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)
Olivia Rodrigo - Vampire - Chord
Key F major – D minor Chords F, Bb, Bbm, A7, Gm, C7, C, A Easy key A
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Key: F | Dm
Capo: 0
F A Bb Bbm
F A7
Hate to give the satisfaction asking how you're doing now
Bb
How's the castle built off people you pretend to care about?
Just what you wanted
Bbm
Look at you, cool guy, you got it
F A7
I see the parties and the diamonds sometimes when I close my eyes
Bb
Six months of torture you sold as some forbidden paradise
I loved you truly
Bbm
You gotta laugh at the stupidity
Gm
'Cause I've made some real big mistakes
C7
But you make the worst one look fine
F
I should've known it was strange
A7
You only come out at night
Bb
I used to think I was smart
Bbm
But you made me look so naïve
F
The way you sold me for parts
A7
As you sunk your teeth into me, oh
Bb Bbm
Bloodsucker, famefucker
F
Bleeding me dry like a goddamn vampire
F A7
And every girl I ever talked told me you were bad, bad news
Bb
You called them crazy, God, I hate the way I called 'em crazy too
You're so convincing
Bbm
How do you lie without flinching
(How do you lie? How do you lie? How do you lie?)
F A7
Oh, what a mesmerizing, paralyzing, fucked up little thrill
Bb
Can't figure out just how you do it and God knows I never will
Went for me and not her
Bbm
'Cause girls your age know better
Gm
I've made some real big mistakes
C7
But you make the worst one look fine
F
I should've known it was strange
A7
You only come out at night
Bb
I used to think I was smart
Bbm
But you made me look so naïve
F
The way you sold me for parts
A7
As you sunk your teeth into me, oh
Bb Bbm
Bloodsucker, famefucker
F
Bleeding me dry like a goddamn vampire
F F F F
Bb
Ahh, You said it was true love
Bbm
But wouldn't that be hard
F
You can't love anyone
C
'Cause that would mean you had a heart
Bb Bbm
I tried to help you out, now I know that I can't
F C
'Cause how you think's the kind of thing
Bb Bbm F C
I'll never understaaaaaaaaaaaaand
Gm
I've made some real big mistakes
C7
But you make the worst one look fine
F
I should've known it was strange
A7
You only come out at night
Bb
I used to think I was smart
Bbm
But you made me look so naïve
F
The way you sold me for parts
A7
As you sunk your teeth into me, oh
Bb Bbm
Bloodsucker, famefucker
F
Bleeding me dry like a goddamn vampire
End of song Play again?
Olivia Rodrigo - Vampire Tabs
NotesX
Harmony analysis
Olivia Rodrigo – Vampire: key and chord analysis
The song opens on F 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)
- #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 F major side because it both starts and finishes on F, F is heard 21 times while Dm never appears and the major V chord points straight at Dm. That is an interpretation, not a rule — hearing the same chords from D minor is just as valid and teaches you something different.
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 | 21× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 3× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| III7 | A7 | Chromatic colour chordoutside the key | A · C# · E · G | 10× |
| III | A | Chromatic colour chordoutside the key | A · C# · E | 1× |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 14× |
| iv | Bbm | Minor iv — borrowed from the parallel minorborrowed chord | Bb · Db · F | 14× |
| V7 | C7 | Dominant — strongest pull home | C · E · G · Bb | 3× |
| V | C | Dominant — strongest pull home | C · E · G | 3× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | — |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | — |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | 21× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 3× |
| 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 | 10× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | 1× |
| VI | Bb | Submediant — warm colour | Bb · D · F | 14× |
| vi | Bbm | Chromatic colour chordoutside the key | Bb · Db · F | 14× |
| VII7 | C7 | Subtonic — steps back to the tonic | C · E · G · Bb | 3× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 3× |
Analysis
The key pair is F major and its relative D minor (1 flat). 8 different chords appear 69 times in total; 5 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. Bbm is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- Bbm F Fiv → Iminor plagal Dmvi → III ×12
- C7 F FV7 → Iauthentic cadence DmVII7 → III ×3
- Gm C7 Fii → V7ii → V Dmiv → VII7 ×3
The move to watch is Bbm → F, heard 12 times. From the F side it reads iv → I (minor plagal: a bittersweet arrival with a borrowed iv); from the Dm side it is vi → III. 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 F, land on F, A, C — the chord's own tones always sound right on strong beats.
- Over Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- Over Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
- When A comes, swap the scale's C for C#: that single note is the harmonic-minor sound of the chord.
- On Bbm, follow the chord's notes (Bb · Db · F) rather than the key's scale — it's a borrowed colour.
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
- 4 semitones up
- 2 semitones up
The song's harmonic story
The opening F lays a solid floor for everything that follows. F, Bb, Bbm, A7 carry the song: I–IV–iv–III7 relative to F, III–VI–vi–V7 relative to Dm. A7 is the interesting twist: in F it is a chromatic chord (III7), while in Dm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Bbm → F (iv → I in F, vi → III in Dm): minor plagal — a bittersweet arrival with a borrowed iv. Ending on F, the song seals F as home.
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.
Olivia Rodrigo - Vampire 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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