Berikut kunci gitar lengkap lagu Inside And Out dari Feist. Gunakan tombol ▲▼ untuk transpose ke nada yang sesuai suaramu, dan tombol ▶ untuk auto-scroll saat bermain.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = 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 sweet lies don’t give me no rise up , oh , what you’re trying to do Cmaj7 C7 living on your cheatin’ and the pain A ( 7 ) Dm7 grows inside me it’s enough to leave me cryin in the rain G7 G6 love you forever but you’re driving me insane C C9 and i’m hanging on A7b9 A7 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 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 A7 Dm let this moment be forever , we won’t 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 , A# , 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 C you can’t change the way i feel inside F F7\/D# you are the reason for my laughter and my sorrow Dm7 blow out the candle i will burn again tomorrow . Cmaj7 C7 no man on earth can stand between my loving arms A7 Dm and no matter how you hurt me , i will love 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 A# . the piano really 1 emphasizes that A# 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 ( A# , 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 , A# , B , C . ( 3 ) 8 ( 3 ) 8 * * * * F F7\/D# 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 ( G# 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 . - - - - - - - - - - - - - - - - -