=================================================== Feist - "Inside And Out" from the album Let It Die =================================================== *Chords for solo guitar, with thoughts on chord voicings* This is meant to be a transcription of the album version in 4/4 time, super cool 70s drum beat, etc, not the waltzy acoustic live version, though arranged with an acoustic guitar in mind. ----Verse 1----- Am11/E Baby I can't figure it out, your kisses taste like honey Am11/E Am7/G (302020@1) Sweet lies don't give me no rise up, oh, what you're trying to do Cmaj7 (x32000@1) C7 (x32310@1) Living on your cheatin' and the pain [ch]A(7)[/ch] Dm7 grows inside me it's enough to leave me cryin in the rain G7 (320001@1) G6 (320000@1) Love you forever but you're driving me insane C (x32010@1) C9and (x3233x@1)I'm hanging on A7b9 A7 (x02020@1) Edim/A Dm7/A oh oh oh oh -----Verse 2---- Am11/E I'll win I'll never give in, our love has got the power Am11/E Too many lovers in one life time ain't good for you Cmaj7 (x32000@1) C7! You treat me like a vision in the night, A7! Dm7 someone there to stand behind you when your world ain't working right Dm7 G^ I ain't no vision I'm the girl who -----Chorus----- Dm (xx0231@1) G^/E Am7Loves (x02010@1) you inside and out Fmaj7/G Cmaj7* Backwards and forwards with my heart hanging out Dm (xx0231@1) G^/E Am7I (x02010@1) love no other way Fmaj7/G What are we gonna do if we lose that fire ------Verse 3---- Am11/E Wrap myself up and take me home again Am11/E Too many heartaches in my lifetime ain't good for me Cmaj7 (x32000@1) C7! You figure it's the love that keeps you warm A7 (x02020@1) DmLet (xx0231@1)this moment be forever, we won't ever feel the storm Dm (xx0231@1) G^ I ain't no vision, I'm the girl who -----Chorus----- -----Bridge----- Cm7 Don't try to tell me that it's over (A,Bb,B) I can't hear a word I can't hear a line No girl could love you more And that's what I'm cryin' for CYou (x32010@1)can't change the way I feel inside F (133211@1) F7/Eb You are the reason for my laughter and my sorrow Dm7 Blow out the candle I will burn again tomorrow. Cmaj7 (x32000@1) C7No (x32310@1)man on earth can stand between my loving arms A7 (x02020@1) DmAnd (xx0231@1)no matter how you hurt me, I will love you till I die Dm (xx0231@1) G^/D I ain't no vision, I'm the girl who ---Chorus-- ---Outro--- Dm7 Em7 Am7 (barre chords here, "jazz" Am7 [no fifth above root]) -------------------------- Thoughts on the chords: -------------------------- **** Am11/E * I'm calling this Am11 even though there's no 7th, because 0 X it's the best I could reason. Use that second "chord" as the 1 3 alternating melody line in the intro. Obviously add in the 2 2 A-C-D bass line at the appropriate place. (0) X X X 0 X **** Cmaj7 I think it's nicer to leave the E on the A string out for this, 0 make it less muddy and helps emphasize the major 7th because...-> 0 0 X (use a different voicing [shown later] for chorus Cmaj7) 3 X **** C7 ->...you almost want that Cmaj7 to sound like the B is on top to 0 make smooth voice leading from the B to the Bb. The piano REALLY 1 emphasizes that Bb in the second verse (see C7!) 3 2 3 X **** A7 If you decide to use the 7th in the first verse, I suggest this 0 voicing. In the second verse (A7!), it sounds more like the G 2 should be on top (3rd fret, high e string). The piano actually (2) leads it like so: G E C#. Pull off the G on the e string to an 2 open e, then emphasize the C# on the 2nd fret, B string. 0 **** Dm7 I think this barre chord voicing works nicely. Use the high A at (5) the end of the second verse (before the chorus) and during the 6 chorus. 5 7 5 X **** G7 Fairly standard voicing, might want to come up with something 1 different. What I really can't decide is the G6 that comes next, 0 or whether it's a G6 at all. Let up on the 7th (F, 1st fret, 0 high e string) and see what you think. The "6" (which is the E) 0 is emphasized in the vocal anyway. 2 3 **** A7b9 Edim/A These two are actually the same chord just voiced 6 3 differently (because of the relationship of the notes 5 2 in a full diminished chord) but I'll name them separate 6 3 for clarity. Make sure to voice the melody on top of the 5 2 the chord on the guitar (Bb, A, G, F). Do this as you see 0 0 fit with the A7 and the Dm in that descending sequence. (5) (5) Keep that steady 8th note bass line with the open A. **** G^ Just a nice higher voicing for the pre-chorus line and chorus. 7 Keeps the B on top of the chord. Obviously just add a low open E 8 for the G^/E. You might also look at this chord as an Em7, and 7 you might also try an Em9 (add an F# on top, 7th fret B string). 9 10 X **** Am7 (x02010@1)5 Typical jazz minor 7th voicing. Bar your ring finger across 5 the top four strings, middle finger on the low string. 5 5 X 5 **** Fmaj7/G Might also be called Gmaj13, probably easier to think of it (0) as Fmaj7/G though. In all honesty, not sure about this chord. 1 2 3 X 3 **** Cmaj7* Another typical maj7 voicing but I think any maj7 will 3 work here, though try to keep that G on top. 5 4 5 3 X **** Cm7 So here it almost sounds appropriate just to alternate between X the notes. Let them ring. Choose the position to play it on. X Same pattern for that bass line "walk": A, Bb, B, C. (3) 8 (3) 8 **** F F7/Eb Dm X X X Basically walk the bass down for this. 6 6 6 Might be interesting on the fourth measure to make 5 5 5 the Dm a half diminished (Ab instead of A in the 7 7 7 chord), though maybe not authentic. 8 6 5 X X X ----------------- Hope someone enjoys this! Feel free to steal it and edit it as your own, with the intention of accuracy! Might make a YouTube instructional video for this. Look for it under username ltaurum, or message me for any thoughts or corrections. -----------------
