Mark Rothko Song is one of Dar's prettiest guitar pieces.  Like most things a good
musician does, it is not as not as easy as it looks, but it is not as hard as it sounds.
     Dar capos at the first fret for this song, so the actual pitches are one half-step
higher than indicated.  The fingerpicking pattern for this is a style called Travis picking.
There are many variations, but you should practice this one, because most of what Dar does
in this song is based on it:

--M---------------M-----
------------I-----------          T-thumb, I-index, M-middle.
---------T-----------T--      (Apologies to classical guitarists.)
--T------------T--------
------------------------
------------------------

All the chords you'll need:

  d      F   Fsus2/E  E/D    e/D    A/D   Dsus4 Bbmaj7  Bbmaj7b5   Dsus2  D7sus2

--1--  --1--  --1--  --4--  --3--  --0--  --3--  --1--   --0--     --0--  --0--
--3--  --1--  --1--  --5--  --5--  --2--  --3--  --3--   --3--     --3--  --1--
--2--  --2--  --0--  --4--  --4--  --2--  --2--  --2--   --2--     --2--  --2--
--0--  --3--  --2--  --0--  --0--  --0--  --0--  --3--   --3--     --0--  --0--
-----  -----  -----  -----  -----  -----  -----  --1--   --1--     -----  -----
-----  -----  -----  -----  -----  -----  -----  -----   -----     -----  -----

     Verses I,II, and IV all have the same chord pattern.  The beginning of Verse III is
different from the other verses because it functions as the bridge.  The voices and the
accordian here mask her playing to the degree that I am basically guessing a bit, but it
sounds pretty good to me.  The second half of Verse III goes back to the regular pattern.

     The intro for this basically consists of three chords.  Dar adds some ornamentation
to the initial D minor and F chords, though.  Yes, this does alter the fingerpicking pattern
you just practiced, but all she's doing is playing with the high E-string using the 3rd fret,
1st fret, and the open E-string.

     Inaccuracies are mine and not Dar's.  =)

MARK ROTHKO SONG

Intro:      d             F     Fsus2/E

Verse I:

The (d) blue it speaks so (E/D) full

It's like the (e/D) beauty one can (D) barely stand

Or (d) too much things dropped (A/D) in your hand

And there's a (Dsus4) green like the (A/D) peace

In your (Dsus2) heart sometimes  (Bbmaj7b5)  (Bbmaj7)

Printed underneath the sheets of ashy (A/D) snow

And there's a (Dsus4) blue like where the urban

angels (Dsus2) go, very bright  (Bbmaj7b5)  (Bbmaj7)

Now the Caldor mo(A/D)bile tips a (Dsus2) biomorphic

sphere  (Bbmaj7b5)   (Bbmaj7)

Then it swings its dangling pieces

round to other paintings (F) here       (Fsus2/E)

Verse II:

Your behavior is so male
It's like you can't explain yourself to me
I think I'll ask Renoir to tea
For his flowers are as real as they are all the time
And the sunlight sets the furniture aglow
It's a pleasant time as far as people go, how far do they go?
Well his roses are perfect and his words have no wings
I know what he can give me and I like to know these things

Instrumental Interlude:     Played just like the intro

        d                 F     Fsus2/E

Verse III:

I (d) met her at the funeral

She said I (D7sus2) don't know what he meant to me

I (Dsus4) just know he (A/D) affected me

An (Dsus4) effect not (A/D) unlike his (Dsus2) art,

I believe  (Bbmajb5)  (Bbmaj7)

     (remaining chords as in previous verses)
The service starts and we are in the know
He had so much to say but more to show, and ain't that true of life?
So we weep for a person who lived at great cost
Yet we barely knew his powers till we sensed that we had lost

Verse IV:

A friend and I in a museum room
She says, "Look at Mark Rothko's side
Did you know about his suicide?
Some folks were born with a foot in the grave, but not me, of course"
And she smiles as if to say we're in the know
Then she names a coffee place where we can go, uptown
Now the painting is desperate, but the crowds wash away
In a crowd of kind pedestrians who've seen enough today