Major view
E major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = D# (leading tone, pulls home)
- 4 = A (the note that leans on the 3rd)
Shakira - DaiDai - Burna Boy - Chord
Key E major – C# minor Chords A, C#m, B, Bm Easy key G
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Key: E | Dbm | C#m
Capo: 0
C#m A B A
Oh-eh-oh-eh (Oh-eh), eh-oh-eh (Oh-eh)
C#m A B A
Oh-eh-oh-eh (Oh-eh), eh-oh-eh
C#m A B A
You knew from the day you were born
C#m A B A
That here in this place you belong
C#m A B A
You been this brave all along
Bm A B
What broke you once made you strong
C#m A B A
Dai, dai, ikou, dale, allez, let's go
C#m A B A
Dai, dai, ikou, dale, allez, let's go
C#m A B A
x2
C#m A
Come follow your desire
B A
Where there's a will, there's a way
C#m A
You are the owner of that fire
B A
No one can take it away
C#m A
Sweat and blood to write your story
B A
That is how you paved the way
C#m A
You're about to reach the glory
B A
Only one step away
C#m A
All the highs and lows
B A
All the tears and the pain
C#m A
You been there through it all, been through it all
B A
Just do it again
C#m A
Now you got to believe, I believe
B A
'Cause you know what it takes
C#m A
To be living my dream
B
At the top of your game
C#m B
Feel it, got everything you needed
C#m
Now bring it like you mean it
B
Just like you mean it
C#m A B
Dale, no olvide' lo que vales
A C#m A
Juega como tú sabes
B
Como tú sabe'
C#m A
Energy is contagious, you know
B A
And it never fails no, no
C#m A
No one's getting tired, I know
B A
'Cause you got that fire, ayo
C#m
Dream a little higher, let's go, let's go, let's go
C#m A B A
x2
C#m A B A C#m A
We've taken all that our hearts can hold
B A C#mA
We can't hold on to the past no more (Mmm)
A C#m A
From the dirt and the tears, we make gold
B A
We are more than flesh and bones
C#m A
All the highs and lows (Highs and lows)
B A
All the tears and the pain
C#m A
You been there through it all, been through it all
B A
Just do it again
C#m A
Now you got to believe (I believe)
B A
'Cause you know what it takes
C#m A
To be living my dream
B
At the top of your game
C#m
Feel it, got everything you needed
C#m A
Now bring it like you mean it
B A
Just like you mean it
C#m A B
Dale, no olvide' lo que vales
A C#m
Juega como tú sabes
B
Como tú sabe'
C#m B
Pelé, Maradona, Maldini, Romário Cristiano Ronaldo
C#m
El Pibe, Iniesta, Beckham y Kaká Messi, Mbappé, Salah
Brasil, Uruguay, Argentina, Colombia
B
US, England, Germany, France
C#m
South Africa, España, México, Japan
Korea, Netherlands
C#m A B A
Oh-eh-oh-eh (Oh-eh), eh-oh-eh
C#m A B A
Oh-eh-oh-eh (Oh-eh), eh-oh-eh
C#m AB A
Knew from the day you were born
C#m A B A
Here in this place, you belong
C#m A B A
You've been this brave all along
C#m A B A
What broke you once made you strong (Ow)
C#m A B A
Dai, dai, ikou, dale, allez, let's go
C#m A B A
Dai, dai, ikou, dale, allez, let's go
x2
End of song Play again?
Shakira - DaiDai - Burna Boy Tabs
NotesX
Harmony analysis
Shakira – DaiDai - Burna Boy: key and chord analysis
The song opens on C#m and ends on A. Its chords belong to both E major and C#m, so every chord below is read both ways.
Minor view
C# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = A (the minor's melancholy)
- b7 = B (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the C# minor side because it opens on C#m and C#m is heard 45 times while E never appears. That is an interpretation, not a rule — the same chords are just as valid seen from E 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 E or to C#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 | E | Tonic — home | E · G# · B | — |
| ii | F#m | Supertonic — prepares the dominant | F# · A · C# | — |
| iii | G#m | Mediant — a tonic-family shade | G# · B · D# | — |
| V/vi | G# | Secondary dominant V/vi — leads to C#msecondary dominant | G# · B# · D# | — |
| IV | A | Subdominant — moves away from home | A · C# · E | 72× |
| V | B | Dominant — strongest pull home | B · D# · F# | 42× |
| v | Bm | Chromatic colour chordoutside the key | B · D · F# | 1× |
| vi | C#m | Relative minor — the melancholy side | C# · E · G# | 45× |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | C#m | Tonic — home | C# · E · G# | 45× |
| ii° | D#dim | Supertonic — prepares the dominant | D# · F# · A | — |
| III | E | Relative major — the bright side | E · G# · B | — |
| iv | F#m | Subdominant — moves away from home | F# · A · C# | — |
| v | G#m | Minor dominant — soft pull | G# · B · D# | — |
| V | G# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G# · B# · D# | — |
| VI | A | Submediant — warm colour | A · C# · E | 72× |
| VII | B | Subtonic — steps back to the tonic | B · D# · F# | 42× |
| vii | Bm | Chromatic colour chordoutside the key | B · D · F# | 1× |
Analysis
The key pair is E major and its relative C# minor (4 sharps). 4 different chords appear 160 times in total; 3 of them sit naturally inside the shared scale. Bm step outside the scale as colour chords.
Chord movement
- A B EIV → VIV → V C#mVI → VIIVI → VII ×37
- A C#m EIV → vi C#mVI → iVI → i ×32
- B C#m EV → videceptive cadence C#mVII → iAeolian arrival ×9
The move to watch is A → B, heard 37 times. From the C#m side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the E 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
- E major pentatonic and C# minor pentatonic are the same five notes (E – F# – G# – B – C#): start from E for a brighter phrase, from C# for a bluesier one.
- Over A, land on A, C#, E — the chord's own tones always sound right on strong beats.
- Over C#m, land on C#, E, G# — the chord's own tones always sound right on strong beats.
- Over B, land on B, D#, F# — 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 E major shapes
- No capo — open E shapes
- Capo 2 + D shapes
- Capo 4 + C shapes
With C# minor shapes
- Capo 4 + Am shapes
Easiest keys on guitar
- 3 semitones up
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
The first chord is C#m; the ear learns where home is within a second. The backbone is A, C#m, B, Bm — IV–vi–V–v from the E side, VI–i–VII–vii from the C#m side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on A → B (IV → V in E, VI → VII in C#m): VI → VII — the rising step that heads for the tonic. It closes on A, letting the E 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.
Shakira - DaiDai - Burna Boy 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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