Taylor Swift - So Long, London - Chord

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

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Capo 0

So  long , London

   Gbm
I saw in my mind fairy 

Lights through the mist
   Bm
I kept calm and carried 

The weight of the rift
 E/G#
Pulled him in tighter
                            A
Each time he was driftin' away

     Gbm
My spine split from 

Carrying us up the hill
 Bm
Wet through my clothes 

Weary bones caught the chill
    E/G#
I stopped tryna make him laugh 
                         A
Stopped tryna drill the safe

         Gbm
Thinkin' 
                      Bm
"How much sad did you    think I had

        E/G#
Did you      think I had in me?"
A
  Oh, the tragedy
 Bm  Gbm   A  E/G#
So  long, London
 Bm     Gbm  A  E/G#
You'll find someone

   Gbm
I didn't opt in to be your odd man out
   Bm
I founded the club 

She's heard great things about
   E/G#
I left all I knew, you left me at the
              A
House by the Heath

    Gbm
I stoppеd CPR, after all, it's no use
      Bm
The spirit was gonе 

We would never come to
         E/G#
And I'm pissed off you let me give you
                     A
All that youth for free

     Bm  Gbm   A  E/G#
For so  long, London
  Bm  Gbm  A  E/G#
Stitches   undone
  Bm  Gbm   A    E/G#
Two graves, one gun
Bm    Gbm  A  E/G#
I'll find someone

         Gbm
And you say I abandoned the ship
           A
But I was going down with it
           E
My white knuckle dying grip
         Bm
Holding tight to your quiet resentment

And my friends said 

Gbm
It isn't right to be scared
       A
Every day of a love affair
        E
Every breath feels like rarest air
                 Bm
When you're not sure if he

Wants to be there

Gbm
    So how much sad did you
A
  Think I had
        E
Did you   think I had in me
Bm
   How much tragedy

Gbm
    Just how low did you
A
  Think I'd go 'fore I'd
E               
  Self implode?   
          Bm
'Fore I'd    have to go be free

      D
You swore that you loved me 

But where were the clues
   Bm
I died on the altar 

Waitin' for the proof
     E/G#
You sacrificed us to the 
                     A
Gods of your bluest days
         Gbm
And I'm just getting 
           Bm
Color back into my face
     E/G#
I'm just mad as hell 
          A
'Cause I loved this place for

 Bm      D            A  E
So  long , London
 Bm       D      A           E
Had  a  good  run 
   Bm  D                A    E
A moooment  of warm sun
    Bm         D          A       E
But I'm  not  the  one

 Bm      D            A  E
So  long , London
  Bm  D             A  E
Stitches  undone
  Bm        D             A    E
Two  graves  one gun
 Bm              D           A  E
You'll  find  someone

End of song Play again?

Taylor Swift - So Long, London Tabs

NotesX

Harmony analysis

Taylor Swift – So Long, London: key and chord analysis

The song opens on Gbm and ends on E. 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: we can't honestly pick a side here — the song moves freely between A major and F# minor because it opens on F#m and A is heard 25 times against 16 for F#m. Try reading the chords both ways and see which feels more like home to you.

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	25×
ii	Bm	Supertonic — prepares the dominant	B · D · F#	25×
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	9×
V	E/G#	Dominant — strongest pull home	E · G# · B	13×
V	E	Dominant — strongest pull home	E · G# · B	12×
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	25×
iv	Bm	Subdominant — moves away from home	B · D · F#	25×
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	9×
VII	E/G#	Subtonic — steps back to the tonic	E · G# · B	13×
VII	E	Subtonic — steps back to the tonic	E · G# · B	12×

Analysis

The key pair is A major and its relative F# minor (3 sharps). 6 different chords appear 100 times in total; 6 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.

Chord movement

Bm Gbm Aii → vi F#miv → iminor plagal ×9
D A AIV → Iplagal cadence F#mVI → III ×8
E/G# A AV → Iauthentic cadence F#mVII → III ×7
Bm E/G# Aii → Vii → V F#miv → VII ×7
E/G# Gbm AV → videceptive cadence F#mVII → iAeolian arrival ×2

The move to watch is Bm → Gbm, heard 9 times. From the A side it reads ii → vi; from the F#m side it is iv → i (minor plagal: deep and melancholic). 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 Bm, land on B, D, F# — 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 Gbm, land on Gb, A, Db — 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
3 semitones up

The song's harmonic story

The first chord is Gbm; the ear learns where home is within a second. The chords that keep coming back are Bm, A, Gbm, E/G#; read them as ii–I–vi–V in A or iv–III–i–VII in F#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bm → Gbm (ii → vi in A, iv → i in F#m): minor plagal — deep and melancholic. The final chord is E; the ear comes to rest in A.

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.