Lady Gaga - Speechless - Chord

Key C major – A minor Chords G, F, Am, C, C/B, Gb, Am/G, Am6 … Easy key G (capo 5)

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Capo 0

Intro:   C    C/B    Am    Am/G    Am/F#    F    F#    G

Am
I can't belive what you said to me
      G
Last night when we were alone
     F
You threw your hands up
         G
Baby you gave up, you gave up

   Am
I can't believe how you looked at me
          G
With your James Dean glossy eyes
        F
In your tight jeans with your long hair
          G                      Am
And your cigarette stained lies

          Am7+                Am7
Could we fix you if you broke
            Am6                   C
And is your punch line just a joke

C    C/B            Am
I'll never talk again
     G                 F
Oh boy you've left me speechless
                 G
You've left me speechless, so speechless

C     G          Am
I'll never love again
       G                 F
Oh boy you've left me speechless
                  G
You've left me speechless, so speechless

Am
I can't believe how you slurred at me
          G
With your half wired broken jaw
              F
You popped my heart seams
     G
On my bubble dreams, bubble dreams

Am
I can't believe how you looked at me
          G
With your Johnnie Walker eyes
           F
He's gonna get you and after he's through
          G                        Am
There's gonna be no love left to rye

Am                         Am7+
And I know that it's complicated
                           Am7
But I'm a loser in love, so baby
Raise a glass to mend
         Am6
All the broken hearts
                         C
Of all my wrecked up friends

C     C/B         Am
I'll never talk again
   G                    F
Oh boy you've left me speechless
                 G
You've left me speechless, so speechless

C    C/B          Am
I'll never love again,
      G                    F
Oh friend you've left me speechless
                 G
You've left me speechless, so speechless

C       C/B      Am    G    F   G
Hooow? Haaaa oooo wow? H ooow?    

F                                     E7
And after all the drinks and bars that we've been to
C
Would you give it all up
G                          Am   G    Gb    F
Could I give it all up for you

F                                    E7
And after all the boys and girls that we've been through
C
Would you give it all up
G
Could you give it all up
     Bb9              F
If I promise, boy, to you

C         C/B         Am    F
That I'll never talk again
C        C/B          Am   F
And I'll never love again
C         C/B          Am
I'll never write a song
         G        F
Won't even sing along
      G/B            C
I'll never love again

C      C/B         Am       Am/G     G    Gb    F
H ooooooww... So speechless
F        Gb   G              G7
You left me speechless, so speechless

C        C/B        Am
Will you ever talk again
   Am/G         Gb   F
Oh boy, why you so speechless
            Gb   G
You've left me speechless

C    C/B            Am
Some men may follow me
                Am/G           F7
But you choose "death and company"
             G               C
Why you so speechless? Oh oh oh

End of song Play again?

Lady Gaga - Speechless Tabs

NotesX

Harmony analysis

Lady Gaga – Speechless: key and chord analysis

The song opens on Am and ends on C. Its chords belong to both C major and Am, so every chord below is read both ways.

Major view

C major

Brightness rank 2/7 (bright)

Characteristic notes

7 = B (leading tone, pulls home)
4 = F (the note that leans on the 3rd)

Minor view

A minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = F (the minor's melancholy)
b7 = G (natural-minor colour)
#7 = G# (harmonic-minor leading tone from the V chord)

Which side does the ear lean to?

Our reading: we can't honestly pick a side here — the song moves freely between C major and A minor because it comes to rest on C, it opens on Am, C is heard 27 times against 24 for Am and the major V chord points straight at Am. Try reading the chords both ways and see which feels more like home to you.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to C or to Am; 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.

Seen from C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	17×
I	C/B	Tonic — home	C · E · G	10×
ii	Dm	Supertonic — prepares the dominant	D · F · A	—
iii	Em	Mediant — a tonic-family shade	E · G · B	—
V7/vi	E7	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B · D	2×
IV	F	Subdominant — moves away from home	F · A · C	19×
IV7	F7	Chromatic colour chordoutside the key	F · A · C · Eb	1×
#IV	Gb	Chromatic colour chordoutside the key	Gb · Bb · Db	5×
V	G	Dominant — strongest pull home	G · B · D	27×
V	G/B	Dominant — strongest pull home	G · B · D	1×
V7	G7	Dominant — strongest pull home	G · B · D · F	1×
vi	Am	Relative minor — the melancholy side	A · C · E	18×
vi	Am/G	Relative minor — the melancholy side	A · C · E	3×
vi6	Am6	Relative minor — the melancholy side	A · C · E · F#	2×
vi7	Am7	Relative minor — the melancholy side	A · C · E · G	1×
bVII7	Bb9	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	Bb · D · F · Ab · C	1×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	18×
i	Am/G	Tonic — home	A · C · E	3×
i6	Am6	Tonic — home	A · C · E · F#	2×
i7	Am7	Tonic — home	A · C · E · G	1×
bII7	Bb9	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	Bb · D · F · Ab · C	1×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	17×
III	C/B	Relative major — the bright side	C · E · G	10×
iv	Dm	Subdominant — moves away from home	D · F · A	—
v	Em	Minor dominant — soft pull	E · G · B	—
V7	E7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B · D	2×
VI	F	Submediant — warm colour	F · A · C	19×
VI7	F7	Chromatic colour chordoutside the key	F · A · C · Eb	1×
#VI	Gb	Chromatic colour chordoutside the key	Gb · Bb · Db	5×
VII	G	Subtonic — steps back to the tonic	G · B · D	27×
VII	G/B	Subtonic — steps back to the tonic	G · B · D	1×
VII7	G7	Subtonic — steps back to the tonic	G · B · D · F	1×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 14 different chords appear 108 times in total; 10 of them sit naturally inside the shared scale. The major V of Am brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from C, the same E7 is V7/vi, a secondary dominant heading for Am. Bb9 is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

F G CIV → VIV → V AmVI → VIIVI → VII ×9
G Am CV → videceptive cadence AmVII → iAeolian arrival ×7
G C CV → Iauthentic cadence AmVII → III ×5
F C CIV → Iplagal cadence AmVI → III ×3
G/B C CV → Iauthentic cadence AmVII → III ×1
G7 C CV7 → Iauthentic cadence AmVII7 → III ×1

The move to watch is F → G, heard 9 times. From the C side it reads IV → V (IV → V: the lift that builds tension before home); from the Am 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

C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
Over F, land on F, A, C — the chord's own tones always sound right on strong beats.
Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
When E7 comes, swap the scale's G for G#: that single note is the harmonic-minor sound of the chord.
On Bb9, follow the chord's notes (Bb · D · F · Ab · C) 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 C major shapes

No capo — open C shapes
Capo 3 + A shapes
Capo 5 + G shapes

With A minor shapes

No capo — open Am shapes
Capo 5 + Em shapes
Capo 7 + Dm shapes

Easiest keys on guitar

5 semitones down · capo 5 keeps the original pitch

The song's harmonic story

The opening Am lays a solid floor for everything that follows. The chords that keep coming back are G, F, Am, C; read them as V–IV–vi–I in C or VII–VI–i–III in Am. E7 is the interesting twist: in C it is a chromatic chord (V7/vi), while in Am it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on F → G (IV → V in C, VI → VII in Am): IV → V — the lift that builds tension before home. Ending on C, the song seals C 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.