[Bar 2] Af ter the first chord, the famous melody begins right away in bar 2. I’ve had to simplif y the orchestral harp arpeggio accompaniment a lot to make it playable on the guitar. However, the harmony is still intact, and the main focus needs to be on the tune, so bring out that top line with rest strokes where possible. There is some indicated fingering for both hands for the first couple of bars to get you star ted; af ter that, the same kind of technique should be used throughout. On beat 3 of bar 2, hold the C chord as long as physically possible so it sustains under melody. The same applies on beat 3 of bar 4 with the C7 chord – this same principle should be used throughout the piece wherever there is a minim (two-beat note or chord) in the accompaniment. [Bar 13] A full barre is needed for the F# chord, and again at 17 for the F chord.