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)
Dua Lipa - Good In Bed - Chord
Key Bb major – G minor Chords Em, D, A Difficulty already in its easiest key
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Key: Bb | Gm
Capo: 0
Em D Em D
Hey
Em
Yeah, let’s get to the point here
D
You love to disappoint me, don’t ya
Em
You tell me what I want
D
But ain’t no follow through
You don’t follow through, no
Em
But if you only knew me
D
The way you know my body baby
Em D
Then I think maybe we could probably see this, true
We can make it through, but
Em
I’ve been thinking it’d be better
D
If we didn’t know each other
Em D
Then you go and make me feel okay
Em
Got me thinking it’d be better
D
If we didn’t stay together
Em
Then you put your hands upon my waist
Em
I know it’s really bad bad bad bad bad
D
Messing with my head head head head head
Em
We drive each other mad mad mad mad mad
D
But baby that’s what makes us good in bed
Em D
Ple e e e ease, come take it out of me me me me me
Em
I know it’s really bad bad bad bad
D
But baby that’s what makes us good in bed
Em
It’s bad
D
We drive each other mad
Em
It might be kind of sad
D
But I think that’s what makes us good in bed
Em D
I dedicate this verse to
All that good pipe in the moonlight
Em D
And the long nights where we did everything but talk it through
That’s what we do yeah
Em
You always let me down boy
D Em
But when you’re going down I get so up
D
Don’t know if I could find someone who do me like you do
Em
I’ve been thinking it’d be better
D
If we didn’t know each other
Em D
Then you go and make me feel okay
Em
Got me thinking it’d be better
D
If we didn’t stay together
Em
Then you put your hands upon my waist
Em
I know it’s really bad bad bad bad bad
D
Messing with my head head head head head
Em
We drive each other mad mad mad mad mad
D
But baby that’s what makes us good in bed
Em D
Ple e e e ease, come take it out of me me me me me
Em
I know it’s really bad bad bad bad
D
But baby that’s what makes us good in bed
Em
It’s bad
D
We drive each other mad
Em
It might be kind of sad
D
But I think that’s what makes us good in bed
Em
It’s bad
D
We drive each other mad
Em
It might be kind of sad
D
But I think that’s what makes us good in bed
Em A
Ah
D Em
You really don’t know how to talk
Mmm
D
But damn we know how to fuck
Em
I know it’s really bad bad bad bad bad
D
Messing with my head head head head head
Em
We drive each other mad mad mad mad mad
D
But baby that’s what makes us good in bed
Em D
Ple e e e ease, come take it out of me me me me me
Em
I know it’s really bad bad bad bad
D
But baby that’s what makes us good in bed
Em
It’s bad
D
We drive each other mad
Em
It might be kind of sad
D
But I think that’s what makes us good in bed
Em
It’s bad
D
We drive each other mad
Em
It might be kind of sad
D
But I think that’s what makes us good in bed
End of song Play again?
Dua Lipa - Good In Bed Tabs
NotesX
Harmony analysis
Dua Lipa – Good In Bed: key and chord analysis
The song opens on Em and ends on D. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Minor view
G minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Eb (the minor's melancholy)
- b7 = F (natural-minor colour)
- #7 = F# (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 G minor side because the major V chord points straight at Gm. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 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.
| 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 | 40× |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | — |
| #iv | Em | Chromatic colour chordoutside the key | E · G · B | 42× |
| V | F | Dominant — strongest pull home | F · A · C | — |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | — |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| V/iii | A | Secondary dominant V/iii — leads to Dmsecondary dominant | A · C# · E | 1× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | — |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| V/v | A | Secondary dominant V/v — leads to Dmsecondary dominant | A · C# · E | 1× |
| 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 | 40× |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | — |
| #vi | Em | Chromatic colour chordoutside the key | E · G · B | 42× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | — |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 3 different chords appear 83 times in total; 0 of them sit naturally inside the shared scale. The major V of Gm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull. A acts as a secondary dominant, briefly pointing at another chord of the key.
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
- 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 Em, land on E, G, B — 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.
- Over A, land on A, C#, E — the chord's own tones always sound right on strong beats.
- When D comes, swap the scale's F for F#: 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 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
The song is already written in its easiest key for guitar.
The song's harmonic story
Starting on Em, the song gives away its key from the very first bar. The chords that keep coming back are Em, D, A; read them as #iv–III–V/iii in Bb or #vi–V–V/v in Gm. D is the interesting twist: in Bb it is a chromatic chord (III), while in Gm it becomes the dominant (V) that makes the minor side sound so determined. 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.
Dua Lipa - Good In Bed 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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