Taylor Swift has a thing for four-chord loops that shouldn't work as well as they do. You know the ones. They're simple. They're repetitive. On paper, they look like something a beginner would strum in their first week of lessons. But then "evermore" dropped, and suddenly everyone was scrambling to figure out the champagne problems guitar chords because that piano riff—though iconic—actually translates beautifully to six strings.
It’s a sad song. Obviously. But it’s the kind of sad that feels expensive, like a glass of Dom Pérignon hitting a hardwood floor. If you're trying to play this, you aren't just looking for finger placements; you're trying to capture that specific, muted heartbreak.
The basic progression: It’s easier than you think
Let’s be real. Most Taylor Swift songs are built on a foundation of the "Big Four" chords. For "champagne problems," the song is technically in the key of C Major. That means the bones of the track are C, G, Am, and F.
Wait.
If you’ve looked at other tabs, you might see people suggesting a capo on the 1st fret using B-flat shapes. That’s valid too, especially if you want to match the exact pitch of the studio recording. But honestly? Playing it in C Major without a capo feels more grounded. It allows those open strings to ring out, which is exactly what you want for a song that’s basically a long, acoustic eulogy for a failed proposal.
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The verse follows a very predictable $I - V - vi - IV$ pattern.
- C Major
- G Major
- A Minor
- F Major
You play that over and over. It’s a loop. It’s the sound of a train moving down the tracks, which is fitting given the lyrics. The trick isn't the chords themselves; it's the rhythm. If you just go strum-strum-strum, it sounds like a campfire song. You have to pluck. You have to let the bass notes lead the way.
Why the bridge changes everything
The bridge is where the song goes from a "nice melody" to an emotional wrecking ball. "Your Midas touch on the Chevy door..."
Suddenly, the pacing shifts. While the champagne problems guitar chords stay mostly the same, the intensity of your strumming has to ramp up. This is where most guitarists mess up. They keep that light, airy fingerpicking style when they should be digging into the strings.
Interestingly, if you listen closely to the production by Aaron Dessner (of The National), there's a lot of "ghost" notes. On a guitar, you can mimic this by using a percussive slap on the strings on the 2nd and 4th beats. It adds a heartbeat. It makes the song feel alive instead of just a sequence of notes.
Let's talk about that F Major chord
A lot of beginners see an F Major and immediately want to close the laptop. Bar chords are the worst. I get it. Your hand cramps, the high E string buzzes, and it feels like you're fighting the neck of the guitar.
But here’s a pro tip for "champagne problems": you don't need the full bar.
Try playing an Fmaj7 instead (index finger on the 1st fret of the B string, middle on the 2nd fret of the G string, and ring on the 3rd fret of the D string). Leave the high E string open. It adds this dreamy, unresolved tension that fits the lyrics perfectly. "She would've made such a lovely bride / What a shame she's fucked in the head." That dissonance in the Fmaj7? That's the sound of being "fucked in the head."
Small details that make it sound "Human"
If you want to sound like the record, you can't just play the chords straight. Music theory nerds will tell you that the piano part uses a lot of "pedal points." This basically means a specific note stays the same while the chords change underneath it.
On guitar, you can do this by keeping your pinky finger glued to the 3rd fret of the high E string (a G note) while you cycle through your C, G, Am, and F.
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- For the C, it’s a Cadd9.
- For the Am, it’s an Am7.
- For the F, it’s an Fadd9.
It keeps the melody anchored. It sounds more professional. More "produced."
Tuning and Variations
While the standard C-G-Am-F is the "correct" way, some players prefer the "Evermore" live vibe. If you watch Taylor perform this on the Eras Tour, she's at the piano, but the guitarists in her band often use different voicings to fill out the space.
If you’re playing solo, try a "drop D" tuning just for the hell of it. It gives the G and F chords a massive, booming low end. It turns a dainty piano ballad into something that feels like it belongs in a rainy cabin in the woods.
Common Mistakes to Avoid
- Rushing the tempo: This isn't "Shake It Off." You need to breathe between the chord changes.
- Over-strumming: If you’re hitting all six strings with maximum force, you’ve lost the plot. Focus on the top four strings for the verses.
- Ignoring the lyrics: This sounds cheesy, but your dynamics should follow the story. When she sings "I dropped your hand while dancing," your volume should drop too.
The "champagne problems" gear setup
You don't need a $3,000 Gibson to make this sound good. However, strings matter. If you’re playing on old, "dead" strings, the song will sound muddy. Grab a fresh set of phosphor bronze light-gauge strings. They have a brightness that helps the individual notes in the champagne problems guitar chords stand out without sounding tinny.
If you're plugging in, go heavy on the reverb. Not so much that you sound like you're in a cave, but enough to give the chords a tail. A "Hall" or "Plate" reverb setting works best here.
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Actionable Steps for your next practice session
Don't just stare at the tabs. Start by hum-singing the melody while playing just the root notes of the chords. Once you have the timing down, add the full shapes.
- Step 1: Master the C - G - Am - F transition until your muscle memory takes over.
- Step 2: Practice the "percussive slap" on the bridge to build that "Evermore" energy.
- Step 3: Experiment with the Fmaj7 substitute if your hand gets tired of bar chords.
- Step 4: Record yourself. Listen back to see if you’re rushing. (Spoilers: You probably are).
The beauty of this song lies in its simplicity. It’s a story about a "no" that changed two lives forever. When you play it, don't worry about being perfect. Worry about being felt. The chords are just the vehicle; the emotion is the destination.