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We’ll Sing All Hail to Jesus’ Name

Not much information about the author (Richard Aldridge), composer (Joseph Coslett), or history of this hymn, but it’s a pretty one, popular in Sacrament Meetings, and not hard to play.

Basically, there are only three chords: C, F, and G7, plus a couple of easy variations.  For example, F/A is just a regular, four-string F chord, but you also play the open A string.  F/C is similar, but you have to fret the A string in the third space with your pinkie, to include the bass C note.  C/G is a regular C chord, with the pinkie fretting the G note on the bass E string, third space. Not a hard one in the lot!

There are a few spots in the tab where the techniques are not dead obvious. The first occurs in the fourth measure. Unless your hands are unusually flexible, it’s going to be much easier to PUSH OFF the ligado on the third string, than to pull it off. This technique is not difficult, but  may be unfamiliar to you. Repeat in the fourth measure of the second line.

In the first measure of the last line, you’ll have to play the F/C chord, then immediately release it, to play the sequential pull-offs on the second string. In the third and fourth measures of that line, strum the notes indicated, for a ligado effect.  Pinch the chord in the next-to-last measure, for contrast, and end with a strummed chord.

You don’t have to strum or pinch the chords as shown, of course, if changing between strumming and pinching seems difficult. The song will still sound good if you just strun, or just pinch. But this is an instrumental solo, and it’s an easy way to add interest to the music, without having to learn any new techniques or chords.

The last note of the song is shown in parentheses (0) because you only play it if you are going to repeat the verse.  It replaces the first, partial measure of the next verse.  The final time, you do not play this last note, but just let the chord ring.

This song is in the public domain.

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