Lady Gaga - The Edge Of Glory - Chord

Key A major – F# minor Chords D, E, A, Gbm, B, Bm Easy key G (capo 2)

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Capo 0

A                             E
There ain't no reason you and me should be alone
  Gbm                 D
Tonight yeah baby, tonight, yeah baby
A                          E                           Gbm          D
But I got a reason that you hoo should take me home tonight
A                            E
I need a man that thinks it right when it's so wrong
  Gbm                 D
Tonight yeah baby, tonight yeah baby
A                             E                      Gbm             D
Right on the limit's where we know we both belong tonight

             D         E
It's hot to feel the rush
             Gbm       B
To brush the dangerous
            D                  Bm
I'm gonna run right to, to the edge with you
             D               E
Where we can both fall far in love

           A         E
I'm on the edge of glory
         Gbm                    D
And I'm hanging on a moment of truth
           A         E
I'm on the edge of glory
         Gbm                    D
And I'm hanging on a moment with you
           A                    E                  Gbm                  D
I'm on the edge, the edge, the edge, the edge, the edge, the edge, the edge
           A        E
I'm on the edge of glory
         Gbm                     D
And I'm hanging on a moment with you
A
I'm on the edge with you

A                      E
Another shot before we kiss the other side
   Gbm                D
Tonight yeah baby, tonight, yeah baby
A                             E                    Gbm
I'm on the edge of something final we call life tonight
                D
Alright, alright

A                                  E
Put on your shades 'cause I'll be dancing in the flames
   Gbm                D
Tonight yeah baby, tonight, yeah baby
A                       E                    Gbm
It isn't a hell if everybody knows my name tonight
                D
Alright, alright

              D        E
It's hot to feel the rush
              Gbm      B
To brush the dangerous
           D                   Bm
I'm gonna run right to, to the edge with you
              D               E
Where we can both fall far in love

           A         E
I'm on the edge of glory
         Gbm                    D
And I'm hanging on a moment of truth
           A         E
I'm on the edge of glory
         Gbm                    D
And I'm hanging on a moment with you
           A                    E                  Gbm                  D
I'm on the edge, the edge, the edge, the edge, the edge, the edge, the edge
           A        E
I'm on the edge of glory
         Gbm                     D
And I'm hanging on a moment with you
A
I'm on the edge with you

End of song Play again?

Lady Gaga - The Edge Of Glory Tabs

NotesX

Harmony analysis

Lady Gaga – The Edge Of Glory: key and chord analysis

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

Major view

A major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

F# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = D (the minor's melancholy)
b7 = E (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the A major side because it both starts and finishes on A. That is an interpretation, not a rule — hearing the same chords from F# minor is just as valid and teaches you something different.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to A or to F#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 A major
Degree	Chord	Role	Notes	In song
I	A	Tonic — home	A · C# · E	18×
ii	Bm	Supertonic — prepares the dominant	B · D · F#	2×
V/V	B	Secondary dominant V/V — leads to Esecondary dominant	B · D# · F#	2×
iii	C#m	Mediant — a tonic-family shade	C# · E · G#	—
V/vi	C#	Secondary dominant V/vi — leads to Gbmsecondary dominant	C# · E# · G#	—
IV	D	Subdominant — moves away from home	D · F# · A	22×
V	E	Dominant — strongest pull home	E · G# · B	20×
vi	Gbm	Relative minor — the melancholy side	Gb · A · Db	18×
vii°	G#dim	Leading-tone chord — tension	G# · B · D	—

Seen from F# minor
Degree	Chord	Role	Notes	In song
i	Gbm	Tonic — home	Gb · A · Db	18×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
III	A	Relative major — the bright side	A · C# · E	18×
iv	Bm	Subdominant — moves away from home	B · D · F#	2×
IV	B	Major IV — Dorian / melodic-minor colourmodal colour	B · D# · F#	2×
v	C#m	Minor dominant — soft pull	C# · E · G#	—
V	C#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G#	—
VI	D	Submediant — warm colour	D · F# · A	22×
VII	E	Subtonic — steps back to the tonic	E · G# · B	20×

Analysis

The key pair is A major and its relative F# minor (3 sharps). 6 different chords appear 82 times in total; 5 of them sit naturally inside the shared scale. B acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

E Gbm AV → videceptive cadence F#mVII → iAeolian arrival ×18
D A AIV → Iplagal cadence F#mVI → III ×14
D E AIV → VIV → V F#mVI → VIIVI → VII ×4
E A AV → Iauthentic cadence F#mVII → III ×2

The move to watch is E → Gbm, heard 18 times. From the A side it reads V → vi (deceptive cadence: expected A, lands on F#m); from the F#m side it is VII → i (Aeolian arrival: rises a whole tone into home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

A major pentatonic and F# minor pentatonic are the same five notes (A – B – C# – E – F#): start from A for a brighter phrase, from F# for a bluesier one.
Over D, land on D, F#, A — 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.

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 A major shapes

No capo — open A shapes
Capo 2 + G shapes
Capo 5 + E shapes

With F# minor shapes

Capo 2 + Em shapes
Capo 4 + Dm 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 A; the ear learns where home is within a second. The chords that keep coming back are D, E, A, Gbm; read them as IV–V–I–vi in A or VI–VII–III–i in F#m. B adds a moment of surprise: secondary dominant V/V — leads to E. Keep an ear on E → Gbm (V → vi in A, VII → i in F#m): deceptive cadence — expected A, lands on F#m. Ending on A, the song seals A 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.