David Bowie was never one for three-chord busker tunes. If you've sat down with an acoustic guitar or a keyboard trying to figure out the Ashes to Ashes chords, you probably realized pretty quickly that something feels "off" if you just stick to the basics. It’s haunting. It’s weird. It’s quintessentially 1980.
The song is the crown jewel of Scary Monsters (and Super Creeps). It’s also a harmonic labyrinth. While the casual listener hears a catchy synth-pop hit, musicians hear a complex web of Major 7ths, minor 4ths, and shifts that shouldn't work on paper but somehow define an entire era of art-rock.
The Harmonic Blueprint of a Relapse
Most people think the song is a straightforward pop progression in G minor or Bb Major. It’s not. It’s actually a masterclass in tension and release. The track opens with that iconic, shimmering synth figure that sounds like it’s underwater.
To get the authentic sound, you have to look at the intro. It starts on a G minor, but it’s the movement to the Eb/Bb and then the F that creates that "floating" sensation. Honestly, if you just play a standard G minor chord, you’re missing the point. You need those extensions. The piano work, handled by the legendary Roy Bittan (of E Street Band fame), uses these wide voicings that make the Ashes to Ashes chords feel much larger than they are.
Bowie and producer Tony Visconti weren’t just throwing chords at the wall. They were trying to mirror the lyrical content—Major Tom’s descent into junkardom. The harmony is literally "trippy." It feels unstable. When you hit the chorus, the shift to A Major is a total curveball. Most pop songs stay in one "family" of chords. Bowie jumps the fence entirely.
Breaking Down the Verse Structure
The verse is where most guitarists get tripped up. It starts on G minor, moves to Eb, then to F, then back to G. Simple, right? Wrong.
If you want it to sound like the record, you have to account for the bass line. George Murray was doing some incredible work here. The bass doesn't always hit the root note. This is what we call "slash chords." For example, playing an Eb chord over a Bb bass note gives it that restless, unresolved quality.
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Then there's the "I'm happy, hope you're happy too" section.
It’s a sequence that goes:
G - D - C - G
It sounds almost like a nursery rhyme. It’s sarcastic. It’s intentionally simple to contrast with the lyrical gut-punch of being a "junkie, strung out in heavens high."
Why the Chorus is a Theory Nightmare (In a Good Way)
The chorus is where the Ashes to Ashes chords get truly sophisticated. We move into this territory:
A - E - D - A
Wait. How did we get to A Major from G minor? Technically, it’s a modulation. But it doesn't feel jarring because the melody acts as the glue. Bowie’s vocal range on this track is insane. He’s jumping from a low, spoken-word baritone to a soaring falsetto.
If you’re playing this on guitar, try using "barre chords" for the chorus but let the top E string ring out open if you’re playing in the A position. It adds a bit of that New Wave "chorus effect" shimmer that defined the early 80s.
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That Weird "Ding-Ding" Synth Part
You know the one. That processed, "funk-industrial" guitar/synth sound. That was Chuck Hammer’s "guitar synth." It wasn't just a keyboard. To replicate that tonality while playing the chords, you need a heavy dose of flanger and a very fast delay.
A common mistake is playing the chords too "straight." This song is all about the "pocket." If you’re strumming 4/4 like a campfire song, you’ve lost the plot. It’s got a slight swing to it. It’s funky. It’s the "plastic soul" of Young Americans meeting the cold, Germanic influence of the Berlin Trilogy.
Common Mistakes When Learning the Chords
- Ignoring the minor 4th: In the bridge, there’s a subtle move to a Cm or even a Cm6. A lot of tabs online skip this and just stay on the Eb. Don't do that. The Cm6 is what provides that "detective movie" noir vibe.
- Over-complicating the rhythm: While the chords are complex, the rhythm is actually quite steady. Let the effects (reverb/delay) do the heavy lifting.
- Playing in the wrong key: Some versions of the song are pitched slightly sharp or flat due to tape speed manipulation in the studio. If you're playing along to the original 1980 vinyl master, you might find your standard tuning feels slightly "off."
The "Scary Monsters" Effect
To really nail the Ashes to Ashes chords, you have to understand the atmosphere of the Scary Monsters sessions. Bowie was done with the minimalist experimentation of Low and "Heroes". He wanted hits, but he wanted them to be "scary."
He brought in Robert Fripp. Now, Fripp doesn't play on "Ashes to Ashes" (that was Hammer), but his influence is everywhere. The idea of using "non-diatonic" notes—notes that don't belong in the key—is all over this track.
When you play the Dm to G7 transition in the bridge, you're tapping into a jazz-adjacent language. Bowie wasn't a jazz musician, but he had "jazz ears." He liked the way a 7th chord could make a lyric about "shrinking shoes" feel even more claustrophobic.
How to Practice This Effectively
Don't try to learn the whole thing at once. It's too dense.
Start with the "Ashes to ashes, funk to funky" loop. It’s basically a circle of fifths variation.
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Once you have the muscle memory for the jumps between G minor and A Major, the rest falls into place. But be warned: your fingers will hurt if you're using a heavy-gauge acoustic. This song was born for the electric guitar and the Prophet-5 synthesizer.
Essential Gear for the Authentic Sound
If you’re a gear head, you can’t play these chords clean. You need a few specific things:
- A Chorus Pedal: Essential. Dial it to a medium depth.
- Compression: The clean guitars on the record are very "squashed."
- A Bridge Pickup: You want that thin, biting "Ice Pick" tone for the funky scratches.
Honestly, the Ashes to Ashes chords are a litmus test for how well you know your fretboard. It’s easy to play the "fake" version. It’s very hard to play the version that sounds like the end of the world.
Actionable Steps for Mastering the Song
To get this under your fingers by the end of the week, follow this sequence.
First, transcribe the bass line. Even if you aren't a bassist, knowing what the low end is doing will explain why the chords feel so "unanchored." You’ll realize the bass is often playing a third or a fifth instead of the root.
Second, practice the transition between the Eb Major and the G minor. This is the "hook" of the harmony. Move your hand slowly. Feel the common tones between the two chords.
Third, use a metronome set to 120 BPM. The song is rock steady. If you drift, the "funk" disappears and it just sounds like a mess.
Finally, record yourself. The Ashes to Ashes chords rely heavily on dynamics. If you're hitting every chord with the same intensity, you're missing the "push and pull" that Visconti worked so hard to capture at Power Station studios. Listen for the way the chords "bloom" during the chorus and "choke" during the verses. That contrast is the secret sauce.