I’m (A)tryin’ to tell you some thin’ ’bout my life.
(E)May be (A)give me in sight be tween black and white.
And the (E(2))best thing you’ve (E7)ev er done for me
is to help me take my life less se ri ous (D)ly.
It’s on ly life af (A)ter all.
Well (A)tryin’ to tell you some thin’ ’bout my life.
(E)May be (A)give me in sight be tween black and white.
And the (E(2))best thing you’ve (E7)ev er done for me
is to help me take my life less se ri ous (D)ly.
It’s on ly life af (A)ter all.
Well (D)sank it.
I’m crawl ing on your shores.
I (E)went to the (A)doc (C#m)tor, (A)I (D)went to the (D)moun (A)tains.
I (E)looked to the (A)chil (C#m)dren, (A)I (D)drank from the (D)foun (A)tain.
There's (Amaj7)more than one an swer to these (D)ques tions point ing me in a (Asus)crook ed (A)line.
And the (E)less I seek my source for some de fin i tive, the (D)clo ser I (A)am to fine.
The (D)clos er I (A)am to fine.
I (D)night be (A)fore.
And I (D)went in seek ing clar (A)i ty.
I (E)went to the (A)doc (C#m)tor, (A)I (D)went to the (D)moun (A)tains.
I (E)looked to the (A)chil (C#m)dren, (A)I (D)drank from the (D)foun (A)tain.
We (E)went to the (A)doc (C#m)tor, (A)I (D)went to the (D)moun (A)tains.
I (E)looked to the (A)chil (C#m)dren, (A)I (D)drank from the (D)foun (A)tain.
We (E)go to the (A)Bi (C#m)ble, (A)we (D)go through the work (A)out.
We (E)read up on re (A)viv (C#m)al (A)we (D)stand up for the (D)look (A)out There’s (Amaj7)more than one an swer to these (D)ques tions point ing me in a (Asus)crook ed (A)line.
And the (E)less I seek my source for some de fin i tive, the (D)clos er I (A)am to fine.
The (D)clos er I (A)am to fine.
The (D)clos er I (A)am to fine.
This page shows “Closer To Fine” by Indigo Girls in our color-coded kid songbook view — every note is colored by pitch (red C, orange D, yellow E, green F, blue G, purple A, pink B) and the lyrics sit directly under each note, so children can sing along while they play. The song is in the key of A at 90 BPM, a comfortable easy-level arrangement perfect for first-time learners.
This arrangement is a great way to get comfortable with suspended and seventh chord voicings without being overwhelmed — at 90 BPM in the key of A, you have room to breathe. Notice how A, Amaj7, and Asus4 share nearly the same shape in your right hand; often just one finger shifts by a half step, so keep your hand anchored and move only what needs to move. The same idea applies to E, E7, and Esus4. Your left hand stays mostly relaxed with a steady root-fifth pattern that gives the song its folk-style calm. Start hands-separate and loop the verse progression until those sus4 resolutions feel automatic, then add the Bm7-to-C#m transition — that's where most students hesitate. Slow it to 60 BPM if needed, then build back up. This is the song that'll make suspended chords second nature for you, so enjoy the peaceful groove and let the voicings ring.