I

guess that's why they call it the blues

        
           
Arr. Maria Elton John

         
           
    
 
       
              

     
            
 
 

 
4
3

     
Don't wish it a way, don't

      
Just stare in to space;



   
                        


       Be tween you and
6

    
look at it like it's for ev er.

      
pic ture my face in your hands. Live for each

   
        

      
              
9

 
me I could hon est ly say, that things can on ly get

            
second with out he si ta tion, and nev er for get I'm your

 
  
                    
           
   And    
11

 
bet ter. while I'm a way

          
man. Wait on me girl,

 
      
   
                
14

              

dust out the de mons in side, and it won't be

  
cry in the night if it helps, but more than ev

  


                      
    
16

     
      
long be fore you and me run, to the place in our hearts where we

      
er I simp ly love you, more than I love life it

      

           
                  
     
 

19

        
hide. And I guess that's why they call it the blues Time on my

        
self.

     

 
 
         
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    

22

     
      
hands could be time spent with you, laugh ing like

     

     
  
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    
24

      
       
chil dren, liv ing like lov ers, roll ing like

    

2
    
           
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 
26

    
               
thun der un der the cov ers, and I

          

                             

       
       
 
28 1.
2.

           
        
guess that's why they call it the blues.

  
  
 


 
         
                      
        
3.


31

     
          
            
 
     

  
      
      
           

34

  
     
       

              
      
36

    
         

3