If you’ve picked up a guitar in the last twenty-five years, you’ve played it. You know exactly what I’m talking about. That chugging, palm-muted C major intro that defined a whole generation of pop-punk. Honestly, the chord blink 182 all the small things uses are the DNA of 90s radio rock. But here’s the thing—most people play it slightly wrong, or at least, they play it without the specific "Blink" energy that makes it work.
Tom DeLonge wasn't trying to be Mozart. He was trying to be the Ramones, but with better production and more dick jokes. The song is deceptively simple. It’s basically just three chords for the most part. Yet, if you don't get the rhythm and the muting right, it sounds like a nursery rhyme instead of a multi-platinum anthem.
The Bones: What Are the Chords?
At its core, the song is in the key of C Major.
For the verse, you’re looking at a standard I - V - IV progression. In plain English? That's C, G, and F. If you're looking for the specific chord blink 182 all the small things uses during those iconic "Say it ain't so" lines, you are sticking strictly to power chords.
- C5: Root on the 8th fret of the E string (or 3rd fret of the A string).
- G5: Root on the 3rd fret of the E string (or 10th fret of the A string).
- F5: Root on the 1st fret of the E string (or 8th fret of the A string).
Now, if you go to a site like Ultimate Guitar, you'll see people arguing in the comments about whether Tom plays the G on the low E or the A string. He moves around. But for that thick, chunky sound on Enema of the State, he’s mostly staying on the lower strings to get more resonance.
That Weird Pre-Chorus Transition
Right before the "Late night, come home" part, things shift slightly. You hit that G, then go to the F. But listen closely to the recording. There’s a specific way the palm muting lifts.
It’s not just about the notes. It’s about the air.
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Tom uses a lot of "down-strokes only" for the verses. This is a classic punk trope. If you alternate pick (up and down), it sounds too flowery. Too polite. You want it to sound like a hammer hitting a nail. Down. Down. Down. Down.
Why Your Tone Matters More Than the Notes
You can have the perfect chord blink 182 all the small things chart in front of you, but if you’re playing through a tiny practice amp with the "insane" gain setting turned to ten, it’s going to sound like a swarm of bees.
Jerry Finn, the legendary producer who worked on this record, was a stickler for tone. He famously had Tom layer tracks. We aren't just hearing one guitar; we're hearing three or four tracks of the same chords layered on top of each other. This creates a "wall of sound" effect.
If you want to replicate this at home:
- Turn your gain down more than you think. You want "crunch," not "fuzz."
- Boost your mids. Pop-punk lives in the mid-range.
- Use a bridge pickup. Always.
The Chorus: The Power of the Octave
When the chorus hits—"All the small things / True care, truth brings"—the rhythm opens up. We stop the heavy palm muting.
The interesting part here isn't the chords themselves; it's the lead line playing over them. While Mark Hoppus is holding down the root notes on bass (C, G, F), Tom often plays octaves or simple melodic fills that cut through the mix.
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One common mistake? People play full open chords. Don't do that.
If you play a full open C Major chord with a G and an E string ringing out, it sounds like a campfire song. Blink-182 is about power chords (root and fifth). Keep those top two strings (B and high E) quiet. Mute them with the underside of your index finger.
The Bridge: "Keep your head still..."
This is where the dynamics change. The chord blink 182 all the small things uses here drop back into that palm-muted C, G, F pattern, but the intensity builds.
Interestingly, the "na-na-na" part is where the song really earns its keep. It’s a simple C - G - F - G loop. It’s the most "pop" part of the song. It’s also where the bass is most prominent. If you're playing this solo on an acoustic, you have to emphasize the "swing" of the rhythm here or it feels stagnant.
Common Misconceptions About the Tab
A lot of people think there's a minor chord in there somewhere because of the "sad" lyrics in the second verse. There isn't. It’s all major-based power chords. The "sadness" or "moodiness" comes from the vocal melody and the way the C major scale is used, not from a minor chord change.
Also, watch out for the tuning. Blink almost always played in Standard E (E A D G B E). Some later stuff went to Eb, but for "All The Small Things," you’re safe in standard. If it sounds "off" against the record, check your intonation. Because Tom plays so many power chords on the lower frets (like that F5), if your guitar's intonation is bad, the chords will sound sour even if you're in tune.
Practical Steps to Master the Track
If you really want to nail this, don't just stare at a chord chart.
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First, practice your down-picking endurance. Set a metronome to 148 BPM. Try to play eighth-note down-strokes on a C5 power chord for three minutes straight without your forearm cramping up. If you can’t do that, you’ll never make it through the song with the right energy.
Second, work on your muting "on-off" switch. The transition between the palm-muted verse and the wide-open chorus is the most important part of the song's structure. It should feel like a dam breaking.
Third, record yourself. Listen back. Are you ringing out strings you shouldn't be? Is your G5 chord buzzing because your finger is too far back from the fret?
Finally, once you have the basic chord blink 182 all the small things layout down, try playing it along with the The Mark, Tom, and Travis Show live version. It's slightly faster and a bit rawer. It'll teach you how to handle the song when the adrenaline is pumping, which is exactly how this music was meant to be played.
To get the authentic sound, focus on the "chug" of the C5. Use a thick pick—at least 1.0mm—to get that percussive attack. Keep your wrist loose but your grip on the pick firm. Pop-punk is 10% notes and 90% attitude. If you play it like you're afraid of the strings, it'll sound like it. Hit the strings hard, keep the muting tight, and let the chorus breathe.