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)
Dua Lipa - We're Good - Chord
Key B major – G# minor Chords C, Gm, Bb, F Easy key C#
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Key: B | Abm | G#m
Capo: 0
Gm C Gm C
I'm on an island, even when you're close
Gm C Gm C
Can't take the silence, I'd rather be alone
Gm C Gm C
I think it's pretty plain and simple, we gave it all we could
Gm C
It's time I wave goodbye from the window
F
Let's end this like we should and say we're good
Bb C F Bb
We're not meant to be like sleeping and cocaine
Bb C F Bb
So let's at least agree to go our separate ways
Gm C
Not gonna judge you when you're with somebody else
F Bb
As long as you swear you won't be pissed when I do it myself
Bb C Gm C
Let's end it like we should and say we're good
Gm C Gm C
No need to hide it, go get what you want
Gm C Gm C
This won't be a burden if we both don't hold a grudge
Gm C Gm C
I think it's pretty plain and simple, we gave it all we could
Gm C
It's time I wave goodbye from the window
F
Let's end this like we should and say we're good
Bb C F Bb
We're not meant to be like sleeping and cocaine
Bb C F Bb
So let's at least agree to go our separate ways
Gm C
Not gonna judge you when you're with somebody else
F Bb
As long as you swear you won't be pissed when I do it myself
Bb C Gm C
Let's end it like we should and say we're good
Gm C Gm C
Now you're holding this against me, like I knew you would
Gm C
I'm trying my best to make this easy
F
So don't give me that look, just say we're good
Bb C F Bb
We're not meant to be like sleeping and cocaine
Bb C F Bb
So let's at least agree to go our separate ways
Gm C
Not gonna judge you when you're with somebody else
F Bb
As long as you swear you won't be pissed when I do it myself
Bb C Gm C
Let's end it like we should and say we're good
End of song Play again?
Dua Lipa - We're Good Tabs
NotesX
Harmony analysis
Dua Lipa – We're Good: key and chord analysis
The song opens on Gm and ends on C. 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)
Which side does the ear lean to?
Our reading: we can't honestly pick a side here — the song moves freely between B major and G# 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 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# | — |
| bII | C | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | C · E · G | 32× |
| ii | C#m | Supertonic — prepares the dominant | C# · E · G# | — |
| iii | D#m | Mediant — a tonic-family shade | D# · F# · A# | — |
| III | D# | Chromatic colour chordoutside the key | D# · G · A# | — |
| IV | E | Subdominant — moves away from home | E · G# · B | — |
| #IV | F | Chromatic colour chordoutside the key | F · A · C | 12× |
| V | F# | Dominant — strongest pull home | F# · A# · C# | — |
| bvi | Gm | Chromatic colour chordoutside the key | G · Bb · D | 23× |
| vi | G#m | Relative minor — the melancholy side | G# · B · D# | — |
| vii° | A#dim | Leading-tone chord — tension | A# · C# · E | — |
| VII | Bb | Chromatic colour chordoutside the key | Bb · D · F | 18× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | G#m | Tonic — home | G# · B · D# | — |
| ii° | A#dim | Supertonic — prepares the dominant | A# · C# · E | — |
| II | Bb | Chromatic colour chordoutside the key | Bb · D · F | 18× |
| III | B | Relative major — the bright side | B · D# · F# | — |
| #III | C | Chromatic colour chordoutside the key | C · E · G | 32× |
| 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# | — |
| VI | E | Submediant — warm colour | E · G# · B | — |
| #VI | F | Chromatic colour chordoutside the key | F · A · C | 12× |
| VII | F# | Subtonic — steps back to the tonic | F# · A# · C# | — |
| #vii | Gm | Chromatic colour chordoutside the key | G · Bb · D | 23× |
Analysis
The key pair is B major and its relative G# minor (5 sharps). 4 different chords appear 85 times in total; 0 of them sit naturally inside the shared scale. C is 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
- 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 C, land on C, E, G — the chord's own tones always sound right on strong beats.
- Over Gm, land on G, Bb, D — 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.
- On C, follow the chord's notes (C · E · G) 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 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
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
Starting on Gm, the song gives away its key from the very first bar. C, Gm, Bb, F carry the song: bII–bvi–VII–#IV relative to B, #III–#vii–II–#VI relative to G#m. C briefly darkens the picture: neapolitan bii — a dark, dramatic colour a half step above the tonic. The final chord is C; 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.
Dua Lipa - We're Good 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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