“The Joy and the Song” is available in the Spanish language hymnal Himnos, but not in the English language hymnal. The original hymn, with English words, is from a songbook called Zion’s Praises (1st Edition, 1903), copyrighted by The Re-Organized Church of Jesus Christ of Latter-Day Saints, which is known today as The Community of Christ. This church was formed by Latter-Day Saints who stayed in Nauvoo, and did not take part in the exodus to the west. Emma Smith, wife of the prophet Joseph Smith, Jr., was a founding member of the church, and Joseph Smith III, son of Emma and Joseph, was its first president. Zion’s Praises was their hymnal from 1903 to 1933.
It was amazingly hard to find the original hymn online. The original hymn, with English words, was written in the key of Bb,which is nearly impossible to play on the guitar without using a capo. The Spanish version, as found in Himnos, has been somewhat re-arranged and transposed into the key of G, which is perfect for the guitar. If you are unfamiliar with it, and would like to hear the song, you’ll need to open it on your tablet or phone, as the laptop/desktop version doesn’t have a player function. The tablet/phone version does. Go figure! Because it’s only the Spanish version that’s readily available, I’m including the Spanish lyrics and title, as well as the original English lyrics and title.
I’m also including a Spanish language version of this tab & post, under the Spanish title “A Dios ofrecemos gozosa canción”. Apart from the preferred language of the lyrics, the only difference between the two is that the Spanish one follows the “sol-fa” format of chord naming: do, re, mi, fa, sol, la, and ti (or si in some countries), instead of C, D, E, F, G, A, and B. In English, this system is sometimes called solmization. A discussion of this format, with equivalency charts, can be found in the entry “Chord Theory” in The Tabs section of this blog.
Actually playing this song is easy. There are no hard chords or transitions. There are hammer-ons, and pull-offs, shown by underscores between the notes, and slides, shown by slashes between the notes: forward slashes indicate a rising tone, backslashes indicate a falling tone. Where it is necessary, or even helpful, to change the left hand position to Second Position, or back to First Position, I have placed Roman numerals above the staff. First Position means you fret the notes in the first space with the index finger, those in the second space with the middle finger, and those in the third space with the ring finger. Second Position means you slide the left hand “up” the neck of the guitar (toward the bridge) one fret, so the notes in the second space are fretted with the index finger, those in the third space with the middle finger, and those in the fourth space with the ring finger.
There are two kinds of chords called out in the tab. Pinched chords are played by plucking the bass note of the chord with the right thumb, and the other notes with the appropriate fingers. In this song, all chords not otherwise marked are to be pinched. Chords that are to be strummed are marked with a wiggly, vertical line to the right of the notes to be strummed. For those not familiar with the song, I’ve included counting numbers below the lyrics.
It’s a pretty song, well-beloved by our Latin brothers and sisters. The lyrics are as close to a perfect translation of the original English lyrics as it’s possible to get. I don’t know why it’s not in the English language edition of the hymnal.
Showing posts with label barre chords; hammer-ons and pull-offs and slides. Show all posts
Showing posts with label barre chords; hammer-ons and pull-offs and slides. Show all posts
What Was Witnessed in the Heavens?
For my darling wife, Barbara, just because she loves it-- and because it’s her birthday.
Happy Birthday, dear!
The Song:
This song is harder than it looks, but a lot easier than it might be, so I’m calling it Intermediate level. It does contain eight chords, and five are barre chords, but two are just barrred A-shapes, which can be played as a two-finger chord, using the middle finger to barre the 2nd, 3rd, and 4th strings in the second space, bending the second knuckle backwards a bit to clear the 1st string. This is a jazz technique pioneered by the great Django Rinehart, father of modern jazz guitar, who only had the use of two fingers on his left hand. (Really!)
Two more barre chords are a barred E-shape, probably the most common barre chord, and a barred Em7-shape, another two-finger chord, and one of the easiest. The other barre chord, EIV, is a truncated version of a barred C-shape. The full version of this chord is generally conceded to be a difficult one, but since none of the notes used in the tab fall on the 5th string, I have left it out, making the chord MUCH easier to play. The other three chords are just A, E, and D.
I’ve left out several chords, in the interest of easier chord changes, substituting melody notes to carry the tune. So the chords alone make this an Intermediate level piece. But there’s more. Nearly every measure ends with a triplet-- three notes played in the time of a single beat. This constant slowing down and speeding up adds a lot to the appeal of the song. It also adds a bit to the difficulty level, since most of these triplets are achieved by using a double-ligado-- either a slide/pull-off, or a hammer-on/slide. One is even a mordant, achieved by sliding an entire chord down a fret and back up again, in the space of a single beat! In fact, this piece is just full of such combinations of techniques. Definitely not Beginner level. Sorry, all you beginners who would like to learn this song!
History
This is one of the few times where we know more about the composer of the song than we do about the writer of the words. The music was composed by Evan Stephens, an early Tabernacle Choir director and prolific composer. Nineteen of the songs in the current English language version of the hymnal were written or composed by him. Stephens was the first person to be employed as a full-time Tabernacle Choir Director, and it was he who first took the Choir on touring concerts. He also more than doubled the size of the choir, from 125 members to over 300.
We know nothing of the circumstances surrounding the composition of this particular song, and even less about the writer of the lyrics, John S. Davis. The name is just too common, and without corroborating details, there is no way for me to sort out which one he is. If anyone knows, please contact me.
The Song:
This song is harder than it looks, but a lot easier than it might be, so I’m calling it Intermediate level. It does contain eight chords, and five are barre chords, but two are just barrred A-shapes, which can be played as a two-finger chord, using the middle finger to barre the 2nd, 3rd, and 4th strings in the second space, bending the second knuckle backwards a bit to clear the 1st string. This is a jazz technique pioneered by the great Django Rinehart, father of modern jazz guitar, who only had the use of two fingers on his left hand. (Really!)
Two more barre chords are a barred E-shape, probably the most common barre chord, and a barred Em7-shape, another two-finger chord, and one of the easiest. The other barre chord, EIV, is a truncated version of a barred C-shape. The full version of this chord is generally conceded to be a difficult one, but since none of the notes used in the tab fall on the 5th string, I have left it out, making the chord MUCH easier to play. The other three chords are just A, E, and D.
I’ve left out several chords, in the interest of easier chord changes, substituting melody notes to carry the tune. So the chords alone make this an Intermediate level piece. But there’s more. Nearly every measure ends with a triplet-- three notes played in the time of a single beat. This constant slowing down and speeding up adds a lot to the appeal of the song. It also adds a bit to the difficulty level, since most of these triplets are achieved by using a double-ligado-- either a slide/pull-off, or a hammer-on/slide. One is even a mordant, achieved by sliding an entire chord down a fret and back up again, in the space of a single beat! In fact, this piece is just full of such combinations of techniques. Definitely not Beginner level. Sorry, all you beginners who would like to learn this song!
History
This is one of the few times where we know more about the composer of the song than we do about the writer of the words. The music was composed by Evan Stephens, an early Tabernacle Choir director and prolific composer. Nineteen of the songs in the current English language version of the hymnal were written or composed by him. Stephens was the first person to be employed as a full-time Tabernacle Choir Director, and it was he who first took the Choir on touring concerts. He also more than doubled the size of the choir, from 125 members to over 300.
We know nothing of the circumstances surrounding the composition of this particular song, and even less about the writer of the lyrics, John S. Davis. The name is just too common, and without corroborating details, there is no way for me to sort out which one he is. If anyone knows, please contact me.
With Wondering Awe
This lovely Christmas carol plays really well in C, but sounds better capoed up a couple of frets to D. Unfortunately, the original music is in G, so it’s a bit of a stretch to go that high with a capo. Best bet if you want to play a duet with another instrument is to use the interactive transposer on lds.org’s website. It’s currently located on each hymn’s page at the top of the page, though the church has moved it around a bit in the last few years.
There’s a lot of “expression” in this version: slides, hammer-ons, pull-offs, etc. I’m sorry if it makes this song a bit hard to play, but not everything that’s lovely can also be easy. Practice helps. I’ve worked hard to get this out in time to give you a month to practice. The chords are easy, at least! There are three barre chords listed, but they are all the same chord, really. Just a barre-E chord shape, played at different frets. The others are just variations of C, G, or Dm, and should be easy enough.
There’s a trick to make the slide/pull-off in the first measure easier. Fret the first string in the 1st space with the index finger, and in the 3rd space with the ring finger at the same time. When you slide up to the 5th space (with the ring finger), the index finger is then automatically positioned in the 3rd space for the pull-off. Another way to do this is to position your hand for the CaddG chord as shown and play it from there, sliding the whole chord up and down the neck. This may make it easier to pinch the C chord in the next measure.
Sometimes, instead of the pull-off, I just do a slide back down to the third space, making a mordant, instead of a complex slide/pull-off. They sound equally good to me, and I can’t decide which to put in here. Try it both ways, and use the one that’s best for you. Actually, this riff occurs in three other places in the song, so you can have it both ways!
Don’t let the name of the GaddD chord in measure [3] throw you. It’s fretted just like a normal G, only with the ring finger on the #2 string instead of the #1 string, so it’s actually easier to play. From this point on, until measure [15], all the chords are quite standard for any intermediate guitarist. Even the G7addD chord in [15] isn’t all that hard. It’s just a normal G7 with the D note added on the #2 string. You can play it like a normal G7 and add the D note with your pinkie, if you want to, but you aren’t going to be playing the #5 and #6 strings, so it’s just as easy to play it as a two-finger chord, hitting the D note with your ring finger. This sets you up for a super easy transition to the GaddD at the end of the measure.
In measure [16], you don’t have to actually fret the G7 chord, as you’re only playing the open strings. I just lift my hand off the fretboard briefly, without changing the finger positions. That sets up the C/G in the next measure really nicely. I only included the name of the G7 in the tab so you would know not to change your hand position to a normal G shape.
Verse 2 is nearly all eighth-notes, alternating between treble melody notes and bass fill notes, with very few chords, until you reach measure [25]. You do this with a rocking motion of the right wrist, interspersed with the occasional arpeggio or pattern-pick. I won’t go into the details; they should be obvious from the tab. From [25] to the end of the verse is basically a repeat of the Intro.
Verse 3 is very much like Verse 2, only with pinched chords instead of single melody notes. The real differences come at the end of the verse, starting in [37]. Hold the CaddG chord for two extra beats, as shown in the counting line: 1 2 3 (45) 6 &. You may find it a bit of a challenge to go from GIII to CVIII and stay on the beat, without over-running the 8th space. If practice doesn’t help you to nail this fast and accurately, try substituting just the C note on the #1 string for the CVIII chord. It won’t sound as good as the whole chord, but it’s way better than flubbing the climax of the song.
History:
This song was first published in Laudis Corona, a Catholic hymnal published in Boston in 1885. The composer and lyricist are both anonymous. Anybody know anything more?
There’s a lot of “expression” in this version: slides, hammer-ons, pull-offs, etc. I’m sorry if it makes this song a bit hard to play, but not everything that’s lovely can also be easy. Practice helps. I’ve worked hard to get this out in time to give you a month to practice. The chords are easy, at least! There are three barre chords listed, but they are all the same chord, really. Just a barre-E chord shape, played at different frets. The others are just variations of C, G, or Dm, and should be easy enough.
There’s a trick to make the slide/pull-off in the first measure easier. Fret the first string in the 1st space with the index finger, and in the 3rd space with the ring finger at the same time. When you slide up to the 5th space (with the ring finger), the index finger is then automatically positioned in the 3rd space for the pull-off. Another way to do this is to position your hand for the CaddG chord as shown and play it from there, sliding the whole chord up and down the neck. This may make it easier to pinch the C chord in the next measure.
Sometimes, instead of the pull-off, I just do a slide back down to the third space, making a mordant, instead of a complex slide/pull-off. They sound equally good to me, and I can’t decide which to put in here. Try it both ways, and use the one that’s best for you. Actually, this riff occurs in three other places in the song, so you can have it both ways!
Don’t let the name of the GaddD chord in measure [3] throw you. It’s fretted just like a normal G, only with the ring finger on the #2 string instead of the #1 string, so it’s actually easier to play. From this point on, until measure [15], all the chords are quite standard for any intermediate guitarist. Even the G7addD chord in [15] isn’t all that hard. It’s just a normal G7 with the D note added on the #2 string. You can play it like a normal G7 and add the D note with your pinkie, if you want to, but you aren’t going to be playing the #5 and #6 strings, so it’s just as easy to play it as a two-finger chord, hitting the D note with your ring finger. This sets you up for a super easy transition to the GaddD at the end of the measure.
In measure [16], you don’t have to actually fret the G7 chord, as you’re only playing the open strings. I just lift my hand off the fretboard briefly, without changing the finger positions. That sets up the C/G in the next measure really nicely. I only included the name of the G7 in the tab so you would know not to change your hand position to a normal G shape.
Verse 2 is nearly all eighth-notes, alternating between treble melody notes and bass fill notes, with very few chords, until you reach measure [25]. You do this with a rocking motion of the right wrist, interspersed with the occasional arpeggio or pattern-pick. I won’t go into the details; they should be obvious from the tab. From [25] to the end of the verse is basically a repeat of the Intro.
Verse 3 is very much like Verse 2, only with pinched chords instead of single melody notes. The real differences come at the end of the verse, starting in [37]. Hold the CaddG chord for two extra beats, as shown in the counting line: 1 2 3 (45) 6 &. You may find it a bit of a challenge to go from GIII to CVIII and stay on the beat, without over-running the 8th space. If practice doesn’t help you to nail this fast and accurately, try substituting just the C note on the #1 string for the CVIII chord. It won’t sound as good as the whole chord, but it’s way better than flubbing the climax of the song.
History:
This song was first published in Laudis Corona, a Catholic hymnal published in Boston in 1885. The composer and lyricist are both anonymous. Anybody know anything more?
Where Can I Turn for Peace?
As promised, here is the tab. You’ll notice right away that it doesn’t resemble “Come Ye Disconsolate” nearly as much as you may have thought it would, even though both have been transposed into the key of C for easier playing.
That does not mean it is easy to play. You really do need to play the FV chord to make the melody come out right. Substituting the more common FI chord just will not work, as the melody goes up very high, and the FI chord is very low-pitched. There are no easy verses. This is NOT a good song to learn barre chords. If you are not rather comfortable playing them, practice on other songs, until you are comfortable with them.
The Em in the next-to-last measure of the first verse has to be played with the index and middle fingers, as shown in the chord chart, even if you usually play it with the middle and ring finger, or you will never get a clean pull-off on the 4th string. In fact, I can only get it right by doing a “push-off” with the middle finger, pushing it toward me, rather than pulling it away from me, as is the usual practice.
In the last line of the first verse, there are two places where you have to hold a note with tremolo, then slide it to the next note without re-picking it. Your ear will tell you how long to hold the first note before beginning the slide. If you hold it too long, the second note will be too soft, unless you are playing an electric guitar. This actually is not a bad idea. Try for a sound that rings clear and sweet, similar to the one the Beatles used in “While My Guitar Gently Weeps.” The audience will be weeping too.
You may also find the finale a bit difficult, especially the second time around. There are no special techniques here. You are playing high up on the fretboard, where the frets are close together. It makes it easier to stretch to the 12th fret, but there’s not much room for error in those tiny spaces. Good luck!
That does not mean it is easy to play. You really do need to play the FV chord to make the melody come out right. Substituting the more common FI chord just will not work, as the melody goes up very high, and the FI chord is very low-pitched. There are no easy verses. This is NOT a good song to learn barre chords. If you are not rather comfortable playing them, practice on other songs, until you are comfortable with them.
The Em in the next-to-last measure of the first verse has to be played with the index and middle fingers, as shown in the chord chart, even if you usually play it with the middle and ring finger, or you will never get a clean pull-off on the 4th string. In fact, I can only get it right by doing a “push-off” with the middle finger, pushing it toward me, rather than pulling it away from me, as is the usual practice.
In the last line of the first verse, there are two places where you have to hold a note with tremolo, then slide it to the next note without re-picking it. Your ear will tell you how long to hold the first note before beginning the slide. If you hold it too long, the second note will be too soft, unless you are playing an electric guitar. This actually is not a bad idea. Try for a sound that rings clear and sweet, similar to the one the Beatles used in “While My Guitar Gently Weeps.” The audience will be weeping too.
You may also find the finale a bit difficult, especially the second time around. There are no special techniques here. You are playing high up on the fretboard, where the frets are close together. It makes it easier to stretch to the 12th fret, but there’s not much room for error in those tiny spaces. Good luck!
O Come, O Come Emmanuel
Apology: I know I promised my next song would be “Where Can I Turn for Peace.” It’s just not coming together quickly. Normally, I’d just take the time to do it right, but my wife and I have just begun a temple mission here in Santiago, Chile, and have not even finished unpacking yet. I had been saving this one for Christmas, as many consider it a Christmas Carol, which it is not (see History below).
The tab:
This is written as a duet for two guitars, but I originally intended it as a duet with another kind of instrument. I think it would sound especially good with a violin, cello, flute, or woodwind. Since these all play in different keys, I didn’t know whether to write the guitar part in Am or Em, so I did it in both. Then I realized that you could also get an interesting effect by playing both versions together, with the Em part played with a capo to put them in the same key. Hence, the duet version. If you just want to play it as a solo, or to accompany singers, I recommend the Am version (upper staff). It’s easier, and just as pretty, and there are no hard transitions and only one barre chord. In fact, it’s one of the easier songs I know. If the barred Amv is too hard for you, substitute the regular Am as in the last measure of the previous line. It won’t sound quite as good, but the audience won’t know.
There are a lot of hammer-ons, pull-offs, and slides. Please don’t leave them out, as they contribute greatly to the beauty of the song. Despite the large number of such ligado techniques, the slow, regular tempo makes this an ideal vehicle for learning them, so I have listed the difficulty level as “beginner to intermediate”. There are no unusual chords in the upper staff, but there are a few melody notes that are not part of the chords being played. Watch for them.
In the 4th measure, fret the D note on the 2nd string with the little finger. In the second measure of the third line, make the slide with the ring finger, for strength. The little finger probably will not be strong enough. In the last line before the Finale, there’s a mordant. This is a technical music term meaning to slide the note up to the next note and back down again. It counts as one beat of the tempo. Do it with the middle finger, then pull off the third string, all in one fluid phrase. It’s not hard to do, and sounds fantastic. If you tend to speed up during this maneuver, play it with a metronome. There are several good metronome apps available free on the internet. Some are even abailable as phone apps.
The song, as usually sung, has seven verses, but since this is an instrumental solo, you can include as many or as few as you like. After the last verse, play the Finale. It sounds much like a repetition of the last line, but there are differences. Play it about half speed, for emphasis.
The lower staff is in the key of Em. If you’re playing it as a guitar duet, place the capo in the 5th space. If you’re playing with some other instrument, or with singers, put the capo wherever you need to. This version is a bit harder than the upper staff, and contains a couple of barre chords. The G (7) chord is actually easier than it looks. It’s a normal G chord, but since you’re not playing the 1st string anyway, you can fret it as if it were a G7, which makes the transition faster.
History
This lovely, medieval melody, from the early Middle Ages, may be more than 1000 years old. Like other very old songs, even the century of composition is not known for sure. Most authorities place it around the Twelfth Century, but it could well be based on Gregorian chants and “plainsong” (unaccompanied singing) of the Eighth or Ninth Century. Others point out that it did not achieve its present form until much later, possibly as “recently” as the late 1400s.
The lyrics are based on a Catholic chant usually sung at evening prayer (“Vespers”), in which the leader calls out one of the seven names of Christ in the New Testament, and the choir responds. The seven verses of the poem correspond to these seven names, except that the last one, Emmanuel (Hebrew for “God is with us”) has been moved to the first position in the hymn.
Like many other hymns, the lyrics were originally sung to other tunes than the one we now associate with it. The present tune has been associated with the hymn for centuries, so long that the tune has taken on the name of the chant, “Veni, veni” (“O come, o come” in Latin). Until it was translated into English scarcely 150 years ago, it was known by the Latin title. The English title is an exact translation. Latin customs in writing titles used capital letters only at the beginning of the first word, and for names and references to Deity, so English writers who wish to appear authentic follow that convention, and may also spell “Oh” as just the letter O, but it’s okay to modernize the spelling if you wish. Since the song has been around so long, and no one knows how it originally went anyway, it’s also perfectly acceptable to arrange the music to suit yourself. It’s definitely in the Public Domain.
Here are the verses, in the most popular English translation, done by John Mason Neale in 1851:
O come, O come, Emmanuel
And ransom captive Israel
That mourns in lonely exile here
Until the Son of God appear
Rejoice! Rejoice! Emmanuel
Shall come to thee, O Israel.
O come, Thou Rod of Jesse, free
Thine own from Satan's tyranny
From depths of Hell Thy people save
And give them victory o'er the grave
Rejoice! Rejoice! Emmanuel
Shall come to thee, O Israel.
O come, Thou Day-Spring, come and cheer
Our spirits by Thine advent here
Disperse the gloomy clouds of night
And death's dark shadows put to flight.
Rejoice! Rejoice! Emmanuel
Shall come to thee, O Israel.
O come, Thou Key of David, come,
And open wide our heavenly home;
Make safe the way that leads on high,
And close the path to misery.
Rejoice! Rejoice! Emmanuel
Shall come to thee, O Israel.
O come, O come, Thou Lord of might,
Who to Thy tribes, on Sinai's height,
In ancient times did'st give the Law,
In cloud, and majesty and awe.
Rejoice! Rejoice! Emmanuel
Shall come to thee, O Israel.
The tab:
This is written as a duet for two guitars, but I originally intended it as a duet with another kind of instrument. I think it would sound especially good with a violin, cello, flute, or woodwind. Since these all play in different keys, I didn’t know whether to write the guitar part in Am or Em, so I did it in both. Then I realized that you could also get an interesting effect by playing both versions together, with the Em part played with a capo to put them in the same key. Hence, the duet version. If you just want to play it as a solo, or to accompany singers, I recommend the Am version (upper staff). It’s easier, and just as pretty, and there are no hard transitions and only one barre chord. In fact, it’s one of the easier songs I know. If the barred Amv is too hard for you, substitute the regular Am as in the last measure of the previous line. It won’t sound quite as good, but the audience won’t know.
There are a lot of hammer-ons, pull-offs, and slides. Please don’t leave them out, as they contribute greatly to the beauty of the song. Despite the large number of such ligado techniques, the slow, regular tempo makes this an ideal vehicle for learning them, so I have listed the difficulty level as “beginner to intermediate”. There are no unusual chords in the upper staff, but there are a few melody notes that are not part of the chords being played. Watch for them.
In the 4th measure, fret the D note on the 2nd string with the little finger. In the second measure of the third line, make the slide with the ring finger, for strength. The little finger probably will not be strong enough. In the last line before the Finale, there’s a mordant. This is a technical music term meaning to slide the note up to the next note and back down again. It counts as one beat of the tempo. Do it with the middle finger, then pull off the third string, all in one fluid phrase. It’s not hard to do, and sounds fantastic. If you tend to speed up during this maneuver, play it with a metronome. There are several good metronome apps available free on the internet. Some are even abailable as phone apps.
The song, as usually sung, has seven verses, but since this is an instrumental solo, you can include as many or as few as you like. After the last verse, play the Finale. It sounds much like a repetition of the last line, but there are differences. Play it about half speed, for emphasis.
The lower staff is in the key of Em. If you’re playing it as a guitar duet, place the capo in the 5th space. If you’re playing with some other instrument, or with singers, put the capo wherever you need to. This version is a bit harder than the upper staff, and contains a couple of barre chords. The G (7) chord is actually easier than it looks. It’s a normal G chord, but since you’re not playing the 1st string anyway, you can fret it as if it were a G7, which makes the transition faster.
History
This lovely, medieval melody, from the early Middle Ages, may be more than 1000 years old. Like other very old songs, even the century of composition is not known for sure. Most authorities place it around the Twelfth Century, but it could well be based on Gregorian chants and “plainsong” (unaccompanied singing) of the Eighth or Ninth Century. Others point out that it did not achieve its present form until much later, possibly as “recently” as the late 1400s.
The lyrics are based on a Catholic chant usually sung at evening prayer (“Vespers”), in which the leader calls out one of the seven names of Christ in the New Testament, and the choir responds. The seven verses of the poem correspond to these seven names, except that the last one, Emmanuel (Hebrew for “God is with us”) has been moved to the first position in the hymn.
Like many other hymns, the lyrics were originally sung to other tunes than the one we now associate with it. The present tune has been associated with the hymn for centuries, so long that the tune has taken on the name of the chant, “Veni, veni” (“O come, o come” in Latin). Until it was translated into English scarcely 150 years ago, it was known by the Latin title. The English title is an exact translation. Latin customs in writing titles used capital letters only at the beginning of the first word, and for names and references to Deity, so English writers who wish to appear authentic follow that convention, and may also spell “Oh” as just the letter O, but it’s okay to modernize the spelling if you wish. Since the song has been around so long, and no one knows how it originally went anyway, it’s also perfectly acceptable to arrange the music to suit yourself. It’s definitely in the Public Domain.
Here are the verses, in the most popular English translation, done by John Mason Neale in 1851:
O come, O come, Emmanuel
And ransom captive Israel
That mourns in lonely exile here
Until the Son of God appear
Rejoice! Rejoice! Emmanuel
Shall come to thee, O Israel.
O come, Thou Rod of Jesse, free
Thine own from Satan's tyranny
From depths of Hell Thy people save
And give them victory o'er the grave
Rejoice! Rejoice! Emmanuel
Shall come to thee, O Israel.
O come, Thou Day-Spring, come and cheer
Our spirits by Thine advent here
Disperse the gloomy clouds of night
And death's dark shadows put to flight.
Rejoice! Rejoice! Emmanuel
Shall come to thee, O Israel.
O come, Thou Key of David, come,
And open wide our heavenly home;
Make safe the way that leads on high,
And close the path to misery.
Rejoice! Rejoice! Emmanuel
Shall come to thee, O Israel.
O come, O come, Thou Lord of might,
Who to Thy tribes, on Sinai's height,
In ancient times did'st give the Law,
In cloud, and majesty and awe.
Rejoice! Rejoice! Emmanuel
Shall come to thee, O Israel.
God, Our Father, Hear Us Pray-- easy version
Sometimes, making a hard song easy also makes it worse. This is not one of those times. This simpler version sounds just as good, and in some ways even better, though many of the cool chords have been eliminated. In this version, fourteen chords have been reduced to eight, and nine barre chords have been reduced to two or three, depending on how you count. The odd one is B, which is an A-shape barred in the second space, but in this instance, the barre isn’t strictly necessary, since the first string is not played, so the “barring” finger only has to fret one string! But it’s still a barre chord, because that is the easiest way to play it. Go figure!
I’ve done my best to make this version easy to play. Aside from Ddim7, all the chords are common ones you probably already know, and there’s only one form of each chord used. There’s no need for Roman numerals to show you where to put the barre, so I’ve left them out. This doesn’t affect the playing of the song at all, but makes for a much less scary tab.
Try as I might, I haven’t been able to totally eliminate all hard chord changes, but I have been able to make most of them a lot easier. In the second measure, I changed the rising pinches into a slow strum on three open strings. This gives your left hand plenty of time to prepare for the Bm in the next measure. The tenth measure works the same way, preparing for the B chord in the eleventh. I also substituted a D7 for the Edim7 in the sixth measure. The two chords are almost alike, musically, but the D7 is easier to play quickly for those not used to barre chords or diminished sevenths. I also substituted a slide for the hammer-on in the seventh measure, to make it easier to play.
The most obvious difference to the audience comes in the second measure of the third and fourth lines, where I’ve substituted a --1__0-- pull-off on the second string (C to B) the for the --8--7-- melody line on the first string (also C to B, but an octave higher). This avoids the rather quick, long transition from the G chord to the high C note. It’s a much easier transition for the guitarist, but is quite noticeable to any listener who knows the hymn, since the melody line goes down to the C instead of up. There’s just no way to avoid this octave deficit without using some rather unusual and difficult chords. If this really bothers you, and you’re advanced enough, play the original version, which I am not taking down.
I left the high C in for the finale, but used a couple of tricks to make the transition and the return easier. Both have to be done within one measure, so you have to be quick and accurate. To simplify, only strum the three open strings of the G chord. You won’t have to fret the chord at all! You can strum with your right hand, while moving your left hand up the neck of the guitar toward the high C at the same time. It may feel a bit strange to be playing the strings with one hand while doing something completely different with the other, but the strangeness will pass with practice. Getting used to it is much easier than learning to play a long reach with speed and accuracy. Why do it the hard way?
Returning on time to the Bm in the next measure isn’t so easy, but here too, there’s a trick that can help, and it actually improves the sound. You start by sliding the C in the eighth space to the B in the seventh. Leave your finger on the string and continue your hand motion toward the head of the guitar, producing a slurring sound as your finger moves from space to space for a few frets. This gives you about a half a beat headstart on your move toward the Bm in the next measure. It’s still not exactly easy, but should help a bit. That’s why I only use it one time in the song. You can even substitute a D for the Bm, to make it easier still. Make the transition as sloppy as you like. It’s supposed to sound slurred. That’s why it’s called a slur. Slurs actually sound pretty cool, as long as you don’t overuse them.
Right at the very end of the last line, I’ve simplified the broken chord. End with a single note, the G, and hold it with tremolo, as long as you can. There are two main ways to do this tremolo on an acoustic guitar. You can slide your finger rapidly back and forth along the string, within the space. This method usually works best for tremolos in the fourth and higher spaces. Or, you can vibrate your finger across the string, stretching it slightly each time. This often works best for the first and second spaces. For the third space, where this note falls, the preferred method depends on the guitarist, the guitar, and the strings. Try it both ways, and use the one that sounds more crisp. If you switch guitars, or even put on new strings, the best method may change. On my guitar, high tension strings seem to like the first method best (along the strings), while low tension strings do better with the second method (across the strings).
You may find that the tremolo on the third fret sounds muddy, no matter what you do. Don't despair! There's a work-around. The same, exact note is found on the second string, in the eighth space. If you can move quickly and accurately from the third fret to the eighth, you can do the tremolo there, using the first method, along the string. Because the string is thicker, the quality of the sound may be a little different, but the tremolo will be much, much crisper.
These two versions of the song need not be considered mutually exclusive. They are in the same key, so you can mix and match chords and techniques from one to the other, giving variety from verse to verse. However you play it, it’s a beautiful hymn, and well-suited to the acoustic guitar, either solo or in a duet with a singer. If accompanying a vocalist, the first four of the five instrumental measures at the end of the song make a fine introduction, minus the final, tremolo measure. I’ve indicated this with half-brackets ┌ ┐ above the score, as is done in the hymnal.
I’ve done my best to make this version easy to play. Aside from Ddim7, all the chords are common ones you probably already know, and there’s only one form of each chord used. There’s no need for Roman numerals to show you where to put the barre, so I’ve left them out. This doesn’t affect the playing of the song at all, but makes for a much less scary tab.
Try as I might, I haven’t been able to totally eliminate all hard chord changes, but I have been able to make most of them a lot easier. In the second measure, I changed the rising pinches into a slow strum on three open strings. This gives your left hand plenty of time to prepare for the Bm in the next measure. The tenth measure works the same way, preparing for the B chord in the eleventh. I also substituted a D7 for the Edim7 in the sixth measure. The two chords are almost alike, musically, but the D7 is easier to play quickly for those not used to barre chords or diminished sevenths. I also substituted a slide for the hammer-on in the seventh measure, to make it easier to play.
The most obvious difference to the audience comes in the second measure of the third and fourth lines, where I’ve substituted a --1__0-- pull-off on the second string (C to B) the for the --8--7-- melody line on the first string (also C to B, but an octave higher). This avoids the rather quick, long transition from the G chord to the high C note. It’s a much easier transition for the guitarist, but is quite noticeable to any listener who knows the hymn, since the melody line goes down to the C instead of up. There’s just no way to avoid this octave deficit without using some rather unusual and difficult chords. If this really bothers you, and you’re advanced enough, play the original version, which I am not taking down.
I left the high C in for the finale, but used a couple of tricks to make the transition and the return easier. Both have to be done within one measure, so you have to be quick and accurate. To simplify, only strum the three open strings of the G chord. You won’t have to fret the chord at all! You can strum with your right hand, while moving your left hand up the neck of the guitar toward the high C at the same time. It may feel a bit strange to be playing the strings with one hand while doing something completely different with the other, but the strangeness will pass with practice. Getting used to it is much easier than learning to play a long reach with speed and accuracy. Why do it the hard way?
Returning on time to the Bm in the next measure isn’t so easy, but here too, there’s a trick that can help, and it actually improves the sound. You start by sliding the C in the eighth space to the B in the seventh. Leave your finger on the string and continue your hand motion toward the head of the guitar, producing a slurring sound as your finger moves from space to space for a few frets. This gives you about a half a beat headstart on your move toward the Bm in the next measure. It’s still not exactly easy, but should help a bit. That’s why I only use it one time in the song. You can even substitute a D for the Bm, to make it easier still. Make the transition as sloppy as you like. It’s supposed to sound slurred. That’s why it’s called a slur. Slurs actually sound pretty cool, as long as you don’t overuse them.
Right at the very end of the last line, I’ve simplified the broken chord. End with a single note, the G, and hold it with tremolo, as long as you can. There are two main ways to do this tremolo on an acoustic guitar. You can slide your finger rapidly back and forth along the string, within the space. This method usually works best for tremolos in the fourth and higher spaces. Or, you can vibrate your finger across the string, stretching it slightly each time. This often works best for the first and second spaces. For the third space, where this note falls, the preferred method depends on the guitarist, the guitar, and the strings. Try it both ways, and use the one that sounds more crisp. If you switch guitars, or even put on new strings, the best method may change. On my guitar, high tension strings seem to like the first method best (along the strings), while low tension strings do better with the second method (across the strings).
You may find that the tremolo on the third fret sounds muddy, no matter what you do. Don't despair! There's a work-around. The same, exact note is found on the second string, in the eighth space. If you can move quickly and accurately from the third fret to the eighth, you can do the tremolo there, using the first method, along the string. Because the string is thicker, the quality of the sound may be a little different, but the tremolo will be much, much crisper.
These two versions of the song need not be considered mutually exclusive. They are in the same key, so you can mix and match chords and techniques from one to the other, giving variety from verse to verse. However you play it, it’s a beautiful hymn, and well-suited to the acoustic guitar, either solo or in a duet with a singer. If accompanying a vocalist, the first four of the five instrumental measures at the end of the song make a fine introduction, minus the final, tremolo measure. I’ve indicated this with half-brackets ┌ ┐ above the score, as is done in the hymnal.
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.)
Welcome, Welcome, Sabbath Morning
The name of Ebenezer Beesley, the composer of this hymn, may seem familiar to you. If so, it’s probably because he composed the tunes to many other hymns in the LDS hymnal, including:
#5 High on the Mountain Top
#16 What Glorious Scenes Mine Eyes Behold
#32 The Happy Day at Last Has Come
#76 God of Our Fathers, We Come Unto Thee
#77 Great Is the Lord
#156 Sing We Now at Parting
#232 Kind Words Are Sweet Tones of the Heart
#177 Tis Sweet to Sing the Matchless Love
#185 Reverently and Meekly Now
#232 Let Us Oft Speak Kind Words
#280 Welcome, Welcome, Sabbath Morning
#282 We Meet Again in Sabbath School
He has more tunes in the current LDS hymnal than any other composer except for Evan Stephens, and also composed others that were included in previous editions of the hymnal, but are not used in the current edition.
“Welcome, Welcome, Sabbath Morning” is a sprightly tune, and sounds good played fast, as just an instrumental melody, without any chording at all, but I have included one G7 and one G chord, just for variety. They are so simple, and so standard, that I haven’t even included chord charts. If you are such a rank beginner that you do not know how to play these chords, you probably should not be starting with this hymn. It’s not really a simple song. It’s full of hammer-ons, pull-offs, and slides. You could certainly play it without those techniques, but it wouldn’t sound nearly as good. Using ligado techniques of various sorts as well as normal, stacatto notes adds a subtle kind of interest to the song that you cannot get from a piano. I haven’t tried it, but I suspect it would sound good as a duet with a violin or viola.
If you are a newcomer to finger-picking, the simplicity of this song may tempt you to try it, despite the use of slightly advanced techniques. Go ahead! None of the techniques in this song are especially difficult, even if you are trying them for the first time. Here are some tips to make it even easier:
With a few exceptions detailed below, always fret all notes in the first space with the index finger, those in the second space with the middle finger, and those in the third space with the ring finger. This allows you to change from one note to the next quickly, without moving the hand.
The exceptions are several notes in the fourth and fifth spaces:
In the second line, the double pull-off 5-3-0 requires you to move your hand up the neck, so you can fret the fifth space with your ring finger, while simultaneously fretting the same string in the third space with the index finger. This allows for an extremely fast double pull-off. While your index finger is still at the third fret, play the 3-0 pull-off on the next string with the index finger, then move it back to normal position for the rest of the line.
At the end of the first measure in line three, move your hand to make the slide with your strongest finger, which for most guitarists is the middle finger. The next two notes are on open strings, giving you plenty of time to move your hand back into the normal ("first") position.
In the next measure, you can either move your hand again, then move it back quickly, or, if your hand will stretch, you can fret it with the pinkie, without moving your hand. Try it both ways, and do it the way that works best for you.
The first two measures of the next line are played exactly the same as line three, but in the third measure, you will need to reposition your hand to fret the slide, so you might as well play the whole measure that way. The double slide, down-and-up, is not nearly as hard as it looks. The only tricky part is hitting the right fret. It’s fast, and it’s easy to slide too far unintentionally. The solution is to practice. A lot.
The last two lines are played exactly like the first two, except one octave lower, and the final chord is a G, instead of a G7. Playing the same notes an octave lower does require different fingering on the fretboard, but the techniques are the same as in the rest of the song. You will probably notice that it’s easier to hit the G chord from the lower notes, since the first and second fingers are already positioned near the 5th string. If this seems like a lot of extra work, you can simply play the last two lines exactly like the first two, only adding the chord at the end. The notes will not be wrong, but it’ll sound a bit funny, as your brain will expect the lower notes. That’s all there is to it!
If you’ve never done them before, hammer-ons, pull-offs, and slides may seem daunting to you. They need not. The hammer-on is indicated by two notes connected with an underscore, when the second note is higher in pitch than the first note. Perform it by playing the string normally, as indicated in the tab, then hammering down on the string in the indicated space with the tip of the proper finger: --0__2--. This creates a sound that makes the two notes seem to be tied together. Ligado is the Spanish word for “tied”, and is used in guitar music to indicate connected notes like these. Hammer-ons are also often indicated in tablature by the letter h before the note: --0--h2--.
Pull-offs are even easier. They are indicated with an underscore, like the hammer-on, but the second note is lower than the first. Sometimes they are indicated with a p before the note. You simply play the note as indicated, then, without pausing, pluck the string with the same finger of the left hand that is holding the note: --2__0--. This also causes the notes to sound connected, so is also called a ligado.
Another way to connect two notes is to slide from one note to the next without lifting the finger off the string. This is called a slide, or glissando, and is indicated in my tabs with a slash. A forward slash / indicates you are sliding up the neck (toward the body of the guitar) A back slash \ means you are sliding down the neck (away from the body of the guitar). “Up” and “down” in this sense refer to whether the next note is higher or lower in pitch, and have nothing to do with which part of the guitar is physically higher or lower. Slides look like this in the tab: --4-/-5-- and --4-\-2--.
If you are a real beginner, practice this song slowly, until you can play it smoothly all the way through, then gradually increase the pace. Otherwise, you’ll end up playing parts of it faster than others, and the habit will be really hard to break.
This is one of the very few hymns in the LDS hymnal that is NOT easier to play in C (on the guitar), so I have transposed it to the key of G. You can use a capo at the fifth fret, to play this song in the key of C, as it was written in the hymnal, if you wish. Unless you are playing with another instrument or a singer, I cannot imagine why you would want to do so.
Welcome, Welcome, Sabbath Morning is in the public domain.
#5 High on the Mountain Top
#16 What Glorious Scenes Mine Eyes Behold
#32 The Happy Day at Last Has Come
#76 God of Our Fathers, We Come Unto Thee
#77 Great Is the Lord
#156 Sing We Now at Parting
#232 Kind Words Are Sweet Tones of the Heart
#177 Tis Sweet to Sing the Matchless Love
#185 Reverently and Meekly Now
#232 Let Us Oft Speak Kind Words
#280 Welcome, Welcome, Sabbath Morning
#282 We Meet Again in Sabbath School
He has more tunes in the current LDS hymnal than any other composer except for Evan Stephens, and also composed others that were included in previous editions of the hymnal, but are not used in the current edition.
“Welcome, Welcome, Sabbath Morning” is a sprightly tune, and sounds good played fast, as just an instrumental melody, without any chording at all, but I have included one G7 and one G chord, just for variety. They are so simple, and so standard, that I haven’t even included chord charts. If you are such a rank beginner that you do not know how to play these chords, you probably should not be starting with this hymn. It’s not really a simple song. It’s full of hammer-ons, pull-offs, and slides. You could certainly play it without those techniques, but it wouldn’t sound nearly as good. Using ligado techniques of various sorts as well as normal, stacatto notes adds a subtle kind of interest to the song that you cannot get from a piano. I haven’t tried it, but I suspect it would sound good as a duet with a violin or viola.
If you are a newcomer to finger-picking, the simplicity of this song may tempt you to try it, despite the use of slightly advanced techniques. Go ahead! None of the techniques in this song are especially difficult, even if you are trying them for the first time. Here are some tips to make it even easier:
With a few exceptions detailed below, always fret all notes in the first space with the index finger, those in the second space with the middle finger, and those in the third space with the ring finger. This allows you to change from one note to the next quickly, without moving the hand.
The exceptions are several notes in the fourth and fifth spaces:
In the second line, the double pull-off 5-3-0 requires you to move your hand up the neck, so you can fret the fifth space with your ring finger, while simultaneously fretting the same string in the third space with the index finger. This allows for an extremely fast double pull-off. While your index finger is still at the third fret, play the 3-0 pull-off on the next string with the index finger, then move it back to normal position for the rest of the line.
At the end of the first measure in line three, move your hand to make the slide with your strongest finger, which for most guitarists is the middle finger. The next two notes are on open strings, giving you plenty of time to move your hand back into the normal ("first") position.
In the next measure, you can either move your hand again, then move it back quickly, or, if your hand will stretch, you can fret it with the pinkie, without moving your hand. Try it both ways, and do it the way that works best for you.
The first two measures of the next line are played exactly the same as line three, but in the third measure, you will need to reposition your hand to fret the slide, so you might as well play the whole measure that way. The double slide, down-and-up, is not nearly as hard as it looks. The only tricky part is hitting the right fret. It’s fast, and it’s easy to slide too far unintentionally. The solution is to practice. A lot.
The last two lines are played exactly like the first two, except one octave lower, and the final chord is a G, instead of a G7. Playing the same notes an octave lower does require different fingering on the fretboard, but the techniques are the same as in the rest of the song. You will probably notice that it’s easier to hit the G chord from the lower notes, since the first and second fingers are already positioned near the 5th string. If this seems like a lot of extra work, you can simply play the last two lines exactly like the first two, only adding the chord at the end. The notes will not be wrong, but it’ll sound a bit funny, as your brain will expect the lower notes. That’s all there is to it!
If you’ve never done them before, hammer-ons, pull-offs, and slides may seem daunting to you. They need not. The hammer-on is indicated by two notes connected with an underscore, when the second note is higher in pitch than the first note. Perform it by playing the string normally, as indicated in the tab, then hammering down on the string in the indicated space with the tip of the proper finger: --0__2--. This creates a sound that makes the two notes seem to be tied together. Ligado is the Spanish word for “tied”, and is used in guitar music to indicate connected notes like these. Hammer-ons are also often indicated in tablature by the letter h before the note: --0--h2--.
Pull-offs are even easier. They are indicated with an underscore, like the hammer-on, but the second note is lower than the first. Sometimes they are indicated with a p before the note. You simply play the note as indicated, then, without pausing, pluck the string with the same finger of the left hand that is holding the note: --2__0--. This also causes the notes to sound connected, so is also called a ligado.
Another way to connect two notes is to slide from one note to the next without lifting the finger off the string. This is called a slide, or glissando, and is indicated in my tabs with a slash. A forward slash / indicates you are sliding up the neck (toward the body of the guitar) A back slash \ means you are sliding down the neck (away from the body of the guitar). “Up” and “down” in this sense refer to whether the next note is higher or lower in pitch, and have nothing to do with which part of the guitar is physically higher or lower. Slides look like this in the tab: --4-/-5-- and --4-\-2--.
If you are a real beginner, practice this song slowly, until you can play it smoothly all the way through, then gradually increase the pace. Otherwise, you’ll end up playing parts of it faster than others, and the habit will be really hard to break.
This is one of the very few hymns in the LDS hymnal that is NOT easier to play in C (on the guitar), so I have transposed it to the key of G. You can use a capo at the fifth fret, to play this song in the key of C, as it was written in the hymnal, if you wish. Unless you are playing with another instrument or a singer, I cannot imagine why you would want to do so.
Welcome, Welcome, Sabbath Morning is in the public domain.
Put Your Shoulder to the Wheel
“Put Your Shoulder to the Wheel” was written and composed by Will L. Thompson, the same Southern Baptist composer who wrote the famous hymn, “Softly and Tenderly Jesus is Calling”. It was first included in the Latter-Day Saint hymnal, Songs of Zion, published by the Northern States Mission of the Church of Jesus Christ of Latter-Day Saints in 1908. Latter-Day Saints musicians may be interested to know that the first line was changed, from “The world has need of Christian men...” to “willing men...”. At that time, it was not considered unusual for local missions or other units of the Church to produce their own hymnals. I have been unable to learn the exact year of the song's composition or its publication history, though it appears to have been first published as a Southern Baptist hymn about the same time that it appeared in Songs of Zion.
The title comes (originally) from one of Aesop’s Fables, “The Tale of Hercules and the Wagoner”. The tale goes as follows (spelling modernized):
A wagoner was once driving a heavy load along a very muddy way. At last he came to a part of the road where the wheels sank half-way into the mire, and the more the horses pulled, the deeper sank the wheels. So the wagoner threw down his whip, and knelt down and prayed to Hercules the Strong:
"O Hercules, help me in this my hour of distress."
But Hercules appeared to him, and said, "Tut, man, don't sprawl there. Get up and put your shoulder to the wheel."
The gods help them that help themselves.
This song is not difficult to play for anyone who doesn’t mind a few barre chords and ligados. Intermediate level guitarists should have no trouble with it. You will, however, need a guitar that allows you to perform a double hammer-on. There are a few places where you hammer-on a note, then hammer-on a higher note on the same string. If you’ve never done this before, don’t worry; it’s not nearly as hard as it looks, as long as your guitar can sustain that second note long enough for the second hammer-on to work. If your guitar won’t do this, try putting higher tension strings on it. You’ll be amazed at the difference that can make. Of course, there’s hardly a guitar in existence that cannot benefit from new strings!
You may find the FV chord difficult if you are not used to it. It’s just a C-shape chord, barred at the 5th fret, and is basic to many styles of music. If you don’t know it, this is an excellent opportunity to learn it. You can’t follow the melody of this song without it.
Another place you may want to practice is the slide on the first string, in the third measure of the next to last line, where you are holding a CIII chord, and have to slide from G to F on the first string. The trick is that you don’t actually have to hold the barre in the 3rd space; you have enough time to release the barre and fret the G note with the tip of your index finger, making the slide much easier.
The only relatively quick chord change needed is in the next measure, in the transition from C to G7addD. This is only a problem if you play this chord as a normal G7, then add the D a moment later. Trust me, you will not have time to do it this way. But if you learn the chord, as a chord, and play it all at once, you’ll have enough time. Once again, the “trick” is lots of practice.
The last line is a recap of the previous line. This is not according to the hymnal, nor does it match the original hymn in the Southern Baptist hymnal. It’s an addition I put in, just ‘cause it sounds better to my mind. Leave it out if you don’t like it. Or, you can leave it in, and leave out the previous line. They are not the same.
This song is in the public domain.
The title comes (originally) from one of Aesop’s Fables, “The Tale of Hercules and the Wagoner”. The tale goes as follows (spelling modernized):
A wagoner was once driving a heavy load along a very muddy way. At last he came to a part of the road where the wheels sank half-way into the mire, and the more the horses pulled, the deeper sank the wheels. So the wagoner threw down his whip, and knelt down and prayed to Hercules the Strong:
"O Hercules, help me in this my hour of distress."
But Hercules appeared to him, and said, "Tut, man, don't sprawl there. Get up and put your shoulder to the wheel."
The gods help them that help themselves.
This song is not difficult to play for anyone who doesn’t mind a few barre chords and ligados. Intermediate level guitarists should have no trouble with it. You will, however, need a guitar that allows you to perform a double hammer-on. There are a few places where you hammer-on a note, then hammer-on a higher note on the same string. If you’ve never done this before, don’t worry; it’s not nearly as hard as it looks, as long as your guitar can sustain that second note long enough for the second hammer-on to work. If your guitar won’t do this, try putting higher tension strings on it. You’ll be amazed at the difference that can make. Of course, there’s hardly a guitar in existence that cannot benefit from new strings!
You may find the FV chord difficult if you are not used to it. It’s just a C-shape chord, barred at the 5th fret, and is basic to many styles of music. If you don’t know it, this is an excellent opportunity to learn it. You can’t follow the melody of this song without it.
Another place you may want to practice is the slide on the first string, in the third measure of the next to last line, where you are holding a CIII chord, and have to slide from G to F on the first string. The trick is that you don’t actually have to hold the barre in the 3rd space; you have enough time to release the barre and fret the G note with the tip of your index finger, making the slide much easier.
The only relatively quick chord change needed is in the next measure, in the transition from C to G7addD. This is only a problem if you play this chord as a normal G7, then add the D a moment later. Trust me, you will not have time to do it this way. But if you learn the chord, as a chord, and play it all at once, you’ll have enough time. Once again, the “trick” is lots of practice.
The last line is a recap of the previous line. This is not according to the hymnal, nor does it match the original hymn in the Southern Baptist hymnal. It’s an addition I put in, just ‘cause it sounds better to my mind. Leave it out if you don’t like it. Or, you can leave it in, and leave out the previous line. They are not the same.
This song is in the public domain.
Far, Far Away on Judea’s Plains
“Far, Far Away on Judea’s Plains” may be the only popular Christmas carol originally composed for a Mormon choir. It got its start in 1869, when John Menzies Macfarlane composed it for the St. George, Utah choir, which he directed. It was first published in the December 15, 1889 issue of the Juvenile Instructor, ancestor to today’s New Era magazine. Brother Macfarlane also composed the tune. The song has achieved acceptance in the Christian community at large. Few who sing it realize it is not a traditional Christmas carol.
Merry Christmas!
This song contains a lot of dotted eighth-notes and sixteenth-notes. I haven’t put them in. You know the song anyway. Remember that the metronome count is for quarter-notes. Play it fast.
The entire first line is fretted from the basic C-shape. CaddG is just a normal C chord with the G added on the first string, to bring out the melody. The bass note C on the fifth string forms a drone that helps to keep the rhythm steady. Don’t leave it out-- it will help your audience follow the rhythm too. The notes on the bass strings in the next two measures serve the same purpose.
Similarly, the second line is played (mostly) from the GIII position. The exception is a very brief excursion into the CIII position. You don’t even have to move the barre. Just switch from the barred E-shape to the barred A-shape, and then right back.
The first line of the chorus is played from the C-shape again, but the second line is different. FV is normally played as a C-shape barred at the 5th fret. Since many guitarists have a hard time reaching this chord quickly, I have modified it to a four-string chord. This also eases the transition to the following CIII chord. The arpeggios at the ends of measure 5 and 6 are for time-keeping, similar to the drones in the first line of the verse. You can hold the G7III briefly for emphasis, if you wish.
The arpeggio at the beginning of the last line is another one for time-keeping, but the ones in the next measure are not. They are part of the melody. Do not leave them out! The C/G in the last measure is just another variation on the basic C-shape. Just add the bass G note with the left pinkie and strum all six strings. The full sound gives a better resolution for the end of the song.
You can play as many verses as you like. You may want to alternate pinching and strumming the chords from verse to verse, or change the tempo, for variety. This song is in the public domain.
Merry Christmas!
This song contains a lot of dotted eighth-notes and sixteenth-notes. I haven’t put them in. You know the song anyway. Remember that the metronome count is for quarter-notes. Play it fast.
The entire first line is fretted from the basic C-shape. CaddG is just a normal C chord with the G added on the first string, to bring out the melody. The bass note C on the fifth string forms a drone that helps to keep the rhythm steady. Don’t leave it out-- it will help your audience follow the rhythm too. The notes on the bass strings in the next two measures serve the same purpose.
Similarly, the second line is played (mostly) from the GIII position. The exception is a very brief excursion into the CIII position. You don’t even have to move the barre. Just switch from the barred E-shape to the barred A-shape, and then right back.
The first line of the chorus is played from the C-shape again, but the second line is different. FV is normally played as a C-shape barred at the 5th fret. Since many guitarists have a hard time reaching this chord quickly, I have modified it to a four-string chord. This also eases the transition to the following CIII chord. The arpeggios at the ends of measure 5 and 6 are for time-keeping, similar to the drones in the first line of the verse. You can hold the G7III briefly for emphasis, if you wish.
The arpeggio at the beginning of the last line is another one for time-keeping, but the ones in the next measure are not. They are part of the melody. Do not leave them out! The C/G in the last measure is just another variation on the basic C-shape. Just add the bass G note with the left pinkie and strum all six strings. The full sound gives a better resolution for the end of the song.
You can play as many verses as you like. You may want to alternate pinching and strumming the chords from verse to verse, or change the tempo, for variety. This song is in the public domain.
In the Garden
This is one of the most famous, and most performed Christian hymns. It has been covered by performers as diverse as Elvis Presley and Mahalia Jackson. There is no special story associated with its creation, though. Charles Austin Miles was a professional hymn writer, and the garden in the song was non-existent. In fact, his grandson states that the song was composed in a New Jersey basement that lacked even a window to look out of, much less a garden to look at or walk in. Nevertheless, this sentimental hymn has inspired millions of Christians around the world.
There are several good guitar versions available for free on You Tube. I especially like the one by Austin Parker, found HERE. (You may have to adjust the volume, if the link opens up muted.) He plays it in D, and in a totally different style. I’ve invited him to submit a tab as a guest composer, so far without response. If he does, I’ll publish it, as I like his version better than my own. Until then, I guess I’ll have to make do with my own version of this public domain song.
I like to play the first verse by strumming the chords with my thumb, then pinch the chords for the second verse, for variety, but I strum the choruses, slowing for emphasis as prompted by the Spirit. There are only a few spots that need specific instructions.
The hammer-ons and pull-offs in measures [3], [5] and [7] are done with the pinkie. Do the hammer-on in [9] with the index finger. This allows you to hold the chord while accomplishing the ligado. The G13 chord in [10] is just a normal G7, with the D on the 2nd string added with the pinkie. Do the slide in [11] with the middle finger. The C9 in [12] is formed exactly like the G13 chord in [10], by adding the D on the 2nd string with the pinkie. Do the slide in [19] with either the ring or middle finger, whichever is easier for you.
Either way, you’re going to have to hustle to get back to the GIII in [20]. It would be much easier to go to a normal G, or even a G7 (with the first string muted), but then the transition to the G7III in [22] would be much harder.
The second string riff in [23] needs to be played fluidly, with the pinkie, making sure that each note gets a full count. This is a bit slow and deliberate for slides and pull-offs, but sounds really great.
If you are only planning to play the song through one time, skip measures [27] - [33]. If you are planning to play two or more verses, play these measures, reverting to measure [2] each time at the beginning of the next verse. Only the last time should you substitute measures [34] - [40].
Be careful in counting measures [32] and [33]. The notes in [32] are eighth notes, and there are six of them to the measure. The notes in [33] are quarter notes, so each is held twice as long as those in the previous measure.
Measure [35] is played exactly like [28], except, you may wish to slide up to the 5th fret for the FV chord in the next measure, instead of simply changing to it, as shown in the tab. Use the middle finger for the slide from the 5th fret to the 10th. Do the hammer-on in [38] with the ring finger. This helps position the index finger to fret the D in the 7th space, third string. You’ll have to move your hand quickly to reach the F/C chord that begins measure [39]. You may find a different fingering better suited to these last five measures. This one seems to be the best to me, but there’s no way to play it that makes all the transitions easy.
Many people don’t realize it, but there are actually three verses to this hymn. Here are the complete lyrics:
1. I come to the garden alone
While the dew is still on the roses
And the voice I hear falling on my ear
The Son of God discloses.
Refrain:
And He walks with me, and He talks with me,
And He tells me I am His own;
And the joy we share as we tarry there,
None other has ever known.
2. He speaks, and the sound of His voice,
Is so sweet the birds hush their singing,
And the melody that He gave to me
Within my heart is ringing.
Refrain
3. I’d stay in the garden with Him
Though the night around me be falling,
But He bids me go; through the voice of woe
His voice to me is calling.
Refrain
There are several good guitar versions available for free on You Tube. I especially like the one by Austin Parker, found HERE. (You may have to adjust the volume, if the link opens up muted.) He plays it in D, and in a totally different style. I’ve invited him to submit a tab as a guest composer, so far without response. If he does, I’ll publish it, as I like his version better than my own. Until then, I guess I’ll have to make do with my own version of this public domain song.
I like to play the first verse by strumming the chords with my thumb, then pinch the chords for the second verse, for variety, but I strum the choruses, slowing for emphasis as prompted by the Spirit. There are only a few spots that need specific instructions.
The hammer-ons and pull-offs in measures [3], [5] and [7] are done with the pinkie. Do the hammer-on in [9] with the index finger. This allows you to hold the chord while accomplishing the ligado. The G13 chord in [10] is just a normal G7, with the D on the 2nd string added with the pinkie. Do the slide in [11] with the middle finger. The C9 in [12] is formed exactly like the G13 chord in [10], by adding the D on the 2nd string with the pinkie. Do the slide in [19] with either the ring or middle finger, whichever is easier for you.
Either way, you’re going to have to hustle to get back to the GIII in [20]. It would be much easier to go to a normal G, or even a G7 (with the first string muted), but then the transition to the G7III in [22] would be much harder.
The second string riff in [23] needs to be played fluidly, with the pinkie, making sure that each note gets a full count. This is a bit slow and deliberate for slides and pull-offs, but sounds really great.
If you are only planning to play the song through one time, skip measures [27] - [33]. If you are planning to play two or more verses, play these measures, reverting to measure [2] each time at the beginning of the next verse. Only the last time should you substitute measures [34] - [40].
Be careful in counting measures [32] and [33]. The notes in [32] are eighth notes, and there are six of them to the measure. The notes in [33] are quarter notes, so each is held twice as long as those in the previous measure.
Measure [35] is played exactly like [28], except, you may wish to slide up to the 5th fret for the FV chord in the next measure, instead of simply changing to it, as shown in the tab. Use the middle finger for the slide from the 5th fret to the 10th. Do the hammer-on in [38] with the ring finger. This helps position the index finger to fret the D in the 7th space, third string. You’ll have to move your hand quickly to reach the F/C chord that begins measure [39]. You may find a different fingering better suited to these last five measures. This one seems to be the best to me, but there’s no way to play it that makes all the transitions easy.
Many people don’t realize it, but there are actually three verses to this hymn. Here are the complete lyrics:
1. I come to the garden alone
While the dew is still on the roses
And the voice I hear falling on my ear
The Son of God discloses.
Refrain:
And He walks with me, and He talks with me,
And He tells me I am His own;
And the joy we share as we tarry there,
None other has ever known.
2. He speaks, and the sound of His voice,
Is so sweet the birds hush their singing,
And the melody that He gave to me
Within my heart is ringing.
Refrain
3. I’d stay in the garden with Him
Though the night around me be falling,
But He bids me go; through the voice of woe
His voice to me is calling.
Refrain
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