What Are The Chord Progressions For Adlaw Adlaw Lyrics On Guitar?

2026-02-01 10:07:48 77
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2 Answers

Kieran
Kieran
2026-02-07 12:08:45
Alright — short and practical: the easiest, most singable progression for 'adlaw adlaw' that I use when jamming with friends is G - D - Em - C for both verse and chorus (you can insert D/F# instead of D to make the bass line smoother: G - D/F# - Em - C). Capo 2 sounds great if you want it a step up without changing shapes.

Strumming pattern I go for is a relaxed D D U U D U at around a moderate tempo; for a softer vibe fingerpick the verse with a thumb-first pattern then strum into the chorus. Swap Em for Em7 or C for Csus2 to add color, and use Em - C - G - D for a bridge or pre-chorus lift. Play around with dynamics — that’s what makes it feel alive to me.
Wyatt
Wyatt
2026-02-07 15:35:43
I've spent a bunch of evenings noodling through this tune on an acoustic, and the version that sits best under the 'adlaw adlaw' lyrics for me uses very simple, singalong-friendly shapes — which is perfect if you want to focus on the melody and words. The core progression that carries the verses and the chorus is basically G - D/F# - Em - C. Play G (320003), D/F# (2x0232), Em (022000) and C (x32010). If you're not into D/F# you can do G - D - Em - C and let the bass voice the change, but the D/F# gives that smooth descending bass line G -> F# -> E -> C that fits the vocal line nicely.

For dynamics, I like to fingerpick the first pass of the verse with a rolling thumb pattern (thumb on the bass string, then fingers plucking higher strings: P i m a m i), then switch to a light D D U U D U strum on the second pass to open up into the chorus. The chorus itself stays on the same chord set: G - D - Em - C; you can spice it by switching Em to Em7 (022033) or swapping C for Csus2 (x30010) — little suspended or add9 flavors really brighten it. A common pre-chorus/bridge variation is Em - C - G - D (or Em - D - C - D) which creates a nice lift before returning to the main progression.

If you need to match a vocal key, put a capo on the 2nd fret and play the same shapes — now those G shapes will sound like A, which suits a lot of singers. For a lower key, drop all shapes down a whole step (play F - C/E - Dm - Bb) or use a capo combined with transposition. When I play with friends we often keep it spare: intro fingerpicked, verse soft, chorus strummed louder, a bridge with sparser picking and then a big final chorus. Little licks between chord changes (a descending bass walk from G to D/F# to Em, or hammer-ons on the top string for Em to C) give it that homey, live feel. Try those options and pick what fits your voice — I love how flexible it is and how easy it is to make it sound intimate or anthemic depending on how you play it.
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