Where Can I Get Printable Love Yourself Guitar Chords Charts?

My go-to way of playing 'Love Yourself' on guitar with fingerstyle is pretty relaxed and approachable — perfect for nights when I just want to sing along while sipping something warm. The simplest chord set that fits the tune neatly is C, G, Am, F (you can also play with a capo if you want to match Justin Bieber’s recorded key; capo on 3 or 4 can help). I usually place the capo if I'm singing higher or want to keep the same chord shapes but a brighter tone. Start by getting the chord changes smooth: C -> G -> Am -> F. Once the shapes feel comfortable, use a basic Travis-picking style: let your thumb handle the bass (alternating root and fifth or moving between the 5th and 6th strings for G), and have your index, middle, and ring fingers pluck the G, B, and high E strings respectively. A simple pattern I count is: 1 (thumb bass) & 2 (index+middle) & 3 (thumb bass) & 4 (ring+middle). That gives a steady 8th-note flow that sits nicely under the vocal line. To make it sound more like the recording, add little fills: on the C chord, walk the bass from A (open) to B (2nd fret) before moving to G; on G, hammer a note or add the open high E occasionally. For the intro melody, try picking the top strings to outline Justin’s vocal hook — pluck the B and high E strings together for emphasis. Practice slow with a metronome, then bring the tempo up. Small dynamics (play softer during verses, pluck a bit harder on the chorus) make a huge difference. After a few sessions, throw in a simple percussive slap on the strings for the chorus to emphasize the beat; it feels really satisfying and livens up a solo arrangement.

If you want chords and lyrics for 'Love Yourself', the easiest place I go first is Ultimate Guitar — their community versions are everywhere and you can filter by 'Chords' and sort by rating. I usually open the top-rated version, skim the comments to see which transposition feels right for singing, and then copy the chord/lyrics combo into a note on my phone. Another quick go-to is Chordify; it shows the chords alongside the audio so you can hear timing and strumming while you read the lyrics. When I’m prepping for a cafe set I also check YouTube for tutorials that show chords and lyrics on-screen—those are gold for getting the rhythm and placement. If I want something printable or officially licensed I’ll look at Musicnotes or Hal Leonard for sheet music versions that include chord symbols and lyrics. Between tabs, chord websites, and a couple of video walkthroughs I can usually pick the version that fits my vocal range and decide whether to capo up or transpose. It’s a small ritual now: find the highest-rated chord tab, play along, then tweak for my voice—simple and satisfying.

I've picked up a handful of easy tricks that make playing 'Love Yourself' feel way less intimidating when you're just starting, and honestly most of it comes down to simplifying the shapes and locking in the rhythm. A very common beginner-friendly way is to put a capo on the 4th fret and use the chord shapes G, C, D, and Em. Those shapes are comfy for small hands and allow you to focus on timing rather than barre chords. Finger positions in plain terms: G (3-2-0-0-0-3), C (x-3-2-0-1-0), D (x-x-0-2-3-2), Em (0-2-2-0-0-0). Start by practicing each chord individually until they sound clean, then work on switching between G → C → D → G and the little Em tag that pops up. If you prefer, you can also play the original key without a capo using E, B, C#m, A shapes — but that B and C#m will likely involve barre technique, which is tougher for a beginner. For rhythm, try a simple pattern: muted downstrokes on beats 1 and 3, softer upstrokes on 2 and 4, adding a light palm mute to get that intimate, acoustic vibe of 'Love Yourself'. Practice slowly with a metronome or a slowed-down backing track, then speed up. Record yourself on your phone to hear the transitions — they always sound worse in your head! Play along with the original track once you’re comfortable; it's a great way to keep it musical rather than purely technical.

I still get a little grin whenever I play 'Love Yourself'—it's one of those songs that feels perfect with just a guitar and a voice. If you want to play along with the original recording, put a capo on the 4th fret. That lets you use easy G-shaped open chords (G, C, Em, D) while sounding in the song's recorded key (B). The verse and chorus revolve around that G–C–Em–D loop, and it’s insanely satisfying to sing over. For how I usually play it at home: I palm-mute the first couple of downstrokes to get the muted, percussive feel Ed Sheeran's writing brings out, then switch to a gentle down-down-up-up-down-up strum pattern for the chorus. If fingerpicking is your vibe, try a simple Travis-ish picking pattern on those same shapes—thumb for bass, fingers for melody—and you’ll hear the song open up. If you don’t want to use a capo, you can play barre chords: B, E, G#m, F# will get you the true pitches. And if the original key is too high for your voice, move the capo up or down a fret or two until it sits comfortably. I often slide the capo to the 2nd or 5th fret when singing with friends, just for variety. Honestly, once you’ve got the G–C–Em–D pattern locked, the rest feels like singing with an old friend.

If you want to play 'Love Yourself' in G, the cleanest way is to think in steps instead of panicking at the chord sheet. First, identify the key or the root chord of the version you're using (a lot of chord sheets show C, G, Am, F or sometimes G, C, D, Em). Once you know the starting key, you transpose every chord by the same interval so the whole song moves to G. Here’s a practical method I use when I’m on the couch with my guitar and a cup of tea: write the chromatic scale (C, C#, D, D#, E, F, F#, G, G#, A, A#, B) on a scrap of paper, find the original tonic, then count how many semitones up (or down) to reach G. Shift all the chords by that amount. For example, if your version is in C major (common chord set: C, G, Am, F), C up to G is 7 semitones, so you move every chord up 7 semitones: C→G, G→D, Am→Em, F→C. That gives you a playable G-key progression: G, D, Em, C. If you prefer minimal mental math, use a capo: decide whether you want to sound in G or just play G shapes. Many players put a capo on a fret so they can use familiar open shapes and still match a singer’s range. For example, if you want to play G shapes but sound higher, capo up a few frets (each fret = one semitone), then play G/C/D/Em shapes. Try both the transposed chords and the capo trick and pick what feels better for your voice and chord comfort.

Picking the right key first changed everything for me. I used to strangle my throat trying to sing 'Love Yourself' in the recorded key until I learned to either capo up or transpose the chords to fit my range. For a lot of folks the simple shapes (think G, Em, C, D) with a capo are magic because they keep your left hand relaxed while you focus on phrasing. Start by breaking the song into small chunks: intro/verse, pre-chorus, chorus. Practice the chord changes with a metronome at half speed until muscle memory takes over. Then sing the melody on top while your right hand keeps a dead-simple strum — I like downstrokes on beats 1 and 3 and a soft down-up on 2 and 4 for the verses. That way your voice can lead and the guitar supports. Record yourself on your phone; hearing where you rush or lag is eye-opening. Also, learn to breathe in the spots where your phrases naturally pause — it’s more musical than it sounds. I ended up performing a stripped-down version at an open mic by simplifying the bridge and using a soft thumbed arpeggio on the chorus; people always tell me they like the intimacy. Try that if you want a gentler vibe, and let your voice sit comfortably above the chords rather than battling them.

I still get a little smile when I pick up my guitar and play the intro to 'Love Yourself'—it's one of those songs that sound great even with super simple shapes. If you want easy chord variations, here's what I use when I'm teaching friends who are brand new: Capo 4, play G - D - Em - C. This is the classic beginner-friendly route that gets you to Justin's original key without barre chords. G, D, Em and C are all open chords and feel comfy under the fingers. Strumming-wise, try a relaxed D D U U D U pattern (down, down, up, up, down, up) and slow it down at first. If you don't want to use a capo, try C - G - Am - F, which is essentially the same progression transposed. For F, skip the barre and play an easy Fmaj7 (xx3210) or even a partial barre (x33211) so you keep the sound but avoid that painful full barre. Another tiny variation: replace the F with an Fadd9-ish shape or just hold C a beat longer—it's forgiving. I also like a fingerpicked version: thumb for bass (root note) and fingers plucking G-D-B-high E strings in a pattern like P I M A M I. That gives the song a more intimate vibe. Play around with capo and those simplified F shapes until it feels natural—then sing along and have fun.

Man, this song gets me every time — the guitar part in 'I Don't Love You' is pretty straightforward but so effective. On the original recording the song sits around B major, and the core progressions people use are built from B, F#, E and G#m. A typical structure you'll see: intro/verse drifts on B - F# - E - B (often arpeggiated on the clean tone), the pre-chorus leans into G#m - E - B - F#, and the chorus rides those same changes with more open strumming. If you want to play it exactly like the recording, you'll likely use barre chords: B (x2444x or 799777), F# (244322), E (022100) and G#m (466444). There are also some players who throw in a C#m (446654) in the bridge or for color, and power-chords work perfectly for a more rock tone (B5 - F#5 - E5 etc.). For easier playing, put a capo on the 2nd fret and use A - E - D - F#m shapes (capo 2 turns those into B, F#, E, G#m), which is my go-to when jamming with less experienced pals. A couple of practical tips: the intro is best as picked arpeggios on clean tone with a touch of reverb, then open up with more strumming and slight palm muting through the verses to keep the groove. The dynamics are the magic — play softly on the verses and let the chorus ring. I like to throw in some little slides between the B and F# to get that emotional scrape the original has. Try both barre and capo approaches and pick what feels best for your voice and guitar tone.