Major view
F major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = E (leading tone, pulls home)
- 4 = Bb (the note that leans on the 3rd)
Tina Turner - The Best - Chord
Key F major – D minor Chords F, G, Dm, G9, G4, Em, F2, F4 … Easy key G
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Key: F | Dm
Capo: 0
F
I call you when I need you
F6 Fmaj7 F
My heart's on fire
You come to me
F6 Fmaj7 F
Come to me wild and wild
Dm
When you come to me
Bb
Give me everything I need
F
Give me a lifetime promises
F6 Fmaj7 F
And a world of dreams
Speak a language of love
F6 Fmaj7 F
Like you know what it means
Dm
And it can't be wrong
Bb C
Take my heart and make it strong, baby
F F2 F4 F
You're simply the best
F2 F4 F
Better than all the rest
Dm Dm11 Dm6 Dm
Better than anyone
C
Anyone I've ever met
F F2 F4 F
I'm stuck on your heart
F2 F4 F
And hang on every word you say
Dm Dm11 Dm6 Dm
Tear us apart
C
Baby I would rather be dead
F
In your heart I see the star
F6 Fmaj7 F
Of every night and every day
In your eyes I get lost
F6 Fmaj7 F
I get washed away
Dm
Just as long as I'm here in your arms
Bb C
I could be in no better place
F F2 F4 F
You're simply the best
F2 F4 F
Better than all the rest
Dm Dm11 Dm6 Dm
Better than anyone
C
Anyone I've ever met
F F2 F4 F
I'm stuck on your heart
F2 F4 F
And hang on every word you say
Dm Dm11 Dm6 Dm
Tear us apart
C
Baby I would rather be dead
Bb
Each time you leave me
I start losing control
Dm
You're walking away with
My heart and my soul
Bb
I can feel you even when I'm alone
C D
Oh baby, don't let go
G G9 G4
G G9 G4 G
Em Em11 Em6 Em D
G G9 G4 G
You're the best
G9 G4 G
Better than all the rest
Em Em11 Em6 Em
Better than anyone
D
Anyone I've ever met
G G9 G4 G
I'm stuck on your heart
G9 G4 G
And hang on every word you say
Em Em11 Em6 Em
Tear us apart
D
Baby I would rather be dead
G D
You're the best
G G9 G4 G
You're the simply the best
G9 G4 G
Better than all the rest
Em Em11 Em6 Em
Better than anyone
D
Anyone I've ever met
G G9 G4 G
I'm stuck on your heart
G9 G4 G
And hang on every word you say
Em Em11 Em6 Em
Tear us apart
D
Baby I would rather be dead
G G9 G4 G
You're the best
G9 G4 G
Better than all the rest
Em Em11 Em6 Em
Better than anyone
D
Anyone I've ever met
G
You're the best
End of song Play again?
Tina Turner - The Best Tabs
NotesX
Harmony analysis
Tina Turner – The Best: key and chord analysis
The song opens on F and ends on G. Its chords belong to both F major and Dm, so every chord below is read both ways.
Minor view
D minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Bb (the minor's melancholy)
- b7 = C (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the F major side because it opens on F and F is heard 49 times against 20 for Dm. That is an interpretation, not a rule — hearing the same chords from D minor is just as valid and teaches you something different.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to F or to Dm; 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 | F | Tonic — home | F · A · C | 21× |
| Isus2 | F2 | Tonic — home | F · G · C | 8× |
| I | F4 | Tonic — home | F · A · C | 8× |
| I6 | F6 | Tonic — home | F · A · C · D | 6× |
| Imaj7 | Fmaj7 | Tonic — home | F · A · C · E | 6× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | — |
| V/V | G | Secondary dominant V/V — leads to Csecondary dominant | G · B · D | 20× |
| V7/V | G9 | Secondary dominant V/V — leads to Csecondary dominant | G · B · D · F · A | 12× |
| V/V | G4 | Secondary dominant V/V — leads to Csecondary dominant | G · B · D | 12× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 5× |
| V | C | Dominant — strongest pull home | C · E · G | 7× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 12× |
| vi7 | Dm11 | Relative minor — the melancholy side | D · F · A · C · G | 4× |
| vi6 | Dm6 | Relative minor — the melancholy side | D · F · A · B | 4× |
| V/ii | D | Secondary dominant V/ii — leads to Gmsecondary dominant | D · F# · A | 8× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| vii | Em | Chromatic colour chordoutside the key | E · G · B | 12× |
| vii7 | Em11 | Chromatic colour chordoutside the key | E · G · B · D · A | 6× |
| vii6 | Em6 | Chromatic colour chordoutside the key | E · G · B · C# | 6× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 12× |
| i7 | Dm11 | Tonic — home | D · F · A · C · G | 4× |
| i6 | Dm6 | Tonic — home | D · F · A · B | 4× |
| V/iv | D | Secondary dominant V/iv — leads to Gmsecondary dominant | D · F# · A | 8× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| ii | Em | Chromatic colour chordoutside the key | E · G · B | 12× |
| ii7 | Em11 | Chromatic colour chordoutside the key | E · G · B · D · A | 6× |
| ii6 | Em6 | Chromatic colour chordoutside the key | E · G · B · C# | 6× |
| III | F | Relative major — the bright side | F · A · C | 21× |
| IIIsus2 | F2 | Relative major — the bright side | F · G · C | 8× |
| III | F4 | Relative major — the bright side | F · A · C | 8× |
| III6 | F6 | Relative major — the bright side | F · A · C · D | 6× |
| IIImaj7 | Fmaj7 | Relative major — the bright side | F · A · C · E | 6× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | — |
| IV | G | Major IV — Dorian / melodic-minor colourmodal colour | G · B · D | 20× |
| IV7 | G9 | Major IV — Dorian / melodic-minor colourmodal colour | G · B · D · F · A | 12× |
| IV | G4 | Major IV — Dorian / melodic-minor colourmodal colour | G · B · D | 12× |
| v | Am | Minor dominant — soft pull | A · C · E | — |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | 5× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 7× |
Analysis
The key pair is F major and its relative D minor (1 flat). 17 different chords appear 157 times in total; 10 of them sit naturally inside the shared scale. G, G9, G4, D act as secondary dominants, briefly pointing at another chord of the key.
Chord movement
- C F FV → Iauthentic cadence DmVII → III ×5
- Bb C FIV → VIV → V DmVI → VIIVI → VII ×3
- Bb F FIV → Iplagal cadence DmVI → III ×1
- Bb Dm FIV → vi DmVI → iVI → i ×1
The move to watch is C → F, heard 5 times. From the F side it reads V → I (authentic cadence: the strongest arrival home); from the Dm side it is VII → III. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
- Over F, land on F, A, C — the chord's own tones always sound right on strong beats.
- Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
- Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
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 F major shapes
- Capo 1 + E shapes
- Capo 3 + D shapes
- Capo 5 + C shapes
With D minor shapes
- No capo — open Dm shapes
- Capo 5 + Am shapes
Easiest keys on guitar
- 2 semitones up
- 5 semitones down · capo 5 keeps the original pitch
The song's harmonic story
Starting on F, the song gives away its key from the very first bar. The backbone is F, G, Dm, G9 — I–V/V–vi–V7/V from the F side, III–IV–i–IV7 from the Dm side. G adds a moment of surprise: secondary dominant V/V — leads to C. Keep an ear on C → F (V → I in F, VII → III in Dm): authentic cadence — the strongest arrival home. The final chord is G; the ear comes to rest in F.
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.
Tina Turner - The Best 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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