Justin Bieber - Off My Face - Chord

Key E major – C# minor Chords B, E, A, Dbm, B/D#, Ab7, Gbm, Ebm Easy key G

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Capo 0

E  Ab7  Dbm  B

E
One touch and you got me stoned
Ab7
Higher than I've ever known
Dbm           B             A
You call the shots and I follow

E
Sun rise but the night still young
Ab7
No words, but we speak in tongues
Dbm           B             A
If you let me, I might say too much

E
Your touch blurred my vision
Ab7
It's your world, and I'm just in it
Dbm           B             A 
Even sober I'm not thinkin' straight

            A     B        E   B/D#  Dbm
'Cause I'm off my face, in love with you
B    A     B        E  B/D# Dbm
I'm out my head, so into you
 B    A                  B     
And I don't know how you do it
     E   B/D#  Dbm     B   A              B
But I'm forever ruined by you, ooh, ooh, ooh

E
Can't sleep 'cause I'm way too buzzed
Ab7
Too late, now you're in my blood
Dbm           B             A 
I don't hate the way you keep me up

E
Your touch blurred my vision
Ab7
It's your world, and I'm just in it
Dbm           B             A
Even sober I'm not thinkin' straight

            A     B        E   B/D#  Dbm
'Cause I'm off my face, in love with you
B    A     B        E  B/D#  Dbm
I'm out my head, so into you
 B    A                  B     
And I don't know how you do it
     E   B/D#   Dbm     B   A              B
But I'm forever ruined by you, ooh, ooh, ooh

Dbm  B/D#  E   Gbm   E      Ebm   
Ooh ooh ooh, ooh, ooh, ooh, ooh
Dbm  B/D# E   Gbm   E      Ebm
Ooh ooh ooh, ooh, ooh, ooh, ooh

            A     B        E   B/D#   Dbm
'Cause I'm off my face, in love with you
B    A     B        E  B/D#  Dbm
I'm out my head, so into you
 B    A                  B     
And I don't know how you do it
     E   B/D#   Dbm     B   A              B
But I'm forever ruined by you, ooh, ooh, ooh
   A               B
By you, ooh, ooh, ooh

End of song Play again?

Justin Bieber - Off My Face Tabs

NotesX

Harmony analysis

Justin Bieber – Off My Face: key and chord analysis

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

Major view

E major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

C# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = A (the minor's melancholy)
b7 = B (natural-minor colour)
#7 = B# (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 major side because it opens on E, E is heard 19 times against 17 for C#m and the major V chord points straight at C#m. That is an interpretation, not a rule — hearing the same chords from C# minor is just as valid and teaches you something different.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to E or to C#m; 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 E major
Degree	Chord	Role	Notes	In song
I	E	Tonic — home	E · G# · B	19×
ii	Gbm	Supertonic — prepares the dominant	Gb · A · Db	2×
iii	G#m	Mediant — a tonic-family shade	G# · B · D#	—
V7/vi	Ab7	Secondary dominant V/vi — leads to Dbmsecondary dominant	Ab · C · Eb · Gb	6×
IV	A	Subdominant — moves away from home	A · C# · E	18×
V	B	Dominant — strongest pull home	B · D# · F#	28×
V	B/D#	Dominant — strongest pull home	B · D# · F#	11×
vi	Dbm	Relative minor — the melancholy side	Db · Fb · Ab	17×
vii°	D#dim	Leading-tone chord — tension	D# · F# · A	—
vii	Ebm	Chromatic colour chordoutside the key	Eb · Gb · Bb	2×

Seen from C# minor
Degree	Chord	Role	Notes	In song
i	Dbm	Tonic — home	Db · Fb · Ab	17×
ii°	D#dim	Supertonic — prepares the dominant	D# · F# · A	—
ii	Ebm	Chromatic colour chordoutside the key	Eb · Gb · Bb	2×
III	E	Relative major — the bright side	E · G# · B	19×
iv	Gbm	Subdominant — moves away from home	Gb · A · Db	2×
v	G#m	Minor dominant — soft pull	G# · B · D#	—
V7	Ab7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	Ab · C · Eb · Gb	6×
VI	A	Submediant — warm colour	A · C# · E	18×
VII	B	Subtonic — steps back to the tonic	B · D# · F#	28×
VII	B/D#	Subtonic — steps back to the tonic	B · D# · F#	11×

Analysis

The key pair is E major and its relative C# minor (4 sharps). 8 different chords appear 103 times in total; 6 of them sit naturally inside the shared scale. The major V of C#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from E, the same Ab7 is V7/vi, a secondary dominant heading for C#m. Ebm step outside the scale as colour chords.

Chord movement

A B EIV → VIV → V C#mVI → VIIVI → VII ×13
B E EV → Iauthentic cadence C#mVII → III ×11
B/D# Dbm EV → videceptive cadence C#mVII → iAeolian arrival ×9
Ab7 Dbm EV7/vi → visecondary resolution C#mV7 → iharmonic-minor cadence ×6
A E EIV → Iplagal cadence C#mVI → III ×3
B/D# E EV → Iauthentic cadence C#mVII → III ×2

The move to watch is A → B, heard 13 times. From the E side it reads IV → V (IV → V: the lift that builds tension before home); from the C#m 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

E major pentatonic and C# minor pentatonic are the same five notes (E – F# – G# – B – C#): start from E for a brighter phrase, from C# for a bluesier one.
Over B, land on B, D#, F# — the chord's own tones always sound right on strong beats.
Over E, land on E, G#, B — the chord's own tones always sound right on strong beats.
Over A, land on A, C#, E — the chord's own tones always sound right on strong beats.
When Ab7 comes, swap the scale's B for B#: 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 E major shapes

No capo — open E shapes
Capo 2 + D shapes
Capo 4 + C shapes

With C# minor shapes

Capo 4 + Am shapes

Easiest keys on guitar

3 semitones up
4 semitones down · capo 4 keeps the original pitch

The song's harmonic story

Starting on E, the song gives away its key from the very first bar. B, E, A, Dbm carry the song: V–I–IV–vi relative to E, VII–III–VI–i relative to C#m. Ab7 is the interesting twist: in E it is a chromatic chord (V7/vi), while in C#m it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on A → B (IV → V in E, VI → VII in C#m): IV → V — the lift that builds tension before home. The final chord is B; the ear comes to rest in E.

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.