Lady Gaga - 911 - Chord

Key Eb major – C minor Chords Bb, Cm, Eb, F/A, Gm, Gm/A, Dm7, F Easy key C (capo 3)

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Capo 0

Cm  Bb

Cm
Turnin' up emotional faders
Cm
Keep repeating self hating phrases
Cm
I have heard enough of these voices
       Bb
Almost like I have no choice
Cm
This is biological stasis
Cm
My mood's shifting to manic places
Cm
Wish I laughed and kept the good friendships
Cm             Bb
Watch life, here I go again

Cm
I can't see me cry
Cm                 Bb
Can't see me cry ever again 
Cm
I can't see me cry
Cm                        Bb
Can't see me cry, this is the end 

Eb           Cm       Bb
My biggest enemy is me, pop a 911
Bb           F/A    Bb
My biggest enemy is me, pop a 911
Eb           Cm          Bb
My biggest enemy is me ever since day one
   F/A        Bb
Pop a 911, then pop another one

Cm
Keep my dolls inside diamond boxes
Cm
Save 'em 'til I know I'm gon' drop this
Cm
Front I've built around my oasis
Cm       Bb
Paradise is in my hands
Cm
Holdin' on so tight to this status
Cm
It's not real, but I'll try to grab it
Cm
Keep myself in beautiful places
Cm        Bb
Paradise is in my hands

Cm
I can't see me cry
Cm                 Bb
Can't see me cry ever again 
Cm
I can't see me cry
Cm                        Bb
Can't see me cry, this is the end 

Eb           Cm       Bb
My biggest enemy is me, pop a 911
Bb           F/A    Bb
My biggest enemy is me, pop a 911
Eb           Cm          Bb
My biggest enemy is me ever since day one
   F/A        Bb
Pop a 911, then pop another one

Gm       Gm/A  Bb
          Pop, pop another one 
Eb      Dm7
  Pop a 911, then pop another one 

Gm  Gm/A       Bb
I can't see me cry
        Eb     Dm7
Can't see me cry ever again 
Gm  Gm/A       Bb
I can't see me cry
        Eb           F
Can't see me cry, this is the end 

Eb           Cm       Bb
My biggest enemy is me, pop a 911
Bb           F/A    Bb
My biggest enemy is me, pop a 911
Eb           Cm          Bb
My biggest enemy is me ever since day one
   F/A       Bb
Pop a 911, then pop another one

Eb         Cm                 Bb
Please patch the line, please patch the line
Bb   F/A  Bb
Need a 911, can you patch the line
Eb         Cm                Bb
Please patch the line, please patch the line
Bb   F/A  Bb
Need a 911, can you patch the line

End of song Play again?

Lady Gaga - 911 Tabs

NotesX

Harmony analysis

Lady Gaga – 911: key and chord analysis

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

Major view

Eb major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

C minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Ab (the minor's melancholy)
b7 = Bb (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 Cm and Cm is heard 32 times against 11 for Eb. That is an interpretation, not a rule — the same chords are just as valid seen from Eb 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 Eb or to Cm; 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 Eb major
Degree	Chord	Role	Notes	In song
I	Eb	Tonic — home	Eb · G · Bb	11×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	—
V/V	F/A	Secondary dominant V/V — leads to Bbsecondary dominant	F · A · C	8×
V/V	F	Secondary dominant V/V — leads to Bbsecondary dominant	F · A · C	1×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	3×
iii	Gm/A	Mediant — a tonic-family shade	G · Bb · D	3×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	—
V	Bb	Dominant — strongest pull home	Bb · D · F	33×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	32×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—
vii7	Dm7	Chromatic colour chordoutside the key	D · F · A · C	2×

Seen from C minor
Degree	Chord	Role	Notes	In song
i	Cm	Tonic — home	C · Eb · G	32×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
ii7	Dm7	Chromatic colour chordoutside the key	D · F · A · C	2×
III	Eb	Relative major — the bright side	Eb · G · Bb	11×
iv	Fm	Subdominant — moves away from home	F · Ab · C	—
IV	F/A	Major IV — Dorian / melodic-minor colourmodal colour	F · A · C	8×
IV	F	Major IV — Dorian / melodic-minor colourmodal colour	F · A · C	1×
v	Gm	Minor dominant — soft pull	G · Bb · D	3×
v	Gm/A	Minor dominant — soft pull	G · Bb · D	3×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	—
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	33×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 8 different chords appear 93 times in total; 5 of them sit naturally inside the shared scale. F/A, F act as secondary dominants, briefly pointing at another chord of the key.

Chord movement

Bb Eb EbV → Iauthentic cadence CmVII → III ×10
Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×8

The move to watch is Bb → Eb, heard 10 times. From the Cm side it is VII → III; from the Eb side it reads V → I (authentic cadence: the strongest arrival home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Eb major pentatonic and C minor pentatonic are the same five notes (Eb – F – G – Bb – C): start from Eb for a brighter phrase, from C for a bluesier one.
Over Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
Over Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
Over Eb, land on Eb, G, Bb — 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 Eb major shapes

Capo 1 + D shapes
Capo 3 + C shapes
Capo 6 + A shapes

With C minor shapes

Capo 3 + Am shapes

Easiest keys on guitar

3 semitones down · capo 3 keeps the original pitch
2 semitones up

The song's harmonic story

The first chord is Cm; the ear learns where home is within a second. The chords that keep coming back are Bb, Cm, Eb, F/A; read them as V–vi–I–V/V in Eb or VII–i–III–IV in Cm. F/A adds a moment of surprise: secondary dominant V/V — leads to Bb. Keep an ear on Bb → Eb (V → I in Eb, VII → III in Cm): authentic cadence — the strongest arrival home. Ending on Bb, the song seals Eb 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.