Dua Lipa - We're Good - Chord

Key B major – G# minor Chords C, Gm, Bb, F Easy key C#

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Capo 0

Gm     C              Gm   C
I'm  on an island, even when you're close
             Gm     C                  Gm   C
Can't take the silence, I'd rather be alone
   Gm           C                      Gm                C
I think it's pretty plain and simple, we gave it all we could
     Gm             C
It's time I wave goodbye from the window

     F
Let's end this like we should and say we're good
 Bb        C                  F           Bb
We're not meant to be like sleeping and cocaine
 Bb           C           F                 Bb
So let's at least agree to go our separate ways

Gm                             C
Not gonna judge you when you're with somebody else
   F                         Bb
As long as you swear you won't be pissed when I do it myself
      Bb               C                    Gm  C
Let's end it like we should and say we're good

            Gm       C               Gm  C
No need to hide it, go get what you want
                Gm            C                 Gm    C
This won't be a burden if we both don't hold a grudge
   Gm                C                   Gm             C
I think it's pretty plain and simple, we gave it all we could
      Gm               C
It's time I wave goodbye from the window
      F
Let's end this like we should and say we're good

Bb          C                   F            Bb
We're not meant to be like sleeping and cocaine
 Bb           C           F                 Bb
So let's at least agree to go our separate ways
 Gm                             C
Not gonna judge you when you're with somebody else
   F                         Bb
As long as you swear you won't be pissed when I do it myself
      Bb               C                    Gm  C
Let's end it like we should and say we're good

Gm                  C                  Gm                 C
Now you're holding this against me, like I knew you would
       Gm              C
I'm trying my best to make this easy
    F
So don't give me that look, just say we're good

Bb          C                   F            Bb
We're not meant to be like sleeping and cocaine

 Bb           C           F                 Bb
So let's at least agree to go our separate ways

 Gm                             C
Not gonna judge you when you're with somebody else
   F                         Bb
As long as you swear you won't be pissed when I do it myself
      Bb               C                    Gm  C
Let's end it like we should and say we're good

End of song Play again?

Dua Lipa - We're Good Tabs

NotesX

Harmony analysis

Dua Lipa – We're Good: key and chord analysis

The song opens on Gm and ends on C. Its chords belong to both B major and G#m, so every chord below is read both ways.

Major view

B major

Brightness rank 2/7 (bright)

Characteristic notes

7 = A# (leading tone, pulls home)
4 = E (the note that leans on the 3rd)

Minor view

G# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = E (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 B 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 B or to G#m; 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 B major
Degree	Chord	Role	Notes	In song
I	B	Tonic — home	B · D# · F#	—
bII	C	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	C · E · G	32×
ii	C#m	Supertonic — prepares the dominant	C# · E · G#	—
iii	D#m	Mediant — a tonic-family shade	D# · F# · A#	—
III	D#	Chromatic colour chordoutside the key	D# · G · A#	—
IV	E	Subdominant — moves away from home	E · G# · B	—
#IV	F	Chromatic colour chordoutside the key	F · A · C	12×
V	F#	Dominant — strongest pull home	F# · A# · C#	—
bvi	Gm	Chromatic colour chordoutside the key	G · Bb · D	23×
vi	G#m	Relative minor — the melancholy side	G# · B · D#	—
vii°	A#dim	Leading-tone chord — tension	A# · C# · E	—
VII	Bb	Chromatic colour chordoutside the key	Bb · D · F	18×

Seen from G# minor
Degree	Chord	Role	Notes	In song
i	G#m	Tonic — home	G# · B · D#	—
ii°	A#dim	Supertonic — prepares the dominant	A# · C# · E	—
II	Bb	Chromatic colour chordoutside the key	Bb · D · F	18×
III	B	Relative major — the bright side	B · D# · F#	—
#III	C	Chromatic colour chordoutside the key	C · E · G	32×
iv	C#m	Subdominant — moves away from home	C# · E · G#	—
v	D#m	Minor dominant — soft pull	D# · F# · A#	—
V	D#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D# · G · A#	—
VI	E	Submediant — warm colour	E · G# · B	—
#VI	F	Chromatic colour chordoutside the key	F · A · C	12×
VII	F#	Subtonic — steps back to the tonic	F# · A# · C#	—
#vii	Gm	Chromatic colour chordoutside the key	G · Bb · D	23×

Analysis

The key pair is B major and its relative G# minor (5 sharps). 4 different chords appear 85 times in total; 0 of them sit naturally inside the shared scale. C is borrowed from the parallel minor, adding a darker shade to the major side.

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

B major pentatonic and G# minor pentatonic are the same five notes (B – C# – D# – F# – G#): start from B for a brighter phrase, from G# for a bluesier one.
Over C, land on C, E, G — the chord's own tones always sound right on strong beats.
Over Gm, land on G, Bb, D — 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.
On C, follow the chord's notes (C · E · G) 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 B major shapes

Capo 2 + A shapes
Capo 4 + G shapes
Capo 7 + E shapes

With G# minor shapes

Capo 4 + Em shapes
Capo 6 + Dm shapes

Easiest keys on guitar

2 semitones up
3 semitones down · capo 3 keeps the original pitch

The song's harmonic story

Starting on Gm, the song gives away its key from the very first bar. C, Gm, Bb, F carry the song: bII–bvi–VII–#IV relative to B, #III–#vii–II–#VI relative to G#m. C briefly darkens the picture: neapolitan bii — a dark, dramatic colour a half step above the tonic. The final chord is C; the ear comes to rest in B.

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.