B| 10 10 10 10
G|9 9 10 10 10 10 9 9 5 5 10 10 10 10 10 10 9 lead intro gtr.
(C)You always (Bb)come to the (F) parties (Dm)too bad your (Am)feathers are (F)for the birds (Bb) All (F)your (A7)needs (Dm)I will (Bb)not let you (F)grieve
Okay that's the main body of the song there is one change and it goes like so:
(Am) Jack of all trades (Eb) Master of none (Bb)Cry all the time cause I'm (G7) not having fun
Bonus Lesson: Some additional harmonic interest is gained in the verses by the use of both minor and major "A" chords. This is a very useful trick for avoiding a cliched sounding progression. It also can be magic if used properly on a section change such as going from C (major) key in the verse to C (minor) key in the chorus. A couple of other interesting points occur in the change when they play an Eb chord and close out the section with a G7. The Eb "feels" strange coming after the root-A chord that proceeds it because the two are an extremely dissonant interval apart: the flatted-fifth. The key to it working is that the Eb chord is the fourth of the next chord (Bb)and also functions as the flatted-seventh of the key defining "F" chord. So it lives in an ethereal harmonic world between its dissonance with the "A" that proceeds it and its affinity for the other more integral (in the context of the song) chords "Bb" and "F." This helps it to sound both strange and yet not out of place simultaneously (kewl, huh?). The "G7" which leads us back 2 the main progression is another chord that sticks out as being a moment. It's the first and only time the chord is used in the song giving it an "air" of significance. It functions as the dominant 5th of the "C" chord which follow so it has a very strong pull toward this chord and smoothly connects u back 2 where u started.