Master "Please Please Please Let Me Get What I Want" Chords: The Smiths' Iconic Riff Guide

Have you ever sat down with your guitar, fingers poised over the fretboard, dreaming of recreating that shimmering, melancholic riff from The Smiths' "Please Please Please Let Me Get What I Want"? You're not alone. For decades, guitarists have been captivated by the song's deceptively simple yet profoundly emotional chord progression. But what exactly are the "please please please let me get what i want chords", and how can you master them to capture the essence of Johnny Marr's legendary sound? This guide will break down everything—from the basic shapes to the advanced techniques—transforming you from a curious player into someone who can genuinely channel the spirit of one of indie rock's most beautiful compositions.

Understanding these chords is more than just learning a few shapes; it's about accessing a specific moment in music history. Released in 1984 as the B-side to "William, It Was Really Nothing," this track quickly overshadowed its A-side, reaching No. 35 on the UK Singles Chart and becoming an anthem of yearning. Its enduring appeal lies in its jangle pop perfection—a style characterized by bright, arpeggiated chords that define The Smiths' sound. Whether you're a beginner looking for an iconic song to learn or an intermediate player seeking to refine your arpeggio technique, this progression is a masterclass in less-is-more guitar playing. By the end of this article, you'll not only know the chords but understand why they work so well, how to avoid common pitfalls, and how to make the song truly your own.

Johnny Marr: The Architect of Jangle

Before we dive into finger positions, we must appreciate the mind behind the music. Johnny Marr—born John Martin Maher—is the guitarist and co-songwriter of The Smiths, responsible for the band's unmistakable sonic landscape. His innovative approach to the guitar, blending rockabilly influences with the shimmer of jangle pop, redefined what a guitar could do in alternative music. Marr's style was a deliberate departure from the blues-based rock of the era; he favored open chords, melodic arpeggios, and a clean, chorus-tinged tone that felt both nostalgic and revolutionary.

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Marr's influence extends far beyond The Smiths. He later collaborated with artists like The The, Modest Mouse, and The Cribs, and his solo work continues to inspire. His philosophy is simple: "The guitar is a tool for songwriting, not a vehicle for showing off." This ethos is perfectly encapsulated in "Please Please Please Let Me Get What I Want," where every note serves the song's emotional core.

Johnny Marr: Quick Bio Data

Understanding Marr's background is crucial. He grew up in a musical household, was inspired by The Velvet Underground and The Byrds, and developed his signature sound by experimenting with open tunings and capos. His gear choices were practical—he sought a clean, articulate tone that could cut through a mix without distortion. This context helps you hear the song differently: those chords aren't just random shapes; they're the product of a deliberate, melodic mind.

Decoding the Iconic Riff: Basic Chords and Progression

Now, to the heart of the matter: the chords. The entire song revolves around a simple, four-chord progression that loops throughout. In the original key, the chords are G, C, D, and Em (E minor). However, there's a critical detail: Johnny Marr uses a capo on the 2nd fret. This means the shapes you play are actually transposed. Without the capo, you'd be playing in the key of A, but with the capo on the 2nd fret, playing G, C, D, and Em shapes produces the sound in the key of A. For simplicity, we'll discuss the shapes as played with the capo.

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Here is the core progression, repeated throughout the verse and chorus:
G – C – D – Em

Let's break down each chord shape with the capo on the 2nd fret. Remember, the capo moves everything up two semitones, so the sounding chords are A, D, E, and F#m, but your fingering is for G, C, D, and Em.

The Core Chord Shapes

1. G Major (with capo 2nd fret): This is a standard open G shape. Place your capo on the 2nd fret. Your fingers should be:

   • Index finger: 2nd fret of the 5th string (A string).
   • Middle finger: 3rd fret of the 6th string (low E string).
   • Ring finger: 3rd fret of the 1st string (high E string).
   • Pinky: 3rd fret of the 2nd string (B string).
   • Sound Tip: Ensure the 4th string (D) and 3rd string (G) are open. This creates the bright, jangly base.

2. C Major (with capo 2nd fret): This is a standard open C shape.

   • Index finger: 1st fret of the 2nd string (B string).
   • Middle finger: 2nd fret of the 4th string (D string).
   • Ring finger: 3rd fret of the 5th string (A string).
   • Sound Tip: Keep the 1st string (high E) open. This adds the shimmer. Avoid muting the 3rd string (G).

3. D Major (with capo 2nd fret): This is a standard open D shape.

   • Index finger: 2nd fret of the 3rd string (G string).
   • Middle finger: 2nd fret of the 1st string (high E string).
   • Ring finger: 3rd fret of the 2nd string (B string).
   • Sound Tip: This is a tricky shape. Your index finger on the G string is crucial. Mute the low E and A strings with the side of your fretting hand to avoid unwanted notes.

4. E Minor (with capo 2nd fret): This is the easiest—a standard open Em shape.

   • Index finger: 2nd fret of the 5th string (A string).
   • Middle finger: 2nd fret of the 4th string (D string).
   • Sound Tip: Let all six strings ring. The open B and high E strings give it that open, wistful quality.

Practice Drill: Strum each chord cleanly four times, then switch. Use a metronome set to a slow tempo (60 BPM). Focus on no muted strings and a clear, bell-like tone. The goal is not speed but clarity.

The Rhythmic Engine: Strumming and Arpeggio Pattern

Knowing the chords is only half the battle. The magic is in the right-hand technique. Marr doesn't strum these chords in a standard down-up pattern. Instead, he uses a fingerpicked arpeggio that feels like a gentle, persistent rain. The pattern, played in 4/4 time, is essentially a repeating sequence of downstrokes across the higher strings, creating a cascading effect.

Here’s a breakdown of the basic arpeggio pattern for each chord (assuming standard picking, though Marr often uses his thumb and fingers):

For a G chord:

1. Pick the 5th string (A) with a downstroke.
2. Pick the 3rd string (G) with a downstroke.
3. Pick the 2nd string (B) with a downstroke.
4. Pick the 1st string (high E) with a downstroke.
5. (Optional embellishment): After the cycle, quickly pick the open 2nd string (B) again.

This pattern—5, 3, 2, 1—is the foundation. For the C chord, you start on the 5th string (A), but it's fretted. The pattern becomes: 5 (fretted), 3 (open G), 2 (fretted B), 1 (open high E). For D, start on the 4th string (D): 4 (fretted D), 3 (fretted G), 2 (fretted B), 1 (open high E). For Em, it's: 5 (fretted A), 4 (fretted D), 3 (open G), 2 (open B), 1 (open high E).

Key Insight: Notice the pattern isn't rigidly the same for every chord. Marr adapts the starting string based on which bass note makes the most sense melodically. For G and C, he starts on the 5th string. For D, he starts on the 4th. For Em, he starts on the 5th. This subtle variation is what gives the progression its melodic forward motion.

Practice the Pattern Slowly

1. Set your metronome to 96 beats per minute (BPM)—the approximate tempo of the original recording.
2. Count "1 and 2 and 3 and 4 and." Each "and" is an eighth note.
3. Play the arpeggio pattern so that your first pick (on beat 1) is a downstroke on the designated bass string. The subsequent picks fall on the "and" of 1, beat 2, and the "and" of 2.
4. Example for G chord (1 measure):
   • Beat 1: Downstroke on 5th string.
   • "And" of 1: Downstroke on 3rd string.
   • Beat 2: Downstroke on 2nd string.
   • "And" of 2: Downstroke on 1st string.
   • Beats 3 and 4: Rest or a very gentle, quick strum to fill? In the song, it's mostly just the arpeggio pattern repeating. You can play the pattern twice per measure (8 notes) or once (4 notes). The original is sparse; one full arpeggio cycle per measure or even stretched over two measures is authentic.

Pro Tip: Use your thumb for the bass notes (5th or 4th string) and your index and middle fingers for the treble strings. This ** Travis picking**-style technique is central to Marr's sound and gives you more control and dynamics than using a flatpick.

Advanced Techniques for an Authentic Sound

You've got the chords and the basic pattern. To truly capture the song's haunting beauty, you need to layer in the nuances that define Johnny Marr's playing.

1. The "Marr" Mute and Percussive Feel

Listen closely to the recording. Between arpeggio cycles, there's a ghost note or a percussive "chuck." Marr often rests the side of his picking hand on the strings near the bridge, creating a soft, muted thump on the off-beats. This adds rhythm without adding harmony. To practice:

• Play your arpeggio pattern.
• On the "and" of beat 4 (the last "and" before the next chord), lift your fingers off the frets slightly and let your picking hand's heel touch the strings, creating a muted chk sound.
• It's a subtle punctuation that drives the song forward.

2. Dynamic Swells and Volume Control

The song isn't played at a constant volume. There's a gentle crescendo within each chord's arpeggio—the first note is slightly softer, and the sequence grows slightly louder. This mimics the natural decay of a piano or harp. Practice by consciously picking the first note of your pattern a touch lighter and the last note a touch harder. Additionally, the entire song feels like it's played at a mezzo-piano (moderately soft) level. Avoid aggressive, loud strumming.

3. The Signature "Lift" on the Em Chord

Many transcriptions miss this, but listen to the transition into the Em chord. Marr often arpeggiates the Em chord starting on the open B string (2nd string) instead of the fretted A string. This gives the Em a more open, hopeful, yet sad quality. So, for the Em, try this pattern: 2 (open B), 3 (open G), 2 (open B again), 1 (open high E). This small change makes the progression feel less predictable and more melodic.

4. Using a Chorus Pedal (The Secret Sauce)

A huge part of The Smiths' guitar sound is a chorus effect. A chorus pedal thickens the sound by creating a slightly detuned, doubled effect. For home players, a simple stereo chorus setting on a multi-effects pedal or a plugin (if you're recording) is essential. Set the rate slow (around 0.5 Hz) and the depth moderate. This is non-negotiable for authenticity. Without it, the sound will be too dry and thin.

Common Mistakes and How to Fix Them

Even with the right chords, guitarists often stumble into these traps:

Mistake 1: Strumming Instead of Arpeggiating.

• Problem: You're playing a steady down-up strum. This turns the delicate pattern into a generic rock rhythm, losing all nuance.
• Fix:Isolate the right hand. Mute all strings with your left hand. Practice the picking pattern on muted strings until the motion is ingrained. Then, add one chord at a time.

Mistake 2: Rushing the Tempo.

• Problem: The song's power is in its patient, deliberate pace. Playing it too fast makes it sound anxious, not melancholic.
• Fix:Use a metronome religiously. Start at 60 BPM. Only increase the tempo when you can play the pattern cleanly for two minutes straight without rushing. The original is around 96 BPM, but even 80 BPM with perfect feel is better than 100 BPM with sloppiness.

Mistake 3: Muting Unwanted Strings Poorly.

• Problem: The D and G chords (with capo) require you to avoid the low E and A strings. If you hit them, it creates a muddy, dissonant sound.
• Fix:Use the "resting" technique. Let the side of your fretting hand's thumb (or the pad of your thumb) lightly touch the low E string. For the A string, arch your index finger more so it doesn't lay across it. Practice each chord shape alone, strumming all six strings and listening for any thud from the bass strings.

Mistake 4: Ignoring Dynamics.

• Problem: Playing every note with equal volume makes it mechanical.
• Fix:Practice the "swell." Play the arpeggio pattern on one chord. On the first note, pick very softly. On each subsequent note, pick slightly harder until the last note is the loudest. Then, start the next chord softly again. This creates a wave-like motion.

Mistake 5: Forgetting the Capo.

• Problem: Playing the G, C, D, Em shapes without a capo puts the song in the wrong key (A instead of A? Wait, let's clarify: G shape with capo 2 = A. Without capo, G shape is G. The song is in A. So you must use the capo to get the correct key). Playing without it makes it sound wrong compared to the original.
• Fix:Capo on the 2nd fret, always. Double-check by playing an open A string (5th string). It should match the fretted note on your G chord shape's 5th string (which is fretted at the 2nd fret, sounding as A). They must match.

Practice Drills for Mastery

To build muscle memory and musicality, incorporate these focused drills into your routine:

1. The Metronome Ladder: Set your metronome to 60 BPM. Play the progression (G-C-D-Em) with perfect arpeggio technique, one chord per measure. Once flawless for 2 minutes, increase to 70 BPM. Continue in 10 BPM increments until you reach 100 BPM. This builds tempo stability.

2. The "One Finger" Change: To improve chord transition speed, practice changing between G and C using only your index and middle fingers, keeping your ring and pinky in the same relative position. Then, practice C to D by sliding your index finger from the 2nd string (B) to the 3rd string (G). This builds economy of motion.

3. The Dynamic Swell Drill: Play the entire progression. On the first chord (G), play the arpeggio pattern at a piano (soft) volume. On the second chord (C), play it at mezzo-forte (moderately loud). On D, back to piano. On Em, mezzo-forte. This teaches you to control volume musically, not just mechanically.

4. The "Ghost Note" Integration: Once the arpeggio is solid, add the percussive mute on the "and" of 4 for every chord. Count out loud: "1-and-2-and-3-and-4-(chk)." This integrates the rhythmic punctuation.

5. Play-Along with the Original: Load the song. Your goal is not to match every tiny nuance yet, but to stay in time and play the correct chord changes. Start by just changing chords on the downbeat. Then, add the arpeggio. This develops ensemble timing.

The Song's Legacy: Why These Chords Matter

"Please Please Please Let Me Get What I Want" is more than a song; it's a cultural touchstone. Its use in the 1986 film Pretty in Pink introduced it to a massive American audience, cementing its status as the ultimate "sad yet beautiful" indie anthem. The chord progression itself is a masterclass in emotional manipulation. The move from G to C is stable and hopeful. The shift to D introduces tension. The resolution to Em provides a bittersweet, minor-key sadness. This I-V-vi-IV progression (in the key of A: A-E-F#m-D) is a staple of pop music, but Marr's sparse, arpeggiated treatment makes it feel uniquely poignant.

The song's influence is staggering. It paved the way for the jangle pop of bands like R.E.M. and The Feelies, and its DNA can be heard in the work of countless contemporary indie and folk artists. Learning these chords connects you to that lineage. You're not just learning a song; you're learning a harmonic language that speaks of longing and delicate beauty. In an era of complex, virtuosic guitar playing, this song reminds us that power often lies in simplicity, space, and melodic intention.

Conclusion: Your Journey with the Chords

Mastering the "please please please let me get what i want chords" is a rewarding journey that goes far beyond this one song. It’s a gateway to understanding Johnny Marr's entire philosophy: that the guitar's primary role is to serve the song's emotion. You’ve now got the foundational shapes (G, C, D, Em with capo 2), the core arpeggio pattern, the advanced techniques for authenticity, and the drills to build precision. Remember to prioritize clean tone, patient tempo, and dynamic expression over speed.

As you practice, listen deeply to the original recording. Notice the space between notes, the gentle percussive hits, and the way the chorus pedal blooms. Internalize the feeling—it’s one of gentle, hopeful yearning. Once these chords are under your fingers, you have a template. You can apply this arpeggio pattern to other songs, experiment with different chord qualities, or even write your own jangle-pop masterpiece. The true magic isn't just in playing what Marr played, but in understanding why it works, so you can find your own voice within that beautiful, shimmering sound. Now, grab your guitar, put on that capo, and let the music begin.