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What Guitar Chords Should I Use To Play Still Breathing?
2025-10-27 13:23:03
279
8 Jawaban
Weston
2025-10-29 17:13:40
I like to think of 'Still Breathing' in two practical templates so you can adapt quickly: a rock template (Em–C–G–D throughout) and a pop template (C–G–Am–F throughout). Both are super adaptable — the rock one accepts power chords and palm-muted verses, and the pop one takes capo and bright open voicings really well. I recommend trying the rock template with a capo on 2 if you want a higher shimmer, or no capo for a grittier feel.
From a technical perspective, experiment with adding sevenths (Em7, Cmaj7) in quieter sections and switching to plain major shapes for choruses; that contrast sells emotion. Also, learn to move the same shapes up the neck as barre chords so you can quickly transpose to suit vocals. Personally, I prefer the Em–C–G–D loop with a soft arpeggio intro that blossoms into open strums — it just breathes the way the lyrics do.
From a technical perspective, experiment with adding sevenths (Em7, Cmaj7) in quieter sections and switching to plain major shapes for choruses; that contrast sells emotion. Also, learn to move the same shapes up the neck as barre chords so you can quickly transpose to suit vocals. Personally, I prefer the Em–C–G–D loop with a soft arpeggio intro that blossoms into open strums — it just breathes the way the lyrics do.
Bella
2025-10-30 11:31:25
When I want a straightforward pop-rock take on 'Still Breathing', I lean into the classic I–V–vi–IV shapes: C–G–Am–F with a capo if needed to match the singer’s range. That progression works for both mellow and big-band arrangements: fingerpick it softly for verses, then hit full strums for choruses. My go-to strum is a driving downstroke on the 1 and 3 with light upstrokes on 2 and 4, which keeps momentum without getting busy.
For a darker, rockier tone, I’ll shift those shapes to minor-centric ones — Am–F–C–G — and use a clicky snare or rimshot for edge. If you’re playing solo, try adding a sus2 (Csus2 or Asus2) on the second pass to give the progression an airy lift. Also, try an arpeggio fill at the end of every four bars to bridge verse into chorus; it’s a tiny touch but sounds pro and keeps listeners hooked.
For a darker, rockier tone, I’ll shift those shapes to minor-centric ones — Am–F–C–G — and use a clicky snare or rimshot for edge. If you’re playing solo, try adding a sus2 (Csus2 or Asus2) on the second pass to give the progression an airy lift. Also, try an arpeggio fill at the end of every four bars to bridge verse into chorus; it’s a tiny touch but sounds pro and keeps listeners hooked.
Owen
2025-10-31 09:30:25
For a simple, singable take on 'Still Breathing' that works great for campfire or practice, I usually stick to four chords: Am - F - C - G. Those four cover most of the song’s emotional arc and are easy to move between. Keep your strumming gentle early on — try down, down-up, up-down-up — and then let go with fuller, open strums in the chorus so the melody can breathe. If you struggle with the barre F, you can play Fmaj7 or a simplified F (xx3211) to make it less painful for small hands.
If you want to match the recorded key or a friend’s singing, slap a capo on the neck — capo on the 1st or 2nd fret often makes the range nicer without changing the finger shapes you already know. For dynamics: palm mute during the verse, pick a single string pattern for the bridge, and then bring everything back for the last chorus. I often add a little Cadd9 on the turnaround to make the ending feel hopeful. It’s a comfortable, effective way to play the song and sounds great even with just basic open chords.
If you want to match the recorded key or a friend’s singing, slap a capo on the neck — capo on the 1st or 2nd fret often makes the range nicer without changing the finger shapes you already know. For dynamics: palm mute during the verse, pick a single string pattern for the bridge, and then bring everything back for the last chorus. I often add a little Cadd9 on the turnaround to make the ending feel hopeful. It’s a comfortable, effective way to play the song and sounds great even with just basic open chords.
Austin
2025-10-31 11:25:20
I get hooked on the melody first, so for my version of 'Still Breathing' I map chords to vocal phrasing: verses sit nicely over Em–C–G–D, leading into a chorus that rides on C–G–D–Em. I like to reharmonize the pre-chorus with a suspended chord — try Csus2 or Dsus4 — to build tension before the release. That small change gives the chorus more payoff without complicating things.
For texture: use an alternating bass pattern in the verse (root–fifth) and switch to full open strums in the chorus. If your voice is higher, put a capo on the 3rd fret and play the same shapes; if lower, consider moving everything down a whole step and use a barre chord for fullness. I often throw in a quick lyrical instrumental break using a clean lead over the Em–C–G–D vamp; it keeps the arrangement dynamic and shows off the melody a bit, which I love.
For texture: use an alternating bass pattern in the verse (root–fifth) and switch to full open strums in the chorus. If your voice is higher, put a capo on the 3rd fret and play the same shapes; if lower, consider moving everything down a whole step and use a barre chord for fullness. I often throw in a quick lyrical instrumental break using a clean lead over the Em–C–G–D vamp; it keeps the arrangement dynamic and shows off the melody a bit, which I love.
Henry
2025-11-02 03:59:21
Grab your guitar and a comfy seat — there are a few straightforward ways to play 'Still Breathing' depending on which version you're after, and I find it helps to pick a vibe first (acoustic, radio-friendly, or heavier electric). The most common cover-friendly progression people use is Am - F - C - G. Play that through the verses with light palm muting and then open up the chords on the chorus so the ringing notes breathe more. For strumming try a relaxed pattern like down, down-up, up-down-up (D D-U U-D-U) at a moderate tempo; palm mute the low strings on the verses and release on the chorus to get the dynamic lift that makes the song feel alive.
If you prefer something that sits lower or fits a different recording, another widely used progression for versions of 'Still Breathing' is Em - C - G - D. That one feels a bit more anthemic on electric and translates well to power chords (E5 - C5 - G5 - D5) for a heavier tone. You can capo up a couple frets on either of these shapes to match a singer’s range — capo 2 or 3 often does the trick without changing fingerings. I like throwing in a sus2 or add9 on the C or G in the chorus to add color (Cadd9, Gsus4) and using a small hammer-on from Am to Asus2 in the verse to create motion.
Beyond chord names, focus on the transitions and the pocket: slow down the changes slightly in the verse for tension and then lock into steady strumming for the chorus. If you’re playing electric, palm-muted chug on the verse with occasional open-string hits, then let chords ring out with some mild overdrive and chorus for the chorus. Personally I mix the two progressions when I gig the tune — verse in Em-C-G-D for grit, chorus with Am-F-C-G for warmth — and it always keeps the crowd singing along.
If you prefer something that sits lower or fits a different recording, another widely used progression for versions of 'Still Breathing' is Em - C - G - D. That one feels a bit more anthemic on electric and translates well to power chords (E5 - C5 - G5 - D5) for a heavier tone. You can capo up a couple frets on either of these shapes to match a singer’s range — capo 2 or 3 often does the trick without changing fingerings. I like throwing in a sus2 or add9 on the C or G in the chorus to add color (Cadd9, Gsus4) and using a small hammer-on from Am to Asus2 in the verse to create motion.
Beyond chord names, focus on the transitions and the pocket: slow down the changes slightly in the verse for tension and then lock into steady strumming for the chorus. If you’re playing electric, palm-muted chug on the verse with occasional open-string hits, then let chords ring out with some mild overdrive and chorus for the chorus. Personally I mix the two progressions when I gig the tune — verse in Em-C-G-D for grit, chorus with Am-F-C-G for warmth — and it always keeps the crowd singing along.
Natalie
2025-11-02 19:35:41
I usually approach 'Still Breathing' like a simple campfire tune: pick a comfortable key and use familiar chords so people can sing along. A reliable set is Em–G–D–C or flipping that to C–G–Am–F for a brighter sound. I add small rhythmic accents — palm mutes on the low strings during verse and open ringing chords on the chorus — to help the dynamics tell the song’s emotional story.
If you want a fingerstyle vibe, try Travis picking the Em and C and then strum the G and D to lift the chorus. Capo placement (try capo 2 or 3) can make a huge difference for singability and for getting those ringing open strings that feel good under the fingers. I always find it more fun when my buddies can jump in on the chorus.
If you want a fingerstyle vibe, try Travis picking the Em and C and then strum the G and D to lift the chorus. Capo placement (try capo 2 or 3) can make a huge difference for singability and for getting those ringing open strings that feel good under the fingers. I always find it more fun when my buddies can jump in on the chorus.
Rebecca
2025-11-02 20:09:07
I love playing stripped-down versions of songs, and for 'Still Breathing' I usually go with an Em–C–G–D loop for the verses and a slightly brighter C–G–D–Em for the chorus. I play it on an acoustic with a capo on the 2nd fret when I want the higher, sweeter vocal feel; without a capo it sits lower and feels rawer. For strumming I like a driven pattern: down, down, up, up, down, up (D D U U D U) with a heavier downstroke on the first beat to give it that steady heartbeat vibe.
If you want more punch, switch to power chords on electric: Em5–C5–G5–D5 for the main riff and then C5–G5–D5–Em5 for the chorus. For the bridge, try breaking the Em into Em7 (022033) to add space, then drop to an open C for tension before resolving to G and D. Add a little palm-mute on the verse and let it open up on the chorus for dynamics.
I often fingerpick the intro with Em–C–G–D arpeggios (bass, middle, then high strings) to set a melancholic tone; when the drums kick, go back to the full strum. It’s simple but emotive, and I always tweak capo and voicings to suit my voice — it makes the song feel truly mine.
If you want more punch, switch to power chords on electric: Em5–C5–G5–D5 for the main riff and then C5–G5–D5–Em5 for the chorus. For the bridge, try breaking the Em into Em7 (022033) to add space, then drop to an open C for tension before resolving to G and D. Add a little palm-mute on the verse and let it open up on the chorus for dynamics.
I often fingerpick the intro with Em–C–G–D arpeggios (bass, middle, then high strings) to set a melancholic tone; when the drums kick, go back to the full strum. It’s simple but emotive, and I always tweak capo and voicings to suit my voice — it makes the song feel truly mine.
Sawyer
2025-11-02 20:40:40
If you’re chasing the heavier, radio-rock version of 'Still Breathing', think in terms of power chords and dynamics. The essentials many players use are either Am - F - C - G for a darker, minor-leaning feel, or Em - C - G - D for a slightly brighter, arena-rock approach. On electric, translate those into fifth shapes (A5 - F5 - C5 - G5 or E5 - C5 - G5 - D5) and palm-mute the verse while opening up the chorus with sustained chords and mild overdrive.
For leads or fills, work around the relative minor pentatonic (A minor pentatonic over Am progressions or E minor pentatonic over Em progressions) and add occasional double-stops on the B and high E strings to mirror vocal lines. Another trick I use is sliding an Asus2 into the verse to create a yearning little tension before resolving to Am or Em — it’s subtle but gives the progression life. Overall, focus less on nailing perfect chord names and more on how you shift dynamics between verse and chorus; that’s what really sells this tune to me.
For leads or fills, work around the relative minor pentatonic (A minor pentatonic over Am progressions or E minor pentatonic over Em progressions) and add occasional double-stops on the B and high E strings to mirror vocal lines. Another trick I use is sliding an Asus2 into the verse to create a yearning little tension before resolving to Am or Em — it’s subtle but gives the progression life. Overall, focus less on nailing perfect chord names and more on how you shift dynamics between verse and chorus; that’s what really sells this tune to me.
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