Major view
Gb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F (leading tone, pulls home)
- 4 = Cb (the note that leans on the 3rd)
Miley Cyrus - You - Chord
Key Gb major – Eb minor Chords Gb, B, Ebm, Abm, E, Gb7, Bm, Bbm … Easy key G
No ratings yet
or your user informations
Make it yours
Text size
Key: Gb | D#m | Ebm
Capo: 0
Gb
Gb Bbm
I wanna set off alarms, deal out the cards
Ebm Gb7 B
Smoke cuban cigars, get kicked outta bars before two
Bm Gb
But only if it's with you
Gb Bbm7
And I wanna drive down to Texas, flip off my exes
Ebm Gb7 B
Get kinda reckless and have wild, wild, wild sex under the moon
Bm Gb
But only if it's with you
Abm B
I got some baggage, let's do some damage
Gb Ebm
I am not made for no horse and a carriage
Abm B
You know I'm savage, you're looking past it
Gb
I want that late night sweet magic
Ebm Abm
That forever lasting love
Bm Gb
But only if it's with you
Gb Bbm
Let's crash a wedding in the night, get drunk by the lights
Ebm Gb7 B
Then I'll pick a fight to make up on the floor of your room
E Gb
But only if it's with you
Gb
And I wanna cut off my hair and kick off my boots
Ebm Gb7 B
And dance in the wind just to do it again, yeah, it's true
E Gb
But only if it's with you, hmm
Abm B
I got some baggage, let's do some damage
Gb Ebm
I am not made for no horse and a carriage
Abm B
You know I'm savage, you're looking past it
Gb
I want that late night sweet magic
Ebm
That forever lasting
Abm B
I'm kinda crazy, 'cause that's how you make me
Gb Ebm
I don't need Jesus, 'cause baby you saved me
Abm
I'm down
B Gb
But only if it's with you, oh
E B Gb
You, only with you, you, you
E B Gb
You, only want you, you, you, you
E B Gb
You, baby it's you
Abm B Bm Gb
You, You, only with you
End of song Play again?
Miley Cyrus - You Tabs
NotesX
Harmony analysis
Miley Cyrus – You: key and chord analysis
The song opens on Gb and ends on Gb. Its chords belong to both Gb major and Ebm, so every chord below is read both ways.
Minor view
Eb minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Cb (the minor's melancholy)
- b7 = Db (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the Gb major side because it both starts and finishes on Gb and Gb is heard 24 times against 9 for Ebm. That is an interpretation, not a rule — hearing the same chords from Eb minor is just as valid and teaches you something different.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to Gb or to Ebm; 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 | Gb | Tonic — home | Gb · Bb · Db | 20× |
| V7/IV | Gb7 | Secondary dominant V/IV — leads to Bsecondary dominant | Gb · Bb · Db · Fb | 4× |
| ii | Abm | Supertonic — prepares the dominant | Ab · Cb · Eb | 8× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 2× |
| iii7 | Bbm7 | Mediant — a tonic-family shade | Bb · Db · F · Ab | 1× |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | — |
| IV | B | Subdominant — moves away from home | B · D# · F# | 14× |
| iv | Bm | Minor iv — borrowed from the parallel minorborrowed chord | B · D · F# | 4× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | — |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 9× |
| bVII | E | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | E · G# · B | 5× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 9× |
| bII | E | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | E · G# · B | 5× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| III | Gb | Relative major — the bright side | Gb · Bb · Db | 20× |
| V7/VI | Gb7 | Secondary dominant V/VI — leads to Bsecondary dominant | Gb · Bb · Db · Fb | 4× |
| iv | Abm | Subdominant — moves away from home | Ab · Cb · Eb | 8× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 2× |
| v7 | Bbm7 | Minor dominant — soft pull | Bb · Db · F · Ab | 1× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | B | Submediant — warm colour | B · D# · F# | 14× |
| vi | Bm | Chromatic colour chordoutside the key | B · D · F# | 4× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | — |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 9 different chords appear 67 times in total; 6 of them sit naturally inside the shared scale. Gb7 acts as a secondary dominant, briefly pointing at another chord of the key. E, Bm are borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- B Gb GbIV → Iplagal cadence EbmVI → III ×9
- Bm Gb Gbiv → Iminor plagal Ebmvi → III ×4
- Gb7 B GbV7/IV → IVsecondary resolution EbmV7/VI → VI ×4
- Bbm Ebm Gbiii → vi Ebmv → inatural-minor cadence ×2
- E Gb GbbVII → IbVII → I EbmbII → III ×2
- Bbm7 Ebm Gbiii7 → vi Ebmv7 → inatural-minor cadence ×1
The move to watch is B → Gb, heard 9 times. From the Gb side it reads IV → I (plagal cadence: the soft 'amen' ending); from the Ebm side it is VI → III. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Gb major pentatonic and Eb minor pentatonic are the same five notes (Gb – Ab – Bb – Db – Eb): start from Gb for a brighter phrase, from Eb for a bluesier one.
- Over Gb, land on Gb, Bb, Db — 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.
- Over Ebm, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
- On E, follow the chord's notes (E · G# · B) 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 Gb major shapes
- Capo 2 + E shapes
- Capo 4 + D shapes
- Capo 6 + C shapes
With Eb minor shapes
- Capo 1 + Dm shapes
- Capo 6 + Am shapes
Easiest keys on guitar
- 1 semitone up
- 4 semitones down · capo 4 keeps the original pitch
The song's harmonic story
The first chord is Gb; the ear learns where home is within a second. The backbone is Gb, B, Ebm, Abm — I–IV–vi–ii from the Gb side, III–VI–i–iv from the Ebm side. Gb7 adds a moment of surprise: secondary dominant V/IV — leads to B. Keep an ear on B → Gb (IV → I in Gb, VI → III in Ebm): plagal cadence — the soft 'amen' ending. Ending on Gb, the song seals Gb 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.
Miley Cyrus - You 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.
Find something to play next
Ready-made lists by difficulty and mood.
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.