Major view
D major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = C# (leading tone, pulls home)
- 4 = G (the note that leans on the 3rd)
Tina Turner - Better Be Good To Me - Chord
Key D major – B minor Chords A, D Difficulty already in its easiest key
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Key: D | Bm
Capo: 0
A D A prisoner of your love Entangled in your web Hot whispers in the night I'm captured by your spell A D Oh yes I'm touched by this show of emotion Should I be fractured by your lack of devotion Should I, should I You better be good to me A D That's how it's gotta be now 'Cause I don't have no use For what you loosely call the truth And you better be good to me A D I think it's all so right That we don't need to fight We stand face to face And you present your case A D Yes I know you keep telling me that you love me And I really do want to believe But did you think I'd just accept you in blind faith Oh sure babe, anything to please you But you better be good to me A D That's how it's gotta be now 'Cause I don't have the time For your over loaded lines And you better be good to me
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Tina Turner - Better Be Good To Me Tabs
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Harmony analysis
Tina Turner – Better Be Good To Me: key and chord analysis
The song opens on A and ends on D. Its chords belong to both D major and Bm, so every chord below is read both ways.
Minor view
B minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = G (the minor's melancholy)
- b7 = A (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the D major side because it comes to rest on D and D is heard 6 times while Bm never appears. That is an interpretation, not a rule — hearing the same chords from B minor is just as valid and teaches you something different.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to D or to Bm; 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 | D | Tonic — home | D · F# · A | 6× |
| ii | Em | Supertonic — prepares the dominant | E · G · B | — |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | — |
| III | F# | Chromatic colour chordoutside the key | F# · A# · C# | — |
| IV | G | Subdominant — moves away from home | G · B · D | — |
| V | A | Dominant — strongest pull home | A · C# · E | 6× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | — |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | — |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | 6× |
| iv | Em | Subdominant — moves away from home | E · G · B | — |
| v | F#m | Minor dominant — soft pull | F# · A · C# | — |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | — |
| VI | G | Submediant — warm colour | G · B · D | — |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 6× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 2 different chords appear 12 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
- A D DV → Iauthentic cadence BmVII → III ×6
The move to watch is A → D, heard 6 times. From the D side it reads V → I (authentic cadence: the strongest arrival home); from the Bm side it is VII → III. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- D major pentatonic and B minor pentatonic are the same five notes (D – E – F# – A – B): start from D for a brighter phrase, from B for a bluesier one.
- Over A, land on A, C#, E — the chord's own tones always sound right on strong beats.
- Over D, land on D, F#, A — 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 D major shapes
- No capo — open D shapes
- Capo 2 + C shapes
- Capo 5 + A shapes
With B minor shapes
- Capo 2 + Am shapes
- Capo 7 + Em shapes
Easiest keys on guitar
The song is already written in its easiest key for guitar.
The song's harmonic story
Starting on A, the song gives away its key from the very first bar. A, D carry the song: V–I relative to D, VII–III relative to Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on A → D (V → I in D, VII → III in Bm): authentic cadence — the strongest arrival home. The final chord is D; the ear comes to rest in D.
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 - Better Be Good To Me 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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