I was (Ab)jus ti fied when (Db)I was five.
Rais ing Cain, I spit in (Eb7)your (Ab)eye.
(Gb)Times are chang ing, now the (Db)poor get fat, but the (Db)fe ver’s gon na catch (Ab)you when the (Eb7)bitch gets (Ab)back, oh.
(Ab)Eat meat on a Fri day, that’s all right.
I e ven like steak on a (Eb7)Sat ur day (Ab)night.
I can (Gb)bitch the best at your so cial do’s.
I get (Db)high in the eve ning (Ab)sniff ing (Eb7)pots of glue, ooh.
(Ab)I’m a (Eb7)bitch, I’m a bitch.
Oh, the bitch is back, stone cold so ber, as a (Db)mat ter of fact.
I can (Eb7)bitch, I can bitch ’cause I’m bet ter than you.
It’s the (Gb)way that I move, the (Eb7)things that I do, whoa.
I (Ab)en ter tain by pick ing brains,
sell my soul by (Eb7)drop ping (Ab)names.
I (Gb)don’t like those!
My God, what’s that?
Oh, it’s (Db)full of nas ty hab (Ab)its when the (Eb7)bitch gets (Ab)back, oh.
(Ab)I’m a
(Ab)Bitch, bitch,
the (Db)bitch is back.
(Ab)Bitch, bitch,
the (Db)bitch is back.
(Ab)Bitch, bitch,
the (Db)bitch is back.
(Ab)Bitch, bitch,
the (Db)bitch is back.
This page shows “The Bitch Is Back” by Elton John in our color-coded kid songbook view — every note is colored by pitch (red C, orange D, yellow E, green F, blue G, purple A, pink B) and the lyrics sit directly under each note, so children can sing along while they play. The song is in the key of Db at 132 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a great workout for playing confidently in Db major, where your hands need to feel at home on all those black keys — if you're not used to that, spend a minute just landing each chord shape (Db, Ab, Gb, Fm, Eb7) cleanly before you hit play. At 132 BPM the energy is relentless, so your left hand's block-bass pattern needs to be rock-steady; lock it in at around 90 BPM first, then bump up gradually until the groove feels automatic. Watch the Eb7 especially — that added seventh wants to resolve to Ab, and rushing that transition is the most common stumble I see. The move from Gb to Fm can also catch you off guard if your fingers aren't already anticipating the shift, so loop that two-chord change until it's effortless. Once both hands are comfortable separately, bring them together at a slower tempo and focus on keeping your rhythm punchy and even — this is pop-rock, so crisp attacks matter more than sustain. By the time you're up to speed, you'll have seriously leveled up your fluency in flat-key chord shapes, which pays off in a huge number of pop songs down the road.