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] Sweet lies don't give me no rise up, oh, what you're [Am7/G]trying to do
[Cmaj7] Living on your [C7]cheatin' and the pain
grows ins[A(7)]ide me it's enough to leave me [Dm7]cryin in the rain
[G7] Love you forever but you're [G6]driving me insane
and I'm [C]hanging [C9]on
[A7b9]oh [A7]oh [Edim/A]oh [Dm7/A] 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 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 G^/E Am7
Loves you inside and out
Fmaj7/G Cmaj7
Backwards and forwards with my heart hanging out
Dm G^/E Am7
I 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 C7!
You figure it's the love that keeps you warm
Let this [A7]moment be forever, we won't [Dm]ever feel the storm
Dm 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
You can't change the way I feel inside[C]
[F]You are the reason for my [F7/Eb]laughter and my sorrow
[Dm7]Blow out the candle I will burn again tomorrow.
[Cmaj7]No man on earth can stand b[C7]etween my loving arms
And no [A7]matter how you hurt me, I will l[Dm]ove you till I die
Dm 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] 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]X [F7/Eb]X [Dm]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.
-----------------
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] Sweet lies don't give me no rise up, oh, what you're [Am7/G]trying to do
[Cmaj7] Living on your [C7]cheatin' and the pain
grows ins[A(7)]ide me it's enough to leave me [Dm7]cryin in the rain
[G7] Love you forever but you're [G6]driving me insane
and I'm [C]hanging [C9]on
[A7b9]oh [A7]oh [Edim/A]oh [Dm7/A] 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 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 G^/E Am7
Loves you inside and out
Fmaj7/G Cmaj7
Backwards and forwards with my heart hanging out
Dm G^/E Am7
I 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 C7!
You figure it's the love that keeps you warm
Let this [A7]moment be forever, we won't [Dm]ever feel the storm
Dm 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
You can't change the way I feel inside[C]
[F]You are the reason for my [F7/Eb]laughter and my sorrow
[Dm7]Blow out the candle I will burn again tomorrow.
[Cmaj7]No man on earth can stand b[C7]etween my loving arms
And no [A7]matter how you hurt me, I will l[Dm]ove you till I die
Dm 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] 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]X [F7/Eb]X [Dm]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.
-----------------
