Dua Lipa - Be The One - Chord

Key Bb major – G minor Chords F, D# Easy key A (capo 1)

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Capo 0

F
I see the moon

I see the moon

I see the moon
                              D#
Oh when you're looking at the Sun

        F
Not a fool

I'm not a fool

Not a fool
                         D#
No you're not fooling anyone

                   F
Oh but when you're gone
   
When you're gone

When you're gone
                   D#
Oh baby, all the lights go out

                                F
Thinking oh that, baby, I was wrong

I was wrong

I was wrong
                        D#
Come back to me, baby, we can work this out


F                    
Oh baby come on, let me get to know you

Just another chance so that I can show
         D#
That I won't let you down, oh no

No I won't let you down, oh no
                      F
Cause I could be the one
                D#
I could be the one
                F
I could be the one
                D#
I could be the one


F      
I see in blue

I see in blue

I see in blue
                              D#
Oh and you see everything in red

                                        F
And there's nothing that I wanna do for you

Do for you

Do for you
                             D#
Oh cause you got inside my head

                   F
Oh but when you're gone
   
When you're gone

When you're gone
                   D#
Oh baby, all the lights go out

                                F
Thinking oh that, baby, I was wrong

I was wrong

I was wrong
                        D#
Come back to me, baby, we can work this out


F                    
Oh baby come on, let me get to know you

Just another chance so that I can show
         D#
That I won't let you down, and run

No I won't let you down,and run
                      F
Cause I could be the one
                D#
I could be the one
                F
I could be the one
                D#
I could be the one


F
I could be the one
Be the one, be the one
Be the one, be the one
Be the one, be the one
D#
I could be the one
Be the one, be the one
Be the one, be the one
Be the one, be the one
F
I could be the one
Be the one, be the one
Be the one, be the one
Be the one, be the one
Will you be mine?



F                    
Oh baby come on, let me get to know you

Just another chance so that I can show
         D#
That I won't let you down, and run
No I won't let you down, and run
                      F
Cause I could be the one
                D#
I could be the one
                F
I could be the one
                D#
I could be the one

End of song Play again?

Dua Lipa - Be The One Tabs

NotesX

Harmony analysis

Dua Lipa – Be The One: key and chord analysis

The song opens on F and ends on D#. Its chords belong to both Bb major and Gm, so every chord below is read both ways.

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)

Minor view

G minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Eb (the minor's melancholy)
b7 = F (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 Bb major and G minor. 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 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.

Seen from Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	—
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	—
iii	Dm	Mediant — a tonic-family shade	D · F · A	—
III	D	Chromatic colour chordoutside the key	D · F# · A	—
IV	D#	Subdominant — moves away from home	D# · G · A#	18×
V	F	Dominant — strongest pull home	F · A · C	19×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	—
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	—
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	—
iv	Cm	Subdominant — moves away from home	C · Eb · G	—
v	Dm	Minor dominant — soft pull	D · F · A	—
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	—
VI	D#	Submediant — warm colour	D# · G · A#	18×
VII	F	Subtonic — steps back to the tonic	F · A · C	19×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 2 different chords appear 37 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

D# F BbIV → VIV → V GmVI → VIIVI → VII ×17

The move to watch is D# → F, heard 17 times. From the Bb side it reads IV → V (IV → V: the lift that builds tension before home); from the Gm side it is VI → VII (VI → VII: the rising step that heads for the tonic). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

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 F, land on F, A, C — the chord's own tones always sound right on strong beats.
Over D#, land on D#, G, 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 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

1 semitone down · capo 1 keeps the original pitch
3 semitones down · capo 3 keeps the original pitch

The song's harmonic story

Starting on F, the song gives away its key from the very first bar. F, D# carry the song: V–IV relative to Bb, VII–VI relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on D# → F (IV → V in Bb, VI → VII in Gm): IV → V — the lift that builds tension before home. It closes on D#, letting the Bb 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.