I'm Yours chords

How to play I'm Yours

Play I’m Yours by Jason Mraz with G, D, Em, C and A7 shapes, using capo 4 in standard tuning. The sounding key is B major. The page uses a 76 BPM accompaniment drill with upstrokes on the offbeats. It retains the selected teaching chart’s extra A7 at the end of the chorus and expands the faster bridge changes into whole-bar practice boxes.

Set the key before learning the groove

Musika’s guitar tutorial gives the G-shape, capo-4 arrangement. Its chord pitches are B, F#, G#m, E and C#7. Keep that mapping beside the diagrams: the labels tell you which fingers to use, while the capo determines what a listener hears. No detuning is required for this version.

A capo raises pitches. If you start from standard-tuned C, G, Am and F shapes, adding capo 1 makes C#, G#, A#m and F#, not B-major harmony. A C-shape arrangement tuned down a semitone is a different setup and must be described as such. Follow one complete setup instead of mixing its capo instruction with another chart’s chord names. JustinGuitar’s lesson, for example, uses capo 2 and discusses barre chords; that is not the fingering version printed here.

Keep the upstrokes between the numbered beats

The eight grid positions count “1 and 2 and 3 and 4 and”. This drill places one upstroke on each “and”, leaving the numbered beats silent. Keep the hand moving through those silent downstroke positions so the next upstroke arrives evenly. Begin with a small brush through the upper strings rather than a large, forceful sweep.

Check the fretting hand separately before adding those strokes. G and Em may sound all six strings, C starts on string 5, and D starts on string 4. An upstroke begins from the thin strings, but the permitted bass strings still depend on the chord. Use the 76 BPM setting as a slow coordination target. The source also describes a 152 BPM count; a different beat unit or rhythmic grouping can change the number without changing the underlying performance.

Leave space for the extra chorus A7

The intro has one G–D–Em–C cycle and the verse has two in the selected chart. The chorus repeats that loop twice, then adds A7 as a ninth bar. Do not turn straight back to G after the eighth box: that would remove the event that breaks the repeated four-chord pattern.

A7 is x-0-2-0-2-0, with the fifth string as its bass. Compared with the ordinary A shape, its open G string supplies the seventh. Under capo 4 the chord sounds C#7 and includes F, an enharmonic E# that sits outside the B-major scale. That note is a deliberate dominant colour, not evidence that the capo has changed. Let the extra bar occupy its full four practice beats before returning to the loop.

Rejoin the bridge’s shorter changes later

The source bridge puts G and D into the first bar, Em and D into the second, then gives C and A7 a bar each. The six boxes on this page stretch every entry to four beats. That lets you practise the descending G–D–Em–D movement without rushing a new grip, but it makes the passage longer than the source bridge.

Once the grips are secure, use the source chart to restore its two-beat changes. These offbeat upstrokes are an original rhythm exercise rather than a transcription of Mraz’s muted guitar texture. Start by completing one clean expanded bridge, then move to the chorus and remember its extra A7. Keep those two structural details distinct from any intro riff or vocal pickup, neither of which is written in the chord grids.