That Funny Feeling is a soft, conversational acoustic song that suits a simple guitar cover; here you get chord shapes, capo and transposition options, rhythm patterns, fingerstyle arrangements, and a straightforward practice roadmap to play a faithful version quickly.
Quick playability snapshot and details from the original recording
The song moves at a relaxed tempo around 72–80 BPM, which favors gentle strumming or slow fingerpicking rather than fast flatpicking.
The original arrangement places the guitar as a supportive, rhythmic instrument with occasional melodic fills; players should prioritize steady chord changes and clear tone over technical flash.
Typical difficulty: beginner–intermediate if you stick to open chords and a simple strum; intermediate players can add partial barres and color voicings for a closer match.
Common intents tied to this query include: finding a chord sheet, figuring capo placement, locating easy or beginner versions, and locating fingerstyle tabs for a mellow solo cover.
How the original key and vocal range shape chord choices
Matching the singer’s range often dictates capo or transposition: move the capo up a fret to raise the pitch by a semitone while keeping the same chord shapes.
Quick check for fit: sing the main melody on a comfortable phrase and test two frets up and two frets down; if the chorus forces you to strain, move the capo until the chorus sits comfortably.
If you need to drop the key significantly, use barre shapes instead of high capo positions to retain fuller voicings and low bass notes.
Full chord inventory: every chord shape you’ll need for an accurate cover
Most verified covers use this core set: G, D, C, Em, Am, Bm, plus common color shapes Em7, Asus2, Csus2, Dsus4, G/B.
Look for these unusual flavors: sus2 and add9 shapes add a gentle, open-sounding tension that matches the song’s mood; use them sparingly on turnarounds and chorus entries.
Learn these voicings first: open G, open C, Em (open), D (open), and Am (open); they cover most basic progressions and keep left-hand movement minimal.
Handy chord diagrams and fretboard shortcuts
For quick changes: use a partial G (3rd fret low E, 2nd fret A, open others) to move to C and Em with minimal finger travel.
Replace full Bm with a partial barre on 2nd fret (A-string rooted) or play Bm7 open-voicing to keep sound full but easier to switch.
Sus substitutions: switch D → Dsus4 (add pinky on 3rd fret B string) to hold tension across a vocal line without altering harmony.
Measure-by-measure chord progression mapped to song sections
Intro (4 bars): | Em | C | G | D | — repeat once for the recorded feel and to set the groove.
Verse (8 bars typical): | Em | C | G | D | Em | C | G | D | — keep steady downstrokes on beats 1 and 3, light upstrokes on 2 and 4.
Pre-chorus (4 bars): | C | D | Em | Em | — hold Em on the last bar for a vocal lead-in.
Chorus (8 bars): | G | D | Em | C | G | D | Em | C | — common repeats; add sus2 or add9 on the second pass for color.
Bridge (4–8 bars optional): | Am | Em | G | D | — use a fingerpicked pattern here to separate dynamics.
Outro: mirror the intro progression and fade or end on a sustained G or Em depending on vocalist preference.
Quick reference chord chart for practice sessions
Intro: Em · C · G · D
Verse: Em · C · G · D (x2)
Pre-Chorus: C · D · Em · Em
Chorus: G · D · Em · C (x2)
Bridge: Am · Em · G · D
Strumming patterns and rhythm cues that match the recorded groove
Primary strum: D – D U – U D U with light accents on the 1 and the “&” of 2; keeps the pocket steady without overpowering vocals.
Variant for verse: soft palm-muted downstrokes on beats 1 and 3, light open upstrokes to let space for the voice.
Chorus push: open up the right hand, add fuller ringing chords and stronger accents on beat 1 to create lift.
Tips for internalizing the groove with metronome and clapping drills
Practice plan: set metronome to 60 BPM, play the progression two bars per click, then raise tempo by 4 BPM until you reach target tempo and feel relaxed.
Subdivision drill: clap quarter notes, then move to eighth-note subdivisions, then mark the syncopated accents (the “&” of 2 and 4) with a louder clap.
Fingerpicking and arpeggio arrangements for a mellow cover
Pattern A (basic rolling): Thumb on bass note (root), index on G, middle on B, ring on high E — repeat: T, i, m, r, m, i. Works across Em, C, G, D.
Pattern B (Travis feel): Thumb alternates root and fifth (T: bass string, then lower string), while fingers pick higher strings on off-beats to keep melody movement.
Add simple melodic fills: hammer-on the 2nd fret B string during an Em bar or slide the high E from open to 2nd fret between chords for vocal-like responses.
Hybrid picking and thumb-picking options for fuller sound
Hybrid approach: use a pick for the bass attack on beat 1, then finger-pluck higher strings for inner motion; that keeps drive and clarity simultaneously.
Thumb-picking tip: keep thumb anchored to alternating bass; this preserves harmonic motion while your fingers play melody or inner-voice fills.
Capo placement and transposition: find a singable key in seconds
Capo on 2nd fret: play open shapes as written and raise pitch by a whole step; capo on 3rd or 4th fret moves to higher female-friendly keys without learning new shapes.
If you need a lower key than open shapes allow, transpose chords down by one or two steps and use barre chords to keep bass range deep.
Quick transposition cheat-sheet
Transpose up one semitone: move all chord shapes up one fret or put capo 1 and play same shapes; example G→G# (Ab), D→D# (Eb), Em→Fm.
Common comfortable keys: Male singers often prefer G or A shapes (capo optional); female singers often prefer capo on 3–5 with G/C shapes for easier voicings.
Beginner-friendly simplified arrangement and easy-chord substitutions
Minimal set: Em, C, G, D — these four open chords cover the whole song with simple strumming and minimal left-hand movement.
Substitutions: if Bm is used in some arrangements, play Bm7 or leave it as Em or Dsus4 to keep transitions simple while preserving harmony.
Two-minute micro-arrangement: play intro once, sing verse with downstroke-on-1 strum pattern, play chorus with fuller strums, end on an Em hold.
Common minimal mistakes to avoid when simplifying
Avoid muddy bass: when replacing barre chords with open shapes, prioritize a clear root note—mute low strings that conflict with the intended bass.
Watch voice-leading: don’t jump voicings across large fretboard distances; move one finger at a time to keep transitions clean and musical.
Advanced voicings, passing chords, and tasteful embellishments
Add color: use Asus2 and Csus2 as replacements for A and C to add air without changing function; use add9 on G for a warm, roomy chorus sound.
Passing chord idea: step a bass walk between Em → C by inserting an Em7 or D/F# for a smooth descending bass line.
Embellishments: tasteful hammer-ons inside sustained chords and quick slide-ins on the B string mimic vocal inflections without clutter.
When to keep it simple vs when to embellish
Keep it simple: practice runs, early gigs, and sing-along settings—prioritize rhythm and clean changes over ornamentation.
Embellish: recording sessions or solo performances where you control the mix—add subtle fills, partial barres, and bass movement for interest.
Aligning chords to lyrics and building a playable lyric-chord chart (without reproducing copyrighted lyrics)
Method: count beats per bar, mark chord names above the syllable on beat 1, use slashes for quick changes and repeat markers for standard sections.
Compressing bars: if a line requires two chords in one vocal phrase, mark a slash and write the two chord names separated by “/” above the lyric center point.
Printable template: four-line staff per system, chord names above measure numbers, left margin for capo/key and tempo—use large, bold chord labels for stage reading.
How to read and write a chord chart for live gigging
Legibility rules: write chord names in caps, use shorthand tags like “V” for verse, “C” for chorus, and mark dynamics (p = soft, f = loud) beside section headings.
Live notations: add “tag” for extended last bar, “vamp x4” for looped sections, and “capo 3” at the top so stage crew and bandmates know the setup instantly.
Common obstacles and troubleshooting for smoother chord changes and tone
Muted strings: lift thumb off the low E to avoid accidental muting, curl fingertips to press strings cleanly, and keep wrist relaxed for faster pivots.
Buzzing: check nut slot height and finger pressure; press slightly closer to the frets during transitions to avoid dead notes.
Timing issues: isolate problem measures and practice them at 50% tempo with a metronome, then increase gradually while keeping dynamics consistent.
Fast fixes you can apply in 5–15 minutes
Warm-up: 3 minutes of chromatic finger stretches and open-chord changes between Em → C → G → D to build callus and smooth transitions.
Tonal tweaks: slightly raise capo position if strings sound muddy, or switch to a lighter gauge for easier fretting if barre chords feel stiff.
Practice plan and a 2-week roadmap to go from zero to confident cover
Days 1–3: memorize chord shapes, practice clean changes between Em, C, G, D for 10–15 minutes daily.
Days 4–7: lock the verse and chorus progressions with the chosen strum; add metronome work and 2–3 slow runs through entire song.
Days 8–14: add dynamics, fingerstyle variations, and a performance run-through once per day; record short clips to assess timing and tone.
How to stage the song for performance: dynamics and pacing
Intro build: start soft with fingerpicking for first verse, add strummed rhythm on second verse to lift energy into the chorus.
Last chorus: open up the strum, add higher-register embellishments, or drop to fingerstyle for a stripped final line depending on emotional payoff.
Recording and arrangement tips for a compelling guitar-only cover
Tone choice: a dry, lightly compressed acoustic with subtle room reverb works best for intimacy; for electric, use a clean amp with mild chorus or plate reverb.
Layering: record a base rhythm pass, then double-track a second rhythm with slight voicing changes or a fingerstyle overdub to create depth.
Loop pedal plan: lay down a single rhythm loop, add a low bass line if possible, then solo with fingerpicked fills while avoiding overcrowding.
Publishing and performance notes for online covers
Credit the original songwriter in video descriptions and use platform tools for licensing where required; list capo and key in your caption for viewers who want to play along.
Clip length: 60–90 seconds works well for social previews; full-song uploads should follow platform copyright rules and proper credits.
Next steps: related songs and resources to expand your chord vocabulary
Similar songs to practice with these progressions: singer-songwriter tracks in G/Em/C/D families and mellow mid-tempo ballads that use open sus/add9 voicings.
Recommended resources: trusted chord/tab sites for comparisons, fingerstyle lesson videos that demonstrate Travis picking, and backing-track tools to practice tempo variations.
Practice ladder: link this song’s Em→C→G→D motion to exercises in diatonic movement and relative minor relationships to solidify understanding and transfer skills.
