Major view
F major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = E (leading tone, pulls home)
- 4 = Bb (the note that leans on the 3rd)
Queen - The Millionaire Waltz - Chord
Key F major – D minor Chords F, Bb, C, Dm, Gm, Eb, A, Fm … Easy key D (capo 3)
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Key: F | Dm
Capo: 0
F F F F
Gm F C C F F Bb A Dm Gm C Bb
F Dm
Bring out the charge of the love brigade
Gm C
There is spring in the air once again
F Dm F
Dring to the sound of the song parade
Bb Gm
There is music and love eveywhere
Gm C
Give a little love (love) to me, I want it
Gm C
Take a little love (love) from me
F
I wanna share it with you
F Bb A Dm Gm C Bb
F
I feel like a millionaire
F
Once we were mad, we were happy we spent all our days
Bb F Dm C Bb A
holding hands together, do you remeember, my love
Dm
How we danced
A Dm A
And played, in the rain we laid
Dm G
We could stay there
C F
Forever and ever
Fm C Ab Db
Now I am sad, you are so far away, I sit counting the hours day by day
Db Cm Bbm Fm Cm Fm Cm
Come back to me how I long for your love, come back to me
Fm Eb Eb
Be happy like we used to be
Fm C F Bb Bb Eb Bb
Bb Eb Bb Eb
Come back, come back to me, come back, come back to me
G Cm Gbdim Eb
Aaaaaaah
End of song Play again?
Queen - The Millionaire Waltz Tabs
NotesX
Harmony analysis
Queen – The Millionaire Waltz: key and chord analysis
The song opens on F and ends on Eb. Its chords belong to both F major and Dm, so every chord below is read both ways.
Minor view
D minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Bb (the minor's melancholy)
- b7 = C (natural-minor colour)
- #7 = C# (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 major side because it opens on F, F is heard 17 times against 8 for Dm and the major V chord points straight at Dm. That is an interpretation, not a rule — hearing the same chords from D minor is just as valid and teaches you something different.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to F or to Dm; 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 | F | Tonic — home | F · A · C | 17× |
| i | Fm | Chromatic colour chordoutside the key | F · Ab · C | 5× |
| vii°/ii | Gbdim | Secondary leading-tone chord vii°/ii — leads to Gmsecondary dominant | Gb · A · C | 1× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 7× |
| V/V | G | Secondary dominant V/V — leads to Csecondary dominant | G · B · D | 2× |
| bIII | Ab | Borrowed from the parallel minorborrowed chord | Ab · C · Eb | 1× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | 5× |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 12× |
| iv | Bbm | Minor iv — borrowed from the parallel minorborrowed chord | Bb · Db · F | 1× |
| V | C | Dominant — strongest pull home | C · E · G | 11× |
| v | Cm | Chromatic colour chordoutside the key | C · Eb · G | 4× |
| bVI | Db | Borrowed from the parallel minorborrowed chord | Db · F · Ab | 2× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 8× |
| bVII | Eb | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | Eb · G · Bb | 6× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 8× |
| bII | Eb | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | Eb · G · Bb | 6× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | 17× |
| iii | Fm | Chromatic colour chordoutside the key | F · Ab · C | 5× |
| vii°/iv | Gbdim | Secondary leading-tone chord vii°/iv — leads to Gmsecondary dominant | Gb · A · C | 1× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 7× |
| IV | G | Major IV — Dorian / melodic-minor colourmodal colour | G · B · D | 2× |
| #IV | Ab | Chromatic colour chordoutside the key | Ab · C · Eb | 1× |
| v | Am | Minor dominant — soft pull | A · C · E | — |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | 5× |
| VI | Bb | Submediant — warm colour | Bb · D · F | 12× |
| vi | Bbm | Chromatic colour chordoutside the key | Bb · Db · F | 1× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 11× |
| vii | Cm | Chromatic colour chordoutside the key | C · Eb · G | 4× |
| #VII | Db | Chromatic colour chordoutside the key | Db · F · Ab | 2× |
Analysis
The key pair is F major and its relative D minor (1 flat). 14 different chords appear 82 times in total; 5 of them sit naturally inside the shared scale. The major V of Dm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from F, the same A is V/vi, a secondary dominant heading for Dm. G, Gbdim act as secondary dominants, briefly pointing at another chord of the key. Eb, Db, Ab, Bbm are borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- C F FV → Iauthentic cadence DmVII → III ×5
- A Dm FV/vi → vi DmV → iharmonic-minor cadence ×5
- Gm C Fii → Vii → V Dmiv → VII ×5
- Bb F FIV → Iplagal cadence DmVI → III ×3
The move to watch is C → F, heard 5 times. From the F side it reads V → I (authentic cadence: the strongest arrival home); from the Dm side it is VII → III. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
- Over F, land on F, A, C — the chord's own tones always sound right on strong beats.
- Over Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- Over C, land on C, E, G — the chord's own tones always sound right on strong beats.
- When A comes, swap the scale's C for C#: that single note is the harmonic-minor sound of the chord.
- On Eb, follow the chord's notes (Eb · 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 F major shapes
- Capo 1 + E shapes
- Capo 3 + D shapes
- Capo 5 + C shapes
With D minor shapes
- No capo — open Dm shapes
- Capo 5 + Am shapes
Easiest keys on guitar
- 3 semitones down · capo 3 keeps the original pitch
- 4 semitones up
The song's harmonic story
The first chord is F; the ear learns where home is within a second. The chords that keep coming back are F, Bb, C, Dm; read them as I–IV–V–vi in F or III–VI–VII–i in Dm. A is the interesting twist: in F it is a chromatic chord (V/vi), while in Dm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on C → F (V → I in F, VII → III in Dm): authentic cadence — the strongest arrival home. The final chord is Eb; the ear comes to rest in F.
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.
Queen - The Millionaire Waltz 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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