You know that feeling when a song starts and the acoustic guitar just sounds... massive? That’s the opening of Switchfoot’s "Dare You To Move." It’s a staple for anyone who picked up a guitar in the 2000s. But here’s the thing: most people play it wrong. They grab a standard Capo 2 or play it in straight E major, and it sounds "fine," but it doesn’t have that ringing, ethereal sustain that Jon Foreman gets on the record. It’s thin. It’s missing the soul.
Learning the dare you to move chords isn't just about memorizing a sequence of finger placements. It’s about understanding how to use drone strings and suspended voicings to create a wall of sound. If you’re just strumming standard barre chords, you’re missing the point of the song’s tension and release. This track, originally from Learning to Breathe and then made famous on The Beautiful Letdown, relies on the interplay between the open E and B strings.
Let's get into why this song works and how you can actually make your acoustic guitar sound like the record.
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The Secret is the Tuning (and the Drones)
Most tutorials will tell you to play this in E Major. They aren't lying. The song is firmly rooted in E. However, if you watch live footage of Switchfoot from the mid-2000s, you’ll notice Jon Foreman often uses specific voicings that keep the high B and E strings ringing open throughout almost the entire progression. This is a common trick in "alt-rock" guitar playing, but it's essential here.
When you play a standard A Major chord, it sounds stable. When you play an Asus2, it sounds like it’s waiting for something. That "waiting" is the emotional core of the song. The tension between the soul and the dirt, as the lyrics say.
Basically, you want to keep your pinky and ring finger glued to the 9th fret (relative to the nut) on the G and D strings for some parts, or let the top strings ring out. If you play a standard C#m barre chord, it sounds too "closed." Try playing a C#m7 or a version where the high strings stay open. It changes the entire vibe. It makes the guitar feel like it has more air in it.
Mastering the Dare You To Move Chords Progression
The verse is where most people trip up because they overcomplicate the rhythm. It’s a driving, steady pulse. The progression follows a fairly standard path: E - Asus2 - E - Asus2.
But wait.
The pre-chorus is where the real movement happens. You’re looking at a F#m to Asus2 transition. Most amateurs play a full F#m barre chord. Don't do that. Instead, try playing an F#m11. You keep the high strings open. It sounds "expensive." It sounds like professional production.
The chorus is the payoff. E - B - C#m - A.
But again, if you play these as standard "campfire" chords, you lose the power. The "B" chord should ideally be a Badd4 or a Bsus4. Why? Because keeping that E string ringing while you play a B chord creates a beautiful dissonance that resolves perfectly when you hit the A. It’s about the resonance.
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Honestly, the bridge is the hardest part to get the "feel" right. It gets heavy. It gets desperate. The chords shift to a C#m - B - A pattern, but the strumming pattern becomes much more aggressive. You aren't just hitting strings; you're trying to push the song forward.
Common Mistakes to Avoid
- Pressing too hard: You don't need a death grip. Since you're using open strings, focus on clean transitions.
- Muting the high E: This is the biggest sin. If your palm or a stray finger touches that high E string, the "shimmer" dies instantly.
- Ignoring the bass note: If you’re playing solo acoustic, you need to emphasize the root notes on the E and A strings to fill the space where the bass guitar would be.
Why the Voicings Matter for the Message
Jon Foreman is a songwriter who cares deeply about the "weight" of a sound. When Switchfoot re-recorded this for The Beautiful Letdown, they spent a massive amount of time on the guitar tones. The dare you to move chords are designed to feel unsettled.
Think about the lyrics: "Welcome to the fallout, welcome to the resistance." The music shouldn't feel comfortable. It should feel like it's pulling you out of a chair. By using those "add" and "sus" chords, you create a musical environment that matches the lyrical theme of being stuck between who you are and who you want to be.
If you use a capo, I usually recommend putting it on the 2nd fret and playing in the "D" shape. This allows for some really cool hammer-ons and pull-offs that are much harder to do in the open E position. Playing in D-shape with a capo on 2 gives you:
- D (sounds like E)
- G (sounds like A)
- Bm (sounds like C#m)
- A (sounds like B)
This "Capo 2" method is actually how many worship leaders and cover artists handle it because it's easier on the hands for a 4-minute song, but if you want the authentic, gritty Switchfoot sound, you stay in open E and work for those stretches.
The Technical Breakdown of the Main Shapes
If you are staying in E major (no capo), here is how I suggest voicing these to get that specific "Switchfoot" shimmer.
E Major: 022100 (Standard, but let it ring).
Badd4: x24440 (The open E at the top is the "magic" note).
C#m7: x46600 (Keep those top two strings open! It sounds huge).
Asus2: x02200 (Simple, effective, and haunting).
When you transition from the C#m7 to the Asus2, you only have to move your index and middle fingers. Your ring and pinky can actually stay mostly in place if you’re using the higher-register versions. This creates "voice leading," where one note stays constant while the others change around it. It’s a trick used by everyone from Bach to Foo Fighters.
Actionable Steps for Your Next Practice Session
Don't just mindlessly strum. If you want to master these chords, you have to be intentional.
Start by practicing the transition from Badd4 to C#m7 without looking at your hand. That jump is the most frequent movement in the chorus and usually where people lose the rhythm.
Next, record yourself on your phone. Listen back. Is the high E string ringing out, or is it getting choked off during the chord changes? If it's getting choked, adjust your thumb position on the back of the neck to give your fingers more of an arch.
Finally, work on the dynamics. The first verse should be a whisper. The second chorus should be a roar. The dare you to move chords don't change, but your velocity does. Hit the strings harder near the bridge for a brighter, more aggressive tone during the bridge, then move back toward the soundhole for a warmer, mellower sound during the final "maybe redemption" lines.
Go grab your guitar. Tune it up—make sure that G string is perfect, because it’s the one that usually goes out first on these big, open chords. Start with the intro riff. Let it ring. Then, just move.
To really nail this, focus on the "pumping" rhythm of the right hand. Keep it moving in 8th notes, even when you aren't hitting the strings. This "ghost strumming" ensures that when you do strike the chords, they land perfectly on the beat, giving the song that relentless, driving energy that defined an entire era of alternative rock. Forget the "perfect" studio version for a second and just try to make the guitar vibrate against your chest. That's when you know you've got the voicings right.