Major view
Bb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A (leading tone, pulls home)
- 4 = Eb (the note that leans on the 3rd)
Camila Cabello - Havana - Chord
Key Bb major – G minor Chords Gm, D7, D# Easy key G (capo 3)
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Key: Bb | Gm
Capo: 0
Gm D# D7
Gm D# D7
Havana ooh na na
Gm D# D7
Half of my heart is in Havana ooh na na
Gm D# D7
He took me back to East Atlanta na na na
Gm
All of my heart is in Havana
D# D7
There's somethin bout his manners
Gm
Havana ooh na na
Gm D# D7
He didn't walk up with that "how you doin" (when he came in the room)
Gm D# D7
He said there's a lot of girls I can do with (but I can't without you)
Gm D# D7
I'm doin' forever in a minute (that summer night in June)
Gm D# D7
and Papa says he got malo in him
D7
He got me feelin' like
Gm D# D7
oooh ooh-ooh oooh
Gm
I knew it when I met him
D# D7
I loved him when I left him
Got me feelin' like
Gm D# D7
oooh ooh-ooh oooh
Gm
and then I had to tell him
D# D7
I had to go
D7
oh na na na na na
Gm D# D7
Havana ooh na na
Gm D# D7
Half of my heart is in Havana ooh na na
Gm D# D7
He took me back to East Atlanta na na na
Gm
All of my heart is in Havana
D# D7
My heart is in Havana
Gm
Havana ooh na na
D# D7 Gm
Jeffery just graduated fresh on campus mmm
D# D7 Gm
Fresh out East Atlanta with no manners damn
D# D7 Gm
Bump on her bumper like a traffic jam (jam)
D# D7
Hey, I was quick to pay that girl like Uncle Sam
Gm D#
Here you go ayy back it on me
D7
Shawty cravin' on me
Gm
Get to diggin' on me (on me)
D#
She waited on me (then what)
D7
Shawty cakin' on me
Gm
Got the bacon on me (wait up)
D# D7
This is history in the makin' on me (on me)
Gm
Point blank close range that be
D# D7
If it cost a million that's me (that's me)
Gm
I was gettin mula man they feel me
Gm D# D7
Havana ooh na na
Gm D# D7
Half of my heart is in Havana ooh na na
Gm D# D7
He took me back to East Atlanta na na na
Gm
All of my heart is in Havana
D# D7
My heart is in Havana
Gm
Havana ooh na na
Gm D# D7
ooh na na oh na na na (oo-ooh) take me back back back like
Gm D# D7
ooh na na oh na na na (yeah babe) take me back back back like
Gm D# D7
ooh na na oh na na na (yeah yeah) take me back back back like
Gm D# D7
ooh na na oh na na na (yeah babe) take me back back back
Gm D# D7
Gm D# D7
oooh-oooh-ooh
Gm D# D7
oooh-oooh-ooh take me back to my Havana
Gm D# D7
Havana ooh na na
Gm D# D7
Half of my heart is in Havana ooh na na
Gm D# D7
He took me back to East Atlanta na na na
Gm
All of my heart is in Havana
D# D7
My heart is in Havana
Gm
Havana ooh na na
Gm D# D7
oh na na na (oh na yeah)
Gm D# D7
oh na na na
Gm D# D7
oh na na na (no no no take me back)
Gm D# D7
oh na na na Havana ooh na na
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Camila Cabello - Havana Tabs
NotesX
Harmony analysis
Camila Cabello – Havana: key and chord analysis
The song opens on Gm and ends on D7. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Minor view
G minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Eb (the minor's melancholy)
- b7 = F (natural-minor colour)
- #7 = F# (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 G minor side because it opens on Gm, Gm is heard 48 times while Bb never appears and the major V chord points straight at Gm. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 Bb or to Gm; 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 | Bb | Tonic — home | Bb · D · F | — |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | — |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| V7/vi | D7 | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A · C | 46× |
| IV | D# | Subdominant — moves away from home | D# · G · A# | 44× |
| V | F | Dominant — strongest pull home | F · A · C | — |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 48× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 48× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | — |
| v | Dm | Minor dominant — soft pull | D · F · A | — |
| V7 | D7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A · C | 46× |
| VI | D# | Submediant — warm colour | D# · G · A# | 44× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | — |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 3 different chords appear 138 times in total; 2 of them sit naturally inside the shared scale. The major V of Gm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Bb, the same D7 is V7/vi, a secondary dominant heading for Gm.
Chord movement
- D7 Gm BbV7/vi → visecondary resolution GmV7 → iharmonic-minor cadence ×43
The move to watch is D7 → Gm, heard 43 times. From the Gm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the Bb side it reads V7/vi → vi (secondary resolution: D7 resolves a fourth up to Gm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
- Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over D7, land on D, F#, A — the chord's own tones always sound right on strong beats.
- Over D#, land on D#, G, A# — the chord's own tones always sound right on strong beats.
- When D7 comes, swap the scale's F for F#: 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 Bb major shapes
- Capo 1 + A shapes
- Capo 3 + G shapes
- Capo 6 + E shapes
With G minor shapes
- Capo 3 + Em shapes
- Capo 5 + Dm shapes
Easiest keys on guitar
- 3 semitones down · capo 3 keeps the original pitch
- 2 semitones up
The song's harmonic story
The opening Gm lays a solid floor for everything that follows. Gm, D7, D# carry the song: vi–V7/vi–IV relative to Bb, i–V7–VI relative to Gm. D7 is the interesting twist: in Bb it is a chromatic chord (V7/vi), while in Gm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on D7 → Gm (V7/vi → vi in Bb, V7 → i in Gm): harmonic-minor cadence — the major V resolves dramatically. The final chord is D7; the ear comes to rest in Bb.
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.
Camila Cabello - Havana 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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