Major view
A major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G# (leading tone, pulls home)
- 4 = D (the note that leans on the 3rd)
Dua Lipa - Scared To Be Lonely (feat. Martin Garrix) - Chord
Key A major – F# minor Chords F, Am, G, C, Em Easy key E (capo 5)
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Key: A | Gbm | F#m
Capo: 0
F Am G Em
F Am
It was great at the very start
G Em
Hands on each other
F Am
Couldn't stand to be far apart
G Em
Closer the better
F
Now we're picking fights
Am
And slamming doors
G Em
Magnifying all our flaws
F
And I wonder why
Am
Wonder what for
G Em
Why we keep coming back for more
F C
Is it just our bodies
G Am
Are we both losing our minds
F C G
Is the only reason you're holding me tonight
Am
'Cause we're scared to be lonely
F C
Do we need somebody
G Am
Just to feel like we're alright
F C G
Is the only reason you're holding me tonight
Am
'Cause we're scared to be lonely
F Am
Too much time, losing track of us
G Em
Where was the real
F Am
Undefined, spiraling out of touch
G Em
Forgot how it feels
F
All the messed up fights
Am
And slamming doors
G Em
Magnifying all our flaws
F
And I wonder why
Am
Wonder what for
G Em
It's like we keep coming back for more
F C
Is it just our bodies
G Am
Are we both losing our minds
F C G
Is the only reason you're holding me tonight
Am
'Cause we're scared to be lonely
F C
Do we need somebody
G Am
Just to feel like we're alright
F C G
Is the only reason you're holding me tonight
Am
'Cause we're scared to be lonely
F C G Am
Scared to be lonely
F C G Am
F Am
Even when we know it's wrong
G Em
Been somebody better for us all along
F Am
Tell me, how can we keep holding on
G
Holding on tonight
Em
'Cause we're scared to be lonely
F Am
Even when we know it's wrong
G Em
Been somebody better for us all along
F Am
Tell me, how can we keep holding on
G
Holding on tonight
Em
'Cause we're scared to be lonely
F C
Is it just our bodies
G Am
Are we both losing our minds
F C G
Is the only reason you're holding me tonight
Am
'Cause we're scared to be lonely
F C G Am
F C G Am
Scared to be lonely
F C G Am
Scared to be lonely
F C G Am
Scared to be lonely
End of song Play again?
Dua Lipa - Scared To Be Lonely (feat. Martin Garrix) Tabs
NotesX
Harmony analysis
Dua Lipa – Scared To Be Lonely (feat. Martin Garrix): key and chord analysis
The song opens on F and ends on Am. Its chords belong to both A major and F#m, so every chord below is read both ways.
Minor view
F# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = D (the minor's melancholy)
- b7 = E (natural-minor colour)
Which side does the ear lean to?
Our reading: we can't honestly pick a side here — the song moves freely between A major and F# minor. Try reading the chords both ways and see which feels more like home to you.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to A or to F#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 | A | Tonic — home | A · C# · E | — |
| i | Am | Chromatic colour chordoutside the key | A · C · E | 29× |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | — |
| bIII | C | Borrowed from the parallel minorborrowed chord | C · E · G | 16× |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | — |
| III | C# | Chromatic colour chordoutside the key | C# · E# · G# | — |
| IV | D | Subdominant — moves away from home | D · F# · A | — |
| V | E | Dominant — strongest pull home | E · G# · B | — |
| v | Em | Chromatic colour chordoutside the key | E · G · B | 13× |
| bVI | F | Borrowed from the parallel minorborrowed chord | F · A · C | 29× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | — |
| bVII | G | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | G · B · D | 29× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | — |
| bII | G | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | G · B · D | 29× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | — |
| iii | Am | Chromatic colour chordoutside the key | A · C · E | 29× |
| iv | Bm | Subdominant — moves away from home | B · D · F# | — |
| #IV | C | Chromatic colour chordoutside the key | C · E · G | 16× |
| v | C#m | Minor dominant — soft pull | C# · E · G# | — |
| V | C# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# | — |
| VI | D | Submediant — warm colour | D · F# · A | — |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | — |
| vii | Em | Chromatic colour chordoutside the key | E · G · B | 13× |
| #VII | F | Chromatic colour chordoutside the key | F · A · C | 29× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 5 different chords appear 116 times in total; 0 of them sit naturally inside the shared scale. F, G, C are borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
Improvisation tips
- A major pentatonic and F# minor pentatonic are the same five notes (A – B – C# – E – F#): start from A for a brighter phrase, from F# for a bluesier one.
- Over F, land on F, A, C — the chord's own tones always sound right on strong beats.
- Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
- On F, follow the chord's notes (F · A · C) 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 A major shapes
- No capo — open A shapes
- Capo 2 + G shapes
- Capo 5 + E shapes
With F# minor shapes
- Capo 2 + Em shapes
- Capo 4 + Dm shapes
Easiest keys on guitar
- 5 semitones down · capo 5 keeps the original pitch
The song's harmonic story
The opening F lays a solid floor for everything that follows. The backbone is F, Am, G, C — bVI–i–bVII–bIII from the A side, #VII–iii–bII–#IV from the F#m side. F briefly darkens the picture: borrowed from the parallel minor. It closes on Am, letting the A side have the last word.
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.
Dua Lipa - Scared To Be Lonely (feat. Martin Garrix) 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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