What Katie Did

The Libertines

Key: A majorNo capo4/4

Standard tuning

A: low to high muted, 0, 2, 2, 2, 0IA×C#m: low to high muted, 4, 6, 6, 5, 4iiiC#m4×F#m: low to high 2, 4, 4, 2, 2, 2viF#mD: low to high muted, muted, 0, 2, 3, 2IVD××Dm: low to high muted, muted, 0, 2, 3, 1ivDm××G#: low to high 4, 6, 6, 5, 4, 4VIIG#4G: low to high 3, 2, 0, 0, 0, 3bVIIGF#: low to high 2, 4, 4, 3, 2, 2V/iiF#Bm: low to high muted, 2, 4, 4, 3, 2iiBm×E7: low to high 0, 2, 0, 1, 0, 0V7E7

TRIADS · featured voicings

A: low to high muted, muted, muted, 9, 10, 9IA9×××C#m: low to high muted, muted, muted, 9, 9, 9iiiC#m9×××F#m: low to high muted, muted, muted, 11, 10, 9viF#m9×××D: low to high muted, muted, muted, 11, 10, 10IVD9×××Dm: low to high muted, muted, muted, 10, 10, 10ivDm9×××

Upper-string triads · diagrams in the second header row · final bar D → Dm

Upper-string triads · diagrams in the second header row · final bar D → DmeBGDAEA91099109910991091&2&3&4&C#m9999999999991&2&3&4&F#m910119101191011910111&2&3&4&1010111010111010101010101&2&3&4&

Verse / RefrainRepeating cycle

Also intro and solo backing. Same cycle; soften the verse.Offbeat brush · practice option

4 bars
Progression bars 1–4IAiiiC#mviF#mIVDivDm1&2&3&4&1&2&3&4&1&2&3&4&1&2&3&4&Offbeat brush · practice optionSTRUMone full bar · repeat as needed1&2&3&4&

Chromatic linkOne-time passage

Keep the descending roots clear. F# is major here.

5 bars
Progression bars 1–5IAVIIG#bVIIGV/iiF#iiBmV7E7IA12341234123412341234

Free-time endingOne-time passage

Even bars for practice; release the pulse when playing it freely.

5 bars
Progression bars 1–5IAV/iiF#iiBmV7E7IA12341234123412341234

Additional tips

Touch The second diagram row matches the triads; mute lower strings and release pressure after offbeats. Answer with a short phrase, then leave space. Repeat its rhythm with a new chord-tone ending.

Start with five notes A major pentatonic: A B C# E F#. Explore frets 9–12: G string 9/11, B string 10/12, high e 9/12. These are E/F#, A/B and C#/E. Begin with two or three notes, not the whole shape.

Follow the cycle A major: A B C# D E F# G#. Resolve to C# or E over A; E or G# over C#m; A or C# over F#m; F# or A over D. These chord tones make a small phrase follow the harmony.

D becomes Dm Dm contains D F A: change F# to F natural here. Try F#–F–E across D–Dm–A (G string 11–10–9). Avoid resting on C# or F# over Dm; the major pentatonic shape needs adjusting.

Chromatic link Follow roots G#–G–F# rather than running one scale. G# major contains G# B# D# (B# is the C fret); G major contains G B D. Aim for a chord tone at each change.

F# major → Bm → E7 F# major contains F# A# C#: use A#, not A, then resolve it to B over Bm. Bm uses B D F#; E7 uses E G# B D. Resolve G# up to A or D down to C# when the tonic returns.