Dua Lipa - Thinking 'Bout You - Chord

Key G major – E minor Chords Cmaj7, Am7, Bm7, Em, C/A, D6, G7, Gmaj7 Easy key C (capo 7)

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Capo 0

Cmaj7 Bm7 Am7
Am7   Bm7 Em
Cmaj7 Bm7 Am7
Am7   Bm7 Em

Am7                Am7       Am7  C/A  Bm7
3 A.M. and my neighbors hate me
Cmaj7               Cmaj7     Cmaj7  Cmaj7  Bm7
Music blasting, shaking these walls
Am7                 Am7        Am7
This time Mary Jane won't save me
     Am7          Em                        D6
I've been working later, I've been drinking stronger
                  G7             Gmaj7         Cmaj7
I've been smoking deeper but the memories won't stop

Am7          Bm7            Cmaj7  Cmaj7  Bm7
I can't stop thinking 'bout you
Am7          Bm7            Cmaj7
I can't stop thinking 'bout you
Cmaj7       Am7               Bm7           Cmaj7    Cmaj7  Bm7
I can't get high, I can't get by, I can't get through
Am7          Bm7            Cmaj7  Cmaj7  Bm7
I can't stop thinking 'bout you

Am7         Am7              Am7  C/A  Bm7
Like poison coursing through me
Cmaj7       Cmaj7     Cmaj7  Cmaj7  Bm7
So clear my vision is blurred
Am7             Am7        Am7
The haze won't put my mind at ease
     Am7           Em                         D6
I've been sleeping later, I've been breathing stronger
                  G7             Gmaj7         Cmaj7
I've been digging deeper but the memories won't stop

Am7          Bm7            Cmaj7  Cmaj7  Bm7
I can't stop thinking 'bout you
Am7          Bm7            Cmaj7
I can't stop thinking 'bout you
Cmaj7       Am7               Bm7           Cmaj7    Cmaj7  Bm7
I can't get high, I can't get by, I can't get through
Am7          Bm7            Cmaj7  Cmaj7  Bm7
I can't stop thinking 'bout you

Am7  Am7  Bm7  Em

Cmaj7  Bm7     Am7
     I want you all
Am7 Bm7       Em
Say it before you run out of time
Cmaj7  Bm7     Am7
     I want you all
Am7 Bm7            Em
Say it before it's too late
Cmaj7  Bm7     Am7
     I want you all
Am7 Bm7       Em
Say what I am feeling now
Cmaj7  Bm7     Am7
     I want you all
Am7 Bm7    Em
Waiting is insane

                                  Cmaj7  Bm7
I can't stop thinking 'bout you
Am7          Bm7            Cmaj7
I can't stop thinking 'bout you
Cmaj7       Am7               Bm7           Cmaj7    Cmaj7  Bm7
I can't get high, I can't get by, I can't get through
Am7          Bm7            Cmaj7  Cmaj7  Bm7
I can't stop thinking 'bout you
Am7          Bm7            Cmaj7
I can't stop thinking 'bout you
Cmaj7       Am7               Bm7           Cmaj7    Cmaj7  Bm7
I can't get high, I can't get by, I can't get through
Am7
I can't stop thinking 'bout you

End of song Play again?

Dua Lipa - Thinking 'Bout You Tabs

NotesX

Harmony analysis

Dua Lipa – Thinking 'Bout You: key and chord analysis

The song opens on Cmaj7 and ends on Am7. Its chords belong to both G major and Em, so every chord below is read both ways.

Major view

G major

Brightness rank 2/7 (bright)

Characteristic notes

7 = F# (leading tone, pulls home)
4 = C (the note that leans on the 3rd)

Minor view

E minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = C (the minor's melancholy)
b7 = D (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the E minor side because Em is heard 9 times against 4 for G. That is an interpretation, not a rule — the same chords are just as valid seen from G 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 G or to Em; 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.

Seen from G major
Degree	Chord	Role	Notes	In song
Imaj7	Gmaj7	Tonic — home	G · B · D · F#	2×
V7/IV	G7	Secondary dominant V/IV — leads to Csecondary dominant	G · B · D · F	2×
ii7	Am7	Supertonic — prepares the dominant	A · C · E · G	42×
iii7	Bm7	Mediant — a tonic-family shade	B · D · F# · A	40×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IVmaj7	Cmaj7	Subdominant — moves away from home	C · E · G · B	43×
IV	C/A	Subdominant — moves away from home	C · E · G	2×
V6	D6	Dominant — strongest pull home	D · F# · A · B	2×
vi	Em	Relative minor — the melancholy side	E · G · B	9×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	9×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
IIImaj7	Gmaj7	Relative major — the bright side	G · B · D · F#	2×
V7/VI	G7	Secondary dominant V/VI — leads to Csecondary dominant	G · B · D · F	2×
iv7	Am7	Subdominant — moves away from home	A · C · E · G	42×
v7	Bm7	Minor dominant — soft pull	B · D · F# · A	40×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VImaj7	Cmaj7	Submediant — warm colour	C · E · G · B	43×
VI	C/A	Submediant — warm colour	C · E · G	2×
VII6	D6	Subtonic — steps back to the tonic	D · F# · A · B	2×

Analysis

The key pair is G major and its relative E minor (1 sharp). 8 different chords appear 142 times in total; 7 of them sit naturally inside the shared scale. G7 acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Bm7 Em Giii7 → vi Emv7 → inatural-minor cadence ×7
D6 G7 GV6 → V7/IVauthentic cadence EmVII6 → V7/VI ×2
Am7 Em Gii7 → vi Emiv7 → iminor plagal ×2

The move to watch is Bm7 → Em, heard 7 times. From the Em side it is v7 → i (natural-minor cadence: gentle, modal arrival); from the G side it reads iii7 → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

G major pentatonic and E minor pentatonic are the same five notes (G – A – B – D – E): start from G for a brighter phrase, from E for a bluesier one.
Over Cmaj7, land on C, E, G — the chord's own tones always sound right on strong beats.
Over Am7, land on A, C, E — the chord's own tones always sound right on strong beats.
Over Bm7, land on B, D, F# — 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 G major shapes

No capo — open G shapes
Capo 3 + E shapes
Capo 5 + D shapes

With E minor shapes

No capo — open Em shapes
Capo 2 + Dm shapes
Capo 7 + Am shapes

Easiest keys on guitar

5 semitones up · capo 7 keeps the original pitch

The song's harmonic story

The opening Cmaj7 lays a solid floor for everything that follows. The chords that keep coming back are Cmaj7, Am7, Bm7, Em; read them as IVmaj7–ii7–iii7–vi in G or VImaj7–iv7–v7–i in Em. G7 adds a moment of surprise: secondary dominant V/IV — leads to C. Keep an ear on Bm7 → Em (iii7 → vi in G, v7 → i in Em): natural-minor cadence — gentle, modal arrival. Ending on Am7, the song seals G as home.

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.