Teardrops on My Guitar chords

How to play Teardrops on My Guitar

This Teardrops on My Guitar practice arrangement uses G, Em7, Cadd9 and D with a capo at fret 3. In standard tuning those shapes sound in Bb. Learn the verse order first, then notice that the chorus changes the same four shapes into G–D–Em7–Cadd9. Memorising the chord collection alone will not tell you which change comes next.

Set the capo and count from it

Place the capo just behind the third fret and check the tuning again. All fret numbers in the diagrams are relative to that new starting point. An open string means a string stopped by the capo. A G shape therefore sounds as Bb, Em7 as Gm7, Cadd9 as Ebadd9, and D as F. Removing the capo while keeping the shapes lowers this arrangement by three semitones to G.

Use the chord rack to check each grip before starting a loop. Our basic Em7 diagram is 0-2-0-0-0-0; it does not require the anchored top fingers used in some acoustic versions. Both grips can produce Em7, but they distribute the notes differently. Follow the diagram you have chosen consistently rather than combining half of one grip with half of another.

Separate the verse and chorus changes

The verse line runs G–Em7–Cadd9–D. Practise it twice, then stop. The chorus line runs G–D–Em7–Cadd9. Its first change is directly to D, so isolate G to D a few times before joining the whole chorus. The pre-chorus and bridge exercises begin on Em7 and move through Cadd9, G and D.

The boxes here use one four-beat bar per chord for steady practice. They give you the main section progressions, rather than a timed transcription of every vocal phrase or a complete performance itinerary. Use the section loops to learn the changes, then check phrase lengths against the particular acoustic performance you want to accompany. Do not automatically play every section once in the order it appears on the page.

Keep the strumming hand moving

The displayed eight-slot pattern is D . D U . U D U. Count “one and two and three and four and.” Strike down on one and two, up after two, up after three, then down-up on four. On the empty slots, keep the hand moving without touching the strings. This is the familiar down-down-up-up-down-up pattern used in the acoustic lesson linked below.

First play only the four numbered beats with downstrokes. Add the upstrokes after the fretting hand can change without a pause. If the final upstroke makes you late for the next chord, reduce the tempo rather than cutting the new chord’s first beat short. Let the chorus become a little louder by brushing more strings, while keeping the same pulse.

Clear the bass strings on D

The D grip starts at the open fourth string. Aim the pick there instead of sweeping all six strings on every stroke. Cadd9 begins on the fifth string, while G and the open Em7 grip can use the sixth. A consistent right-hand starting point helps the progression sound deliberate even before you add rhythmic detail.

Capo position, chord choices and the basic strum were checked against Nena Shelby’s live acoustic lesson. The evenly spaced section exercises above use our own practice layout.