Amsco PUBLICATIONSCoven morocnsty by Ebi Basin SonciTas akwanicrsinrs by MARCIL RORNSON “Tass ook Comaucser © 1999 uy Ausco PUMLICATIONS, A Davison cr Music Sts Conronarion, New Yor, NY Aut. scies REspRVED. No FART OF THs OK HAY HE ‘Onn No. PS 11295, [US Ivrensamionat Sranbatb Book Nunn: 08256.1357-4 UK Inennamional Sranatay Book Nw: 0711934517 Excuvsive Distainurons Music Sats Conronstion 257 Pas Avenve Soum, New Yous, NY 10010 USA ‘Musto Saurs Livre '899 Frarit State, Losbos WIV STZ Excuann Mosic Sates Pr. Laren 120 Ronuscin.p Sree, Rostucm, Sypsey, NSW 2018, AusTaatis Privtep 1 tie Usrrep Srares oF AmraiCa BY Vieks Litiocari an Puistine CoxronarionCONTENTS EXPLANATION OF SYMBOLS AND TECHNIQUES 4 AMERICA 14 AMERICANTUNE 36 Apri, Come SHEWILL 31 THE BOXER 46 THE BOY INTHE BUBBLE 65 EVERYTHING PUT TOGETHER FALLS APART 60 THE 59TH STREET BRIDGE SONG (FEELIN’ GRoovY) 72 FIFTY WAYSTO LEAVEYOUR LOVER 76 KATHY'SSONG 82 THE OBvious CHILD 86 SCARBOROUGH FAIR/CANTICLE (VERSION I) 9 SCARBOROUGH FAIR/CANTICLE (VERSION II) 12 SO LONG, FRANKLLOYD WRIGHT 100 TAKE METOTHE MARDIGRAS 108 You CAN CALL MEAL 114EXPLANATION OF SYMBOLS AND TECHNIQUES Right-Hand and Left-Hand Fingers LeftHand Right Hand Ye Tablature Tablature is written on six lines. Each line represents a string of the guitar. ® i ‘The Ist string (() is the highest string; the 6th string (®) is the lowest. Frets and open strings are indicated by numbers: easier suse soa eee sarees Ce ea )+ pee cey cee ie eeeeeceaes = es (Pibeeeeececeeccrmeecece ‘open Ist string (©) 3rd fret, 2nd string D chord Hammeron: [q+ Indicates a hammeron with the left-hand finger hammering [x————— onto the second note. Only the first note is seruck by the [s———————— right hand [+ Indicates a pulloff. The right hand strikes the first note and the [A————— left-hand finger pulls away to sound the second note. Only the first note is struck by the right hand. | | oe I 2 3 4 1&2 &3 &€ 4& | ‘quarter notes, all equal in value eighth notes, all equal in valueTies: A tie indicates that only the Ist note is played and is held for the value of the 2nd note. feeeeeeeeeeaaad (fer salon) arene) 1 2 3 4 1&2 &3 &@ 4 & Beat 2is played and held through the value The note on beat 3 is not played. of beat 3. Beat 3 is not played. Strumming Patterns | Denotes a downstroke. A downstroke is executed by striking all ofthe strings indicated, from low notes to high, with the nail of the index finger. | Denotes an upstroke. An upstroke i lighter troke executed by touching only 1,2, or 3 strings of the chord, from high notes to fow, with the nail of the index finger. Basic Strumming Patterns D did Wham 1&@2&3&4& even downstrokes on a D chord even upstrokes and downstrokes ona D chord . Soo 1g | ; es Trae2e 3&4 & 1 2&3 & 428 Leave out the downstroke on beat 3. Leave out the upstroke affer beat 1, and the downstroke on beat 3. Leave out the upstroke after beat 1, the downstroke ‘on beat 3, and the upstrokes afer beat 46 Strumming Patterns with Bass Note ee bass notes with chord strums, with added upstrokes usingan A chord A 1 AI 1 2&3 & 4 & more added upstrokes Fingerpicking Patterns ‘Asa general rule the thumb (p) plays the bottom three (bas) strings with an occasional move to the 3rd string, The fingers i,m, and a) play the top three (treble) strings. simple arpeggio using open strings ‘Try this with an A chord: ’ , 7 time arpeggio using open strings: ma mi tae mi ™ Try this using a chord: Rhumba or Syncopated Bass Pattern. using open strings: Try this using an Am chordTravis Pick In the next three examples the thumb and middle finger strike together. The remainder of the picking is exactly the same. using open stringy: ‘ Try this with aD chord: using open strings: Now try it with a C chord! fsesia| using open strings:ee SCARBOROUGH FAIR/CANTICLE (VERSION I) ARRANGEMENT AND ORIGINAL COUNTER MELODY ‘Capo on 2nd fret BY PAUL SIMON AND ARTHUR GARFUNKEL starting pitch for voice Foo Dm7ino 3) Moderately slow guitar Committ © 1946 PAUL SIMON (BM)10 Dm7(n0 3) Dm7(no 3)Dm7{(n0 3) a DmSCARBOROUGH FAIR/CANTICLE (VERSION II) ARRANGEMENT AND ORIGINAL COUNTER MELODY suena BY PAUL SIMON AND ARTHUR GARFUNKEL for voice —_ Moderately stow ‘Em. — suitarAMERICA semalon pick WORDS AND Music BY PAUL SIMON D tH eae D Dmaj7/ct Bm7 OO Dw C a @) BY] a aa a Mm = Mm, feel - Ell Dmaj7/Ct FI BI UDmaj7/c Bm7 ite wstato @ = ottFim? Ftm7 am D oA D Dmaj7/ct TO i oi HH SH]Dmaj7/ct srrGmaj7Gmmaj7 Dmaj7iCt Bmn7 DIA Sty Cart cetDimaj7/Ct 3 IDmaj7/CtDmaj7/Ct Bm7 DIA ‘Though I im TI -E A E Dmaj7APRIL COME SHE WILL WORDS AND Music BY PAUL SIMON casing ich oe t 6 oe HH 1 : 5 moseney PLT t CEH? sutar z cc G Og 31 ao @;swelled — prow! she will ___ she will in a gain her flight Rest - ing And give 90 warnG 1G G CG G The au - tumn winds blow chillG Gmaj7/FF Em fo agCG co ular 1G 356 AMERICAN TUNE WORDS AND Music BY PAUL SIMON Moderately slow guitar @ E/Gt and T don't havea many simes fon = fused. Yes, and I've friend who feels ax ease T don't know axyou don't ex- pect to be bright when 1 think of the road way fom home, what's gone wrong,2.1 don’t know a T can't help it, 1 won - And 1 dreamed 1 was oy ing, what's gone wrong. ieee ee” ‘And look~ ing back ‘And I dreamed 1 wasta 0] and T dreamed 1 was 4R F c GB. c 12 Ect We come ona | F GD . ‘ oe | aay = ft arte | : | a ai | ° < right, i's al = right aaa= mor ~ row's goin’ __= i — c om 5 ae oe P g a T J suitar46 THE BOXER sarig pich WORDS AND Music BY PAUL SIMON worvace rh oe COE c cG {orar ie. - sieay PT i arin cia it HEH EeCHH eH impi impmi p™ipmimG7 c cmaj7B p To 2) a what he wants to hear anda c oG auitar When |Cmaj7/B Tet == my home and my fam running searedCmaj7/B Am ow) I they wouldlook: ing Ask ing Cmaj7/B a =| job, but 1 get n0Cmaj7/B 2 there Just. @ —come-onCmaj7B Am ter clothes and w YorkIn the clear - ing standscar + ries the re + mind - ers of ey love thatCmaj7/B Am G te the fight re ~ mains.ay bh k n Cmaj7B [2S 7 7EVERYTHING PUT TOGETHER FALLS APART WORDS AND Music BY PAUL SIMON starting pitch for voice L [ Fm? Ctadd9) Tm ae rr Ihe I er ides your bro ken And 1 don’t know whysome folks are DmiF Dm? a7 ca gir t = atte on @ a 1 3 T t J Lou cra ay, oth - ers walk that bor = der Tine, watch what you're do - in’, Tak iat Fm7 ‘C(add9) FT Tam Som t 1 a0 OT Ts a | LoL t get off to sleep,BGt After a they'll change Em7 Am Env/G DIFF spare your hear.Dm7 Gr oh = Cadd9) sooner or dat = er falls | Fo TT 2 pan, There's noth and you canSeemmnl 7 i Bb Gt —— Em Oh, but when it's sone and the po - lice Fhm7 a wa > e&THE Boy INTHE BUBBLE WorDs BY PAUL SIMON Music BY PAUL SIMON AND FORERE MOTLOHELOA sgpieh Mersey LT 2) AS ‘Chass. Dsus2 - Ae 2) 1 io] [ w I C guitar a AS Chass Ds Chass Ds Chass Ds AS of fl Her 5 | I Sea 6slow aay ary wind tum = a ~ round whe was bet = ing oon sol- diers by the across the des - ert curled in - to the ‘ry = bod -y — jump- stan, evs cy gener a There was a ‘And the pop charts,67 ; i ff a I CL shat = ter = ing of shop win - dows, the bomb inthe ba = by fall - ing onthe chil - dren, the moth -ers andthe fath ~ ers mag - i - cal is an, There go the boy inthe bub - ble wired to the om - dis, These are the days of mir au = to - mat ic camh ‘These are the days __ of omit = ba by with the ba ~ boon heart. ‘These are the days__ oc & = the long, dis = tance he long. dis ~ tance the jun = gle someos tion ~aires and ba + by:o la = tion that la = tion that's won ~ der ‘These These The a cor = ner ofthe the long dis ~ tance are the days are the days way the cam+ tion thas dyare the days _ @ o wo» THE 59TH STREET BRIDGE SONG (FEELIN’ GROOVY) WoRDS AND MUSIC BY PAUL SIMON staring pitch for voice nip Moderately (I) =d 2) w I Am7 G c GB. Am7 G too fast. You got to make the mom c op Am7 G c on TZ kick - in’ down © look in’ for fun and. feel *- Re aaaB Am7 G op Am7 G 6 GB Am7 G ic Hel - to lamp post what = cha know int Tve come to watch your Am? G c op Am7 G Ain't -cha got no hymes™ c GB Am7 G c cB Am7 G c GB. Am7 G prom-is- es 1 keep. c op Am7 G ig op and the mom - ing - time drop all pled and drow - syAm7 G c on Am7 G z) a) 2) a % o @ S oF I t T I ‘guitar Am7 G c op Am7 Gdis Firty WAYSTO LEAVEYOUR LOVER starting pitch WORDS AND MUSIC BY PAUL SIMON for voice Cmaj7 xx Am Comaucrr © 1975 PAUL SIMON GMD)D6 Cmaj7 “The prob-lemis all-in - side your head." she said 10m She said, “It grieves me now to see you. in such pain; wish there was gots |i “the answer is : log - i - some = thin’ 1 smile a - Td like 10 belp, you in. your siug- gle tobe free; there 1 said, “lap = pre-ci- ate that, and could you please ex - pin a -Em Am7 Em toleave your Thope my mean - ing won't be = con - sured. in the mom - ing you'll be = the light” And then‘Cmaj7 rN owe - kissed me peat and a = al - ined Te risk of she prob - a > Em Am7 Em wa) ne Het Em toleave your toleave your Am7 Em ft fr = y ways ty ways to leave your to leave your be - ing crude; there must. be bly was right; there must be Just slip out themake a new just get your- self just listen t0you don't need to dis-cuss Sear just drop off and get your- self Fea BS-aCa : Be trite bao? oy toCoda® ded) Coda Slip out the free: KATHY’S SONG oe WORDS AND Music BY PAUL SIMON for voice Moderately ‘guitar No chord G cG G LoL bear the diz 2.And from the shel 3.My mind's is - actSoft and warm I gue be- yond drenched They lie with you ee Cmaj7B Am Em. D my bear you start your4 CG G left drops 4 And a song 1 was S.And so you 6.And 1 spend 1 ‘once held paths and die Wait ing 1 stand a 1 know thatWith words that tear and strain ‘The on ly truth 1 know There but for the grace of youTHE OBVIOUS CHILD WORDS AND Music BY PAUL SIMON stating pitch Brightly, with a driving beat ian, | ect 1.Well, I'm ac~ cus-tomed to a smooth dog who's lost its 1 don’t ex-pect to be eat - ed like a fool no more,__ ‘Cormuart © 1989, 1990 PAUL SIMON (BMI)7 T don't ex = pect 10 sleep__ through the night. Some peo-ple say a Why de- ay the = vious child? Why de- ny the ob‘And in re-mem-ber- gil when 1___ was a ‘And we said, "These songs —_ me89 These days__ are ours, These tears The css isin the0 mee I Ha Jot of fun We had a lot of mon-ey. a i= tle son and we thought we'd call him Son ny.an Son-ny has a ba- by and bills to pay. Son-ny gets sun-ni-er day2, Well, I've been wak in ® a 7 : gp i ve been fol- lowing the Tight a-eross_ my93 is just the sky,__ Why ob - vious child? de ny the vious child94 oG G cI How i's strange that some rooms ae like —throughSome have Some have — Ned — from them ~ selves,thin - ning brown 3.Well, I'm ac -cus-tomed 10 a TT smooth = er tide,D G fo? 4 ta? r > 3 @ @) ogo a I I Loo UL Or may-be Fm a dog who's lost its bite 1 don't ex- pect 10 be trea | c F c G D 7 ie ota ea aon z z a T® 180 3) w 3) my i sP I 11 I J aa J im ef Whe a fool__ no wwe,_ 1 don't ex - pect sleep the night. 2 G G D Some peo - ple sey a lie is just athe cross is in the ball park. _ Why de - ny the = 0b vious nila?100 suaning pich So LONG, FRANK LLOYD WRIGHT ree WORDS AND Music BY PAUL SIMON Moderately, not too fast Emaj7 ET Wright om So oFmaj7102 Fim7s Emaj7 ET 7 ate Frank Lloyd Wright Al of the nights we'd har - Em? Gr Cmaj7 sill dawn,103orator change your point of105 pty Ar chi- tecis may come and Gmaj7 FO fore ara @ 2 Carat an er change your point of106, All of the nights, we'd har =~ mo- nize till dawn, _ ee so long,107 So long.il TAKE METOTHE MARDI GRAS WORDS AND Music BY PAUL SIMON staring pitch for ece ET A I a naa) oy Moderately slow — ‘guitar No chord E where the peo - ple sing and play, im t ‘Cormucart © 1973 PAUL SIMON (BMD)i No chord Hurry, take me 10 the the street both night and Mar - q You can 109110 —s le - gal - ize your laws, wear your sum - mer clothes in the New Or- Al fel And 1 will lay my bur den = Rest my head up - —‘And when 1 wear that star = ry be 1 won't be want = ing —No chord Jet the mu sie wash your FeteN ‘chord z = = Pee ee eee jin- gle in Oooo the beat of the jel-Iy soll ne aa TTum-ba, tum -ba, tui -bana staring pich You CAN CALL MEAL ews WORDS AND Music BY PAUL SIMON Materiel G - : a : q 4) t » + ? o ot Hota , atte é U J I I 4 J l a | ‘guitar 1A -man_ walks down the street, he says, “Why am I soft in the middle now? 2. A man_ walks down the street,__ he says, “Why am 1 shor of at-ten-tion? Got a 3.68) A man_ walks down the street, I's a street ina strange world noon Feel celery ee eee) G D G Am D re om co ow Aa Ol t am coHt4 CoH? Cori Why am 1 soft in the middle, the rest of omy —iife is shard shot lit = de span of at-tention and my nights are so—_Tong, May - be is the third world, may - be his first time a ~ round. eae ee ee ‘Corynicat © 1986 PAUL SIMON {BMIG D G Am G D piety Bim oh aoe Shee toot we 3 3 @ @ Hy @ I t J T J T T need a pho- to op por-tun- i- ty, T want a shot at re = demp- tion Where's my wife and fam-i- ly? What if 1 die here? Does-n'tspeak the lan ‘guage. He holds no cureren-cy. Tegepol eg ee ef atta) te ete eg ee ee tte) 6 D G Am D x98, Koo ; Da oS a 5 2 marG g a aco I I t i 1 i rt Doct want end up a car won ink cae ton eve = yard Who'll te my ole mod cttw thatmy role mod = el is He is et len oats Fe lee 2 oom gd Ty = G Am D ettrte I eee j a u Boe ig - er, bore ig = dogs inthe moon igh zone. sone?” He ducked back down the al = ley with some sound, the sounds ca = te in he mar Ket place Eel fee) fel Eel116 a> way in ly po- ty tt seal ter andor - phan ag ~ beer bel = ys beer bel = ly eetthese = mus. a = Way fom) me,__ long, @ + long, there. were == inci = dents. anda ci dents. There are round, a+ round, He sees, angels inthe arch == i - tee = ture, aie) fag! fae) fae] 1 don't_ find this sui a mas = ing an y-more himes and al le ga - tions. spin-ning in in - fin i= ty, He says a = omen and hal = le - Wu jah, fae iat Ti rdBe Jong ty when you call me, you can Tan call me Al118 ‘guitar DS. al Coda G