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)
Dua Lipa - Last Dance - Chord
Key B major – G# minor Chords Gb, E, Abm, Eb, Ab, Ebm, Dbm, B … Easy key G (capo 4)
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Key: B | Abm | G#m
Capo: 0
E Abm E Abm Gb
E
Fatal, this attraction, yeah we might just end up crashin'
Abm
But I'm ready if it happens with you
E
Meet me out in Cali when I'm far away from family
Abm Gb
And I need someone to hold onto
E
You're the only thing I know
Abm Gb
And I don't wanna let this go
E
Close to you are I feel, feel like I'm at home
Abm Gb
Can't wait 'til we're alone
E
We were built to last
Gb
We were built like that
Abm
Baby take my hand
Ebm
Tighten this romance
E
We could burn and crash
Gb
We could take a chance
Abm
Holdin' nothin' back
Gb
Like it's our last dance
E Gb Abm Eb E
Like it's our last dance
Gb Abm Gb
Like it's our last dance
Dbm
My eyes wide open, fallin' in and out of focus
Gb Abm Eb
Pressure flowin' like a river in my head
E Gb
Crying, you ain't with me and it's floodin' the whole city
Abm B
While my soul's burnin' like a cigarette
Gb E
You're the only thing I know
Gb Ab
And I don't wanna let this go
Ebm E Gb
Close to you are I feel, feel like I'm at home
Ab Abm Gb
Can't wait 'til we're alone
E
We were built to last
We were built like that
Gb Abm
Baby take my hand
Ebm
Tighten this romance
E
We could burn and crash
We could take a chance
Gb Abm
Holdin' nothin' back
Gb
Like it's our last dance
E Gb Abm Eb E
Like it's our last dance
Gb Abm Gb
Like it's our last dance
E Gb Abm Eb
Like it's our last dance
E
Way too soon to feel so strong
Ab Gb E
Way too young to hurt so long, I'm hurtin'
Abm Gb E
Was it worth it
Way too soon to feel so strong
Abm Gb E
Way too young to hurt so long, I'm hurtin'
Ab Gb
Was it worth it
E Gb Abm
E Gb Abm Gb E
Like it's our last dance
Gb Abm E
Like it's our last dance
Gb Abm Bm E
Like it's our last dance
End of song Play again?
Dua Lipa - Last Dance Tabs
NotesX
Harmony analysis
Dua Lipa – Last Dance: key and chord analysis
The song opens on E and ends on E. Its chords belong to both B major and G#m, so every chord below is read both ways.
Minor view
G# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = E (the minor's melancholy)
- b7 = F# (natural-minor colour)
- #7 = G (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 G#m is heard 24 times against 1 for B and the major V chord points straight at G#m. That is an interpretation, not a rule — the same chords are just as valid seen from B 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 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | B | Tonic — home | B · D# · F# | 1× |
| i | Bm | Chromatic colour chordoutside the key | B · D · F# | 1× |
| ii | Dbm | Supertonic — prepares the dominant | Db · Fb · Ab | 1× |
| iii | Ebm | Mediant — a tonic-family shade | Eb · Gb · Bb | 3× |
| V/vi | Eb | Secondary dominant V/vi — leads to Abmsecondary dominant | Eb · G · Bb | 4× |
| IV | E | Subdominant — moves away from home | E · G# · B | 27× |
| V | Gb | Dominant — strongest pull home | Gb · Bb · Db | 32× |
| vi | Abm | Relative minor — the melancholy side | Ab · Cb · Eb | 24× |
| V/ii | Ab | Secondary dominant V/ii — leads to Dbmsecondary dominant | Ab · C · Eb | 4× |
| vii° | A#dim | Leading-tone chord — tension | A# · C# · E | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Abm | Tonic — home | Ab · Cb · Eb | 24× |
| V/iv | Ab | Secondary dominant V/iv — leads to Dbmsecondary dominant | Ab · C · Eb | 4× |
| ii° | A#dim | Supertonic — prepares the dominant | A# · C# · E | — |
| III | B | Relative major — the bright side | B · D# · F# | 1× |
| iii | Bm | Chromatic colour chordoutside the key | B · D · F# | 1× |
| iv | Dbm | Subdominant — moves away from home | Db · Fb · Ab | 1× |
| v | Ebm | Minor dominant — soft pull | Eb · Gb · Bb | 3× |
| V | Eb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Eb · G · Bb | 4× |
| VI | E | Submediant — warm colour | E · G# · B | 27× |
| VII | Gb | Subtonic — steps back to the tonic | Gb · Bb · Db | 32× |
Analysis
The key pair is B major and its relative G# minor (5 sharps). 9 different chords appear 97 times in total; 6 of them sit naturally inside the shared scale. The major V of G#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from B, the same Eb is V/vi, a secondary dominant heading for G#m. Ab acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- E Gb BIV → VIV → V G#mVI → VIIVI → VII ×16
- Gb Abm BV → videceptive cadence G#mVII → iAeolian arrival ×15
- E Abm BIV → vi G#mVI → iVI → i ×8
- Dbm Gb Bii → Vii → V G#miv → VII ×1
The move to watch is E → Gb, heard 16 times. From the G#m side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the B side it reads IV → V (IV → V: the lift that builds tension before home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
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 Gb, land on Gb, Bb, Db — the chord's own tones always sound right on strong beats.
- Over E, land on E, G#, B — the chord's own tones always sound right on strong beats.
- Over Abm, land on Ab, Cb, Eb — the chord's own tones always sound right on strong beats.
- When Eb comes, swap the scale's F# for G: 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 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
- 4 semitones down · capo 4 keeps the original pitch
- 1 semitone up
The song's harmonic story
The first chord is E; the ear learns where home is within a second. The chords that keep coming back are Gb, E, Abm, Eb; read them as V–IV–vi–V/vi in B or VII–VI–i–V in G#m. Eb is the interesting twist: in B it is a chromatic chord (V/vi), while in G#m it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on E → Gb (IV → V in B, VI → VII in G#m): VI → VII — the rising step that heads for the tonic. Ending on E, the song seals B 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 - Last Dance 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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