Lady Gaga - Marry The Night - Chord

Key C major – A minor Chords G, Am, F, C, Dm, D, Em Easy key G (capo 5)

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Capo 0

Am
I'm gonna Marry the Night
G Dm
I won't give up on my life
F
I'm a warrior queen
C
Live passionately
G
Tonight.

          Am
I'm gonna Marry the Dark
G Dm
Gonna make love to the stars.
F                          C
I'm a soldier to my own emptiness.
G
I'm a winner.

Am
Gonna Marry the Night
Am
Gonna Marry the Night
Am
Gonna Marry the Night

          Am          G
I'm gonna Marry The Night
    F                    G
I'm not gonna cry anymore
          Am           G
I'm gonna Marry the Night
     F                         G
Leave nothing on the street to explore

Am
Ma ma ma Marry
G
Ma ma ma Marry
F                  C
Ma ma ma Marry the Night
Am
Ma ma ma Marry
G
Ma ma ma Marry
F                   G
Ma ma ma Marry the Night

           Am
I'm gonna lace up my boots
G             Dm
Throw on some leather and cruise
F
Down the streets that I love
C
And my fishnet gloves
G
I'm a sinner

                Am
We're gonna go down to the bar
G             Dm
Where I won't cry anymore
     F
I'll hold my whiskey up high
             C
Kiss the bartender twice
         G
I'm a loser
                    Am
I'm gonna Marry The Night
                    Am
I'm gonna Marry The Night

          Am          G
I'm gonna Marry The Night
    F                    G
I'm not gonna cry anymore
          Am           G
I'm gonna Marry the Night
     F                         G
Leave nothing on the street to explore

Am
Ma ma ma Marry
G
Ma ma ma Marry
F                  C
Ma ma ma Marry the Night
Am
Ma ma ma Marry
G
Ma ma ma Marry
F                   G
Ma ma ma Marry the Night

C
Nothing's to cool
D
To take me from you
  Em
New York is not just a tan that you never loose
C                D
Love is the new Denim or black
Em
Skeleton guns are wedding bells in the attic
C                          D
Get Ginger ready, climb El Camino front
D
Won't poke holes in the seat with my heels,
F
Cause that's where we make love.

          C  Em  Am
Come on run
                      C Em Am
Turn the car on and run

          Am          G
I'm gonna Marry The Night
    F                    G
I'm not gonna cry anymore
          Am           G
I'm gonna Marry the Night
     F                         G
Leave nothing on the street to explore

Am
Ma ma ma Marry
G
Ma ma ma Marry
F                  C
Ma ma ma Marry the Night
Am
Ma ma ma Marry
G
Ma ma ma Marry
F                   G
Ma ma ma Marry the Night

        Am         G          F          C
The night, the night, the night, the night
        Am         G          F          C
The night, the night, the night, the night
        Am         G          F
The night, the night, the night
        Am         G          F
The night, the night, the night
        Am         G      
The night, the night

End of song Play again?

Lady Gaga - Marry The Night Tabs

NotesX

Harmony analysis

Lady Gaga – Marry The Night: key and chord analysis

The song opens on Am and ends on G. 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)

Which side does the ear lean to?

Our reading: to us the song feels closer to the A minor side because it opens on Am and Am is heard 28 times against 14 for C. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 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	14×
ii	Dm	Supertonic — prepares the dominant	D · F · A	4×
V/V	D	Secondary dominant V/V — leads to Gsecondary dominant	D · F# · A	4×
iii	Em	Mediant — a tonic-family shade	E · G · B	4×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	21×
V	G	Dominant — strongest pull home	G · B · D	34×
vi	Am	Relative minor — the melancholy side	A · C · E	28×
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	28×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	14×
iv	Dm	Subdominant — moves away from home	D · F · A	4×
IV	D	Major IV — Dorian / melodic-minor colourmodal colour	D · F# · A	4×
v	Em	Minor dominant — soft pull	E · G · B	4×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VI	F	Submediant — warm colour	F · A · C	21×
VII	G	Subtonic — steps back to the tonic	G · B · D	34×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 7 different chords appear 109 times in total; 6 of them sit naturally inside the shared scale. D acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

G Am CV → videceptive cadence AmVII → iAeolian arrival ×12
F C CIV → Iplagal cadence AmVI → III ×10
F G CIV → VIV → V AmVI → VIIVI → VII ×9
Em Am Ciii → vi Amv → inatural-minor cadence ×2
F Am CIV → vi AmVI → iVI → i ×2
G C CV → Iauthentic cadence AmVII → III ×1

The move to watch is G → Am, heard 12 times. From the Am side it is VII → i (Aeolian arrival: rises a whole tone into home); from the C side it reads V → vi (deceptive cadence: expected C, lands on Am). 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 Am, land on A, C, E — 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.

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 first chord is Am; the ear learns where home is within a second. The chords that keep coming back are G, Am, F, C; read them as V–vi–IV–I in C or VII–i–VI–III in Am. D adds a moment of surprise: secondary dominant V/V — leads to G. Keep an ear on G → Am (V → vi in C, VII → i in Am): Aeolian arrival — rises a whole tone into home. The final chord is G; the ear comes to rest in C.

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.