My Guy chords


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You can learn how to play My Guy by Mary Wells!

My guy is a 1964 hit by Motown’s first female superstar Mary Wells.

Written by Smokey Robinson, it’s a great example of the early, sweeter, and more innocent sound of Motown.

The jazzy-sounding licks you hear on the original recording are deeply analyzed in the course.

We still use the pentatonic as our framework, but add some extra notes to create a sweeter, more jazz-influenced sound.

There are two main opportunities to add these licks to the song. The first is over the D7 that appears towards the end of the verse.

In the key of Bb, the D7 is a IIIx chord, the scale used for this lick is a D Minor Blues scale with an added b9. The b9 belongs to chord III and the mode Phrygian.

The second lick is to be found in the turnaround over the Bb chord. Here we use a Bb Major Pentatonic with an added m3rd. This is the major blues scale. Since a G chord is also present during this turnaround, we could also see this as a G minor blues scale. The notes are identical.

To play a specific scale over an individual chord, during a quick progression like this, is what jazz improvisation is all about.

My Guy’s chords provide an achievable introduction to this concept.

Below, you see many chord boxes, these are not all shapes used in the video lesson above but they’re certainly a good starting point.

Notice how small all these shapes are, rarely more than three strings. The trick with the CAGED system is to visualize the full shape (4-6 strings) but only play a maximum of three strings.


My Guy chords and lyrics


Chords for My Guy

||: Bb bass line :|| Cm7 Dm7 |

| Bb Bb6 | Bb Bb6 | Bb Bb6 | Bb Bb6 |
Nothing you could say could tear me away from my guy.
| Bb Bb6 | Bb Bb6 | Bb Bb6 | Bb Bb6 | D7 D D7 | D7 |
Nothing you could do ’cause I’m stuck like glue to my guy.

| Cm7 F7 | Cm7 F |
I’m sticking to my guy like a stamp to a letter,
| Cm7 F7 | Cm7 N.C |
like birds of a feather, we stick together.

| Bb G | C7 F | Bb Bb6 Bb | Cm7 Dm7 |
I’m tellin’ you from the start I can’t be torn apart from my guy.

| Bb Bb6 | Bb Bb6 | Bb Bb6 | Bb Bb6 |
Nothing you could do could make me untrue to my guy (my guy).
| Bb Bb6 | Bb Bb6 | Bb Bb6 | Bb Bb6 | D7 D D7 | D7 |
Nothing you could buy could make me tell a lie to my guy (my guy, my guy, my guy).

| Cm7 F7 | Cm7 F |
I gave my guy my word of honor,
| Cm7 F7 | Cm7 N.C |
to be faithful and I’m gonna,
| Bb G | C7 F | Bb Bb6 Bb | Cm7 Dm7 |
you best be believing I won’t be deceiving my guy.

| Cm7 F7 | Cm7 F7 |
As a matter of opinion, I think he’s tops,
| Cm7 F7 | Bb Bb6 Bb |
my opinion is he’s the cream of the crop.
| Gm7 Dm | Gm7 Dm | C7 | F |
As a matter of taste to be exact, he’s my ideal as a matter of fact.

| Bb Bb6 | Bbmaj7 Bb6 | Bb Bb6 | Bbmaj7 Bb6 |
No muscle-bound man could take my hand from my guy (my guy).
| Bb Bb6 | Bbmaj7 Bb6 | D7 D | D7 D D6 |
No handsome face could ever take the place of my guy (my guy, my guy, my guy).

| Cm7 F7 | Cm7 F |
He may not be a movie star,
| Cm7 F7 | Cm7 N.C |
but when it comes to being happy, we are.

| Bb G | C7 F | Bb Bb6 Bb | Cm7 Dm7 |
There’s not a man today who could take me away from my guy.

||: Bb bass line :|| Cm7 Dm7 |

| Bb Bb6 | Bb Bb6 | Bb Bb6 | Bb Bb6 |
No muscle-bound man (muscle-bound man) could take my hand from my guy (my guy).
| Bb Bb6 | Bbmaj7 Bb6 | D7 D | D7 |
No handsome face (handsome face) could ever take the place of my guy (my guy, my guy, my guy).

| Cm7 F7 | Cm7 F |
He may not be a movie star,
| Cm7 F7 | Cm7 N.C |
but when it comes to being happy, we are.

| Bb G | C7 F | Bb Bb6 Bb | Cm7 Dm7 |
There’s not a man today who could take me away from my guy. What you say?

||: Bb G | C7 F | Bb Bb6 Bb | Cm7 Dm7 :||
There’s not a man today who could take me away from my guy. Tell me more!
There’s not a man today who could take me away from my guy. What’s that?
There’s not a man today who could take me away from my guy.


My Guy chords and progressions

The intro is a Bb bass line riff. Later on, when the breakdown comes in, we play along with it. Here in the intro we just join in with the last two chords.

||: Bb bass line :|| Cm7 Dm7 |

The first verse mainly moves between Bb and Bb6. Towards the end we play D7.

The bridge is a II – V on repeat. Cm7F7.

The turnaround is a classic I – VI – II – V although the VI and II chords are major. BbG C7FBb Bb6 BbCm7Dm7.

After the turnaround, we play exactly the same chords again for the verse, bridge, and another turnaround. Just vary the shapes.

This is followed by a m8 section. Here we play licks, but we still want to know the chords so we can choose the notes accordingly.

| Cm7 F7 | Cm7 F7 | Cm7 F7 | Bb Bb6 Bb |
| Gm7 Dm | Gm7 Dm | C7 | F |

Next up we have another verse, now the chords change slightly.

| Bb Bb6 | Bbmaj7 Bb6 | Bb Bb6 | Bbmaj7 Bb6 |
| Bb Bb6 | Bbmaj7 Bb6 | D7 D | D7 D D6 |

The following bridge and turnaround have the same chords as before.

The breakdown section is the same as the intro, although now we play along with the bass.

The final verse combines what previous verses did, feel free to vary this as you please.

Finally, the outro is a repeated turnaround section to fade.

||: Bb G | C7 F | Bb Bb6 Bb | Cm7 Dm7 :||


Course preview (Guitar Lesson – Step 2)

In the video above, starting at 2:52, you find a preview of My Guy’s guitar lesson, it’s the beginning of step 2 of the course.

In this step, we work on playing the verse all over the neck. There are three examples to work on in this step. Each example has 6 variations. Below you find TAB for the first example.

In the course, you get a loop to play along with the band, first practice each example, then start moving freely around the fretboard.


My Guy | Related pages


My Guy – 8 Guitar Lessons

There are more jazzy-sounding chords to discover when we play My Guy.

During the steps, you’ll get many variations on how you can play each section, ultimately making it possible for you to improvise your guitar part when you play it with the band in the final step.

Go to My Guy – 8 Guitar Lessons.


The Funk Brothers

Motown’s house band didn’t have an official name, only they knew they were the Funk Brothers.

The band played on pretty much everything Motown released until ’72 when they relocated to Los Angeles and the band found a note on the hit factory door.

Go to The Funk Brothers.


Mary Wells

Mary Wells was a female superstar for early Motown and an important part of the label’s success. Smokey Robinson and Motown’s main songwriting team Holland-Dozier-Holland all wrote for her.

Things started to go sour when Berry Gordy started prioritizing other singers.

Go to Mary Wells.


Smokey Robinson

Smokey was a huge part of Motown’s success. Partly with his band The Miracles, but he also wrote and produced a big part of Motown’s legendary catalog.

Robinson’s hits include Shop Around, You’ve Really Got a Hold on Me, The Tears of a Clown, My Guy, My Girl, and Get Ready.

Go to Smokey Robinson.


Intermediate Electric Songs

Learn all these Motown/Soul songs and you will have gained yourself a repertoire so you can jam or even join a working band.

Study these songs in-depth and you will map out the fretboard, master the CAGED system and learn how to design a rhythm guitar part that works in a band.

Go to Intermediate Electric Songs.


Song Book

As a guitarist, a repertoire is the greatest asset you can acquire. It is your ticket to playing with other musicians.

To help you on this journey, I’ve gathered tunes I play with acoustic duos, Jazz trios, Indie/Rock/Party bands as well as large Soul/Motown ensembles.

Go to Song Book.


Copyright + Comments

Studying great songs is the best way for a musician to develop, we believe displaying chords and lyrics falls under “fair use in education”.

If you are the copyright holder and do not wish to be represented in this way, or want to comment on anything in these lessons, do reach out.

Go to Contact.