Jingle Bells
Our Featured Tab for the month of December is Jingle Bells. I know it's not exactly a hymn, and in fact was not intended as a Christmas song at all when it was written, but over the years it has become associated with the Christmas holiday, to the point that it is now sung ONLY during the Christmas season. More to the point, it's a jolly bit of cheer during the Northern Hemisphere winter, a time when we could all use a bit of cheering up. Merry Christmas!
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.
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.
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 !
¿ 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.
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!
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.
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.
The Most Famous LDS Composer You’ve Never Heard Of
UPDATE: "LDS Composers" has changed to "Mormon Artists Group". THAT link works.
WARNING: Shameless commercialism ahead. But it’s GOOD.
Every once in a while, you run into a book by an “unknown” author, that’s TONS better than any of the “classic literature” you had to read in school. Very rarely, a truly excellent book may have something to do with music. In fifty years as a writer, editor, and English teacher, I can’t think of a single example of a really dynamite book about a composer, written by another composer. PACO, by Nathan Thatcher, is just such a book. I have no connection with it (wish I did!), and am not selling it, but it’s available from the LDS Composers website, listed in the Links section of this blog. It’s a bio of Paco Estivez, a Spanish convert, who is well-known as a composer in Europe. Reads like a REALLY GOOD novel. I’m hooked.
WARNING: Shameless commercialism ahead. But it’s GOOD.
Every once in a while, you run into a book by an “unknown” author, that’s TONS better than any of the “classic literature” you had to read in school. Very rarely, a truly excellent book may have something to do with music. In fifty years as a writer, editor, and English teacher, I can’t think of a single example of a really dynamite book about a composer, written by another composer. PACO, by Nathan Thatcher, is just such a book. I have no connection with it (wish I did!), and am not selling it, but it’s available from the LDS Composers website, listed in the Links section of this blog. It’s a bio of Paco Estivez, a Spanish convert, who is well-known as a composer in Europe. Reads like a REALLY GOOD novel. I’m hooked.
Cristo ha resucitado
This is CHRIST THE LORD HAS RISEN TODAY, in Spanish, with the chords written in "Sol-fa" format (sometimes called "solmization" in English). Other than that, it's identical to the English version already posted. I just wanted my Spanish-speaking friends to be able to play this cool song.
Christ the Lord Is Risen Today VIDEO LESSON
My first video! Sound leaves a bit to be desired, but it's reasonable, especially if you listen with any sort of headphones. A complete video lesson on how to play this hymn is available by clicking HERE. As always, it is strictly non-commercial. I do not use any cookies, and I do not use, distribute, or sell any user information.
I strongly recommend that you download and print the tablature, so you can follow along while watching the video. Happy Easter!
I strongly recommend that you download and print the tablature, so you can follow along while watching the video. Happy Easter!
Sweet is the Work
The chords:
No hard chords in this song, unless you absolutely cannot play barre chords. If that’s the case, or if you cannot hit the final GIII chord in rhythm, substitute a normal G. It won’t sound quite as good for a final resolution, but it won’t sound bad. Only you will know the difference.
The rest of the chords are just your old friends G, D, D7, and C, with two miniscule exceptions. D/A is just a normal D chord, but you play the open A string, instead of damping or omitting it, as usual. This is important, as the melody depends on this note, but it’s no harder than playing a normal D.
The other exception is GaddD. This is played just like a normal G, except that the second string is fretted in the third space, instead of the first string, which is not played. This is very similar to the hand position required for a normal G, except that it’s actually easier to play! Just be sure not to play the open first string. If this is hard for you, fret the first string in the third space too, and play all six strings. The high G note will distract a bit from the melody, but it’s far better than an open E, which has no place in any G-type chord.
Techniques:
Most of the transitions in this song are quite easy, but there are three spots that can be difficult to play quickly and smoothly, unless you use some easy, but counter-intuitive techniques.
In the transition from measure [3] to measure [4], you can reach the chord more easily if you fret the final note of [3] with your ring finger. This may feel odd, but it positions your ring finger on the correct string for the D chord in the next measure. For this to work, you will have to do the glissando between measures [2] and [3] with your middle finger. It won’t take much practice for you to see that this is a much faster and smoother way to play this riff.
In measure [14], the chord labelled G7 should really be a G, but it’s a lot easier to get to the G7 hand position from the preceding C. Since the first string is not played anyway, it doesn’t really matter. The notes form a G chord anyway. To avoid confusion, I have shown the way to fret the G7 in the chord diagram, but have placed an X instead of a 0 on the first string, to show that it is fretted but not played.
The third sticky spot is the trickiest of the lot. It occurs in measure [15]. To smooth the transition to the barred GIII chord, fret the last note of [15], in the fourth space on the fourth string, with your little finger. This positions it handily on the correct string for the following chord. As you make the barre with your index finger, your little finger will just automatically slide up a fret to the fifth space. It’s counter-intuitive, but it really works. To add a bit of expression, you can even allow the little finger to press on the string as it slides, creating a bit of glissando between the notes.
History:
Isaac Watts, the author of this hymn, was born near London, England, on July 17, 1674. He was a precocious child, studying Latin by the age of four, and “writing respectable verses at the age of seven” according to biographical notes in a later Anglican hymnal. At the age of 24, he became assistant minister of the Independent Church in London. In 1702, he became pastor. He suffered from delicate health all his life, but managed to publish over 800 hymns during his lifetime, as well as books of poetry, treatises, sermons, and tracts. Watts died November 25, 1748. There is a monument to his memory in Westminster Abbey.
“Sweet Is the Work” has been sung to several tunes. This one, called “Douglass,” was composed by John J. McClellan, Jr. (April 20, 1874 – August 2, 1925), while he was serving as chief organist of the Salt Lake Tabernacle. McClellan was born in Payson, Utah. By eleven, he was church organist there. He studied music in the US and Europe, was organist of St. Thomas Catholic Church in Ann Arbor, Michigan, taught music at Brigham Young Academy, forerunner of BYU, and served as pianist for the Salt Lake Opera Company. McClellan became the Tabernacle organist in 1900, where he accompanied the Mormon Tabernacle Choir until 1925, and inaugurated the free weekly organ recitals there.
John J. McClellan is also known for making the first known organ recording, recorded at the Mormon Tabernacle in Salt Lake City in September 1910, by the Columbia Graphophone Company. Although technically successful, it was never released for publication.
Dulce Tu obra es, Señor
Los acordes:
Sin acordes duros en esta canción, a menos que absolutamente no pueden tocar acordes con cejilla. Si ese es el caso, o si no puede tocar el final acorde de Sol III en ritmo, sustitute el Sol normal. No sonará tan bueno para una resolución final, pero no va a sonar mal. Sólo usted sabrá la diferencia.
El resto de los acordes son sus viejos amigos de Sol, Re, Re7, y Do, con dos excepciones minúsculas. Re/La se realiza exacto como Re normal, pero dejando sonar el quinto cuerdo, contra de costumbre. Ya que es importante, porque la melodía depende de esta nota, la realización era sensilla.
La otra excepción es el Sol+5. Este se juega al igual que un Sol normal, excepto que la segunda cuerda se trasta en el tercer espacio, en lugar de la primera cuerda, que no se reproduce. Esto es muy similar a la posición de la mano requerido para un Sol normal, excepto que en realidad ¡es más fácil de jugar! Sólo asegúrese de no tocar la primera cuerda al aire. Si esto es difícil para usted, traste de la primera cuerda en el tercer espacio también, y toque a las seis cuerdas. La nota alta Sol distraerá un poco de la melodía, pero es mucho mejor que la cuerda al aire, que no tiene niguna parte de cualquier tipo acorde Sol.
Las técnicas:
La mayoría de las transiciones en esta canción son bastante fácil, pero hay tres puntos que pueden ser difíciles de reproducir de forma rápida y sin problemas, a menos que utilice algunas técnicas sencillas, pero contrarios a la intuición.
En la transición del compás [3] para el [4], se puede llegar a la cuerda más fácilmente si traste la nota final de [3] con su dedo anular. Esto puede sentirse extraño, pero esto colocara a su dedo anular en la cuerda correcta para el acorde Re en el siguiente compás. Para hacerlo debidamente, tenia que hacer el glissando entre los compases [2] y [3] con el dedo medio. No se necesitará mucha práctica para ver que esta manera del tocar este riff es más rápida y suave.
En el compás [14], el acorde designado Sol7 realmente es un Sol, pero es mucho más fácil para llegar a la posición de mano de Sol7 del Do anterior, que por medio de Sol. La primera cuerda no se toca, entonces realmente no importa nada. Las notas forman un acorde de Sol de ambos modos. Para evitar la confusion, he mostrado el Sol7 en el diagrama de acordes, pero he colocado una X en lugar de un 0 en la primera cuerda, para demostrar que se trasta, pero no se toca.
El tercer punto dificil es lo más complicado del lote. Se produce en el compas [15]. Para facilitar la transición hasta la cuerda cejiillada Sol III, traste la última nota de [15], en el cuarto espacio de la cuarta cuerda, con su dedo meñique. Esto lo posiciona cómodamente en la cadena correcta para el siguiente acorde. Al realizar la cejilla con su dedo índice, el dedo meñique se deslizara automáticamente un traste más, al quinto espacio. Es contrario a la intuición, pero realmente funciona. Para añadir un poco de expresión, se puede permitir el dedo meñique a presionar sobre la cuerda ya que se desliza, creando un poco de glissando entre las notas.
Historia:
Isaac Watts, el autor de este himno, se nació cerca de Londres, Inglaterra, el 17 de julio de 1674. Fue un niño precoz, estudiando el latin por la edad de cuatro años, y "escribiendo respetables versos a la edad de siete años", según notas biográficas en un himnario Anglicana más recente. Como adulto, se convirtió en pastor de la Iglesia Independiente en Londres. Sufría de salud delicada durante toda su vida, pero logró publicar más de 800 himnos durante su vida, así como libros de poemas, de tratados, y de sermones. Watts murió el 25 de noviembre de 1748. Hay un monumento a su memoria en la Abadía de Westminster.
"Dulce tu obra es" se ha cantado a varias melodías. Éste, llamado "Douglass," fue compuesta por John J. McClellan, Jr. (el 20 de abril de 1874 - el 02 de agosto de 1925), mientras se desempeñaba como organista del Tabernáculo de Salt Lake City. McClellan se nació en Payson, Utah. A la edad de once años, era organista de la iglesia allí. Estudió música en los Estados Unidos y en Europa, fue organista de la iglesia católica St. Thomas en Ann Arbor, Michigan, enseñó música en la Academia Brigham Young, precursor de la Universidad Brigham Young, y se desempeñó como pianista para el Salt Lake Opera Company. McClellan se convirtió en el organista del Tabernáculo en el año 1900, donde acompañaba al Coro del Tabernáculo Mormón hasta 1925, e inaugurado los recitales gratuitos semanales allí.
También, es conocido por hacer la primera grabación de órgano que conocemos, grabado en el Tabernáculo Mormón en Salt Lake City en septiembre de 1910, por la Columbia Graphophone Company. Aunque técnicamente exitoso, nunca fue lanzado para la publicación.
Sin acordes duros en esta canción, a menos que absolutamente no pueden tocar acordes con cejilla. Si ese es el caso, o si no puede tocar el final acorde de Sol III en ritmo, sustitute el Sol normal. No sonará tan bueno para una resolución final, pero no va a sonar mal. Sólo usted sabrá la diferencia.
El resto de los acordes son sus viejos amigos de Sol, Re, Re7, y Do, con dos excepciones minúsculas. Re/La se realiza exacto como Re normal, pero dejando sonar el quinto cuerdo, contra de costumbre. Ya que es importante, porque la melodía depende de esta nota, la realización era sensilla.
La otra excepción es el Sol+5. Este se juega al igual que un Sol normal, excepto que la segunda cuerda se trasta en el tercer espacio, en lugar de la primera cuerda, que no se reproduce. Esto es muy similar a la posición de la mano requerido para un Sol normal, excepto que en realidad ¡es más fácil de jugar! Sólo asegúrese de no tocar la primera cuerda al aire. Si esto es difícil para usted, traste de la primera cuerda en el tercer espacio también, y toque a las seis cuerdas. La nota alta Sol distraerá un poco de la melodía, pero es mucho mejor que la cuerda al aire, que no tiene niguna parte de cualquier tipo acorde Sol.
Las técnicas:
La mayoría de las transiciones en esta canción son bastante fácil, pero hay tres puntos que pueden ser difíciles de reproducir de forma rápida y sin problemas, a menos que utilice algunas técnicas sencillas, pero contrarios a la intuición.
En la transición del compás [3] para el [4], se puede llegar a la cuerda más fácilmente si traste la nota final de [3] con su dedo anular. Esto puede sentirse extraño, pero esto colocara a su dedo anular en la cuerda correcta para el acorde Re en el siguiente compás. Para hacerlo debidamente, tenia que hacer el glissando entre los compases [2] y [3] con el dedo medio. No se necesitará mucha práctica para ver que esta manera del tocar este riff es más rápida y suave.
En el compás [14], el acorde designado Sol7 realmente es un Sol, pero es mucho más fácil para llegar a la posición de mano de Sol7 del Do anterior, que por medio de Sol. La primera cuerda no se toca, entonces realmente no importa nada. Las notas forman un acorde de Sol de ambos modos. Para evitar la confusion, he mostrado el Sol7 en el diagrama de acordes, pero he colocado una X en lugar de un 0 en la primera cuerda, para demostrar que se trasta, pero no se toca.
El tercer punto dificil es lo más complicado del lote. Se produce en el compas [15]. Para facilitar la transición hasta la cuerda cejiillada Sol III, traste la última nota de [15], en el cuarto espacio de la cuarta cuerda, con su dedo meñique. Esto lo posiciona cómodamente en la cadena correcta para el siguiente acorde. Al realizar la cejilla con su dedo índice, el dedo meñique se deslizara automáticamente un traste más, al quinto espacio. Es contrario a la intuición, pero realmente funciona. Para añadir un poco de expresión, se puede permitir el dedo meñique a presionar sobre la cuerda ya que se desliza, creando un poco de glissando entre las notas.
Historia:
Isaac Watts, el autor de este himno, se nació cerca de Londres, Inglaterra, el 17 de julio de 1674. Fue un niño precoz, estudiando el latin por la edad de cuatro años, y "escribiendo respetables versos a la edad de siete años", según notas biográficas en un himnario Anglicana más recente. Como adulto, se convirtió en pastor de la Iglesia Independiente en Londres. Sufría de salud delicada durante toda su vida, pero logró publicar más de 800 himnos durante su vida, así como libros de poemas, de tratados, y de sermones. Watts murió el 25 de noviembre de 1748. Hay un monumento a su memoria en la Abadía de Westminster.
"Dulce tu obra es" se ha cantado a varias melodías. Éste, llamado "Douglass," fue compuesta por John J. McClellan, Jr. (el 20 de abril de 1874 - el 02 de agosto de 1925), mientras se desempeñaba como organista del Tabernáculo de Salt Lake City. McClellan se nació en Payson, Utah. A la edad de once años, era organista de la iglesia allí. Estudió música en los Estados Unidos y en Europa, fue organista de la iglesia católica St. Thomas en Ann Arbor, Michigan, enseñó música en la Academia Brigham Young, precursor de la Universidad Brigham Young, y se desempeñó como pianista para el Salt Lake Opera Company. McClellan se convirtió en el organista del Tabernáculo en el año 1900, donde acompañaba al Coro del Tabernáculo Mormón hasta 1925, e inaugurado los recitales gratuitos semanales allí.
También, es conocido por hacer la primera grabación de órgano que conocemos, grabado en el Tabernáculo Mormón en Salt Lake City en septiembre de 1910, por la Columbia Graphophone Company. Aunque técnicamente exitoso, nunca fue lanzado para la publicación.
A Dios ofrecemos gozosa canción
To my English-speaking friends-- The English version of this song, and of this post, are called "The Joy and the Song", and can be found a little further down in the blog.
A Dios ofrecemos gozosa canción es a partir de un libro de canciones llamado Zion’s Praises (1ª edición, 1903), donde esta numerado como Himno # 227. Este libro, y presumiblemente las canciones en el, son propiedad de The Re-Organized Church of Jesus Christ of Latter-Day Saints, conocido hoy como La Comunidad de Cristo. Esta iglesia fue formada por los Santos de los Últimos Días que permanecieron en Nauvoo, y no tomaron parte en el éxodo hacia el oeste. Emma Smith, esposa del profeta José Smith, Jr., fue miembro fundador de la iglesia, y José Smith III, hijo de Emma y José, fue su primer presidente. Zion’s Praises era la himnario de la iglesia 1903-1933.
Fue increíblemente difícil de encontrar el himno original por internet. En himnarios SUD, está disponible en la himario Himnos, pero no en la versión Inglés. El himno original, con palabras en inglés, fue escrito en la tonalidad de Si bemol, lo cual es casi imposible tocar por la guitarra sin el utilizar de una cejilla. La versión española, como se encuentra en Himnos, ha sido un tanto reorganizado y adaptado a la tonalidad de sol mayor, lo cual es perfecto para la guitarra. Si le gustaría escuchar la canción, necesita abrirlo en su tableta o teléfono, como la versión para la computadora no tiene una función de reproductor. La versión de la tableta / teléfono lo hace. ¡Imagínate! Porque la versión iglesa fue la primera, hé incluyado la letra y el título en inglés.
También hay una versión de este himno, de idioma inglés, en este blog,bajo el título originál. Aparte del idioma preferido, la única diferencia entre los dos es que el inglés sigue el formato de deletraficación de la nomenclatura acorde: C, D, E, F, G, A, y B, en lugar de do, re, mi, fa, sol, la, y si (o ti). Una discusión de este formato, con tablas de equivalencia, se puede encontrar al hagar clic en la entrada "Chord Theory" en la sección “The Tabs” de este blog.
En realidad jugando esta canción es fácil. No hay acordes duros o transiciones dificiles. Hay ligados ascendentes y descendentes, que se muestran por guiones entre las notas, y glissandos, que se muestran por barras entre las notas: barras diagonales indican un tono ascendente, barras invertidas indican una caída de tono. Cuando sea necesario o útil, para cambiar la posición de la mano izquierda a la segunda posición, o hacia atrás hasta la primera posición, he colocado los números romanos por encima de la tablatura. Primera posición significa que se atrasa de las notas en el primer espacio con el indicio, los que están en el segundo espacio con el medio, y aquellos en el tercer espacio con el anulario. Segunda posición significa que desliza la mano izquierda hacia "arriba" del mástil de la guitarra (hacia el puente) un traste, por lo que las notas en el segundo espacio se atrastan con el indicio, los que están en el tercer espacio con el medio, y los del cuarto espacio con el anulario.
Hay dos tipos de acordes mandados en esa tablatura. Acordes pinzados se reproducen por tocarse la nota bajo con el pulgar derecho, y las otras notas con los dedos apropiados. En esta canción, todos acordes que no son marcados de otro modo, se nececsitan tocarse pinzados. Acordes rasgueados están marcados con una linea ondulada a la derecha de las notas. Para aquellos que no conocen bién la canción, he incluido números de conteo debajo de las letras.
Esta es una canción bién amada. La letra es la traducción cla más perfecta que he encontrado. No sé porqué no está en la edición inglesa de la himnario, pero estoy múy felíz de que tenemos en español.
A Dios ofrecemos gozosa canción es a partir de un libro de canciones llamado Zion’s Praises (1ª edición, 1903), donde esta numerado como Himno # 227. Este libro, y presumiblemente las canciones en el, son propiedad de The Re-Organized Church of Jesus Christ of Latter-Day Saints, conocido hoy como La Comunidad de Cristo. Esta iglesia fue formada por los Santos de los Últimos Días que permanecieron en Nauvoo, y no tomaron parte en el éxodo hacia el oeste. Emma Smith, esposa del profeta José Smith, Jr., fue miembro fundador de la iglesia, y José Smith III, hijo de Emma y José, fue su primer presidente. Zion’s Praises era la himnario de la iglesia 1903-1933.
Fue increíblemente difícil de encontrar el himno original por internet. En himnarios SUD, está disponible en la himario Himnos, pero no en la versión Inglés. El himno original, con palabras en inglés, fue escrito en la tonalidad de Si bemol, lo cual es casi imposible tocar por la guitarra sin el utilizar de una cejilla. La versión española, como se encuentra en Himnos, ha sido un tanto reorganizado y adaptado a la tonalidad de sol mayor, lo cual es perfecto para la guitarra. Si le gustaría escuchar la canción, necesita abrirlo en su tableta o teléfono, como la versión para la computadora no tiene una función de reproductor. La versión de la tableta / teléfono lo hace. ¡Imagínate! Porque la versión iglesa fue la primera, hé incluyado la letra y el título en inglés.
También hay una versión de este himno, de idioma inglés, en este blog,bajo el título originál. Aparte del idioma preferido, la única diferencia entre los dos es que el inglés sigue el formato de deletraficación de la nomenclatura acorde: C, D, E, F, G, A, y B, en lugar de do, re, mi, fa, sol, la, y si (o ti). Una discusión de este formato, con tablas de equivalencia, se puede encontrar al hagar clic en la entrada "Chord Theory" en la sección “The Tabs” de este blog.
En realidad jugando esta canción es fácil. No hay acordes duros o transiciones dificiles. Hay ligados ascendentes y descendentes, que se muestran por guiones entre las notas, y glissandos, que se muestran por barras entre las notas: barras diagonales indican un tono ascendente, barras invertidas indican una caída de tono. Cuando sea necesario o útil, para cambiar la posición de la mano izquierda a la segunda posición, o hacia atrás hasta la primera posición, he colocado los números romanos por encima de la tablatura. Primera posición significa que se atrasa de las notas en el primer espacio con el indicio, los que están en el segundo espacio con el medio, y aquellos en el tercer espacio con el anulario. Segunda posición significa que desliza la mano izquierda hacia "arriba" del mástil de la guitarra (hacia el puente) un traste, por lo que las notas en el segundo espacio se atrastan con el indicio, los que están en el tercer espacio con el medio, y los del cuarto espacio con el anulario.
Hay dos tipos de acordes mandados en esa tablatura. Acordes pinzados se reproducen por tocarse la nota bajo con el pulgar derecho, y las otras notas con los dedos apropiados. En esta canción, todos acordes que no son marcados de otro modo, se nececsitan tocarse pinzados. Acordes rasgueados están marcados con una linea ondulada a la derecha de las notas. Para aquellos que no conocen bién la canción, he incluido números de conteo debajo de las letras.
Esta es una canción bién amada. La letra es la traducción cla más perfecta que he encontrado. No sé porqué no está en la edición inglesa de la himnario, pero estoy múy felíz de que tenemos en español.
The Joy and the Song-- English version of a Spanish translation
“The Joy and the Song” is available in the Spanish language hymnal Himnos, but not in the English language hymnal. The original hymn, with English words, is from a songbook called Zion’s Praises (1st Edition, 1903), copyrighted by The Re-Organized Church of Jesus Christ of Latter-Day Saints, which is known today as The Community of Christ. This church was formed by Latter-Day Saints who stayed in Nauvoo, and did not take part in the exodus to the west. Emma Smith, wife of the prophet Joseph Smith, Jr., was a founding member of the church, and Joseph Smith III, son of Emma and Joseph, was its first president. Zion’s Praises was their hymnal from 1903 to 1933.
It was amazingly hard to find the original hymn online. The original hymn, with English words, was written in the key of Bb,which is nearly impossible to play on the guitar without using a capo. The Spanish version, as found in Himnos, has been somewhat re-arranged and transposed into the key of G, which is perfect for the guitar. If you are unfamiliar with it, and would like to hear the song, you’ll need to open it on your tablet or phone, as the laptop/desktop version doesn’t have a player function. The tablet/phone version does. Go figure! Because it’s only the Spanish version that’s readily available, I’m including the Spanish lyrics and title, as well as the original English lyrics and title.
I’m also including a Spanish language version of this tab & post, under the Spanish title “A Dios ofrecemos gozosa canción”. Apart from the preferred language of the lyrics, the only difference between the two is that the Spanish one follows the “sol-fa” format of chord naming: do, re, mi, fa, sol, la, and ti (or si in some countries), instead of C, D, E, F, G, A, and B. In English, this system is sometimes called solmization. A discussion of this format, with equivalency charts, can be found in the entry “Chord Theory” in The Tabs section of this blog.
Actually playing this song is easy. There are no hard chords or transitions. There are hammer-ons, and pull-offs, shown by underscores between the notes, and slides, shown by slashes between the notes: forward slashes indicate a rising tone, backslashes indicate a falling tone. Where it is necessary, or even helpful, to change the left hand position to Second Position, or back to First Position, I have placed Roman numerals above the staff. First Position means you fret the notes in the first space with the index finger, those in the second space with the middle finger, and those in the third space with the ring finger. Second Position means you slide the left hand “up” the neck of the guitar (toward the bridge) one fret, so the notes in the second space are fretted with the index finger, those in the third space with the middle finger, and those in the fourth space with the ring finger.
There are two kinds of chords called out in the tab. Pinched chords are played by plucking the bass note of the chord with the right thumb, and the other notes with the appropriate fingers. In this song, all chords not otherwise marked are to be pinched. Chords that are to be strummed are marked with a wiggly, vertical line to the right of the notes to be strummed. For those not familiar with the song, I’ve included counting numbers below the lyrics.
It’s a pretty song, well-beloved by our Latin brothers and sisters. The lyrics are as close to a perfect translation of the original English lyrics as it’s possible to get. I don’t know why it’s not in the English language edition of the hymnal.
It was amazingly hard to find the original hymn online. The original hymn, with English words, was written in the key of Bb,which is nearly impossible to play on the guitar without using a capo. The Spanish version, as found in Himnos, has been somewhat re-arranged and transposed into the key of G, which is perfect for the guitar. If you are unfamiliar with it, and would like to hear the song, you’ll need to open it on your tablet or phone, as the laptop/desktop version doesn’t have a player function. The tablet/phone version does. Go figure! Because it’s only the Spanish version that’s readily available, I’m including the Spanish lyrics and title, as well as the original English lyrics and title.
I’m also including a Spanish language version of this tab & post, under the Spanish title “A Dios ofrecemos gozosa canción”. Apart from the preferred language of the lyrics, the only difference between the two is that the Spanish one follows the “sol-fa” format of chord naming: do, re, mi, fa, sol, la, and ti (or si in some countries), instead of C, D, E, F, G, A, and B. In English, this system is sometimes called solmization. A discussion of this format, with equivalency charts, can be found in the entry “Chord Theory” in The Tabs section of this blog.
Actually playing this song is easy. There are no hard chords or transitions. There are hammer-ons, and pull-offs, shown by underscores between the notes, and slides, shown by slashes between the notes: forward slashes indicate a rising tone, backslashes indicate a falling tone. Where it is necessary, or even helpful, to change the left hand position to Second Position, or back to First Position, I have placed Roman numerals above the staff. First Position means you fret the notes in the first space with the index finger, those in the second space with the middle finger, and those in the third space with the ring finger. Second Position means you slide the left hand “up” the neck of the guitar (toward the bridge) one fret, so the notes in the second space are fretted with the index finger, those in the third space with the middle finger, and those in the fourth space with the ring finger.
There are two kinds of chords called out in the tab. Pinched chords are played by plucking the bass note of the chord with the right thumb, and the other notes with the appropriate fingers. In this song, all chords not otherwise marked are to be pinched. Chords that are to be strummed are marked with a wiggly, vertical line to the right of the notes to be strummed. For those not familiar with the song, I’ve included counting numbers below the lyrics.
It’s a pretty song, well-beloved by our Latin brothers and sisters. The lyrics are as close to a perfect translation of the original English lyrics as it’s possible to get. I don’t know why it’s not in the English language edition of the hymnal.
What Was Witnessed in the Heavens?
For my darling wife, Barbara, just because she loves it-- and because it’s her birthday.
Happy Birthday, dear!
The Song:
This song is harder than it looks, but a lot easier than it might be, so I’m calling it Intermediate level. It does contain eight chords, and five are barre chords, but two are just barrred A-shapes, which can be played as a two-finger chord, using the middle finger to barre the 2nd, 3rd, and 4th strings in the second space, bending the second knuckle backwards a bit to clear the 1st string. This is a jazz technique pioneered by the great Django Rinehart, father of modern jazz guitar, who only had the use of two fingers on his left hand. (Really!)
Two more barre chords are a barred E-shape, probably the most common barre chord, and a barred Em7-shape, another two-finger chord, and one of the easiest. The other barre chord, EIV, is a truncated version of a barred C-shape. The full version of this chord is generally conceded to be a difficult one, but since none of the notes used in the tab fall on the 5th string, I have left it out, making the chord MUCH easier to play. The other three chords are just A, E, and D.
I’ve left out several chords, in the interest of easier chord changes, substituting melody notes to carry the tune. So the chords alone make this an Intermediate level piece. But there’s more. Nearly every measure ends with a triplet-- three notes played in the time of a single beat. This constant slowing down and speeding up adds a lot to the appeal of the song. It also adds a bit to the difficulty level, since most of these triplets are achieved by using a double-ligado-- either a slide/pull-off, or a hammer-on/slide. One is even a mordant, achieved by sliding an entire chord down a fret and back up again, in the space of a single beat! In fact, this piece is just full of such combinations of techniques. Definitely not Beginner level. Sorry, all you beginners who would like to learn this song!
History
This is one of the few times where we know more about the composer of the song than we do about the writer of the words. The music was composed by Evan Stephens, an early Tabernacle Choir director and prolific composer. Nineteen of the songs in the current English language version of the hymnal were written or composed by him. Stephens was the first person to be employed as a full-time Tabernacle Choir Director, and it was he who first took the Choir on touring concerts. He also more than doubled the size of the choir, from 125 members to over 300.
We know nothing of the circumstances surrounding the composition of this particular song, and even less about the writer of the lyrics, John S. Davis. The name is just too common, and without corroborating details, there is no way for me to sort out which one he is. If anyone knows, please contact me.
The Song:
This song is harder than it looks, but a lot easier than it might be, so I’m calling it Intermediate level. It does contain eight chords, and five are barre chords, but two are just barrred A-shapes, which can be played as a two-finger chord, using the middle finger to barre the 2nd, 3rd, and 4th strings in the second space, bending the second knuckle backwards a bit to clear the 1st string. This is a jazz technique pioneered by the great Django Rinehart, father of modern jazz guitar, who only had the use of two fingers on his left hand. (Really!)
Two more barre chords are a barred E-shape, probably the most common barre chord, and a barred Em7-shape, another two-finger chord, and one of the easiest. The other barre chord, EIV, is a truncated version of a barred C-shape. The full version of this chord is generally conceded to be a difficult one, but since none of the notes used in the tab fall on the 5th string, I have left it out, making the chord MUCH easier to play. The other three chords are just A, E, and D.
I’ve left out several chords, in the interest of easier chord changes, substituting melody notes to carry the tune. So the chords alone make this an Intermediate level piece. But there’s more. Nearly every measure ends with a triplet-- three notes played in the time of a single beat. This constant slowing down and speeding up adds a lot to the appeal of the song. It also adds a bit to the difficulty level, since most of these triplets are achieved by using a double-ligado-- either a slide/pull-off, or a hammer-on/slide. One is even a mordant, achieved by sliding an entire chord down a fret and back up again, in the space of a single beat! In fact, this piece is just full of such combinations of techniques. Definitely not Beginner level. Sorry, all you beginners who would like to learn this song!
History
This is one of the few times where we know more about the composer of the song than we do about the writer of the words. The music was composed by Evan Stephens, an early Tabernacle Choir director and prolific composer. Nineteen of the songs in the current English language version of the hymnal were written or composed by him. Stephens was the first person to be employed as a full-time Tabernacle Choir Director, and it was he who first took the Choir on touring concerts. He also more than doubled the size of the choir, from 125 members to over 300.
We know nothing of the circumstances surrounding the composition of this particular song, and even less about the writer of the lyrics, John S. Davis. The name is just too common, and without corroborating details, there is no way for me to sort out which one he is. If anyone knows, please contact me.
Important Notice:
Google has removed your ability to follow Blogger sites, like this one, if you don’t have a Google account. Here’s a better way to contact me. Click on the “Contact Information” field just below my picture, in the column at right. If you have a Google account, “Click My Pic” will still work, and you can still follow this blog. In fact, you probably won’t notice the difference at all.
Hey, Matthew! or, what those underscores mean.
I don't usually comment back on comments, because if it's important enough to publish, I want everyone to see it, not just those who are interested in one particular entry out of 183. So here it is in public: The underscores in my tabs indicate ligados. They may be a hammer-on or a pull-off, depending on whether the notes are going up or down. Slashes between notes are slides. Hope this enlightens a few folks.
If you have specific questions, you can easily contact me. Just join the blog, then click on my pic and send me an email. I have to be one of the easiest people on the planet to contact. I'll be happy to answer reasonable questions. I don't use your personal information for ANYTHING. Wouldn't know how, even if I wanted to. This is a completely non-commercial blog.
If you have specific questions, you can easily contact me. Just join the blog, then click on my pic and send me an email. I have to be one of the easiest people on the planet to contact. I'll be happy to answer reasonable questions. I don't use your personal information for ANYTHING. Wouldn't know how, even if I wanted to. This is a completely non-commercial blog.
Jesus, the Very Thought of Thee
This one is slow, easy to play, lovely, and has an interesting history. There’s not a hard chord, technique, or transition in it, and the words were written by a canonized saint-- in the twelfth century. What’s not to love?
Technique
If you can play C, G7 and G, you can play this song. The G chord I use is actually a GaddD chord, but it’s fretted exactly like a normal G, except the ring finger frets the third space on the 2nd string instead of the 1st string, which is not played. This makes it even easier to play than a normal G.
All the chord changes in the first two lines (except one) follow a note played on an open string, giving you plenty of time to make the change. The exception is the change from C to GaddD at the end of the seventh measure. I usually fret the D note on the #2 string with my ring finger, making the change to GaddD super easy.
Similarly, the pull-off in the first measure of the third line eases the transition to GaddD. Then, after playing the chord and holding it as long as needed, release it, shifting the hand to a normal G7 position. Since you are not playing the #1 string, this chord is actually a G, but it’s easier to hit the notes called out in the tab from the G7 hand position, and it makes no difference to the music what you call it.
For the whole third line, you’re actually holding the middle and ring fingers in place, using the index finger to fret the melody notes. In the third measure of the line, I usually just flatten my middle finger across the #3 string briefly to hit the A note, instead of fretting it with the index finger. Do it the way it is easiest for you.
There’s an optional pull-off in the third line. Play the C note with the index finger, then pull that finger off the string, plucking the string with the left hand. It makes the two notes sonnd more connected, and is therefore called a ligado, the Spanish word for “tied”.
The last line is all played from a C hand position. On the final chord, if you wish, you can fret the #6 string in the 3rd space with your pinkie, turning the chord into a C/G, which just means a C chord with a G bass note. I like the sound of it better with a deeper bass, but it’s not necessary. If you prefer, just play a normal C here, omitting the #1 string. This omission is necessary, as the melody note is the C on the 2nd string. If you play the E on the open #1 string, the melody won’t sound right.
History
Edward Caswall, who translated the lyrics, was a clergyman in the Church of England who later converted to Catholicism and became a Catholic priest. Over his long lifetime as a clergyman, he wrote and translated hundreds of hymns.
Saint Bernard of Clairvaux was without doubt, Western Europe's “man of the twelfth century.” Adviser of popes, preacher of the Second Crusade, defender of the faith, healer of a schism, reformer of a monastic Order, Scripture scholar, theologian and eloquent preacher, he was the son of a French nobleman, who gave up all his advantages to become a priest. He was the first member of the Cistercian order to be placed on the Calendar of Saints, and was canonized, or officially recognized as a saint, on January 18, 1174. This was exactly 842 years ago today, January 25, 2016, due to confusion between the Julian Calendar in use at the time, and the Gregorian Calendar in use worldwide today. If you think that’s confusing, you don’t know the half of it!
If Saint Bernard did in fact write this hymn, it was probably written in Latin, but I have been unable to find any original lyrics. The music is a different story. It was composed by John B. Dykes, in the mid-nineteenth century, approximately seven centuries later. We don’t have an exact composition date for this tune, as Dykes was a prodigy who was Assistant Organist at his church by the age of ten, and who composed over three hundred hymn tunes in his short lifetime. He is better known as the composer of the tune used for Lead Kindly Light (Hymns #97).
Technique
If you can play C, G7 and G, you can play this song. The G chord I use is actually a GaddD chord, but it’s fretted exactly like a normal G, except the ring finger frets the third space on the 2nd string instead of the 1st string, which is not played. This makes it even easier to play than a normal G.
All the chord changes in the first two lines (except one) follow a note played on an open string, giving you plenty of time to make the change. The exception is the change from C to GaddD at the end of the seventh measure. I usually fret the D note on the #2 string with my ring finger, making the change to GaddD super easy.
Similarly, the pull-off in the first measure of the third line eases the transition to GaddD. Then, after playing the chord and holding it as long as needed, release it, shifting the hand to a normal G7 position. Since you are not playing the #1 string, this chord is actually a G, but it’s easier to hit the notes called out in the tab from the G7 hand position, and it makes no difference to the music what you call it.
For the whole third line, you’re actually holding the middle and ring fingers in place, using the index finger to fret the melody notes. In the third measure of the line, I usually just flatten my middle finger across the #3 string briefly to hit the A note, instead of fretting it with the index finger. Do it the way it is easiest for you.
There’s an optional pull-off in the third line. Play the C note with the index finger, then pull that finger off the string, plucking the string with the left hand. It makes the two notes sonnd more connected, and is therefore called a ligado, the Spanish word for “tied”.
The last line is all played from a C hand position. On the final chord, if you wish, you can fret the #6 string in the 3rd space with your pinkie, turning the chord into a C/G, which just means a C chord with a G bass note. I like the sound of it better with a deeper bass, but it’s not necessary. If you prefer, just play a normal C here, omitting the #1 string. This omission is necessary, as the melody note is the C on the 2nd string. If you play the E on the open #1 string, the melody won’t sound right.
History
Edward Caswall, who translated the lyrics, was a clergyman in the Church of England who later converted to Catholicism and became a Catholic priest. Over his long lifetime as a clergyman, he wrote and translated hundreds of hymns.
Saint Bernard of Clairvaux was without doubt, Western Europe's “man of the twelfth century.” Adviser of popes, preacher of the Second Crusade, defender of the faith, healer of a schism, reformer of a monastic Order, Scripture scholar, theologian and eloquent preacher, he was the son of a French nobleman, who gave up all his advantages to become a priest. He was the first member of the Cistercian order to be placed on the Calendar of Saints, and was canonized, or officially recognized as a saint, on January 18, 1174. This was exactly 842 years ago today, January 25, 2016, due to confusion between the Julian Calendar in use at the time, and the Gregorian Calendar in use worldwide today. If you think that’s confusing, you don’t know the half of it!
If Saint Bernard did in fact write this hymn, it was probably written in Latin, but I have been unable to find any original lyrics. The music is a different story. It was composed by John B. Dykes, in the mid-nineteenth century, approximately seven centuries later. We don’t have an exact composition date for this tune, as Dykes was a prodigy who was Assistant Organist at his church by the age of ten, and who composed over three hundred hymn tunes in his short lifetime. He is better known as the composer of the tune used for Lead Kindly Light (Hymns #97).
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