Easy Guitar Songs • Never Gonna Be Alone • Chords, Strum Pattern, Tab, Power Chords • Nickelback
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The band's heavy guitars, pounding drums, and dramatic vocals show Nickelback is equally indebted to the Heavy Metal and Hard Rock heroes of the '70s like Creed. As with many other 21st century rockers.
The original key for this song is E Major. Placing the capo on the second fret, (see: Beginner Guitar Lessons • In The Style Of You Belong With Me • Taylor Swift, for an in-depth look at the role of the capo), eliminates some of the barre chords, and transposes the song to the key of D Major. This makes the song much easier to play. The only chord that is a barre chord shape is B minor. Play it as a Root 5 minor barre shape on the fourth fret. Also, the capo brings the strings closer to the fretboard, allowing for less finger pressure on the index (barre) finger.
If you are having trouble getting barres to sound clean, try placing the capo on different frets, and form barres ahead of the capo. Once again, this song is diatonic, all the chords are in the key of D Major. When the D Major scale is harmonized into triads, the resulting chords are: D Major, E minor, F sharp minor, G Major, A Major, B minor, C sharp diminished, D Major. Even in the bridge, where the barres have been reduced to power chords, the progression would be E minor, B minor, D Major, A Major. In this section, change the strumming pattern to all downstrokes to achieve the proper sound.
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Never Gonna Be Alone • With Capo
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This transcription is in the key of E Major, the key the recording is in. Play the B Major as a Root 5 barre on the second fret, the C sharp minor as a Root 5 barre on the fourth fret, and the F sharp minor as a Root 6 barre on the second fret. This will keep all the chords in the first five frets. The E Major and A Major can be played as open shapes.
If you are just starting barre chords, you will find this harder than version one. Learning songs with a mixture of open and barre chords, as opposed to all barres, allows the fret hand to relax. Try to make the changes smooth. If you find the chords difficult to change with the strumming pattern, just strum once on each chord, and hold it until the next change. This works very well when playing with the recording. Otherwise, you will have to strum and count. In both of these transcriptions, every second power chord in the bridge is pushed ahead of the beat. That is, the C sharp five and B five come in on the 'ah' of the second beat (the count in measure thirty one would be: F sharp five, 1 e and ah • 2 e and, with the C sharp five falling on the ah of two). Accenting weak beats is known as syncopation.