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I’ll always love you, I’ll be lovin’ you (*repeat)
D Bm A D G C E – two times.
Bdim ~~ Amaj (x022xx) ~~ Aadd11 (x02330) ~~ Dsus x x 02300 or 00232 Emaj (0220xx). [Intro] ^ |^|Amaj ->[Verse]__*^|__Aadd11->Emaj ->[Chorus]__-|__ __^^__ *For the intro and verse only play the chords once, and for the chorus only repeat them.
Bm A G D E F ~~ Amaj (x022xx) ~~ Aadd11 (x02330) ~~ Csus x 02300 or 00232 to end *The intro is repeated twice with one chord change in each verse; after that it’s just a repeating of the first two measures until you reach the last measure which has a slightly different rhythm. The same pattern repeats in this progression: Intro -> Verse -> Chorus -> Bridge <- Chorus -\- End (*Bridge should be used if there is more than one bridge.)
[Verse] ^ |^|Amaj->Aadd11->Csu Emaj ~~ Amaj->Aadd11 ->Csu
*Repeat measure for two verses.
[Bridge] ^ |^|Amaj-> Aadd 11 (x02330) ~~ Csus x 02300 or 00232 to end *The bridge occurs if there is more than one in the song, and it’s always four measures long with a chord change after every second measure: Intro Bridge -> Verse -\- Chorus <- End. It should be repeated until you reach the last verse. The only difference between bridges is that they all have a different set of chords as their basis; this will also determine what kind of intro/verse pattern they follow.
!To make things easier I’ll just put diagrams throughout this blog post so you can see the chords.
[Main Chords] ^ |^|Amaj->Aadd11->Csu Emaj ~~ Amaj -> Aadd 11 -> Csus x 02300 or 00232 to end *The bridge occurs if there is more than one in the song, and it’s always four measures long with a chord change after every second measure: Intro Bridge -> Verse -\- Chorus <- End. It should be repeated until you reach the last verse. The only difference between bridges is that they all have a different set of chords as their basis; this will also determine what kind of intro/verse pattern they follow.
Bullet Points: Write about how to understand the chords
This post will help if you want to understand the basic chord patterns commonly used in songs. There are many different types of chords, but for this blog I’ll be focusing on just three: major, minor and dominant seventh (maj add 11). With these chords, there is a set pattern they follow when played together- that’s why we call them “chords”. This means that every time two or more notes sound at once it signifies which type of chord has been played. For example, an Amaj sounds different than Aadd11 because one includes sharp notes while the other does not; this creates a unique melody with each chord. In order to read music better it’s important to know what kind of intro/verse/chorus is being played.
We’ve all heard the I’ll Always Love You song and it’s very easy to play. All you need are two chords: Aadd11 of sixth fret as before because it’s the first chord and the A major. strum these two chords simultaneously to sing along with this tune, and
*For more information on how to read music go here: __ *To see what different types of songs look like click here: __
Hints for Reading Music
The lines that you see are called staffs or staves. They divide up a piece of paper into five sections so it’s easier to count out which note should be played in each measure. The vertical line at the left side is called a clef; there are three main ones- treble, bass and alto (which can also be spelled “alto”). These indicate where notes fall by their pitch – they’re basically telling you where to find the notes.
Fingering is indicated by a number on each note, and this shows you which finger should be used to play it (for example- “index” means that your index finger will be using one of its fingers). Notes can also have dots in between them; these call for half steps – either up or down from the previous note. These are called accidentals because they’re not natural notes like do re mi fa so la ti do so just as an example) but help fill out what’s known as a key signature. The symbols above certain staffs show how loud or soft different pitches should sound when played, while those with lowercase letters indicate important rhythms. Finally, there are two short lines called barlines that help separate the notes on a staff from one another- those are also present in this example.
Breaking it down: when you love someone chords
ng you where to find the notes. Fingering is indicated by a number on each note, and this shows you which finger should be used to play it (for example-“index” means that your index finger will be using one of its fingers). Notes can also have dots in between them; these call for half steps–either up or down from the previous note. These are called accidentals because they’re not natural notes like do re mi fa so la ti do so just as an example) but help fill out what’s known as a key signature. The name of the note is based on its place in a scale.
– we start with an F, which has no sharps or flats. This means that there are only natural notes: do re mi fa so la ti do (not counting sol). The key signature remains “F” because it’s not necessary to use any accidentals for these seven natural notes.
– then we take a sharp step up to G–so now those two accidentals are present and they’re both shown by placing them before the note names like this: 𝄞 – you should probably just memorize where all the accidental placement goes from here!
– next comes A; again, there’s one flat but no sharps: A B C D E F G A. The key signature for this is “A-flat”
– then we take a sharp step up to B; now there’s one flat and two sharps: 𝄞 – the flats are placed before the note names, just like with all of these keys so far: 𝄟B C D E F G A B. The key signature here is “B-sharp.”
We continue on in that way until you’ve learned all 12 major chords! Once again, they’re based on your knowledge of scales already–that might be helpful if it feels overwhelming right now 🙂 There are also minor chords which use more accidentals than those mentioned here but I’ll save that for another day!
– With your knowledge of scales, you can now play any major chord. To go from a minor to that same major chord, simply take the root note from one and move it up three half steps in the scale! For example: A♭ is the relative minor for D so if you wanted to make an F sound like a C (the fifth degree or “dominant” seventh of A♭), just start on E–three half steps above where we started!–and then add those two accidental notes 𝄟B C D E F G A B. If you want to follow this understanding with all 12 chords, here’s what they are:
A♭ – E – G ♯/G♭ – B ♯/A♭ B♭ – F – A 𝄟C D E F G A B C (relative minor for C) – This is the first chord of a major or relative minor. The “root” note, which in this case would be an A, sets that sound up as different than other chords played on guitar! It’s like the foundation to build off of and with any progression you play, it will always have that fundamental tone making it either happy or sad–or maybe angry!–depending on how long we hold onto those notes. For example: if I’m playing this chord followed by its root note together left hand high then right hand low, while my thumb stays
