Maroon 5 - Priceless LISA - Chord

Key F major – D minor Chords Dm7, Cmaj7, A7, G, Bb Easy key G

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Capo 0

             Dm7
Baby, you're priceless
                        G
I've never had anything like this
                            Cmaj7
I'm missing my head on your thighs
                 A7
It's all I wanna do, yeah, it's all I wanna do, yeah
     Dm7                            G
Your body, I've never seen anything like it
                        Cmaj7
So take my money, don't want it, no
                 A7
It's all I wanna do, yeah

     Dm7                        G
Your lucky star is shinin' in a bankrupt sky
        Cmaj7                            A7
And I'm just a guy that wants to be with you tonight, yeah
           Dm7                                G
And if you break my heart, then, baby, it was worth it still
                    Cmaj7
'Cause now you know how I feel
            A7
And I can't hide it (I can't hide it)

             Dm7
Baby, you're priceless
                        G
I've never had anything like this
                            Cmaj7
I'm missing my head on your thighs
                 A7
It's all I wanna do, yeah, it's all I wanna do, yeah
     Dm7                            G
Your body, I've never seen anything like it
                        Cmaj7
So take my money, don't want it, no
                 A7
It's all I wanna do, yeah
                   Dm7
It's all I wanna do

                     G
Yeah ooh (I know you love it, you lovе it)
                     Cmaj7
Yeah ooh (I know you love it, you love it)
      A7
Yeah ooh, ooh (Yeah)

Dm7
 Yeah, talk is cheap, boy, stop it
Bb
Got my love, that's a real big profit
Cmaj7
Diamonds, Amex, flawless, yeah
A7
You can't find this anywhere
     Dm7                                       Bb
Just wait, when you see me you'll be like, "Uh huh" (Uh huh)
                                    Cmaj7
Turn around and you'll be like, "Uh huh" (Uh huh)
                       A7
Baby, if I stay, wanna hear you say

             Dm7
Baby, you're priceless
                        G
I've never had anything like this
                            Cmaj7
I'm missing my head on your thighs
                      A7
It's (Oh) all I wanna do, yeah (All I wanna do), it's all I wanna do
     Dm7                            G
Your body, I've never seen anything like it (Bae)
                        Cmaj7
So take my money, don't want it, no (Don't want it)
                 A7                                            Dm7
It's all I wanna do, yeah (all I wanna do), it's all I wanna do  (Ooh)

                            G
Yeah ooh (Yeah, yeah, yeah)
                            Cmaj7
Yeah ooh (Yeah, yeah, yeah)
 
Come on my, my, my
       A7
Yeah ooh, ooh
Dm7
Baby (baby)
                G
Yeah ooh (All I want, babe, baby)
                Cmaj7
Yeah ooh (All I want, babe, baby)
                    A7
Yeah ooh, ooh (Come on, come on, come on over)

Dm7                           G
   Yeah ooh, baby (I know you love it, you love it)
                          Cmaj7
Yeah ooh, ooh (I know you love it, you love it)
       A7
Yeah ooh, ooh

End of song Play again?

Maroon 5 - Priceless LISA Tabs

NotesX

Harmony analysis

Maroon 5 – Priceless LISA: key and chord analysis

The song opens on Dm7 and ends on A7. Its chords belong to both F major and Dm, so every chord below is read both ways.

Major view

F major

Brightness rank 2/7 (bright)

Characteristic notes

7 = E (leading tone, pulls home)
4 = Bb (the note that leans on the 3rd)

Minor view

D minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Bb (the minor's melancholy)
b7 = C (natural-minor colour)
#7 = C# (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 D minor side because it opens on Dm, Dm is heard 14 times while F never appears and the major V chord points straight at Dm. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 F or to Dm; 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 F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	—
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	—
V/V	G	Secondary dominant V/V — leads to Csecondary dominant	G · B · D	12×
iii	Am	Mediant — a tonic-family shade	A · C · E	—
V7/vi	A7	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E · G	14×
IV	Bb	Subdominant — moves away from home	Bb · D · F	2×
Vmaj7	Cmaj7	Chromatic colour chordoutside the key	C · E · G · B	14×
vi7	Dm7	Relative minor — the melancholy side	D · F · A · C	14×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i7	Dm7	Tonic — home	D · F · A · C	14×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	—
iv	Gm	Subdominant — moves away from home	G · Bb · D	—
IV	G	Major IV — Dorian / melodic-minor colourmodal colour	G · B · D	12×
v	Am	Minor dominant — soft pull	A · C · E	—
V7	A7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E · G	14×
VI	Bb	Submediant — warm colour	Bb · D · F	2×
VIImaj7	Cmaj7	Chromatic colour chordoutside the key	C · E · G · B	14×

Analysis

The key pair is F major and its relative D minor (1 flat). 5 different chords appear 56 times in total; 2 of them sit naturally inside the shared scale. The major V of Dm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from F, the same A7 is V7/vi, a secondary dominant heading for Dm. G acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

A7 Dm7 FV7/vi → vi7secondary resolution DmV7 → i7harmonic-minor cadence ×13
Bb Cmaj7 FIV → Vmaj7 DmVI → VIImaj7VI → VII ×2

The move to watch is A7 → Dm7, heard 13 times. From the Dm side it is V7 → i7 (harmonic-minor cadence: the major V resolves dramatically); from the F side it reads V7/vi → vi7 (secondary resolution: A7 resolves a fourth up to Dm7). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
Over Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
Over Cmaj7, land on C, E, G — the chord's own tones always sound right on strong beats.
Over A7, land on A, C#, E — the chord's own tones always sound right on strong beats.
When A7 comes, swap the scale's C for C#: 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 F major shapes

Capo 1 + E shapes
Capo 3 + D shapes
Capo 5 + C shapes

With D minor shapes

No capo — open Dm shapes
Capo 5 + Am shapes

Easiest keys on guitar

2 semitones up

The song's harmonic story

The opening Dm7 lays a solid floor for everything that follows. The chords that keep coming back are Dm7, Cmaj7, A7, G; read them as vi7–Vmaj7–V7/vi–V/V in F or i7–VIImaj7–V7–IV in Dm. Cmaj7 is the interesting twist: in F it is a chromatic chord (Vmaj7), while in Dm it becomes the dominant (VIImaj7) that makes the minor side sound so determined. Keep an ear on A7 → Dm7 (V7/vi → vi7 in F, V7 → i7 in Dm): harmonic-minor cadence — the major V resolves dramatically. It closes on A7, letting the F 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.