Major view
G major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F# (leading tone, pulls home)
- 4 = C (the note that leans on the 3rd)
Shirin David - 90-60-111 - Chord
Key G major – E minor Chords Gbm, Dbm, B7, Am, Em, D7, F#m, C#m Easy key F (capo 2)
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Key: G | Em
Capo: 0
Am Em D7
Schicker neuer Trenchcoat, sieht so aus wie Kenzo
Am Em
Wer hat ihn dir geschenkt oder gab es den im Sale, Ho?
Am
Boy fühlt sich gefriendzoned
Em
Will die Nummer von mei'm Cellphone
Am Em D7
Tam Naomi Campbell, wie ich walk', ist schon respektlos
Gbm Dbm B7
Dirty white bitches , Mercedes Benz whippin'
Gbm Dbm B7
Candy paint Skittles , Alizé sippin'
Gbm Dbm B7
Hausverbot in Restaurants, wir tanzen auf den Tischen
Gbm Dbm B7
Jeder kennt mein'n Nam'n, doch keiner kennt meine Geschichte
Am Em D7
Eine Frau mit Ambition, führt ihr Business und kein Gossip
Am Em D7
Durch Fake Friends und Money verlier' ich nicht die Kontrolle
Am Em D7
Mein Ego wiegt 'ne Tonne, ich poste eine Story
Und Rapperinn'n verschieben ihr Album um eine Woche
Gbm Dbm B7
Steigt aus—Steigt aus hinten rechts, 90 60 111
Gbm Dbm B7
Juicy , Juicy Money Checks, gib der Bitch keinen Respekt
Gbm Dbm B7
Steigt aus—Steigt aus hinten rechts, 90 60 111
Gbm Dbm B7
Juicy , Juicy Money Checks, gib der Bitch keinen Respekt
Am Em D7
Ich bin großes Kino wie 'ne Apple Keynote
Am Em D7
An den Füßen Bloody Shoes, ich nenn' sie Tarantinos
Am Em D7
Mad Bitch, Shego , String von Valentino
Am Em
Juicy Money CEO, Female Al Pacino
Gbm Dbm B7
„I–I–Ich bin nicht so eine“ – doch, genau so eine bin ich
Gbm Dbm B7
Und es war schon immer so: Wenn ich was wollt, dann krieg' ich's
Gbm Dbm B7
Ihr seid Broke Ass Hoes, ich bin High End Finish
Gbm Dbm B7
Das, was bei euch Image ist, das nennt man bei uns billig
Am Em D7
Ist schon bisschen funny, wie ihr humpelt auf dem Catwalk
Am Em D7
Und wieso klingt mein zweites Album schon so wie mein Best of
Am Em D7
Baby blue Tracksuit und ein weißes Tanktop
Am
Bitch, I'm in the kitchen, cookin' heat, ich bin der Chefkoch
Gbm Dbm B7
Steigt aus—Steigt aus hinten rechts, 90 60 111
Gbm Dbm B7
Juicy , Juicy Money Checks, gib der Bitch keinen Respekt
Gbm Dbm B7
Steigt aus—Steigt aus hinten rechts, 90 60 111
F#m C#m
Juicy , Juicy Money Checks, gib der Bitch keinen
Gbm Dbm B7
Steigt aus—Steigt aus hinten rechts, 90 60 111
Gbm Dbm B7
Juicy , Juicy Money Checks, gib der Bitch keinen Respekt
Gbm Dbm B7
Steigt aus—Steigt aus hinten rechts, 90 60 111
Gbm Dbm B7
Juicy , Juicy Money Checks, gib der Bitch keinen Respekt
End of song Play again?
Shirin David - 90-60-111 Tabs
NotesX
Harmony analysis
Shirin David – 90-60-111: key and chord analysis
The song opens on Am and ends on B7. Its chords belong to both G major and Em, so every chord below is read both ways.
Minor view
E minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = C (the minor's melancholy)
- b7 = D (natural-minor colour)
- #7 = D# (harmonic-minor leading tone from the V chord)
Which side does the ear lean to?
Our reading: to us the song feels closer to the E minor side because Em is heard 14 times while G never appears and the major V chord points straight at Em. That is an interpretation, not a rule — the same chords are just as valid seen from G 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 G or to Em; 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 | G | Tonic — home | G · B · D | — |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 15× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| V7/vi | B7 | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# · A | 19× |
| IV | C | Subdominant — moves away from home | C · E · G | — |
| #iv | Dbm | Chromatic colour chordoutside the key | Db · Fb · Ab | 19× |
| #iv | C#m | Chromatic colour chordoutside the key | C# · E · G# | 1× |
| V7 | D7 | Dominant — strongest pull home | D · F# · A · C | 11× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 14× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| vii | Gbm | Chromatic colour chordoutside the key | Gb · A · Db | 19× |
| vii | F#m | Chromatic colour chordoutside the key | F# · A · C# | 1× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 14× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| ii | Gbm | Chromatic colour chordoutside the key | Gb · A · Db | 19× |
| ii | F#m | Chromatic colour chordoutside the key | F# · A · C# | 1× |
| III | G | Relative major — the bright side | G · B · D | — |
| iv | Am | Subdominant — moves away from home | A · C · E | 15× |
| v | Bm | Minor dominant — soft pull | B · D · F# | — |
| V7 | B7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# · A | 19× |
| VI | C | Submediant — warm colour | C · E · G | — |
| #vi | Dbm | Chromatic colour chordoutside the key | Db · Fb · Ab | 19× |
| #vi | C#m | Chromatic colour chordoutside the key | C# · E · G# | 1× |
| VII7 | D7 | Subtonic — steps back to the tonic | D · F# · A · C | 11× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 8 different chords appear 99 times in total; 3 of them sit naturally inside the shared scale. The major V of Em brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from G, the same B7 is V7/vi, a secondary dominant heading for Em. Gbm, Dbm, F#m, C#m step outside the scale as colour chords.
Chord movement
- Am Em Gii → vi Emiv → iminor plagal ×14
The move to watch is Am → Em, heard 14 times. From the Em side it is iv → i (minor plagal: deep and melancholic); from the G side it reads ii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- G major pentatonic and E minor pentatonic are the same five notes (G – A – B – D – E): start from G for a brighter phrase, from E for a bluesier one.
- Over Gbm, land on Gb, A, Db — 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.
- Over B7, land on B, D#, F# — the chord's own tones always sound right on strong beats.
- When B7 comes, swap the scale's D for D#: that single note is the harmonic-minor sound of the chord.
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 G major shapes
- No capo — open G shapes
- Capo 3 + E shapes
- Capo 5 + D shapes
With E minor shapes
- No capo — open Em shapes
- Capo 2 + Dm shapes
- Capo 7 + Am shapes
Easiest keys on guitar
- 2 semitones down · capo 2 keeps the original pitch
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
The first chord is Am; the ear learns where home is within a second. The chords that keep coming back are Gbm, Dbm, B7, Am; read them as vii–#iv–V7/vi–ii in G or ii–#vi–V7–iv in Em. B7 is the interesting twist: in G it is a chromatic chord (V7/vi), while in Em it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Am → Em (ii → vi in G, iv → i in Em): minor plagal — deep and melancholic. It closes on B7, letting the G 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.
Shirin David - 90-60-111 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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