
Take a nostalgic journey through the music of The Seekers, the Australian folk-pop group whose distinctive vocals and memorable melodies became part of the sound of the 1960s.
This collection features 7 Seekers acoustic guitar lessons, including Georgy Girl, Morningtown Ride, I'll Never Find Another You and The Carnival Is Over. Along with the chords and rhythm patterns, you'll find arrangements that explore capo positions, alternate tuning, riffs, arpeggios and melody picking where they form part of the lesson.
Use the individual song sections below to explore each arrangement, or follow the New To The Seekers pathway if you'd like a suggested place to begin.
If you're new to playing The Seekers on acoustic guitar, start with The Carnival Is Over. The arrangement stays focused on the chords and one repeating rhythm pattern, making it a good introduction to the group's vocal-driven style while giving you a chance to work with a distinctive waltz feel.
Georgy Girl is a good next step, using one consistent rhythm pattern along with an intro riff that returns as the main lead break.
From there, try Morningtown Ride, where you'll work with another single rhythm pattern and can choose whether to add the optional melody lead break. A World Of Our Own is a good next step, adding an intro riff and melody picking once the basic rhythm is comfortable.
When you're ready for arrangements with a little more movement, Red Rubber Ball introduces two different rhythm feels along with a recurring picking pattern used for the intro, instrumental break and outro. I'll Never Find Another You adds Drop D tuning, two rhythm choices and a melody-based picking section.
Finally, Walk With Me brings several techniques together with an arpeggio intro, melody picking and a short shuffle-strumming section near the end.
You don't need to learn the songs in this order, but following this path lets you build the rhythm and accompaniment skills first before adding more of the melodic details found throughout these arrangements.

A World Of Our Own gave The Seekers another major international hit in 1965, following their breakthrough with I'll Never Find Another You. Written by Tom Springfield, the song showcased the group's signature combination of Judith Durham's clear lead vocal, close harmonies and acoustic accompaniment. It climbed to #3 in the UK, #2 in Australia and #1 in South Africa, while reaching #19 on the Billboard Hot 100 and #2 on the U.S. Easy Listening chart.
The song also had an interesting second life in country music. Sonny James recorded “A World Of Our Own” in 1968, taking his version to #1 on the U.S. country chart. The success of both recordings showed how naturally Springfield's melody could move between the folk-pop sound of The Seekers and traditional country music.
I play “A World Of Our Own” with a capo on the 3rd fret in standard tuning, using the chords G, D, C, Bm, Em, A7, E7, B7 and D7.
The rhythm uses a steady root–down–up–down–up–down–up pattern that repeats through the song. Keeping that rhythm flowing gives the arrangement the light folk-pop movement that works well underneath the vocal.
There are also two important melodic elements to work into the arrangement: an intro riff, which returns at several points throughout the song, and a main melody-picking section.
A good approach is to learn the chords and get comfortable with the rhythm first. Once that foundation is solid, come back to the intro riff and melody picking and add those pieces separately. That way the extra guitar work enhances the arrangement without interrupting the underlying rhythm.

Georgy Girl became one of The Seekers' biggest international hits and the song most closely associated with the group in America. Written by Tom Springfield with lyrics by British actor and entertainer Jim Dale, it served as the title song for the 1966 film Georgy Girl, starring Lynn Redgrave and James Mason. The Seekers' recording reached #2 on the Billboard Hot 100, #3 in the UK and #1 in Australia, while topping the U.S. Cash Box chart.
The song received another distinction when Springfield and Dale were nominated for the Academy Award for Best Original Song, losing to Born Free. In America, the group's album Come The Day was retitled Georgy Girl, and the song ultimately became the biggest U.S. hit of The Seekers' career.
I play “Georgy Girl” in standard tuning using the chords C, Em, F, Gsus, G, A#, Am, E7, D7 and Am/G.
The song uses one consistent down–down–up–down–up–down–up rhythm pattern. Keep the strumming light and flowing to capture the bright folk-pop character of the song without making the accompaniment too heavy.
There is also an intro riff that returns as the main lead break, giving the arrangement one recognizable melodic part that is worth learning separately.
Start by getting comfortable with the chords and the rhythm pattern so you can move smoothly through the progression. Once those are secure, work on the intro riff by itself. Because the same idea is used for the main picking break, mastering that one section takes care of two important parts of the arrangement.

I'll Never Find Another You became the song that launched The Seekers internationally. Written and produced by Tom Springfield, it was recorded in 1964 at London's Abbey Road Studios, with Judith Durham later recalling that they worked in the large downstairs studio also used by The Beatles.
Released as The Seekers' first UK single, it climbed to #1 in Britain and Australia, while reaching #4 on the Billboard Hot 100 and #2 on Billboard's Easy Listening chart. The recording sold more than a million copies and made The Seekers the first Australian group to simultaneously achieve a Top 5 hit in Australia, Britain and the United States.
The song crossed naturally into country music as well, with Sonny James taking his version to #1 on the U.S. country chart in 1967.
I play “I'll Never Find Another You” with a capo on the 4th fret and use Drop D tuning, with the chords G, C, D, A7, Am, Em, D7 and Bm.
There are two rhythm patterns you can use. The first is root–down–up–down–up–down–up, while the second uses root–down–up–root–up–down–up. Both provide the steady folk-pop rhythm that carries the song, so you can learn one pattern or become comfortable with both.
The arrangement also includes an intro riff and a main picking section that follows the song's melody.
Start by learning the chords and getting comfortable with one or both rhythm patterns. Then work on the intro riff separately before moving to the main melody-picking break. Once those individual pieces are comfortable, bring them together for the complete arrangement.

Morningtown Ride had an unusual journey to becoming one of The Seekers' best-known recordings. Written by American folk singer and activist Malvina Reynolds, the lullaby imagines children travelling peacefully through the night aboard a train, with the Sandman watching over the journey. The Seekers first recorded it for their 1964 album Hide & Seekers, accompanied by Bobby Richards and his Orchestra.
Two years later, the group re-recorded the song, with Tom Springfield producing, and released the new version as a single. It became a major British hit, spending 15 weeks on the UK chart and reaching #2 in December 1966. In America it reached #44 on the Billboard Hot 100 and #13 on the Easy Listening chart, giving this gentle children's lullaby an unlikely second life as an international pop hit.
I play “Morningtown Ride” in standard tuning using the chords G, G7, C, Am, Em, D and D7.
The rhythm uses a steady root–down–up–root–up–down–up pattern that repeats throughout the song. This gives the accompaniment a gentle, flowing movement that suits the relaxed character of the melody.
The original recording doesn't feature a prominent lead break, but in my arrangement I've added a melody-based lead section to give the solo acoustic version an additional musical element.
Start by learning the chords and getting comfortable with the rhythm pattern. Once you can move smoothly through the song, you can decide whether you want to keep the arrangement entirely rhythm-based or add the lead break. If you do, the lesson includes one that's ready to work into the song.

Red Rubber Ball brought together two notable songwriters of the 1960s: Paul Simon and The Seekers' Bruce Woodley, who collaborated while Simon was living in England. Simon later recalled that part of his motivation for writing the song was receiving a £100 advance from The Seekers. The group recorded their own version for the 1966 album Come the Day, with Woodley taking the lead vocal.
The song became famous, however, through The Cyrkle, who released it as a single in 1966. Their recording climbed to #2 on the Billboard Hot 100 and #1 in Canada, and its success helped earn the group a place on The Beatles' final U.S. concert tour that summer. The song was also recorded by artists including Neil Diamond, demonstrating just how far this Simon-Woodley collaboration travelled beyond The Seekers.
I play “Red Rubber Ball” in standard tuning using the chords G, Em, Bm, C, D, D/Gb, Am and B7.
The main rhythm uses a repeating root–down–up–down–up–down–up pattern, giving the song its steady, upbeat folk-pop movement. There is also a section where the rhythm changes to a more accented down–pause–up–down–pause pattern, creating a noticeable change in feel before returning to the main groove.
The arrangement includes a recognizable picking pattern between the opening G and Em chords. That same musical idea returns as the main instrumental break and again in the outro, so learning it once gives you several important parts of the song.
Start with the chords and main rhythm pattern. Next, work on the accented rhythm change so you can move comfortably between the two feels. Then learn the opening picking pattern and you'll already have the material needed for the intro, main break and ending.

The Carnival Is Over became one of The Seekers' signature songs after its release in 1965. Tom Springfield based the melody on the traditional Russian song Stenka Razin, which he had encountered while studying Russian during his National Service, then adapted the melody and wrote entirely new English lyrics. The result was a remarkable success, reaching #1 in the UK, Australia and Ireland. In Britain it remained at the top for three weeks and reportedly sold around 90,000 copies a day at its peak.
The song also became The Seekers' traditional concert-closing number, serving as a musical farewell to their audiences. One particularly memorable chart footnote: its run at #1 kept The Who's “My Generation” at #2 in Britain.
I play “The Carnival Is Over” with a capo on the 2nd fret and use Drop D tuning, with the chords A7, D, G, Bm, A7sus, Gbm and C.
The song uses a repeating down–down–up–down–down rhythm pattern. Played steadily, this creates an almost military-waltz feel that works particularly well with the dramatic character of the song.
There are no lead breaks or additional picking sections to learn in this arrangement, so the focus stays entirely on the chord progression and maintaining that distinctive rhythm underneath the vocal.
Start by learning the chords and becoming comfortable moving between them. Then work on the rhythm pattern until the pulse feels natural and consistent. Once those two pieces are together, you have everything needed to play the complete arrangement.

Walk With Me continued The Seekers' successful partnership with songwriter and producer Tom Springfield, who wrote the song and produced their 1966 recording. Released as a single in Britain in September of that year, the gentle waltz-like ballad gave Judith Durham a particularly prominent vocal showcase and offered a softer contrast to some of the group's brighter folk-pop hits.
The single spent 12 weeks on the UK chart, reaching #10 in October 1966. It later appeared on several Seekers collections, including the enormously successful 1968 compilation The Best of The Seekers.
Although not as internationally famous as Georgy Girl or I'll Never Find Another You, “Walk With Me” was another of the string of Tom Springfield songs that helped define The Seekers' mid-1960s sound.
I play “Walk With Me” with a capo on the 2nd fret in standard tuning, using the chords Am, Dm, E7, G, C, A7, Fm and Esus.
The main rhythm uses a repeating down–down–up–down / down–down–down pattern, which gives the arrangement a slightly haunting feel that suits the character of the song.
The arrangement begins with an arpeggio intro sequence, which I cover separately in the lesson. There is also some melody-line picking to work into the song, along with a short section of shuffle strumming near the end, so watch for that change from the main rhythm.
Start by learning the chords and getting comfortable with the main rhythm pattern. Then come back and learn the arpeggio intro on its own. Once that's comfortable, add the melody-picking break and finally work in the quick shuffle section near the end. Putting those individual pieces together gives you the complete arrangement.
The Carnival Is Over is a good place to begin because the arrangement focuses on the chords and one repeating rhythm pattern. From there, Morningtown Ride adds an optional melody break, while the other lessons gradually introduce riffs, picking patterns and additional rhythm changes.
It depends on the arrangement. Some of these lessons use a capo while others don't. A capo can help place a song in the desired key while allowing you to use particular chord shapes, and those shapes can also make certain riffs or melodic parts more practical to play on one acoustic guitar.
No. Most use standard tuning, but I'll Never Find Another You and The Carnival Is Over use Drop D tuning in these arrangements. The tuning, capo position and chords are explained in each individual lesson.
There isn't one Seekers strumming pattern used for every song. These arrangements include several folk-pop rhythm patterns, a waltz-style feel in The Carnival Is Over, an accented rhythm change in Red Rubber Ball, and some shuffle strumming near the end of Walk With Me.
Several do. A World Of Our Own includes an intro riff and melody picking, Georgy Girl uses its intro riff again for the main break, and Red Rubber Ball has a recurring picking pattern used for the intro, instrumental break and outro. Other arrangements contain their own melodic elements.
Yes. These lessons are arranged around a single acoustic guitar. Where the original recording contains musical ideas that benefit from a little more than basic strumming, the arrangements use riffs, picking patterns, chord shapes or rhythm changes to bring some of that character into one guitar part.
Start with the chords and main rhythm. Once you can play comfortably through the progression, learn the intro, riff or melody section separately and then add it to the arrangement. That approach is used throughout these Seekers lessons and keeps the extra guitar work from getting in the way of the underlying rhythm.
The music of The Seekers is a great example of how much can be accomplished on acoustic guitar with strong melodies, steady rhythm and well-placed musical details. Across these seven arrangements, you've worked with different strumming patterns, capo positions, Drop D tuning, riffs, arpeggios and melody-based picking while keeping the guitar supportive of the song.
Return to the overview video whenever you'd like a quick reminder of how the songs sound, or revisit the New To The Seekers section if you're deciding which arrangement to learn next.
When you're ready to work through a complete song, each lesson is available for download with the full video lesson and accompanying chord and lyric sheet.

Kirby Swinemar is an acoustic guitar instructor, performer and song arranger who has taught online for 21 years and created more than 4,000 original acoustic guitar lessons. He specialises in song-based acoustic guitar instruction, rhythm guitar techniques, and creating full-sounding solo arrangements that help beginner and intermediate players move beyond basic strumming.
Explore his work at Kirby's Guitar Lessons and on social media on his social media YouTube Channel and his Facebook Page. Learn more about Kirby on his About Me page.