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)
Tina Turner - We Dont Need Another Hero - Chord
Key B major – G# minor Chords Gb, E, Dbm, B, E5, Gb5, Db, Abm7 … Easy key G (capo 4)
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Key: B | Abm | G#m
Capo: 0
B Gb B Gb E Gb Db
B Gb
Out of the ruins
B Gb
Out from the wreckage
E Gb Db
Can't make the same mistake this time
Abm7 Gb
We are the children
Abm7 Gb
The last generation
E Gb Db
We are the ones they left behind
E Gb Dbm
And I wonder when we are ever gonna change it
E Gb Dbm
Living under the fear till nothing else remains
Gb E5 Gb E Gb5
We don't need another hero
Gb E5 Gb E Gb5
We don't need to know the way home
Gb E5 Gb E Gb5 Dbm
All we want is life beyond the Thunderdome
B Gb B Gb
Looking for something, we can rely on
E Gb Db
There's got to be something better out there
Abm7 Gb Abm7 Gb
Love and compassion, that day is coming
E Gb Db
All else are castles built in the air
E Gb Dbm
And I wonder when we are ever gonna change it
E Gb Dbm
Living under the fear till nothing else remains
Gb E5 Gb E Gb5
We don't need another hero
Gb E5 Gb E Gb5
We don't need to know the way home
Gb E5 Gb E Gb5 Dbm B
All we want is life beyond the Thunderdome
A Gb
So what do we do with our lives
A Dbm
We leave only a mark
D E
Will our story shine like a life
D E
Or end in the dark
Give it all or nothing
Gb E5 Gb E Gb5
Dbm
Thunderdome
End of song Play again?
Tina Turner - We Dont Need Another Hero Tabs
NotesX
Harmony analysis
Tina Turner – We Dont Need Another Hero: key and chord analysis
The song opens on B and ends on Dbm. 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the B major side because it opens on B and B is heard 7 times against 4 for G#m. That is an interpretation, not a rule — hearing the same chords from G# minor is just as valid and teaches you something different.
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# | 7× |
| ii | Dbm | Supertonic — prepares the dominant | Db · Fb · Ab | 8× |
| V/V | Db | Secondary dominant V/V — leads to Gbsecondary dominant | Db · F · Ab | 5× |
| bIII | D | Borrowed from the parallel minorborrowed chord | D · F# · A | 2× |
| iii | D#m | Mediant — a tonic-family shade | D# · F# · A# | — |
| V/vi | D# | Secondary dominant V/vi — leads to Abmsecondary dominant | D# · G · A# | — |
| IV | E | Subdominant — moves away from home | E · G# · B | 18× |
| IV | E5 | Subdominant — moves away from home | E · B | 7× |
| V | Gb | Dominant — strongest pull home | Gb · Bb · Db | 34× |
| V | Gb5 | Dominant — strongest pull home | Gb · Db | 7× |
| vi7 | Abm7 | Relative minor — the melancholy side | Ab · Cb · Eb · Gb | 4× |
| bVII | A | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | A · C# · E | 2× |
| vii° | A#dim | Leading-tone chord — tension | A# · C# · E | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Abm7 | Tonic — home | Ab · Cb · Eb · Gb | 4× |
| bII | A | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | A · C# · E | 2× |
| ii° | A#dim | Supertonic — prepares the dominant | A# · C# · E | — |
| III | B | Relative major — the bright side | B · D# · F# | 7× |
| iv | Dbm | Subdominant — moves away from home | Db · Fb · Ab | 8× |
| IV | Db | Major IV — Dorian / melodic-minor colourmodal colour | Db · F · Ab | 5× |
| #IV | D | Chromatic colour chordoutside the key | D · F# · A | 2× |
| 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 | 18× |
| VI | E5 | Submediant — warm colour | E · B | 7× |
| VII | Gb | Subtonic — steps back to the tonic | Gb · Bb · Db | 34× |
| VII | Gb5 | Subtonic — steps back to the tonic | Gb · Db | 7× |
Analysis
The key pair is B major and its relative G# minor (5 sharps). 10 different chords appear 94 times in total; 7 of them sit naturally inside the shared scale. Db acts as a secondary dominant, briefly pointing at another chord of the key. A, D are borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- E Gb BIV → VIV → V G#mVI → VIIVI → VII ×10
- E5 Gb BIV → VIV → V G#mVI → VIIVI → VII ×7
- E Gb5 BIV → V G#mVI → VIIVI → VII ×7
- Gb B BV → Iauthentic cadence G#mVII → III ×3
- Gb Abm7 BV → vi7deceptive cadence G#mVII → i7Aeolian arrival ×2
- Dbm Gb Bii → Vii → V G#miv → VII ×2
The move to watch is E → Gb, heard 10 times. From the B side it reads IV → V (IV → V: the lift that builds tension before home); from the G#m side it is VI → VII (VI → VII: the rising step that heads for the tonic). 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 Dbm, land on Db, Fb, Ab — 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 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
- 3 semitones up
The song's harmonic story
The first chord is B; the ear learns where home is within a second. Gb, E, Dbm, B carry the song: V–IV–ii–I relative to B, VII–VI–iv–III relative to G#m. Db adds a moment of surprise: secondary dominant V/V — leads to Gb. Keep an ear on E → Gb (IV → V in B, VI → VII in G#m): IV → V — the lift that builds tension before home. It closes on Dbm, letting the B 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.
Tina Turner - We Dont Need Another Hero 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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