This is based on the Billy Joel version, which is in F.
I play in D
As much walking between chords as you can fit in
| D | D/F# | Em7 | G |
| A7 | A7 | G | G |
| D | D/F# | |
| They say that | these are not the | best of times |
| Em7 | G | D | D/F# | Em7 | G | |
| But t | hey’re the only | times I’ve ever | known |
| D | D/F# | Em7 | |
| And I be | lieve that there’s a | time for medit | ation |
| G | A7 | E | A | |
| In cat | hedrals of our | own | → |
| F#/A# | Bm | Bm/A | |
| N | ow I have | seen that sad sur | render |
| G | G | D/F# | |
| In my | lover’s eyes |
| E7 | A7 | |
| And | I can only stand apart and | sympathize |
| G | D/F# | Em7 | |
| For we are | always what our | situations | hand us |
| A7 | G | C | G | |
| It’s either | sadness or eup | horia | → |
| D | D/F# | Em7 | G |
| A7 | A7 | G | G |
| D | D/F# | |
| And so we’ll | argue and we’ll co | mpromise |
| Em7 | G | D | D/F# | Em7 | G | |
| And r | ealize that n | othing’s really | changed |
| D | D/F# | |
| For all our m | utual ex | perience |
| Em7 | G | A7 | E | A | |
| Our | separate conc | lusions are the | same | → |
| F#/A# | Bm | Bm/A | |
| N | ow we are | forced to recog | nize our |
| G | G | D/F# | |
| Inhu | manity |
| E7 | A7 | |
| Our | reason coexists with our in | sanity |
| G | D/F# | Em7 | |
| And though we c | hoose between re | ality and m | adness |
| A7 | G | C | G | |
| It’s either | sadness or eup | horia | → |
Instrumental if appropriate
| D | D/F# | Em7 | G | |
| A7 | A7 | G | G | |
| D | D/F# | Em7 | G | |
| A7 | A7 | E | A | F#/A# |
| → |
| Bm | Bm/A | G | G | D/F# | |
| How t | houghtlessly we di | ssipate our e | nergies |
| E7 | A7 | |
| Perh | aps we don’t fulfill each other’s | fantasies |
| G | D/F# | Em7 | |
| And as we | stand upon the | ledges of our liv | es |
| A7 | G | C | G | |
| With our resp | ective simi | larities | → |
| A7 | G | C | G | |
| It’s either | sadness or eup | horia | → |
| A7 | G |
| Sadness or euph | oria |