Everyone thinks they know how to play this song. You grab a guitar, find a chord sheet online, and start strumming a basic 1-4-5 progression in E major. But then you listen to Elvis Presley’s 1957 version—the definitive one, honestly—and you realize something is off. There’s a specific, localized tension in the chords to blue christmas that most campfire players completely miss. It isn't just a country song. It’s a masterclass in using "accidental" notes to mimic the sound of a literal sob.
If you’re just hitting the major chords, you’re missing the point of the heartache.
Written by Billy Hayes and Jay W. Johnson, the song actually sat around for a bit before it became the juggernaut we know today. Ernest Tubb did it first in 1948, leaning heavily into that Texas Honky Tonk vibe. But when Elvis walked into Radio Recorders in Hollywood, he changed the harmonic DNA of the track. He introduced a specific kind of chromatic movement that makes the listener feel the "blue" in the title.
The Core Structure: It’s All About the Secondary Dominant
Most people see the chords to blue christmas and think it’s a standard three-chord shuffle. It isn't. While the song is typically played in the key of E Major (or B Major if you're following the original Presley recording pitch, which actually sits a bit sharp), the "secret sauce" is the B7 to E move—specifically how it handles the chromatic climb.
Let’s look at the standard E Major progression. You have your E, your A, and your B7. Simple, right? Wrong. The moment the lyrics hit "decorations of red on a green Christmas tree," the song introduces a F#7 chord (the II7). This is a secondary dominant.
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In music theory terms, you’re basically "borrowing" a chord from another key to create a sense of temporary longing before resolving back to the home key. When you play that F#7 (or F#9 if you want that jazzy Elvis flair), you are physically creating a dissonance that demands to be fixed. It’s the musical equivalent of a lump in your throat. If you just play an F# minor there, the song loses its teeth. It becomes a generic ballad. You need that major third in the F# chord to make the transition to B7 feel earned.
Why Elvis’s Version Feels Different
Presley wasn't a theorist. He was an instinctual genius. If you listen closely to the backing vocals—the famous "woo-woo-woo" parts by Millie Kirkham and the Jordanaires—they are outlining the extensions of these chords.
While the guitar is holding down the root notes, the singers are hitting the 6ths and 9ths. This creates a "wall of sound" effect that makes a simple E major chord sound much thicker. When you’re looking up chords to blue christmas, don't just settle for the triads. Try playing an E6 instead of a standard E. It adds a bit of that 1950s lounge sophistication.
The rhythm is also doing heavy lifting here. It’s a shuffle, but a lazy one. If you play it too "straight," you lose the swing. Think of it as a heartbeat that’s a little bit slow because the person is depressed. That’s the vibe.
The Tricky Turnaround
The bridge of the song is where most amateur guitarists trip up. You’ve been coasting on E and B7, and suddenly you’re hit with a quick transition.
- E Major (I)
- E7 (I7) - This creates the pull toward the next chord.
- A Major (IV) - The "subdominant" peak of the phrase.
- Am (iv) - Crucial Step. Switching from A major to A minor is the ultimate "sad" trope in songwriting. It’s called a minor subdominant. It’s the sound of a heart actually breaking.
When you hit that A minor on the word "blue," you’re leaning into a flat-6th interval that doesn't exist in the natural E major scale. It’s a shock to the system. Most online tabs will skip this and just stay on the A major. Don't be that guy. Play the A minor. Your audience might not know why it sounds better, but they will feel it.
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Choosing the Right Key for Your Voice
Elvis recorded it in B Major, which is a nightmare for beginner guitarists because it involves a lot of barre chords. If you want to keep your sanity, use a capo.
- Capo 2nd Fret: Play using D Major shapes. This is great for lower voices.
- Capo 4th Fret: Play using G Major shapes. This gives you a nice, bright "jingle" sound.
- Open E: The most common way to play it. It allows for those deep, resonant low notes that mimic the bass line.
Common Mistakes to Avoid
One big mistake is over-complicating the strumming pattern. This isn't a modern pop song. You aren't trying to fill every millisecond with sound. Space is your friend.
Another issue? The tempo. People tend to speed up when they get to the chorus because they’re excited. But the chords to blue christmas need room to breathe. If you rush the F#7 to B7 transition, the "blue" feeling vanishes. You want to linger on that B7 just a heartbeat longer than you think you should.
Gear and Tone
If you're playing this on electric guitar, you want a "slapback" echo. This was the hallmark of the Sun Records sound, and even though Elvis had moved to RCA by '57, he kept that DNA. Use a clean setting on your amp, crank the reverb, and set a very short delay (around 80-120ms) with only one or two repeats.
On an acoustic, use your thumb for the bass notes. This gives it a "thump" that feels more like a 1940s recording. The pick is often too harsh for a song this sentimental.
Mastering the Dynamics
A song about being lonely shouldn't be loud. Start the first verse almost at a whisper. As the "decorations of red" line comes in, let the volume swell slightly. The loudest point should be the bridge, where the realization of the "blue" holiday really sets in. Then, bring it back down for the final "Blue, blue, blue Christmas" outro.
If you’re playing in a band, tell your drummer to stay off the crash cymbals. Brushes or light sticks on the snare are all you need. The focus should always be on the vocal melody and the underlying tension of those shifting major-to-minor chords.
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Practical Next Steps for Your Practice
To truly master the chords to blue christmas, stop looking at the lyrics and start listening to the intervals.
- Step 1: Practice the transition from A Major to A Minor. Get used to that "deflating" sound. It’s the most important emotional pivot in the song.
- Step 2: Experiment with the F#7. Try playing it as a dominant 7th chord (2-4-2-3-2-2) to get that gritty, bluesy edge that Elvis loved.
- Step 3: Record yourself playing it at a very slow tempo. If it sounds good slow, it will sound amazing when you bring it up to the standard 94 BPM.
- Step 4: Work on your "Elvis growl" if you’re singing, but don't overdo it. The sincerity of the chords is what carries the performance, not the imitation of a legend.
Focus on the minor subdominant (the A minor chord) during the bridge to capture the authentic melancholy of the 1957 recording. Use a capo on the second fret if you want to match the original key without using difficult barre chords.
Once you have the basic E-A-B7-F#7-Am structure down, pay attention to your "blue notes"—those slight bends on the G string—to give the song its final, polished country-soul feel.