Biography:
Margaret LeAnn Rimes (born August 28, 1982, in Jackson, Mississippi) is a popular American country and pop music singer.
Rimes emerged with her first single, "Blue," when she was just thirteen years old in 1996. She is most recognized for her crossover hit "How Do I Live" which, according to the Billboard charts, is one of the most successful songs in American music history, spending 69 weeks on the Hot 100 chart, which currently stands as the second longest run in the chart's history (behind Jason Mraz's "I'm Yours").
Read more on Last.fm
Other songs:
- Blue
- But I Do Love You
- I Hope You Dance
- I Need You
- Life Goes On
- Probably Wouldnt Be This Way
- A Waste Is A Terrible Thing To Mind
- Are You Ready For A Miracle
- Big Deal
- Borrowed
- Bottle
- Cant Fight The Moonlight
- Crazy
- Crazy Women
- Doesnt Everybody
- Dont Ever Lose That Light In Your Eyes
- Dont Worry
- Gasoline Matches
- Give
- Good Friend And A Glass Of Wine
- Holiday In Your Heart
- How Do I Live
- I Fall To Pieces
- I Want You With Me
- Looking Through Your Eyes
- Lovin You
- Me Bobby Mcgee
- More Than Anyone Deserves
- Nothin Better To Do
- Nothin Bout Love Makes Sense
- Nothing Wrong
- On The Side Of Angels
- One Way Ticket
- Please Remember
- Pretty Things
- Right Kind Of Wrong
- Somethings Gotta Give
- Soon
- Strong
- Ten Thousand Angels Cried
- The Light In Your Eyes
- The Rose
- The Story
- These Arms Of Mine
- Together Forever Always
- Unchained Melody
- We Can
- Weight Of Love
- What I Cannot Change
- When You Love Someone Like That
- You Light Up My Life
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“Blue”
LeAnn Rimes
Transcribed by: Steven P.
A x02220 C#7 x46464 B7 x24242
x57575
A 577655 C#7#5 x46465 E 022100 G7 353433
Asus x02230 F#7 242322 F 133211
x35353
Asus 577755 F#9 242344 A# 688766
x24244
Eadd9 022102
Intro:
A C#7
Verse
A C#7 F#7
Blue, oh so lonesome for you
B7 E A
Why can't you be blue over me?
A C#7 F#7
Blue, oh so lonesome for you
B7 E A Asus A
Tears fill my eyes 'til I can't see
Chorus
C#7 C#7#5 C#7 F#7 F#9 F#7
3 o'clock in the morn - ing, here am I
B7 B13 B7 E
E
Sittin' here so lone - ly, so lonesome I could cry
Bridge
A C#7 F#7
Blue, oh so lonesome for you
B7 E A
Why can't you be blue over me?
Solo
A C#7 F#7 B7 E A
A
Chorus
C#7 C#7#5 C#7 F#7 F#9 F#7
Now that it's ov - er, I re - al - ize
B7 B13 B7 E
E
Those weak words you whis - pered, were nothing but lies
Outro
A# D7 G7
Blue, oh so lonesome for you
C7 F A# A A#
C
Why can't you be blue over me?
F A#
Why can't you be blue over me?
I’ve included a couple of variations on the A and Asus chords
in this one. These have been provided for convenience. The one
you play should be dictated by where you are on the neck. I
tend to use both of the As – it just depends which chord I’ve
just played and where I need to be next. If you play the open A
on the "over me" part, then you can play the leading notes
for the second part of that first verse (E, F#, G#) and then play
the barre A, which puts you in the right area of the neck to grab
the barre C#7. Obviously, if you play the barre A, then you’ll
also play the barre Asus. For the verses, the leading notes are
played on the sixth string. The leading notes for the C#7 going
into the chorus are played on the fifth string. These notes are
A, B and C. After playing the C, immediately fret and play the
C#7 barre.
The key change in the outro has a nice chromatic progression of
A#, A, A#, B and C. You can either play these as full chords,
or as chord fragments. I prefer to play them as chord fragments,
since it gives it an edgier sound. Play those as:
A# A A# B C
e|--1------------------------------------------------------------------|
B|--3---2---3---4---5--------------------------------------------------|
G|--3---2---3---4---5--------------------------------------------------|
D|--3---2---3---4---5--------------------------------------------------|
A|--1------------------------------------------------------------------|
E|---------------------------------------------------------------------|
Notice the A# used here is different than the one diagramed at
the top of the page. This is done to keep your hand in close
proximity to the C7 and the F in the outro. The leading notes
just prior to the key change in the outro are F, G and A. Play
these on the sixth string.
Intermediate to advanced players should have no problems with
this song and will probably figure out ways to make it sound
even better. I've gone back and made some changes to the song
I originally submitted. After listening to the chorus again, I
realized there were some additional chords I had missed. I have
edited the submission to include those. I have also included
the bluesy double-stops in the outro, just before the last A#.
A#
e|---------------------------------------------------------------------|
B|---6---5---4---3-----------------------------------------------------|
G|---7---6---5---3-----------------------------------------------------|
D|---------------------------------------------------------------------|
A|---------------------------------------------------------------------|
E|---------------------------------------------------------------------|
LeAnn Rimes
Transcribed by: Steven P.
A x02220 C#7 x46464 B7 x24242
x57575
A 577655 C#7#5 x46465 E 022100 G7 353433
Asus x02230 F#7 242322 F 133211
x35353
Asus 577755 F#9 242344 A# 688766
x24244
Eadd9 022102
Intro:
A C#7
Verse
A C#7 F#7
Blue, oh so lonesome for you
B7 E A
Why can't you be blue over me?
A C#7 F#7
Blue, oh so lonesome for you
B7 E A Asus A
Tears fill my eyes 'til I can't see
Chorus
C#7 C#7#5 C#7 F#7 F#9 F#7
3 o'clock in the morn - ing, here am I
B7 B13 B7 E
E
Sittin' here so lone - ly, so lonesome I could cry
Bridge
A C#7 F#7
Blue, oh so lonesome for you
B7 E A
Why can't you be blue over me?
Solo
A C#7 F#7 B7 E A
A
Chorus
C#7 C#7#5 C#7 F#7 F#9 F#7
Now that it's ov - er, I re - al - ize
B7 B13 B7 E
E
Those weak words you whis - pered, were nothing but lies
Outro
A# D7 G7
Blue, oh so lonesome for you
C7 F A# A A#
C
Why can't you be blue over me?
F A#
Why can't you be blue over me?
I’ve included a couple of variations on the A and Asus chords
in this one. These have been provided for convenience. The one
you play should be dictated by where you are on the neck. I
tend to use both of the As – it just depends which chord I’ve
just played and where I need to be next. If you play the open A
on the "over me" part, then you can play the leading notes
for the second part of that first verse (E, F#, G#) and then play
the barre A, which puts you in the right area of the neck to grab
the barre C#7. Obviously, if you play the barre A, then you’ll
also play the barre Asus. For the verses, the leading notes are
played on the sixth string. The leading notes for the C#7 going
into the chorus are played on the fifth string. These notes are
A, B and C. After playing the C, immediately fret and play the
C#7 barre.
The key change in the outro has a nice chromatic progression of
A#, A, A#, B and C. You can either play these as full chords,
or as chord fragments. I prefer to play them as chord fragments,
since it gives it an edgier sound. Play those as:
A# A A# B C
e|--1------------------------------------------------------------------|
B|--3---2---3---4---5--------------------------------------------------|
G|--3---2---3---4---5--------------------------------------------------|
D|--3---2---3---4---5--------------------------------------------------|
A|--1------------------------------------------------------------------|
E|---------------------------------------------------------------------|
Notice the A# used here is different than the one diagramed at
the top of the page. This is done to keep your hand in close
proximity to the C7 and the F in the outro. The leading notes
just prior to the key change in the outro are F, G and A. Play
these on the sixth string.
Intermediate to advanced players should have no problems with
this song and will probably figure out ways to make it sound
even better. I've gone back and made some changes to the song
I originally submitted. After listening to the chorus again, I
realized there were some additional chords I had missed. I have
edited the submission to include those. I have also included
the bluesy double-stops in the outro, just before the last A#.
A#
e|---------------------------------------------------------------------|
B|---6---5---4---3-----------------------------------------------------|
G|---7---6---5---3-----------------------------------------------------|
D|---------------------------------------------------------------------|
A|---------------------------------------------------------------------|
E|---------------------------------------------------------------------|
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