Major view
Bb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A (leading tone, pulls home)
- 4 = Eb (the note that leans on the 3rd)
Tina Turner - Paradise Is Here - Chord
Key Bb major – G minor Chords G, C, F, C/G, Gm, D/G, G/E, Bb … Easy key C
No ratings yet
or your user informations
Make it yours
Text size
Key: Bb | Gm
Capo: 0
Gm C Bb C G
Gm F C Gm/Bb G
x2
C/G G
You say you want to live some
C/G G
Move out into the fast lane
D/G G
You say you need excitement
C
To make you come alive
G/E
Some place a million miles
C/G G
From the shadows that surround you
C/G G
I look for your attention
C/G G
You're lost out in the future
D/G G
Where lovers ask no questions
C
And shadows never fall
G/E
Some pilgrim bound for paradise
F
No compromise
C
Paradise is here
F C
It's time to stop your crying
G C G Cmaj7
The future is this moment
F
And not some place out there
Am
Tonight I need your love
F
Don't talk about tomorrow
C G C G F
Right now, I need your loving
C G C F
Right now, give it to me
C G C G F
Right now, I want your loving
C G
Right now
Gm C Bb C G
Gm F C Gm/Bb G
C/G G
You talk about your new plans
C/G G
To move on up the stairway
D/G G
You dream about the high life
C
That's waiting for you there
G/E
A world of fame and fortune
C/G G
Just around the corner
C/G G
But I don't need no high life
C/G G
To make me feel a woman
D/G G
I don't need to reach for
C
No castles in the sky
G/E
Just put your arms around me
F
Devour me
C
Paradise is here
F C
It's time to stop your crying
G C G Cmaj7
The future is this moment
F
And not some place out there
Am
Tonight I need your love
F
Don't talk about tomorrow
C G C G F
Right now, I need your loving
C G C F
Right now, give it to me
C G C G F
Right now, I want your loving
C G
Right now
End of song Play again?
Tina Turner - Paradise Is Here Tabs
NotesX
Harmony analysis
Tina Turner – Paradise Is Here: key and chord analysis
The song opens on Gm and ends on G. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Minor view
G minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Eb (the minor's melancholy)
- b7 = F (natural-minor colour)
- #7 = F# (harmonic-minor leading tone from the V chord)
Which side does the ear lean to?
Our reading: to us the song feels closer to the G minor side because it opens on Gm, Gm is heard 6 times against 2 for Bb and the major V chord points straight at Gm. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 Bb or to Gm; 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 | Bb | Tonic — home | Bb · D · F | 2× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | — |
| V/V | C | Secondary dominant V/V — leads to Fsecondary dominant | C · E · G | 30× |
| V/V | C/G | Secondary dominant V/V — leads to Fsecondary dominant | C · E · G | 10× |
| V/V | Cmaj7 | Secondary dominant V/V — leads to Fsecondary dominant | C · E · G · B | 2× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| V/vi | D/G | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | 4× |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | — |
| V | F | Dominant — strongest pull home | F · A · C | 16× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 4× |
| vi | Gm/Bb | Relative minor — the melancholy side | G · Bb · D | 2× |
| V/ii | G | Secondary dominant V/ii — leads to Cmsecondary dominant | G · B · D | 34× |
| V/ii | G/E | Secondary dominant V/ii — leads to Cmsecondary dominant | G · B · D | 4× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| vii | Am | Chromatic colour chordoutside the key | A · C · E | 2× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 4× |
| i | Gm/Bb | Tonic — home | G · Bb · D | 2× |
| V/iv | G | Secondary dominant V/iv — leads to Cmsecondary dominant | G · B · D | 34× |
| V/iv | G/E | Secondary dominant V/iv — leads to Cmsecondary dominant | G · B · D | 4× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| ii | Am | Chromatic colour chordoutside the key | A · C · E | 2× |
| III | Bb | Relative major — the bright side | Bb · D · F | 2× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | — |
| IV | C | Major IV — Dorian / melodic-minor colourmodal colour | C · E · G | 30× |
| IV | C/G | Major IV — Dorian / melodic-minor colourmodal colour | C · E · G | 10× |
| IVmaj7 | Cmaj7 | Major IV — Dorian / melodic-minor colourmodal colour | C · E · G · B | 2× |
| v | Dm | Minor dominant — soft pull | D · F · A | — |
| V | D/G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | 4× |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | — |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 16× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 11 different chords appear 110 times in total; 4 of them sit naturally inside the shared scale. The major V of Gm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Bb, the same D/G is V/vi, a secondary dominant heading for Gm. G, C, C/G, G/E, Cmaj7 act as secondary dominants, briefly pointing at another chord of the key.
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
- Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
- Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
- Over C, land on C, E, G — the chord's own tones always sound right on strong beats.
- Over F, land on F, A, C — the chord's own tones always sound right on strong beats.
- When D/G comes, swap the scale's F for F#: that single note is the harmonic-minor sound of the chord.
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 Bb major shapes
- Capo 1 + A shapes
- Capo 3 + G shapes
- Capo 6 + E shapes
With G minor shapes
- Capo 3 + Em shapes
- Capo 5 + Dm shapes
Easiest keys on guitar
- 2 semitones up
- 5 semitones down · capo 5 keeps the original pitch
The song's harmonic story
The opening Gm lays a solid floor for everything that follows. G, C, F, C/G carry the song: V/ii–V/V–V–V/V relative to Bb, V/iv–IV–VII–IV relative to Gm. G is the interesting twist: in Bb it is a chromatic chord (V/ii), while in Gm it becomes the dominant (V/iv) that makes the minor side sound so determined. The final chord is G; the ear comes to rest in Bb.
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 - Paradise Is Here 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.
Repertoires with this song
Similar songs, ready to play: pick a list.
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.