Chordyes

ทิ้งฉันไว้ (leave Me Behind)

Soul After Six

A 조로 된 Soul After Six의 ทิ้งฉันไว้ (leave Me Behind) 기타 코드 & 가사

Level: 고급 연대: 2000s 장르: R&B / Soul 테마: 이별의 아픔 분위기: Sad / Melancholy 가사 보기 Youtube 
Intro
  Amaj7   C#m7   Am7   F7  [x2]

Verse
Am7เจ็บและจำกับความDm7รัก เจ็บและช้ำนั้นเกAm7ินกว่าจะกล่าวคำอธิบาย    Dm7​
Am7เกิดแนวทางที่หDm7ัวใจ       อAm7ยู่ไปได้โดยไม่มีเDm7ธอ

Verse 2
Am7แต่เธอก็คืนกลับมาDm7หา กลับมาย้อนเวลาAm7ให้เหมือนก่อนDm7​
Am7และแววตาช่างเว้าวอDm7น            ให้เAm7ดินเคียงข้างกันไป Dm7    E7​

Pre-Hook
Amaj7ฉันต้องซ้ำก็Gเพราะใคร ต้องหลงให้ใF7ครจนใจอ่อน     E7​
Amaj7ฉันต้องขอพักหัวใจ  G  เก็บไว้ใหF7้ใจได้E7พักผ่อน

Hook
(ทAm7ิ้งฉันไว้ตรงนั้น)ทิ้งฉันไว้ที่ตรงDm7นั้น(ทิ้งฉันไว้ตรงนั้น) ไม่พร้อมให้Am7ใครเดินเข้ามา   Dm7​
Am7(ทิ้งฉันไว้ตรงนั้น)ทิ้งฉันไว้ที่Dm7ตรงนั้น(ทิ้งฉันไว้ตรงนั้น) ไม่พร้อมให้Am7ใครเดินเข้ามา      Dm7    E7​
(อย่าหวนคืนกลับมาหา)

Outro
  Amaj7   C#m7   Am7   F7  [x4]
다른 조로도 이용 가능: Dmaj7 (원곡 조) C E G

FAQ

ทิ้งฉันไว้ (leave Me Behind)의 코드는 무엇인가요?

ทิ้งฉันไว้ (leave Me Behind)의 코드는 다음과 같습니다: Amaj7, C#m7, Am7, F7, Dm7, E7, G

ทิ้งฉันไว้ (leave Me Behind)의 원곡 조는 무엇인가요?

원곡 조는 Dmaj7입니다.

ทิ้งฉันไว้ (leave Me Behind)을(를) 연주하는 난이도는 어느 정도인가요?

난이도는 Advanced입니다.

ทิ้งฉันไว้ (leave Me Behind)을(를) 다른 조로 연주할 수 있나요?

네. 이조 기능을 사용해 원하는 조로 바꿀 수 있습니다.

ทิ้งฉันไว้ (leave Me Behind)을(를) 어쿠스틱 기타로 연주할 수 있나요?

네. 이 코드는 어쿠스틱과 일렉트릭 기타 모두에서 사용 가능합니다.

ทิ้งฉันไว้ (leave Me Behind)을(를) 우쿨렐레로 연주할 수 있나요?

ทิ้งฉันไว้ (leave Me Behind) 코드는 각각의 코드 모양을 사용해 기타나 우쿨렐레로 연주할 수 있습니다.

ทิ้งฉันไว้ (leave Me Behind)에는 몇 개의 코드가 사용되나요?

ทิ้งฉันไว้ (leave Me Behind)에는 7개의 코드가 사용됩니다: Amaj7, C#m7, Am7, F7, Dm7, E7, G

ทิ้งฉันไว้ (leave Me Behind)을(를) 연주하는 가장 쉬운 방법은 무엇인가요?

이조 기능을 사용해 여러분의 음역대에 더 잘 맞거나 더 쉬운 코드 모양을 사용하는 조로 바꿀 수 있습니다.

ทิ้งฉันไว้ (leave Me Behind)은(는) 어느 연대에 발매되었나요?

ทิ้งฉันไว้ (leave Me Behind)은(는) 2000에 발매되었습니다. 2000의 노래 더 보기

ทิ้งฉันไว้ (leave Me Behind)에 더 쉬운 코드 버전이 있나요?

네. 간단하게 버튼을 누르면 ทิ้งฉันไว้ (leave Me Behind)의 코드를 초보자에게 맞는 버전으로 바꿀 수 있어요 - 곡의 키나 코드 진행은 그대로 유지하면서 maj7, m7, 9th 같은 고급 확장 코드만 제거돼요.

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