What Chords Are Used In Can'T Stop Thinking Of You?

2025-08-26 19:18:26 319

4 Answers

Violet
Violet
2025-08-27 14:15:03
On a late-night songwriting kick I sketched a pop-radio take of 'Can't Stop Thinking of You' by starting from the chorus first—because that hook is everything. The go-to is the four-chord loop: G–D–Em–C (I–V–vi–IV). It’s flexible: start the chorus with the full-band, then strip to Em–C–G–D for the quiet bridge to give the next chorus a lift. If you’re on ukulele, the shapes are C–G–Am–F and they translate beautifully for a breezy rendition.

For a little twist, try placing an sus4 on the V chord before resolving (so play Dsus4 then D), or add a turnaround like Em–C–D–G to lead back to the chorus. Melody-wise, emphasize the 3rd and 5th on the chorus to make it singy and memorable. I also like a vocal harmony on the vi chord—just a third above—because it adds that bittersweet tinge. If you want capo suggestions, capo 3 and play Em shapes to brighten everything if the singer has a higher range.
Clara
Clara
2025-08-27 23:59:51
I get asked this a lot when people want to play 'Can't Stop Thinking of You' at a gig or just noodle around at home. I usually start by figuring out whether they want the acoustic/pop version or a more soulful take, because the chords shift a bit depending on vibe. For a classic singer-songwriter pop take, the most common progression is the I–V–vi–IV. In G that’s G–D–Em–C, and if you prefer C major it’s C–G–Am–F. Those four chords cover a bright, familiar chorus and are super easy to loop.

If you want a slightly more melancholic version that fits the title’s longing, try a vi–IV–I–V progression: Em–C–G–D in G-key land. To spice it up I like throwing in a sus2 or an add9 on the IV (so Cadd9 or Csus2) for a shimmering, modern sound. For guitarists: capo on 2 and play D–A–Bm–G to match a higher vocal range. Strumming-wise, a gentle down-down-up-up-down pattern and light palm muting on the verses works wonders. If you tell me which artist’s recording you mean, I can pin down the exact voicings, but these progressions will get you singing along in no time.
Uma
Uma
2025-08-30 00:59:58
If you want something grittier for 'Can't Stop Thinking of You', think power-chord rock. A raw, driving progression that fits the title’s obsession is Em–C–G–D, played as Em5–C5–G5–D5 with palm-muted verses and open choruses. Drop the tempo for the verses and hit the chorus heavier for contrast.

You can also shift to a minor-center vamp like Em–G–D to make it darker; throw in a quick B7 as a tension chord before resolving to Em if you want an unexpected turn. For live bands I suggest tuning down half a step for a thicker sound and using a little overdrive and reverb on the lead lines. Try those and see which vibe matches the singer's delivery.
Sienna
Sienna
2025-08-30 14:58:47
I’ve been noodling on chord charts for a couple of versions of 'Can't Stop Thinking of You', and a neat little campfire-to-studio progression that keeps coming up is I–vi–IV–V. In C that’s C–Am–F–G. It’s a timeless, almost doo-wop movement that lets the melody breathe while supporting vocal hooks. For a softer verse, drop to the relative minor: Am–F–C–G; that gives the lyrics a pensive edge without changing the key center.

If you want slightly richer color on guitar, try substituting the IV with IVmaj7 (so Fmaj7 in C) or use Am7 instead of plain Am. Those tiny color changes make it sound more contemporary. For piano players, arpeggiating the left hand while holding maj7 or add9 in the right hand creates a lush bed that suits whispered choruses. And if you’re arranging for a band, have the bass outline the root–fifth motion on the verses and then walk chromatically into the chorus to heighten tension.
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