Major view
Ab major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G (leading tone, pulls home)
- 4 = Db (the note that leans on the 3rd)
Dua Lipa - Training Season - Chord
Key Ab major – F minor Chords C7, Fm, Bbm Easy key C
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Key: Ab | Fm
Capo: 0
Fm C7
Fm
Are you
C7
Someone that I can give my heart to?
Fm
Or just the poison that I'm drawn to?
C7
It can be hard to tell the difference late at night
Fm
Play fair
C7
Is that a compass in your nature
Fm
Or are you tricky? 'Cause I've been there
C7
And, baby, I don't need to learn my lesson twice
Fm C7
Fm C7 Bbm
But if you really wanna go there
C7
You should know I
Fm
Need someone to hold me close
Deeper than I've ever known
C7
Whose love feels like a rodeo
Fm
Knows just how to take control
When I'm vulnerable
He's straight talking to my soul
C7
Conversation overload
Fm
Got me feeling vertigo
C7
Are you somebody who can go there
Fm
'Cause I don't wanna have to show ya
C7
If that ain't you, then let me know, yeah
Fm C7 Fm C7 Bbm
'Cause training season's over
C7
Fm
I tried
C7
To see my lovers in a good light
Fm
Don't wanna do it just to be nice
C7
Don't wanna have to teach you how to love me right
Fm
I hope
C7
Arrow
Fm
Potential
C7
Is it too much to ask for
Who understands I
Fm
Need someone to hold me close
Deeper than I've ever known
C7
Whose love feels like a rodeo
Fm
Knows just how to take control
When I'm vulnerable
He's straight talking to my soul
C7
Conversation overload
Fm
Got me feeling vertigo
C7
Are you somebody who can go there
Fm
'Cause I don't wanna have to show ya
C7
If that ain't you, then let me know, yeah
Fm
'Cause training season's over
Can you compete
C7
Now is your time
Fm
Run when you hear that whistle blow
Are you on my team
C7
Or stuck on the sidelines
Fm
Waiting for someone to tell you to go
Bbm
For someone to tell you to go
C7
You should know I
Fm
Need someone to hold me close
Deeper than I've ever known
C7
Whose love feels like a rodeo
Fm
Knows just how to take control
When I'm vulnerable
He's straight talking to my soul
C7
Conversation overload
Fm
'Cause training season's over
Fm C7
'Cause training season's over
C7
Training season's over
End of song Play again?
Dua Lipa - Training Season Tabs
NotesX
Harmony analysis
Dua Lipa – Training Season: key and chord analysis
The song opens on Fm and ends on C7. Its chords belong to both Ab major and Fm, so every chord below is read both ways.
Minor view
F minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Db (the minor's melancholy)
- b7 = Eb (natural-minor colour)
- #7 = E (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 minor side because it opens on Fm, Fm is heard 28 times while Ab never appears and the major V chord points straight at Fm. That is an interpretation, not a rule — the same chords are just as valid seen from Ab 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 Ab or to Fm; 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 | Ab | Tonic — home | Ab · C · Eb | — |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 3× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | — |
| V7/vi | C7 | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G · Bb | 30× |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | — |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | — |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 28× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 28× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | — |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 3× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | — |
| V7 | C7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G · Bb | 30× |
| VI | Db | Submediant — warm colour | Db · F · Ab | — |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | — |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 3 different chords appear 61 times in total; 2 of them sit naturally inside the shared scale. The major V of Fm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Ab, the same C7 is V7/vi, a secondary dominant heading for Fm.
Chord movement
- C7 Fm AbV7/vi → visecondary resolution FmV7 → iharmonic-minor cadence ×26
- Bbm C7 Abii → V7/vi Fmiv → V7iv → V ×3
The move to watch is C7 → Fm, heard 26 times. From the Fm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the Ab side it reads V7/vi → vi (secondary resolution: C7 resolves a fourth up to Fm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Ab major pentatonic and F minor pentatonic are the same five notes (Ab – Bb – C – Eb – F): start from Ab for a brighter phrase, from F for a bluesier one.
- Over C7, land on C, E, G — the chord's own tones always sound right on strong beats.
- Over Fm, land on F, Ab, C — 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 C7 comes, swap the scale's Eb for E: 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 Ab major shapes
- Capo 1 + G shapes
- Capo 4 + E shapes
- Capo 6 + D shapes
With F minor shapes
- Capo 1 + Em shapes
- Capo 3 + Dm shapes
Easiest keys on guitar
- 4 semitones up
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
The first chord is Fm; the ear learns where home is within a second. C7, Fm, Bbm carry the song: V7/vi–vi–ii relative to Ab, V7–i–iv relative to Fm. C7 is the interesting twist: in Ab it is a chromatic chord (V7/vi), while in Fm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on C7 → Fm (V7/vi → vi in Ab, V7 → i in Fm): harmonic-minor cadence — the major V resolves dramatically. The final chord is C7; the ear comes to rest in Ab.
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.
Dua Lipa - Training Season 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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