Chords for The CAGED SYSTEM explained - A simple explanation of this powerful mindset.
Tempo:
159.45 bpm
Chords used:
G
C
Dm
F#
Gm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
In this movie we're going to have a look at what's known as the CAGED template.
Now it sounds more mysterious than it really is.
The word CAGED is just an acronym for the five open chords
that arise naturally from the way music works and the way the guitar is tuned.
And those chords are, in alphabetical order, A, C, D, E, and G.
Now as we know, chords consist of the 1, 3, 5 of their scale,
or the root, third, and fifth.
So here's the chromatic scale, which is all 12 notes.
Now here's the major scale, which is that tone, tone, semitone, tone, tone, tone, semitone interval combination.
And here are the 1, 3, 5s, also known as the root, third, and fifth of a major chord.
So here's a guitar, and here's an open A chord.
From the thin string down, we have a 5, then a 3, then a root, another 5, another root,
which is the open A string, and a 5 on that open E string.
Now let's look at the open C chord.
From the top down, we have a 3, then a root, and a 5.
Then the same thing again, an octave lower, a 3, a root, and a 5.
Let's go to the open D chord, we see the same thing.
A 3, a 1, and a 5 on the top strings, then another root and fifth on the open D and A strings.
And that bass string we avoid, we can't really play that open E,
but we could play a 3 on the second fret if we want.
Now the good old E chord, from the thin string down, we see 1, 5, 3, 1, 5, 1.
And finally, the open G chord, it reads 1, 3, 1, 5, 3, 1.
And if we want, we can play a 5 on that B string instead of the 3.
So the main thing to understand is that in these 5 shapes,
there are just 1s, 3s, and 5s, roots, thirds, and fifths,
and therefore, they're all major chords.
So where does this caged come into it?
Well, let's look at the C chord.
Its three constituent notes are C, the root, E, the third, and G, the fifth.
So let's look at the whole fretboard now and plot out the positions of those three notes.
Here are all the Cs, all the Es, and all the Gs.
OK, well let's see what we have here.
If you look down near the nut, you can see the open C shape, which of course makes sense.
If you look up the neck a bit, you can see that there's an A shape buried in amongst all those notes.
And a bit further up, we can see that there's a G shape.
There's that extra 5 on the B string we can add if we want to.
Then we can see the E shape.
Finally, you can see an open D shape there,
and you can see that third on the bass string that I mentioned before.
And the next shape after that is a new C shape,
which is an octave above the first C shape down near the nut.
And the whole sequence starts over again.
So, CAGED, C-A-G-E-D, is the order in which these five open shapes march up the fretboard.
Of course, C-A-G-E-D only applies to the C chord.
You really need to think of these five letters as being in a circle,
so that wherever you jump in, the order remains the same.
It's just that CAGED is the easiest way to remember this order.
Now let's have a look at a real guitar and have a listen to all those chord tones.
So we'll use C again, and hear all the tones.
And here we go.
So, there you go.
On a guitar, that's what a C chord really looks like.
Now, what about the other 11 major chords, I hear you ask.
Well, they all have the same underlying template.
And the best way to explain it is this.
Imagine a fretboard that just keeps going in both directions.
Well, that CAGED template will keep repeating over and over again, like this.
Now, in reality, of course, the nut and the ever-shortening frets make such a fretboard impossible.
But we can do this.
We can keep in mind that the pattern is always there,
and we can move the whole guitar along for whatever chord we're looking for.
So, for example, here's G.
[G]
[F#] And [Gm] here's what they sound like.
[F]
And here's F.
This is what they sound like.
So that, in a nutshell, is it.
At any given moment, in any given tune, this pattern is there to guide you on your way.
Whether it's for chord voicings, harmony lines, melody, whatever.
Whether it's major, minor, augmented, diminished.
The major scale, therefore chord, is the standard by which everything else is measured.
So if you can see it there, crystallized as a 1-3-5s,
you can keep track of everything, the whole length of the fretboard.
Easier said than done, of course, but a shortcut to being able to see the whole fretboard
as one long chord is the subject of my book, DVD, Plain Talk.
It, and the slide rule that comes [G] with it, not to mention the private forum,
will change the way you view music and the fretboard forevermore.
Now I leave you with an example of me playing along to a nice chord progression,
thinking nothing other than this template through the plain talk mindset.
No scales, no modes, no boxes.
Just following the chords and using their tones to create the part.
See you later.
[B] [G]
[C] [E]
[F] [Gm] [G]
[Dm]
[G]
[Dm] [F#]
[C] [E]
[C]
[G]
[Am] [Bm]
[D] [A#m]
[C#] [D] [F#]
[D#] [G] [Dm]
[F#] [G]
[C]
[G]
[Dm] [G]
[B]
[C] [E]
[D#] [Gm]
[G]
[Dm] [G]
[Bm] [F]
[G] [C] [Em]
[C]
[E] [C]
[F#] [G]
[Am]
[Bm] [A#m]
[A#] [D]
[Am]
[F] [D#] [G]
[Dm] [G]
[C]
[G]
[Dm] [D] [F#]
[G] [B] [G]
[F#] [G] [C]
[Em] [C] [A]
[G]
[Dm] [G]
[Bm] [Dm]
[F#m] [C] [Gm]
[A]
[N]
Now it sounds more mysterious than it really is.
The word CAGED is just an acronym for the five open chords
that arise naturally from the way music works and the way the guitar is tuned.
And those chords are, in alphabetical order, A, C, D, E, and G.
Now as we know, chords consist of the 1, 3, 5 of their scale,
or the root, third, and fifth.
So here's the chromatic scale, which is all 12 notes.
Now here's the major scale, which is that tone, tone, semitone, tone, tone, tone, semitone interval combination.
And here are the 1, 3, 5s, also known as the root, third, and fifth of a major chord.
So here's a guitar, and here's an open A chord.
From the thin string down, we have a 5, then a 3, then a root, another 5, another root,
which is the open A string, and a 5 on that open E string.
Now let's look at the open C chord.
From the top down, we have a 3, then a root, and a 5.
Then the same thing again, an octave lower, a 3, a root, and a 5.
Let's go to the open D chord, we see the same thing.
A 3, a 1, and a 5 on the top strings, then another root and fifth on the open D and A strings.
And that bass string we avoid, we can't really play that open E,
but we could play a 3 on the second fret if we want.
Now the good old E chord, from the thin string down, we see 1, 5, 3, 1, 5, 1.
And finally, the open G chord, it reads 1, 3, 1, 5, 3, 1.
And if we want, we can play a 5 on that B string instead of the 3.
So the main thing to understand is that in these 5 shapes,
there are just 1s, 3s, and 5s, roots, thirds, and fifths,
and therefore, they're all major chords.
So where does this caged come into it?
Well, let's look at the C chord.
Its three constituent notes are C, the root, E, the third, and G, the fifth.
So let's look at the whole fretboard now and plot out the positions of those three notes.
Here are all the Cs, all the Es, and all the Gs.
OK, well let's see what we have here.
If you look down near the nut, you can see the open C shape, which of course makes sense.
If you look up the neck a bit, you can see that there's an A shape buried in amongst all those notes.
And a bit further up, we can see that there's a G shape.
There's that extra 5 on the B string we can add if we want to.
Then we can see the E shape.
Finally, you can see an open D shape there,
and you can see that third on the bass string that I mentioned before.
And the next shape after that is a new C shape,
which is an octave above the first C shape down near the nut.
And the whole sequence starts over again.
So, CAGED, C-A-G-E-D, is the order in which these five open shapes march up the fretboard.
Of course, C-A-G-E-D only applies to the C chord.
You really need to think of these five letters as being in a circle,
so that wherever you jump in, the order remains the same.
It's just that CAGED is the easiest way to remember this order.
Now let's have a look at a real guitar and have a listen to all those chord tones.
So we'll use C again, and hear all the tones.
And here we go.
So, there you go.
On a guitar, that's what a C chord really looks like.
Now, what about the other 11 major chords, I hear you ask.
Well, they all have the same underlying template.
And the best way to explain it is this.
Imagine a fretboard that just keeps going in both directions.
Well, that CAGED template will keep repeating over and over again, like this.
Now, in reality, of course, the nut and the ever-shortening frets make such a fretboard impossible.
But we can do this.
We can keep in mind that the pattern is always there,
and we can move the whole guitar along for whatever chord we're looking for.
So, for example, here's G.
[G]
[F#] And [Gm] here's what they sound like.
[F]
And here's F.
This is what they sound like.
So that, in a nutshell, is it.
At any given moment, in any given tune, this pattern is there to guide you on your way.
Whether it's for chord voicings, harmony lines, melody, whatever.
Whether it's major, minor, augmented, diminished.
The major scale, therefore chord, is the standard by which everything else is measured.
So if you can see it there, crystallized as a 1-3-5s,
you can keep track of everything, the whole length of the fretboard.
Easier said than done, of course, but a shortcut to being able to see the whole fretboard
as one long chord is the subject of my book, DVD, Plain Talk.
It, and the slide rule that comes [G] with it, not to mention the private forum,
will change the way you view music and the fretboard forevermore.
Now I leave you with an example of me playing along to a nice chord progression,
thinking nothing other than this template through the plain talk mindset.
No scales, no modes, no boxes.
Just following the chords and using their tones to create the part.
See you later.
[B] [G]
[C] [E]
[F] [Gm] [G]
[Dm]
[G]
[Dm] [F#]
[C] [E]
[C]
[G]
[Am] [Bm]
[D] [A#m]
[C#] [D] [F#]
[D#] [G] [Dm]
[F#] [G]
[C]
[G]
[Dm] [G]
[B]
[C] [E]
[D#] [Gm]
[G]
[Dm] [G]
[Bm] [F]
[G] [C] [Em]
[C]
[E] [C]
[F#] [G]
[Am]
[Bm] [A#m]
[A#] [D]
[Am]
[F] [D#] [G]
[Dm] [G]
[C]
[G]
[Dm] [D] [F#]
[G] [B] [G]
[F#] [G] [C]
[Em] [C] [A]
[G]
[Dm] [G]
[Bm] [Dm]
[F#m] [C] [Gm]
[A]
[N]
Key:
G
C
Dm
F#
Gm
G
C
Dm
_ _ _ _ In this movie we're going to have a look at what's known as the CAGED template.
Now it sounds more mysterious than it really is.
The word CAGED is just an acronym for the five open chords
that arise naturally from the way music works and the way the guitar is tuned. _
And those chords are, in alphabetical order, _ A, C, D, E, and G.
_ _ _ Now as we know, chords consist of the 1, 3, 5 of their scale,
or the root, third, and fifth. _
So here's the chromatic scale, which is all 12 notes.
_ _ _ Now here's the major scale, which is that tone, tone, semitone, tone, tone, tone, semitone _ interval _ _ combination.
_ _ And here are the 1, 3, 5s, also known as the root, third, and fifth _ _ of a major chord. _ _ _
_ _ _ _ _ _ _ _
So here's a guitar, and here's an open A chord.
_ _ _ From the thin string down, we have a 5, then a 3, then a root, _ another 5, another root,
which is the open A string, and a 5 on that open E string. _ _ _ _ _
Now let's look at the open C chord. _ _ _
_ _ _ From the top down, we have a 3, then a root, and a 5.
_ Then the same thing again, an octave lower, a 3, a root, and a 5. _ _ _ _ _
Let's go to the open D chord, we see the same thing.
A 3, a 1, and a 5 on the top strings, then another root and fifth on the open D and A strings.
And that bass string we avoid, we can't really play that open E,
but we could play a 3 on the second fret if we want. _ _
_ _ _ _ _ Now the good old E chord, from the thin string down, we see 1, 5, 3, 1, 5, 1. _
_ _ _ _ _ _ _
And finally, the open G chord, it reads 1, 3, 1, _ 5, 3, 1.
_ And if we want, we can play a 5 on that B string instead of the 3. _ _
_ _ _ _ _ _ _
So the main thing to understand is that in these 5 shapes,
there are just 1s, 3s, and 5s, roots, thirds, and fifths,
and therefore, they're all major chords. _
_ _ _ _ _ So where does this caged come into it?
Well, let's look at the C chord.
_ _ Its three constituent notes are C, the root, E, the third, and G, the fifth.
_ So let's look at the whole fretboard now and plot out the positions of those three notes. _
_ Here are all the Cs, _ _ all the Es, _ _ and all the Gs. _ _ _ _ _ _
OK, well let's see what we have here. _ _ _
_ _ If you look down near the nut, you can see the open C shape, which of course makes sense.
_ If you look up the neck a bit, you can see that there's an A shape buried in amongst all those notes.
_ _ _ _ _ _ And a bit further up, we can see that there's a G shape. _
_ _ _ There's that extra 5 on the B string we can add if we want to. _ _
Then we can see the E shape. _ _ _
Finally, you can see an open D shape there,
and you can see that third on the bass string that I mentioned before. _ _
And the next shape after that is a new C shape,
which is an octave above the first C shape down near the nut.
_ And the whole sequence starts over again.
_ _ _ _ So, CAGED, C-A-G-E-D, is the order in which these five open shapes march up the fretboard. _
_ Of course, C-A-G-E-D only applies to the C chord.
You really need to think of these five letters as being in a circle,
so that wherever you jump in, the order remains the same.
It's just that CAGED is the easiest way to remember this order.
_ _ Now let's have a look at a real guitar and have a listen to all those chord tones.
So we'll use C again, and hear all the tones. _ _
And here we go. _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ So, there you go.
On a guitar, that's what a C chord really looks like.
_ Now, what about the other 11 major chords, I hear you ask.
Well, they all have the same underlying template.
And the best way to explain it is this.
_ Imagine a fretboard that just keeps going in both directions.
_ Well, that CAGED template will keep repeating over and over again, like this.
_ _ _ Now, in reality, of course, the nut and the ever-shortening frets make such a fretboard impossible.
But we can do this.
We can keep in mind that the pattern is always there,
and we can move the whole guitar along for whatever chord we're looking for. _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ So, for example, here's G.
_ _ _ _ [G] _ _ _ _
_ [F#] And [Gm] here's what they sound like. _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ [F] _ _ _ _
_ _ And here's F. _ _
_ _ _ This is what they sound like. _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ So that, in a nutshell, is it.
At any given moment, in any given tune, this pattern is there to guide you on your way.
Whether it's for chord voicings, harmony lines, melody, whatever.
Whether it's major, minor, _ augmented, diminished.
The major scale, therefore chord, is the standard by which everything else is measured.
So if you can see it there, _ crystallized as a 1-3-5s,
you can keep track of everything, the whole length of the fretboard.
_ _ _ Easier said than done, of course, but a shortcut to being able to see the whole fretboard
as one long chord is the subject of my book, DVD, Plain Talk.
_ It, and the slide rule that comes [G] with it, not to mention the private forum,
will change the way you view music and the fretboard forevermore.
_ Now I leave you with an example of me playing along to a nice chord progression,
thinking nothing other than this template through the plain talk mindset.
No scales, no modes, no boxes.
Just following the chords and using their tones to create the part. _
See you later.
[B] _ _ _ [G] _ _ _ _
_ _ _ [C] _ _ _ [E] _ _
_ [F] _ _ _ [Gm] _ _ _ [G] _
_ _ _ _ _ _ [Dm] _ _
_ _ _ [G] _ _ _ _ _
_ _ _ [Dm] _ _ _ [F#] _ _
_ [C] _ _ _ [E] _ _ _ _
_ _ _ _ _ _ [C] _ _
_ _ _ _ _ _ _ _
_ _ [G] _ _ _ _ _ _
_ [Am] _ _ _ _ _ _ [Bm] _
_ _ _ [D] _ _ _ [A#m] _ _
_ [C#] _ _ _ [D] _ _ _ [F#] _
_ _ _ _ _ _ _ _
_ [D#] _ _ _ _ [G] _ [Dm] _
_ _ _ _ [F#] _ _ [G] _ _
_ _ _ _ [C] _ _ _ _
_ [G] _ _ _ _ _ _
_ [Dm] _ _ _ _ _ [G] _
_ _ _ [B] _ _ _ _ _
_ _ _ _ [C] _ _ _ [E] _
_ [D#] _ _ _ [Gm] _ _ _ _
_ [G] _ _ _ _ _ _ _
_ _ [Dm] _ _ _ _ [G] _ _
_ _ [Bm] _ _ _ _ _ [F] _
_ [G] _ _ [C] _ _ _ [Em] _ _
_ _ _ _ [C] _ _ _ _
_ _ _ [E] _ _ _ [C] _ _
_ [F#] _ _ _ [G] _ _ _ _
_ _ [Am] _ _ _ _ _ _
[Bm] _ _ _ _ _ _ _ [A#m] _
_ _ _ _ [A#] _ _ [D] _ _
_ _ _ _ [Am] _ _ _ _
_ [F] _ _ [D#] _ _ _ [G] _ _
_ [Dm] _ _ _ _ _ _ [G] _
_ _ _ _ _ _ [C] _ _
_ _ _ _ [G] _ _ _ _
_ _ [Dm] _ _ _ _ [D] _ [F#] _
_ [G] _ _ _ [B] _ _ _ [G] _
_ _ _ [F#] _ [G] _ _ [C] _ _
_ [Em] _ _ _ [C] _ _ _ [A] _
_ _ _ [G] _ _ _ _ _
_ [Dm] _ _ _ _ _ _ [G] _
_ _ [Bm] _ _ _ [Dm] _ _ _
_ [F#m] _ _ _ [C] _ _ _ [Gm] _
_ _ _ _ _ _ [A] _ _
_ _ _ _ [N] _ _ _ _
Now it sounds more mysterious than it really is.
The word CAGED is just an acronym for the five open chords
that arise naturally from the way music works and the way the guitar is tuned. _
And those chords are, in alphabetical order, _ A, C, D, E, and G.
_ _ _ Now as we know, chords consist of the 1, 3, 5 of their scale,
or the root, third, and fifth. _
So here's the chromatic scale, which is all 12 notes.
_ _ _ Now here's the major scale, which is that tone, tone, semitone, tone, tone, tone, semitone _ interval _ _ combination.
_ _ And here are the 1, 3, 5s, also known as the root, third, and fifth _ _ of a major chord. _ _ _
_ _ _ _ _ _ _ _
So here's a guitar, and here's an open A chord.
_ _ _ From the thin string down, we have a 5, then a 3, then a root, _ another 5, another root,
which is the open A string, and a 5 on that open E string. _ _ _ _ _
Now let's look at the open C chord. _ _ _
_ _ _ From the top down, we have a 3, then a root, and a 5.
_ Then the same thing again, an octave lower, a 3, a root, and a 5. _ _ _ _ _
Let's go to the open D chord, we see the same thing.
A 3, a 1, and a 5 on the top strings, then another root and fifth on the open D and A strings.
And that bass string we avoid, we can't really play that open E,
but we could play a 3 on the second fret if we want. _ _
_ _ _ _ _ Now the good old E chord, from the thin string down, we see 1, 5, 3, 1, 5, 1. _
_ _ _ _ _ _ _
And finally, the open G chord, it reads 1, 3, 1, _ 5, 3, 1.
_ And if we want, we can play a 5 on that B string instead of the 3. _ _
_ _ _ _ _ _ _
So the main thing to understand is that in these 5 shapes,
there are just 1s, 3s, and 5s, roots, thirds, and fifths,
and therefore, they're all major chords. _
_ _ _ _ _ So where does this caged come into it?
Well, let's look at the C chord.
_ _ Its three constituent notes are C, the root, E, the third, and G, the fifth.
_ So let's look at the whole fretboard now and plot out the positions of those three notes. _
_ Here are all the Cs, _ _ all the Es, _ _ and all the Gs. _ _ _ _ _ _
OK, well let's see what we have here. _ _ _
_ _ If you look down near the nut, you can see the open C shape, which of course makes sense.
_ If you look up the neck a bit, you can see that there's an A shape buried in amongst all those notes.
_ _ _ _ _ _ And a bit further up, we can see that there's a G shape. _
_ _ _ There's that extra 5 on the B string we can add if we want to. _ _
Then we can see the E shape. _ _ _
Finally, you can see an open D shape there,
and you can see that third on the bass string that I mentioned before. _ _
And the next shape after that is a new C shape,
which is an octave above the first C shape down near the nut.
_ And the whole sequence starts over again.
_ _ _ _ So, CAGED, C-A-G-E-D, is the order in which these five open shapes march up the fretboard. _
_ Of course, C-A-G-E-D only applies to the C chord.
You really need to think of these five letters as being in a circle,
so that wherever you jump in, the order remains the same.
It's just that CAGED is the easiest way to remember this order.
_ _ Now let's have a look at a real guitar and have a listen to all those chord tones.
So we'll use C again, and hear all the tones. _ _
And here we go. _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ So, there you go.
On a guitar, that's what a C chord really looks like.
_ Now, what about the other 11 major chords, I hear you ask.
Well, they all have the same underlying template.
And the best way to explain it is this.
_ Imagine a fretboard that just keeps going in both directions.
_ Well, that CAGED template will keep repeating over and over again, like this.
_ _ _ Now, in reality, of course, the nut and the ever-shortening frets make such a fretboard impossible.
But we can do this.
We can keep in mind that the pattern is always there,
and we can move the whole guitar along for whatever chord we're looking for. _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ So, for example, here's G.
_ _ _ _ [G] _ _ _ _
_ [F#] And [Gm] here's what they sound like. _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ [F] _ _ _ _
_ _ And here's F. _ _
_ _ _ This is what they sound like. _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ So that, in a nutshell, is it.
At any given moment, in any given tune, this pattern is there to guide you on your way.
Whether it's for chord voicings, harmony lines, melody, whatever.
Whether it's major, minor, _ augmented, diminished.
The major scale, therefore chord, is the standard by which everything else is measured.
So if you can see it there, _ crystallized as a 1-3-5s,
you can keep track of everything, the whole length of the fretboard.
_ _ _ Easier said than done, of course, but a shortcut to being able to see the whole fretboard
as one long chord is the subject of my book, DVD, Plain Talk.
_ It, and the slide rule that comes [G] with it, not to mention the private forum,
will change the way you view music and the fretboard forevermore.
_ Now I leave you with an example of me playing along to a nice chord progression,
thinking nothing other than this template through the plain talk mindset.
No scales, no modes, no boxes.
Just following the chords and using their tones to create the part. _
See you later.
[B] _ _ _ [G] _ _ _ _
_ _ _ [C] _ _ _ [E] _ _
_ [F] _ _ _ [Gm] _ _ _ [G] _
_ _ _ _ _ _ [Dm] _ _
_ _ _ [G] _ _ _ _ _
_ _ _ [Dm] _ _ _ [F#] _ _
_ [C] _ _ _ [E] _ _ _ _
_ _ _ _ _ _ [C] _ _
_ _ _ _ _ _ _ _
_ _ [G] _ _ _ _ _ _
_ [Am] _ _ _ _ _ _ [Bm] _
_ _ _ [D] _ _ _ [A#m] _ _
_ [C#] _ _ _ [D] _ _ _ [F#] _
_ _ _ _ _ _ _ _
_ [D#] _ _ _ _ [G] _ [Dm] _
_ _ _ _ [F#] _ _ [G] _ _
_ _ _ _ [C] _ _ _ _
_ [G] _ _ _ _ _ _
_ [Dm] _ _ _ _ _ [G] _
_ _ _ [B] _ _ _ _ _
_ _ _ _ [C] _ _ _ [E] _
_ [D#] _ _ _ [Gm] _ _ _ _
_ [G] _ _ _ _ _ _ _
_ _ [Dm] _ _ _ _ [G] _ _
_ _ [Bm] _ _ _ _ _ [F] _
_ [G] _ _ [C] _ _ _ [Em] _ _
_ _ _ _ [C] _ _ _ _
_ _ _ [E] _ _ _ [C] _ _
_ [F#] _ _ _ [G] _ _ _ _
_ _ [Am] _ _ _ _ _ _
[Bm] _ _ _ _ _ _ _ [A#m] _
_ _ _ _ [A#] _ _ [D] _ _
_ _ _ _ [Am] _ _ _ _
_ [F] _ _ [D#] _ _ _ [G] _ _
_ [Dm] _ _ _ _ _ _ [G] _
_ _ _ _ _ _ [C] _ _
_ _ _ _ [G] _ _ _ _
_ _ [Dm] _ _ _ _ [D] _ [F#] _
_ [G] _ _ _ [B] _ _ _ [G] _
_ _ _ [F#] _ [G] _ _ [C] _ _
_ [Em] _ _ _ [C] _ _ _ [A] _
_ _ _ [G] _ _ _ _ _
_ [Dm] _ _ _ _ _ _ [G] _
_ _ [Bm] _ _ _ [Dm] _ _ _
_ [F#m] _ _ _ [C] _ _ _ [Gm] _
_ _ _ _ _ _ [A] _ _
_ _ _ _ [N] _ _ _ _