Lady Gaga - Angel Down - Chord

Key A major – F# minor Chords D, A, E, Gbm, Dbm, Db Easy key C

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Capo 0

Intro: F#m C#m D A E  

 E       Gbm        Dbm
I confess I am lost
   
D                   A
In the age of the social

E            Gbm           Dbm
On your knees take a test
  
D                   A
To be lovin and grateful

E            Gbm              Dbm
Shots were fired on the street
    
D                             A
By the church where we use to meet

E     Gbm           Dbm
Angel down, angel down
            
D                           A
What the people just stood around

D       A              Db
I’m a beliver, it’s a trial
             
        Gbm           E    D
Foolish and Weaker oh oh oh
                
   A                        E
I’d rather save an angel down

D       A            Db
I’m a believer, it’s chaos
          
         Gbm              E    D
Where are our leaders? Oh oh oh
    
      A                       E
I’d rather save an angel down

Gbm              Dbm
Doesn’t everyone belong

D                  A
In the arms of the sacred

E          Gbm             Dbm
Why do we pretend we're wrong

    D                 A
Has our young courage faded? 

E                 Gbm              Dbm
Shots were fired on the street
    
D                             A
By the church where we use to meet

E      Gbm         Dbm
Angel down, angel down

D                         A
Why the people just stand around

D     A               Db
I’m a beliver, it’s a trial
            
Gbm                   E    D
Foolish and Weaker oh oh oh
    
    A                        E
I’d rather save an angel down

D       A                    Db
I’m a believer, it’s chaos
                     
      Gbm                 E    D
Where are our leaders? Oh oh oh
                
    A                        E
I’d rather save an angel down

     Gbm           E
Woo woo woo woo woo woo 
     D                A
woo woo woo  woo woo woo

D       A                     Db
I’m a believer, it’s a trial
                    
        Gbm           E            D
Foolish and Weaker oh oh oh
        
    A                        E
I’d rather save an angel down

D       A                    Db
I’m a believer, it’s chaos
      
      Gbm              E         D
Where are our leaders? Oh oh oh
  
    A                          E
I’d rather save an angel down

          D
Save that angel

A              E
Hear that angel

         Gbm
Catch my angel

End of song Play again?

Lady Gaga - Angel Down Tabs

NotesX

Harmony analysis

Lady Gaga – Angel Down: key and chord analysis

The song opens on E and ends on Gbm. 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)
#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 F#m, A is heard 22 times against 16 for F#m 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.

Seen from A major
Degree	Chord	Role	Notes	In song
I	A	Tonic — home	A · C# · E	22×
ii	Bm	Supertonic — prepares the dominant	B · D · F#	—
iii	Dbm	Mediant — a tonic-family shade	Db · Fb · Ab	8×
V/vi	Db	Secondary dominant V/vi — leads to Gbmsecondary dominant	Db · F · Ab	6×
IV	D	Subdominant — moves away from home	D · F# · A	22×
V	E	Dominant — strongest pull home	E · G# · B	21×
vi	Gbm	Relative minor — the melancholy side	Gb · A · Db	16×
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	16×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
III	A	Relative major — the bright side	A · C# · E	22×
iv	Bm	Subdominant — moves away from home	B · D · F#	—
v	Dbm	Minor dominant — soft pull	Db · Fb · Ab	8×
V	Db	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	Db · F · Ab	6×
VI	D	Submediant — warm colour	D · F# · A	22×
VII	E	Subtonic — steps back to the tonic	E · G# · B	21×

Analysis

The key pair is A major and its relative F# minor (3 sharps). 6 different chords appear 95 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 ×22
E Gbm AV → videceptive cadence F#mVII → iAeolian arrival ×10
Db Gbm AV/vi → vi F#mV → iharmonic-minor cadence ×6

The move to watch is D → A, heard 22 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 D, land on D, F#, A — 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.
Over E, land on E, G#, B — 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

The opening E lays a solid floor for everything that follows. D, A, E, Gbm carry the song: IV–I–V–vi relative to A, VI–III–VII–i relative to 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. The final chord is Gbm; the ear comes to rest in F#m.

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.