Polka Dots and Moonbeams

So far the tab itself only contains the chords for the sung verses, but the pdf score at the bottom of the page contains the whole thing. The instrumental parts use the same chord pattern, only in different keys. The trick is to use chords with no open strings, and then simply move the shapes around on the neck. The chord suggestions follow this principle.

I have for the most part indicated two sets of chord shapes: one low on the neck, the other high. It is not always possible to stick to one or the other throughout the modulations the song goes through.

Four more points:

• it is not always possible (nor even desirable) to stick entirely to chords without open strings. Use them if you can or need to — if only to give your hand a little rest.
• Usually, it is best to choose four of the available strings and play on them, either with the right hand fingers individually or by muting strings with the left hand. The first two chords are a good example: play Eb=x6888x as a little-finger barre at the eighth fret, followed by Cm7=8x888x simply adding the ring-finger on the sixth string, muting the other strings. This comes quite naturally in most cases.
• This also means: choose between the tones in the chord. For chords like Bb6/9, obviously the sixth and the ninth are important, so is the keynote, Bb. For the remaining string, choose the one that is (a) easiest to play, or (b) is part of some internal melody line with the surrounding chords. Leave out the fifth rather than the third, and tones that are already present in the melody can more easily be sacrificed.
• Be aware of internal lines and static tones. See for example the progression at “Suddenly I saw…”, where the upper strings might have:

  Cm7   B+    Eb/bb Gm
|-8--8--7--7--6--6--6--6-----
|-8--8--8--8--8--8--8--8-----
|-8--8--8--8--8--8--7--7-----
|----------------------------
|----------------------------
|----------------------------

Where the point of the passage is the descending line on the first string.