Let Her Go chords

How to play Let Her Go

Play Let Her Go by Passenger with capo 7, in standard tuning. This guitar arrangement uses Fmaj7, C, G, Am and Em shapes and sounds in G major. Learn the chorus sequence first, then the different verse sequence. Each chord box is expanded to four beats at 60 BPM so you can hear the changes and prepare the next grip.

Read capo 7 as the sounding key of G

JustinGuitar’s Let Her Go lesson specifies capo 7 and identifies separate chorus and verse progressions. Here Fmaj7 sounds as Cmaj7, C as G, G as D, Am as Em and Em as Bm. A minor-shaped grip does not, by itself, establish the song’s sounding key. Keep the capo position in the calculation when comparing another chart.

Fit the capo close behind fret 7 and check the tuning before playing. There is less space between frets this far up the neck. Bring the fingertips down cleanly and use only the pressure needed for a clear note. If a finger touches an adjacent open string, correct its angle rather than squeezing the whole grip harder.

Put the chorus before the verse exercise

The teacher’s chorus progression is Fmaj7–C–G–Am, while the verse changes to Am–Fmaj7–G–Em. The first vocal section is a chorus, so identifying a progression merely from its place near the beginning can lead to the wrong label. Notice the chorus opens with Fmaj7 and the verse opens with Am; say the opening chord before starting each drill.

These two rows isolate the named progression cores. They do not reconstruct every phrase ending, instrumental link or repeated chorus. Count four beats on each box and return deliberately to the beginning of the chosen row. The change from the verse’s final Em back to Am feels different from the chorus’s Am returning to Fmaj7. Practise both joins without adding an extra beat to prepare the hand.

Keep the major seventh in Fmaj7

The printed Fmaj7 is x-x-3-2-1-0. Its open first string contributes E to the F, A and C chord tones. At capo 7, the full sounding set is C, E, G and B: Cmaj7. Replacing it with a full F barre would remove that sounding B and require a different grip, so it is not an identical substitution.

In the printed Fmaj7-to-C change, the index can remain on B-string fret 1. The middle finger moves from G-string fret 2 to D-string fret 2, and the ring finger moves from D-string fret 3 to A-string fret 3. The open high string stays available. Test it after the change, because a flattened index finger can accidentally silence it even when the bass sounds correct.

Separate accompaniment practice from the picked introduction

Start Fmaj7 on string 4, C and Am on string 5, and G and Em on string 6. The Em diagram has an open B string and two fretted second-fret notes; at capo 7 it sounds as Bm. A Bm sounding chord therefore does not require the Bm barre shape used in a different arrangement. Follow the printed shape rather than switching names midway through the exercise.

The grid plays four quarter-note downstrokes per bar, leaving the eighth-note spaces between them empty. Keep the return motion loose and let the chord sustain. This is a slow strummed accompaniment study, with no note-level transcription of the recognisable fingerpicking intro. Use it to learn the harmonic contrast and clean string selection before choosing a separate, properly licensed or teacher-provided score for that introduction.