So Long, Marianne | Chords + Lyrics
Intro
|6/8 A A/E | Asus4 A |
Verse 1
| A | A | Bm | Bm |
Come over to the window, my little darling,
| D | D | A | A |
I’d like to try to read your palm.
| G | G | D | D |
I used to think I was some kind of Gypsy boy,
| F#m | F#m | E | E |
before I let you take me home.
Chorus 1
| A | A | F#m | F#m |
Now so long, Marianne, it’s time that we began,
| E | E | E | E |
to laugh, and cry, and cry, and laugh about it all again.
Instrumental 1
||: A A/E | Asus4 A :|| A A/E |
Verse 2
| A | A | Bm | Bm |
Well, you know that I love to live with you,
| D | D | A | A |
but you make me forget so very much.
| G | G | D | D |
I forget to pray for the angels,
| F#m | F#m | E | E |
and then the angels forget to pray for us.
Chorus 2
| A | A | F#m | F#m |
Now so long, Marianne, it’s time that we began,
| E | E | E | E |
to laugh, (and) and cry, (and) and cry (and) and laugh about it all again.
Instrumental 2
||: A A/E | Asus4 A :|| A A/E |
Verse 3
| A | A | Bm | Bm |
We met when we were almost young,
| D | D | A | A |
deep in the green lilac park.
| G | G | D | D |
You held on to me like I was a crucifix,
| F#m | F#m | E | E |
as we went kneeling through the dark.
Chorus 3
| A | A | F#m | F#m |
Oh, so long, Marianne, it’s time that we began,
| E | E | E | E |
to laugh, (and) and cry, (and) and cry (and) and laugh about it all again.
Instrumental 3
||: A A/E | Asus4 A :|| A A/E |
Verse 4
| A | A | Bm | Bm |
Your letters they all say that you’re beside me now.
| D | D | A | A |
Then why do I feel alone?
| G | G | D | D |
I’m standing on a ledge and your fine spider web,
| F#m | F#m | E | E |
is fastening my ankle to a stone.
Chorus 4
| A | A | F#m | F#m |
Now so long, Marianne, it’s time that we began,
| E | E | E | E |
to laugh, (and) and cry, (and) and cry (and) and laugh about it all again.
Instrumental 4
||: A A/E | Asus4 A :|| A A/E |
Verse 5
| A | A | Bm | Bm |
For now I need your hidden love.
| D | D | A | A |
I’m cold as a new razor blade.
| G | G | D | D |
You left when I told you I was curious,
| F#m | F#m | E | E |
I never said that I was brave.
Chorus 5
| A | A | F#m | F#m |
Oh, so long, Marianne, it’s time that we began,
| E | E | E | E |
to laugh, (and) and cry, (and) and cry (and) and laugh about it all again.
Instrumental 5
||: A A/E | Asus4 A :|| A A/E |
Verse 6
| A | A | Bm | Bm |
Oh, you are really such a pretty one.
| D | D | A | A |
I see you’ve gone and changed your name again.
| G | G | D | D |
And just when I climbed this whole mountainside,
| F#m | F#m | E | E |
to wash my eyelids in the rain!.
Chorus 6
| A | A | F#m | F#m |
Oh, so long, Marianne, it’s time that we began,
| E | E | E | E |
to laugh, (and) and cry, (and) and cry (and) and laugh about it all again.
Outro
||: A A/E | Asus4 A :|| A |
So Long, Marianne Chords: Learn the progressions
Before you start playing along with the original recording using the chords and lyrics above, tune sharp to 447Hz using my online guitar tuner.
This way, you’ll be on the same frequency as Mr. Cohen himself.
The chords are diatonic to the key of A and move I – II – IV – I for the first half. We then go to the bVIIx chord and get tension before we go to IV – VI – V, like this:
| A (I) | A | Bm (II) | Bm |
| D (IV) | D | A (V) | A |
| G (bVIIx) | G | D | D |
| F#m (VI) | F#m | E (V) | E |
You could also look at that G chord (bVIIx) as if we’re bridging two keys, A and D. Many, many songs do this, it’s a great trick to wake the listener up.
The chorus is simpler as it goes I – VI – V, like this:
| A (I) | A | F#m (VI) | F#m |
| E (V) | E | E | E |
As a member, you get TAB for how to comp this on one acoustic guitar, there’s some nice alternating bass line work that you can apply should you not have an actual bass player at hand.
This is the first line of the arrangement.
Here’s a link to the complete lesson: So Long, Marianne – Guitar Lesson with TAB.
So Long, Marianne is a perfect example of early Leonard Cohen!
One of Leonard Cohen‘s early hits, So Long, Marianne was one of the tunes that spread the word about the poet-turned-songwriter.
Released on the debut 1967 debut album, Songs Of Leonard Cohen, it has stood the test of time, being covered by many artists including Beck and Suzanne Vega.
The song itself is about an actual woman called Marianne who Leonard met in Greece and later ended up living with in Canada.
This early era of Cohen also saw tunes like Suzanne, Hey, That’s No Way To Say Goodbye, Sister Of Mercy, Bird on the Wire, and the incredible The Partisan.
All these tunes are well worth checking out, not just for the lyrics, the chords and melodies are gold dust for the aspiring songwriter to get inspiration from.
So Long, Marianne Chords | Related Pages
Intermediate Acoustic
Most intermediate acoustic tunes can’t be played using just basic open-position chords. We have to move up the fretboard and play CAGED barre chords as well.
We incorporate bass lines, add licks, extend chords, and play vocal melodies. Most importantly, we’ll invent second guitar parts and play these songs together.
Five similar tunes with chords and lyrics
- Dance Me To The End Of Love chords by Leonard Cohen
- Heart Of Gold chords by Neil Young
- Losing My Religion chords by R.E.M.
- Mr. Tambourine Man chords by Bob Dylan
- One More Cup Of Coffee chords by Bob Dylan
Leonard Cohen tunes
Following a career as a novelist and poet for over a decade, Leonard Cohen released his debut album in 1967.
His best tunes include Suzanne, Bird on the Wire, Famous Blue Raincoat, Chelsea Hotel #2, Hallelujah, Dance Me To The End Of Love, and So Long, Marianne.
Leonard Cohen on the web
Country & Folk
In the primarily acoustic genres of Country & Folk, you must acquire what matters the most: A repertoire. Nothing else will give you the gig.
Learn tunes by Johnny Cash, Dolly Parton, Simon & Garfunkel, Bob Dylan, Neil Young, America, Don McLean, and many more.
About me | Dan Lundholm
This was a guitar lesson about So Long Marianne chords, by Dan Lundholm. Discover more about him and learn guitar with Spytunes.
Most importantly, find out why you should learn guitar through playing tunes, not practising scales, and studying theory in isolation.
