The Shadow Of Your SmileP.F.Webster / J.MandelArranged (1974) and TablEdited (Jan 2006) by michaeljoyce@hotmail.comFZdI `I I  I  I F A f f0`i00f  f0`i00F0C0F0i @`iiI`IIA F f0@f0f f0@f0f !C0!F0!F>$ $@$i`$$$i$$@'I'I*I +C +I ,c ,I -c -I `.I0.0/D>2i 2@2`2i222i25I`5I5I8I 9d `9I 9I 9 I :d : I ;d <C>=@ @@@i`@@@i@@@CICIFA FF Gf0`Gi0Gf H Hf0`Hi0HF0Hf If0`Ii0IF0JC0Ni N@N`NiNNNiNQI`QIQITcUCUF VcVVf WD0Wf `XI0YC0\ \@\i`\\\i\\@_I_IbAbbI0`cI0cI0@dI0dI0 eI0eI0gI0ji j@j`jijjjijmI`mImI`pI p I @qI qI/q I q I q I rI rI%rI/rI/sI s I%sI%sI ux x@xi`xxxixx@{I{I~A a F a f A>F.C0i @`iiI`IIF A f a f c F0F0C0 @i`i@II@ f0`i0 f0i0 f0`i0f0i0C0C0i @`iiI`III I  f0` f I I f0c D0`I0c C> @i`i@IIA i0 f0`f0n0i0 f0`f0n0C0n0l1l0i @`iiI`II@f0F @f0f C`F `I0C0D0@ɽ @i`i@IID `I  F d `i  f  d `i  f D0`I00F0I0i @`iiI`III @I I i  @i `I I I i @I I 0  1@ @i`i@IIF Ci0f @i0i0f i0`i0F0C0i @`iiI`IIC F c f c f CF0F> @i`i@II I I I I @ I ` I I i @>i @`iiI`IID I d `I I  I d  I D>`   @ i`   i  @#I#I&& F 'C (c ) i0 )i0@)i0`)i0)f0)0*A>*F>.i .@.`.i...i.1I`1I1I4C 44f 5c 5F 6c 6f 7c 7f08C>8F0< <@<i`<<<i<<@?I?IB @@Cf0Cf0Ci0D@Df0D Df0Di0@Ef0Ef0Ei0GD0@G`GI0GC0Ji J@J`JiJJJiJMI`MIMIPP I P I P I PI Q0@Qf0Q/Q/Q/R0@Rf0R %R%R%R S0@Sf0UC0X X@Xi`XXXiXX@[I[I^ C`_i0_H _H _H @`i0`h `h `h a ai0ah ah ah cC0cH>cH>cH>fi f@f`fifffifiI`iIiIl I l I lI m C m/m/m I n c n%n%n%n/o c o%q F>@q F0t t@ti`tttitt@wIwIzA{F |f0|f `}i0}f @~i0 i0F>i @`iiI`II I I I I C f f c f f c F>F>C> @i`i@II@ f0`i0 f0`i0i0 f0`i0i0C0i0i0i @`iiI`III I D I I d `I f d f @F>F>@F00 @i`i@IID `I  I  !d `i  i d `i  i `I00F0I0D0i @`iiI`IIf @I `  @i I0ƒ @i I0I0ÅI00`I0 @i`i@II   `     `     `    f0F0AAӽӽi @`iiI`II  `    `    ޽  `   ޽ A0 C>F0F0F> @i`i@IIi0i0i0i0pl `l @L PL I L 0L i @`iiI`II` d I0I0I0I0`I0@  @i`i@II  `     `      `    F0 F0 A0 C> i @`iiI`II   `     `     `    CF0F0C @i`i@II# 0# P# p# # # # # $ ($ H$ h$ $ $ $ $ % I0 % 0@% 0`% 0% I0% 0% 0%0*i *@*`*i***i*-I`-I-I1 01 P1 1I 1I 2 (2 H2 2I 2I 30 30@30`3I04I04I04I05I08 8@8i`888i88@;I;I > `> > > > ? `? ? ? ? @A0AF0BF0CC>CFi F@F`FiFFFiFII`IIII L `L L L L M M `M M M M NF0NF0PC0QT T@Ti`TTTiTT@WIWIZP\l2`\l0\l2\l0\l2\l0\l2\l0]&F0@]l0p]l0]l0]l0bi b@b`bibbbibeI`eIeIiI jl2 jl0@jl2Pjl0jI jI kl00kl0`ki0kI lI.lI.mI.mI.p p@pi`pppipp@sIsIvxC yc zC>zF0zF0~i ~@~`~i~~~i~I`II  `       `    F0 F0C~C0 @i`i@II    `i  f    `   D0`   `I00F0I0i @`iiI`III f0`I I I 0@F0 I 0@f00@F0 @i`i@IIF C i0f @i0i0f i0`i0F0A0i @`iiI`IIC F c f c f c>f0F> @i`i@IID `i  f d `i  f d `i  f F0I0C>0i @`iiI`IID I d `I I I d I C> @i`i@II F Aa i0 i0@i0`i0f00A>F>i @`iiI`IIA f a F a f a F>A> @i`i@II @ @f0f0i00@f0 f0i0@f0f0i0D0@`I0C0 i @ ` i   i  I` I I i  i  i i 0@f0i/i/i/0@f0 i%i%i%i 0@f0C0 @i`i@II C `i0H H H  @ i0 h h h ! !i0!h !h !h #C0#H>#H>#H>&i &@&`&i&&&i&)I`)I)I, i , i ,i ,i - C -i/-i/-i/. c .i%.i%.i .i%/ c 1 F>@1 F014 4@4i`444i44@7I7I:A;a;F <a<f =a=f > c> F0?A?F0Bi B@B`BiBBBiBEI`EIEIH I HI HI HI IC If If Jc Jf Jf Kc KF>KF>MC0P P@Pi`PPPiPP@SISIV@ Wf0`Wi0X Xf0`Xi0Xi0 Yf0`Yi0Yi0ZC0Zi0[I0^i ^@^`^i^^^i^aI`aIaIdI dI eD e I eI fd @f `fI f0ff0gd gf0hF>iF>@iF0i0l l@li`lllill@oIoIrF @rF r rF rI sf @sf s sf si tf @tf t tf ti vCvCzi z@z`zizzziz}I`}I}I F `I  F  f `i  f  f `i  f CC @i`i@IIF @F  F I f @f  f i f @f  f i CCi @`iiI`II F `I  F  f `i  f  f `i  f CC @i`i@IIIII୍I@I`II Ii @`iiI`II@iaiaf I ia`iaia @i`i@II-^Ɇ`iʆ`iˆ`ij The Shadow of Your Smile was a really big hit, probably bigger than the movie it was the love theme "The Sandpiper". Jack Shelton, the trumpet player and comical sidekick for Merv Griffin's talk show in the '70's, I'm pretty sure, sang the tune. I think I've played it 10,000 times, but maybe 3 times in the last 25 years. I'm also pretty sure that Paul Webster and Johnny Mandel didn't originally intend for it to become a bossa nova, but that's exactly what happened. I can't remember any version I've heard that wasn't played like a bossa nova. Measure 2: I'm not going to kid anyone, but jumping into this chord form is the most difficult part of this arrangement. First of all, it's a 5 fret stretch. Secondly, the measure before places the lefthand in an awkward position. Because I had played Charlie Byrd's version of Jobim's Meditation and was used to a similar chord form, I didn't seem to have a lot of problems with it. But I'm sure it's because of a lot of previous practice on another tune. Practice it slowly, because the effect is worth the effort. Measure 3: The B9 chord is a familiar form for those of us that have played a lot of the arrangements by Chet Atkins. It's another bear to jump into but well worth the effort. Note there is a subtle change in the chord going from a B9 to a B7+5 chord when the C# on the third string goes to an open G (the G is the augmented 5th in a B chord structure). It's the first tune in which I've used this particular chord form. Measure 7: Here's another of those 9th chord forms that Chet loved so much. Except this time, in D we can use the open 4th string and the open 1st string. This measure has a really modern sound but is one of the easiest to play. It goes to a D7b5 chord and with the open A note as a lead in, it's not such a tough transition. Measure 8: another big stretch, but a reasonably common one and shouldn't give the player that much of a problem. Measure 9: Here is the first of a bunch of Wes Montgomery-like octaves. They are played by using the 1st finger of the LH to deaden the middle note, and the RH thumb brushes down over the form. Note in the very last form it doesn't show this. Actually, you will play it just like the other notes. The deaden G interferes with the played G on the 4th string in the midi playback. You will see this again later. Measure 11: Slide the D# down to the F# for the diminished 7th chord. I don't show this because it causes the midi playback on my soundcard to do something crazy and the play back is wrong for the rest of the tune. Measure 22: Here's another yet of those long stretches, but this time it is on an A minor chord at the fifth fret and much easier to do. Measure 44: This is a lick I stole from Charlie Byrd. Make sure you use the 3rd finger to get the G on the 4th string or you'll never be able to play the C on the 3rd string at the end of the measure. If you've made the other stretches then this one won't be so bad. Measure 48: I believe that in all fingerstyle guitarists, there has to be a little Merle Travis and this measure uses one of Merle's favorite chord forms.c %).38Classical Guitarcb(#!*"'/+48888Acoustic Guitar