Bruno Mars - Die With a Smile (feat. Lady Gaga) - Chord

Key A major – F# minor Chords Bm7, E, Dbm7, Gbm7, Amaj7, Dmaj7, Gb7, A … Easy key C

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Amaj7  Dmaj7

Amaj7                         Dmaj7
I,  I just woke up from a dream
                                Amaj7
Where you and I had to say goodbye
                              Dmaj7
And I don't know what it all means

But since I survived, I realized

Wherever you go, 
                   Amaj7
That's where I'll follow
                     Dbm7
Nobody's promised tomorrow
                
So I'ma love you every night 
               Gb7
Like it's the last night
               Gb7
Like it's the last night

        Bm7
If the world was ending, 
E                     Dbm7  Gbm7
I'd wanna be next to youuuuuu
        Bm7
If the party was over 
    E                        Dbm7  Gbm7
And our time on Earth was throooooough
           Bm7                  E
I'd wanna hold you just for a while
     A  Abm          Gbm  Gb4/C#
And die     with a smile
        Bm7                 
If the world was ending, 
E                     Amaj7
I'd wanna be next to you

    Dmaj7
Woo ooh

      Amaj7
Ooh, lost
                             Dmaj7
Lost in the words that we scream
                               Amaj7
I don't even wanna do this anymore

'Cause you already know 
                  Dmaj7
What you mean to me 

And our love is the only war 

Worth fighting for

Wherever you go, 
                   Amaj7
That's where I'll follow
                     Dbm7
Nobody's promised tomorrow
                
So I'ma love you every night 
               Gb7
Like it's the last night
               Gb7
Like it's the last night

        Bm7
If the world was ending, 
E                     Dbm7  Gbm7
I'd wanna be next to youuuuuu
        Bm7
If the party was over
    E                        Dbm7  Gbm7
And our time on Earth was throooooough
           Bm7                  E
I'd wanna hold you just for a while
     A  Abm          Gbm  Gb4/C#
And die     with a smile
        Bm7
If the world was ending, 
E                     Bm7  E
I'd wanna be next to you
              Dbm7  Gbm7
Right next to you
         Bm7  E
Next to you
               Dbm7  Gbm7
Right next to you

Bm7  E  Dbm7  Gbm7 
Bm7  E  Dbm7  Gbm7 

        Bm7
If the world was ending,
E                     Dbm7  Gbm7
I'd wanna be next to youuuuuu
        Bm7
If the party was over 
    E                        Dbm7  Gbm7
And our time on Earth was throooooough
           Bm7                  E
I'd wanna hold you just for a while
     A  Abm          Gbm  Gb4/C#
And die     with a smile
        Bm7
If the world was ending, 
Db7                   Gbm7  B7
I'd wanna be next to youuuuuu 
        Bm7
If the world was ending, 
E                     Amaj7
I'd wanna be next to you

     Dmaj7
Ooh, ooh
                      Amaj7
I'd wanna be next to you

End of song Play again?

Bruno Mars - Die With a Smile (feat. Lady Gaga) Tabs

NotesX

Harmony analysis

Bruno Mars – Die With a Smile (feat. Lady Gaga): key and chord analysis

The song opens on Amaj7 and ends on Amaj7. 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: we can't honestly pick a side here — the song moves freely between A major and F# minor because it both starts and finishes on A, F#m is heard 14 times against 13 for A and the major V chord points straight at 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
Imaj7	Amaj7	Tonic — home	A · C# · E · G#	10×
I	A	Tonic — home	A · C# · E	3×
ii7	Bm7	Supertonic — prepares the dominant	B · D · F# · A	17×
V7/V	B7	Secondary dominant V/V — leads to Esecondary dominant	B · D# · F# · A	1×
iii7	Dbm7	Mediant — a tonic-family shade	Db · Fb · Ab · Cb	12×
V7/vi	Db7	Secondary dominant V/vi — leads to Gbmsecondary dominant	Db · F · Ab · Cb	1×
IVmaj7	Dmaj7	Subdominant — moves away from home	D · F# · A · C#	7×
V	E	Dominant — strongest pull home	E · G# · B	16×
vi7	Gbm7	Relative minor — the melancholy side	Gb · A · Db · Fb	11×
vi	Gbm	Relative minor — the melancholy side	Gb · A · Db	3×
V7/ii	Gb7	Secondary dominant V/ii — leads to Bmsecondary dominant	Gb · Bb · Db · Fb	4×
V/ii	Gb4/C#	Secondary dominant V/ii — leads to Bmsecondary dominant	Gb · Bb · Db	3×
vii°	G#dim	Leading-tone chord — tension	G# · B · D	—
vii	Abm	Chromatic colour chordoutside the key	Ab · Cb · Eb	3×

Seen from F# minor
Degree	Chord	Role	Notes	In song
i7	Gbm7	Tonic — home	Gb · A · Db · Fb	11×
i	Gbm	Tonic — home	Gb · A · Db	3×
V7/iv	Gb7	Secondary dominant V/iv — leads to Bmsecondary dominant	Gb · Bb · Db · Fb	4×
V/iv	Gb4/C#	Secondary dominant V/iv — leads to Bmsecondary dominant	Gb · Bb · Db	3×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
ii	Abm	Chromatic colour chordoutside the key	Ab · Cb · Eb	3×
IIImaj7	Amaj7	Relative major — the bright side	A · C# · E · G#	10×
III	A	Relative major — the bright side	A · C# · E	3×
iv7	Bm7	Subdominant — moves away from home	B · D · F# · A	17×
IV7	B7	Major IV — Dorian / melodic-minor colourmodal colour	B · D# · F# · A	1×
v7	Dbm7	Minor dominant — soft pull	Db · Fb · Ab · Cb	12×
V7	Db7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	Db · F · Ab · Cb	1×
VImaj7	Dmaj7	Submediant — warm colour	D · F# · A · C#	7×
VII	E	Subtonic — steps back to the tonic	E · G# · B	16×

Analysis

The key pair is A major and its relative F# minor (3 sharps). 13 different chords appear 91 times in total; 8 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 Db7 is V7/vi, a secondary dominant heading for F#m. Gb7, Gb4/C#, B7 act as secondary dominants, briefly pointing at another chord of the key.

Chord movement

Bm7 E Aii7 → Vii → V F#miv7 → VII ×16
Dbm7 Gbm7 Aiii7 → vi7 F#mv7 → i7natural-minor cadence ×10
Dmaj7 Amaj7 AIVmaj7 → Imaj7plagal cadence F#mVImaj7 → IIImaj7 ×7
E A AV → Iauthentic cadence F#mVII → III ×3
E Amaj7 AV → Imaj7authentic cadence F#mVII → IIImaj7 ×2
Gb7 Bm7 AV7/ii → ii7secondary resolution F#mV7/iv → iv7 ×2

The move to watch is Bm7 → E, heard 16 times. From the A side it reads ii7 → V (ii → V: the classic preparation of the dominant); from the F#m side it is iv7 → VII. 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 Bm7, land on B, D, F# — 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.
Over Dbm7, land on Db, Fb, Ab — the chord's own tones always sound right on strong beats.
When Db7 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 Amaj7 lays a solid floor for everything that follows. The backbone is Bm7, E, Dbm7, Gbm7 — ii7–V–iii7–vi7 from the A side, iv7–VII–v7–i7 from the F#m side. Gb7 is the interesting twist: in A it is a chromatic chord (V7/ii), while in F#m it becomes the dominant (V7/iv) that makes the minor side sound so determined. Keep an ear on Bm7 → E (ii7 → V in A, iv7 → VII in F#m): ii → V — the classic preparation of the dominant. It closes on Amaj7, letting the A side have the last word.

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.

Bruno Mars - Die With a Smile (feat. Lady Gaga) 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.

Repertoires with this song

Similar songs, ready to play: pick a list.

Report error for this content report.

All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.

🎤 Bruno Mars Chords

View All →

🎲 Random Chords in the Key of A

View All →