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)
Tina Turner - Whats Love Got To Do With It - Chord
Key B major – G# minor Chords F#, G#, E, C#, B, G#m7, A Easy key G (capo 4)
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Key: B | Abm | G#m
Capo: 0
G#m7
You must understand though the touch of your hand
F#
Makes my pulse react
G#m7
That it's only the thrill of boy meeting girl
F#
Opposittes attract
E F# E F#
It's phys ical, only log ical
E F#
You must try to ignore that it means more than that
B F# E F#
What's love got to do, got to do with it
B F# E F#
What's love but a second hand emotion
B F# E F#
What's love got to do, got to do with it
B F# E F#
Who needs a heart when a heart can be broken
G#m7
It may seem to you that I'm acting confused
F#
When you're close to me
G#m7
If a tend to look dazed I've read it someplace
F#
I've got cause to be
E F#
There's a name for it
E F#
There's a phrase that fits
E F#
But whatever the reason you do it for me
B F# E F#
What's love got to do, got to do with it
B F# E F#
What's love but a second hand emotion
B F# E F#
What's love got to do, got to do with it
B F# E F#
Who needs a heart when a heart can be broken
C# G# F# G#
C# G# F#
B C#
I've been taking on a new direction
B C#
But I have to say
A B
I've been thinking about my own protection
G#m7 C#
It scares me to feel this way
C# G# F# G#
What's love got to do, got to do with it
C# G# F# G#
What's love but a second hand emotion
C# G# F# G#
What's love got to do, got to do with it
C# G# F# G#
Who needs a heart when a heart can be broken
C# G# F# G#
What's love got to do, got to do with it
C# G# F# G#
What's love but a second hand emotion
C# G# F# G#
What's love got to do, got to do with it
C# G# F# G#
Who needs a heart when a heart can be broken
End of song Play again?
Tina Turner - Whats Love Got To Do With It Tabs
NotesX
Harmony analysis
Tina Turner – Whats Love Got To Do With It: key and chord analysis
The song opens on G#m7 and ends on G#. 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 because it opens on G#m and B is heard 11 times against 5 for G#m. 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# | 11× |
| ii | C#m | Supertonic — prepares the dominant | C# · E · G# | — |
| V/V | C# | Secondary dominant V/V — leads to F#secondary dominant | C# · E# · G# | 13× |
| 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# | — |
| IV | E | Subdominant — moves away from home | E · G# · B | 14× |
| V | F# | Dominant — strongest pull home | F# · A# · C# | 36× |
| vi7 | G#m7 | Relative minor — the melancholy side | G# · B · D# · F# | 5× |
| V/ii | G# | Secondary dominant V/ii — leads to C#msecondary dominant | G# · B# · D# | 19× |
| bVII | A | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | A · C# · E | 1× |
| vii° | A#dim | Leading-tone chord — tension | A# · C# · E | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | G#m7 | Tonic — home | G# · B · D# · F# | 5× |
| V/iv | G# | Secondary dominant V/iv — leads to C#msecondary dominant | G# · B# · D# | 19× |
| bII | A | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | A · C# · E | 1× |
| ii° | A#dim | Supertonic — prepares the dominant | A# · C# · E | — |
| III | B | Relative major — the bright side | B · D# · F# | 11× |
| iv | C#m | Subdominant — moves away from home | C# · E · G# | — |
| IV | C# | Major IV — Dorian / melodic-minor colourmodal colour | C# · E# · G# | 13× |
| 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 | 14× |
| VII | F# | Subtonic — steps back to the tonic | F# · A# · C# | 36× |
Analysis
The key pair is B major and its relative G# minor (5 sharps). 7 different chords appear 99 times in total; 4 of them sit naturally inside the shared scale. G#, C# act as secondary dominants, briefly pointing at another chord of the key. A is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- E F# BIV → VIV → V G#mVI → VIIVI → VII ×14
- F# B BV → Iauthentic cadence G#mVII → III ×9
- F# G#m7 BV → vi7deceptive cadence G#mVII → i7Aeolian arrival ×3
- A B BbVII → IbVII → I G#mbII → III ×1
The move to watch is E → F#, heard 14 times. From the B side it reads IV → V (IV → V: the lift that builds tension before home); from the G#m side it is VI → VII (VI → VII: the rising step that heads for the tonic). 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 F#, land on F#, A#, C# — 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.
- Over E, land on E, G#, B — the chord's own tones always sound right on strong beats.
- On A, follow the chord's notes (A · C# · E) 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
- 4 semitones down · capo 4 keeps the original pitch
- 1 semitone up
The song's harmonic story
The first chord is G#m7; the ear learns where home is within a second. The backbone is F#, G#, E, C# — V–V/ii–IV–V/V from the B side, VII–V/iv–VI–IV from the G#m side. G# adds a moment of surprise: secondary dominant V/ii — leads to C#m. Keep an ear on E → F# (IV → V in B, VI → VII in G#m): IV → V — the lift that builds tension before home. Ending on G#, the song seals B 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.
Tina Turner - Whats Love Got To Do With It 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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