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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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.

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 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.

Seen from A major
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	—

Seen from F# minor
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.