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)
Milky Chance - Stolen Dance - Chord
Key B major – G# minor Chords E, B, D#, G#m, F# Easy key C
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Key: B | Abm | G#m
Capo: 0
G#m F# E E B B D# D#
G#m F# E
I want you by my side
B D#
So that I never feel alone again
G#m F# E
They've always been so kind
B D#
But now they've brought you away from here
G#m F# E
I hope they didn't get your mind
B D#
Your heart is too strong anyway
G#m F# E
We need to fetch back the time
B D#
They have stolen from us
E
And I want you
B
We can bring it on the floor
D# G#m
You've never danced like this before
F#
We don't talk about it
E B
Dancin' on, do the boogie all night long
D# G#m
Stoned in paradise
F#
Shouldn't talk about it
E
And I want you
B
We can bring it on the floor
D# G#m
You've never danced like this before
F#
We don't talk about it
E B
Dancin' on, do the boogie all night long
D# G#m
Stoned in paradise
Shouldn't talk about it
Shouldn't talk about it
G#m F# E E B B D# D#
G#m F# E
Coldest winter for me
B D#
No sun is shining anymore
G#m F# E
The only thing I feel is pain
B D#
Caused by absence of you
G#m F# E
Suspense is controlling my mind
B D#
I cannot find the way out of here
G#m F# E
I want you by my side
B D#
So that I never feel alone again
E
And I want you
B
We can bring it on the floor
D# G#m
You've never danced like this before
F#
We don't talk about it
E B
Dancin' on, do the boogie all night long
D# G#m
Stoned in paradise
F#
Shouldn't talk about it
E
And I want you
B
We can bring it on the floor
D# G#m
You've never danced like this before
F#
We don't talk about it
E B
Dancin' on, do the boogie all night long
D# G#m
Stoned in paradise
Shouldn't talk about it
Shouldn't talk about it
G#m F# E E B B D# D#
End of song Play again?
Milky Chance - Stolen Dance Tabs
NotesX
Harmony analysis
Milky Chance – Stolen Dance: key and chord analysis
The song opens on G#m and ends on D#. 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)
- #7 = G (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 G#m, B is heard 22 times against 19 for G#m and the major V chord points straight at G#m. 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# | 22× |
| 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# | 22× |
| IV | E | Subdominant — moves away from home | E · G# · B | 22× |
| V | F# | Dominant — strongest pull home | F# · A# · C# | 17× |
| vi | G#m | Relative minor — the melancholy side | G# · B · D# | 19× |
| vii° | A#dim | Leading-tone chord — tension | A# · C# · E | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | G#m | Tonic — home | G# · B · D# | 19× |
| ii° | A#dim | Supertonic — prepares the dominant | A# · C# · E | — |
| III | B | Relative major — the bright side | B · D# · F# | 22× |
| 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# | 22× |
| VI | E | Submediant — warm colour | E · G# · B | 22× |
| VII | F# | Subtonic — steps back to the tonic | F# · A# · C# | 17× |
Analysis
The key pair is B major and its relative G# minor (5 sharps). 5 different chords appear 102 times in total; 4 of them sit naturally inside the shared scale. The major V of G#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from B, the same D# is V/vi, a secondary dominant heading for G#m.
Chord movement
- E B BIV → Iplagal cadence G#mVI → III ×19
- D# G#m BV/vi → vi G#mV → iharmonic-minor cadence ×16
The move to watch is E → B, heard 19 times. From the G#m side it is VI → III; from the B side it reads IV → I (plagal cadence: the soft 'amen' ending). 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 E, land on E, G#, B — the chord's own tones always sound right on strong beats.
- Over B, land on B, D#, F# — 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 D# comes, swap the scale's F# for G: 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 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
- 1 semitone up
- 4 semitones down · capo 4 keeps the original pitch
The song's harmonic story
Starting on G#m, the song gives away its key from the very first bar. The chords that keep coming back are E, B, D#, G#m; read them as IV–I–V/vi–vi in B or VI–III–V–i in G#m. D# is the interesting twist: in B it is a chromatic chord (V/vi), while in G#m it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on E → B (IV → I in B, VI → III in G#m): plagal cadence — the soft 'amen' ending. The final chord is D#; the ear comes to rest in B.
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.
Milky Chance - Stolen Dance 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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