Souviens-toi
A Hungarian young woman named Nami Tóth requested this song. It’s from the French language version of the LDS hymnal, called “Cantiques”, which is French for “Hymns”. The music is based on the New World Symphony by Antonin Dvorak, which in turn was based on an American Negro spiritual called, “Steal Away to Jesus.” Some musicologists believe this to be one of the “code songs” used by the slaves to pass on the information that a “conductor” on the “Underground Railroad” was in the area, and an escape was planned. I’m a sucker for the message of liberation, for the French language, and for requests from Saints in places where I’ve never been, especially if they are young people, and especially if I find the music unusual or interesting. How could I resist? Nami, this one’s for you!
PLEASE NOTE: This is NOT an easy song to play. When I first transposed it, there were more chords in it than in any other hymn I’ve ever tabbed. There were more hard chords in it. There were more strange chords in it. I had to invent a couple of chord names. One was so long, I had to truncate it. Two chords were simply impossible to play for anyone with normal hands. I simplified one to make it playable, and left the other one out, replacing it with a single melody note. Other chords needed to have their notes rearranged. I maintained the melody notes as the treble note of each chord (the usual practice), rearranging the order of the other notes to make playable chords. It was still impossible, so I bit my lip, apologized to Dvorak, and re-wrote the whole song.
The result sounds very close to the original, but it contains thirteen fewer chords. At the cost of some very subtle (and very beautiful) harmonies, it is now merely difficult to play on the guitar, instead of impossible. If you are a regular on this blog, you will find nearly all the chords familiar.
Strum all the chords with the thumb or with a relatively soft pick. If thumb strumming, pluck the individual melody notes with the middle or ring finger. I find using the ring finger allows me to play with a rocking motion of the wrist.
In the third measure of the first line, you can leave the left ring finger on the second string, 5th space, which converts the GIII chord into a G6, for a nice, subtle harmony. I did not call for this in the tab, because I used it later in the fifth line, which is otherwise very similar.
The second line starts the same as the first, but don’t omit the G13→ Bdim→ Am chord progression. It’s beautiful. Your audience will love it, and it’s not hard. G13 may be unfamiliar to you, but it’s only a three finger chord. Bdim is even easier, being exactly the same as G13, except that you lift up the left ring finger. It can be a bit of a trick to get from there to Am quickly. I don’t know any special tricks for this. You just have to practice until you can do it fast. Be sure to play only the strings shown in the tablature, to bring out the melody notes. The chord charts show the standard fingering for the chords, but not all notes shown in the charts are used in the tablature every time.
The third and fourth lines are virtually identical, and contain only one chord. You may find it hard to hold the barred FI chord that long. Not to worry. There are a couple of spots in each line where you have to lift your fingers off the strings, to play the open notes on the 2nd and 3rd strings. It’s a good idea to lift off only the index and middle fingers, leaving the other two fingers in place, to facilitate your return to the full FI chord moments later.
The fifth line is very similar to the first line, except for the G6 chord in measure two, and the G7III chord in measure four. Be sure to add in the F note on the 2nd string, 6th space at just the right moment. You could hammer it on if you want to. Audiences love it.
The GaddD chord in the first measure of the last line is not nearly as strange or difficult as it may appear from the name. Just barre the first two strings in the third space, and play the next two strings open. You don’t even have to move your hand out of the C position. Just barre the strings with the little finger and lift the rest of the fingers off the strings. As soon as the strings quit ringing, immediately move the left hand up the neck to the 8th fret.
The next measures are the only really difficult ones. They are going to require some practice, especially if you are not used to playing barre chords at the 8th fret. ALL the chords in the rest of the song are played with the barre at the 8th fret. There’s just no other way to do it that is any easier.
Play the CVIII. As you can see in the chord charts, this is just an E-shape chord barred at the 8th fret. All the following chords are based on this chord shape, and are played without moving the barre, so it’s important that you get comfortable playing CVIII. Your finger’s going to be there, without moving, for the next three measures.
You could play G11 by barring the first five strings at the 10th fret. If you are playing a steel-string guitar, or have a cut-away body, go right ahead and do it that way. If, like me, you have a classical guitar with the 12th fret at the body, you probably won’t be able to fit your hand into the narrow space between the 10th and 12th frets. My solution is to keep the barred E-shape at the 8th fret, but flatten the left hand against the neck, in effect fretting all of the first five strings at the 10th fret, as shown in the chord chart.
The next chord is actually a plain CVIII chord, with the high C added at the 12th fret. Hence, its name, CaddE. By returning to the CVIII , and playing only the first four strings, you should be able to stretch your hand far enough to hit the 12th space with your little finger. If your fingers are short and stubby like mine, you may need to cover the note on the 4th string with your ring finger, which would normally be covering the 5th string, if you were playing more than four strings. You may notice that this chord looks a lot like a normal F chord, only barred at the 8th fret. You are right, and you can play it that way if you wish. I find it easier to barre the first two strings with the first joint of the index finger, as I would do if barring all six strings. This allows me to stretch my little finger farther. I suggest you try it both ways, then do it the way that’s easiest for you. It’s probably going to be difficult no matter how you try. No pain, no gain!
Hold the final CVIII chord as long as you can. Check the position of your fingertips, to ensure each is as close to the “sweet spot” between the frets as possible. If your fretting technique is good, you should be able to hold the chord at least for a count of 3. If the chord won’t sustain, recheck your fretting technique. Best way to do this is by looking in a mirror. That way, you can see what your fingers are doing, without having to bend your wrist and mess up your finger position.
The lyrics to this song were written by a Church-sponsored committee, and the copyright is held by the Church of Jesus Christ of Latter-Day Saints. Used by permission. You may download it, copy it for your own or church use, and perform it, as long as you don’t distribute it or charge money for performing.
Showing posts with label copyright LDS. Show all posts
Showing posts with label copyright LDS. Show all posts
Baptism (Jesus Came to John the Baptist)
Don’t let the chord names fool you! This is not a particularly hard song. In fact, there are really only four chords: a couple of barred E-shapes, a couple of barred A-shapes, C, and G7. There are some quick chord changes, but the barre chords make them really easy. Just move your hand along the neck without changing the chord shape. (Lift your fingers completely off the strings to avoid that annoying scraping noise.)
The pattern pick is also easy: groups of three notes, with lots of repetition. Yes, it’s fairly fast, and there are lots of fill notes, but they are all in the original music as published in The Children’s Songbook.
The time signature is also unususal, but is also in the original, and actually makes the playing easier for the guitar. I could have recast it as 6/8, 3/8, or even as 4/4, with four triplets per measure. All would have been more confusing than the 12/8 tempo as originally written. Just remember that each measure contains four groups of three notes each, with the stress on the first note of each group, and you’ll do fine. The lyrics naturally stress the lines properly.
I have replaced the introduction in the book with my own. If you don’t like it, you are free to replace my introduction with whatever you feel works better. My intro is just arpeggios in C. It’s brief, to give the audience just enough time to get used to the rhythm, without overwhelming the rather simple melody line. The only difficult part of the introduction comes right at the end, when you have to switch from leading with your right thumb to leading with your right middle finger, ring finger, etc. (bass lead to treble lead).
The tab is straightforward and needs no explanation, for the most part. An exception is at the end of the third line. I have specified the GIII chord, rather than the normal G, because it makes for a very fast chord change to the CVIII chord that starts the next phrase. Both chords are just barred E-shapes, so all you have to do is move your hand from the III position to the VIII position. This would be a much harder chord change if you also had to change fingering at the same time.
In the first measure of the fourth line, you’‘ll have to stretch your left pinkie two frets up the neck to hit the high B at the 12th fret. Don’t worry, the frets are really close together in this part of the neck, and the stretch isn’t difficult.
The FVIII in the next measure is just a barred A-shape, one of the most standard barre chords around. Fret it the same way you would fret an A-shape in the III space, because you’ll be going there soon. The FVIII to CIII transition is accomplished by maintaining the finger shape and moving the entire hand along the neck, similar to the E-shape transition in the third line.
There’s another pinkie stretch in the first measure of the finale. This time, it’s only one fret, so even though the frets are farther apart near the nut, it’s not as great a stretch as the one at the 12th fret. You will have to switch back to thumb lead in the next measure. The arpeggios which make up the last 1-1/2 measures of the verse are all exactly the same. Then go right to the beginning of the first measure in the next verse, skipping the Introduction.
The finale of the last verse is NOT the same. The first measure is identical to the corresponding measures of Verses 1 and 2, but the arpeggios are different, as is the ending. Slow down for the final three notes and chord. You may substitute a C/G chord final C, if you wish, by fretting the #6 string with your pinkie in the 3rd space while playing the C chord. This gives it a fuller sound.
This song is not in the public domain. The copyright is held by the Church of Jesus Christ of Latter-Day Saints. The guitar arrangement and tablature are mine.
The pattern pick is also easy: groups of three notes, with lots of repetition. Yes, it’s fairly fast, and there are lots of fill notes, but they are all in the original music as published in The Children’s Songbook.
The time signature is also unususal, but is also in the original, and actually makes the playing easier for the guitar. I could have recast it as 6/8, 3/8, or even as 4/4, with four triplets per measure. All would have been more confusing than the 12/8 tempo as originally written. Just remember that each measure contains four groups of three notes each, with the stress on the first note of each group, and you’ll do fine. The lyrics naturally stress the lines properly.
I have replaced the introduction in the book with my own. If you don’t like it, you are free to replace my introduction with whatever you feel works better. My intro is just arpeggios in C. It’s brief, to give the audience just enough time to get used to the rhythm, without overwhelming the rather simple melody line. The only difficult part of the introduction comes right at the end, when you have to switch from leading with your right thumb to leading with your right middle finger, ring finger, etc. (bass lead to treble lead).
The tab is straightforward and needs no explanation, for the most part. An exception is at the end of the third line. I have specified the GIII chord, rather than the normal G, because it makes for a very fast chord change to the CVIII chord that starts the next phrase. Both chords are just barred E-shapes, so all you have to do is move your hand from the III position to the VIII position. This would be a much harder chord change if you also had to change fingering at the same time.
In the first measure of the fourth line, you’‘ll have to stretch your left pinkie two frets up the neck to hit the high B at the 12th fret. Don’t worry, the frets are really close together in this part of the neck, and the stretch isn’t difficult.
The FVIII in the next measure is just a barred A-shape, one of the most standard barre chords around. Fret it the same way you would fret an A-shape in the III space, because you’ll be going there soon. The FVIII to CIII transition is accomplished by maintaining the finger shape and moving the entire hand along the neck, similar to the E-shape transition in the third line.
There’s another pinkie stretch in the first measure of the finale. This time, it’s only one fret, so even though the frets are farther apart near the nut, it’s not as great a stretch as the one at the 12th fret. You will have to switch back to thumb lead in the next measure. The arpeggios which make up the last 1-1/2 measures of the verse are all exactly the same. Then go right to the beginning of the first measure in the next verse, skipping the Introduction.
The finale of the last verse is NOT the same. The first measure is identical to the corresponding measures of Verses 1 and 2, but the arpeggios are different, as is the ending. Slow down for the final three notes and chord. You may substitute a C/G chord final C, if you wish, by fretting the #6 string with your pinkie in the 3rd space while playing the C chord. This gives it a fuller sound.
This song is not in the public domain. The copyright is held by the Church of Jesus Christ of Latter-Day Saints. The guitar arrangement and tablature are mine.
My Heavenly Father Loves Me
Like many hymns, this song is better known by its first line, “Whenever I Hear the Song of a Bird.” It has also been called, “The Beautiful World,” which is not its title at all.
The author/composer was Clara W. McMaster. As a member of the Primary Board of The Church of Jesus Christ of Latter-day Saints for many years, she wrote many popular children’s songs, including “Teach Me to Walk in the Light,” “Reverently, Quietly” and “Kindness Begins with Me.” She was also a member of the Mormon Tabernacle Choir for 22 years.
Like many Primary songs, this one is more complex musically than it sounds, but it is not difficult to play, if you don’t mind barre chords. Half the chords in the song are barre chords, including CIII and FV, which many intermediate guitarists find difficult. They are worth learning, as they are used frequently in pattern picking and fingerstyle music of all sorts, as well as in much jazz guitar music. The solution, as usual, is plenty of practice.
If you just want to strum this song for accompaniment, you can use the more common chord voicings, but you will lose the lovely, high-pitched melody. If you do this, substitute G7 for all of the G chords, C for all the C chords, etc. This arrangement is intended as a guitar solo. A really cool way to use it is to strum the chords as accompaniment to a singer or vocal group, then play this solo as an instrumental bridge between verses. The last line of the tab, beginning with the last note in measure [13], makes a great instrumental introduction, too.
Begin measure [1] by fretting the single G note with your pinkie. The best way to do this is to pre-position your left hand for the CaddG chord, but only play the top note, changing to the C chord at the beginning of [2] by simply lifting the pinkie off the string. Replace it for the second half of the measure, to make the CaddG chord again.
The next two measures use partial and full chords to emphasize the melody line on the first two strings. Be sure to strum only the strings indicated. Because all chords are to be strummed, this is an easy song to flat-pick. I think it sounds better thumb-strummed, or you can use a very soft pick.
In measure [5], you can substitute an E chord for the E7 if you like. E7 gives a softer sound, and is called for in the original music. Sometimes, I like to play E in [5], and E7 in measure [13], to avoid excessive repetition.
Notice the slide up on the first string at the very end of measure [7]. There is no final note shown, as the slide is just an accent. This is called, slurring the note. It’s quite easy to do: just leave your index finger on the string as you slide up from the third fret to the fifth, then strum the chord normally. It sounds really cool, and takes absolutely no trouble at all to add. Just don’t get too carried away and do it all the time, or it will lose its impact.
There are a couple of tricky spots in measure [8]. If you are not completely easy with the barred-C chord shape, you’ll need to practice it until you can hit it reliably while sliding your hand up the neck from CaddG, a rather quick slide from first position to fifth position. There’s also a pull-off called for at the end of the measure. Making this pull-off while holding the chord can be tricky. You can either release the chord, to give your hand some extra room, or push the note off instead of pulling it.
Measures [10], [11], [12] and [13] are played exactly like [2], [3], [4] and [5], unless you choose to substitute an E chord for one of the E7 chords. Measure [14] is just a very slow, deliberate strum of an FI chord. Play each note separately.
In [15], you could substitute a CaddG for the CIII, if you find it easier to play. I use the CIII to ease the transitions from FI, and to the following CVIII, as all three are barre chords. Play the A note on the first string (fifth fret) by flattening the pinkie across the string, then play the B at the seventh fret by stretching the pinkie along the string, slurring the note. Slur the 5th note too, coming down from the twelfth fret to the tenth, at the end of the measure.
In measure [16], change hand position to GIII at the fourth note, where indicated, even though you don’t strum the chord until the last note of the measure. The change is not strictly necessary at the fourth note, as you can easily reach that note from the barre-A shape of the CIII chord, but this is the easiest place in the measure to make the change. Holding the CIII until the next-to-last note necessitates a rather quick and complex chord change (CIII to GIII to C/G) all within the span of three counts. The tempo is slow enough that you can make such a chord change, but why make things harder to no purpose? It sounds exactly the same either way.
This song is not in the public domain. The Church of Jesus Christ of Latter-Day Saints holds the copyright, which allows you to use the song only for non-commercial, church and home use. Please abide by the terms of this copyright restriction.
The author/composer was Clara W. McMaster. As a member of the Primary Board of The Church of Jesus Christ of Latter-day Saints for many years, she wrote many popular children’s songs, including “Teach Me to Walk in the Light,” “Reverently, Quietly” and “Kindness Begins with Me.” She was also a member of the Mormon Tabernacle Choir for 22 years.
Like many Primary songs, this one is more complex musically than it sounds, but it is not difficult to play, if you don’t mind barre chords. Half the chords in the song are barre chords, including CIII and FV, which many intermediate guitarists find difficult. They are worth learning, as they are used frequently in pattern picking and fingerstyle music of all sorts, as well as in much jazz guitar music. The solution, as usual, is plenty of practice.
If you just want to strum this song for accompaniment, you can use the more common chord voicings, but you will lose the lovely, high-pitched melody. If you do this, substitute G7 for all of the G chords, C for all the C chords, etc. This arrangement is intended as a guitar solo. A really cool way to use it is to strum the chords as accompaniment to a singer or vocal group, then play this solo as an instrumental bridge between verses. The last line of the tab, beginning with the last note in measure [13], makes a great instrumental introduction, too.
Begin measure [1] by fretting the single G note with your pinkie. The best way to do this is to pre-position your left hand for the CaddG chord, but only play the top note, changing to the C chord at the beginning of [2] by simply lifting the pinkie off the string. Replace it for the second half of the measure, to make the CaddG chord again.
The next two measures use partial and full chords to emphasize the melody line on the first two strings. Be sure to strum only the strings indicated. Because all chords are to be strummed, this is an easy song to flat-pick. I think it sounds better thumb-strummed, or you can use a very soft pick.
In measure [5], you can substitute an E chord for the E7 if you like. E7 gives a softer sound, and is called for in the original music. Sometimes, I like to play E in [5], and E7 in measure [13], to avoid excessive repetition.
Notice the slide up on the first string at the very end of measure [7]. There is no final note shown, as the slide is just an accent. This is called, slurring the note. It’s quite easy to do: just leave your index finger on the string as you slide up from the third fret to the fifth, then strum the chord normally. It sounds really cool, and takes absolutely no trouble at all to add. Just don’t get too carried away and do it all the time, or it will lose its impact.
There are a couple of tricky spots in measure [8]. If you are not completely easy with the barred-C chord shape, you’ll need to practice it until you can hit it reliably while sliding your hand up the neck from CaddG, a rather quick slide from first position to fifth position. There’s also a pull-off called for at the end of the measure. Making this pull-off while holding the chord can be tricky. You can either release the chord, to give your hand some extra room, or push the note off instead of pulling it.
Measures [10], [11], [12] and [13] are played exactly like [2], [3], [4] and [5], unless you choose to substitute an E chord for one of the E7 chords. Measure [14] is just a very slow, deliberate strum of an FI chord. Play each note separately.
In [15], you could substitute a CaddG for the CIII, if you find it easier to play. I use the CIII to ease the transitions from FI, and to the following CVIII, as all three are barre chords. Play the A note on the first string (fifth fret) by flattening the pinkie across the string, then play the B at the seventh fret by stretching the pinkie along the string, slurring the note. Slur the 5th note too, coming down from the twelfth fret to the tenth, at the end of the measure.
In measure [16], change hand position to GIII at the fourth note, where indicated, even though you don’t strum the chord until the last note of the measure. The change is not strictly necessary at the fourth note, as you can easily reach that note from the barre-A shape of the CIII chord, but this is the easiest place in the measure to make the change. Holding the CIII until the next-to-last note necessitates a rather quick and complex chord change (CIII to GIII to C/G) all within the span of three counts. The tempo is slow enough that you can make such a chord change, but why make things harder to no purpose? It sounds exactly the same either way.
This song is not in the public domain. The Church of Jesus Christ of Latter-Day Saints holds the copyright, which allows you to use the song only for non-commercial, church and home use. Please abide by the terms of this copyright restriction.
Testimony
This is another of those simple little tunes that are SO HARD to play! The big problem, for most, will be the extensive use of barre chords, especially in the barred A-form and the barred C-form. These forms often give troubles to those who are not completely comfortable with barring. I have tried to keep this song as playable as possible, while staying true to the music. You’ll know how well I did when you play the song.
I generally just hate to split a measure between lines, and also dislike splitting a lligado between two measures, yet I have done both simultaneously in this piece. My only excuse is, I couldn't find a better way to write it. I guess the editors of Hymns couldn't either, as they did the same thing in the same place. There are several places where you have to move fast to get from one chord to the next. All I can suggest is, practice the transitions until you can do them fluently, then worry about how they relate to the rest of the song.
The first one comes at the end of the second measure, where you have to go from the 2nd string, 1st space, to the FV chord, which is a C-shape barred in the 5th space. To make it easier, I’ve elected to use only the first four strings of the FV chord, so you only have to barre three strings. Still, this may be an unfamiliar shape to you, and you have to move from the 1st position to the 5th position in a heartbeat, and nail the FV chord all at once. Practice, practice, practice! You need to get this down pat, as there’s a far worse transition coming in the second line.
The chord change from FV to CIII is also not easy, especially if you are not comfortable with barred A-shape chords. CIII is one of the most common variants of this shape, so you may already be familiar with it. I use it here for two reasons: it enhances the melody line, and, by adding an intermediate step between the FV and the following C chord, it actually makes that transition easier.
The C - FI - GIII chord progression should be easy enough for anyone using this blog, as it is basic to better than 90% of the tabs here. But don’t get too complacent. The second line is harder, though I’ve tried to make it as easy as possible.
The biggest jump in the song comes right at the end of the second measure, when you have to slide all the way from 1st position to eighth position to hit the FVIII, a barred A-shape in the eighth space. In reality, it’s no worse than hitting any other A-shape barre chord, you just have to move your hand up the neck a bit faster. Actually, it may even be easier than the CIII you played in the first line, because the frets are closer together at the high end of the fretboard.
The change from FVIII to CVIII is actually one of the easier changes in the piece. Just leave the barre where it is, and change from an A-shape to an E-shape. I have elected to use the E on the open 1st string, instead of the same note on the 4th string, 10th space, which is already being fretted, because it forces you to release the barre, giving you a full quarter-note beat to move back to first position.
The pull-off in the penultimate (next-to-last) measure has a similar function, easing the transition to GaddD. This is actually a very easy chord to play, being based on the standard, first position G chord. In fact, it’s even easier than a standard G chord, because your fingers don’t have to stretch as far. Just remember not to play the 1st string, as the open E will sound discordant.
The transition to the following C/G (C, with a G bass), is very nearly a standard C chord, with the addition of the G on the bass string. This gives the chord a fuller sound, but you can play a regular C if your hand is tired.
I like to repeat the last phrase, “O Father of my soul,” as a brief coda after the last full verse. You can also use it as an introduction, if you wish, though I think it’s a bit too much, considering the brevity of the song. If you do use it as a coda, I recommend playing GIII, in place of the GaddD, for it’s fuller sound, and slightly different harmony.
Copyrights to this song are held by The Church of Jesus Christ of Latter-Day Saints. Please respect them. There are other verses, but since this intended as a guitar solo, you can repeat as many times (or as few) as you like. I think this song would make a dynamite duet with a bowed instrument such as a violin or cello, but have not tried it. If you do play it as a duet, email me and let me know how it goes. A digital recording would be even better.
I generally just hate to split a measure between lines, and also dislike splitting a lligado between two measures, yet I have done both simultaneously in this piece. My only excuse is, I couldn't find a better way to write it. I guess the editors of Hymns couldn't either, as they did the same thing in the same place. There are several places where you have to move fast to get from one chord to the next. All I can suggest is, practice the transitions until you can do them fluently, then worry about how they relate to the rest of the song.
The first one comes at the end of the second measure, where you have to go from the 2nd string, 1st space, to the FV chord, which is a C-shape barred in the 5th space. To make it easier, I’ve elected to use only the first four strings of the FV chord, so you only have to barre three strings. Still, this may be an unfamiliar shape to you, and you have to move from the 1st position to the 5th position in a heartbeat, and nail the FV chord all at once. Practice, practice, practice! You need to get this down pat, as there’s a far worse transition coming in the second line.
The chord change from FV to CIII is also not easy, especially if you are not comfortable with barred A-shape chords. CIII is one of the most common variants of this shape, so you may already be familiar with it. I use it here for two reasons: it enhances the melody line, and, by adding an intermediate step between the FV and the following C chord, it actually makes that transition easier.
The C - FI - GIII chord progression should be easy enough for anyone using this blog, as it is basic to better than 90% of the tabs here. But don’t get too complacent. The second line is harder, though I’ve tried to make it as easy as possible.
The biggest jump in the song comes right at the end of the second measure, when you have to slide all the way from 1st position to eighth position to hit the FVIII, a barred A-shape in the eighth space. In reality, it’s no worse than hitting any other A-shape barre chord, you just have to move your hand up the neck a bit faster. Actually, it may even be easier than the CIII you played in the first line, because the frets are closer together at the high end of the fretboard.
The change from FVIII to CVIII is actually one of the easier changes in the piece. Just leave the barre where it is, and change from an A-shape to an E-shape. I have elected to use the E on the open 1st string, instead of the same note on the 4th string, 10th space, which is already being fretted, because it forces you to release the barre, giving you a full quarter-note beat to move back to first position.
The pull-off in the penultimate (next-to-last) measure has a similar function, easing the transition to GaddD. This is actually a very easy chord to play, being based on the standard, first position G chord. In fact, it’s even easier than a standard G chord, because your fingers don’t have to stretch as far. Just remember not to play the 1st string, as the open E will sound discordant.
The transition to the following C/G (C, with a G bass), is very nearly a standard C chord, with the addition of the G on the bass string. This gives the chord a fuller sound, but you can play a regular C if your hand is tired.
I like to repeat the last phrase, “O Father of my soul,” as a brief coda after the last full verse. You can also use it as an introduction, if you wish, though I think it’s a bit too much, considering the brevity of the song. If you do use it as a coda, I recommend playing GIII, in place of the GaddD, for it’s fuller sound, and slightly different harmony.
Copyrights to this song are held by The Church of Jesus Christ of Latter-Day Saints. Please respect them. There are other verses, but since this intended as a guitar solo, you can repeat as many times (or as few) as you like. I think this song would make a dynamite duet with a bowed instrument such as a violin or cello, but have not tried it. If you do play it as a duet, email me and let me know how it goes. A digital recording would be even better.
I Know My Father Lives
Copyright LDS. Here’s another of those “simple-sounding” Primary songs that are anything but simple to play.
This one has only five chords, and few chord changes-- more’s the pity, as some of those chords are physically quite demanding to hold! DO NOT attempt this song unless you are completely comfortable with barre chords. You’ll screw up the song, and maybe give yourself tendinitis.
This song uses the barred-E shape, the barred-C shape, and the barred-A shape. If you are not comfortable holding these shapes, please learn them perfectly before starting. You could injure your hand if you cannot relax it while holding them. I got tendinitis from playing wrong, and had to quit for two years. ‘Nuff said?
Actually, the hardest chord change in the whole piece uses the only NON-barre chord, and it happens in the worst possible spot: right at the end, when you must move from the tenth position to the first position, in the space of an eighth-note! To help with this transition, I’ve used the open e string for the preceding note. The advantage is obvious. The disadvantage is that it’s easy to buzz against the e-string with your hand, especially if you have short fingers like I do.
The solution is practice. Amateurs practice until they can hit the chord every time. Pros practice until they cannot miss. This chord change gives me trouble. Here’s the regimen I use:
PRACTICE TO PERFECTION
1. Practice the whole phrase at half speed, using a metronome, until you can do it perfectly ten times in a row. If you blow it even once, start over.
2. Repeat #1 at full speed. In this case, “full speed” is what sounds right to YOU.
3. Repeat #2, plus the preceding phrase, until you can do them both perfectly ten times in a row.
4. Repeat #2, with the following phrase, ten times in a row.
5. Repeat with the preceding AND following phrases together, ten times in a row.
6. Practice the whole song at full speed, without the metronome, until you can play the whole song without thinking about it. If you goof even once, you haven’t really learned it yet. Start over with #1. If you don’t goof, but you have to think about it, you haven’t really learned it yet. Keep practicing until the whole song is automatic. It’s automatic if you can do something else (like carry on a conversation or look around at your audience) while playing, without messing up.
This is a great method for memorizing ANYTHING. I used it as a Temple missionary, when I had to learn all the temple ordinances, word perfect, in four languages. It works. There are other methods of memorization, but this is the fastest way to perfection. You do want to be perfect, don’t you? Now, you know how. Yes, it’s a lot of drudgery. What did you expect, magic? The magic is what YOU DO with the piece, AFTER you have perfected it. THAT’S what makes the song sound simple.
This one has only five chords, and few chord changes-- more’s the pity, as some of those chords are physically quite demanding to hold! DO NOT attempt this song unless you are completely comfortable with barre chords. You’ll screw up the song, and maybe give yourself tendinitis.
This song uses the barred-E shape, the barred-C shape, and the barred-A shape. If you are not comfortable holding these shapes, please learn them perfectly before starting. You could injure your hand if you cannot relax it while holding them. I got tendinitis from playing wrong, and had to quit for two years. ‘Nuff said?
Actually, the hardest chord change in the whole piece uses the only NON-barre chord, and it happens in the worst possible spot: right at the end, when you must move from the tenth position to the first position, in the space of an eighth-note! To help with this transition, I’ve used the open e string for the preceding note. The advantage is obvious. The disadvantage is that it’s easy to buzz against the e-string with your hand, especially if you have short fingers like I do.
The solution is practice. Amateurs practice until they can hit the chord every time. Pros practice until they cannot miss. This chord change gives me trouble. Here’s the regimen I use:
PRACTICE TO PERFECTION
1. Practice the whole phrase at half speed, using a metronome, until you can do it perfectly ten times in a row. If you blow it even once, start over.
2. Repeat #1 at full speed. In this case, “full speed” is what sounds right to YOU.
3. Repeat #2, plus the preceding phrase, until you can do them both perfectly ten times in a row.
4. Repeat #2, with the following phrase, ten times in a row.
5. Repeat with the preceding AND following phrases together, ten times in a row.
6. Practice the whole song at full speed, without the metronome, until you can play the whole song without thinking about it. If you goof even once, you haven’t really learned it yet. Start over with #1. If you don’t goof, but you have to think about it, you haven’t really learned it yet. Keep practicing until the whole song is automatic. It’s automatic if you can do something else (like carry on a conversation or look around at your audience) while playing, without messing up.
This is a great method for memorizing ANYTHING. I used it as a Temple missionary, when I had to learn all the temple ordinances, word perfect, in four languages. It works. There are other methods of memorization, but this is the fastest way to perfection. You do want to be perfect, don’t you? Now, you know how. Yes, it’s a lot of drudgery. What did you expect, magic? The magic is what YOU DO with the piece, AFTER you have perfected it. THAT’S what makes the song sound simple.
Window to His Love
For my money, this is one of the most beautiful songs ever written. I'm sure it was originally conceived as a song about the missionary experience, but in reality, it also applies to any disciple of Christ. We all need to make ourselves into “a window to His love.”
This song is an excellent example of how barre chords can actually make a song easier to play. Six of the ten chords used are actually just two barre chords, played at different frets. Even that doesn’t tell the whole story, as the barred E-shape, barred Am-shape, and barred Am7-shape are so similar that they might as well all be one chord, thus cutting the number of chords used in half. Even the barred A-shape found in the CIII chord, while more difficult than the other barre chords in this song, actually makes the transition from GIII easier and faster than it would be if you used a normal C chord. You can substitute the four-string F-shape played in the III and V spaces some of the time, which I admit is easier, but it doesn’t work all the time. If you’re going to have to learn to play the full-barre versions anyway, why not play all six strings all the time?
Unlike most of my other tabs, this one is meant to be played as an accompaniment to a singer. If the singer wants a break after the chorus following Verse 2, just go directly to the Intro before playing Verse 3. You may even decide to insert the extra Intro yourself, just to show off. It sounds really cool with all the ligados, but is not especially hard to do. Just be sure to warn the vocalist!
INTRO:
Played right, the Intro sounds lovely and delicate. To avoid confusion, I’m going to refer to the fingers of the RIGHT hand as T, I, M, and R (for Thumb, Index, Middle, and Ring), and the fingers of the LEFT hand as numbers 1, 2, 3, and 4 (for Index, Middle, Ring, and Pinkie, respectively). If you play left-handed, just reverse that. If you are a classical guitarist, and think I should stick to the Spanish p, i, m, a -- Sorry! Most of my readers don’t speak Spanish, and are not classically trained. That’s why the song is in tablature.
The lead finger in the first measure (and in most others) is the R finger. This begins a pattern-pick that continues throughout the Intro, and the brief reprises throughout the song. The first four notes of the measure are played normally, followed by a double-ligado: a hammer-on and immediate pull-off, counted as, “5-&-6”, using the #1 finger. The last two notes of the measure are counted and played normally, using the fingers specified in the tab.
The M finger leads in the second measure, and the double-ligado is done with the #2 or #3 finger, which ever is easiest for you. To do this, hold the barre with the #1 finger after the third note, but release the rest of the chord, to free the other fingers of the left hand. Release the barre after the double-ligado to play the open B string at the end of the measure. This kind of left hand finger-dancing only needs to be done when playing the full-barre F chord. If it seems excessive to you, you may find it easier to play the normal, (four-string) F chord, and fret the bass E string with the #4 finger briefly.
The third measure of the Intro is exactly like the first, and the final measure is played straight, holding the fifth note for three counts (5-6-7). Lead this final measure with the R finger again.
Measure [5] is also played straight. If you are not accompanying a singer, and you want a more delicate effect, just play the treble string of each chord, using an R finger lead, instead of the three-string pinches. These single notes will get lost if the vocalist has a strong voice. Measure [6] is fingered like measure [2], releasing the fingers first, then the barre at the end, for the note on the open string. Play measure [7] straight.
Measure [8] is not difficult, but watch out for the brief slide on the treble e-string. It’s just there for a bit of expression, and is not part of the count. You don’t even have to slide all the way down to the next note. In measure [9], hold the Am chord for 1-1/2 counts (one-and-two), then pick up the note on the open e-string with an upward picking motion, followed immediately by two downward strums of the whole chord, to the beat of “DUM, da-Dum, Dum”, like the word, “pumpernickle”.
Measure [10] is split between lines. Sorry, there just was no better way to print it, for various obscure, technical reasons. The last half of the measure has a downward T strum that stops at the 3rd string. Play the next note on the B string with the thumb. It’s much easier that way. Play measures [11], [12], and [13a] straight, then go back to begin the second verse with measure [5]. continue to measure [12] again, but the second time, continue with [13b] through [33a], while the singer sings the second verse and the chorus.
CHORUS:
Starting in measure [13b] through [31], the guitar will be the same for verses 2 and 3. Play the tremolo at the end of [13b] with the #3 finger, to ease the transition to the full barre in the V space. You can substitute a Dm chord for the Dm7v called out in measure [14] if it’s easier for you, but the Dm7v chord has a softer sound, which I find especially appropriate to underscore the word, “Love.” It’s actually slightly easier to play, too, as you are fretting one fewer string.
Through measure [28] the tab is straightforward, but in [29] you don’t actually play the full GIII chord. You only need to barre all the strings with the #1 finger, in the III space. Fret the notes in the V space with the #4 finger, and those in the IV space with the #3 finger. This may seem like doing it the hard way, but if you’re already able to play barre chords, you’ll probably find it easier than trying to hit all the notes rapidly by finger dancing.
The double-ligado in [30] is made by sliding the #4 finger up and down the neck one fret, in a move that is technically called a mordant. It doesn’t sound any better than the hammer-on/pull-off used in the rest of the song, but if you’ve been playing along with the tab, you’ll have run out of fingers, so the mordant is the only option.
Measures [31] through [33a] are played pretty much like the last three measures of the Intro, with only slight variation in the initial pinches of each measure. You can play them identically to the Intro, if you like, and most likely no one will know or care. Then go back and play the whole verse and chorus over again, while the singer sings the third verse and chorus, ending with measures [32b] through [34]. Measure [32b] is actually played the same as [32a], but the singer does not end the measure by singing the word “I.” The next measure is nearly identical to [6], and can be played that way if you like, but the pace is very different. You begin slowing in [32b], but in [33], you want to slow to half-speed by the end of the measure, then hold the final C chord in [34] as long as you can, and bask in the applause.
LEGAL STUFF:
This song is NOT in public domain! I’ve tried to contact Julie DeAzvedo repeatedly to ask about copyrights and permissions, but she has never answered me. I’ve had the song tabbed for years, but couldn’t include it here, without permission. Recently, I learned that the LDS Church owns the copyright, and since I have their permission to publish their copyrighted songs, for non-commercial, home and church use, and since the guitar arrangement is my own, I list it here. Please honor the Church’s standards, and refrain from circulating this piece or using it for commercial purposes of any kind, without written permission from the copyright holder.
This song is an excellent example of how barre chords can actually make a song easier to play. Six of the ten chords used are actually just two barre chords, played at different frets. Even that doesn’t tell the whole story, as the barred E-shape, barred Am-shape, and barred Am7-shape are so similar that they might as well all be one chord, thus cutting the number of chords used in half. Even the barred A-shape found in the CIII chord, while more difficult than the other barre chords in this song, actually makes the transition from GIII easier and faster than it would be if you used a normal C chord. You can substitute the four-string F-shape played in the III and V spaces some of the time, which I admit is easier, but it doesn’t work all the time. If you’re going to have to learn to play the full-barre versions anyway, why not play all six strings all the time?
Unlike most of my other tabs, this one is meant to be played as an accompaniment to a singer. If the singer wants a break after the chorus following Verse 2, just go directly to the Intro before playing Verse 3. You may even decide to insert the extra Intro yourself, just to show off. It sounds really cool with all the ligados, but is not especially hard to do. Just be sure to warn the vocalist!
INTRO:
Played right, the Intro sounds lovely and delicate. To avoid confusion, I’m going to refer to the fingers of the RIGHT hand as T, I, M, and R (for Thumb, Index, Middle, and Ring), and the fingers of the LEFT hand as numbers 1, 2, 3, and 4 (for Index, Middle, Ring, and Pinkie, respectively). If you play left-handed, just reverse that. If you are a classical guitarist, and think I should stick to the Spanish p, i, m, a -- Sorry! Most of my readers don’t speak Spanish, and are not classically trained. That’s why the song is in tablature.
The lead finger in the first measure (and in most others) is the R finger. This begins a pattern-pick that continues throughout the Intro, and the brief reprises throughout the song. The first four notes of the measure are played normally, followed by a double-ligado: a hammer-on and immediate pull-off, counted as, “5-&-6”, using the #1 finger. The last two notes of the measure are counted and played normally, using the fingers specified in the tab.
The M finger leads in the second measure, and the double-ligado is done with the #2 or #3 finger, which ever is easiest for you. To do this, hold the barre with the #1 finger after the third note, but release the rest of the chord, to free the other fingers of the left hand. Release the barre after the double-ligado to play the open B string at the end of the measure. This kind of left hand finger-dancing only needs to be done when playing the full-barre F chord. If it seems excessive to you, you may find it easier to play the normal, (four-string) F chord, and fret the bass E string with the #4 finger briefly.
The third measure of the Intro is exactly like the first, and the final measure is played straight, holding the fifth note for three counts (5-6-7). Lead this final measure with the R finger again.
Measure [5] is also played straight. If you are not accompanying a singer, and you want a more delicate effect, just play the treble string of each chord, using an R finger lead, instead of the three-string pinches. These single notes will get lost if the vocalist has a strong voice. Measure [6] is fingered like measure [2], releasing the fingers first, then the barre at the end, for the note on the open string. Play measure [7] straight.
Measure [8] is not difficult, but watch out for the brief slide on the treble e-string. It’s just there for a bit of expression, and is not part of the count. You don’t even have to slide all the way down to the next note. In measure [9], hold the Am chord for 1-1/2 counts (one-and-two), then pick up the note on the open e-string with an upward picking motion, followed immediately by two downward strums of the whole chord, to the beat of “DUM, da-Dum, Dum”, like the word, “pumpernickle”.
Measure [10] is split between lines. Sorry, there just was no better way to print it, for various obscure, technical reasons. The last half of the measure has a downward T strum that stops at the 3rd string. Play the next note on the B string with the thumb. It’s much easier that way. Play measures [11], [12], and [13a] straight, then go back to begin the second verse with measure [5]. continue to measure [12] again, but the second time, continue with [13b] through [33a], while the singer sings the second verse and the chorus.
CHORUS:
Starting in measure [13b] through [31], the guitar will be the same for verses 2 and 3. Play the tremolo at the end of [13b] with the #3 finger, to ease the transition to the full barre in the V space. You can substitute a Dm chord for the Dm7v called out in measure [14] if it’s easier for you, but the Dm7v chord has a softer sound, which I find especially appropriate to underscore the word, “Love.” It’s actually slightly easier to play, too, as you are fretting one fewer string.
Through measure [28] the tab is straightforward, but in [29] you don’t actually play the full GIII chord. You only need to barre all the strings with the #1 finger, in the III space. Fret the notes in the V space with the #4 finger, and those in the IV space with the #3 finger. This may seem like doing it the hard way, but if you’re already able to play barre chords, you’ll probably find it easier than trying to hit all the notes rapidly by finger dancing.
The double-ligado in [30] is made by sliding the #4 finger up and down the neck one fret, in a move that is technically called a mordant. It doesn’t sound any better than the hammer-on/pull-off used in the rest of the song, but if you’ve been playing along with the tab, you’ll have run out of fingers, so the mordant is the only option.
Measures [31] through [33a] are played pretty much like the last three measures of the Intro, with only slight variation in the initial pinches of each measure. You can play them identically to the Intro, if you like, and most likely no one will know or care. Then go back and play the whole verse and chorus over again, while the singer sings the third verse and chorus, ending with measures [32b] through [34]. Measure [32b] is actually played the same as [32a], but the singer does not end the measure by singing the word “I.” The next measure is nearly identical to [6], and can be played that way if you like, but the pace is very different. You begin slowing in [32b], but in [33], you want to slow to half-speed by the end of the measure, then hold the final C chord in [34] as long as you can, and bask in the applause.
LEGAL STUFF:
This song is NOT in public domain! I’ve tried to contact Julie DeAzvedo repeatedly to ask about copyrights and permissions, but she has never answered me. I’ve had the song tabbed for years, but couldn’t include it here, without permission. Recently, I learned that the LDS Church owns the copyright, and since I have their permission to publish their copyrighted songs, for non-commercial, home and church use, and since the guitar arrangement is my own, I list it here. Please honor the Church’s standards, and refrain from circulating this piece or using it for commercial purposes of any kind, without written permission from the copyright holder.
In Humility, Our Savior
So, why did it take so long for me to get around to tabbing a Sacrament song? Well, if you think about it, Sacrament hymns are meant to be sung by the congregation, while the Sacrament is being prepared. They aren’t often appropriate for an instrumental solo. This one is just too pretty to pass up, though. And it’s EASY.
Basically, it’s only three of the first chords any beginning guitarist learns: A, E and D, plus a couple of simple variations on the E chord. In fact, the E5 “Power Chord” is the easiest chord possible: only two strings are played, an they are both played OPEN. The E7 chord is a little harder, requiring you to play the E chord and add your little finger on the 2nd string, III space. Don’t try to “cheat” by using the easier, two-finger version of E7; the melody won’t come out right.
The only other chord is the optional, final barre chord (Av). It’s printed in light face type, to show that it is optional. Only the high A note on the first string is truly necessary, but if you play only the single note instead of the barre chord, it would be well to play it as a tremolo.
You will probably notice right away that the song begins in 3/4 time, but switches to 6/8 after the first line. Actually, the whole song is in 3/4 time, but the counting gets confusing, so I wanted to re-cast it as 6/8. But then, the counting in the first line gets confusing, hence the switch. Since eighth notes are exactly half as long as quarter-notes, the tempo comes out the same.
The slow strums in the fourth and fifth lines can be performed in either of two ways. You can either strum them normally with your thumb, taking two eighth-notes time to do so, or you can substitute a flamenco strum with the fingers, taking the same time. If you do this, be careful to make the flamenco strum no louder than the rest of the measure. The last three strums of the measure (up, down, up) can be strummed with either the thumb or the fingers, slightly accenting the down strum: 1-2-3-4-5-6. If you opt for the slow strum instead of the flamenco strum, it’s easier to use the fingers for the up-down-up. Otherwise, it’s usually easier to use the thumb.
The only difficult part of the song is the run of ligados (hammer-ons and pull-offs) at the end of the next-to-last line. If you use the E5 chord, you can pluck the two open strings while repositioning the left hand for the hammer-ons. In this way, you can use the strongest fingers of the left hand for the ligados. It may still take some practice to get it right.
One way to make the song easier is to minimize the “finger dancing” needed to hit the A notes (third string, II space) while playing an E chord. Briefly flattening the middle finger of the left hand, so it frets the A will do it. You can even use this trick to quickly switch between E and A chords-- sometimes. It’s hard to do if you need the open 1st string to ring, as the flattened middle finger can damp the 1st string, producing unpleasant sounds, or no sound at all. It works a lot better if you can bend the left fingers backwards, a little. I can’t, so I’ve had to learn to change chords fast. Fortunately, the E - A - E changes are among the easiest there are.
Basically, it’s only three of the first chords any beginning guitarist learns: A, E and D, plus a couple of simple variations on the E chord. In fact, the E5 “Power Chord” is the easiest chord possible: only two strings are played, an they are both played OPEN. The E7 chord is a little harder, requiring you to play the E chord and add your little finger on the 2nd string, III space. Don’t try to “cheat” by using the easier, two-finger version of E7; the melody won’t come out right.
The only other chord is the optional, final barre chord (Av). It’s printed in light face type, to show that it is optional. Only the high A note on the first string is truly necessary, but if you play only the single note instead of the barre chord, it would be well to play it as a tremolo.
You will probably notice right away that the song begins in 3/4 time, but switches to 6/8 after the first line. Actually, the whole song is in 3/4 time, but the counting gets confusing, so I wanted to re-cast it as 6/8. But then, the counting in the first line gets confusing, hence the switch. Since eighth notes are exactly half as long as quarter-notes, the tempo comes out the same.
The slow strums in the fourth and fifth lines can be performed in either of two ways. You can either strum them normally with your thumb, taking two eighth-notes time to do so, or you can substitute a flamenco strum with the fingers, taking the same time. If you do this, be careful to make the flamenco strum no louder than the rest of the measure. The last three strums of the measure (up, down, up) can be strummed with either the thumb or the fingers, slightly accenting the down strum: 1-2-3-4-5-6. If you opt for the slow strum instead of the flamenco strum, it’s easier to use the fingers for the up-down-up. Otherwise, it’s usually easier to use the thumb.
The only difficult part of the song is the run of ligados (hammer-ons and pull-offs) at the end of the next-to-last line. If you use the E5 chord, you can pluck the two open strings while repositioning the left hand for the hammer-ons. In this way, you can use the strongest fingers of the left hand for the ligados. It may still take some practice to get it right.
One way to make the song easier is to minimize the “finger dancing” needed to hit the A notes (third string, II space) while playing an E chord. Briefly flattening the middle finger of the left hand, so it frets the A will do it. You can even use this trick to quickly switch between E and A chords-- sometimes. It’s hard to do if you need the open 1st string to ring, as the flattened middle finger can damp the 1st string, producing unpleasant sounds, or no sound at all. It works a lot better if you can bend the left fingers backwards, a little. I can’t, so I’ve had to learn to change chords fast. Fortunately, the E - A - E changes are among the easiest there are.
Families Can Be Together Forever 2
I like this version better, but it is harder to play. Maybe not as hard as it looks, though. You already know how to play D, E, Em, A, and Am, and they, with barred versions and/or very slight variations, account for seventeen of the eighteen chords in this piece. B9 is the ONLY uncommon chord, and it's dead EASY to play. Just lay your index finger across the first four strings in the second space, and the ring finger across the first three strings in the third space, and squeeze. You can be real sloppy about it, and it'll still work just fine.
The many barre chords lend the song a rich, full sound that works well with a slower, more deliberate delivery than is usual when singing as a hymn or a Primary song. As a guitar solo, it doesn't matter if the tempo is too slow for singing, of course, and it sounds nice. The G9, B9 and Am0 chords add harmonies and chord progressions more suited to adult listeners. Classical music uses the degree sign 0 to indicate a diminished chord. The abbreviation "dim" has already been taken-- it means diminuendo {"getting softer"). Similarly, the minus sign means to play a note flat, so we just have to live with the 0. It's standard musical notation.
I did take some liberties with the original score, especially right at the end. I hope you like it.
The many barre chords lend the song a rich, full sound that works well with a slower, more deliberate delivery than is usual when singing as a hymn or a Primary song. As a guitar solo, it doesn't matter if the tempo is too slow for singing, of course, and it sounds nice. The G9, B9 and Am0 chords add harmonies and chord progressions more suited to adult listeners. Classical music uses the degree sign 0 to indicate a diminished chord. The abbreviation "dim" has already been taken-- it means diminuendo {"getting softer"). Similarly, the minus sign means to play a note flat, so we just have to live with the 0. It's standard musical notation.
I did take some liberties with the original score, especially right at the end. I hope you like it.
Families Can Be Together Forever
Just for you, Sabina! I've tried to keep it as simple as possible, but that was not easy. The original song is written in F, which goes well with children's high-pitched voices, and is easy to play on the piano, but is horrible to play on the guitar. C would have been much easier, but was way too low. The best compromise I could come up with is the key of D. It's low enough that most of the chords do not require barring, and those that do, are not especially hard to play. Most of the song is melody notes, anyway, with few actual chords to strum. But you asked for the chords, Sabina. I'm not realy sure why you wanted them, as they are not terribly useful for guitarists, but I've attached them at the end of the tab anyway.
This song is not in the public domain, but the copyright is owned by The Church of Jesus Christ of Latter-Day Saints, which has given permission to copy it "for incidental, noncommercial, church or home use," as are all tabs published here. Please do not abuse the privilege.
The D chord called out in the 4th measure is to position your left hand for the proper notes of the measure. It is not to be strummed. In the second measure of the chorus, fret the notes on the second string with the little finger of the left hand, until you reach the barre at the 5th fret, then move the barring finger to the third fret, preparatory to playing the Em in the next measure. It makes the transition much easier.
In the second line of the chorus, the transition to the high E chord (EVII) must be quick. You might try replacing the hammer-on in the previous measure with a slide to get your hand moving in the right direction. Fortunately, although that E chord is not a commonly used barre chord, it's not hard to play, especially high on the neck, where the frets are closer together.
The downward run on the 2nd string is similar to the one on the first string in the second line, and sets up the transition to F#. The A7II chord in the next-to-last measure is also very easy to play, as you only have to barre four strings.
This song is not in the public domain, but the copyright is owned by The Church of Jesus Christ of Latter-Day Saints, which has given permission to copy it "for incidental, noncommercial, church or home use," as are all tabs published here. Please do not abuse the privilege.
The D chord called out in the 4th measure is to position your left hand for the proper notes of the measure. It is not to be strummed. In the second measure of the chorus, fret the notes on the second string with the little finger of the left hand, until you reach the barre at the 5th fret, then move the barring finger to the third fret, preparatory to playing the Em in the next measure. It makes the transition much easier.
In the second line of the chorus, the transition to the high E chord (EVII) must be quick. You might try replacing the hammer-on in the previous measure with a slide to get your hand moving in the right direction. Fortunately, although that E chord is not a commonly used barre chord, it's not hard to play, especially high on the neck, where the frets are closer together.
The downward run on the 2nd string is similar to the one on the first string in the second line, and sets up the transition to F#. The A7II chord in the next-to-last measure is also very easy to play, as you only have to barre four strings.
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