What are some unique chord progressions
Guitar: chord progressions
Here are a few common chord progressions that you come across again and again in many songs in the chorus and / or in the stanzas, or at least that are played in circles over and over again in some very well-known songs. Such chord progressions are usually quite easy to learn due to their constant repetition. Knowledge of standard chord progressions will help you master typical playing situations. Once you can name and play a chord progression, it's easier to recognize it. Then you no longer hang around from one chord to the next, but you consider the next three or four chords as a coherent unit.
For each chord progression, only some of the most practicable guitar fingerings are shown. Many of them can also be played with simple chords (possibly with capo) and some have already been introduced in the previous diplomas. Other chord progressions are particularly suitable for barre chords, or can be understood particularly well with barre chords.
It is your job to find alternative fingerings and to find out for each individual chord progression whether these can be expanded, whether there are perhaps interesting bass runs, hammerings or other embellishments that can be incorporated well into the chord progression, when this chord progression is worthwhile to play with barre chords, or better with simple chords (possibly with capo). You don't have to work everything out yourself, but you should always pay attention when you discover a typical chord progression, how the performer uses this chord progression, which position or which fingering he uses, which rhythms he uses for it, and how he further embellishes it.
If you know your way around transposing, the standard chord progressions will also help you find easier fingerings in difficult keys with many barre chords that you can easily play with capo.
For example, the Spaniard (Am G F E) would be very interesting as a beginning for Barré lessons. Then the 66-45 (Am Am F G) and its variants, and then the punk-pop formula (C G Am F or Am F C G). That way you could build up a repertoire very quickly.
This compilation also serves to find suitable practice pieces for guitar lessons. Once you've learned a common chord progression, it's easy to find more practice pieces. The list is also suitable for amateur bands and dance bands who want to quickly acquire a rich repertoire at the fair or Kirwa (church consecration), in beer tents and the like.
It would be nice if bands who have put together their own playlist with corresponding easy-to-accompany songs with the corresponding chord progressions, entered here or on the discussion page with the title and, if possible, with the artist.
So here you will not find an absolutely-ultimate-unique chord progression for the Superdupermega solo, but common standard chord progressions that have already been used in tens of world hits.
Excursus: How does the method with the chord step calls work? [Edit]
Instead of specifying the pitches (for example: I-VI-II-V), I have chosen the short form here, as some bands call out to each other. (e.g. "a 16-25 in C"). Since some of you may not be familiar with this method, I would like to explain it again here.
Usually the pitches are given in Roman numerals. The numbers 1 to 7 (or better I to VII) represent the typical chords of a key, in the order in which the notes appear in a major scale.
- C = 1, D = 2, E = 3, F = 4, G = 5, A = 6, H = 7
- G = 1, A = 2, H = 3, C = 4, D = 5, E = 6, F # = 7
The 1st level is called the tonic, the 4th level subdominant and the 5th level dominant. If you are not familiar with this, then repeat the second beginner's lesson from the campfire diploma, where it was discussed in detail.
The 6th level is called the tonic parallel, the 2nd level subdominant parallel and the 3rd level dominant parallel. The minor parallels were also discussed in the beginners' lessons of the folk diploma.
In addition, you have to know that the chords of a scale are always arranged in a very specific order.
- 1 = major, 2 = minor, 3 = minor, 4 = major, 5 = major, 6 = minor, 7 = dim (reduced)
Applied to the C and G major scales:
- C = 1, Dm = 2, Em = 3, F = 4, G = 5, Am = 6, Hdim = 7
- G = 1, Am = 2, Hm = 3, C = 4, D = 5, Em = 6, F # dim = 7
Furthermore, the typical 7ths of the chords are assumed to be known.
- 1 = major-j7, 2 = m7, 3 = m7, 4 = major-j7, 5 = major7, 6 = m7, 7 = dim7
Applied to the C and G major scales:
- Cj7 = 1, Dm7 = 2, Em7 = 3, Fj7 = 4, G7 = 5, Am7 = 6, Hdim7 (= Hm7b5) = 7
- Gj7 = 1, Am7 = 2, Hm7 = 3, Cj7 = 4, D7 = 5, Em7 = 6, F # dim7 (F # m7b5) = 7
The j7 chords (= maj7 = major7) are less common in simple hits, rock and pop songs. (They are preferred in jazzy styles of music). Likewise, the dim7 chord only occurs in music styles with a jazzy touch. The m7 and 7 chords are very common, however, and the question of whether to play the minor seventh or not is often arbitrary and depends more on the style of music. In certain chord combinations, certain chord extensions and certain characters such as bass runs, alternating basses, hammerings, etc. are typical. As mentioned above with the ornaments, it will be your job to try out the chord progressions through all the different keys, which options (7, m7, sus4 etc.) you can use, which ones you should avoid, which bass runs, hammering-on - and pull-off decorations are playable at all. There are limits to the different keys where you can no longer realize certain things with a clever fingering. A piano player usually does not have these problems. But you can try to get cheaper chords and thus a more favorable fingering with a capo if necessary. Of course, you should also deal a little with harmony theory so that you don't try to use a Sus4 chord in the subdominant, for example, because the additional tone does not match the key and in the majority of cases just sounds weird.
Be that as it may, the simple chord steps and the starting key are sufficient for a rough orientation for musicians to know what to play.
Short form (like years) 
To call up a chord progression, the individual steps are quite cumbersome.
- "Now we're playing first stage, sixth stage, second stage, fifth stage ..."
that's just too long
- 1 6 2 5
that's shorter, but it sounds like a phone number that is difficult to remember.
It has become common in bands to pronounce these four chords like a year. To do this, the numbers are simply pulled together.
- Out 1 6 2 5 becomes a 16-25er
and in English it is just pronounced like a year
- (In the year) 1625
In German we give ourselves the "hundred" of the year, at sixteen-hundred-twenty-five, and say briefly
- a 16-25 in C.
That means the chord progression C Am Dm G, which is nothing more than the first, sixth, second and fifth chord steps of the C major scale.
- C = 1, D = 2, E = 3, F = 4, G = 5, A = 6, H = 7
This is a way to quickly recall chord progressions. The method can be used as long as it is practical. But if you first have to take out a calculator to work out the chord levels, then you should come up with something else.
Often there are "nicknames" for certain chord progressions that are more or less common, and sometimes more practical than the chord step short form.
The classical major cadence (I - IV - V - I) 
This is a basic cadence that should be mastered in every key. It is mostly used in music theory and is representative of all chord combinations with the three main chords in major. The dominant is very often given as the dominant seventh chord (major 7), although the seventh (7) of the dominant does not necessarily have to occur in the piece itself. The cadence should be practiced with both variants (with and without 7s). This cadence forms the starting point for many typical chord progressions. The major cadence is often found as a closing sequence in a piece of music.CF G7 CGCDGDG A7 DAD E7 A | -0--1--1--0-- || -3--3--5--3-- || -5--3--5--5- - || -5--5 ----- 5 --- | | -1--1--0--1-- || -3--5--7--3-- || -7--3--5--7-- || -5-- 7--5--5 --- | | -0--2--0--0-- || -4--5--7--4-- || -7--4--6--7-- || -6-- 7--7--6 --- | | -2--3--0--2-- || -5--5--7--5-- || -7--5--5--7-- || -7-- 7--6--7 --- | | -3 ----- 2--3-- || -5--3--5--5-- || -5--5--7--5-- || -7-- 5--7--7 --- | | ------- 3 ----- || -3 -------- 3-- || ---- 3--5 ----- || -5-- ------ 5 --- |
A 14 (I-IV) 
C F; G C; D G; A D ...
- YT 3 AM (Matchbox Twenty)
- YT Baby You're A Rich Man (Beatles)
- YT Boom Boom (Eric Clapton)
- YT Bookends (Paul Simon)
- YT Catch the Wind (Donovan)
- YT Do you believe in magic? (Lovin 'Spoonful)
- YT Domino (Van Morrison)
- YT For What It's Worth (Buffalo Springfield)
- YT Gimme Some Lovin '(Blues Brothers)
- YT Gimme Some Lovin '(Spencer Davis Group)
- YT Glory Days (Bruce Springsteen)
- YT Good Morning Good Morning (Beatles)
- YT In The Midnight Hour (Wilson Pickett)
- YT Imagine (John Lennon)
- YT Lady Madonna (Beatles)
- YT Lay Down Sally (Eric Clapton)
- YT Loser (Beck)
- YT Love Me Do (Beatles)
- YT Mystery Train (Elvis Presley)
- YT Never Going Back (Fleetwood Mac)
- YT Oh, Lonesome Me (Neil Young)
- YT Only Wanna Be With You (Hootie & the Blowfish)
- YT Red House (Jimi Hendrix)
- YT Satisfaction I Can't Get No (Rolling Stones)
- YT She Came In Through The Bathroom Window (Beatles)
- YT Start Me Up (Rolling Stones)
- YT Sunshine On My Shoulders (John Denver)
- YT The Night They Drove Old Dixie Down (Bob Dylan)
- YT Tiny Dancer (Elton John)
- YT Undercover (Of The Night) (Rolling Stones)
- YT Whatcha Gonna Do (Eric Clapton)
- by the way
- If you add a seventh to the chords, you can create a nice jazzy introductory piece with a freely invented melody:
- //: Aj7 D: // (100x) E7
- //: Dj7 G: // (100x) A7
- (0) 02120 - X (0) 0232 | 022130
- Xx0222 - xx0003 | xx2223 or xx2020
An 11-45 
- //: C (F G): //
- //: G (C D): //
- YT Guantanamera
- YT La Bamba
- YT Twist and Shout (Beatles) //: D (G A): //
- YT breakfast at tiffany's (Deep Blue Something) D- (GA) - Ref .: D- (AG)
A 54-11 or 54-15 
- //: (D C) G: //
- D = xx0232
- C13 = x3x230
- G6 = 320030
see also: Mixolydian chord progression in D
- YT Sweet Home Alabama
- YT Ring Of Fire (refrain)
- YT Love Me Do (chorus)
- YT Magic Carpet Ride (verse)
- YT Maggie Mae (verse)
- YT I Still Haven't Found What I'm Looking For (Refrain)
- YT Swingin (Tom Petty & The Heartbreakers)
- YT Sympathy For The Devil (Rolling Stones)E D A E
- YT Let me entertain you (Robbie Williams)D C G D
The 12-bar blues scheme or the 12-bar blues 
If someone wants to play a blues, then first assume that they mean the following 12-bar blues.
The scheme is:
- I | I | I | I |
- IV | IV | I | I |
- V | IV | I | V |
Guitar players like to play the blues in the key of E or A, as this key is the easiest to play typical blue notes. Other keys are often played with barre chords or with capo.
- A | A | A | A |
- D | D | A | A |
- E | D | A | E |
Don't be surprised if a 7 appears on every chord.
- E7 | E7 | E7 | E7 |
- A7 | A7 | E7 | E7 |
- H7 | A7 | E7 | H7 |
You have to learn how to play the blues in another lesson. You can find the blues scheme in many styles of music influenced by the blues, such as boogie-woogie, rock'n'roll. Be prepared for the fact that there are some larger or smaller variations in the specific pieces.
- YT Sweet Sixteen (B.B. King)
- YT The Thrill is Gone (B B King)
- YT You Can't Do That (Beatles)
- YT Can't Buy Me Love (Beatles)
- YT Shake, Rattle, & Roll (Big Joe Turner with Pete Johnson)
- YT Hound Dog (Big Mama Thornton)
- YT Hey, hey Wickie (Bläck Fööss) (suitable for children !!!)
- YT Buckets of Rain (Bob Dylan)
- YT Rainy Day Women (Bob Dylan)
- YT She Belongs to Me (Bob Dylan)
- YT Let's Work Together (Canned Heat)
- YT Goin 'Up The Country (Canned Heat)
- YT Now's the Time (Charlie Parker)
- YT Billie's Bounce (Charlie Parker)
- YT Bye Bye Johnny (Chuck Berry)
- YT Johnny B Goode (Chuck Berry)
- YT Oh Carol (Chuck Berry)
- YT Mystery Train (Elvis Presley)
- YT Teddy Bear (Elvis Presley)
- YT That's All Right Mama (Elvis Presley)
- YT Before you accuse me (Eric Clapton)
- YT I loved another woman (Fleetwood Mac / Henrik Freischlader)
- YT Red House (Jimi Hendrix)
- YT I love Rock´n Roll (Joan Jett and the Blackhearts)
- YT All your love (John Mayall and the Bluesbreakers / Gary Moore)
- YT Stuck in the Middl (Stealers Wheel)
- YT Little Red Rooster (Rolling Stones)
- YT Route 66 (Rolling Stones)
- YT Tenor Madness (Sonny Rollins)
- YT Pride and Joy (SRV)
There are also some variations for an 8-bar blues scheme. Sometimes this variant appears as a chorus or bridge within a piece.
- C7 | C7 | F7 | C7 |
- G7 | F7 | C7 | G7 |
or for example
- C | F | C | C7 |
- F | G | C | G7 |
- Midnight Special
- Corrine Corrina
- YT Alberta (Eric Clapton)
Sometimes there are also striking final turns that are a bit reminiscent of ragtime (see below).
- Things About Coming My Way
The classic minor cadence 
As with the major cadence, a minor cadence is representative of all chord combinations with the three main chords in minor. There are three special features to consider.
Even though the major and minor cadenzas look similar at first glance, they are derived from different scales, which affects other chords that can usually occur in the corresponding key.
- A major and A minor
- Major cadence
- Minor cadence
Other possible chords that may still occur in songs in major are derived from the notes of the A major scale (sorted according to the circle of fifths).
- D A E (7) Hm F # m C # m (and more rarely G # m7b5)
Other possible chords that may still occur in songs in Am are derived from the tone inventory of the C major scale (= major parallel to Am).
- F C G Dm Am Em (E7) Hm7b5
The E7 chord behaves in the key of A minor like an intermediate dominant that was introduced in the final lesson of the campfire diploma; only that this intermediate dominant occurs regularly in minor keys.
In the melodies of the minor keys, you always have to reckon with two other tones that are foreign to the harmony. On the one hand, the major seventh calculated from the root (from A it would be the G #), which is also the major third of the dominant of the minor scale (the G # in the E major chord). In contrast to other intermediate dominants, this tone can also appear in other chords of the minor scale than only in the minor dominant. The major sixth (from A it would be the F #), can ease the tension from the minor sixth to the seventh. The melody is easier to sing, which is why it is called a melodic minor.
- E F G A = tone sequence in natural minor
- E F G # A = tense tone sequence in harmonic minor
- E F # G # A = smoothed (relaxed) tone sequence in melodic minor
- //: Em Am H7 Em: //
- //: Am Dm E7 Am: //
- //: Dm Gm A7 Dm: //
A 12-41 
- //: F Gm Bb F: //
- //: C Dm F C: //
- //: G Am C G: //
- //: D Em G D: //
- YT Eight Days A Week (Beatles) D E (!) G D Refrain D Bm (easier: C D F C + C Am + Capo 2nd fret)
- YT Ask (The Smiths)
- YT Crush (Gavin Degraw) (chorus)
- YT Don't worry be happy (Bobby McFerrin) (!!!)
- YT Girl Next Door (Drake Bell)
- YT Pack Up (Eliza Doolittle)
- YT Picture To Burn (Swift Taylor)
- YT What's going on / Whats Up (4 Non Blondes) (!!!)
A 16-45 (50s Progression / Ice Cream Changes) 
A very popular chord progression in country and doo-wop songs in the 1950s and early 1960s. Many of these songs have been covered multiple times. In the 50s and 60s, icecream bars with a jukebox where these songs were played were a popular meeting place for teenagers. This is possibly where the chord progression got its name. Take into account that the examples include some intermediate pieces with different chord progressions, and that you may have to use a capo.
- //: F Dm Bb C7: //
- //: C Am F G7: //
- //: G Em C D7: //
- //: D Bm G A7: //
You should definitely take a look at the following on YouTube:
- YT The Ice Cream Changes (Hank Green)
- in G or A.
- YT Blue Moon (The Marcels)
- YT Earth Angel (The Penguins)
- YT Every Breath You Take (The Police) (Verse)
- YT Hey baby (refrain)
- YT Hero (Enrique Iglesias) (verse)
- YT I wonder why (The Boppers)
- YT Laudato Si (!!!)
- YT Let's twist again (Chubby Checker) (!!!)
- YT Oh Donna (Ritchie Valens)
- YT Rama Lama Ding Dong (Rocky Sharpe & The Replays)
- YT Speedy Gonzales (Pat Boone)
- YT Stand by me (!!!)
- YT When (Showaddywaddy)
- in C or D
- YT All I Have To Do Is Dream (!!!)
- YT Blue moon
- YT Duke of Earl
- YT Goodbye My Lover (James Blunt)
- YT Jesus of Suburbia (Green Day)
- YT Octopus's Garden (Beatles)
- YT Psychosocial Baby (Justin Bieber vs. Slipknot)
- YT Return To Sender (Elvis Presley)
- YT Teenager In Love (Red Hot Chili Peppers)
- YT Those Magic Changes (Grease)
- YT Twisting The Night Away (Rod Stewart)
- YT Unchained Melody
- YT Were have all the Flowers gone (!!!)
- YT Wonderful World (Herman Hermits)
- YT Who Put The Bomp (Showaddywaddy) (also in G: Capo: 4th fret)
Diatonic bass line
The diatonic bass run is closely related to the 50s progression. It can be obtained by adding a bass line to this chord progression that wanders down the scale (i.e. diatonic). This is also often played in quick succession in the 50s progression as an ornament. However, some songs live on a slowly descending bass line. Johann Sebastian Bach already used this chord progression for his YT Air from the 3rd orchestral suite (also known as "Air on the G-String").
- C C / H Am Am / G | F D7 / F # G G7
This progression occurs very often in excerpts or with small variations. Instead of C / H you can often play G / H or vice versa.
- Great God, we praise you
- From good powers (Dietrich Bonhöffer)
- YT Piano man
- YT Holland (the progression is within the song)
- YT If a man loves a women
- YT Mr Bojangles
- YT No women no cry
- YT A Whiter Shade of Pale
- YT Better Together (Jack Johnson) (Tip: Capo 5th fret)
- YT Of good powers (T: Dietrich Bonhöffer, M: Siegfried Fietz
A 45-16 
It's kind of turned around the 50s progression
- //: C D G Em: //
- //: F G C Am: //
- YT Walking in Memphis (Marc Cohn or YT Cher)
- YT Viva la Vida (Coldplay)
A 12-45 
Again very similar to the 50 progression, in which the tonic parallel (6) was replaced by the subdominant parallel (2).
- out C Am F G has been C Dm F G
- //: F Gm Bb C: //
- //: C Dm F G: //
- //: G Am C D: //
- //: D Em G A: //
- YT Love is all around (The Troggs or Cover by WetWetWet)
- YT 99 balloons (Nena)
- YT Sombody (Bryan Adams)
- YT Back For Good (Take That)
The II-V-I connection in major
A II-V-I connection (2-5-1) is a very typical final turn. As a result, they are often found at the end of a song or chorus.
- and I Dm7 think to myself: G7 WHAT A WONDERFUL C WORLD
- Dm7 SUMMER FEELING G7 with Bacardi C Rum
- Tell me Em7 dear ARE YOU A7 LONESOME TO- D NIGHT
- It's Em7 just another A7 MANIC D MONDAY
- Am7 saying SOMETHING D7 STUPID like I G love you
- DON'T am 7 WORRY, D7 BE G HAPPY
- Am7 I want to D7 back to WESTERG LAND
As soon as you have familiarized yourself with this chord connection, you will discover it again not only as a final turn, but also in many other chord combinations. It is one of the most popular chord combinations, especially in jazz.
A 16-25 (rhythm changes) 
It's actually just a variant of the 50s progression. The subdominant (4) is exchanged for the subdominant parallel (2). This gives a II-V-I compound. And together with the tonic parallel (6) you have a 6251 fifth case. All you have to do is put the subdominant of the 50s progression in the bass with the keynote of the minor parallel (a major third down).
We have the starting chord progression
- C Am F G7
and add a D from the Dm in the bass to the F and have purely formal
- C Am F / D G7
in fact, we have now
- C On Dm7 G7
In the Dm7, all notes of the F major chord are also present, so that the exchange works without any problems.
Despite its nickname, the cadence initially has nothing to do with rhythm itself. This chord progression was named after the popular song YT I got named Rhythm. The chord progression is varied even further in the piece, so that simple hobby guitarists hardly recognize the 16-25 in it. These possible variations of rhythm changes in jazz are a chapter in themselves and are beyond the scope of this article. Be that as it may, this song gave the chord progression its nickname. The rhythm change and 50s progression are often exchanged for each other. Sometimes even within the same song.
- //: C Am Dm G7: //
- //: G Em Am D7: //
- //: F Dm Gm C7: //
- (5)87565 - (5)57565 - 353333 - (3)35353
- YT Back for Good (Take That)
- YT Bobby Brown (Frank Zappa)
- YT I like the flowers (traditional)
- YT Last Christmas (Wham)
- YT Meet the Flintstones (Hoyt Curtin)
- YT Muppet Show (subject)
- YT She Drives Me Crazy (Fine Young Cannibals)
- YT Handsome Stranger Man (Conny Francis)
- YT Why do fools fall in love (hairspray)
A 13-25er 
- //: C Em Dm7 G9: // ... //: G Hm Am7 D9: // ... //: F Am Gm 7 C9: //
- YT Easy like sunday morning
The pop-punk progression 
The term actually summarizes two chord progressions. Namely the 15-64 and its reverse the 64-15. The comedy band "Axis of Awesome" impressively demonstrates in their "4 Chord Song" that a large part of the successful pop music since the 1970s has used this pop-punk progression.
- YT Axis of Awesome - 4 Four Chord Song
A 15-64 (the pop formula or the pop cadenza in major)
The term "pop formula" has become established for this chord progression. Volkmar Kramarz described this in his book "The Pop Formulas". However, the book contains a few more common (many shown here) chord progressions. The 15-64 and its inversion (see below) 64-15 is probably the chord progression most likely to be associated with pop songs since the 1970s.
- //: C G Am F: //
- //: D A Bm G: //
- //: F C Dm Bb: // (Tip: C major + Capo 5th fret)
- //: G D Em C: //
- //: A E F # m D: // (Tip: G major + Capo 2nd fret)
- YT Ai Se Eu Te Pego / Nossa (Michel Teló)
- YT Barbie Girl (Aqua)
- YT Closing Time (Semisonic)
- YT Dammit (Blink 182)
- YT Glycerine (Bush)
- YT Good (Better Than Ezra)
- YT Horses (Daryl Braithwaite)
- YT Im Yours (Jason Mraz) !!!
- YT It's Been A While (Staind)
- YT No Woman No Cry (Bob Marley) !!!
- YT Proud Marry (CCR)
- YT Push (Matchbox 20)
- YT Runaway Train (Soul Asylum)
- YT Secrets Lyrics (OneRepublic)
- YT She will be loved (Maroon 5)
- YT So lonely (Police)
- YT Someone Like You (Adele) !!!
- YT Soul To Squeeze (Red Hot Chili Peppers)
- YT Spiderwebs (No Doubt)
- YT Superman (Boyce Avenue)
- YT Torn (Natalie Imbruglia) (refrain)
- YT Under The Bridge (Red Hot Chili Peppers)
- YT We Didn't Start The Fire (Billy Joel) !!!
- YT When I Come Around (Green Day)
- YT We have reason to celebrate (Otto Waalkes) !!!
- YT With or without you (U2) !!!
- YT You Found Me (The Fray)
Try it:(3)35553 - 355433 - 577555 - 133211
The following animation is not printed out.
Or in C major or Am (in the following section)
If you only pay attention to the fundamental notes here, then you draw a T. You start at the bottom (C major in the 3rd fret with the root on the A string) and go up (G major in the 3rd fret with the root on the E- String) then 2 frets to the right (Am in the 5th fret with the root on the E string) and two frets to the left (viewed from G major) (F major in the 1st fret with the root on the E string)
The pop formula is often combined with other chord progressions such as the 16-25.
- G D Em C - G Em C D
- YT Country Roads (John Denver) refrain
- YT Father and Son (Cat Stevens) (not quite the original, but still goes well with the pop formula)
- YT Let It Be (Beatles)
A 64-15 (twisted pop cadenza, pop cadenza in minor) 
The 64-15 is actually just a reversal of the pop formula. For this chord progression there is the somewhat strange and often inaccurate term "sensitive female chord progression", which the author Marc Hirsch first noticed in the song "One Of Us" by Joan Osborne, and which he then sung in many, especially by women Songs found again. The following list shows, however, that this cadence is by far not only used by sensitive women. It is to be hoped that the term "sensitive female chord progression" will not establish itself in the long term, because it does not correctly reflect the possible uses of 64-15 cadence. Maybe sooner or later you will find a more general nickname (like the one I have suggested here).
- //: At the F C G: //
- //: Em C G D: //
- //: Dm Bb F C: //
- YT Africa (Toto)
- YT Aicha (Outlandish)
- YT All You Wanted (Michelle Branch)
- YT Angel (Natasha Bedingfield)
- YT Angels Would Fall (Melissa Etheridge)
- YT Apologize (One Republic)
- YT Behind These Hazel Eyes (Kelly Clarkson)
- YT Borrowing Time (Aimee Mann)
- YT Building a Mystery (Sarah McLachlan)
- YT Demons (Guster)
- YT Disarm (Smashing Pumpkins)
- YT Every Day It's 1989 (Moby)
- YT Fall for You (Secondhand Serenade)
- YT Fingerprints (Katy Perry)
- YT Winner (Clueso)
- YT Hands (Think Jewel)
- YT If I Were a Boy (Beyoncé)
- YT I'm Not Over (Carolina Liar)
- YT In My Head (Jason Derulo)
- YT It's My Life (Bon Jovi)
- YT Lost (Coldplay)
- YT Nothing in the world (the doctors)
- YT Numb (Linkin Park)
- YT Maybe Someday (The Cure)
- YT One of Us (Joan Osborne)
- YT Other Side (RHCP)
- YT Out Of The Dark (Falco)
- YT Peace of Mind (Boston)
- YT Poker face (Lady Gaga)
- YT Replay (iyaz)
- YT San Francisco (Scott McKenzie)
- YT Save Tonight (Eagle Eye Cherry)
- YT Self Esteem (The Offspring)
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