7, E, D/E … Difficulty already in its easiest key

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Capo 0 
A  G  A  Gmaj7

A  Dbm           Gbm
   I've made mistakes
A  Dbm            Gbm        D     E
   I could have treated you better
A         Dbm      Gbm
   I let you get away
A                 Dbm         Gbm
   There goes my happily ever after

 G   A   Dmaj7               E/D           Dbm
Tell me why, why can't we try and start again
               Gbm  E    Dmaj7  A/C#  Dmaj7
This can't be how  our sto   ry    ends
                     E/D                   Dbm
You're more than my girl, you're my best friend
              Gbm    E    Dmaj7
Tell me, you remem  ber when
A/C#   D/B
Oooh, I was your man and you were my girl
        D/E
It was you and me against the world

      Dmaj7                                   Amaj7
Baby, ain't no body gonna love me like the way you do
     Em7                                    Gbm
And you ain't never gonna find a love like mine

G/E  A  Dmaj7                       Amaj7
Tell me  what can I do to make it up to you
         Em7                           Db4      Db
'Cause what we got's too good to say goodbye, goodbye

A       Dbm           Gbm
  Yeah, I'm still in love with you darlin'
A         Dbm          Gbm
  I know you feel the same
D   E  A                                 Gbm
Oh,  what's the point of us both being broken hearted
A             Dbm       Gbm
 I pray it's never too late 

   G    A  Dmaj7               E/D           Dbm
So tell me why, why can't we try and start again
               Gbm  E    Dmaj7  A/C#  Dmaj7
This can't be how  our sto   ry    ends
                     E/D                   Dbm
You're more than my girl, you're my best friend
              Gbm    E    Dmaj7
Tell me, you remem  ber when
A/C#   D/B
Oooh, I was your man and you were my girl
        D/E
It was you and me against the world

      Dmaj7                                   Amaj7
Baby, ain't no body gonna love me like the way you do
     Em7                                    Gbm
And you ain't never gonna find a love like mine

G/E  A  Dmaj7                       Amaj7
Tell me  what can I do to make it up to you
         Em7                           Db4      Db
'Cause what we got's too good to say goodbye, goodbye

 D/E
Girl won't you listen
      Amaj7

It's you that I'm missin
      D/B

 D/E                   Amaj7
Take my hand, I wanna go, I wanna go
          Dm7

          G                Em7              A7
If we're gonna fight this fight for better days
D/B
I know we're gonna make it
              D/E
This is the chance, let's take it

      Dmaj7                                   Amaj7
Baby, ain't no body gonna love me like the way you do
     Em7                                    Gbm
And you ain't never gonna find a love like mine

G/E  A  Dmaj7                       Amaj7
Tell me  what can I do to make it up to you
         Em7                           Db4      Db
'Cause what we got's too good to say goodbye, goodbye

End of song Play again?

Bruno Mars - Too Good To Say Goodbye Tabs

NotesX

Harmony analysis

Bruno Mars – Too Good To Say Goodbye: key and chord analysis

The song opens on A and ends on Db. Its chords belong to both D major and Bm, so every chord below is read both ways.

Major view

D major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

B minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

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

Which side does the ear lean to?

Our reading: to us the song feels closer to the D major side because D is heard 25 times while Bm never appears. That is an interpretation, not a rule — hearing the same chords from B minor is just as valid and teaches you something different.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to D or to Bm; 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 D major
Degree Chord Role Notes In song
Imaj7 Dmaj7 Tonic — home D · F# · A · C# 14×
I D/E Tonic — home D · F# · A 5×
I D/B Tonic — home D · F# · A 4×
I D Tonic — home D · F# · A 2×
i7 Dm7 Chromatic colour chordoutside the key D · F · A · C 1×
ii7 Em7 Supertonic — prepares the dominant E · G · B · D 7×
V/V E Secondary dominant V/V — leads to Asecondary dominant E · G# · B 6×
V/V E/D Secondary dominant V/V — leads to Asecondary dominant E · G# · B 4×
iii Gbm Mediant — a tonic-family shade Gb · A · Db 15×
III F# Chromatic colour chordoutside the key F# · A# · C# —
IV G Subdominant — moves away from home G · B · D 4×
IV G/E Subdominant — moves away from home G · B · D 3×
IVmaj7 Gmaj7 Subdominant — moves away from home G · B · D · F# 1×
V A Dominant — strongest pull home A · C# · E 15×
V A/C# Dominant — strongest pull home A · C# · E 4×
V7 A7 Dominant — strongest pull home A · C# · E · G 1×
Vmaj7 Amaj7 Chromatic colour chordoutside the key A · C# · E · G# 8×
vi Bm Relative minor — the melancholy side B · D · F# —
vii° C#dim Leading-tone chord — tension C# · E · G —
vii Dbm Chromatic colour chordoutside the key Db · Fb · Ab 11×
V/iii Db4 Secondary dominant V/iii — leads to Gbmsecondary dominant Db · F · Ab 3×
V/iii Db Secondary dominant V/iii — leads to Gbmsecondary dominant Db · F · Ab 3×
Seen from B minor
Degree Chord Role Notes In song
i Bm Tonic — home B · D · F# —
ii° C#dim Supertonic — prepares the dominant C# · E · G —
ii Dbm Chromatic colour chordoutside the key Db · Fb · Ab 11×
V/v Db4 Secondary dominant V/v — leads to Gbmsecondary dominant Db · F · Ab 3×
V/v Db Secondary dominant V/v — leads to Gbmsecondary dominant Db · F · Ab 3×
IIImaj7 Dmaj7 Relative major — the bright side D · F# · A · C# 14×
III D/E Relative major — the bright side D · F# · A 5×
III D/B Relative major — the bright side D · F# · A 4×
III D Relative major — the bright side D · F# · A 2×
iii7 Dm7 Chromatic colour chordoutside the key D · F · A · C 1×
iv7 Em7 Subdominant — moves away from home E · G · B · D 7×
IV E Major IV — Dorian / melodic-minor colourmodal colour E · G# · B 6×
IV E/D Major IV — Dorian / melodic-minor colourmodal colour E · G# · B 4×
v Gbm Minor dominant — soft pull Gb · A · Db 15×
V F# Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor F# · A# · C# —
VI G Submediant — warm colour G · B · D 4×
VI G/E Submediant — warm colour G · B · D 3×
VImaj7 Gmaj7 Submediant — warm colour G · B · D · F# 1×
VII A Subtonic — steps back to the tonic A · C# · E 15×
VII A/C# Subtonic — steps back to the tonic A · C# · E 4×
VII7 A7 Subtonic — steps back to the tonic A · C# · E · G 1×
V/III Amaj7 Secondary dominant V/III — leads to Dsecondary dominant A · C# · E · G# 8×

Analysis

The key pair is D major and its relative B minor (2 sharps). 19 different chords appear 111 times in total; 12 of them sit naturally inside the shared scale. Amaj7, E, E/D, Db4, Db act as secondary dominants, briefly pointing at another chord of the key.

Chord movement

  1. A Dmaj7 DV → Imaj7authentic cadence BmVII → IIImaj7 ×5
  2. G A DIV → VIV → V BmVI → VIIVI → VII ×3
  3. G/E A DIV → VIV → V BmVI → VIIVI → VII ×3
  4. A/C# Dmaj7 DV → Imaj7authentic cadence BmVII → IIImaj7 ×2
  5. A/C# D/B DV → Iauthentic cadence BmVII → III ×2
  6. A7 D/B DV7 → Iauthentic cadence BmVII7 → III ×1

The move to watch is A → Dmaj7, heard 5 times. From the D side it reads V → Imaj7 (authentic cadence: the strongest arrival home); from the Bm side it is VII → IIImaj7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

  • D major pentatonic and B minor pentatonic are the same five notes (D – E – F# – A – B): start from D for a brighter phrase, from B for a bluesier one.
  • Over A, land on A, C#, E — the chord's own tones always sound right on strong beats.
  • Over Gbm, land on Gb, A, Db — the chord's own tones always sound right on strong beats.
  • Over Dmaj7, land on D, F#, A — the chord's own tones always sound right on strong beats.

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 D major shapes

    • No capo — open D shapes
    • Capo 2 + C shapes
    • Capo 5 + A shapes

    With B minor shapes

    • Capo 2 + Am shapes
    • Capo 7 + Em shapes

    Easiest keys on guitar

    The song is already written in its easiest key for guitar.

    The song's harmonic story

    Starting on A, the song gives away its key from the very first bar. The chords that keep coming back are A, Gbm, Dmaj7, Dbm; read them as V–iii–Imaj7–vii in D or VII–v–IIImaj7–ii in Bm. Amaj7 adds a moment of surprise: secondary dominant V/III — leads to D. Keep an ear on A → Dmaj7 (V → Imaj7 in D, VII → IIImaj7 in Bm): authentic cadence — the strongest arrival home. The final chord is Db; the ear comes to rest in D.

    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 - Too Good To Say Goodbye 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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