Major view
F major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = E (leading tone, pulls home)
- 4 = Bb (the note that leans on the 3rd)
Miley Cyrus - Angels Like You - Chord
Key F major – D minor Chords A, G, Em, D, Bm, Gm, A11 Easy key Bb (capo 7)
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Key: F | Dm
Capo: 0
D A Em G
D A Em
Flowers in hand, waiting for me
G D
Every word and poetry
A Em
Won't call me by name, only baby
G
The more that you give
Riff
The less that I need
A G
Everyone says I look happy
Gm
When it feels right
D A
I know that you're wrong for me
Em
Gonna wish we never met on
G
The day I leave
D A
I brought you down to your knees
Em
'Cause they say that
G
Misery loves company
D A
It's not your fault I ruin everything
Em
And it's not your fault
G
I can't be what you need
Bm
Baby, angels like you
A G
Can't fly down hell with me
Gm Riff 2
I'm everything they said I would be
A
I'll put you down slow
Em
Love you goodbye
G Riff 2
Before you let go, just one more time
A
Take off your clothes
Em
Pretend that it's fine
G Riff 1
A little more hurt won't kill you tonight
A G
Mother says you don't look happy
Gm
Close your eyes
D A
I know that you're wrong for me
Em
Gonna wish we never met on
G
The day I leave
D A
I brought you down to your knees
Em
'Cause they say that
G
Misery loves company
D A
It's not your fault I ruin everything
Em
And it's not your fault
G
I can't be what you need
Bm
Baby, angels like you
A G
Can't fly down hell with me
Gm Riff 2
I'm everything they said I would be
D A Em G
D A
I know that you're wrong for me
Em
Gonna wish we never met on
G
The day I leave
D A
I brought you down to your knees
Em
'Cause they say that
G
Misery loves company
D A
It's not your fault I ruin everything
Em
And it's not your fault
G
I can't be what you need
Bm
Baby, angels like you
A G
Can't fly down hell with me
Bm
Angels like you
A11 G
Can't fly down hell with me
End of song Play again?
Miley Cyrus - Angels Like You Tabs
NotesX
Harmony analysis
Miley Cyrus – Angels Like You: key and chord analysis
The song opens on D and ends on G. Its chords belong to both F major and Dm, so every chord below is read both ways.
Minor view
D minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Bb (the minor's melancholy)
- b7 = C (natural-minor colour)
- #7 = C# (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 D minor side because the major V chord points straight at Dm. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 F or to Dm; 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 | F | Tonic — home | F · A · C | — |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 2× |
| II | G | Chromatic colour chordoutside the key | G · B · D | 19× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | 20× |
| V7/vi | A11 | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E · G · D | 1× |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | — |
| #iv | Bm | Chromatic colour chordoutside the key | B · D · F# | 4× |
| V | C | Dominant — strongest pull home | C · E · G | — |
| vi | Dm | Relative minor — the melancholy side | D · F · A | — |
| V/ii | D | Secondary dominant V/ii — leads to Gmsecondary dominant | D · F# · A | 13× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| vii | Em | Chromatic colour chordoutside the key | E · G · B | 15× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | — |
| V/iv | D | Secondary dominant V/iv — leads to Gmsecondary dominant | D · F# · A | 13× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| ii | Em | Chromatic colour chordoutside the key | E · G · B | 15× |
| III | F | Relative major — the bright side | F · A · C | — |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 2× |
| IV | G | Major IV — Dorian / melodic-minor colourmodal colour | G · B · D | 19× |
| v | Am | Minor dominant — soft pull | A · C · E | — |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | 20× |
| V7 | A11 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E · G · D | 1× |
| VI | Bb | Submediant — warm colour | Bb · D · F | — |
| #vi | Bm | Chromatic colour chordoutside the key | B · D · F# | 4× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | — |
Analysis
The key pair is F major and its relative D minor (1 flat). 7 different chords appear 74 times in total; 1 of them sit naturally inside the shared scale. The major V of Dm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from F, the same A / A11 is V/vi, a secondary dominant heading for Dm. D acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
Improvisation tips
- F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
- Over A, land on A, C#, E — the chord's own tones always sound right on strong beats.
- Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
- Over Em, land on E, G, B — the chord's own tones always sound right on strong beats.
- When A comes, swap the scale's C for C#: 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 F major shapes
- Capo 1 + E shapes
- Capo 3 + D shapes
- Capo 5 + C shapes
With D minor shapes
- No capo — open Dm shapes
- Capo 5 + Am shapes
Easiest keys on guitar
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
Starting on D, the song gives away its key from the very first bar. A, G, Em, D carry the song: V/vi–II–vii–V/ii relative to F, V–IV–ii–V/iv relative to Dm. A is the interesting twist: in F it is a chromatic chord (V/vi), while in Dm it becomes the dominant (V) that makes the minor side sound so determined. Ending on G, the song seals F 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 - Angels Like 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.
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