Major view
C major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = B (leading tone, pulls home)
- 4 = F (the note that leans on the 3rd)
Bruno Mars - Uptown Funk (Mark Ronson) - Chord
Key C major – A minor Chords Dm7, G7, F, C Easy key D
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Key: C | Am
Capo: 0
Dm7 G7 F C
Dm7 G7
This hit ,That ice cold Michelle Pfeiffer, That white gold
Dm7
This one, for them hood girls
G7
Them good girls,Straight masterpieces
Dm7
Stylin', while in
G7
Livin' it up in the city
Dm7
Got Tux on with Saint Laurent
G7
Gotta kiss myself I'm so pretty
Dm7
I'm too hot (hot damn)
G7
Called a police and a fireman
Dm7
I'm too hot (hot damn)
G7
Make a dragon wanna retire man
Dm7
I'm too hot (hot damn)
G7
Say my name you know who I am
Dm7
I'm too hot (hot damn)
G7
Am I bad 'bout that money
Break it down
Dm7
Girls sent you hallelujah (whuoo)
Dm7
Girls sent you hallelujah (whuoo)
Dm7
Girls sent you hallelujah (whuoo)
F
'Cause Uptown Funk gon' give it to you
F
'Cause Uptown Funk gon' give it to you
F
'Cause Uptown Funk gon' give it to you
G7
Saturday night and we in the spot
Dm7 G7 Dm7 G7
Don't believe me just watch (come on)
Dm7 G7 Dm7 G7
Don't believe me just watch
Dm7
Don't believe me just watch
Don't believe me just watch
Don't believe me just watch
Don't believe me just watch
Hey, hey, hey, oh!
Dm7
Stop! Wait a minute
G7
Fill my cup put some liquor in it
Dm7
Take a sip, sign a check
G7
Julio! Get the stretch!
Dm7 G7
Ride to Harlem, Hollywood, Jackson, Mississippi
Dm7
If we show up, we gon' show out
G7
Smoother than a fresh dry skippy
Dm7
I'm too hot (hot damn)
G7
Called a police and a fireman
Dm7
I'm too hot (hot damn)
G7
Make a dragon wanna retire man
Dm7
I'm too hot (hot damn)
G7
Say my name you know who I am
Dm7
I'm too hot (hot damn)
G7
Am I bad 'bout that money
Break it down
Dm7
Girls sent you hallelujah (whuoo)
Dm7
Girls sent you hallelujah (whuoo)
Dm7
Girls sent you hallelujah (whuoo)
F
'Cause Uptown Funk gon' give it to you
F
'Cause Uptown Funk gon' give it to you
F
'Cause Uptown Funk gon' give it to you
G7
Saturday night and we in the spot
Dm7 G7 Dm7 G7
Don't believe me just watch (come on)
Dm7 G7 Dm7 G7
Don't believe me just watch
Dm7
Don't believe me just watch
Don't believe me just watch
Don't believe me just watch
Don't believe me just watch
Hey, hey, hey, oh!
Dm7 G7 Dm7
Before we leave
G7
I'm a tell y'all a lil' something
Dm7 G7
Uptown Funk you up, Uptown Funk you up
Dm7 G7
Uptown Funk you up, Uptown Funk you up
Dm7 G7
I said Uptown Funk you up, Uptown Funk you up
Dm7 G7
Uptown Funk you up, Uptown Funk you up
Dm7
Come on, dance Jump on it
G7
If you sexy than flaunt it
Dm7
If you freaky than own it
G7
Don't brag about it, come show me
Dm7
Come on, dance Jump on it
G7
If you sexy than flaunt it
Dm7
Well it's Saturday night and we in the spot
G7
Don't believe me just watch
Dm7 G7 Dm7 G7
Don't believe me just watch (come on)
Dm7 G7 Dm7 G7
Don't believe me just watch
Dm7
Don't believe me just watch
Don't believe me just watch
Don't believe me just watch
Don't believe me just watch
Hey, hey, hey, oh!
Dm7 G7
Uptown Funk you up, Uptown Funk you up
Dm7 G7
Uptown Funk you up, Uptown Funk you up
Dm7 G7
I said Uptown Funk you up, Uptown Funk you up
Dm7 G7
Uptown Funk you up, Uptown Funk you up
End of song Play again?
Bruno Mars - Uptown Funk (Mark Ronson) Tabs
NotesX
Harmony analysis
Bruno Mars – Uptown Funk (Mark Ronson): key and chord analysis
The song opens on Dm7 and ends on G7. Its chords belong to both C major and Am, so every chord below is read both ways.
Minor view
A minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = F (the minor's melancholy)
- b7 = G (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the C major side because C is heard 1 times while Am never appears. That is an interpretation, not a rule — hearing the same chords from A minor is just as valid and teaches you something different.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to C or to Am; 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 | C | Tonic — home | C · E · G | 1× |
| ii7 | Dm7 | Supertonic — prepares the dominant | D · F · A · C | 52× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | — |
| III | E | Chromatic colour chordoutside the key | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | 7× |
| V7 | G7 | Dominant — strongest pull home | G · B · D · F | 45× |
| vi | Am | Relative minor — the melancholy side | A · C · E | — |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | — |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | 1× |
| iv7 | Dm7 | Subdominant — moves away from home | D · F · A · C | 52× |
| v | Em | Minor dominant — soft pull | E · G · B | — |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | 7× |
| VII7 | G7 | Subtonic — steps back to the tonic | G · B · D · F | 45× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 4 different chords appear 105 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
- Dm7 G7 Cii7 → V7ii → V Amiv7 → VII7 ×43
- F G7 CIV → V7IV → V AmVI → VII7VI → VII ×2
- F C CIV → Iplagal cadence AmVI → III ×1
The move to watch is Dm7 → G7, heard 43 times. From the C side it reads ii7 → V7 (ii → V: the classic preparation of the dominant); from the Am side it is iv7 → VII7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
- Over Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over G7, land on G, B, D — the chord's own tones always sound right on strong beats.
- Over F, land on F, A, C — 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 C major shapes
- No capo — open C shapes
- Capo 3 + A shapes
- Capo 5 + G shapes
With A minor shapes
- No capo — open Am shapes
- Capo 5 + Em shapes
- Capo 7 + Dm shapes
Easiest keys on guitar
- 2 semitones up
- 5 semitones down · capo 5 keeps the original pitch
The song's harmonic story
Starting on Dm7, the song gives away its key from the very first bar. The backbone is Dm7, G7, F, C — ii7–V7–IV–I from the C side, iv7–VII7–VI–III from the Am side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm7 → G7 (ii7 → V7 in C, iv7 → VII7 in Am): ii → V — the classic preparation of the dominant. The final chord is G7; the ear comes to rest in C.
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 - Uptown Funk (Mark Ronson) 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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