This is a really pretty song, with lots of cool chords. I love the lyrics, too, except for the second verse. If anyone who reads this can define the word “effulgent” or use it in a sentence in such a way as to indicate the meaning, WITHOUT looking it up first, please email me or comment on this post. The other five verses are wonderful, and can get along just fine without verse two. Maybe even better.
This is intended as a guitar solo, but can be used to back up singers or a lead instrument. I have arranged it as one verse of mostly chords, in 3/4 tempo, for an introduction or accompaniment, and a second verse of more lyrical playing in 6/8, which could be used as a bridge between sung verses. [That’s an excuse. I really just couldn’t decide which version I liked better.--Don]
Both versions use lots of barre chords, even some unusual ones. The trick is to practice until you can make it sound easy. The first verse is very straightforward. Just strum the chords and pluck the individual notes as tabbed. It may not be easy to hit all the chords as quickly as called for, but there is nothing complicated about the tab. If you find it hard to play the descending chord progression BVII - CVIII - GVII - AmV smoothly or rapidly enough, try substituting the 3-string version Bvii* - CVIII* - GVII* - AmV* from the second verse. It’ll be much easier, and will sound nearly as good to the audience (because they won’t know what they are missing).
The second verse involves pattern picks, whic are a little more elaborate than strummed chords, but the chords are almost exactly the same. The only differences are in the second line of each verse. I have chosen to use the full, five- or six-string versions of the chords in the descending chord progression in the last line of the first verse, and the three- or four-string versions in the second verse, but they need not be played like that. Either way will work just fine in either place.
If you are playing this as a solo instrumental, two verses will likely not be enough, as they are very short. You may want to create a third verse by combining the other two verses. You can base it on the second verse, but with added chords. One good way to do this is to play the chords as pinches, instead of strumming them, at least part of the time. Or, you can base an extra verse on the first verse, but with some pattern picking added for variety. Once you have mastered the two verses shown here, it’s not difficult to combine them.
Showing posts with label and slides. public domain. Show all posts
Showing posts with label and slides. public domain. Show all posts
Danny Boy-- guitar/mandolin duet
This is a great tune for a duet, but each of the parts can be played alone, too. I know it's not really Gospel-related, and is rather Catholic in tone, referring as it does to "saying an ave" (pronounced AH-vay), which is how some Catholics refer to the prayer which in Latin begins, "Ave Maria". In English, it's called a "Hail Mary."
Actually, the tune is far older than the words associated with it, and makes a really lovely instrumental duet. The tune was collected in County Londonderry (or Derry) in what is now Northern Ireland, in the mid-1800s, and was so old even then that no one even knew its name, so the collector just referred to it as "The Londonderry Air." The tune is in the public domain. The lyrics were written by Frederic Weatherly, and originally set to a completely different tune. In 1913, he adapted it to fit the Londonderry Air, so the song Danny Boy, as we now know it, is only 100 years old. But in that century, it has become so popular that hardly anyone remembers the previous version or name.
The mandolin is tuned exactly like the violin, so you could substitute a violin for the mandolin part. Or you could, if I had used mandolin musical notation instead of tablature. But there are countless violin versions available in sheet music, and I couldn't find any in tab. If you're an accomplished mandolin player, you're doubtless used to reading sheet music, but for those who, like me, are not accomplished, I've provided tab. Either part can also be played separately as a solo.
The piece is actually not difficult for the guitarist who can play standard barre chords. It uses only barred E-shape chords, except for CaddE and CaddD near the end. Both are based on the CVIII chord, and can be played that way, if your fingers are long, or your guitar is small. Otherwise, just play the first four strings of those chords, as written. I have a 3/4 size classical guitar which I use for teaching very young students, and it works perfectly for me to play the full chords (all six strings), and still reach the 12th fret with my little finger.
I've added a reprise of the last line, as a finale, ending with CVIII. I like to end on a rising note, but you can leave off the finale if you prefer the C/G resolution.
Actually, the tune is far older than the words associated with it, and makes a really lovely instrumental duet. The tune was collected in County Londonderry (or Derry) in what is now Northern Ireland, in the mid-1800s, and was so old even then that no one even knew its name, so the collector just referred to it as "The Londonderry Air." The tune is in the public domain. The lyrics were written by Frederic Weatherly, and originally set to a completely different tune. In 1913, he adapted it to fit the Londonderry Air, so the song Danny Boy, as we now know it, is only 100 years old. But in that century, it has become so popular that hardly anyone remembers the previous version or name.
The mandolin is tuned exactly like the violin, so you could substitute a violin for the mandolin part. Or you could, if I had used mandolin musical notation instead of tablature. But there are countless violin versions available in sheet music, and I couldn't find any in tab. If you're an accomplished mandolin player, you're doubtless used to reading sheet music, but for those who, like me, are not accomplished, I've provided tab. Either part can also be played separately as a solo.
The piece is actually not difficult for the guitarist who can play standard barre chords. It uses only barred E-shape chords, except for CaddE and CaddD near the end. Both are based on the CVIII chord, and can be played that way, if your fingers are long, or your guitar is small. Otherwise, just play the first four strings of those chords, as written. I have a 3/4 size classical guitar which I use for teaching very young students, and it works perfectly for me to play the full chords (all six strings), and still reach the 12th fret with my little finger.
I've added a reprise of the last line, as a finale, ending with CVIII. I like to end on a rising note, but you can leave off the finale if you prefer the C/G resolution.
Amazing Grace
Unusually for this blog, this song is meant to accompany a vocalist, at least in the second and third verses. Words are provided for the first verse, for reference only, because the pattern picks can be confusing, but DO NOT SING THEM. For those who may not be familiar with pattern-picking, I have provided detailed, line-by-line instructions.
The first time through is just an instrumental introduction. Play it simply, to state the melody, without a lot of expression. In the seventh measure, there’s a slightly tricky slide that needs to be done with the pinky. Slide very fast, from the third fret clear up to the ninth. Don’t hold that note at all, but drop it immediately and return to the third fret, to play the Gadd5 chord, fretting the extra note with the ring finger.. If you are OK with barre chords, you can substitute a GIII for the Gadd5, which makes for an easier chord change. But the barre chord isn’t necessary, as Gadd5 actually sounds better here.
The hammer-on/pull-off in the tenth measure is not hard to do if you release the chord first. The rest of the introduction is straghtforward. Remember to count out the timing, so you know where each note starts.
Verse 1 is NOT sung, but is pattern-picked. The pattern refers to the pattern in which the fingers of the right hand pick the strings, not the specific strings picked, or the acutal notes played. The verse contains the same 3-/-9 slide as the first verse, played the same way. There is also a tremolo to hold the G note in the next measure. Do this tremolo by moving the “a” finger (left hand) ACROSS the string, rather than ALONG the string, as usual. Most guitarists find this easiest to accomplish by holding the finger rigid and vibrating the whole hand.
Verse 2 is meant to accompany the first SUNG verse. Play the whole verse with the right hand THUMB, not the fingers. Use a slow, even tempo, and don’t try to fancy it up. You want to back up the singer or singers, not distract the audience from them. There are LOTS of verses to Amazing Grace. Repeat this instrumental accompaniment through as many as you like, but switch to Verse 3 for the last sung verse.
Verse 3 is almost identical to Verse 1, but play it softly, behind the singer(s). Then reprise the instrumental solo of the Introduction, ending with the last two measures as shown.
CHORDS:
The chords in this song are easier to play than many of my other arrangements, as there are NO barre chords required! Even the three “advanced” chords called out in the tab are not especially hard, being only slight variations of the basic C - F - G.
Cadd5 is just a regular C chord, with the G note added on the first string with the little finger of the left hand. It is actually just a C chord, but the G note (the fifth note of the scale) is emphasized because it is the highest note played.
F/C is read as “F with a C bass.” Add the “extra” note on the fifth string with the little finger. This emphasizes the C note by making it the lowest note of the chord, a position normally reserved for the note that gives the chord its name (the “tonic” note).
Gadd5 is the only one of the three “advanced” chords that requires more than merely adding a note, though that is the effect. Play it like a regular G, but place the “a” finger (the ring finger) on the 2nd string, and the little finger on the 1st string. It’s called the “a” finger from“anulario, the Spanish word for ring. Most classical guitar terms come from Spanish, for example: “p” is for pulgar, Spanish for thumb. Also, “i” is for indicio (index or pointer), and “m” for medio (middle). Classical guitarists do not normally use the little finger of the left hand, which is a good thing, as it is either called muňeca (for wrist, which it is closest to) or pequeňo (little).
PATTERN-PICKING INSTRUCTIONS:
There are two basic pattern picks in the second verse. Pattern A is 4-1-2-3-4-3. If you are not used to pattern-picking, the thumb of the RIGHT hand is called the #1 finger, the index finger is the #2 finger, etc. In the last half of the first line, the pattern changes to Pattern B: 4-1-2-1-3-1, slightly modified to 3-1-2-1-3-1 in the last measure.
The second line returns to Pattern A, but slightly modified in the second measure by the 3 - / - 9 slide. Play the third measure as a slow strum with the thumb. Use tremolo to hold the G note on the first string if you have to.
The third line starts with a modified version of Pattern A, then a return to Pattern B in the second measure, Pattern A in the third measure, and a modified Pattern B in the last measure, with the hammer-on at the end of the line leading into the patterns of the fourth line.
The fourth line of this instrumental verse consists of measures of Pattern A, followed by a slow thumb strum, exactly as in the second verse. The singer needs to start singing at the very end of the last measure of this verse, with the first syllable of the word, “A-maz-ing”,
HISTORY:
Although many people associate this song with Scotland and the bagpipes, or think it is a Negro Spiritual, neither is true. The lyrics were written by an Englishman, and the music was composed by two Americans, who combined a couple of popular church tunes of the day. So far as anyone knows, it was not performed on the bagpipes until the 1970s, though it is now perhaps the most-requested of bagpipe tunes.
The lyrics were originally a poem written by English clergyman John Newton, to express repentence for his former life of slave-trading, rapine, drunkenness, atheism, and profanity so constant and foul as to embarass even his sailors-- a rowdy lot, it’s true. It was first published in England in 1779, and remained obscure there for more than 50 years. In America, though, it was well-received, and sung to more than 20 different tunes, none of them the one we know today.
In 1829, two Americans, Charles H. Spilman and Benjamin Shaw, joined a couple of folk tunes called “Gallaher” and “St. Mary” to create a tune they called “New Brittain.” Six years later, an American Baptist song leader, William Walker, assigned the tune to Newton’s lyrics, creating a combination that is performed about ten million times every year. It has been recorded thousands of times. Judy Collins’ hit a cappella version topped the charts for 15 weeks in 1970. Two years later, it was recorded by The Royal Scots Dragoon Guards, the first bagpipe arrangement ever known.
The first time through is just an instrumental introduction. Play it simply, to state the melody, without a lot of expression. In the seventh measure, there’s a slightly tricky slide that needs to be done with the pinky. Slide very fast, from the third fret clear up to the ninth. Don’t hold that note at all, but drop it immediately and return to the third fret, to play the Gadd5 chord, fretting the extra note with the ring finger.. If you are OK with barre chords, you can substitute a GIII for the Gadd5, which makes for an easier chord change. But the barre chord isn’t necessary, as Gadd5 actually sounds better here.
The hammer-on/pull-off in the tenth measure is not hard to do if you release the chord first. The rest of the introduction is straghtforward. Remember to count out the timing, so you know where each note starts.
Verse 1 is NOT sung, but is pattern-picked. The pattern refers to the pattern in which the fingers of the right hand pick the strings, not the specific strings picked, or the acutal notes played. The verse contains the same 3-/-9 slide as the first verse, played the same way. There is also a tremolo to hold the G note in the next measure. Do this tremolo by moving the “a” finger (left hand) ACROSS the string, rather than ALONG the string, as usual. Most guitarists find this easiest to accomplish by holding the finger rigid and vibrating the whole hand.
Verse 2 is meant to accompany the first SUNG verse. Play the whole verse with the right hand THUMB, not the fingers. Use a slow, even tempo, and don’t try to fancy it up. You want to back up the singer or singers, not distract the audience from them. There are LOTS of verses to Amazing Grace. Repeat this instrumental accompaniment through as many as you like, but switch to Verse 3 for the last sung verse.
Verse 3 is almost identical to Verse 1, but play it softly, behind the singer(s). Then reprise the instrumental solo of the Introduction, ending with the last two measures as shown.
CHORDS:
The chords in this song are easier to play than many of my other arrangements, as there are NO barre chords required! Even the three “advanced” chords called out in the tab are not especially hard, being only slight variations of the basic C - F - G.
Cadd5 is just a regular C chord, with the G note added on the first string with the little finger of the left hand. It is actually just a C chord, but the G note (the fifth note of the scale) is emphasized because it is the highest note played.
F/C is read as “F with a C bass.” Add the “extra” note on the fifth string with the little finger. This emphasizes the C note by making it the lowest note of the chord, a position normally reserved for the note that gives the chord its name (the “tonic” note).
Gadd5 is the only one of the three “advanced” chords that requires more than merely adding a note, though that is the effect. Play it like a regular G, but place the “a” finger (the ring finger) on the 2nd string, and the little finger on the 1st string. It’s called the “a” finger from“anulario, the Spanish word for ring. Most classical guitar terms come from Spanish, for example: “p” is for pulgar, Spanish for thumb. Also, “i” is for indicio (index or pointer), and “m” for medio (middle). Classical guitarists do not normally use the little finger of the left hand, which is a good thing, as it is either called muňeca (for wrist, which it is closest to) or pequeňo (little).
PATTERN-PICKING INSTRUCTIONS:
There are two basic pattern picks in the second verse. Pattern A is 4-1-2-3-4-3. If you are not used to pattern-picking, the thumb of the RIGHT hand is called the #1 finger, the index finger is the #2 finger, etc. In the last half of the first line, the pattern changes to Pattern B: 4-1-2-1-3-1, slightly modified to 3-1-2-1-3-1 in the last measure.
The second line returns to Pattern A, but slightly modified in the second measure by the 3 - / - 9 slide. Play the third measure as a slow strum with the thumb. Use tremolo to hold the G note on the first string if you have to.
The third line starts with a modified version of Pattern A, then a return to Pattern B in the second measure, Pattern A in the third measure, and a modified Pattern B in the last measure, with the hammer-on at the end of the line leading into the patterns of the fourth line.
The fourth line of this instrumental verse consists of measures of Pattern A, followed by a slow thumb strum, exactly as in the second verse. The singer needs to start singing at the very end of the last measure of this verse, with the first syllable of the word, “A-maz-ing”,
HISTORY:
Although many people associate this song with Scotland and the bagpipes, or think it is a Negro Spiritual, neither is true. The lyrics were written by an Englishman, and the music was composed by two Americans, who combined a couple of popular church tunes of the day. So far as anyone knows, it was not performed on the bagpipes until the 1970s, though it is now perhaps the most-requested of bagpipe tunes.
The lyrics were originally a poem written by English clergyman John Newton, to express repentence for his former life of slave-trading, rapine, drunkenness, atheism, and profanity so constant and foul as to embarass even his sailors-- a rowdy lot, it’s true. It was first published in England in 1779, and remained obscure there for more than 50 years. In America, though, it was well-received, and sung to more than 20 different tunes, none of them the one we know today.
In 1829, two Americans, Charles H. Spilman and Benjamin Shaw, joined a couple of folk tunes called “Gallaher” and “St. Mary” to create a tune they called “New Brittain.” Six years later, an American Baptist song leader, William Walker, assigned the tune to Newton’s lyrics, creating a combination that is performed about ten million times every year. It has been recorded thousands of times. Judy Collins’ hit a cappella version topped the charts for 15 weeks in 1970. Two years later, it was recorded by The Royal Scots Dragoon Guards, the first bagpipe arrangement ever known.
Jesus, Once of Humble Birth
Depending on how you count, this song only has TWO CHORDS! Well, actually, you can't really substitute a regular A chord for the Av chords, so there really are three. Then, there's actually a couple of D chords buried in the pattern pick, but while you may hear them, you won't actually have to change your hand position to play them. So, somewhere between two and four chords. Anyway, it's an EASY, but beautiful piece, if you are not bothered by the barre chord or by playing pattern picks. I actually find pattern picks easier to play than open fingerstyle, but not everyone agrees with me on this.
The pattern starts out with a fourth finger (ring finger) lead. In 6/8 time, the beat is:
/ ONE two three four FIVE six / ONE two three four FIVE six /. (That's two measures.) ALL the notes are eighth-notes. In most of the measures, each string is plucked by a different finger, which makes the picking dead easy. You can play the arpeggios with a flat pick, or a thumb pick if you want. Thumb-picking the bass runs will give them a more ligado feel, which adds variety to the sounds of the notes, at the price of adding a bit of complexity to the pattern pick. Do it whichever way works best or sounds best for you.
The only technically difficult part of the song comes in the third measure of the third line, where you have to s-t-r-e-t-c-h your little finger to reach the Ab at the 9th fret on the 2nd string. An alternative way to play this note is to quickly slide the barring finger one fret toward the nut (4th fret), hit the note, then slide back to the 5th fret. If you don't have long fingers, and you can slide your whole left hand quickly, without making horrible string noises, this may be a better option. I've practiced it both ways, and it's about equal for me, but then, I have really short fingers.
There are several measures where you have to hit melody notes that are not part of the normal fingering for the chord, such as in the first line, third measure. Use the little finger of the left hand to fret these notes, leaving the rest of the hand holding the chord normally. This will minimize the number of chord changes needed, simplifying the fingering without detracting at all from the pattern.
A word about that pesky barre chord. Learning this song is one of the easiest ways you'll ever find to learn barre chords. Barre chords are easier to play high up on the neck, as the frets are closer together. In this song, there are no fast chord changes, and each chord is held for at least two measures. And the barred E chord position is almost universally acknowledged as the easiest one to learn. It just doesn't get any easier than that!
This hymn is in the public domain.
The pattern starts out with a fourth finger (ring finger) lead. In 6/8 time, the beat is:
/ ONE two three four FIVE six / ONE two three four FIVE six /. (That's two measures.) ALL the notes are eighth-notes. In most of the measures, each string is plucked by a different finger, which makes the picking dead easy. You can play the arpeggios with a flat pick, or a thumb pick if you want. Thumb-picking the bass runs will give them a more ligado feel, which adds variety to the sounds of the notes, at the price of adding a bit of complexity to the pattern pick. Do it whichever way works best or sounds best for you.
The only technically difficult part of the song comes in the third measure of the third line, where you have to s-t-r-e-t-c-h your little finger to reach the Ab at the 9th fret on the 2nd string. An alternative way to play this note is to quickly slide the barring finger one fret toward the nut (4th fret), hit the note, then slide back to the 5th fret. If you don't have long fingers, and you can slide your whole left hand quickly, without making horrible string noises, this may be a better option. I've practiced it both ways, and it's about equal for me, but then, I have really short fingers.
There are several measures where you have to hit melody notes that are not part of the normal fingering for the chord, such as in the first line, third measure. Use the little finger of the left hand to fret these notes, leaving the rest of the hand holding the chord normally. This will minimize the number of chord changes needed, simplifying the fingering without detracting at all from the pattern.
A word about that pesky barre chord. Learning this song is one of the easiest ways you'll ever find to learn barre chords. Barre chords are easier to play high up on the neck, as the frets are closer together. In this song, there are no fast chord changes, and each chord is held for at least two measures. And the barred E chord position is almost universally acknowledged as the easiest one to learn. It just doesn't get any easier than that!
This hymn is in the public domain.
The Spirit of God
This song sounds good on just about any kind of guitar, but face it: you're not going to sound like the Tabernacle Choir, no matter how big your amp is. They have 330 voices, and you only have six strings-- maybe twelve. But you can still play it so it sounds really good, even "spirited." (Pun intentional).
There are only six chords in this song, but if that's too many, you can easily substitute a regular C chord for the C/G at the end, and no one but you will know. I just think the sound of the G bass on the final chord resolves better, but it's really just a matter of preference. Don't substitute a regualr G for the Gadd5 chords, though. They are necessary to carry the melody, and besides, they are even easier to play than a regular G. Just play like a regular G, but with the ring finger on the second string instead of the first string, and mute (or avoid) the first string. Easy, huh?
Sorry, but you're going to have to play those pesky barre chords for this one. I tried to avoid them, but the melody just doesn't sound right without them. And they do make the song easier to play.
The tempo is a bit difficult to count, but if you know the song, you'll know the right tempo anyway. I've included counting numbers, for those few who may not be familiar, or who just aren't sure of themselves. If it seems wrong to you, go with the tempo you feel is right. That's musicianship.
There are only six chords in this song, but if that's too many, you can easily substitute a regular C chord for the C/G at the end, and no one but you will know. I just think the sound of the G bass on the final chord resolves better, but it's really just a matter of preference. Don't substitute a regualr G for the Gadd5 chords, though. They are necessary to carry the melody, and besides, they are even easier to play than a regular G. Just play like a regular G, but with the ring finger on the second string instead of the first string, and mute (or avoid) the first string. Easy, huh?
Sorry, but you're going to have to play those pesky barre chords for this one. I tried to avoid them, but the melody just doesn't sound right without them. And they do make the song easier to play.
The tempo is a bit difficult to count, but if you know the song, you'll know the right tempo anyway. I've included counting numbers, for those few who may not be familiar, or who just aren't sure of themselves. If it seems wrong to you, go with the tempo you feel is right. That's musicianship.
Just As I Am
This traditional Protestant hymn is in the public domain. Sorry, but it needs to be in the key of F to make the melody come out right on the guitar. You can transpose it to another key, if a vocalist or another instrument is going to carry the melody. A violin works very well for this.
The song itself is rather simple, except for the fact that you need to play the full barre F and the full barre Bb. You could play a regular F, but there's just no way to play Bb without barring. For this reason, and because it contains slides and pull-offs, I classify it as "Intermediate", though it's simpler than a lot of beginner songs in other ways.
Played very slowly, with lots of feeling, it's a lovely song, and I especially like the lyrics. For a truly moving version by vocalist Brian Doerksen, over a guitar/organ duet, accmpanying an Easter video, click HERE.
There are at least two versions of how the lyrics came to be written. Both agree they were written by Charlotte Elliott in 1835. One version has her writing the song immediately after a conversion experience, the other as a sort of journal entry recording her thoughts in a time of trouble.
Billy Graham claimed he was converted to Christ after hearing this song. He used it so extensively in his campaigns that many Christians think he wrote it! Many other evangelical ministries of various Protestant churches have also found it apt. I associate it with the Baptists, because I first encountered it in an independent Baptist church.
The song itself is rather simple, except for the fact that you need to play the full barre F and the full barre Bb. You could play a regular F, but there's just no way to play Bb without barring. For this reason, and because it contains slides and pull-offs, I classify it as "Intermediate", though it's simpler than a lot of beginner songs in other ways.
Played very slowly, with lots of feeling, it's a lovely song, and I especially like the lyrics. For a truly moving version by vocalist Brian Doerksen, over a guitar/organ duet, accmpanying an Easter video, click HERE.
There are at least two versions of how the lyrics came to be written. Both agree they were written by Charlotte Elliott in 1835. One version has her writing the song immediately after a conversion experience, the other as a sort of journal entry recording her thoughts in a time of trouble.
Billy Graham claimed he was converted to Christ after hearing this song. He used it so extensively in his campaigns that many Christians think he wrote it! Many other evangelical ministries of various Protestant churches have also found it apt. I associate it with the Baptists, because I first encountered it in an independent Baptist church.
What Child Is This?
Merry Christmas, Poet-With-A-Day-Job!
Poet commented on another post that this Christmas carol would be the best Christmas present ever, so here it is! Actually, it was quite easy for me to do, as the tab was already present on this website, only it was listed as Greensleeves. It's now also listed as, "What Child Is This?" The tab is the same, as there's no difference in the music. I apologize for not including the Christmas carol words for the second and third verses, but that would take more time than I have right now. You are welcome to print the tab and write in the proper words.
Poet also mentioned that he (she?) is a beginner. The song is published with complete instructions for playing all three verses, which are tabbed in order of increasing complexity. Of course, as a guitar instrumental solo, they need not be played in this order! But if you find arpeggios stuck in around the melody daunting, you can still do fine by playing the first verse or two, and learn the arpeggios later, when you have more confidence.
If you like this tab, you might also like A-Soulin', which is another very old, English Christmas carol. It was popularized in the 1960s by the folk group, Peter, Paul and Mary, but my version is a guitar duet in the form of a round. There are no difficult techniques or chords in it. In fact, there's only ONE strummed chord! It's so simple that I teach it to my first-year students. Nevertheless, it sounds absolutely stunning. Check out the video clip of two of my first-year students.
Poet commented on another post that this Christmas carol would be the best Christmas present ever, so here it is! Actually, it was quite easy for me to do, as the tab was already present on this website, only it was listed as Greensleeves. It's now also listed as, "What Child Is This?" The tab is the same, as there's no difference in the music. I apologize for not including the Christmas carol words for the second and third verses, but that would take more time than I have right now. You are welcome to print the tab and write in the proper words.
Poet also mentioned that he (she?) is a beginner. The song is published with complete instructions for playing all three verses, which are tabbed in order of increasing complexity. Of course, as a guitar instrumental solo, they need not be played in this order! But if you find arpeggios stuck in around the melody daunting, you can still do fine by playing the first verse or two, and learn the arpeggios later, when you have more confidence.
If you like this tab, you might also like A-Soulin', which is another very old, English Christmas carol. It was popularized in the 1960s by the folk group, Peter, Paul and Mary, but my version is a guitar duet in the form of a round. There are no difficult techniques or chords in it. In fact, there's only ONE strummed chord! It's so simple that I teach it to my first-year students. Nevertheless, it sounds absolutely stunning. Check out the video clip of two of my first-year students.
High on the Mountain Top in C (intermediate version)
Actually, it's easy, if you can do the barre chords. Much as I hate to split measures between two lines, I've done so on every line, as that's the way it's written in the hymnal. About the only changes I've made from the hymnal have to do with the tempo. If you try playing this as a guitar solo at the speed called for in the hymnal, it will really drag, so I've specified a much faster beat. I've also recast it in 4/4 instead of 2/2. The difference is almost imperceptible, and I find it easier to count "1-2-3-4" than "1-&-2-&". If you want to be perfectly faithful to the original, emphasize the #3 beat, so it's equal to the #1. That's the only difference.
In some ways, this song is easier than the "beginner" version in G, as there are no minor chords, and all the transitions are straightforward, if you are comfortable with barre chords. The only remotely difficult transitions are in the 5th - 6th measures and 9th - 10th measures, where you have to slide the whole GIII chord down to GbII to catch the F# on the first string with the index finger, then back again immediately to GIII for the chord. This may seem a bit odd to you, but it's one of the things barre chords were invented for.
High on the Mountain Top is in the public domain. The patriotic lyrics were taken from a poem by Joel Hills Johnson. Click HERE for the story of how this poem came to be written, including the fifth and sixth verses, which do not appear in the hymnal.
In some ways, this song is easier than the "beginner" version in G, as there are no minor chords, and all the transitions are straightforward, if you are comfortable with barre chords. The only remotely difficult transitions are in the 5th - 6th measures and 9th - 10th measures, where you have to slide the whole GIII chord down to GbII to catch the F# on the first string with the index finger, then back again immediately to GIII for the chord. This may seem a bit odd to you, but it's one of the things barre chords were invented for.
High on the Mountain Top is in the public domain. The patriotic lyrics were taken from a poem by Joel Hills Johnson. Click HERE for the story of how this poem came to be written, including the fifth and sixth verses, which do not appear in the hymnal.
Sweet Hour of Prayer
Public domain.
One of my favorite hymns. I couldn't figure out why I never tabbed it, especially as it's written in C, the easiest key of them all to tab! Then I tried to do it. It turns out it's IMPOSSIBLE to play in C (for me, anyway).
I tried transposing it into all twelve keys. The only one that's really playable on the guitar is A, so that's what I used. If you want to sing it, or play with another instrument, you'll have to use a capo, or go to the Church website and use their music transposer. Go to lds.org. Click on Gospel library/music, and search for the hymn you want, then select the key you want it in. It'll give you an exact transcription, for any hymn in the current, English-language hymnal. It won't do hymns that have been dropped from older editions, or ones that are only in foreign language editions. And it won't do Primary songs. It won't do tablature, either, of course. For that, you need me. You can't have everything.
If you don't like pattern-picking, you won't like this arrangement. If I get enough comments, maybe I'll do a different arrangement, with more chords and with fewer arpeggios. For now, though, this is it. It was a bear to do, though it's not hard to play, once I figured out where to put the melody notes. There's really only one barre chord in it-- Av, which is an E barred in the V fret. There is also a Dv called for, but it's really just a slight modification of the Av chord.
There are a couple of places in the refrain, where you have to stretch to fret the 2nd string in the IX fret, while maintaining a barre at the V fret. On paper, it looks like quite a stretch, but that high on the neck, the frets are quite a bit closer together, so it's not as hard as it looks. Hitting the V fret on the 1st string while playing a D chord (in the first line) is actually harder.
My hand won't stretch that way, but fortunately, it doesn't matter if you let the fingers on the 1st and 2nd strings slide out of position a bit, since you aren't going to play them until later anyway. I just let my whole hand slide up the neck a fret and back down again. If you're quick about it, no one will ever know.
One of my favorite hymns. I couldn't figure out why I never tabbed it, especially as it's written in C, the easiest key of them all to tab! Then I tried to do it. It turns out it's IMPOSSIBLE to play in C (for me, anyway).
I tried transposing it into all twelve keys. The only one that's really playable on the guitar is A, so that's what I used. If you want to sing it, or play with another instrument, you'll have to use a capo, or go to the Church website and use their music transposer. Go to lds.org. Click on Gospel library/music, and search for the hymn you want, then select the key you want it in. It'll give you an exact transcription, for any hymn in the current, English-language hymnal. It won't do hymns that have been dropped from older editions, or ones that are only in foreign language editions. And it won't do Primary songs. It won't do tablature, either, of course. For that, you need me. You can't have everything.
If you don't like pattern-picking, you won't like this arrangement. If I get enough comments, maybe I'll do a different arrangement, with more chords and with fewer arpeggios. For now, though, this is it. It was a bear to do, though it's not hard to play, once I figured out where to put the melody notes. There's really only one barre chord in it-- Av, which is an E barred in the V fret. There is also a Dv called for, but it's really just a slight modification of the Av chord.
There are a couple of places in the refrain, where you have to stretch to fret the 2nd string in the IX fret, while maintaining a barre at the V fret. On paper, it looks like quite a stretch, but that high on the neck, the frets are quite a bit closer together, so it's not as hard as it looks. Hitting the V fret on the 1st string while playing a D chord (in the first line) is actually harder.
My hand won't stretch that way, but fortunately, it doesn't matter if you let the fingers on the 1st and 2nd strings slide out of position a bit, since you aren't going to play them until later anyway. I just let my whole hand slide up the neck a fret and back down again. If you're quick about it, no one will ever know.
I'll Go Where You Want Me to Go
Easy to DO (Go where the Lord wants)
Easy to SAY (what the Lord wants)
HARD to BE (what the Lord wants!)
Fortunately, it's not hard to PLAY!
One of my family's long-time favorite hymns, and the very first one I ever learned to sing without the hymnal. Sounds really good with a mandolin, violin, flute, or clarinet as a duet, or as part of an instrumental group. As a duet, I'd have each instrument take the lead during one verse, then play together for the last verse. You can even do this as a trio. Who says it can only have three verses?
Only three chords: G, C, & D. If you just want to accompany a singer, just strum the regular chords; you don't need to play the barre versions. I include them because it makes it possible to hit all the melody notes, easily.
Easy to SAY (what the Lord wants)
HARD to BE (what the Lord wants!)
Fortunately, it's not hard to PLAY!
One of my family's long-time favorite hymns, and the very first one I ever learned to sing without the hymnal. Sounds really good with a mandolin, violin, flute, or clarinet as a duet, or as part of an instrumental group. As a duet, I'd have each instrument take the lead during one verse, then play together for the last verse. You can even do this as a trio. Who says it can only have three verses?
Only three chords: G, C, & D. If you just want to accompany a singer, just strum the regular chords; you don't need to play the barre versions. I include them because it makes it possible to hit all the melody notes, easily.
Placentero nos es trabajar
This song is in the public domain, but you won't find it in the English hymnal, only in the Spanish one. It is one of the best-loved hymns of the Latin-American saints.
For those who do not read Spanish, I have included a time count, and have changed the time signature from the original 4/4 to 8/8, to simplify the tab. It will still sound the same. Play it fast, "with enthusiasm" ("con entusiasmo") Here is my attempt to translate the Spanish words into English. For those who do speak Spanish, I apologize if my translation is lacking in any way. I'm not much of a poet.
ENGLISH TRANSLATION:
It is pleasant for us to work
In the vinyard of the great God Jesus
And honorable for us to to preach
To His people, His law and His light.
By His light, by His light,
It is pleasant for us to work.
By His light, by His light,
We will die in Him without sadness.
Hear the Word of God
With eagerness, loyalty and fervor.
Forever and always remember
His purity, truth, and love.
With love, with love,
Hear the Word of God.
With love, with love,
Bear the flag of God.
Oh, brothers! Good-by, then Good-bye!
The moment to leave has come.
If we keep the faith in the great God,
We will yet see each other far Beyond.
Far Beyond, far Beyond,
O, brothers! Good-by, then Good-by!
Far Beyond, far Beyond,
We will live with God in love.
THE STORY:
Clate W. Mask, Jr., of the Second Quorum of the Seventy, loves to tell how his grandfather, Andrés C. González, came to write this song. With apologies to Elder Mask, the story goes like this:
Andrés C. González was a schoolmaster’s son, and was one of the first called to serve a mission in Mexico City during the revolutionary era. Preaching on a street corner, he and his companion thought they could attract more attention by singing the popular Protestant hymn, “In the Sweet By and By.” Instead, they attracted the attention of the police, who jailed them for “stealing” the Protestants’ song.
Unable to sleep in the jail, Elder González wrote “Mormon” lyrics to the song. Back on the street corner after being released, the Elders sang “Placentero,” with the new words. The police were ready to haul them back to jail, but Elder Gonzalez exclaimed, "You can't take us to jail. It's not the same song."
Later, in another place, the same missionaries were arrested by the federales, and stood before a firing squad. Convinced they were about to die, Elder González took a lesson from the great Book of Mormon missionary, Abinadi. Remembering how Abinadi gained his reprieve so he could preach to the King, Elder González told the federales, “You can’t kill us yet, we have a message for your Presidente which we have not yet delivered.”
The soldiers were sceptical, but eventually took Elder González to see the President of Mexico. On learning Elder González’ identity, the Presidente told him, “Your father was my favorite teacher.” He pardoned the two missionaries, and at Elder González’ request, proclaimed that the Mormons could preach the Gospel freely throughout Mexico without harassment. This was the beginning of the hugely successful LDS missionary movement in Mexico.
THE TABLATURE:
It's a simple song, really. The difficulty is in trying to play it fast. The hammer-ons and pull-offs help, but there are still pleny of transitions that will need practice to get smooth and fast. Keep the beat regular; it's better to play slow than irregularly, especially on this piece. You don't need lots of expression, except for the many ligados (hammer-ons and pull-offs).
In general, most of the notes are easiest to get if you leave your left hand in the C chord position, using the little finger to do the ligados. It's not as hard as it sounds, really! If you do this, there will be a few pull-offs you will need to do with the middle finger, in the second space. Since your finger is already bent, it can be hard to accomplish. I do a "reverse pull-off" by flicking the middle finger off the string in a straightening motion. Again, not hard, just counter-intuitive.
If it's too hard for you to reach the C chord in the last measure of each verse, after performing the pull-off on the third string, you can reach the same notes on the second string, pulling off --1__0--. Musically, there's no difference, just do it whichever way is easiest for you.
After playing the three verses (if you wish to), add the finale as shown. I like to end with the high-sounding C VIII chord, but you can substitute a regular C, or even split the dirrerence with a C III (barred A at the third fret.)
For those who do not read Spanish, I have included a time count, and have changed the time signature from the original 4/4 to 8/8, to simplify the tab. It will still sound the same. Play it fast, "with enthusiasm" ("con entusiasmo") Here is my attempt to translate the Spanish words into English. For those who do speak Spanish, I apologize if my translation is lacking in any way. I'm not much of a poet.
ENGLISH TRANSLATION:
It is pleasant for us to work
In the vinyard of the great God Jesus
And honorable for us to to preach
To His people, His law and His light.
By His light, by His light,
It is pleasant for us to work.
By His light, by His light,
We will die in Him without sadness.
Hear the Word of God
With eagerness, loyalty and fervor.
Forever and always remember
His purity, truth, and love.
With love, with love,
Hear the Word of God.
With love, with love,
Bear the flag of God.
Oh, brothers! Good-by, then Good-bye!
The moment to leave has come.
If we keep the faith in the great God,
We will yet see each other far Beyond.
Far Beyond, far Beyond,
O, brothers! Good-by, then Good-by!
Far Beyond, far Beyond,
We will live with God in love.
THE STORY:
Clate W. Mask, Jr., of the Second Quorum of the Seventy, loves to tell how his grandfather, Andrés C. González, came to write this song. With apologies to Elder Mask, the story goes like this:
Andrés C. González was a schoolmaster’s son, and was one of the first called to serve a mission in Mexico City during the revolutionary era. Preaching on a street corner, he and his companion thought they could attract more attention by singing the popular Protestant hymn, “In the Sweet By and By.” Instead, they attracted the attention of the police, who jailed them for “stealing” the Protestants’ song.
Unable to sleep in the jail, Elder González wrote “Mormon” lyrics to the song. Back on the street corner after being released, the Elders sang “Placentero,” with the new words. The police were ready to haul them back to jail, but Elder Gonzalez exclaimed, "You can't take us to jail. It's not the same song."
Later, in another place, the same missionaries were arrested by the federales, and stood before a firing squad. Convinced they were about to die, Elder González took a lesson from the great Book of Mormon missionary, Abinadi. Remembering how Abinadi gained his reprieve so he could preach to the King, Elder González told the federales, “You can’t kill us yet, we have a message for your Presidente which we have not yet delivered.”
The soldiers were sceptical, but eventually took Elder González to see the President of Mexico. On learning Elder González’ identity, the Presidente told him, “Your father was my favorite teacher.” He pardoned the two missionaries, and at Elder González’ request, proclaimed that the Mormons could preach the Gospel freely throughout Mexico without harassment. This was the beginning of the hugely successful LDS missionary movement in Mexico.
THE TABLATURE:
It's a simple song, really. The difficulty is in trying to play it fast. The hammer-ons and pull-offs help, but there are still pleny of transitions that will need practice to get smooth and fast. Keep the beat regular; it's better to play slow than irregularly, especially on this piece. You don't need lots of expression, except for the many ligados (hammer-ons and pull-offs).
In general, most of the notes are easiest to get if you leave your left hand in the C chord position, using the little finger to do the ligados. It's not as hard as it sounds, really! If you do this, there will be a few pull-offs you will need to do with the middle finger, in the second space. Since your finger is already bent, it can be hard to accomplish. I do a "reverse pull-off" by flicking the middle finger off the string in a straightening motion. Again, not hard, just counter-intuitive.
If it's too hard for you to reach the C chord in the last measure of each verse, after performing the pull-off on the third string, you can reach the same notes on the second string, pulling off --1__0--. Musically, there's no difference, just do it whichever way is easiest for you.
After playing the three verses (if you wish to), add the finale as shown. I like to end with the high-sounding C VIII chord, but you can substitute a regular C, or even split the dirrerence with a C III (barred A at the third fret.)
Christ the Lord Is Risen Today
An easy one, in time for Easter. There are no hard chords in this song. No barre chords. Chord changes are easy, as long as you can do hammer-ons, pull-offs, and slides. The only remotely hard parts come in the last two Hallelujahs, and the first measure of the last line, with multiple hammer-ons and pull-offs in each of the three measures. But they are all easy ones. Play them slowly, until you get the hang of playing the strings with the left hand, then speed up gradually.
This song sounds especially good with a crisp, bright sound. Play it close to the bridge, and use your fingernails, or finger picks, if you don't have nails, for a clear, crisp, "classical guitar" sound. This song is in the public domain, though I reserve copy rights to my arrangement and tablature. If you reproduce it, please give me credit.
This song sounds especially good with a crisp, bright sound. Play it close to the bridge, and use your fingernails, or finger picks, if you don't have nails, for a clear, crisp, "classical guitar" sound. This song is in the public domain, though I reserve copy rights to my arrangement and tablature. If you reproduce it, please give me credit.
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