How to Play Should've Said No

Song Background

Should've Said No is a country song that was written in 2006 by Taylor Swift.

The song is an up-tempo in which the central character addresses a former lover named Sam who has cheated on her, telling him that he "should've said no" to the female who has taken her place in his life ("You should've said no/You should've gone home/You should've thought twice before you let it all go/You should've known that word 'bout what you did with her would get back to me"). Swift wrote the song when she was sixteen years old. For more information, visit wikipedia.org

Song Chord Chart

Em C D G D/F# Em C D x2

G                         D/F#             Em
It’s strange to think the songs we used to sing
                C             G           D/F# Em C
The smiles, the flowers, everything... is gone
G                 D
Yesterday I found out about you
Em            C               G       D/F# Em C
Even now just looking at you... feels wrong
Em                 C                       G
You say that you’d take it all back, given one chance
                  D               C       D
It was a moment of weakness and you said yes

                   Em                     C
You should’ve said no, you should’ve gone home
                      D                           G
You should’ve thought twice before you let it all go
    D/F#                Em                           C
You should’ve know that word, bout what you did with her
                  D
Would get back to me...
                     Em                         C            
And I should’ve been there, in the back of your mind
               D             G
I shouldn’t be asking myself why
    D/F#         Em             C              A
You shouldn’t be begging for forgiveness at my feet...
                   C                D
You should’ve said no, baby and you might still have me

Em C D G Em C D

G                D/F#
You can see that I’ve been crying
Em                C                     G    D/F# Em C
And baby you know all the right things... to say
    G      D/F#       Em      C
But do you honestly expect me to believe
G        D/F#        Em  C
We could ever be the same
Em                           C              G
You say that the past is the past, you need one chance
                  D               C       D
It was a moment of weakness and you said yes
 
                   Em                     C
You should’ve said no, you should’ve gone home
                      D                           G
You should’ve thought twice before you let it all go
    D/F#                Em                           C
You should’ve know that word, bout what you did with her
                  D
Would get back to me...
                     Em                         C            
And I should’ve been there, in the back of your mind
               D             G
I shouldn’t be asking myself why
    D/F#         Em             C              A
You shouldn’t be begging for forgiveness at my feet...
                   C                D
You should’ve said no, baby and you might still have me

Em C G D

Em         C                           A
I can’t resist… before you go, tell me this
      C      D
Was it worth it…
       C
Was she worth this…

Em C      D  G   D/F# Em C D
Nooooo no... no, no,  no,  no...

                   Em                     C
You should’ve said no, you should’ve gone home
                      D                           G
You should’ve thought twice before you let it all go
                        Em                           C
You should’ve know that word, bout what you did with her
                  D
Would get back to me...
                     Em                         C            
And I should’ve been there, in the back of your mind
               D/F#          G
I shouldn’t be asking myself why
    D/F#         Em             C              A
You shouldn’t be begging for forgiveness at my feet...
                   C                D
You should’ve said no, baby and you might still have me

Song Breakdown

4/4 Time Signature, Moderately Fast

L.H. / R.H.

Intro (2xs)

E/BE
C/CE
D/ADG
G/DGB
F#/DA
E/BE
C/CE
D/DF#A

Verse

G/BD
F#/AD
E/GD
C/EGC
G/G
F#/ADG
E/GBD
C/EGCD
G/BD
F#/AE
E/GB
C/EA
G/BD
F#/ADG
E/GBD
C/EGCD

Chorus

E/GBD
E/GBD
C/GCEG
G/BDG
D/DF#B
C/EGB
D/F#AD
E/GBE
C/GE
D/DF#A
G/DGB
F#/DA
E/GBE
C/CEG
D/ADG
E/BEA
C/GCE
D/DF#A
G/DGB
F#/DF#B
E/BEG
C/CEG
A/C#EA
C/GCE D/DF#A

Coda

G/BD
F#/ADA
E/BEGB
C/GCEG
G/BD
F#/AD
C/CEG
EE/EGB
CC/GCE
AA/C#EA
CC/CEB
DD/ADF#A
CC/CEGB
E/GBD
C/CEG
D/F#AD
G/DGB
F#/ADG
E/BEG
C/CEG
D/F#AD
E/GBE
C/GCE
D/DF#A
G/DGB
F#/DA
E/GBE
C/CEG
D/F#AD
G/DGB
F#/ADB
E/BEG
C/CEG
A/C#EA
C/GCE
D/DF#A
E/GBE

If you can read simple treble-clef melody notes,
you can play your favorite popular songs using
"Play Piano With Fake Book" system.

Master the following:
*Can't Help Falling In Love
*Smoke Gets In Your Eye
*Never on Sunday
*Edelweiss
*Chariots of Fire and more
Using "Play Piano With Fake Book"







"The beautiful thing about learning is that no one can take it away from you." B.B.King

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Famous Chord Progression: 2-5-1

You've probably heard of lots of references to chord progressions like the 2-5-1 and 6-2-5-1 turnarounds. A chord progression is a series of chords played one after the other. And chord progressions make up songs.

So, what are the 2-5-1 progressions? First, the numbers come straight from the major scales. The 2-5-1 is three chords because each number of the scale represents a chord.

C Major

C - D - E - F - G - A - B - C

1 - 2 - 3 - 4 - 5 - 6 - 7 - 8

A 2 - 5 - 1 from this scale is a chord based on "D" moving to a chord based on "G" moving to a chord based on "C". This is called the number system.

Let's take a look at Dmin9 Chord (D minor ninth chord)

L.H. / R.H.

D/FACE

To make the sound stronger, play D and C with your left hand. You'll want to play the D and C far apart to create a nice sound.

If you desire a fuller sound, try playing DAC in your left hand.

With the G13 chord ( G thirteenth chord), play:

G/FACE

You can see that this is the same chord as the one above but the bass is different so it's not a Dmin9 but rather, G13. If you want to make the bass full, play GF or GDF in place of a single G bass note.

Looking at a Cmaj9 chord (C major ninth chord), here it is:

C/ EGBD

If you'd like, play CB in the left hand for a fuller, richer sound.

Combining all three chords, you'll hear these changes in all music styles, especially jazz.

Practice:

Dmin9 to G13 to Cmaj9

This progression, the 2-5-1 is common when a song is either about to end or at a point where it needs to return back to the beginning to repeat another verse. The 2 prepares for the 5 and the 5 creates this tension that is only calmed by resolving to a point of rest - the 1 chord... that is probably the chord that opened the song.

The Major Modes and II-V-I

The basic chords played in jazz harmony come from the major scale and all of its modes. Each mode starts on a different note of the major scale. The Greek names for these modes, in use for over 2,000 years are written below. The Roman numerals I-VII are on the left and correspond to the modal names on the right. In other words, Ionian is always the I mode, Dorian is always II, Phrygian is always III...
the same in every key.

C Major Scale and Its Modes

I         C D E F G A B C       C Ionian
II       D E F G A B C D        D Dorian
III      E F G A b C D E        E Phrygian
IV      F G A B C D E F        F Lydian
V       G A B C D E F G        G Mixolydian
VI      A B C D E F G A        A Aeolian
VII    B C D E F G a B         B Locrian

From these modes come seventh chords. Seventh chords are constructed by playing every other note of each mode.

C      D     E      F      G     A     B      C           (CEGB)
root  2nd  3rd    4th   5th   6th   7th   octave

This particular chord is the C major seventh chord because of the interval relationship between the root of the chord and its other notes. A major seventh chord has a major third, a perfect fifth and a major seventh. Because this chord is built off of the first mode, it is called a I chord.

CE = major 3rd
CG = perfect 5th
CB = major 7th

The second, or Dorian Mode, of the C major scale runs from D to D. The root, third, fifth and seventh of this mode - again form a chord, the D minor seventh chord because of the interval relationship between the root of the chord and its other notes. A minor seventh chord has a minor third, a perfect fifth and a minor seventh. Because this chord is built off of the second mode, it is called a II chord.

D      E       F      G     A     B     C     D             (DFAC)
root   2nd  3rd   4th    5th   6th   7th   octave

Dmin7 = DFAC

DF = minor 3rd
DA= perfect 5th
DC = minor 7th

The fifth, or Mixolydian mode runs from G to G.

G      A      B     C       D      E      F     G              (GBDF)
root   2nd   3rd   4th    5th    6th   7th   octave

This is called a "G seventh" chord, or G dominant seventh and is notated G7.
This chord is a dominant seventh chord because of the interval relationship between the root and its other notes. A dominant seventh chord has a major third, a perfect fifth and a minor seventh. Because this chord is built off of the fifth mode, it is called a V chord.

G7 = GBDF

GB = major 3rd
GD = perfect 5th
GF = minor 7th

These three chord, I, II, and V-major seventh, minor seventh and dominant seventh-are the three most commonly played chords in jazz. Since each one has a perfect fifth (there is an exception though), the third and seventh are the variables. They determine whether the chord is major, minor, or dominant, or what's called the quality of the chord. The following rules sum up the differences between the three chords:

• A major seventh chord has a major 3rd and a major 7th.
• A minor seventh chord has a minor 3rd and a minor 7th.
• A dominant seventh chord has a major 3rd and a minor 7th.

These three chords often occur as a II-V-I chord progression and is the most common chord progression in jazz. The II-V-I in the key of F is Gm7,  C7 and F. 

Memorize the II-V-I progression in every key.

For more information, visit 2-5-1-chord-progressions

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All the best,






"The beautiful thing about learning is that no one can take it away from you." B.B.King

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Chris Tomlin: Unfailing Love

Imagine if you were at a Chris Tomlin concert... What songs would you'd be anxious to hear? I've posted many of his songs her on my site. Here's another popular one to add to your library.

In 2004, Unfailing Love was written for keyboard and guitar by Chris Tomlin. Cary Pierce and Ed Cash. With a 4/4 time signature, the verses have a walk-down... C to B to Am. It's an easy-going moderate tempo beat and very worshipful.

UNFAILING LOVE

VERSE 1
          G
You have my heart 
         C     G/B  Am7
And I am Yours forever 
           G
You are my strength 
        C    G/B Am7
God of grace and power 

PRE CHORUS
     G/B    C         G            D 
And everything You hold in Your hand 
               G/B        C
Still You make time for me 
          Dsus
I can't understand 

CHORUS
 G                G/F#
Praise You God of Earth and sky 
      Em7          G/B              C
How beautiful is Your unfailing love 
           Dsus
Unfailing love 
G                  G/F#
And You never change God You remain 
    Em7        G/B          C
The Holy One, My unfailing love 
           Dsus
Unfailing love 

VERSE 2
           G
You are my rock 
          C   G/B  Am7
The one I hold on to 
            G
You are my song 
       C   G/B  Am7
And I sing for You 

PRE CHORUS
CHORUS
PRE CHORUS
CHORUS (X2)

Guitar chords used in this song:

G

C

G/B

Am7

D

Dsus

G/F#

Em7

Key of Ab

UNFAILING LOVE
VERSE 1
            Ab
You have my heart 
         Db    Ab/C Bbm7
And I am Yours forever 
           Ab
You are my strength 
        Db   Ab/C Bbm7
God of grace and power 

PRE CHORUS
     Ab/C    Db         Ab           Eb 
And everything You hold in Your hand 
               Ab/C      Db
Still You make time for me 
          Ebsus
I can't understand 

CHORUS
 Ab                Ab/G
Praise You God of Earth and sky 
      Fm7         Ab/C           Db
How beautiful is Your unfailing love 
           Ebsus
Unfailing love 
Ab                  Ab/G
And You never change God You remain 
    Fm7        Ab/C          Db
The Holy One, My unfailing love 
           Ebsus Ab
Unfailing love 

Chord Breakdown

L.H./ R.H.

Ab/EbAbC

Db/FAbDb

C/EbAbC

Bb/DbFBb

Ab/EbAbC

Db/FAbDb

C/EbAbC

Bb/DbFBb

C/EbAbC

Db/AbDbF

Ab/CEbAb

Eb/BbEbAb

C/EbAbC

Db/AbDbF

Eb/EbAbC

Ab/EbAbC

G/EbAbC

F/EbAbC

C/AbCF

Db/DbFBb

Eb/EbAbC

Ab/EbAbC

G/EbAbC

F/EbAbC

C/AbCF

Db/DbFBb

Eb/EbAbC

Ab/CEbAb


All the best,








"The beautiful thing about learning is that no one can take it away from you." B.B.King