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 - Kiss and Make Up - Chord
Key Ab major – F minor Chords G, Bm, D, A, Em Easy key C# (capo 7)
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Key: Ab | Fm
Capo: 0
Bm G D A
Bm G D A
Bm G
We haven't talked all morning
D A
Bang my head, bang my head against the wall
Bm G
I'm scared, I'm falling
D A
Losing all, losing all my control
Bm G
And I'm tired of talking
D A
Feel myself saying the same old things
Bm G
But this love's important
D A
Don't wanna lose, don't wanna lose you this way
Bm G D
I, I, I, I, I, I, I, I, I
A
Feel like we about to break up
Bm G D
I, I, I, I, I, I, I, I, I
A
Just wanna kiss and make up one last time
Bm G
Touch me like you touch nobody
D A
Put your hands all up on me
Bm G
Tired of hearing sorry
D A
Kiss and make, kiss, kiss and make up
Bm G
How about we leave this party
D A
'Cause all I want is you up on me
Bm G
Tired of hearing sorry
D A Bm
Kiss and make, kiss, kiss and make up
G
Kiss, kiss and make up
D A Bm
Kiss and make, kiss, kiss and make up
G
Kiss, kiss and make up
D G
Kiss and make, kiss, kiss and make up
Bm G
Ajig neoreul mos tteonago
D A
Mwolhago issneun geon ji
Bm G
Eonjenganeun kkeutnal geel
D A
Byeonhal geol ajiman
Bm G
Gojang nan urireul
D A
Dasi gochyeo bol suneun eobseulji
Bm G
Amureon maldo
D A
Neon hajima majimageun eobseo
Bm G D
I, I, I, I, I, I, I, I, I
A
Feel like we about to break up
Bm G D
I, I, I, I, I, I, I, I, I
A
Just wanna kiss and make up one last time
Bm G
Touch me like you touch nobody
D A
Put your hands all up on me
Bm G
Tired of hearing sorry
D A
Kiss and make, kiss, kiss and make up
Bm G
How about we leave this party
D A
'Cause all I want is you up on me
Bm G
Tired of hearing sorry
D A Bm
Kiss and make, kiss, kiss and make up
G
Kiss, kiss and make up
D A Bm
Kiss and make, kiss, kiss and make up
G
Kiss, kiss and make up
D G
Kiss and make, kiss, kiss and make up
Bm
Geuge mwoga doeeossgeon
Em
Da pallyeo eobseo neomeyon dwaesseo
G
So tell me, can we work this whole thing out
G
Work this whole thing out
Bm
Nan cheoeum mannassdeon
Em
Seolledeon sungan geuttaechereom
G
So tell me, can we work this whole thing out
G
Work this whole thing out
A
Kiss, kiss and make up
Bm G
Touch me like you touch nobody
D A
Put your hands all up on me
Bm G
Tired of hearing sorry
D A
Kiss and make, kiss, kiss and make up
Bm G
How about we leave this party
D A
'Cause all I want is you up on me
Bm G
Tired of hearing sorry
D A Bm
Kiss and make, kiss, kiss and make up
G
Kiss, kiss and make up
D A Bm
Kiss and make, kiss, kiss and make up
G
Kiss, kiss and make up
D G Bm
Kiss and make, kiss, kiss and make up
G
Kiss, kiss and make up
D A
Kiss and make, kiss, kiss and make up
G
Kiss, kiss and make up
D A
Kiss and make, kiss, kiss and make up
End of song Play again?
Dua Lipa - Kiss and Make Up Tabs
NotesX
Harmony analysis
Dua Lipa – Kiss and Make Up: key and chord analysis
The song opens on Bm and ends on A. 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)
Which side does the ear lean to?
Our reading: we can't honestly pick a side here — the song moves freely between Ab major and F 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 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 | — |
| bII | A | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | A · C# · E | 32× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | — |
| biii | Bm | Chromatic colour chordoutside the key | B · D · F# | 35× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | — |
| III | C | Chromatic colour chordoutside the key | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | — |
| #IV | D | Chromatic colour chordoutside the key | D · F# · A | 34× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | — |
| bvi | Em | Chromatic colour chordoutside the key | E · G · B | 2× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | — |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| VII | G | Chromatic colour chordoutside the key | G · B · D | 41× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | — |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| II | G | Chromatic colour chordoutside the key | G · B · D | 41× |
| III | Ab | Relative major — the bright side | Ab · C · Eb | — |
| #III | A | Chromatic colour chordoutside the key | A · C# · E | 32× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | — |
| #iv | Bm | Chromatic colour chordoutside the key | B · D · F# | 35× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | — |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | — |
| #VI | D | Chromatic colour chordoutside the key | D · F# · A | 34× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | — |
| #vii | Em | Chromatic colour chordoutside the key | E · G · B | 2× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 5 different chords appear 144 times in total; 0 of them sit naturally inside the shared scale. A 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
- 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 G, land on G, B, D — the chord's own tones always sound right on strong beats.
- Over Bm, 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.
- On A, follow the chord's notes (A · C# · E) 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 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
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
The first chord is Bm; the ear learns where home is within a second. G, Bm, D, A carry the song: VII–biii–#IV–bII relative to Ab, II–#iv–#VI–#III relative to Fm. A briefly darkens the picture: neapolitan bii — a dark, dramatic colour a half step above the tonic. Ending on A, the song seals Ab 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.
Dua Lipa - Kiss and Make Up 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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