“Easy” doesn’t even begin to describe this song. It’s the easiest hymn I’ve ever arranged. As I was working on this hymn, and noticing how easy it is to play, my daughter Tali called to ask if I would teach her to play the guitar. She mentioned that she is particularly interested in “eventually” learning to play the hymns. I don’t believe in coincidences.
Since Tali has never played the guitar at all, or any other stringed instrument, I decided to see just how simple I could make it. With very little effort, I was able to eliminate not only all the barre chords, but all chords entirely! There are a couple of pinches, and that’s it. So, this will be Tali’s very first song to learn on the guitar. How’s that for easy?
To make the song playable by a brand-new guitarist, I also left out all advanced techniques, such as hammer-ons and pull-offs. This does make the song sound a bit choppy, so I am including my original version, with chords and ligadoes. The melody is the same for either version. There are a few “extra” bass notes in both versions, but they are included in the original arrangement, as found in Hymns.
The original is already in the key of C, so I didn’t even have to transpose it. I left out some of the harmony notes, and recast the tempo as 8/8, to simplify counting. It almost seems like it was written for guitar on purpose. This hymn was in the public domain, so copyright was not a problem. I’m including links for both versions, but the Study guide is only for the beginner’s version. The other is easy enough for most beginners, without special instructions.
Study guide (beginner’s version)
This guide is meant to be read one measure at a time, while playing the notes on the guitar. Trying to just read through it, without playing the guitar, will likely confuse you if you are a beginner. If you are not a beginner, why are you playing this simplified version?
The song begins with a partial-measure lead-in. A hammer-on sounds really good here. Get someone to show you how to do one, if you are not an absolute beginner. The metronome setting of 100 will show you how fast to play the song, once you have it memorized. Don’t try to play it that fast initially! Start slow, then build up speed later. Each metronome tick equals two counts.
The first three notes in measure [1] take two counts each, but the last two notes take only one each. Notes that take two counts are called quarter-notes, while those that take only one count are called eighth-notes. The two eighth-notes at the end of the measure lead into measure [2], which is nearly all eighth-notes. When finger-picking successive notes on the same string, as in measure [2], it is useful to play them with alternating fingers of the right hand, for speed. If you are playing them with a pick, alternate down-strokes and up-strokes of the pick.
Measures [3] and [4] repeat this pattern of one measure of nearly all quarter-notes, followed by a measure of nearly all eighth-notes. Measures [5] and [6] repeat it again, as do [7] and [8]. Measure [6] contains a pinch. Fret the third space on the 2nd string (the B string) with the index finger, and the third space on the 4th string (the D string), with the ring finger. Play the pinch in measure [8] similarly, but notice that the ring finger will be fretting the third space on the 5th string (the A string).
The first measure of the chorus is a bit tricky. It begins with a pinch. Fret the third space on the 2nd string (the B string) with the ring finger, and the third space on the 6th string (the E string), with the middle finger. This pinch, and the next note, are quarter-notes, but the rest are eighth-notes. Those “extra” notes on the D string are not part of the melody as sung, but they are called out in the hymnal, for the instrument to play. I recommend that you count this measure out loud, until you can play it fluently.
Measure [10] is much easier, but you will have to alternate the right-hand fingers (or up-down pick strokes) as you did in measure [2]. Measure [11] contains no surprises, and [12] is all eighth-notes. Measure [13] and [14] repeat this pattern, and [15] is all eighth-notes, too. Again, the two bass notes on the 5th string (the A string) in measure [15] may seem like they don’t belong, as they are not part of the melody, but they do appear in Hymns.
The last measure is a little bit different. It begins with a pinch, and the tempo slows down, so you have to hold the pinched notes a bit longer than usual, even though they are eighth-notes. Then play the final four notes of the measure on the 4th (D) string, and hold the final quarter-note as long as you can. The last two counts of the measure are in parentheses, because you do not count them if you are going to play a second verse. Instead, substitute the first two notes of the lead-in at the beginning of the song. That’s why the notes of the lead-in are counted “7, 8” instead of “1, 2”. Only the last time around do you continue the count to the end of measure [15].
Showing posts with label beginners. Show all posts
Showing posts with label beginners. Show all posts
Come, Come, Ye Saints
An old favorite, and not especially hard. There are NO BARRE CHORDS! It does contain an F, which some beginners may find difficult. The only unusual chord is CaddG, which is played exactly like a regular C chord, but with the G note added in the third space on the first string with the little finger. Using this instead of a regular C allows the sound to rise with the melody of the song. You can just use the regular C if you are accompanying singing, but if you're playing it as a guitar solo, you'll want to carry the melody on the first string.
The tempo of the song is the only really weird part. In the hymnal, it keeps changing back and forth between 4/4 and 3/4. I have as usual recast this in eighth notes, as 8/8 and 6/8, which makes the counting easier. But it's still not easy, as the rhythm is sprung, and would need sixteenth notes to come out right. That's OK; sixteenth notes are no harder to play than quarter notes or eighth notes, but if I had to write them out, and count up to sixteen every measure, it would double the number of pages needed, and would not make the song any clearer to those who already know it. Which is most likely anyone who would be reading this blog anyway.
As a possibly interesting aside, I first tabbed this song while living in a housing tract built on land that was once a cattle ranch owned by William Clayton, the author of the lyrics. Sister Clayton, his great, great grand-daughter, still lived there, as a 90-year-old spinster. She didn't get out much, but I was asked to take the Sacrament to her a few times before she died. They played this song at her funeral.
Public domain, of course.
The tempo of the song is the only really weird part. In the hymnal, it keeps changing back and forth between 4/4 and 3/4. I have as usual recast this in eighth notes, as 8/8 and 6/8, which makes the counting easier. But it's still not easy, as the rhythm is sprung, and would need sixteenth notes to come out right. That's OK; sixteenth notes are no harder to play than quarter notes or eighth notes, but if I had to write them out, and count up to sixteen every measure, it would double the number of pages needed, and would not make the song any clearer to those who already know it. Which is most likely anyone who would be reading this blog anyway.
As a possibly interesting aside, I first tabbed this song while living in a housing tract built on land that was once a cattle ranch owned by William Clayton, the author of the lyrics. Sister Clayton, his great, great grand-daughter, still lived there, as a 90-year-old spinster. She didn't get out much, but I was asked to take the Sacrament to her a few times before she died. They played this song at her funeral.
Public domain, of course.
Praise to the Lord, the Almighty, EASY version
I never was really satisfied with the other version, but have left it on the blog, for those like me who like barre chords. For those who don't, this version has NO BARRE CHORDS, nor any hard chords or techniques at all. In fact, it is "almighty easy"!
It's so easy, there's really not a lot to say about it. If you can't do hammer-ons or pull-offs, just ignore them. The song will still sound just fine.
There are only four chords in the song, but two of them may look a little strange. GaddD and CaddG are just very simple variations on normal G and C chords. GaddD is played exactly like a regular G chord, except the ring finger of the left hand frets the second string in the third space, instead of the first string, which is not played. It's actually easier to play than a regular G, because the hand doesn't have to stretch so far. CaddG is played exactly like a regular C, except you have to add the G note on the first string, third space, with your pinkie. If this is hard for you, you can just play a regular C, but the melody will suffer. C'mon! It's not that hard!
There are a couple of spots where you have to hold the first note in the measure for a count of 1 and a half beats. If you just hold the first note a bit, then make the last two notes very quick, it'll come out right. If you don't know the song, and don't know how to count, go ahead and make all three notes equal in all the measures. It'll sound a little different in a couple of places, to those who know the song, but it won't sound bad, just a little odd. Your audience may even think you did it that way on purpose!
I like to repeat the final phrase of the last line, using a bass run, on the last time through.
That's IT! Way better than the other tab I wrote for it at first. I think you'll enjoy it. It was written in 1665, so the copyright has definitely expired, if there ever was one.
It's so easy, there's really not a lot to say about it. If you can't do hammer-ons or pull-offs, just ignore them. The song will still sound just fine.
There are only four chords in the song, but two of them may look a little strange. GaddD and CaddG are just very simple variations on normal G and C chords. GaddD is played exactly like a regular G chord, except the ring finger of the left hand frets the second string in the third space, instead of the first string, which is not played. It's actually easier to play than a regular G, because the hand doesn't have to stretch so far. CaddG is played exactly like a regular C, except you have to add the G note on the first string, third space, with your pinkie. If this is hard for you, you can just play a regular C, but the melody will suffer. C'mon! It's not that hard!
There are a couple of spots where you have to hold the first note in the measure for a count of 1 and a half beats. If you just hold the first note a bit, then make the last two notes very quick, it'll come out right. If you don't know the song, and don't know how to count, go ahead and make all three notes equal in all the measures. It'll sound a little different in a couple of places, to those who know the song, but it won't sound bad, just a little odd. Your audience may even think you did it that way on purpose!
I like to repeat the final phrase of the last line, using a bass run, on the last time through.
That's IT! Way better than the other tab I wrote for it at first. I think you'll enjoy it. It was written in 1665, so the copyright has definitely expired, if there ever was one.
What Child Is This?
Merry Christmas, Poet-With-A-Day-Job!
Poet commented on another post that this Christmas carol would be the best Christmas present ever, so here it is! Actually, it was quite easy for me to do, as the tab was already present on this website, only it was listed as Greensleeves. It's now also listed as, "What Child Is This?" The tab is the same, as there's no difference in the music. I apologize for not including the Christmas carol words for the second and third verses, but that would take more time than I have right now. You are welcome to print the tab and write in the proper words.
Poet also mentioned that he (she?) is a beginner. The song is published with complete instructions for playing all three verses, which are tabbed in order of increasing complexity. Of course, as a guitar instrumental solo, they need not be played in this order! But if you find arpeggios stuck in around the melody daunting, you can still do fine by playing the first verse or two, and learn the arpeggios later, when you have more confidence.
If you like this tab, you might also like A-Soulin', which is another very old, English Christmas carol. It was popularized in the 1960s by the folk group, Peter, Paul and Mary, but my version is a guitar duet in the form of a round. There are no difficult techniques or chords in it. In fact, there's only ONE strummed chord! It's so simple that I teach it to my first-year students. Nevertheless, it sounds absolutely stunning. Check out the video clip of two of my first-year students.
Poet commented on another post that this Christmas carol would be the best Christmas present ever, so here it is! Actually, it was quite easy for me to do, as the tab was already present on this website, only it was listed as Greensleeves. It's now also listed as, "What Child Is This?" The tab is the same, as there's no difference in the music. I apologize for not including the Christmas carol words for the second and third verses, but that would take more time than I have right now. You are welcome to print the tab and write in the proper words.
Poet also mentioned that he (she?) is a beginner. The song is published with complete instructions for playing all three verses, which are tabbed in order of increasing complexity. Of course, as a guitar instrumental solo, they need not be played in this order! But if you find arpeggios stuck in around the melody daunting, you can still do fine by playing the first verse or two, and learn the arpeggios later, when you have more confidence.
If you like this tab, you might also like A-Soulin', which is another very old, English Christmas carol. It was popularized in the 1960s by the folk group, Peter, Paul and Mary, but my version is a guitar duet in the form of a round. There are no difficult techniques or chords in it. In fact, there's only ONE strummed chord! It's so simple that I teach it to my first-year students. Nevertheless, it sounds absolutely stunning. Check out the video clip of two of my first-year students.
The Day Dawn Is Breaking
There are no hard chords in this song. Although G7addF may look odd, it's rather easy to play. It's just like a normal G7, except you have to add the F note on the fourth string, with your little finger. The only really difficult part is getting the whole song up to speed. It sounds OK played slowly, so you can play it anywhere from half speed to as posted, if you are playing it as an instrumental solo. If you intend to sing it or accompany singers, the guitar part needs to be played at the metronome speed listed on the tab.
This is the same speed called for in the hymnal, and it IS fast. I recommend that you practice it at half speed until you can play it perfectly, before attempting to increase the speed. That's how I learned it.
If you have trouble with barre chords, you may be tempted to substitute the regular F and G chords for the barred FI and GIII. If you do, the chords may not follow the melody, and, at the end of the verse, the alternate transition: F - G - C will actually be slower than the FI - GIII - C as written. An acceptable compromise, if you just cannot do barre chords at all, is to play the regular F, then slide it up two frets for an alternative G, thus: F = xx3211, G = xx5433. While this does not give as full a sound, or follow the melody perfectly, it is as fast as using the full barre chords, and does give an idea of the melody.
This song is in the public domain.
This is the same speed called for in the hymnal, and it IS fast. I recommend that you practice it at half speed until you can play it perfectly, before attempting to increase the speed. That's how I learned it.
If you have trouble with barre chords, you may be tempted to substitute the regular F and G chords for the barred FI and GIII. If you do, the chords may not follow the melody, and, at the end of the verse, the alternate transition: F - G - C will actually be slower than the FI - GIII - C as written. An acceptable compromise, if you just cannot do barre chords at all, is to play the regular F, then slide it up two frets for an alternative G, thus: F = xx3211, G = xx5433. While this does not give as full a sound, or follow the melody perfectly, it is as fast as using the full barre chords, and does give an idea of the melody.
This song is in the public domain.
Comments from beginners
I welcome comments, if they pertain to the music. I get a lot from beginning guitarists. If you have a question or comment that's too long or that you don't want to share with everyone, email me HERE. Here's a response I wrote to Melissa, who asked about the difference between strumming and picking:
IN GENERAL, tabs are for picking, and cheat sheets are for strumming. To see the difference, check out both links to "Dream a Little Dream of Me", which I have posted in both forms. Some of my tabs are arranged for strumming AND picking. They will say at the top of the first page, "Strum all chords." In other tabs, where some chords are to be picked and others strummed, the strummed chords are indicated by a wiggly line at the left of the chord. In all cases, though, it is possible to strum any of the chords, whether so marked or not. All of these tabs are my own arrangements, and I've written them the way I like to play them. You may have different preferences.
If you just want to accompany singing, by all means, just strum the chords, and disregard the tab. Usually this will work fine, but sometimes I leave out a chord, when I only need a single note from it, and that note is covered in the tab. I never mention this, either in the tab or in the posting about the tab, because the songs on this blog are intended for instrumental guitar solos.
A good source for those who want to accompany singers is the book, Hymns, Simplified, published by The Church of Jesus Christ of Latter-Day Saints. It's arranged for easy piano, but also contains guitar chords, with chord charts at the back of the book.
If I had unlimited time, I would add a section of cheat sheets to the blog, but I also have a full-time job, two major callings, and a HUGE family. If you would like to write cheat sheets for the blog, send me a couple to review!
IN GENERAL, tabs are for picking, and cheat sheets are for strumming. To see the difference, check out both links to "Dream a Little Dream of Me", which I have posted in both forms. Some of my tabs are arranged for strumming AND picking. They will say at the top of the first page, "Strum all chords." In other tabs, where some chords are to be picked and others strummed, the strummed chords are indicated by a wiggly line at the left of the chord. In all cases, though, it is possible to strum any of the chords, whether so marked or not. All of these tabs are my own arrangements, and I've written them the way I like to play them. You may have different preferences.
If you just want to accompany singing, by all means, just strum the chords, and disregard the tab. Usually this will work fine, but sometimes I leave out a chord, when I only need a single note from it, and that note is covered in the tab. I never mention this, either in the tab or in the posting about the tab, because the songs on this blog are intended for instrumental guitar solos.
A good source for those who want to accompany singers is the book, Hymns, Simplified, published by The Church of Jesus Christ of Latter-Day Saints. It's arranged for easy piano, but also contains guitar chords, with chord charts at the back of the book.
If I had unlimited time, I would add a section of cheat sheets to the blog, but I also have a full-time job, two major callings, and a HUGE family. If you would like to write cheat sheets for the blog, send me a couple to review!
High on the Mountain Top in G (for beginners)
Actually, it's played a lot like the version in C. Most beginners find it easier to play in the key of G than in C, as there are no barre chords. This version includes a couple of minor chords, where the other version only has single notes, but they are very easy, common chords. If you already know them, you may find it easier to play the chord than to learn the melody line. The tab is simpler, too, without split measures, metronome count, etc. In the second line, there is one pull-off and one slide, but you can just play the notes without using those techniques, and it'll still sound good. No special instructions are needed to play this version, just play the tab as it is written.
High on the Mountain Top is in the public domain. The patriotic lyrics were taken from a poem by Joel Hills Johnson. Click HERE for the story of how this poem came to be written, including the fifth and sixth verses, which do not appear in the hymnal.
High on the Mountain Top is in the public domain. The patriotic lyrics were taken from a poem by Joel Hills Johnson. Click HERE for the story of how this poem came to be written, including the fifth and sixth verses, which do not appear in the hymnal.
How Gentle God's Commands
Two versions -- an easy one in A, that uses only TWO chords (E and A), and a harder one in C that requires barre chords and harder techniques. Both are in public domain.
First, the easy version. The first verse uses pinched chords, and there are only two measures in the whole verse that require more than one pinch. Easy. It's in 3/4 time, and all the notes are quarter-notes. There are a couple of measures where only two of the three beats are shown. In both cases, that's the first and third beats. You can let the first beat ring for two counts (a half-note), or damp the first beat to a quarter-note and insert a quarter-rest. Or, you can mix and match. It's a simple tune to learn, but still sounds good. If you're playing steel strings, you might try using finger-picks on this one. If you're playing nylon strings, use your fingernails, for a crisp, "classical guitar" sound, or use your fingertips, if you want a mellow tone.
In the fifth measure, the A chord is slightly changed. Note the F# played on the third string at the fourth fret. It's just a bit of a stretch, but don't leave it out or substitute another note for it; it's necessary to carry the melody. It also provides a nice contrast with the normal A chord in the next measure.
The second verse is in 6/8 time, so all the notes are eighth-notes. The chording is the same as the first verse, but the chords are all "broken chords". A lot of "extra" drone notes on the open A string and E string are set in, to fill out the bass. Rock the right hand, playing the bass notes with the thumb, and the melody notes with the fingers. The audience will think it sounds much more difficult than the first verse, but it's actually very nearly as easy. If you're comfortable with barre chords, substitute a barred Av for the last note, for a dynamite finale.
First, the easy version. The first verse uses pinched chords, and there are only two measures in the whole verse that require more than one pinch. Easy. It's in 3/4 time, and all the notes are quarter-notes. There are a couple of measures where only two of the three beats are shown. In both cases, that's the first and third beats. You can let the first beat ring for two counts (a half-note), or damp the first beat to a quarter-note and insert a quarter-rest. Or, you can mix and match. It's a simple tune to learn, but still sounds good. If you're playing steel strings, you might try using finger-picks on this one. If you're playing nylon strings, use your fingernails, for a crisp, "classical guitar" sound, or use your fingertips, if you want a mellow tone.
In the fifth measure, the A chord is slightly changed. Note the F# played on the third string at the fourth fret. It's just a bit of a stretch, but don't leave it out or substitute another note for it; it's necessary to carry the melody. It also provides a nice contrast with the normal A chord in the next measure.
The second verse is in 6/8 time, so all the notes are eighth-notes. The chording is the same as the first verse, but the chords are all "broken chords". A lot of "extra" drone notes on the open A string and E string are set in, to fill out the bass. Rock the right hand, playing the bass notes with the thumb, and the melody notes with the fingers. The audience will think it sounds much more difficult than the first verse, but it's actually very nearly as easy. If you're comfortable with barre chords, substitute a barred Av for the last note, for a dynamite finale.
Praise to the Man
This is about as easy as it gets! The only thing even faintly scary about this song is the F/C chord. Read that, "F with a C bass," and you won't be scared. It's just a normal F chord, but you add the C on the 5th string, third space, with your pinkie, to follow the melody. Or, if you are already comfortable with barre chords, just play the full-barre F, but avoid the #6 string. If you really are a beginner, just play a regular, four-string F, but it won't sound quite as good.
There are also pull-offs in measures # 3, 11, and 27. These are easy to do. Fret the second string in the first space (C) with your index finger, and simultaneously in the third space (D) with your pinkie. When you pluck the string with your right hand, only the D will sound, of course. Leaving the index finger in place, pull the pinkie off the string, so it plucks the string again, sounding the C. This produces a legato sound, (search "ligado" on this blog), and also allows you to play the two-note sequence much faster than you otherwise could.
The song was originally written in 2/4 time, but I have re-cast it in 4/8. There is actually no difference, except that it's easier to count in eighth notes. The metronome setting has therefore been increased to 132. To be perfectly faithful to the piano music in the hymnal, it should have been somewhere between 152 - 192, but this just sounds too fast to me. If you are accompanying a singer, 132 would probably be too slow, but if you are playing it as a guitar solo, the speed is not terribly important, anyway.
Both the tune and the lyrics are in the public domain.
There are also pull-offs in measures # 3, 11, and 27. These are easy to do. Fret the second string in the first space (C) with your index finger, and simultaneously in the third space (D) with your pinkie. When you pluck the string with your right hand, only the D will sound, of course. Leaving the index finger in place, pull the pinkie off the string, so it plucks the string again, sounding the C. This produces a legato sound, (search "ligado" on this blog), and also allows you to play the two-note sequence much faster than you otherwise could.
The song was originally written in 2/4 time, but I have re-cast it in 4/8. There is actually no difference, except that it's easier to count in eighth notes. The metronome setting has therefore been increased to 132. To be perfectly faithful to the piano music in the hymnal, it should have been somewhere between 152 - 192, but this just sounds too fast to me. If you are accompanying a singer, 132 would probably be too slow, but if you are playing it as a guitar solo, the speed is not terribly important, anyway.
Both the tune and the lyrics are in the public domain.
Teach Me to Walk In the Light
FOR RANK BEGINNERS:
At the top of the page is the title of the hymn, and the hymn number, as found in the LDS hymnal, Hymns. Then follow general instructions, such as “Strum all chords.” This means that anywhere you see a chord in the tablature, it is to be strummed, not plucked or pinched. Individual notes are always plucked unless otherwise instructed.
Each line of music is divided into four separate parts. The top line shows the chord names. They are given only when the chord changes, so the first line of the tab shows the E chord only once, though it is strummed nine times. The B7 chord shown next continues onto the second line, even though it is only shown on the first line, etc. Sometimes, special instructions are also included in this line, such as, slow, or hold.
The next six lines are the actual tablature. Each horizontal line of dashes represents a string of the guitar, with the top one representing the high e-string, the next representing the B-string, etc., as shown at the beginning of the tab. I usually omit the names of the strings when writing tab, unless they are tuned in a non-standard tuning, but I put them in on this song, for the use of true beginners.
In reading tablature (tab for short), the strings are fretted where the numbers indicate the proper fret: 1 = the first fret, etc. A zero -- 0 -- indicates the string is to be played “open” (unfretted). If there is no number on the string, do not play it. Vertical lines indicate measures, as in traditional music.
The next line is the lyrics of the song. Since the purpose of the tablature is to teach how to play a guitar instrumental solo, only the first verse of the song is included, for those who are familiar with it, to help them know where they are in the song.
The bottom line contains the time count, or tempo. This song is in “three-four” time, meaning that each measure contains three beats, and the first beat of each measure is accented by being played a bit louder than the others: ONE two three; ONE two three, etc. The accented beats are shown in bold face type. In general, each beat is accompanied by either a strummed chord or a plucked note, except for the last measure of each line, where the chord is strummed and allowed to ring through the other two beats, which are counted, but not played. This is shown by placing the other two beats in parentheses: (2 3). In the last line, the third beat of the first measure is also treated this way, and is shown in parentheses, too: (3) .
The next-to-last measure is also counted differently. There are six notes in the measure, but they are “eighth notes”, instead of the “quarter notes” that make up the rest of the song. The measure takes exactly the same length of time as the other measures, because the notes are played twice as fast. To count these notes, count the last two measures, “ONE-and-two-and-three-and-ONE, (two, three)”. The beat remains steady.
All but the very last note of the next-to-last measure can be easily played by simply strumming an E chord slowly, so each string sounds separately. You’ll have to stretch your pinkie to reach that note in the 4th fret, or else, let your hand slide slightly up the neck of the guitar, hit the note, then slide right back down to play the E chord.
Chord charts are shown at the end of the song. If you don’t know how to play a chord, the chord charts show you how. The vertical lines represent the guitar strings, and the horizontal lines show the frets. The top line shows the nut of the guitar, with Xs above strings that are not played. Finger positions are usually shown with zeros, or large, black dots, but I have used numbers to indicate which finger is placed where: 1 = the index finger, 2 = the middle finger, 3 = the ring finger, and 4 = the pinky.
I have tried to arrange the song so it would be as easy as possible to play, since I’m arranging it for my seven-year-old student, Meylin. If you are really a rank beginner, start by just strumming the chords as shown in the counting line, until you can make the chord changes without missing a beat. Only then should you try to learn how to put in the melody notes.
Most of the notes are part of the chords, and can be played just by selecting the proper string. Some of the notes are different, though. In the first line, a couple of the “extra” notes in the second fret can be reached just by flattening the left hand across the strings. Others need to be added with the pinky. In the third line, the E chord can be changed to an E7 just by lifting the 3rd finger. Replace it to hit the third note in the next measure.
This song is not in the public domain, but I have received written permission of the copyright owner (The Church of Jesus Christ of Latter-Day Saints) to publish it in this format, for personal or incidental, non-commercial home or church use.
At the top of the page is the title of the hymn, and the hymn number, as found in the LDS hymnal, Hymns. Then follow general instructions, such as “Strum all chords.” This means that anywhere you see a chord in the tablature, it is to be strummed, not plucked or pinched. Individual notes are always plucked unless otherwise instructed.
Each line of music is divided into four separate parts. The top line shows the chord names. They are given only when the chord changes, so the first line of the tab shows the E chord only once, though it is strummed nine times. The B7 chord shown next continues onto the second line, even though it is only shown on the first line, etc. Sometimes, special instructions are also included in this line, such as, slow, or hold.
The next six lines are the actual tablature. Each horizontal line of dashes represents a string of the guitar, with the top one representing the high e-string, the next representing the B-string, etc., as shown at the beginning of the tab. I usually omit the names of the strings when writing tab, unless they are tuned in a non-standard tuning, but I put them in on this song, for the use of true beginners.
In reading tablature (tab for short), the strings are fretted where the numbers indicate the proper fret: 1 = the first fret, etc. A zero -- 0 -- indicates the string is to be played “open” (unfretted). If there is no number on the string, do not play it. Vertical lines indicate measures, as in traditional music.
The next line is the lyrics of the song. Since the purpose of the tablature is to teach how to play a guitar instrumental solo, only the first verse of the song is included, for those who are familiar with it, to help them know where they are in the song.
The bottom line contains the time count, or tempo. This song is in “three-four” time, meaning that each measure contains three beats, and the first beat of each measure is accented by being played a bit louder than the others: ONE two three; ONE two three, etc. The accented beats are shown in bold face type. In general, each beat is accompanied by either a strummed chord or a plucked note, except for the last measure of each line, where the chord is strummed and allowed to ring through the other two beats, which are counted, but not played. This is shown by placing the other two beats in parentheses: (2 3). In the last line, the third beat of the first measure is also treated this way, and is shown in parentheses, too: (3) .
The next-to-last measure is also counted differently. There are six notes in the measure, but they are “eighth notes”, instead of the “quarter notes” that make up the rest of the song. The measure takes exactly the same length of time as the other measures, because the notes are played twice as fast. To count these notes, count the last two measures, “ONE-and-two-and-three-and-ONE, (two, three)”. The beat remains steady.
All but the very last note of the next-to-last measure can be easily played by simply strumming an E chord slowly, so each string sounds separately. You’ll have to stretch your pinkie to reach that note in the 4th fret, or else, let your hand slide slightly up the neck of the guitar, hit the note, then slide right back down to play the E chord.
Chord charts are shown at the end of the song. If you don’t know how to play a chord, the chord charts show you how. The vertical lines represent the guitar strings, and the horizontal lines show the frets. The top line shows the nut of the guitar, with Xs above strings that are not played. Finger positions are usually shown with zeros, or large, black dots, but I have used numbers to indicate which finger is placed where: 1 = the index finger, 2 = the middle finger, 3 = the ring finger, and 4 = the pinky.
I have tried to arrange the song so it would be as easy as possible to play, since I’m arranging it for my seven-year-old student, Meylin. If you are really a rank beginner, start by just strumming the chords as shown in the counting line, until you can make the chord changes without missing a beat. Only then should you try to learn how to put in the melody notes.
Most of the notes are part of the chords, and can be played just by selecting the proper string. Some of the notes are different, though. In the first line, a couple of the “extra” notes in the second fret can be reached just by flattening the left hand across the strings. Others need to be added with the pinky. In the third line, the E chord can be changed to an E7 just by lifting the 3rd finger. Replace it to hit the third note in the next measure.
This song is not in the public domain, but I have received written permission of the copyright owner (The Church of Jesus Christ of Latter-Day Saints) to publish it in this format, for personal or incidental, non-commercial home or church use.
Come, Ye Children of The Lord
Two versions-- one easy, one somewhat harder. Oddly enough, though I arranged both versions, and have labeled the harder one "performance version", I like the easy one best. It uses plain, easy chords, all strummed, with the melody picked out in single notes, making it perfect for picking out on a steel-string flat-top. Which I seldom do. So seldom that I gave away my old flat-top some years ago, and don't often miss it.
In either version, you can hit the D note after the F chord with the little finger, a lick that repeats a few times. There's also a repeating lick where you have to hit the A note on the G string from a C chord, which you do by briefly flattening the middle finger, to catch the A, then immediately returning to the C chord.
If you're accompanying singers, definitely use the "easy" version, as the "performance" version has too much other stuff going on, and would either confuse the singers, or distract the audience.
The "performance" version is actually closer to the sheet music printed in the hymnal, which it follows almost perfectly. But frankly, I think it sounds better on the piano or organ than on the guitar.
In either version, you can hit the D note after the F chord with the little finger, a lick that repeats a few times. There's also a repeating lick where you have to hit the A note on the G string from a C chord, which you do by briefly flattening the middle finger, to catch the A, then immediately returning to the C chord.
If you're accompanying singers, definitely use the "easy" version, as the "performance" version has too much other stuff going on, and would either confuse the singers, or distract the audience.
The "performance" version is actually closer to the sheet music printed in the hymnal, which it follows almost perfectly. But frankly, I think it sounds better on the piano or organ than on the guitar.
A-Soulin'
Similar to the old Peter, Paul, & Mary version of this very old, English carol, but arranged as a round for two guitars. There's a very short lyric section, which isn't at all hard to sing. The round is in two "parts", but they're almost exactly the same, except for the end of the intro and the coda, where they have to transition to unison. Meylin, my seven-year-old beginning guitar student, can play it. The hardest part is not getting "pulled off" of your part by listening to the other player.
Play at a steady pace, without variation, and it'll sound fantastic. Especially if you can do it while looking a bit bored. Mind you, no one will think it's actually easy. They'll just think you're showing off. And that you have talent worth showing off. It's actually not bad as a solo piece, too, but the duet round just blows people away.
Play at a steady pace, without variation, and it'll sound fantastic. Especially if you can do it while looking a bit bored. Mind you, no one will think it's actually easy. They'll just think you're showing off. And that you have talent worth showing off. It's actually not bad as a solo piece, too, but the duet round just blows people away.
Before Thee Lord, I Bow My Head
One of the easiest tabs I've ever done. Everything's easy enough for beginners, except the time signature, but I've written out the count below the words. This is actually easier to play on the guitar than it is to sing! Nevertheless, it's fun to play.
The only slightly unusual chord is the D/A, (pronounced, "D, with an A bass"), which just means you strum five strings, instead of only four, allowing the open A string to sound. It's fretted exactly the same as a normal D chord.
If you find the hammer-ons and pull-offs too hard, you can just leave them out. But I strongly urge you to try them. They're not really hard, and they give the faster part of the song a different sound.
There are no "extra" notes. In fact, I've simplified it a bit, to make it easier to play on the guitar. This hymn is in the public domain, though the author and composer died in the year I was born.
The only slightly unusual chord is the D/A, (pronounced, "D, with an A bass"), which just means you strum five strings, instead of only four, allowing the open A string to sound. It's fretted exactly the same as a normal D chord.
If you find the hammer-ons and pull-offs too hard, you can just leave them out. But I strongly urge you to try them. They're not really hard, and they give the faster part of the song a different sound.
There are no "extra" notes. In fact, I've simplified it a bit, to make it easier to play on the guitar. This hymn is in the public domain, though the author and composer died in the year I was born.
Called to Serve
Public domain. This is about as close to the version in the hymnal as I can get it, with no extra notes. It's a fun tune to play! Written in the key of C major, too, so the chords are easy, too. Sounds good on an electric guitar, with lots of fuzz.
Upon the Cross of Calvary
Public Domain. I transposed it into C, because it's hard for me to play in G. I got tendinitis in my left hand from playing with a bent wrist. That's why your guitar teacher won't let you look at your guitar while playing-- it makes you bend your wrist, and causes tendinitis, down the road. Now, my ring finger tends to lock when I play too many G chords. So I use a lot of barred Gs, which don't make my finger lock up. My cross to bear. But this song is about the real cross, borne by the Savior.
I've written it three ways, which can be used as separate versions, or combined as verses. The first, mostly chords, sounds good on a flat-top guitar, played with a pick, or on a classical guitar, strummed with the thumb. The second one cannot be played with a pick, but sounds really "classical" when pinched, especially if you use the fingernails or finger picks. Play it near the bridge for an even more brilliant sound.
The third verse includes lots of "extra" notes to emphasize the 8/8 tempo. I like playing in 8/8, as all the notes are the same length. The "extra" notes are mostly drones in the bass. You can leave out any of them you like, but remember to lengthen the other notes, or the tempo will suffer.
If all you want is the melody, play the 3rd version, except:
1. Leave out all the notes on the 4th, 5th and 6th strings (the drones)
2. Play only the 1st and 7th notes in the 5th measure (GIII)
3. In the next-to-last measure, play only the 1st, 3rd, 5th, and 7th notes
4. In the final measure, play only the 1st note.
This is actually a pretty easy hymn to play. If the CIII chord gives you trouble, you can substitute a regular C chord, but it'll make the transition to the next chord harder-- that's why I used the barre chord.
I've written it three ways, which can be used as separate versions, or combined as verses. The first, mostly chords, sounds good on a flat-top guitar, played with a pick, or on a classical guitar, strummed with the thumb. The second one cannot be played with a pick, but sounds really "classical" when pinched, especially if you use the fingernails or finger picks. Play it near the bridge for an even more brilliant sound.
The third verse includes lots of "extra" notes to emphasize the 8/8 tempo. I like playing in 8/8, as all the notes are the same length. The "extra" notes are mostly drones in the bass. You can leave out any of them you like, but remember to lengthen the other notes, or the tempo will suffer.
If all you want is the melody, play the 3rd version, except:
1. Leave out all the notes on the 4th, 5th and 6th strings (the drones)
2. Play only the 1st and 7th notes in the 5th measure (GIII)
3. In the next-to-last measure, play only the 1st, 3rd, 5th, and 7th notes
4. In the final measure, play only the 1st note.
This is actually a pretty easy hymn to play. If the CIII chord gives you trouble, you can substitute a regular C chord, but it'll make the transition to the next chord harder-- that's why I used the barre chord.
Brightly Beams Our Father's Mercy
This is one of my favorite hymns, both to sing and to play. There are very few "grace notes" in it; nearly all of it is melody. The few grace notes are put in parentheses, in light face type. You can safely ignore them if you only want to play the melody. You can also substitute the regular C chord for all the different C chords, the regular F for all the F chords, and the regular G for all the different G chords, if you are not comfortable with barre chords. It won't sound as nice or follow the melody as well, but will be perfectly fine for accompanying vocalists.
Notes:
I usually play the first F as a regular, four-string F, just because the chord change from C and back is easier that way, and it's a very fast change.
The transition F(I) to F(V) may be hard to make rapidly, if you are not used to playing these chords. It is perfectly acceptable to avoid the change by playing all the F chords in the tenth measure the same. If you do this, it sounds much better if you leave out the F(I) chord and substitute the F(5) chord, rather than the other way around.
It's also perfectly OK to make the final C chord a normal one, without the G bass, if your pinkie isn't up to it. But it sounds a bit thin for a finale. The full, six-string chord sounds much better to end the song on.
It wouldn't hurt to put tremolo on the E note on the third string in the next-to-last measure. That's why I play it in the 9th fret of the third string, instead of just playing the first string open, which is the same note. When performed as a guitar solo, this piece sounds better with lots of pauses, holds, and tremolos. I like to use these forms of expression to emphasize the words of the hymn that feel most important to me at the time I am playing them. You cannot be too expressive with this song-- the more expression you put in, the better your audience will like it, even at the risk of totally losing the rhythm!
This song is in the public domain.
Notes:
I usually play the first F as a regular, four-string F, just because the chord change from C and back is easier that way, and it's a very fast change.
The transition F(I) to F(V) may be hard to make rapidly, if you are not used to playing these chords. It is perfectly acceptable to avoid the change by playing all the F chords in the tenth measure the same. If you do this, it sounds much better if you leave out the F(I) chord and substitute the F(5) chord, rather than the other way around.
It's also perfectly OK to make the final C chord a normal one, without the G bass, if your pinkie isn't up to it. But it sounds a bit thin for a finale. The full, six-string chord sounds much better to end the song on.
It wouldn't hurt to put tremolo on the E note on the third string in the next-to-last measure. That's why I play it in the 9th fret of the third string, instead of just playing the first string open, which is the same note. When performed as a guitar solo, this piece sounds better with lots of pauses, holds, and tremolos. I like to use these forms of expression to emphasize the words of the hymn that feel most important to me at the time I am playing them. You cannot be too expressive with this song-- the more expression you put in, the better your audience will like it, even at the risk of totally losing the rhythm!
This song is in the public domain.
Love One Another
This song is NOT in the public domain. The author has kindly given permission for readers of Hymns to copy and use her song "for incidental, non-commercial church or home use." Please do not abuse the privilege.
This song is very easy to play. It's short, simple, and beautiful, and has already become one of the defining hymns of the Latter-Day Saints. I have tried to retain these qualities in my tabbed guitar solo, even though it does not follow the piano music exactly. The piano music says to play it "reverently." For guitarists, I translate this as slowly and smoothly. It also sounds really nice when played crisply, using the fingernails, classical guitar style. You can get a similar effect using plastic finger picks, if you don't have the time or ability to grow and harden your fingernails. This arrangement also sounds very good as a duet with a flute or violin.
The song is very easy to play. All the notes are eighth notes, and all the chords are easy and basic, with the sole exception of the G* chord, which is a standard G chord, but with the second string fretted at the third fret, instead of the first string. (Don't play the first string at all in this chord.) This chord is actually easier to play than a standard G, and brings out the melody nicely, too.
This song is very easy to play. It's short, simple, and beautiful, and has already become one of the defining hymns of the Latter-Day Saints. I have tried to retain these qualities in my tabbed guitar solo, even though it does not follow the piano music exactly. The piano music says to play it "reverently." For guitarists, I translate this as slowly and smoothly. It also sounds really nice when played crisply, using the fingernails, classical guitar style. You can get a similar effect using plastic finger picks, if you don't have the time or ability to grow and harden your fingernails. This arrangement also sounds very good as a duet with a flute or violin.
The song is very easy to play. All the notes are eighth notes, and all the chords are easy and basic, with the sole exception of the G* chord, which is a standard G chord, but with the second string fretted at the third fret, instead of the first string. (Don't play the first string at all in this chord.) This chord is actually easier to play than a standard G, and brings out the melody nicely, too.
Do What Is Right
I love this song, partly because it is so easy to play that it just seems to come naturally. This version is good for beginners. Only standard chords are used, except that G is fretted: 32003x, to bring out the melody. It's not a great change from the standard G. I like to use the full-barre F, but it's not necessary; the four-string F will also work. There are no hammer-ons, pull-offs, slides, tremolos, or harmonics, just simple, standard guitar picking. But it still sounds good. The two-note chords are called pinches, and are always played with the thumb and middle finger of the right hand. They are necessary for the changing emphasis that gives the piece its slightly syncopated rhythm.
In this song, I have departed from my practice of following the layout as printed in Hymns. It's definitely in public domain, so the included lyrics can help even a neophyte keep his or her place. By adding one measure per line, I was able to keep the whole song on a single page. This makes it easier to use the print-out when practicing.
In this song, I have departed from my practice of following the layout as printed in Hymns. It's definitely in public domain, so the included lyrics can help even a neophyte keep his or her place. By adding one measure per line, I was able to keep the whole song on a single page. This makes it easier to use the print-out when practicing.
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