Dua Lipa - I'd Rather Go Blind - Chord

Key A major – F# minor Chords A, Bm Easy key G (capo 2)

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Capo 0

A                          Bm 
   Something told me it was over
                       A 
When I saw you and her talking
                          Bm 
Something deep down in my soul said, "cry girl"
                            A 
When I saw you and her, walking around

                                  Bm 
I would rather, I would rather go blind boy
                                   A 
Than to see you, walk away from me child

                  Bm 
I was just, I was just sitting here thinking
                      A 
Of your kiss and your warm embrace
                                        Bm 
When the reflection in the glass that I held to my lips now baby
                                  A 
Revealed the tears that were on my face

                         Bm 
And baby, baby, I would rather be blind boy
                               A 
Than to see you walk away from me
                    Bm 
And baby, baby, I'd rather be blind boy
                               A 
Than to see you walk away from me

A                          Bm 
   Something told me it was over
                      A 
When I saw you and her, talking

End of song Play again?

Dua Lipa - I'd Rather Go Blind Tabs

NotesX

Harmony analysis

Dua Lipa – I'd Rather Go Blind: key and chord analysis

The song opens on A and ends on A. Its chords belong to both A major and F#m, so every chord below is read both ways.

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)

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: to us the song feels closer to the A major side because it both starts and finishes on A and A is heard 10 times while F#m never appears. That is an interpretation, not a rule — hearing the same chords from F# minor is just as valid and teaches you something different.

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.

Seen from A major
Degree	Chord	Role	Notes	In song
I	A	Tonic — home	A · C# · E	10×
ii	Bm	Supertonic — prepares the dominant	B · D · F#	8×
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	—
vi	F#m	Relative minor — the melancholy side	F# · A · C#	—
vii°	G#dim	Leading-tone chord — tension	G# · B · D	—

Seen from F# minor
Degree	Chord	Role	Notes	In song
i	F#m	Tonic — home	F# · A · C#	—
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
III	A	Relative major — the bright side	A · C# · E	10×
iv	Bm	Subdominant — moves away from home	B · D · F#	8×
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	—

Analysis

The key pair is A major and its relative F# minor (3 sharps). 2 different chords appear 18 times in total; 2 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.

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 A, land on A, C#, E — the chord's own tones always sound right on strong beats.
Over Bm, 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 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

2 semitones down · capo 2 keeps the original pitch
3 semitones up

The song's harmonic story

The opening A lays a solid floor for everything that follows. The backbone is A, Bm — I–ii from the A side, III–iv from the F#m side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. It closes on A, 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.