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 barre chords; hammer-ons. Show all posts
Showing posts with label barre chords; hammer-ons. Show all posts
I Feel My Savior's Love
Merry Christmas from Jason Booth!
Just in time for Christmas, Jason emailed me and offered this tab and video. I think you'll agree that both are fantastic. Here's the tab, and Jason's comments, both published with his permission. There's also a video of Jason playing the piece [HERE]. This arrangement is NOT in the Public Domain, but Jason has generously offered them to the blog. Same rules apply as for my tabs. Thank you, Jason.
Jason describes himself thus: I'm a married, father of four, mechanical engineer, who loves all things guitar related. I've been playing for about 17 years. I've accompanied people in talent shows and at different church functions. I just think the guitar is wonderful. I actually am in the process of building my own acoustic guitar, but since I work on it when I'm not busy with my kids the process is a couple of years in the works so far.
The song is originally written in the key of F. This arrangement is in the key of D, to get
to F you just need to put a capo on the 3rd fret. In my video I have the capo on the 2nd
fret because that’s the range that fit my daughter’s voice the best. The tab is written for a guitar tuned to
DADGBE, regular tuning with the low E string dropped to a D. [This is often called, "drop D tuning"-- Don]
The song requires the use of the barred C-form chord. Because the low string is dropped to a D it makes a couple of strange barred chords that take a bit of practice to be able to go to smoothly, like the G in measure 10 and the F#m in measure 11. Because the song is finger picked you can cheat a little bit though. You don’t have to have all of your fingers in place at the beginning of the measure, just the ones that are needed for the first note. Then the fingers in place act as an anchor to help the others land in the correct position. That’s the technique I use going from the D5 in measure 9 to the G in measure 10. I make sure my 1st finger is on the 6th string at the 5th fret and my 3rd finger is on the 1st sting at the 7th fret at the start of the measure then I have a whole extra beat to get my other two in place. I do the same thing for the F#m in the 11th measure.
I added a couple of beats to measures 13 and 17 to account for a couple of notes that are usually held longer by the person singing the song and I liked the way it sounded. If you end up playing along with someone who is playing on the piano you’ll need to make some adjustments there. To start the song I play the end of the song starting on the last note of measure 13 as an intro. I end the song with a slow strum of the full D chord, ending on the 2nd string, a D.
Just in time for Christmas, Jason emailed me and offered this tab and video. I think you'll agree that both are fantastic. Here's the tab, and Jason's comments, both published with his permission. There's also a video of Jason playing the piece [HERE]. This arrangement is NOT in the Public Domain, but Jason has generously offered them to the blog. Same rules apply as for my tabs. Thank you, Jason.
Jason describes himself thus: I'm a married, father of four, mechanical engineer, who loves all things guitar related. I've been playing for about 17 years. I've accompanied people in talent shows and at different church functions. I just think the guitar is wonderful. I actually am in the process of building my own acoustic guitar, but since I work on it when I'm not busy with my kids the process is a couple of years in the works so far.
I wrote a couple of paragraphs about playing the song. That was
harder than I thought it would be. Let me know if something doesn't
make sense. Here they are:
The song requires the use of the barred C-form chord. Because the low string is dropped to a D it makes a couple of strange barred chords that take a bit of practice to be able to go to smoothly, like the G in measure 10 and the F#m in measure 11. Because the song is finger picked you can cheat a little bit though. You don’t have to have all of your fingers in place at the beginning of the measure, just the ones that are needed for the first note. Then the fingers in place act as an anchor to help the others land in the correct position. That’s the technique I use going from the D5 in measure 9 to the G in measure 10. I make sure my 1st finger is on the 6th string at the 5th fret and my 3rd finger is on the 1st sting at the 7th fret at the start of the measure then I have a whole extra beat to get my other two in place. I do the same thing for the F#m in the 11th measure.
I added a couple of beats to measures 13 and 17 to account for a couple of notes that are usually held longer by the person singing the song and I liked the way it sounded. If you end up playing along with someone who is playing on the piano you’ll need to make some adjustments there. To start the song I play the end of the song starting on the last note of measure 13 as an intro. I end the song with a slow strum of the full D chord, ending on the 2nd string, a D.
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.
Secret Prayer
To play this song in the key of D, as printed in Hymns, you will need to tune DOWN two frets. This won’t make any difference if you are not playing with another instrument, as practically no one in your audience will be able to tell the difference.
Like many beautiful songs, it is not easy to play, even though it sounds simple. There are ten chords, and you need to use all of them, or it won’t sound right. Most of them are easy, but there are a few difficult barre chords, notably CIII and FV. There are also a few fast chord changes that need to be nailed right on, or the rhythm will suffer badly. Sorry, but there’s just no way around these problems. Just practice each bit that’s difficult for you, until you can get it right. There is no substitute for practice. If I haven’t scared you off yet, the rest of the song is a piece of cake.
There’s no introduction. Just start right in playing. You don’t have to use the hammer-ons, pull-offs, and slides, but they add a lot to the song, and are not hard. If you nail the first one, you’ll be ahead of the audience throughout the song, and everyone will think you’re wonderful. Cadd5 is just a regular C chord, with the left pinkie adding the G on the 1st string. The odd chord name means you’re playing a regular C major chord, but adding the fifth note in the C scale, which is G. (C-D-E-F-G) The only hard part in the first line comes right at the end. Catch the C note on the 3rd string by flattening the left pinkie, then lifting it immediately, to clear the 2nd string so you can play the D. Go right on to the next measure without pausing or emphasizing how tough this is in any way, or it’ll sound phony.
The second line has good news and bad news. The good news is that you don’t have to actually play the FI, only the #1 and #6 strings, and you’ve got plenty of time to move your hand up the neck of the guitar, as the notes are all quarter-notes. The bad news is, you DO have to play the FV, and you have to hit the chord with all the strings at once. This can be tough, especially if you are used to laying your fingers down one at a time. If that’s the case, now is the time to start practicing getting the whole chord at once. This is a very hard one to do that way, but the reward is that you end up learning twelve new chords at once (ten if your guitar is a classical style), as you can play this chord shape on any fret. For this reason, it’s really important in many different kinds of music, including Latin, Jazz, Hawaiian, and Blues, Country, and Rock.
Play the last measure with the thumb, as a slow strum. Continue this pattern through most of the Chorus. Do the slide in the first measure with your pinkie, but use the ring finger on the second string in the third measure. You can then just flatten the ring finger to catch the G note on the 1st string, without actually changing to the GIII chord. Makes the following pull-off much easier, too. You may be tempted to use the pinkie instead of the ring finger. It seems more natural to me, too, but it makes the pull-off almost impossible.
In the next line, the C/G chord is just a C chord with a G bass. Hit the bass note with the pinkie. No sweat. Then, you’ve got another of those pesky FV chords again, strummed this time. Notice how the chord shape makes the melody line seem to rise? That’s why this shape is so important to so many kinds of music.
The last line is relatively simple. The CVIII is just a barred E, played exactly like the FI or GIII, except that the barre is in the VIII fret. This chord shape is actually easier to play up high, where the frets are closer together. You may have trouble with the tremolo, if you try to do it with the barring index finger. The trick is to rock your hand, lifting ALL the fingers up off of the other strings, leaving ONLY the index finger touching the #1 string. Then, you should be able to do a slow tremolo by moving the whole hand back-and-forth along the length of the neck. The notes and lyrics given in light face type are in case you want to include the second verse. Leave them out when you play the Chorus for the final time.
All the chords in the second verse are strummed. They are the same chords as in the first verse, but may need to be treated differently, as you always have to play the whole chord. In some ways, the second verse is easier, as all of those strummed chords are actually quarter-notes, which makes the second verse sound slower, though the tempo does not actually change at all!
You can also vary the sound of the verses by playing the chords of the second verse as pinches, instead of strums, by repeating the first verse as a finale, or by combining strums, pinches, and the finger-picking style of the first verse. This song is in the public domain.
Like many beautiful songs, it is not easy to play, even though it sounds simple. There are ten chords, and you need to use all of them, or it won’t sound right. Most of them are easy, but there are a few difficult barre chords, notably CIII and FV. There are also a few fast chord changes that need to be nailed right on, or the rhythm will suffer badly. Sorry, but there’s just no way around these problems. Just practice each bit that’s difficult for you, until you can get it right. There is no substitute for practice. If I haven’t scared you off yet, the rest of the song is a piece of cake.
There’s no introduction. Just start right in playing. You don’t have to use the hammer-ons, pull-offs, and slides, but they add a lot to the song, and are not hard. If you nail the first one, you’ll be ahead of the audience throughout the song, and everyone will think you’re wonderful. Cadd5 is just a regular C chord, with the left pinkie adding the G on the 1st string. The odd chord name means you’re playing a regular C major chord, but adding the fifth note in the C scale, which is G. (C-D-E-F-G) The only hard part in the first line comes right at the end. Catch the C note on the 3rd string by flattening the left pinkie, then lifting it immediately, to clear the 2nd string so you can play the D. Go right on to the next measure without pausing or emphasizing how tough this is in any way, or it’ll sound phony.
The second line has good news and bad news. The good news is that you don’t have to actually play the FI, only the #1 and #6 strings, and you’ve got plenty of time to move your hand up the neck of the guitar, as the notes are all quarter-notes. The bad news is, you DO have to play the FV, and you have to hit the chord with all the strings at once. This can be tough, especially if you are used to laying your fingers down one at a time. If that’s the case, now is the time to start practicing getting the whole chord at once. This is a very hard one to do that way, but the reward is that you end up learning twelve new chords at once (ten if your guitar is a classical style), as you can play this chord shape on any fret. For this reason, it’s really important in many different kinds of music, including Latin, Jazz, Hawaiian, and Blues, Country, and Rock.
Play the last measure with the thumb, as a slow strum. Continue this pattern through most of the Chorus. Do the slide in the first measure with your pinkie, but use the ring finger on the second string in the third measure. You can then just flatten the ring finger to catch the G note on the 1st string, without actually changing to the GIII chord. Makes the following pull-off much easier, too. You may be tempted to use the pinkie instead of the ring finger. It seems more natural to me, too, but it makes the pull-off almost impossible.
In the next line, the C/G chord is just a C chord with a G bass. Hit the bass note with the pinkie. No sweat. Then, you’ve got another of those pesky FV chords again, strummed this time. Notice how the chord shape makes the melody line seem to rise? That’s why this shape is so important to so many kinds of music.
The last line is relatively simple. The CVIII is just a barred E, played exactly like the FI or GIII, except that the barre is in the VIII fret. This chord shape is actually easier to play up high, where the frets are closer together. You may have trouble with the tremolo, if you try to do it with the barring index finger. The trick is to rock your hand, lifting ALL the fingers up off of the other strings, leaving ONLY the index finger touching the #1 string. Then, you should be able to do a slow tremolo by moving the whole hand back-and-forth along the length of the neck. The notes and lyrics given in light face type are in case you want to include the second verse. Leave them out when you play the Chorus for the final time.
All the chords in the second verse are strummed. They are the same chords as in the first verse, but may need to be treated differently, as you always have to play the whole chord. In some ways, the second verse is easier, as all of those strummed chords are actually quarter-notes, which makes the second verse sound slower, though the tempo does not actually change at all!
You can also vary the sound of the verses by playing the chords of the second verse as pinches, instead of strums, by repeating the first verse as a finale, or by combining strums, pinches, and the finger-picking style of the first verse. This song is in the public domain.
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