The chord progression for "Don't Let Me Down"

"Don't Let Me Down" by The Chainsmokers (featuring Daya) uses a repeating four-chord loop that stays the same throughout most of the song. The progression is A major, E major, F-sharp minor, and D major, played in that order and repeated. This progression works in the key of A major and creates the uplifting, electronic-pop feel of the track.

The song does not shift chords between the verse, chorus, and bridge—the same four chords repeat the entire way through. This makes it one of the easier pop songs to learn on guitar, since you only need to master four chord shapes and the rhythm pattern that drives the song.

Key Takeaways

  • The four chords are A major, E major, F-sharp minor, and D major, played in a repeating loop.
  • Each chord gets one beat in the strumming pattern, so the progression cycles every four beats.
  • The rhythm uses a steady eighth-note strum with a muted chop on the "and" of beat 2, which gives the song its driving pulse.
  • Barre chords are not required—all four shapes can be played as open chords on a standard tuned guitar.
  • The song works at a moderate tempo of around 100 to 104 beats per minute, giving you time to switch between chords cleanly.

Setting up the four chord shapes

A major is played with your index finger on the first fret of the B string, middle finger on the second fret of the D string, and ring finger on the second fret of the high E string. Leave the A string, G string, and low E string open. Strum from the A string down.

E major uses your index finger on the first fret of the G string, middle finger on the second fret of the A string, and ring finger on the second fret of the D string. The B string, high E string, and low E string are all open. Strum all six strings.

F-sharp minor requires a small barre: lay your index finger flat across the first fret of the B string and high E string, then place your middle finger on the second fret of the D string and your ring finger on the second fret of the A string. Strum from the A string down, skipping the low E string.

D major is played with your index finger on the second fret of the G string, middle finger on the second fret of the high E string, and ring finger on the third fret of the B string. The D string, A string, and low E string are open. Strum from the D string down.

The strumming pattern that matches the recording

The song uses a steady eighth-note strum—that is, eight strums per four-beat measure. Count "1 and 2 and 3 and 4 and" while tapping your foot on the beat. Strum down on each number and each "and." This gives you the continuous, driving rhythm that defines the track.

The key detail is the muted chop on the "and" of beat 2. After you strum down on beat 2, when ready mute the strings by relaxing your fretting hand slightly or laying your palm across the strings, then strum down again on the "and" of 2. This creates a percussive "chop" sound that you hear clearly in the recording. Without this mute, the song sounds hollow and loses its energy.

Practice the mute separately first: strum a chord, then quickly dampen it by pressing your palm lightly against the strings without changing which frets your fingers are on. You should hear a dull thud instead of a ring. Once you can do this cleanly, add it to beat 2 of your strumming pattern.

Playing the progression at the right tempo

The original recording sits at approximately 100 to 104 beats per minute. Start slower—around 80 beats per minute—and focus on switching between chords cleanly without muting or stopping. Use a metronome or a drum track to keep time steady.

Once you can play all four chords in sequence without hesitation, gradually increase the tempo by 5 to 10 beats per minute every few days. The goal is to reach the original tempo while keeping the muted chop on beat 2 crisp and the chord changes smooth. Most players can reach full speed within one to two weeks of daily practice.

If you find yourself rushing or losing the mute during the chord change, slow down again. It is better to play cleanly at 90 beats per minute than to play sloppily at 104. The rhythm is what makes this song recognizable, so nailing the timing matters more than playing fast.

Common mistakes and how to avoid them

The most common error is forgetting the muted chop on beat 2. Many players strum straight eighth notes without the mute and wonder why it does not sound like the recording. Listen to the original track with headphones and focus only on the rhythm—you will hear that percussive "thump" on the "and" of 2. Practice that mute until it becomes automatic.

Another frequent mistake is letting the F-sharp minor chord ring too long before switching to D major. Since F-sharp minor requires a barre, players often hold it longer than needed while they position their fingers for D major. Practice the switch between these two chords separately: play F-sharp minor for four beats, then switch to D major cleanly on beat 1. Repeat this 10 times in a row until the transition feels natural.

A third pitfall is strumming too hard. The song has a light, electronic feel, so aggressive strumming makes it sound muddy. Use a light to medium touch, let the mute do the work on beat 2, and let the open strings ring on the other beats. This creates clarity and lets the chord changes breathe.

Adding dynamics and playing with other instruments

Once you have the basic progression and rhythm down, you can add dynamics by playing softer during the verse and building slightly louder into the chorus. Since the chords do not change, the rhythm and volume are what create contrast between sections. Listen to the original recording and notice how the guitar sits lower in the mix during the verse, then comes forward a bit during the chorus.

If you are playing along with a backing track or with other musicians, lock in with the kick drum and bass. The kick drum usually hits on beats 1 and 3, and the bass often plays the root note of each chord. Align your strumming with the kick drum's timing, and your part will sit naturally in the mix.

Frequently Asked Questions

Do I need to use a capo?

No. The song is written in the key of A major, and all four chords can be played as open chords without a capo. If you want to play it in a different key to match your vocal range, you would use a capo, but the original recording does not require one.

Can I play this song with just downstrokes?

You can, but it will not sound like the recording. The original uses a steady eighth-note strum with both down and up strokes, plus the muted chop on beat 2. That rhythm is essential to the song's character. Downstrokes alone will make it sound too heavy and lose the driving pulse.

What if I cannot play the F-sharp minor barre cleanly?

Practice the barre separately for a few minutes each day. Lay your index finger flat across the first fret of the B and high E strings, then add the other fingers. If it sounds muted or buzzy, adjust your finger position slightly or press harder. Once you can hold it for four beats cleanly, practice switching to and from D major 10 times in a row.

How long does it usually take to learn this song?

Most players can learn the four chords and basic strumming pattern in one to two weeks of 15 to 20 minutes of daily practice. Adding the muted chop and reaching the original tempo takes another week or two. Full fluency—playing it smoothly without thinking—typically takes three to four weeks of consistent practice.

Can I use a pick or should I use my fingers?

A pick is the standard choice for this song and makes the muted chop easier to execute cleanly. A medium or medium-light pick works well. You can play it with your fingers, but the mute will be harder to control and the tone will be softer, which does not match the original recording as closely.