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.
Showing posts with label broken chords. Show all posts
Showing posts with label broken chords. Show all posts
Secret Prayer
To play this song in the key of D, as printed in Hymns, you will need to tune DOWN two frets. This won’t make any difference if you are not playing with another instrument, as practically no one in your audience will be able to tell the difference.
Like many beautiful songs, it is not easy to play, even though it sounds simple. There are ten chords, and you need to use all of them, or it won’t sound right. Most of them are easy, but there are a few difficult barre chords, notably CIII and FV. There are also a few fast chord changes that need to be nailed right on, or the rhythm will suffer badly. Sorry, but there’s just no way around these problems. Just practice each bit that’s difficult for you, until you can get it right. There is no substitute for practice. If I haven’t scared you off yet, the rest of the song is a piece of cake.
There’s no introduction. Just start right in playing. You don’t have to use the hammer-ons, pull-offs, and slides, but they add a lot to the song, and are not hard. If you nail the first one, you’ll be ahead of the audience throughout the song, and everyone will think you’re wonderful. Cadd5 is just a regular C chord, with the left pinkie adding the G on the 1st string. The odd chord name means you’re playing a regular C major chord, but adding the fifth note in the C scale, which is G. (C-D-E-F-G) The only hard part in the first line comes right at the end. Catch the C note on the 3rd string by flattening the left pinkie, then lifting it immediately, to clear the 2nd string so you can play the D. Go right on to the next measure without pausing or emphasizing how tough this is in any way, or it’ll sound phony.
The second line has good news and bad news. The good news is that you don’t have to actually play the FI, only the #1 and #6 strings, and you’ve got plenty of time to move your hand up the neck of the guitar, as the notes are all quarter-notes. The bad news is, you DO have to play the FV, and you have to hit the chord with all the strings at once. This can be tough, especially if you are used to laying your fingers down one at a time. If that’s the case, now is the time to start practicing getting the whole chord at once. This is a very hard one to do that way, but the reward is that you end up learning twelve new chords at once (ten if your guitar is a classical style), as you can play this chord shape on any fret. For this reason, it’s really important in many different kinds of music, including Latin, Jazz, Hawaiian, and Blues, Country, and Rock.
Play the last measure with the thumb, as a slow strum. Continue this pattern through most of the Chorus. Do the slide in the first measure with your pinkie, but use the ring finger on the second string in the third measure. You can then just flatten the ring finger to catch the G note on the 1st string, without actually changing to the GIII chord. Makes the following pull-off much easier, too. You may be tempted to use the pinkie instead of the ring finger. It seems more natural to me, too, but it makes the pull-off almost impossible.
In the next line, the C/G chord is just a C chord with a G bass. Hit the bass note with the pinkie. No sweat. Then, you’ve got another of those pesky FV chords again, strummed this time. Notice how the chord shape makes the melody line seem to rise? That’s why this shape is so important to so many kinds of music.
The last line is relatively simple. The CVIII is just a barred E, played exactly like the FI or GIII, except that the barre is in the VIII fret. This chord shape is actually easier to play up high, where the frets are closer together. You may have trouble with the tremolo, if you try to do it with the barring index finger. The trick is to rock your hand, lifting ALL the fingers up off of the other strings, leaving ONLY the index finger touching the #1 string. Then, you should be able to do a slow tremolo by moving the whole hand back-and-forth along the length of the neck. The notes and lyrics given in light face type are in case you want to include the second verse. Leave them out when you play the Chorus for the final time.
All the chords in the second verse are strummed. They are the same chords as in the first verse, but may need to be treated differently, as you always have to play the whole chord. In some ways, the second verse is easier, as all of those strummed chords are actually quarter-notes, which makes the second verse sound slower, though the tempo does not actually change at all!
You can also vary the sound of the verses by playing the chords of the second verse as pinches, instead of strums, by repeating the first verse as a finale, or by combining strums, pinches, and the finger-picking style of the first verse. This song is in the public domain.
Like many beautiful songs, it is not easy to play, even though it sounds simple. There are ten chords, and you need to use all of them, or it won’t sound right. Most of them are easy, but there are a few difficult barre chords, notably CIII and FV. There are also a few fast chord changes that need to be nailed right on, or the rhythm will suffer badly. Sorry, but there’s just no way around these problems. Just practice each bit that’s difficult for you, until you can get it right. There is no substitute for practice. If I haven’t scared you off yet, the rest of the song is a piece of cake.
There’s no introduction. Just start right in playing. You don’t have to use the hammer-ons, pull-offs, and slides, but they add a lot to the song, and are not hard. If you nail the first one, you’ll be ahead of the audience throughout the song, and everyone will think you’re wonderful. Cadd5 is just a regular C chord, with the left pinkie adding the G on the 1st string. The odd chord name means you’re playing a regular C major chord, but adding the fifth note in the C scale, which is G. (C-D-E-F-G) The only hard part in the first line comes right at the end. Catch the C note on the 3rd string by flattening the left pinkie, then lifting it immediately, to clear the 2nd string so you can play the D. Go right on to the next measure without pausing or emphasizing how tough this is in any way, or it’ll sound phony.
The second line has good news and bad news. The good news is that you don’t have to actually play the FI, only the #1 and #6 strings, and you’ve got plenty of time to move your hand up the neck of the guitar, as the notes are all quarter-notes. The bad news is, you DO have to play the FV, and you have to hit the chord with all the strings at once. This can be tough, especially if you are used to laying your fingers down one at a time. If that’s the case, now is the time to start practicing getting the whole chord at once. This is a very hard one to do that way, but the reward is that you end up learning twelve new chords at once (ten if your guitar is a classical style), as you can play this chord shape on any fret. For this reason, it’s really important in many different kinds of music, including Latin, Jazz, Hawaiian, and Blues, Country, and Rock.
Play the last measure with the thumb, as a slow strum. Continue this pattern through most of the Chorus. Do the slide in the first measure with your pinkie, but use the ring finger on the second string in the third measure. You can then just flatten the ring finger to catch the G note on the 1st string, without actually changing to the GIII chord. Makes the following pull-off much easier, too. You may be tempted to use the pinkie instead of the ring finger. It seems more natural to me, too, but it makes the pull-off almost impossible.
In the next line, the C/G chord is just a C chord with a G bass. Hit the bass note with the pinkie. No sweat. Then, you’ve got another of those pesky FV chords again, strummed this time. Notice how the chord shape makes the melody line seem to rise? That’s why this shape is so important to so many kinds of music.
The last line is relatively simple. The CVIII is just a barred E, played exactly like the FI or GIII, except that the barre is in the VIII fret. This chord shape is actually easier to play up high, where the frets are closer together. You may have trouble with the tremolo, if you try to do it with the barring index finger. The trick is to rock your hand, lifting ALL the fingers up off of the other strings, leaving ONLY the index finger touching the #1 string. Then, you should be able to do a slow tremolo by moving the whole hand back-and-forth along the length of the neck. The notes and lyrics given in light face type are in case you want to include the second verse. Leave them out when you play the Chorus for the final time.
All the chords in the second verse are strummed. They are the same chords as in the first verse, but may need to be treated differently, as you always have to play the whole chord. In some ways, the second verse is easier, as all of those strummed chords are actually quarter-notes, which makes the second verse sound slower, though the tempo does not actually change at all!
You can also vary the sound of the verses by playing the chords of the second verse as pinches, instead of strums, by repeating the first verse as a finale, or by combining strums, pinches, and the finger-picking style of the first verse. This song is in the public domain.
Amazing Grace
Unusually for this blog, this song is meant to accompany a vocalist, at least in the second and third verses. Words are provided for the first verse, for reference only, because the pattern picks can be confusing, but DO NOT SING THEM. For those who may not be familiar with pattern-picking, I have provided detailed, line-by-line instructions.
The first time through is just an instrumental introduction. Play it simply, to state the melody, without a lot of expression. In the seventh measure, there’s a slightly tricky slide that needs to be done with the pinky. Slide very fast, from the third fret clear up to the ninth. Don’t hold that note at all, but drop it immediately and return to the third fret, to play the Gadd5 chord, fretting the extra note with the ring finger.. If you are OK with barre chords, you can substitute a GIII for the Gadd5, which makes for an easier chord change. But the barre chord isn’t necessary, as Gadd5 actually sounds better here.
The hammer-on/pull-off in the tenth measure is not hard to do if you release the chord first. The rest of the introduction is straghtforward. Remember to count out the timing, so you know where each note starts.
Verse 1 is NOT sung, but is pattern-picked. The pattern refers to the pattern in which the fingers of the right hand pick the strings, not the specific strings picked, or the acutal notes played. The verse contains the same 3-/-9 slide as the first verse, played the same way. There is also a tremolo to hold the G note in the next measure. Do this tremolo by moving the “a” finger (left hand) ACROSS the string, rather than ALONG the string, as usual. Most guitarists find this easiest to accomplish by holding the finger rigid and vibrating the whole hand.
Verse 2 is meant to accompany the first SUNG verse. Play the whole verse with the right hand THUMB, not the fingers. Use a slow, even tempo, and don’t try to fancy it up. You want to back up the singer or singers, not distract the audience from them. There are LOTS of verses to Amazing Grace. Repeat this instrumental accompaniment through as many as you like, but switch to Verse 3 for the last sung verse.
Verse 3 is almost identical to Verse 1, but play it softly, behind the singer(s). Then reprise the instrumental solo of the Introduction, ending with the last two measures as shown.
CHORDS:
The chords in this song are easier to play than many of my other arrangements, as there are NO barre chords required! Even the three “advanced” chords called out in the tab are not especially hard, being only slight variations of the basic C - F - G.
Cadd5 is just a regular C chord, with the G note added on the first string with the little finger of the left hand. It is actually just a C chord, but the G note (the fifth note of the scale) is emphasized because it is the highest note played.
F/C is read as “F with a C bass.” Add the “extra” note on the fifth string with the little finger. This emphasizes the C note by making it the lowest note of the chord, a position normally reserved for the note that gives the chord its name (the “tonic” note).
Gadd5 is the only one of the three “advanced” chords that requires more than merely adding a note, though that is the effect. Play it like a regular G, but place the “a” finger (the ring finger) on the 2nd string, and the little finger on the 1st string. It’s called the “a” finger from“anulario, the Spanish word for ring. Most classical guitar terms come from Spanish, for example: “p” is for pulgar, Spanish for thumb. Also, “i” is for indicio (index or pointer), and “m” for medio (middle). Classical guitarists do not normally use the little finger of the left hand, which is a good thing, as it is either called muňeca (for wrist, which it is closest to) or pequeňo (little).
PATTERN-PICKING INSTRUCTIONS:
There are two basic pattern picks in the second verse. Pattern A is 4-1-2-3-4-3. If you are not used to pattern-picking, the thumb of the RIGHT hand is called the #1 finger, the index finger is the #2 finger, etc. In the last half of the first line, the pattern changes to Pattern B: 4-1-2-1-3-1, slightly modified to 3-1-2-1-3-1 in the last measure.
The second line returns to Pattern A, but slightly modified in the second measure by the 3 - / - 9 slide. Play the third measure as a slow strum with the thumb. Use tremolo to hold the G note on the first string if you have to.
The third line starts with a modified version of Pattern A, then a return to Pattern B in the second measure, Pattern A in the third measure, and a modified Pattern B in the last measure, with the hammer-on at the end of the line leading into the patterns of the fourth line.
The fourth line of this instrumental verse consists of measures of Pattern A, followed by a slow thumb strum, exactly as in the second verse. The singer needs to start singing at the very end of the last measure of this verse, with the first syllable of the word, “A-maz-ing”,
HISTORY:
Although many people associate this song with Scotland and the bagpipes, or think it is a Negro Spiritual, neither is true. The lyrics were written by an Englishman, and the music was composed by two Americans, who combined a couple of popular church tunes of the day. So far as anyone knows, it was not performed on the bagpipes until the 1970s, though it is now perhaps the most-requested of bagpipe tunes.
The lyrics were originally a poem written by English clergyman John Newton, to express repentence for his former life of slave-trading, rapine, drunkenness, atheism, and profanity so constant and foul as to embarass even his sailors-- a rowdy lot, it’s true. It was first published in England in 1779, and remained obscure there for more than 50 years. In America, though, it was well-received, and sung to more than 20 different tunes, none of them the one we know today.
In 1829, two Americans, Charles H. Spilman and Benjamin Shaw, joined a couple of folk tunes called “Gallaher” and “St. Mary” to create a tune they called “New Brittain.” Six years later, an American Baptist song leader, William Walker, assigned the tune to Newton’s lyrics, creating a combination that is performed about ten million times every year. It has been recorded thousands of times. Judy Collins’ hit a cappella version topped the charts for 15 weeks in 1970. Two years later, it was recorded by The Royal Scots Dragoon Guards, the first bagpipe arrangement ever known.
The first time through is just an instrumental introduction. Play it simply, to state the melody, without a lot of expression. In the seventh measure, there’s a slightly tricky slide that needs to be done with the pinky. Slide very fast, from the third fret clear up to the ninth. Don’t hold that note at all, but drop it immediately and return to the third fret, to play the Gadd5 chord, fretting the extra note with the ring finger.. If you are OK with barre chords, you can substitute a GIII for the Gadd5, which makes for an easier chord change. But the barre chord isn’t necessary, as Gadd5 actually sounds better here.
The hammer-on/pull-off in the tenth measure is not hard to do if you release the chord first. The rest of the introduction is straghtforward. Remember to count out the timing, so you know where each note starts.
Verse 1 is NOT sung, but is pattern-picked. The pattern refers to the pattern in which the fingers of the right hand pick the strings, not the specific strings picked, or the acutal notes played. The verse contains the same 3-/-9 slide as the first verse, played the same way. There is also a tremolo to hold the G note in the next measure. Do this tremolo by moving the “a” finger (left hand) ACROSS the string, rather than ALONG the string, as usual. Most guitarists find this easiest to accomplish by holding the finger rigid and vibrating the whole hand.
Verse 2 is meant to accompany the first SUNG verse. Play the whole verse with the right hand THUMB, not the fingers. Use a slow, even tempo, and don’t try to fancy it up. You want to back up the singer or singers, not distract the audience from them. There are LOTS of verses to Amazing Grace. Repeat this instrumental accompaniment through as many as you like, but switch to Verse 3 for the last sung verse.
Verse 3 is almost identical to Verse 1, but play it softly, behind the singer(s). Then reprise the instrumental solo of the Introduction, ending with the last two measures as shown.
CHORDS:
The chords in this song are easier to play than many of my other arrangements, as there are NO barre chords required! Even the three “advanced” chords called out in the tab are not especially hard, being only slight variations of the basic C - F - G.
Cadd5 is just a regular C chord, with the G note added on the first string with the little finger of the left hand. It is actually just a C chord, but the G note (the fifth note of the scale) is emphasized because it is the highest note played.
F/C is read as “F with a C bass.” Add the “extra” note on the fifth string with the little finger. This emphasizes the C note by making it the lowest note of the chord, a position normally reserved for the note that gives the chord its name (the “tonic” note).
Gadd5 is the only one of the three “advanced” chords that requires more than merely adding a note, though that is the effect. Play it like a regular G, but place the “a” finger (the ring finger) on the 2nd string, and the little finger on the 1st string. It’s called the “a” finger from“anulario, the Spanish word for ring. Most classical guitar terms come from Spanish, for example: “p” is for pulgar, Spanish for thumb. Also, “i” is for indicio (index or pointer), and “m” for medio (middle). Classical guitarists do not normally use the little finger of the left hand, which is a good thing, as it is either called muňeca (for wrist, which it is closest to) or pequeňo (little).
PATTERN-PICKING INSTRUCTIONS:
There are two basic pattern picks in the second verse. Pattern A is 4-1-2-3-4-3. If you are not used to pattern-picking, the thumb of the RIGHT hand is called the #1 finger, the index finger is the #2 finger, etc. In the last half of the first line, the pattern changes to Pattern B: 4-1-2-1-3-1, slightly modified to 3-1-2-1-3-1 in the last measure.
The second line returns to Pattern A, but slightly modified in the second measure by the 3 - / - 9 slide. Play the third measure as a slow strum with the thumb. Use tremolo to hold the G note on the first string if you have to.
The third line starts with a modified version of Pattern A, then a return to Pattern B in the second measure, Pattern A in the third measure, and a modified Pattern B in the last measure, with the hammer-on at the end of the line leading into the patterns of the fourth line.
The fourth line of this instrumental verse consists of measures of Pattern A, followed by a slow thumb strum, exactly as in the second verse. The singer needs to start singing at the very end of the last measure of this verse, with the first syllable of the word, “A-maz-ing”,
HISTORY:
Although many people associate this song with Scotland and the bagpipes, or think it is a Negro Spiritual, neither is true. The lyrics were written by an Englishman, and the music was composed by two Americans, who combined a couple of popular church tunes of the day. So far as anyone knows, it was not performed on the bagpipes until the 1970s, though it is now perhaps the most-requested of bagpipe tunes.
The lyrics were originally a poem written by English clergyman John Newton, to express repentence for his former life of slave-trading, rapine, drunkenness, atheism, and profanity so constant and foul as to embarass even his sailors-- a rowdy lot, it’s true. It was first published in England in 1779, and remained obscure there for more than 50 years. In America, though, it was well-received, and sung to more than 20 different tunes, none of them the one we know today.
In 1829, two Americans, Charles H. Spilman and Benjamin Shaw, joined a couple of folk tunes called “Gallaher” and “St. Mary” to create a tune they called “New Brittain.” Six years later, an American Baptist song leader, William Walker, assigned the tune to Newton’s lyrics, creating a combination that is performed about ten million times every year. It has been recorded thousands of times. Judy Collins’ hit a cappella version topped the charts for 15 weeks in 1970. Two years later, it was recorded by The Royal Scots Dragoon Guards, the first bagpipe arrangement ever known.
The Lord Is My Shepherd
If you're a beginner, don't let the tab scare you. There's a very easy, strummed version shown as a cheat sheet at the end of the tab. Both are in the key of A, so you can play them as alternate verses, or as a duet, if you like.
To make this a bit easier, I've tried to use chords that lend themselves to easy changes. For example, you can easily change from Av to Dv by just flattening the fingers of the left hand across the strings. Same for D6v. To get from the (unbarred) A to the (barred) Av at the end of the song, use the first joint of the index finger (the one closest to the palm) to fret the first string, as it's already in position over the string, and just needs to be slid up to the IV space. Then, it's easy to hit the barre in the v space for the full-barre Av.
Counting this song is easy, if you remember that every two notes equal one count! I routinely recast 3/4 time songs like this as 6/8, as it rarely makes a difference. This is one of the rarelies, so I left it in 3/4. But remember the metronome setting of 70 is for two notes, not one, or the song will really drag.
I have to confess, I'm not entirely happy with this arrangement, but audiences seem to like it. If anyone knows a better one, I'd love to see it.
The cheat sheet at the end of the tab is for strumming, to accompany a singer. The chords are much easier, and you can even play it with a pick, if you want. I usually replace the high A note at the end with an Av chord, but if you aren't up to playing full barre chords, you can just tremolo the last note, and it'll sound great. Virtually any guitarist can play this version. My seven year old student Meilin picked it up and started playing it (while singing!) the first time she heard it.
To make this a bit easier, I've tried to use chords that lend themselves to easy changes. For example, you can easily change from Av to Dv by just flattening the fingers of the left hand across the strings. Same for D6v. To get from the (unbarred) A to the (barred) Av at the end of the song, use the first joint of the index finger (the one closest to the palm) to fret the first string, as it's already in position over the string, and just needs to be slid up to the IV space. Then, it's easy to hit the barre in the v space for the full-barre Av.
Counting this song is easy, if you remember that every two notes equal one count! I routinely recast 3/4 time songs like this as 6/8, as it rarely makes a difference. This is one of the rarelies, so I left it in 3/4. But remember the metronome setting of 70 is for two notes, not one, or the song will really drag.
I have to confess, I'm not entirely happy with this arrangement, but audiences seem to like it. If anyone knows a better one, I'd love to see it.
The cheat sheet at the end of the tab is for strumming, to accompany a singer. The chords are much easier, and you can even play it with a pick, if you want. I usually replace the high A note at the end with an Av chord, but if you aren't up to playing full barre chords, you can just tremolo the last note, and it'll sound great. Virtually any guitarist can play this version. My seven year old student Meilin picked it up and started playing it (while singing!) the first time she heard it.
How Gentle God's Commands, again
As promised, here's the C version. Actually, it's played very much like the A version, but uses more chords and a slightly different pattern pick. For a really dynamite sound, start with the A version, play through the first verse, then do a key change by switching to the first verse of the C version, then switch back to the second verse of the A version, play the arpeggios in A, minus the final chord, and then change keys back to C again, for the last verse. Switching keys three times makes it sound hard, but it really is no harder than playing the whole song through once in each key.
O My Father
Here it is, just in time for Father's Day! The beautiful lyrics by Eliza R. Snow are in the public domain. It's a bit late for Sister Snow to object, but I doubt she would mind. Don't let the unusual tempo throw you. The music is easy to play.
The time signature of the original, as published in the old, blue hymnal, was 9/8, a difficult tempo for pianists to read, though not really difficult to play. For those who are purists, it should be counted something like this:
ONE, two, three; FOUR, five, six; SEVEN, eight, nine. The major accent falls on the first note of the measure, with minor accents on the fourth and seventh notes.
In the new, green hymnal, it was rewritten in 3/4 time, with a triplet at the end of virtually every measure. This may make it easier for pianists, but all the triplets are confusing in guitar tab. I have divided each measure of the original 9/8 score into three measures of 3/8 tempo for clarity. It sounds just like regular, old 3/4 time, except twice as fast. All the notes are eighth notes, which makes it very easy for guitarists to play.
The downbeat begins at the word, “father.” Thereafter, every three measures of 3/8 time equals one of the original 9/8 measures. Every syllable that begins one of the original 9/8 measures is printed in bold face type. Emphasize these notes just a little stronger than the lead notes of the other measures, to restore the subtle rhythm of the original 9/8 tempo.
Use strong tremolo on the final note. It'll sound gorgeous.
The time signature of the original, as published in the old, blue hymnal, was 9/8, a difficult tempo for pianists to read, though not really difficult to play. For those who are purists, it should be counted something like this:
ONE, two, three; FOUR, five, six; SEVEN, eight, nine. The major accent falls on the first note of the measure, with minor accents on the fourth and seventh notes.
In the new, green hymnal, it was rewritten in 3/4 time, with a triplet at the end of virtually every measure. This may make it easier for pianists, but all the triplets are confusing in guitar tab. I have divided each measure of the original 9/8 score into three measures of 3/8 tempo for clarity. It sounds just like regular, old 3/4 time, except twice as fast. All the notes are eighth notes, which makes it very easy for guitarists to play.
The downbeat begins at the word, “father.” Thereafter, every three measures of 3/8 time equals one of the original 9/8 measures. Every syllable that begins one of the original 9/8 measures is printed in bold face type. Emphasize these notes just a little stronger than the lead notes of the other measures, to restore the subtle rhythm of the original 9/8 tempo.
Use strong tremolo on the final note. It'll sound gorgeous.
I Am a Child of God
This song is NOT in public domain, so, sorry-- no lyrics! If you don't know them, you can find them on page 2 of the Children's Songbook or page 301 of Hymns. You can also get them from the music page on lds.org.
My version is my own arrangement, but after the introduction, it follows the layout of measures in the Children's Songbook, measure for measure. It is also in the same key (C). If you'd rather play it in D, as in the hymnal, use a capo. The notes don't come out in the same place, if you just transpose it. This is not a particularly easy song to play, but done right, it should appear to be simple and easy. The key is lots of practice.
You don't have to play the intro, I just think it sounds pretty. It's not the standard intro shown in the hymnal. You can play the C chord in the first measure of the verse as a C/G if you want, or just hit the G note as a melody note. The slide in this measure is a bit tricky, as you have to play the note on the fifth string while sliding on the fourth string. It's really not particularly hard to do; it just requires a bit of practice. The last measure of the verse has a rest after the last note, hence, only five notes are shown. Don't be fooled, they are still all eighth notes.
The first three measures of the refrain are just the melody, with an interpolated drone on the bass string, to add variety. The last measure of the line is just a single, strummed C chord. You can lengthen it out for emphasis if you can sustain it that long. The first measure at the beginning of the last line is almost the same as the first measure of the previous line except the bass note is the C on the fifth string, instead of the G on the sixth string. You can play it as a G, if you want to, but it does make it a bit harder to hit the F chord in the second measure quickly. The third measure returns to the bass G drone. You do not have to actually play the G7 chord. You can just play the two notes. But it seems to make it easier, to me, to play the whole chord.
The last measure is the hardest one, because of the need to play two artificial harmonics in rapid succession, as part of an arpeggio. They are not really any harder to play than regular harmonics, but you play them with one hand, while fretting the string with the left hand. They are easy to do if you rest the right index finger lightly on the string, exactly over the eighth fret, while fretting the string at the first fret with the left hand. Pluck the string with the ring finger, allowing the index finger to come off the string in the same motion. With a little practice, you can achieve a gorgeous, bell-like tone, with a single movement. Fret the first two strings with the left index finger, exactly as if playing an F chord.
Practice until you can do one harmonic easily, then practice playing the two of them in a row. After you master this, add the first three (normal) notes. Keep at it until you can make it look and sound easy, for a really impressive finale.
My version is my own arrangement, but after the introduction, it follows the layout of measures in the Children's Songbook, measure for measure. It is also in the same key (C). If you'd rather play it in D, as in the hymnal, use a capo. The notes don't come out in the same place, if you just transpose it. This is not a particularly easy song to play, but done right, it should appear to be simple and easy. The key is lots of practice.
You don't have to play the intro, I just think it sounds pretty. It's not the standard intro shown in the hymnal. You can play the C chord in the first measure of the verse as a C/G if you want, or just hit the G note as a melody note. The slide in this measure is a bit tricky, as you have to play the note on the fifth string while sliding on the fourth string. It's really not particularly hard to do; it just requires a bit of practice. The last measure of the verse has a rest after the last note, hence, only five notes are shown. Don't be fooled, they are still all eighth notes.
The first three measures of the refrain are just the melody, with an interpolated drone on the bass string, to add variety. The last measure of the line is just a single, strummed C chord. You can lengthen it out for emphasis if you can sustain it that long. The first measure at the beginning of the last line is almost the same as the first measure of the previous line except the bass note is the C on the fifth string, instead of the G on the sixth string. You can play it as a G, if you want to, but it does make it a bit harder to hit the F chord in the second measure quickly. The third measure returns to the bass G drone. You do not have to actually play the G7 chord. You can just play the two notes. But it seems to make it easier, to me, to play the whole chord.
The last measure is the hardest one, because of the need to play two artificial harmonics in rapid succession, as part of an arpeggio. They are not really any harder to play than regular harmonics, but you play them with one hand, while fretting the string with the left hand. They are easy to do if you rest the right index finger lightly on the string, exactly over the eighth fret, while fretting the string at the first fret with the left hand. Pluck the string with the ring finger, allowing the index finger to come off the string in the same motion. With a little practice, you can achieve a gorgeous, bell-like tone, with a single movement. Fret the first two strings with the left index finger, exactly as if playing an F chord.
Practice until you can do one harmonic easily, then practice playing the two of them in a row. After you master this, add the first three (normal) notes. Keep at it until you can make it look and sound easy, for a really impressive finale.
A Poor Wayfaring Man of Grief
A Poor Wayfaring Man of Grief
This song is NOT in the public domain. For this reason, I did not include the complete lyrics to even a single measure. The measures are laid out exactly as they are in Hymns (1985 edition, “the green hymnal.”) I have included the first word of each measure, to make it easier for the guitarist who is not a fluent tab reader to keep his or her place.
The rhythm is counted out in 6/8 time, just as in the hymnal, but the key has been changed to C, to make playing easier. This does not make much of a difference, if you are playing it as a guitar solo. If you are accompanying a singer, you will probably want to use a capo to raise the key to one a little easier to sing.
To reach the key of Ab, as written in Hymns, you would have to place the capo in the eighth space (capo: VIII), which would make playing impossible. A good compromise is to play in D (capo: II), which is both playable and singable.
The counting is a bit difficult, as all the notes are sixteenth-notes. This forces the musician to count the 6/8 time as, “ONE and two and three and FOUR and five and six and,” for each measure. The counting would have been simpler if I could have recast the piece in waltz time, but this would have necessitated splitting each of the measures in two. I have done exactly that for my own use, when I can use the lyrics to keep time, and it works well. For publication though, I can't use the lyrics, so I have chosen to keep the stucture of the song almost exactly as in the hymnal.
The single structural difference in this song is that the last measure is different in the final verse, where I have added a final measure consisting only of the high C. Unless you are playing an electric guitar, or a very good classical guitar, you will need to tremolo this note to sustain it for the entire count. Try not to succumb to the temptation to slide up to this note. It sounds much better without the slide, though it's a bit harder to play.
To bring out the melody, you will need to play some of the chords a little different than usual, flattening the index finger in the C chord, to pick up the F note on the first string, for example, or playing the G chord as 32003x. There are arpeggios (broken chords) in almost every measure. The best way to play them (and the easiest) is as a slow strum with the thumb for the first three notes, then pluck the higher strings with the fingers.
This song has a brilliant, 19th Century sound when played with the fingernails of the right hand, classical guitar style. In fact, it sounds a lot like a harpsichord, but I like the mellower, sweeter feeling when it's played “finger style.” Sometimes I combine styles, playing the whole song finger style, slowing for the next to last measure, then hitting the final note classical style and holding it with a strong tremolo as long as possible. Makes people cry.
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