You know that jangly, ethereal acoustic sound that defines the late 90s? That's Sixpence None the Richer. It’s Leigh Nash’s airy vocals, sure, but the soul of that track is Matt Slocum’s guitar work. If you’re trying to figure out how to play Kiss Me on guitar, you’ve probably realized it sounds a lot more complicated than it actually is. It’s dreamy. It’s melodic. Honestly, it’s one of those songs that makes everyone in the room stop and smile the second they hear that opening D major chord.
But here’s the thing. Most tabs you find online are slightly "off." They either overcomplicate the fingering or they miss the subtle movement in the bass line that gives the song its rhythmic sway. To get it right, you need to understand that this isn't just a campfire strum-along; it’s a lesson in using a capo to create specific tonal colors.
The Secret Sauce: Capo and Tuning
First things first. Put your tuner away for a second—well, don't put it away, but make sure you're in standard tuning ($E A D G B e$). Now, grab a capo. You absolutely need one for this. To match the original recording from their 1997 self-titled album, you need to place the capo on the 3rd fret.
Why the 3rd fret? Because it allows you to play open chord shapes while sounding in the key of Eb major. If you try to play this without a capo using barre chords, you’ll lose that ringing, bell-like quality. It’ll sound muddy. Plus, your hand will cramp up halfway through the first chorus. By using the capo, you get to utilize those open strings, which are essential for the "shimmer" effect.
Those Famous Opening Chords
The intro and the verses follow a specific descending pattern. Even though we’re technically in Eb, we’re going to think in the "shape" of D.
The progression is basically D - Dmaj7 - D7 - Dmaj7.
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Wait. Don’t just strum a standard D7. To really capture the vibe of how to play Kiss Me on guitar, you want to keep the high E string ringing out or even muted in a way that emphasizes the internal movement of the notes.
- Start with a standard D Major shape.
- Transition to a Dmaj7. You do this by barring the top three strings (G, B, and E) at the second fret (relative to the capo). It creates that "yearning" sound.
- Move to a D7.
- Back to the Dmaj7.
It’s a cycle. It feels like a pendulum swinging. Most beginners mess up the rhythm here. It isn't a straight 4/4 "down-down-up-up-down." It’s more syncopated. You want to accent the off-beats. Think of it as a light, airy skip. If you're hitting the strings too hard, you're killing the mood. Use a thin pick—something around 0.50mm—to get that percussive "click" without the heavy low-end thump.
Navigating the Chorus and that "Swing"
When you hit the chorus—the "Oh, kiss me, beneath the milky twilight" part—the energy shifts. We move away from that descending D pattern.
The chords for the chorus are roughly:
Em - A - D - Bm
But Matt Slocum doesn't just play "cowboy chords" here. If you listen closely to the 1998 single version (the one that ended up on Dawson's Creek), there's a lot of melodic movement. When you play the Em, try adding your pinky to the 3rd fret of the B string. It adds a bit of tension that resolves beautifully when you move to the A7.
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Speaking of the A7, don't just play a boring A major. Use an A7sus4 or just a regular A7. That flat seventh note (the open G string in this case) provides the "lift" needed to get back to the D major.
The Tricky Bridge Section
The bridge is where most people get lost. "Bring, bring, bring your flowered hat..."
The progression shifts to Em - A - D - D/C# - Bm - A - G - A.
That D/C# is the "money note." It’s a passing tone. You’re essentially walking the bass note down from the D (4th string) to the Bm. It sounds sophisticated, but it's just a finger movement. If you skip that C# bass note, the song feels jumpy and unfinished.
You’ve got to be careful with your strumming hand here. The bridge is more driving. It’s the "climax" of the song's structure before it drops back into that gentle, swinging verse. If you're playing solo acoustic, this is where you can really dig in and increase your volume slightly.
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Common Mistakes to Avoid
Most people play this song way too fast. It’s tempting. The rhythm is catchy. But if you rush it, you lose the "milky twilight" atmosphere. The tempo is roughly 100 BPM. Keep it steady.
Another huge mistake? Ignoring the G chord in the chorus. In the line "Lead me out on the moonlit floor," that G needs to be played with the high G (3rd fret, high E string) to keep the high-end frequency consistent with the D chords you played earlier. Consistency in the "top" notes of your chords is what makes a guitar part sound professional rather than amateur.
Technical Nuances for Intermediate Players
If you really want to nail how to play Kiss Me on guitar, you need to look at the electric guitar layers. While the acoustic provides the bed, there’s an electric guitar playing clean, chorused arpeggios.
If you have a second guitar player, have them play the D chord shapes up at the 10th and 12th frets. This creates a "twelve-string" illusion. Use a bit of compression and a touch of reverb. Hall reverb works best here—something with a long decay but a low mix so it doesn't wash out the notes.
- Pick Choice: Use nylon picks for a softer attack.
- Strings: Phosphor bronze strings will give you that "new string" zing that is all over this record.
- The Solo: The solo is essentially a melodic riff based on the D major scale. It’s simple, but the phrasing is everything. Use slight slides and very little vibrato.
Final Steps for Your Practice
Start by mastering the transition between D and Dmaj7. It sounds easy, but doing it smoothly while maintaining a consistent strumming pattern is the hallmark of a good player. Once that's under your fingers, work on the "walking" bass line in the bridge.
- Practice with a metronome at 80 BPM, then slowly speed up to 100 BPM.
- Record yourself. You'll likely notice you're hitting the low E string too hard.
- Aim for the "middle" strings (D, G, and B) to be the loudest part of your strum.
The real magic of this song is its simplicity. It’s not about shredding or complex jazz chords. It’s about a specific mood—a late-summer, nostalgic feeling. If you can capture that with your right hand, you’ve mastered the song. Forget the technical perfection for a second and just focus on the "swing."
Focus on the D major descending line first. Get that capo tight against the 3rd fret to avoid buzzing. Once you can loop the verse without thinking, the rest of the song falls into place naturally. It’s a circular composition, meaning once you find the groove, it’s easy to stay in it for the full three and a half minutes.