COPYRIGHT NOTIFICATION

COPYRIGHTS & PERMISSIONS: All arrangements and tabs in this blog are the original work of the blog owner, unless otherwise noted. They may be downloaded and copied at no charge, only for non-commercial church or home use. All other rights reserved. Ask for permissions-- I intend to be generous. Copyright information for each song is listed in its post. Arrangements and tabs of public domain songs are still covered by these copyright restrictions. Your cooperation is appreciated.

A Hymn from the Spanish Hymnal

There are lots of hymns in the Spanish version of the LDS hymnal that do not appear in the  English language version. Oíd el toque del clarín is one of the prettiest and most popular-- among Spanish speakers. I hope this is about to change, as this song was actually written in English, origianally. Frankly, the Spanish lyrics do not follow the English ones perfectly, which is a blessing, as the Spanish ones are better! Anyway, you can find this hymn on the "Featured" page at the top of the right-hand column. It's also going on the Spanish Page, as well as on the main list on my son's server, "just in case" Blogger decides to "make a few minor changes" again.  Enjoy!

WOW! That was FAST!

Great kudos to our Webmaster Joseph! In one day, he restored all the tabs and reorganized the blog into separate pages for Featured tabs, Easy tabs, Intermediate tabs, Advanced tabs, and Spanish!  He's ahead of me, as I don't have all the folders filled yet, but I'm working on it. Easy tabs is the most complete.  I'll keep you updated on my progress.

UNDER CONSTRUCTION

The tabs are still available HERE.  That is my mission journal site, and the tabs are in chronological order of posting, not alphabetical order.  We apologize for the inconvenience. Blogger deleted all our tabs while we weren't looking. We're trying to get them back, but have no idea how long this may take.  If you want to help, e-mail me at d.fallick@outlook.com.

You Can Make the Pathway Bright

Here in the southern hemisphere, where my wife and I are serving our mission, it's early spring. Flowers are blooming, birdsongs echo through the trees, and the sidewalks are filled with strolling lovers.  What could be more appropriate than this song?  I hope it will cheer up those of you heading into a northern hemisphere winter. The world definitely needs some cheering up at this time!

This is an easy song to play, and it's in the Public Domain.

We'll Sing All Hail to Jesus' Name-- easy version

Remember, the instructions are in a "Commentaries" section of the tablature, now. I plan to video a lesson on this one soon.

There Is Sunshine In My Soul Today

Today we begin something new. With over two hundred posts, I've decided to make some changes to the blog. The easiest one is that from now on, all the instructions, history, and commentaries about each new song will be part of the PDF, in a new section at the end of each piece, called "Commentaries". I'll still announce each new addition here, in the blog postings, but will keep my comments to a minimum. So, if you want to see instructions about this or any new song, just download the PDF. You'll find the instructions right after the chord charts.

That's the easy one. The other is so much harder that I've had to add a webmaster to my team. Together, over the next few months, we will create separate pages for each level of difficulty, as well as one for Spanish language songs.  You'll still see the full list on the Main page, so navigating to the song you want will be unchanged. But those who are interested in songs of a particular level of difficulty, such as "Beginners", "Intermediate", or "Advanced", or who speak Spanish, will each have a page of their own.

Actually, the pages are already partially created. They're just not yet available to the public. The songs will be in Google Drive, to make access easier, and for insurance when my son's server is down. Every song will also still be on my son's server, so you should be able to access them no matter what. But there's still only one of me to copy and move them, there are now over two hundred of them, and I'm still serving a full-time mission. Big changes are coming. Watch for future posts.

Entonad sagrado son

TO MY ENGLISH-SPEAKING FRIENDS:  this song is identical to "Gently Raise the Sacred Strain," except the tab, lyrics, and instructions have been translated into Spanish.

¿ Qué más se puede hacer con un himno lo cual El Coro del Tabernáculo Mormón ha utilizado como su tema de abierto durante los últimos 75 años ?

Un montón, resulta.

De tanto en tanto, un himno se manda que arreglarse para la guitarra, y cuándo se toque lo tanto, suena como que estaba destinado a ser una canción por la guitarra. Este es uno de esos himnos.

Por otra parte, no contiene ningún acorde de cejilla, ni de dificultad, ni técnicas especialmente duras, ni intercambios de acordes rápidas o difíciles. Sin embargo, suena fantástico. ¿Qué más se puede pedir un guitarrista?

Es de dominio público, también.

Advertencia: sin embargo, no es una canción para los principiantes. Hay un montón de expresión, a menudo en largas cadenas de Ligados, y en unos pocos casos, hay glisandos de dos cuerdas simultáneamente. No estaría demasiado duro aprender para cualquier guitarrista experimentado, pero requerirá un poco de práctica.

Instrucciones:

Esta pieza se basa en el uso de dos patrones, con modificaciones.
Compás [1] Presenta Patrón A: agudo - bajo, agudo - bajo, agudo - bajo.
Compás [2] Presenta Patrón B: agudo - arpegio - poco abajo.

Para evitar las confusiones, los dedos de la mano derecha se numerados, y no se nombrados: el pulgar es el No 1, el índice = No 2, el medio No 3, y el anulario = No 4. El dedo meñique derecho no está numerado, porque no se utiliza. (Se utiliza el dedo meñique izquierdo. Mucho.) De la misma manera, aunque las cuerdas normalmente les distinguen por los números 1 - 6, para evitar la confusión con los dedos numerados de la mano derecha, yo voy llamarles por sus notas al aire: Mi, Si, Sol, Re, La, y Mi-bajo respectivamente.

Para ambos patrones, empiece con el dedo No 4 en las notas agudas iniciales del patrón. Dedo No 1 toca la nota de bajo del patrón A, y las primeras de dos o tres notas del arpegio del Patrón B. Dedo No 2 toca las siguentes notas del arpegio, y No 3 y No 4 tocan como apropriados. El segundo acorde del compás [2] es un Do/Sol (que se pronunce “Do sobre Sol), y trastearse exacto como un acorde de Do, excepto de que el dedo meñique trastea la cuerda Mi-bajo en el tercer espacio.

Compás [6] se rompe el patrón ligeramente con un glissando en la Patrón B, utilizando el dedo meñique. Compás [7] parece ser un patrón de nuevo, pero hay una manera más fácil de tocarlo.Ya que el meñique está ya en el quinto espacio desde las últimas notas del compás anterior, el dedo índice está perfectamente posicionado para trastear la cuerda Mi en el tercer espacio, una técnica que se cita como “Tercera Posición” y por lo general, se marca en la música de la guitarra con un pequeño número romano III, encima de la pentagrama. Tercera Posición significa que el mano se mueve hacia arriba del mástil, hasta que el dedo índice, qui generalmente trastea las cuerdas en el primer espacio, ahora trasteales en el tercer. En este sistema, la posición normal de la mano s’intitule, “Primera Posición”, pero el número romano I sólo se emplea cuando sea necesario para evitar la confusión.

Compás [8] vuelve a Primera Posición y a Patrón B, continuando en compáses [9] y [10]. Para trastear la última nota de [9], se necesitara bajar brevemente el dedo medio en la cuerda Sol.  Compás [10] introduce un ligado descendente, y es una ligera variación en el patrón B, pero significativa, ya que ocho de los siguientes nueve patrones contienen ligados y glissandos. Tendra trastear a la cuerda Si con los dedos índice y anular simultáneamente en los primer y tercer espacios. Entonces hacer un ligado descendente con el dedo anulario.

Compás [11] se aparta de la pauta totalmente. Hay dos ligados ascendentes en esta compás, que se muestran en dos maneras diferentes. Yo uso el mismo guión para los ligados asciendentes así que los descendentes. Las técnicas son diferentes, pero no es posible de confundirles, porque los numeros de la tablatura indican la dirección del ligado.

Compás [12] en realidad es un retorno a Patrón B, pero no se parece, a causa de los ligados. Trastee la cuerda Mi con los dedos índice y anular simultáneamente en el Primer y Tercer Positiones, para hacer el ligado asciendente. Continúe a estos ligados con el dedo índice en el siguiente compás, después del acorde Do.

Los siguientes tres compases, [13] a [16], les salgan completemente de los patrones A y B, a fin de seguir la melodía. En [13] hay un riff de ligados descendente - ascendente - descendente, repetido de una forma casi similar en [14]. Puede hacerlo más facilmente al tocar este segundo riff con el dedo meñique.

La siguiente compás [15], comienza una serie de glisandos dobles, o sea glisandos hechos en dos cuerdas simultáneamente. Toque estos doble glisandos en las cuerdas Re y Si con los dedos medio y el anulario respectivamente, para prepararse para la progresión armonica hasta el acorde de Fa que sigue. En realidad no es necesario trastear las dos cuerdas cejillas para el acorde Fa en este momento, como la cuerda Mi no se toca hasta el final del siguiente compás.

Ese acorde Fa es vital, ya que en el se establece toda la compás qui sigue. La palabra Mordente se refiere al sonido producido por el uso de un pedal de "Wa - Wa" . Si está amplificada y tiene un pedal wa - wa , utilizalo aquí. Si no, usted tiene que jugar por dos dobles-glisandos, como se muestra en la tablatura. Toque la Mordente usando los dedos anulario y medio, en las cuerdas Sol y Re respectivamente. Brevemente levantar los dedos del diapasón sin cambiar sus posiciones, tiempo suficiente para hacer un doble-tirando en las cuerdas Sol y Si, los cuales estan al aire. Vuelva a colocar los dedos índice y medio en las cuerdas Si y Sol, para el glisando. Toque el acorde Do del siguiente compás, como parte de la frase misma que se inició en el compás [15].

Compás [16] se dejará una huella profunda en la mente de su público si se hace bien. Practicar con un metrónomo hasta que se puede tocar exacto a tiempo, sin interrupción antes o después del compás. Les vuela las cabezas.

Los siguientes tres compases, [17], [18] y [19], han de volver a Patrón B, con la excepción de que las notas iniciales ahora están acordes pellizcados. Toque el glisando en [18] en las cuerdas Mi y Si con el índice y el anular respectivamente, empezando en la Tercera Posición y glisando a la Primera Posición. Esto configura la mano para el acorde Do que sigue.

Los últimos tres compases les incluyen unicamente los acordes. Compás [20] contiene el único acorde de cejilla del cancion-- un acorde de media cejilla, cual incluye las tres primeras cuerdas de un acorde Fa normal. Aúnque usted no puede tocar acordes de cejilla, no hay razón para tener cualquier dificultad con este facil acorde de tres cuerdas.

Toque los ultimas dos compases bastante lentemente y deliberadamente. El segundo acorde en [21] es en realidad un Sol+5. No necesita trastear toda la cuerda, cuando vas a tocar sólo tres cuerdas, ¡ y dos de ellos están al aire ! Simplemente levantar brevemente los dedos de las cuerdas, manteniendo la forma de Do, y trastee la cuerda Si en el tercer espacio con el dedo meñique. Toque las cuerdas Re, Sol, y Si en tirando rápidamente, luego volviendo al acorde Do, utilizando el dedo meñique en la cuerda Mi-bajo en el tercer espacio, lo cual cambia el Do en un Do/Sol.

Espero que usted disfrutare el tocar de esta canción tal como hé disfrutado el areglar de ella.

Historia:

“Entonad sagrado son” se incluyó en el primer himnario SUD, compilado por Emma Smith, poco después de su bautismo, y publicado en 1835. La letra fue escrita por William W. Phelps, que fue internada con los Smith en el momento. Nadie parece conocer la melodía original, aunque sí sabemos que no era la actual, qui fue compuesta para el Coro del Tabernáculo por Thomas C. Griggs, ¡ que no nació hasta 1845 !

Gently Raise the Sacred Strain IITabs

In playing through this piece over and over, I find I want to make a couple of changes. They are not great, so I’m not going to alter the original tabs, but the changes are useful enough to share with my readers. Hence: Gently Raise the Sacred Strain II. Check it out in "The Tabs".

First, the format:  By viewing the page in Landscape mode instead of Portrait, and minimizing the non-tablature parts, it is possible to get the entire tab on one page, which makes it much easier to use for practicing.  I have left out all the chord charts and lyrics, which are not needed for practice, once the piece has been learned. Because nearly all the notes are eighth-notes, I have left out the counting numbers too, except where they are needed for clarity.

I have also made a couple of substantive changes. Measure [18] has a couple of extra notes added, necessitating a brief change to 8/8 time for just that single measure. This does not follow the music as published in Hymns, nor any arrangement of the Tabernacle Choir that I have been able to discover.  But it does sound really nice, which is excuse enough. I have also changed the three-string, pinched chord in measure [22] to a five-string, strummed, GaddD chord, and extended the following two chords to a full six beats each, for the same reason. That's it! Enjoy.

Gently Raise the Sacred Strain

What more can be done with a hymn that the Mormon Tabernacle Choir has used as their “Music and the Spoken Word” opening theme song for the last 75 years?

Plenty, it turns out.

Every now and then, a hymn just demands to be arranged for the guitar, and when thus played, sounds like it was always meant to be a guitar song. This is one such hymn.

Moreover, it contains no barre chords, no difficult chords, no especially hard techniques, and no fast or difficult chord changes, yet it sounds fantastic. What more could a guitarist ask for?

It’s in the Public Domain, too.

Nevertheless, this is not a song for beginners. There is LOTS of expression, often in long strings of ligados, and in a few places, slides on two strings simultaneously.  It shouldn’t be too hard for any experienced guitarist to learn, but will require some practice.

Instructions:

This piece is based on a pattern pick, using two patterns, with modifications.
Measure [1] introduces Pattern A: treble - bass, treble - bass, treble - bass.
Measure [2] introduces Pattern B: treble - arpeggio - bass.

To avoid confusion, the right hand fingers are numbered, not named: the thumb is #1, the index = #2, the middle finger #3, and the ring finger = #4. The right pinkie is not numbered, because it is not used. (The left pinkie IS used. A lot.) Similarly, although the strings are normally distinguished by the numbers 1 - 6, to avoid confusion with the numbered fingers of the right hand, I shall call the strings by the notes they make when played open: e, B, G, D, A, and E respectively.

For these patterns, lead with the #4 finger on the initial treble note. #1 plays the bass notes of pattern A, and the first two or three notes of the arpeggio in pattern B.  #2 plays the next note of the arpeggio, and #3 and 4 play the other notes as appropriate. The second chord in measure [2] is a C/G (pronounced “C over G”), and is fretted exactly like a C chord, except that the pinkie frets the bass E string in the third space.

Measure [6] breaks the pattern slightly with a glissando (a slide) on the B string, using the left pinkie. Measure [7] appears to be Pattern A again, but there’s an easier way to play it. Since the left pinkie is already in the fifth space from the last note of the previous measure, the left Index finger is perfectly positioned to fret the e string in the third space, a technique referred to as “Third Position” and usually marked in guitar music with a small Roman numeral III above the staff. Third Position means that the hand is moved up the neck of the guitar, so the Index finger, which usually frets notes in the first space, now frets notes in the third space. In this system, the normal hand position is called, “First Position,” but is only marked with a Roman Numeral I above the staff when needed.

Measure [8] returns to First Position and Pattern B, continuing in Measures [9] and [10]. To fret the last note in [9], flatten the middle finger briefly across the G string. Measure [10] introduces a pull-off, a very slight variation on Pattern B, but significant, as eight of the next nine measures contain either pull-offs, hammer-ons, or slides.  You’ll have to fret the B string with the Index and Ring fingers simultaneously in the first and third spaces, then pull-off the Ring finger.

Measure [11] departs from the pattern altogether. There are two hammer-ons in this measure, shown two different ways. I use the same underscore for the hammer-on and for the pull-off. I realize that it may seem comfusing at first, but it’s really not possible to mix them up, as pull-offs always go down in tone, while hammer-ons always go up.

Measure [12] is actually a return to Pattern B, but doesn’t look it, due to all of the pull-offs. Fret the e string with the Index and Ring fingers simultaneously in the first and third spaces, to do the pull-off. Continue to hammer-on and pull off with the Index finger in the next measure, beginning with the C chord.

The next three measures, [13] through [16], completely  depart from Patterns A and B, in order to follow the melody closely. In [13] there’s a --pull-off -- hammer-on -- pull-off -- riff, repeated with a  --hammer-on -- pull-off -- riff in [14].  You may find it easiest to play this second riff with the pinkie.

The next measure [15], begins a series of double-glissandos, or slides done on two strings simultaneously.  Play the double slide on the D and B strings with the Middle and Ring fingers respectively, to set up for the change to F which follows.  You don’t actually need to do the two-string barre for the F chord at this time, as the e string is not played until the end of the next measure.

That F chord is vital, as it sets up the whole measure which follows. The word Mordent refers tp tje sound made by using a “Wa-Wa” pedal. If you are amplified and have a wa-wa pedal, use it here. If not, you’ll have to play it as two double-glissandos, as shown in the tab. Play the Mordent using the Middle and Ring fingers to fret the G and D strings respectively. Briefly lift the fingers off the fretbpoard without changing their positions, just long enough for the pinch on the open B and G strings, then replace the Index and Middle fingers on the B and G strings for the slide. Play the C chord which follows in the next measure as part of the same phrase that began in Measure [15].

Measure [16] will “make” the song in the minds of your audience if done right. Practice with a metronome until you can play it exactly on the beat, with no pause before or after the measure. Blows people away.

The next three measures, [17], [18] and [19], are a return to Pattern B, except that the previous 4th finger lead notes are now pinched chords. Play the slide in [18] on the e and B strings with the index and ring fingers respectively, starting in Third Position and sliding to First Position. This sets up your hand for the C chord which follows.

The final three measures are just chords.  Measure [20] contains the only “barred” chord in the piece-- the first three strings of a normal F chord.  Even if you can’t do full barre chords, there’s no reason you should have any difficulty with this simple, three-string chord.

Play the final two measures very slowly and deliberately.The second chord in [21] is actually a GaddD, but there’s no reason to fret the whole chord, when you’re only going to play three strings, and two of them are open! Just lift the fingers off the strings, maintaining the C-shape, and fret the third space on the B string with the pinkie. Quickly pinch the three strings with the #2, #3, and #4 fingers, then change right back to the C chord, using the pinkie to fret the bass E string in the third space, which changes the C into a C/G. (Pronounced, “C over G”.)

Contrary to my usual practice of including the lyrics of the first verse, I have included those of the fourth, because of the importance of its message: Repent and live! I hope you enjoy playing this song as much as I’ve enjoyed arranging it.

History:

“Gently Raise the Sacred Strain” was included in the first LDS hymnal, compiled by Emma Smith shortly after her baptism, and published in 1835. The lyrics were written by William W. Phelps, who was boarding with the Smiths at the time. No one seems to know the original tune, but we do know it was not the current one, which was composed for the Tabernacle Choir by Thomas C. Griggs, who was not even born until 1845!

Lord, We Ask Thee Ere We Part

This piece is an etude, a short piece of music designed to teach or practice specific musical techniques.  Although one of them is metronome practice, don’t begin with the metronome set at full speed.  If you are unfamiliar with the other techniques, it would be better to master them before using the metronome at all.

All the single notes in this song that are not pull-offs or hammer-ons are rest strokes.  This is a right hand technique for plucking the strings with the index and middle fingers of the right hand.  Instead of plucking the strings away from the fretboard, stroke each string across the neck of the guitar, ending each stroke with the finger resting against the next string. That’s why they are called, “rest strokes.” Alternate the index and middle fingers. In this song, it doesn’t matter which finger you start with, but I prefer the middle finger. Strive for a steady rhythm.

In the third measure, there is a pull-off, shown by an underscore between the 1 and the 0.  Play the 1 as a normal rest stroke, but then, instead of plucking the same string with the right hand, pluck it with the left index finger, which is already fretting that string. This give the second note a different tonal quality, making it sound like the two notes are tied together.  This tonal quality is called a “ligado,” from the Spanish word for “tied”.  Ligados done by pulling the finger off the string like this are called “pull-offs.”

There are other ways to give the ligado sound to a note.  The very next note is played by hammering the middle finger of the left hand down onto the G string in the third space.  Even though the note is on a different string, a note which is hammered-on like this will still have that ligado sound.  Such notes are called “hammer-ons”.  In tablature, hammer-ons are often indicated by a lower-case h before the note.

The very next note is another pull-off, played the same way as the previous pull-off. Done in rhythm, this produces a string of four notes that all sound connected.  Play them as one continuous phrase, before returning to the rest stroke of the next-to-last note.

The final notes of the line form a D chord. Play the open D string with the right thumb, simultaneously plucking the e, B, and G strings all together to form a chord.  You won’t be able to do this as rest strokes. All four strings will have to be plucked away from the fretboard. This type of stroke is called a “free stroke”, because at the end of the stroke, the fingers of the right hand are not touching any strings.  When two or more strings are plucked simultaneously in this manner, it is called a “pinch,” because the fingers and thumb naturally come together in a pinching motion.  There are only two chords in this piece, and both are pinched, not strummed.

In the first measure of the next line, you have a single rest stroke, followed by two pull-offs in succession. You can accomplish this by fretting the B string in the first and third spaces simultaneously. Then, when you pull off the middle finger, the next note that sounds will be a C, fretted in the first space of the B string.  Immediately pull off the index finger too, producing a phrase of three ligado notes.

Adjust your timing so that each note receives the proper count.  Where a note is held only half as long as a normal count, the counting number is “&”, pronounced, “and” (very quickly).  Hammer-ons and pull-offs usually receive only half a count like this, but not always.  In the next measure, the hammered-on note is actually held for two full counts, so you’ll have to hammer it on quite hard, or it won’t sustain for the full two counts.

In the third measure of this second line, there’s another hammer-on on the B string, but it begins with a normal rest stroke, and with the string fretted in the first space, similar to the third measure of the previous line.  Then, instead of pulling the note off, hammer the next note onto the already sounding string, using the ring finger of the left hand.  Leave the index finger in place in the first space while doing this.  Most tab writers would “connect” these two notes by placing a h next to the second one, similar to the way I did in the first line.  Instead, I have used an underscore.  This may seem confusing at first, and is not standard tab, but it is obvious that a hammer-on is meant, and it shows the connection between the two notes.  In classical guitar notation, ALL ligados are shown by a curved line connecting them.

When the B string finishes sounding, remove the ring finger and play the next note as a normal rest stroke, with the index finger still in the first space, pulling it off for the first note of the last measure. Play the next note as a normal rest stroke, then pinch the G chord, playing the open B, G and D strings with the index, middle, and ring fingers of the right hand simultaneously.  This is still called a pinch, even though the thumb is not used.  You could play all the strings by strumming a full G chord, but you’d have to be mighty quick to make the chord change.  I think the pinch on the three open strings sounds just as nice, and it’s LOTS easier.

Once you have mastered these techniques, it’s time to pay more attention to the tempo.  For your convenience, I’ve included counting numbers below the staff, though this is not common in tablature.  This song is in 4/4 time, meaning that there are four “quarter-note” counts to each measure.  The metronome setting listed near the top of the page tells you how many such counts there are per minute, when the song is played at full speed.

I don’t recommend starting at full speed.  If you do, you will find it very hard to keep up, and your rhythm will be ragged.  Keep practicing with a ragged rhythm, and that’s how you’ll learn it.  It will then be devilishly hard to correct your rhythm later.  It’s far better to start with the metronome set slow enough that you can play the entire song on the beat.  Once you can do so, you will find it surprisingly easy to speed up the metronome, little by little, until you are playing at full speed.

If you are not used to practicing with a metronome, you may find it annoying.  This is a dead giveaway that your rhythm is not as steady as it should be.  When your rhythm is exactly on the beat, the metronome’s quiet ticks tend to get lost in the music, and your brain stops hearing them.

There are many good, free digital metronomes available online, and some of the best are available for smart phones and tablets.