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!
Showing posts with label arpeggios. Show all posts
Showing posts with label arpeggios. Show all posts
Oh, Come, All Ye Faithful
Finally, after weeks of arranging, I’ve got this song right. I wanted to get it posted well before Christmas, but it just needed more work. Merry Christmas, anyway.
Don’t feel bad if you have trouble with the semi-pattern picking. Most (but not all) of the melody notes are fretted with the little finger of the left hand. Like most fingerstyle guitar, the LEFT index finger frets in the first space, the middle in the second space, and the ring finger in the third space. Hence, the little finger is left free for fretting other notes, but sometimes this is not handy, and you have to release the chord, so you can use one of the other fingers for melody notes, hammer-ons, or slides.
I have not included all the chords that would be needed to strum the song as an accompaniment to singers. The chords called out in the tablature are only for finger position. Quite often, the following chord is only represented by a single melody note, or can easily be “faked” without changing the basic position of the chord being held. In these cases, I have left out the chord symbol. If you want to know all the chords used in this song, I recommend doing an Internet search for oh come all ye faithful/chords. The chords shown in the chord chart at the end of the tab really only show the chord shapes used in this arrangement.
There are three verses to this song, and they are all different, with two key changes. I’ll be playing it, as written, for my ward’s Christmas party this week. But you need not learn all three verses. If you can find one of the three that you like, you can simply repeat that one twice. The first verse is almost all chords, and would go well as an accompaniment to singers, though the key of C is a bit low for most vocalists. Verse two is in D, and may be easier for a singer, but the verse is tabbed for fingerstyle guitar. Verse Three is in C again, AND is mostly fingerstyle.
The chords in the first two lines are all strummed, and the other notes can be played easily with the thumb, giving this verse a distinctive, soft sound. It’s also really easy to play that way. The third line and the chorus contain a lot of pattern picks that are better done as finger-picking, (using “free strokes” for you classical guitarists). I like to play this section and the second verse near the bridge, for a twangy, “classical” sound. It wouldn’t hurt to use your fingernails, if you’ve got ’em.
To make finger-picking easier, remember to use your right ring finger to pluck the notes on the #1 string (high e). Use your RIGHT middle finger to pluck notes on the #2 (B) string, and the RIGHT index finger for notes on the #3 (G) string. The RIGHT thumb plucks the bass strings. In the last measure before the Chorus, you’ll have to strum the two bass strings to play them both with the thumb.
The first measure of the chorus introduces a riff that sounds like it is repeated throughout the song. Though there are many similar measures throughout the song, there are no actual repetitions. Fortunately, they are not at all hard to do, and they all sound great.
In the second line of the chorus, watch out for the glissando (slide) on the third (G) string. Use the LEFT middle finger to make the slide. Timing is critical, and to sound good, you must hit the tenth fret exactly, without overshooting or undershooting. Hold that note (F) with a bit of vibrato if necessary.
In the second and third lines of the second verse, pay special attention to the tab. The notes aren’t always what you would expect. Sometimes they change slightly, for example from a D to a C# and back, in order to conform to the melody, even though the chord names do not change. If something sounds wrong to you, you may be missing a slight change in the notes shown in the tab.
There’s another glissando in the second line of the second chorus. Again, accuracy is super important. Hold the final G of the slide with vibrato if needed.
The third verse contains chords designed to add a “full” sound to the music: six-string chords such as the barre chords GIII and FI and the non-barre chord C/G. If you’ve come this far, please don’t skip them. They are there to prepare the audience for the finale, and paradoxically, they may also make the music easier to play on the guitar. Remember, chords with the strum marking are to be strummed. All others are to be pinched.
Slow almost to half-speed for the final line. The glissando in the second measure is exactly like the one in the first verse. Hold the final C/G chord as long as you can, preferably for the full eight counts. This is hard to do if you are playing an acoustic guitar, but do your best. It’ll sound wonderful, a real crowd pleaser.
About the song:
This song was originally written in Latin, under the title Adeste Fideles, which could be translated as, “Approach, faithful ones.” The author and composer are uncertain, but the earliest extant copies from the 1700s were all signed by John Francis Wade, an English Catholic hymnist, and it is most commonly attributed to him.
Latin puns and other internal evidence in the lyrics have led many to conclude that the hymn was originally composed in celebration of the birth of Charles Edward Stuart, the Jacobite pretender to the crown of England, known to history as Bonny Prince Charlie. His cause was defeated when the Jacobite rising of 1745 was crushed, but the song lives on. It is a perennial favorite in most Catholic countries and virtually all English speaking ones. (See the Wikipedia articles Adeste Fideles, John Francis Wade, and Bonny Prince Charlie for more details.)
Don’t feel bad if you have trouble with the semi-pattern picking. Most (but not all) of the melody notes are fretted with the little finger of the left hand. Like most fingerstyle guitar, the LEFT index finger frets in the first space, the middle in the second space, and the ring finger in the third space. Hence, the little finger is left free for fretting other notes, but sometimes this is not handy, and you have to release the chord, so you can use one of the other fingers for melody notes, hammer-ons, or slides.
I have not included all the chords that would be needed to strum the song as an accompaniment to singers. The chords called out in the tablature are only for finger position. Quite often, the following chord is only represented by a single melody note, or can easily be “faked” without changing the basic position of the chord being held. In these cases, I have left out the chord symbol. If you want to know all the chords used in this song, I recommend doing an Internet search for oh come all ye faithful/chords. The chords shown in the chord chart at the end of the tab really only show the chord shapes used in this arrangement.
There are three verses to this song, and they are all different, with two key changes. I’ll be playing it, as written, for my ward’s Christmas party this week. But you need not learn all three verses. If you can find one of the three that you like, you can simply repeat that one twice. The first verse is almost all chords, and would go well as an accompaniment to singers, though the key of C is a bit low for most vocalists. Verse two is in D, and may be easier for a singer, but the verse is tabbed for fingerstyle guitar. Verse Three is in C again, AND is mostly fingerstyle.
The chords in the first two lines are all strummed, and the other notes can be played easily with the thumb, giving this verse a distinctive, soft sound. It’s also really easy to play that way. The third line and the chorus contain a lot of pattern picks that are better done as finger-picking, (using “free strokes” for you classical guitarists). I like to play this section and the second verse near the bridge, for a twangy, “classical” sound. It wouldn’t hurt to use your fingernails, if you’ve got ’em.
To make finger-picking easier, remember to use your right ring finger to pluck the notes on the #1 string (high e). Use your RIGHT middle finger to pluck notes on the #2 (B) string, and the RIGHT index finger for notes on the #3 (G) string. The RIGHT thumb plucks the bass strings. In the last measure before the Chorus, you’ll have to strum the two bass strings to play them both with the thumb.
The first measure of the chorus introduces a riff that sounds like it is repeated throughout the song. Though there are many similar measures throughout the song, there are no actual repetitions. Fortunately, they are not at all hard to do, and they all sound great.
In the second line of the chorus, watch out for the glissando (slide) on the third (G) string. Use the LEFT middle finger to make the slide. Timing is critical, and to sound good, you must hit the tenth fret exactly, without overshooting or undershooting. Hold that note (F) with a bit of vibrato if necessary.
In the second and third lines of the second verse, pay special attention to the tab. The notes aren’t always what you would expect. Sometimes they change slightly, for example from a D to a C# and back, in order to conform to the melody, even though the chord names do not change. If something sounds wrong to you, you may be missing a slight change in the notes shown in the tab.
There’s another glissando in the second line of the second chorus. Again, accuracy is super important. Hold the final G of the slide with vibrato if needed.
The third verse contains chords designed to add a “full” sound to the music: six-string chords such as the barre chords GIII and FI and the non-barre chord C/G. If you’ve come this far, please don’t skip them. They are there to prepare the audience for the finale, and paradoxically, they may also make the music easier to play on the guitar. Remember, chords with the strum marking are to be strummed. All others are to be pinched.
Slow almost to half-speed for the final line. The glissando in the second measure is exactly like the one in the first verse. Hold the final C/G chord as long as you can, preferably for the full eight counts. This is hard to do if you are playing an acoustic guitar, but do your best. It’ll sound wonderful, a real crowd pleaser.
About the song:
This song was originally written in Latin, under the title Adeste Fideles, which could be translated as, “Approach, faithful ones.” The author and composer are uncertain, but the earliest extant copies from the 1700s were all signed by John Francis Wade, an English Catholic hymnist, and it is most commonly attributed to him.
Latin puns and other internal evidence in the lyrics have led many to conclude that the hymn was originally composed in celebration of the birth of Charles Edward Stuart, the Jacobite pretender to the crown of England, known to history as Bonny Prince Charlie. His cause was defeated when the Jacobite rising of 1745 was crushed, but the song lives on. It is a perennial favorite in most Catholic countries and virtually all English speaking ones. (See the Wikipedia articles Adeste Fideles, John Francis Wade, and Bonny Prince Charlie for more details.)
Come, Follow Me
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.
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.
Love at Home
You can hear a dynamite guitar version by Michael Dowdle HERE. There are two versions. I prefer the first one, but I’m not up to playing it. If enough of you are interested, I’ll try to get him to share. Comment on this post if you’re interested. No promises though-- I don’t know him, except by reputation. My version is NOT as awesome as Michael Dowdle’s, and is not based on his. In fact, I hadn't heard his version until after I wrote mine. Mine is also not easy, but FAR easier than his, and the tab is free.
Instructions:
The first verse is pretty straightforward. Just thumb strum the chords as shown. C/G (also called C with a G Bass) is easy; just fret the #6 string with your pinkie. In measure [3], fret the second note by flattening the middle finger across the second string briefly. One word of caution: play ONLY the notes shown! Strumming the whole chord will cause the melody to be lost. Pay attention to the count. I have left out most of the “ands” except where needed for clarity, as putting them all in makes the tab hard to read. But you should be counting it as, “ONE-and-two-and-THREE-and-four-and” for EVERY measure. There are a few “extra” notes that are not part of the melody, as in measure [6].
Measure [14] looks a little odd. You play the first note (on the 2nd string), then s-l-o-w strum the F chord. In measure [20], be sure to play the G7III as written. The F note on the 2nd string is needed for the melody, but playing it as a normal G7 doesn’t sound as good and requires lots more hand movement. In the next measure, you may have to release the C chord in order to make the hammer-on at the end of the measure.
In measure [23] you may have trouble doing the pull-off as written. Here’s a trick for making it easy: release the whole G7III chord while doing the pull-off. Works like a champ!
While you are doing this, reposition the right hand to play the arpeggio in measure [24] as a finger-pick. Remember to play this measure twice. Accent the “1” beat the first time, and the “3” beat the second, and no one will know you’re just repeating the same measure. This sets you up to finger-pick the rest of the second verse (except where strums are indicated), making the key change to D as simple as any other chord change.
If you don’t like arpeggios, you can omit measure [24] entirely. If you do, you’ll have to change chords, change keys, and re-orient your right hand, all at the same time, and your audience will be surprised by the changes. Their attention will switch from the music to your playing, and they’ll lose the beautiful feeling of the hymn. A couple of bars of transition will keep their attention on the music, where it belongs.
Measure [25] consists of four pairs of notes. Lightly accent the first note of each pair, as these are the melody notes. Watch for similar patterns of note-pairs throughout the rest of the song, and treat them the same way, lightly accenting the melody notes. Perform the slide in [26] by barring the neck of the guitar with the index finger, forming an F#II chord, then slide the whole chord up a fret to G7III.
The next two measures are pretty straightforward, but pay attention to the count in [27], and play the second and third notes of that measure with the thumb. Measure [29] is counted similarly, except there’s a slide on the first string instead of the hammer-on in [27]. There are two ways to do the slide. You can fret all the first string notes with the middle finger, if you like. I end up missing the slide note if I do this, so I play both the notes of the slide with the little finger, reserving the middle finger for the notes in the second fret. Please yourself. Play the bass runs in [30], [31], and [32] with the thumb, as a slow strum.
In [33], play the first two strings with the right ring and middle fingers, respectively. In [34, I hold the D chord throughout the measure, lifting the middle finger just long enough to do the hammer-on, and playing the bass runs with the thumb, as previously. Watch out for the first note in [35], which is played open, to follow the melody.
The A to A7 chord change in the next measure is really easy. Just lift up your left middle finger. Measure [37] has a tricky part. The hammer-on is done twice as fast as all the others, to sound as “grace notes”. That is, both notes together count as the “&”. Watch the timing in [39]. The first two notes are held for the full “one-and” count, making it sound like the tempo slows briefly to half time. It doesn’t, actually, it just sounds like it.
The double-string hammer-on in [40] looks harder than it is. It’s a fast one like in [37]. Just place the ring finger on the second string, as in a normal D chord and strum the first four strings, then hammer-on the ring and index fingers. Watch out for the pinches in [41], and the strums in [42] and [43], which are held.
The AII in [40] is an unusual chord. Bar the first four strings in the second space, just as if you were going to play A7II, but fret the #1 string in the fifth space with the little finger. This is somewhat easier to do if you are using the capo to raise the pitch of the guitar, as the frets are significantly closer together. Play A7II normally, using either the middle or ring finger in the third space.
Play [45] and [46] just like [37] and [38]. The arpeggios in the next line serve the same function as in [24], preparing the audience for the upcoming key change. But there’s a difference in [50]. Instead of playing the final G note at the fifth fret of the fourth string, lift the left hand entirely off the strings and play the third string open. This makes the transition to C in [51] dead easy.
Back to the key of C again for the third verse.
Play [51] and [52] as written. In [52] you could substitute an easier, four-string F for the six-string one shown in the chord charts, since all the notes in the measure are on the first four strings only. I don’t bother, since all the other Fs need the six-string version. Your choice. There’s a trick in [53]. Flatten the middle finger across the third string in the second space to follow the melody line. It’s not hard to do, but it is easy to forget.
The following two measures use pinches that are done with the middle and ring fingers of the right hand. Play the bass runs with the right hand thumb, in a slow strum. If you wish, you can strum the last four notes of [54] up, with the middle finger, or finger-pick them normally. The strummed chords in [55] and [56] are played as in the first verse. Play the next two measures as shown, and play all the three note pinches in the next measures with the index, middle, and ring fingers, regardless of which strings are used.
Release the G7 chord after the second beat in [62], to put in the ligado riff on the second string. The timing is a bit tricky, as the words of the lyrics fall “off the beat.” Technically, though, it’s just a hammer-on, followed by two pull-offs. Don’t be tempted to make these ligados too fast. Each represents an eighth-note, just like most of the hammer-ons in this song. Similarly, the long underscore in [63] does NOT indicate the timing of the hammer-on. I had to lengthen it only because the written form of the lyrics (“there’s One”) required the extra spaces.
Measure [64] has another of those slow-strummed bass runs, as in [14] in the first verse. [67] through [70] slow way down, by holding each of the chords, or even individual notes, for two full counts-- “one-and-two-and” or even for the whole measure, as in measures [42] - [44].
The second string pull-off in [74] is easier if you remove the entire hand from the fretboard during the pull-off, but don’t pull-off the other strings! No tricks in [75] and [76]. Just play as written, and try to sustain that final chord through all four beats. You can substitute a regular C chord for the C/G if it’s hard for you to sustain, but the full sound of the C/G certainly sounds better for an ending.
Instructions:
The first verse is pretty straightforward. Just thumb strum the chords as shown. C/G (also called C with a G Bass) is easy; just fret the #6 string with your pinkie. In measure [3], fret the second note by flattening the middle finger across the second string briefly. One word of caution: play ONLY the notes shown! Strumming the whole chord will cause the melody to be lost. Pay attention to the count. I have left out most of the “ands” except where needed for clarity, as putting them all in makes the tab hard to read. But you should be counting it as, “ONE-and-two-and-THREE-and-four-and” for EVERY measure. There are a few “extra” notes that are not part of the melody, as in measure [6].
Measure [14] looks a little odd. You play the first note (on the 2nd string), then s-l-o-w strum the F chord. In measure [20], be sure to play the G7III as written. The F note on the 2nd string is needed for the melody, but playing it as a normal G7 doesn’t sound as good and requires lots more hand movement. In the next measure, you may have to release the C chord in order to make the hammer-on at the end of the measure.
In measure [23] you may have trouble doing the pull-off as written. Here’s a trick for making it easy: release the whole G7III chord while doing the pull-off. Works like a champ!
While you are doing this, reposition the right hand to play the arpeggio in measure [24] as a finger-pick. Remember to play this measure twice. Accent the “1” beat the first time, and the “3” beat the second, and no one will know you’re just repeating the same measure. This sets you up to finger-pick the rest of the second verse (except where strums are indicated), making the key change to D as simple as any other chord change.
If you don’t like arpeggios, you can omit measure [24] entirely. If you do, you’ll have to change chords, change keys, and re-orient your right hand, all at the same time, and your audience will be surprised by the changes. Their attention will switch from the music to your playing, and they’ll lose the beautiful feeling of the hymn. A couple of bars of transition will keep their attention on the music, where it belongs.
Measure [25] consists of four pairs of notes. Lightly accent the first note of each pair, as these are the melody notes. Watch for similar patterns of note-pairs throughout the rest of the song, and treat them the same way, lightly accenting the melody notes. Perform the slide in [26] by barring the neck of the guitar with the index finger, forming an F#II chord, then slide the whole chord up a fret to G7III.
The next two measures are pretty straightforward, but pay attention to the count in [27], and play the second and third notes of that measure with the thumb. Measure [29] is counted similarly, except there’s a slide on the first string instead of the hammer-on in [27]. There are two ways to do the slide. You can fret all the first string notes with the middle finger, if you like. I end up missing the slide note if I do this, so I play both the notes of the slide with the little finger, reserving the middle finger for the notes in the second fret. Please yourself. Play the bass runs in [30], [31], and [32] with the thumb, as a slow strum.
In [33], play the first two strings with the right ring and middle fingers, respectively. In [34, I hold the D chord throughout the measure, lifting the middle finger just long enough to do the hammer-on, and playing the bass runs with the thumb, as previously. Watch out for the first note in [35], which is played open, to follow the melody.
The A to A7 chord change in the next measure is really easy. Just lift up your left middle finger. Measure [37] has a tricky part. The hammer-on is done twice as fast as all the others, to sound as “grace notes”. That is, both notes together count as the “&”. Watch the timing in [39]. The first two notes are held for the full “one-and” count, making it sound like the tempo slows briefly to half time. It doesn’t, actually, it just sounds like it.
The double-string hammer-on in [40] looks harder than it is. It’s a fast one like in [37]. Just place the ring finger on the second string, as in a normal D chord and strum the first four strings, then hammer-on the ring and index fingers. Watch out for the pinches in [41], and the strums in [42] and [43], which are held.
The AII in [40] is an unusual chord. Bar the first four strings in the second space, just as if you were going to play A7II, but fret the #1 string in the fifth space with the little finger. This is somewhat easier to do if you are using the capo to raise the pitch of the guitar, as the frets are significantly closer together. Play A7II normally, using either the middle or ring finger in the third space.
Play [45] and [46] just like [37] and [38]. The arpeggios in the next line serve the same function as in [24], preparing the audience for the upcoming key change. But there’s a difference in [50]. Instead of playing the final G note at the fifth fret of the fourth string, lift the left hand entirely off the strings and play the third string open. This makes the transition to C in [51] dead easy.
Back to the key of C again for the third verse.
Play [51] and [52] as written. In [52] you could substitute an easier, four-string F for the six-string one shown in the chord charts, since all the notes in the measure are on the first four strings only. I don’t bother, since all the other Fs need the six-string version. Your choice. There’s a trick in [53]. Flatten the middle finger across the third string in the second space to follow the melody line. It’s not hard to do, but it is easy to forget.
The following two measures use pinches that are done with the middle and ring fingers of the right hand. Play the bass runs with the right hand thumb, in a slow strum. If you wish, you can strum the last four notes of [54] up, with the middle finger, or finger-pick them normally. The strummed chords in [55] and [56] are played as in the first verse. Play the next two measures as shown, and play all the three note pinches in the next measures with the index, middle, and ring fingers, regardless of which strings are used.
Release the G7 chord after the second beat in [62], to put in the ligado riff on the second string. The timing is a bit tricky, as the words of the lyrics fall “off the beat.” Technically, though, it’s just a hammer-on, followed by two pull-offs. Don’t be tempted to make these ligados too fast. Each represents an eighth-note, just like most of the hammer-ons in this song. Similarly, the long underscore in [63] does NOT indicate the timing of the hammer-on. I had to lengthen it only because the written form of the lyrics (“there’s One”) required the extra spaces.
Measure [64] has another of those slow-strummed bass runs, as in [14] in the first verse. [67] through [70] slow way down, by holding each of the chords, or even individual notes, for two full counts-- “one-and-two-and” or even for the whole measure, as in measures [42] - [44].
The second string pull-off in [74] is easier if you remove the entire hand from the fretboard during the pull-off, but don’t pull-off the other strings! No tricks in [75] and [76]. Just play as written, and try to sustain that final chord through all four beats. You can substitute a regular C chord for the C/G if it’s hard for you to sustain, but the full sound of the C/G certainly sounds better for an ending.
The Lord Is My Shepherd
If you're a beginner, don't let the tab scare you. There's a very easy, strummed version shown as a cheat sheet at the end of the tab. Both are in the key of A, so you can play them as alternate verses, or as a duet, if you like.
To make this a bit easier, I've tried to use chords that lend themselves to easy changes. For example, you can easily change from Av to Dv by just flattening the fingers of the left hand across the strings. Same for D6v. To get from the (unbarred) A to the (barred) Av at the end of the song, use the first joint of the index finger (the one closest to the palm) to fret the first string, as it's already in position over the string, and just needs to be slid up to the IV space. Then, it's easy to hit the barre in the v space for the full-barre Av.
Counting this song is easy, if you remember that every two notes equal one count! I routinely recast 3/4 time songs like this as 6/8, as it rarely makes a difference. This is one of the rarelies, so I left it in 3/4. But remember the metronome setting of 70 is for two notes, not one, or the song will really drag.
I have to confess, I'm not entirely happy with this arrangement, but audiences seem to like it. If anyone knows a better one, I'd love to see it.
The cheat sheet at the end of the tab is for strumming, to accompany a singer. The chords are much easier, and you can even play it with a pick, if you want. I usually replace the high A note at the end with an Av chord, but if you aren't up to playing full barre chords, you can just tremolo the last note, and it'll sound great. Virtually any guitarist can play this version. My seven year old student Meilin picked it up and started playing it (while singing!) the first time she heard it.
To make this a bit easier, I've tried to use chords that lend themselves to easy changes. For example, you can easily change from Av to Dv by just flattening the fingers of the left hand across the strings. Same for D6v. To get from the (unbarred) A to the (barred) Av at the end of the song, use the first joint of the index finger (the one closest to the palm) to fret the first string, as it's already in position over the string, and just needs to be slid up to the IV space. Then, it's easy to hit the barre in the v space for the full-barre Av.
Counting this song is easy, if you remember that every two notes equal one count! I routinely recast 3/4 time songs like this as 6/8, as it rarely makes a difference. This is one of the rarelies, so I left it in 3/4. But remember the metronome setting of 70 is for two notes, not one, or the song will really drag.
I have to confess, I'm not entirely happy with this arrangement, but audiences seem to like it. If anyone knows a better one, I'd love to see it.
The cheat sheet at the end of the tab is for strumming, to accompany a singer. The chords are much easier, and you can even play it with a pick, if you want. I usually replace the high A note at the end with an Av chord, but if you aren't up to playing full barre chords, you can just tremolo the last note, and it'll sound great. Virtually any guitarist can play this version. My seven year old student Meilin picked it up and started playing it (while singing!) the first time she heard it.
How Gentle God's Commands, again
As promised, here's the C version. Actually, it's played very much like the A version, but uses more chords and a slightly different pattern pick. For a really dynamite sound, start with the A version, play through the first verse, then do a key change by switching to the first verse of the C version, then switch back to the second verse of the A version, play the arpeggios in A, minus the final chord, and then change keys back to C again, for the last verse. Switching keys three times makes it sound hard, but it really is no harder than playing the whole song through once in each key.
Subscribe to:
Posts (Atom)