Hand In Hand is a piano song, again, so I had to arrange it based on true story I guess, but anyway some things you just can’t replicate on guitar, which is why keyboards was so prominent in Mark’s music back in the day and still is. But it was written on guitar and I think maybe it was even written on an open tuned guitar, but you’ll see why in a minute. The introduction is Aadd9 (the 9th is here on the 4th fret). Going to this F#m7sus4. Easier to play it than to say it, it’s just an F#m with two open strings. Together these two chords creates something rather familiar… Anyway. By the way, this fancy chord is not the first time you can hear it in Mark’s music, for instance this exact shape is the first chord in the electric guitar part of Sailing To Philadelphia. And Aadd9 is actually the second chord in that song, so it’s getting harder and harder to find unique chords. Then it goes to C#m which can be played in all sorts of ways perfectly fine — a bar across all the strings, only five strings, no bar at all, or with the thumb which is of course my favourite way. Now all the licks are optional, because obviously playing the licks makes a huge jump in difficulty level in such a lovely strumming-friendly love song, but I’ll talk about it anyway. This one actually is not too hard to play, I practice things like that by playing the melody only which happens to be in low register down here. Now the open tuning part I was talking about — just listen to this. Sounds like something that Mark could play on his National guitar in open G tuning, because it’s easy to create all the suspended and beautiful chords there. The chord sequence is taken from the intro, but the rhythm is quite different, what I like to do is to play first the regular chord, A Major followed by Asus2 one. And then regular F#m followed by suspended F#m from the intro. Because if you just play two regular or two fancy chords, it would sound too boring for this particular song. The end result is like this sequence has 4 chords, but truly it’s only two. It gets more obvious in the chorus. After this lick and A Major. This is of course my favourite part, because it’s so well written as always with Mark’s songs and I love crazy attention to detail. First of all, the chorus has 4 chords in it — E, F#m, D and C#m7. The tricky bit is the melody line, which starts in the bass and continue on the top. Luckily, one can play the whole chorus with the same Bruce Springsteen strumming all the way through the whole chorus, so all I can care about explaining is the left hand. E, F#m, open E, 4th fret, D/A. Now, the top melody starts with an upstroke, pay close attention. Upstroke, mute, upstroke and the rest of the melody, which is this. It repeats two times and for the third time it’s… C#m7 and fast F#m to E. The hard part is to play D with different bass and it’s easy if you have a whole band, but on one guitar it’s tricky. The best way I came up with is just go up here and play D with bass going down. And it’s completely optional, I’m just a fan of playing songs as close to the original as possible. In the original it was probably something like two Ds and E and that’s it. But what WAS played is this suspended E, which is the perfect ending for the chorus. Now the whole chorus slowly. The cool thing is that you can practice it like me, and what I did was, take this turnaround towards the end of the song, this ABBA-ish D to A turnaround. And you can basically loop the whole chorus and play it till you can’t play it anymore and the connection is seamless and sounds just like the song that happens to lead to nowhere, but it’s useful. There’s not too much to talk about in the rest of the song though. In the solo we have a B chord. Which goes into A and then D/A which leads into E, and here goes another verse. Beautiful arrangement, beautiful lyrics. And I think this is the whole song. I never played it before, so thanks for the suggestion, now I know one great song more and hopefully you’ll get to know it, too.