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)
Karen Souza - Get Lucky - Chord
Key D major – B minor Chords E, Bm7, D, F#m, E7 Easy key C (capo 2)
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Key: D | Bm
Capo: 0
Bm7 D F#m E
E Bm7
Like the legend of the phoenix
D F#m
All ends with beginnings
E Bm7
What keeps the planet spinning
D F#m E E7
The force from the beginning, aha
Bm7 D
We've come too far
F#m E
To give up who we are
Bm7 D
So let's raise the bar
F#m E
And our cups to the stars
Bm7
She's up all night 'til the sun
D
I'm up all night to get some
F#m
She's up all night for good fun
E
I'm up all night to get lucky
Bm7
We're up all night 'til the sun
D
We're up all night to get some
F#m
We're up all night for good fun
E
We're up all night to get lucky
Bm7 D F#m E
We're up all night to get lucky
E Bm7
The present has no rhythm
D F#m
Your gift keeps on giving
E Bm7
What is this I'm feeling?
D F#m E E7
If you want to leave, I'm with it, aha
Bm7 D
We've come too far
F#m E
To give up who we are
Bm7 D
So let's raise the bar
F#m E
And our cups to the stars
Bm7
She's up all night 'til the sun
D
I'm up all night to get some
F#m
She's up all night for good fun
E
I'm up all night to get lucky
Bm7
We're up all night 'til the sun
D
We're up all night to get some
F#m
We're up all night for good fun
E
We're up all night to get lucky
Bm7 D F#m E
We're up all night to get lucky
Bm7 D F#m E
End of song Play again?
Karen Souza - Get Lucky Tabs
NotesX
Harmony analysis
Karen Souza – Get Lucky: key and chord analysis
The song opens on Bm7 and ends on E. 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 B minor side because it opens on Bm. That is an interpretation, not a rule — the same chords are just as valid seen from D 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 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 | 16× |
| ii | Em | Supertonic — prepares the dominant | E · G · B | — |
| II | E | Chromatic colour chordoutside the key | E · G# · B | 18× |
| II7 | E7 | Chromatic colour chordoutside the key | E · G# · B · D | 2× |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | 16× |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | — |
| IV | G | Subdominant — moves away from home | G · B · D | — |
| V | A | Dominant — strongest pull home | A · C# · E | — |
| vi7 | Bm7 | Relative minor — the melancholy side | B · D · F# · A | 16× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Bm7 | Tonic — home | B · D · F# · A | 16× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | 16× |
| iv | Em | Subdominant — moves away from home | E · G · B | — |
| IV | E | Major IV — Dorian / melodic-minor colourmodal colour | E · G# · B | 18× |
| IV7 | E7 | Major IV — Dorian / melodic-minor colourmodal colour | E · G# · B · D | 2× |
| v | F#m | Minor dominant — soft pull | F# · A · C# | 16× |
| 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 | — |
Analysis
The key pair is D major and its relative B minor (2 sharps). 5 different chords appear 68 times in total; 3 of them sit naturally inside the shared scale. E, E7 step outside the scale as colour chords.
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
- 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 E, land on E, G#, B — the chord's own tones always sound right on strong beats.
- Over Bm7, land on B, D, F# — 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
- 2 semitones down · capo 2 keeps the original pitch
- 3 semitones up
The song's harmonic story
The first chord is Bm7; the ear learns where home is within a second. The chords that keep coming back are E, Bm7, D, F#m; read them as II–vi7–I–iii in D or IV–i7–III–v in Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. The final chord is E; 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.
Karen Souza - Get Lucky 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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