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)
Kaoma - Lambada - Chord
Key F major – D minor Chords Dm, C, F, Gm, Bb Easy key G
No ratings yet
or your user informations
Make it yours
Text size
Key: F | Dm
Capo: 0
Dm Bb C F
Chorando se foi, quem um dia so me fez chorar
Dm Bb C F
Chorando se foi, quem um dia so me fez chorar
Gm
Chorando estara, ao lembrar de um amor
C Dm
Que um dia nao soube cuidar
Gm
Chorando estara, ao lembrar de um amor
C Dm
Que um dia nao soube cuidar
Dm Bb C F
A recordacao, vai estar com ele aonde for
Dm Bb C F
A recordacao, vai estar pra sempre aonde zu for
Gm
Danca sol e mar, guardare no olmar
C Dm
O amor faz perder encontrar
Gm
Lambando estarei ao lembrar que esta amor
C Dm
Por um dia um istante foi rei
Dm F
Gm C Dm
Dm Bb C F
A recordacao, vai estar com ele aonde for
Dm Bb C F
A recordacao, vai estar pra sempre aonde zu for
Gm
Chorando estara ao lembrar de um amor
C Dm
Que um dia nao soube cuidar
Gm
Cancao riso e dor, melodia de um amor
C Dm
Un momento que fica nu ar
Dm F
Gm C Dm
Dm F
End of song Play again?
Kaoma - Lambada Tabs
NotesX
Harmony analysis
Kaoma – Lambada: key and chord analysis
The song opens on Dm and ends on F. Its chords belong to both F major and Dm, so every chord below is read both ways.
Minor view
D minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Bb (the minor's melancholy)
- b7 = C (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 F major and D minor because it comes to rest on F, it opens on Dm and Dm is heard 17 times against 9 for F. 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 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | F | Tonic — home | F · A · C | 9× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 8× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 6× |
| V | C | Dominant — strongest pull home | C · E · G | 14× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 17× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 17× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | 9× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 8× |
| v | Am | Minor dominant — soft pull | A · C · E | — |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | 6× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 14× |
Analysis
The key pair is F major and its relative D minor (1 flat). 5 different chords appear 54 times in total; 5 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
- C Dm FV → videceptive cadence DmVII → iAeolian arrival ×8
- Gm C Fii → Vii → V Dmiv → VII ×8
- C F FV → Iauthentic cadence DmVII → III ×6
- Bb C FIV → VIV → V DmVI → VIIVI → VII ×6
The move to watch is C → Dm, heard 8 times. From the F side it reads V → vi (deceptive cadence: expected F, lands on Dm); from the Dm side it is VII → i (Aeolian arrival: rises a whole tone into home). 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 Dm, land on D, F, A — 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.
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
- 5 semitones down · capo 5 keeps the original pitch
The song's harmonic story
The opening Dm lays a solid floor for everything that follows. The backbone is Dm, C, F, Gm — vi–V–I–ii from the F side, i–VII–III–iv from the Dm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C → Dm (V → vi in F, VII → i in Dm): deceptive cadence — expected F, lands on Dm. It closes on F, 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.
Kaoma - Lambada 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.