Major view
B major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A# (leading tone, pulls home)
- 4 = E (the note that leans on the 3rd)
LANY - Malibu Nights - Chord
Key B major – G# minor Chords F#, E, G#m, B Easy key G (capo 4)
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Key: B | Abm | G#m
Capo: 0
G#m F#B F#E
G#m
There's no reason, there's no rhyme
F#
I found myself blindsided by
E
A feeling that I've never known
E
I'm dealing with it on my own
G#m
Phone is quiet, walls are bare
F#
I drink myself to sleep, who cares?
E
No one even has to know
I'm dealing with it on my own
G#m F#B F#E
G#m
I've got way too much time to be this hurt
F#
Somebody help, it's getting worse
E
What do you do with a broken heart?
Once the light fades, everything is dark
G#m
Way too much whiskey in my blood
F#
I feel my body giving up
E
Can I hold on for another night?
What do I do with all this time?
G#m F#B F#E
G#m
Every thought's when it gets late
F#
Put me in a fragile state
E
I wish I wasn't going home
Dealing with it on my own
G#m
I'm praying but it's not enough
F#
I'm done, I don't believe in love
E
Learning how to let it go
Dealing with it on my own
G#m
I've got way too much time to be this hurt
F#
Somebody help, it's getting worse
E
What do you do with a broken heart?
Once the light fades, everything is dark
G#m
Way too much whiskey in my blood
F#
I feel my body giving up
E
Can I hold on for another night?
What do I do with all this time?
G#m F#
I drive circles under street lights
E
Nothing seems to clear my mind
I can't forget, it's inside my head so
G#m F#
I drive, chasing Malibu nights
E
Nothing seems to heal my mind,
I can't forget
G#m
I've got way too much time to be this hurt
F#
Somebody help, it's getting worse
E
What do you do with a broken heart?
Once the light fades, everything is dark
G#m
Way too much whiskey in my blood
F#
I feel my body giving up
E
Can I hold on for another night?
What do I do with all this time?
G#m F# E
G#m F#
I drive circles under street lights
E
Nothing seems to clear my mind
I can't forget, it's inside my head so
G#m F#
I drive, chasing Malibu nights
E
Nothing seems to heal my mind
I can't forget, it's inside my head so
G#m F#
I drive, chasing Malibu nights
E
Hey, hey, na na
G#m F# B F# E
End of song Play again?
LANY - Malibu Nights Tabs
NotesX
Harmony analysis
LANY – Malibu Nights: key and chord analysis
The song opens on G#m and ends on E. Its chords belong to both B major and G#m, so every chord below is read both ways.
Minor view
G# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = E (the minor's melancholy)
- b7 = F# (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the G# minor side because it opens on G#m and G#m is heard 17 times against 1 for B. That is an interpretation, not a rule — the same chords are just as valid seen from B 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 B or to G#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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | B | Tonic — home | B · D# · F# | 1× |
| ii | C#m | Supertonic — prepares the dominant | C# · E · G# | — |
| iii | D#m | Mediant — a tonic-family shade | D# · F# · A# | — |
| V/vi | D# | Secondary dominant V/vi — leads to G#msecondary dominant | D# · G · A# | — |
| IV | E | Subdominant — moves away from home | E · G# · B | 18× |
| V | F# | Dominant — strongest pull home | F# · A# · C# | 18× |
| vi | G#m | Relative minor — the melancholy side | G# · B · D# | 17× |
| vii° | A#dim | Leading-tone chord — tension | A# · C# · E | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | G#m | Tonic — home | G# · B · D# | 17× |
| ii° | A#dim | Supertonic — prepares the dominant | A# · C# · E | — |
| III | B | Relative major — the bright side | B · D# · F# | 1× |
| iv | C#m | Subdominant — moves away from home | C# · E · G# | — |
| v | D#m | Minor dominant — soft pull | D# · F# · A# | — |
| V | D# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D# · G · A# | — |
| VI | E | Submediant — warm colour | E · G# · B | 18× |
| VII | F# | Subtonic — steps back to the tonic | F# · A# · C# | 18× |
Analysis
The key pair is B major and its relative G# minor (5 sharps). 4 different chords appear 54 times in total; 4 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- E G#m BIV → vi G#mVI → iVI → i ×16
- F# B BV → Iauthentic cadence G#mVII → III ×1
The move to watch is E → G#m, heard 16 times. From the G#m side it is VI → i (VI → i: falls a half step into home); from the B side it reads IV → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- B major pentatonic and G# minor pentatonic are the same five notes (B – C# – D# – F# – G#): start from B for a brighter phrase, from G# for a bluesier one.
- Over F#, land on F#, A#, C# — the chord's own tones always sound right on strong beats.
- Over E, land on E, G#, B — the chord's own tones always sound right on strong beats.
- Over G#m, land on G#, B, D# — 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 B major shapes
- Capo 2 + A shapes
- Capo 4 + G shapes
- Capo 7 + E shapes
With G# minor shapes
- Capo 4 + Em shapes
- Capo 6 + Dm shapes
Easiest keys on guitar
- 4 semitones down · capo 4 keeps the original pitch
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
The opening G#m lays a solid floor for everything that follows. The chords that keep coming back are F#, E, G#m, B; read them as V–IV–vi–I in B or VII–VI–i–III in G#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on E → G#m (IV → vi in B, VI → i in G#m): VI → i — falls a half step into home. It closes on E, letting the B 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.
LANY - Malibu Nights 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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