Easy Guitar Songs • Forever And Always • Taylor Swift • Chords, Strum Pattern, Tab, Lyrics, Videos, Play Along Track
Taylor Swift Books
A comprehensive biography of this contemporary sensation of a singer.
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Taylor Swift was born in Reading, Pennsylvania on December 13, 1989. At the age of fourteen, she moved to Nashville, where she had an artist development deal with RCA records. She met, and formed a lasting songwriting relationship with Liz Rose. The two would meet every Tuesday after school for two hours. Rose eventually became no more than an editor for Taylor's ideas. Even at that young age, she was writing quality, commercial music.
She left RCA at fifteen, in order to record her own compositions. She signed with an independent label, Big Machine Records, where she began work on her debut album.
Taylor Swift has become on the biggest new country cross-over stars. While some tunes have a strong country vibe, others are firmly entrenched in pop and rock genres. Forever and Always is a great piece of commercial songwriting. All the elements are there, up tempo, catchy hook, great lyrics and melody.
In order to play along with the recording, place a capo on the third fret. Treat the quarter note rhythm slashes as downstrokes and the eighths as down-up. For example, the strum direction in measure one would be down, down-up, down-up, down-up. The count is one, two and, three and, four and. The only sum that is missed is the upstroke on the and of the first beat. The Cadd9, Gno2, and Em7 all have the third and fourth finger positioned on the first and second strings at the third fret (relative to the capo), covering the notes D and G. I have called the G Major chord, Gno2 to distinguish it from a normal open G Major voicing. You may see this chord notated with other names, but it is still a G Major, because adding the D on the second string does not add anything new to the chord. Chord spelling for G Major is G (root), B (third) and D (fifth). The D on the second string is simply the open D, fourth string, an octave higher.
At measures sixty five and one hundred and four, I have notated all downstrokes. This lends a more driving sound to this section. Count carefully and try to get the sound in your head. The D Major is syncopated, forced onto the and of beat two. In measure sixty nine, play a straight eighth note pattern: down-up, down-up, down-up, down-up. This is a great way to add the required 'build up' sound into the guitar solo.
At measure eighty seven, miss the first downstroke on the first half of beat one, but play the upstroke on the second half. All these little nuances will add to the overall sound and make the pattern more interesting. Also, try accenting beats two and four in the body of the song. This is where the snare drum plays in most rock, pop and country songs. These are very common accents and add more interest to the overall sound.