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)
Miley Cyrus - Plastic Hearts - Chord
Key A major – F# minor Chords Db, D, Gbm, A, Bm, E/G# Easy key C
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Key: A | Gbm | F#m
Capo: 0
Gbm Db
Hello, the sunny place for shady people
D
A crowded room where nobody goes
Bm
You can be whoever you wanna be here
Gbm Db
And oh, I've been living at the Chateau
D
Shouldn't drive, but I should really go home
Bm
I don't even know 'em but they won't leave here
Gbm
Frightened by my own reflection
Db
Desperate for a new connection
D Bm
Pull you in but don't you get too close
Gbm
Love you now but not tomorrow
Db
Wrong to steal but not to borrow
D A E/G#
Pull you in but don't you get too close
Gbm
I've been California dreamin'
Db
Plastic hearts are bleeding
D
Keep me up all night
A Db
Keep me up all night
Gbm
Lost in black hole conversations
Db
Sunrise suffocation
D
Keep me up all night
A Db
Keep me up all night
D
I just wanna feel
A
I just wanna feel something
E F5+ C# F#m
But I keep feeling nothing all night long
Db D Bm
Gbm
Hello
Db
I'll tell you all the people I know
D
Sell you something that you already own
Bm
I can be whoever you want me to be
Gbm
Love me now but not tomorrow
Db
Fill me up but leave me hollow
D A E/G#
Pull me in but don't you get too close
Gbm
I've been California dreamin'
Db
Plastic hearts are bleeding
D
Keep me up all night
A Db
Keep me up all night
Gbm
Lost in black hole conversations
Db
Sunrise suffocation
D
Keep me up all night
A Db
Keep me up all night
D
I just wanna feel
A
I just wanna feel something
E F5+ C# F#m
But I keep feeling nothing all night long
Gbm Db D Bm
Gbm
All night long
Db
All night long
D
All night long
A E/G#
All night long
Gbm
I've been California dreamin'
Db
Plastic hearts are bleeding
D
Keep me up all night
A Db
Keep me up all night
Gbm
Lost in black hole conversations
Db
Sunrise suffocation
D
Keep me up all night
A Db
Keep me up all night
D
I just wanna feel
A
I just wanna feel something
E F5+ C# F#m
But I keep feeling nothing all night long
End of song Play again?
Miley Cyrus - Plastic Hearts Tabs
NotesX
Harmony analysis
Miley Cyrus – Plastic Hearts: key and chord analysis
The song opens on Gbm and ends on A. Its chords belong to both A major and F#m, so every chord below is read both ways.
Minor view
F# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = D (the minor's melancholy)
- b7 = E (natural-minor colour)
- #7 = E# (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 F# minor side because it comes to rest on A, it opens on F#m, F#m is heard 14 times against 12 for A and the major V chord points straight at F#m. That is an interpretation, not a rule — the same chords are just as valid seen from A 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 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | A | Tonic — home | A · C# · E | 12× |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | 6× |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | — |
| V/vi | Db | Secondary dominant V/vi — leads to Gbmsecondary dominant | Db · F · Ab | 21× |
| IV | D | Subdominant — moves away from home | D · F# · A | 18× |
| V | E/G# | Dominant — strongest pull home | E · G# · B | 3× |
| vi | Gbm | Relative minor — the melancholy side | Gb · A · Db | 14× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gbm | Tonic — home | Gb · A · Db | 14× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | 12× |
| iv | Bm | Subdominant — moves away from home | B · D · F# | 6× |
| v | C#m | Minor dominant — soft pull | C# · E · G# | — |
| V | Db | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Db · F · Ab | 21× |
| VI | D | Submediant — warm colour | D · F# · A | 18× |
| VII | E/G# | Subtonic — steps back to the tonic | E · G# · B | 3× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 6 different chords appear 74 times in total; 5 of them sit naturally inside the shared scale. The major V of F#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from A, the same Db is V/vi, a secondary dominant heading for F#m.
Chord movement
- D A AIV → Iplagal cadence F#mVI → III ×12
- Bm Gbm Aii → vi F#miv → iminor plagal ×6
- Db Gbm AV/vi → vi F#mV → iharmonic-minor cadence ×3
- E/G# Gbm AV → videceptive cadence F#mVII → iAeolian arrival ×3
The move to watch is D → A, heard 12 times. From the F#m side it is VI → III; from the A side it reads IV → I (plagal cadence: the soft 'amen' ending). 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 Db, land on Db, F, Ab — the chord's own tones always sound right on strong beats.
- Over D, land on D, F#, A — the chord's own tones always sound right on strong beats.
- Over Gbm, land on Gb, A, Db — the chord's own tones always sound right on strong beats.
- When Db comes, swap the scale's E for E#: 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 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
- 3 semitones up
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
Starting on Gbm, the song gives away its key from the very first bar. The chords that keep coming back are Db, D, Gbm, A; read them as V/vi–IV–vi–I in A or V–VI–i–III in F#m. Db is the interesting twist: in A it is a chromatic chord (V/vi), while in F#m it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on D → A (IV → I in A, VI → III in F#m): plagal cadence — the soft 'amen' ending. 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.
Miley Cyrus - Plastic Hearts 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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