This one is slow, easy to play, lovely, and has an interesting history. There’s not a hard chord, technique, or transition in it, and the words were written by a canonized saint-- in the twelfth century. What’s not to love?
Technique
If you can play C, G7 and G, you can play this song. The G chord I use is actually a GaddD chord, but it’s fretted exactly like a normal G, except the ring finger frets the third space on the 2nd string instead of the 1st string, which is not played. This makes it even easier to play than a normal G.
All the chord changes in the first two lines (except one) follow a note played on an open string, giving you plenty of time to make the change. The exception is the change from C to GaddD at the end of the seventh measure. I usually fret the D note on the #2 string with my ring finger, making the change to GaddD super easy.
Similarly, the pull-off in the first measure of the third line eases the transition to GaddD. Then, after playing the chord and holding it as long as needed, release it, shifting the hand to a normal G7 position. Since you are not playing the #1 string, this chord is actually a G, but it’s easier to hit the notes called out in the tab from the G7 hand position, and it makes no difference to the music what you call it.
For the whole third line, you’re actually holding the middle and ring fingers in place, using the index finger to fret the melody notes. In the third measure of the line, I usually just flatten my middle finger across the #3 string briefly to hit the A note, instead of fretting it with the index finger. Do it the way it is easiest for you.
There’s an optional pull-off in the third line. Play the C note with the index finger, then pull that finger off the string, plucking the string with the left hand. It makes the two notes sonnd more connected, and is therefore called a ligado, the Spanish word for “tied”.
The last line is all played from a C hand position. On the final chord, if you wish, you can fret the #6 string in the 3rd space with your pinkie, turning the chord into a C/G, which just means a C chord with a G bass note. I like the sound of it better with a deeper bass, but it’s not necessary. If you prefer, just play a normal C here, omitting the #1 string. This omission is necessary, as the melody note is the C on the 2nd string. If you play the E on the open #1 string, the melody won’t sound right.
History
Edward Caswall, who translated the lyrics, was a clergyman in the Church of England who later converted to Catholicism and became a Catholic priest. Over his long lifetime as a clergyman, he wrote and translated hundreds of hymns.
Saint Bernard of Clairvaux was without doubt, Western Europe's “man of the twelfth century.” Adviser of popes, preacher of the Second Crusade, defender of the faith, healer of a schism, reformer of a monastic Order, Scripture scholar, theologian and eloquent preacher, he was the son of a French nobleman, who gave up all his advantages to become a priest. He was the first member of the Cistercian order to be placed on the Calendar of Saints, and was canonized, or officially recognized as a saint, on January 18, 1174. This was exactly 842 years ago today, January 25, 2016, due to confusion between the Julian Calendar in use at the time, and the Gregorian Calendar in use worldwide today. If you think that’s confusing, you don’t know the half of it!
If Saint Bernard did in fact write this hymn, it was probably written in Latin, but I have been unable to find any original lyrics. The music is a different story. It was composed by John B. Dykes, in the mid-nineteenth century, approximately seven centuries later. We don’t have an exact composition date for this tune, as Dykes was a prodigy who was Assistant Organist at his church by the age of ten, and who composed over three hundred hymn tunes in his short lifetime. He is better known as the composer of the tune used for Lead Kindly Light (Hymns #97).
Showing posts with label easy techniques. Show all posts
Showing posts with label easy techniques. Show all posts
America the Beautiful (Oh, beautiful for spacious skies)
Last week I was invited to my grand-kids’ elementary school for their annual, Veterans’ Day assembly. When the whole school stood and sang this song, it brought tears to my eyes, especially when they sang the third verse:
Oh, beautiful for heroes proved
In liberating strife,
Who more than self their country loved,
And mercy more than life!
America! America!
May God thy gold refine,
Till all success be nobleness,
And ev'ry gain divine.
When I returned from my military service, I was greeted with rotten tomatoes and curses, and it was fifteen years before anyone ever thanked me for risking my life for my country. These kids served me breakfast, plied me with questions, and treated me like a hero. Thank you so much, American Preparatory Academy!
I thought this would be a hard song to arrange for the guitar, but it turns out to be one of the easiest. There are only five chords (two are very easy), and while there are three barre chords, they are all the same barred-E chord shape. They are played exactly the same, just at different frets. So this is really only a three-chord song.
There are a few slides, including one whole-chord slide, and a few pull-offs. But there are no difficult techniques or hard chord changes, as long as you can do the barre chords. If you have not yet learned barre chords, this is the perfect song for learning them! Only one new chord shape to learn, and you get three chords for the “price” of one. (Actually, you get more than three, as the barred-E chord shape is commonly used to play F, F#, G, G#, A, Bb, B, and C, plus other chords even higher up the fretboard, if you have an electric guitar.)
I left out the counting numbers. They are more confusing than helpful in this song, and besides, everybody already knows it. If for some reason you don’t know how it goes, you can find dozens of versions recorded on the Internet. I had thought to write a bit about the song’s origins, but the Wikipedia article found HERE says it all. This song is in the public domain.
Oh, beautiful for heroes proved
In liberating strife,
Who more than self their country loved,
And mercy more than life!
America! America!
May God thy gold refine,
Till all success be nobleness,
And ev'ry gain divine.
When I returned from my military service, I was greeted with rotten tomatoes and curses, and it was fifteen years before anyone ever thanked me for risking my life for my country. These kids served me breakfast, plied me with questions, and treated me like a hero. Thank you so much, American Preparatory Academy!
I thought this would be a hard song to arrange for the guitar, but it turns out to be one of the easiest. There are only five chords (two are very easy), and while there are three barre chords, they are all the same barred-E chord shape. They are played exactly the same, just at different frets. So this is really only a three-chord song.
There are a few slides, including one whole-chord slide, and a few pull-offs. But there are no difficult techniques or hard chord changes, as long as you can do the barre chords. If you have not yet learned barre chords, this is the perfect song for learning them! Only one new chord shape to learn, and you get three chords for the “price” of one. (Actually, you get more than three, as the barred-E chord shape is commonly used to play F, F#, G, G#, A, Bb, B, and C, plus other chords even higher up the fretboard, if you have an electric guitar.)
I left out the counting numbers. They are more confusing than helpful in this song, and besides, everybody already knows it. If for some reason you don’t know how it goes, you can find dozens of versions recorded on the Internet. I had thought to write a bit about the song’s origins, but the Wikipedia article found HERE says it all. This song is in the public domain.
Welcome, Welcome, Sabbath Morning
The name of Ebenezer Beesley, the composer of this hymn, may seem familiar to you. If so, it’s probably because he composed the tunes to many other hymns in the LDS hymnal, including:
#5 High on the Mountain Top
#16 What Glorious Scenes Mine Eyes Behold
#32 The Happy Day at Last Has Come
#76 God of Our Fathers, We Come Unto Thee
#77 Great Is the Lord
#156 Sing We Now at Parting
#232 Kind Words Are Sweet Tones of the Heart
#177 Tis Sweet to Sing the Matchless Love
#185 Reverently and Meekly Now
#232 Let Us Oft Speak Kind Words
#280 Welcome, Welcome, Sabbath Morning
#282 We Meet Again in Sabbath School
He has more tunes in the current LDS hymnal than any other composer except for Evan Stephens, and also composed others that were included in previous editions of the hymnal, but are not used in the current edition.
“Welcome, Welcome, Sabbath Morning” is a sprightly tune, and sounds good played fast, as just an instrumental melody, without any chording at all, but I have included one G7 and one G chord, just for variety. They are so simple, and so standard, that I haven’t even included chord charts. If you are such a rank beginner that you do not know how to play these chords, you probably should not be starting with this hymn. It’s not really a simple song. It’s full of hammer-ons, pull-offs, and slides. You could certainly play it without those techniques, but it wouldn’t sound nearly as good. Using ligado techniques of various sorts as well as normal, stacatto notes adds a subtle kind of interest to the song that you cannot get from a piano. I haven’t tried it, but I suspect it would sound good as a duet with a violin or viola.
If you are a newcomer to finger-picking, the simplicity of this song may tempt you to try it, despite the use of slightly advanced techniques. Go ahead! None of the techniques in this song are especially difficult, even if you are trying them for the first time. Here are some tips to make it even easier:
With a few exceptions detailed below, always fret all notes in the first space with the index finger, those in the second space with the middle finger, and those in the third space with the ring finger. This allows you to change from one note to the next quickly, without moving the hand.
The exceptions are several notes in the fourth and fifth spaces:
In the second line, the double pull-off 5-3-0 requires you to move your hand up the neck, so you can fret the fifth space with your ring finger, while simultaneously fretting the same string in the third space with the index finger. This allows for an extremely fast double pull-off. While your index finger is still at the third fret, play the 3-0 pull-off on the next string with the index finger, then move it back to normal position for the rest of the line.
At the end of the first measure in line three, move your hand to make the slide with your strongest finger, which for most guitarists is the middle finger. The next two notes are on open strings, giving you plenty of time to move your hand back into the normal ("first") position.
In the next measure, you can either move your hand again, then move it back quickly, or, if your hand will stretch, you can fret it with the pinkie, without moving your hand. Try it both ways, and do it the way that works best for you.
The first two measures of the next line are played exactly the same as line three, but in the third measure, you will need to reposition your hand to fret the slide, so you might as well play the whole measure that way. The double slide, down-and-up, is not nearly as hard as it looks. The only tricky part is hitting the right fret. It’s fast, and it’s easy to slide too far unintentionally. The solution is to practice. A lot.
The last two lines are played exactly like the first two, except one octave lower, and the final chord is a G, instead of a G7. Playing the same notes an octave lower does require different fingering on the fretboard, but the techniques are the same as in the rest of the song. You will probably notice that it’s easier to hit the G chord from the lower notes, since the first and second fingers are already positioned near the 5th string. If this seems like a lot of extra work, you can simply play the last two lines exactly like the first two, only adding the chord at the end. The notes will not be wrong, but it’ll sound a bit funny, as your brain will expect the lower notes. That’s all there is to it!
If you’ve never done them before, hammer-ons, pull-offs, and slides may seem daunting to you. They need not. The hammer-on is indicated by two notes connected with an underscore, when the second note is higher in pitch than the first note. Perform it by playing the string normally, as indicated in the tab, then hammering down on the string in the indicated space with the tip of the proper finger: --0__2--. This creates a sound that makes the two notes seem to be tied together. Ligado is the Spanish word for “tied”, and is used in guitar music to indicate connected notes like these. Hammer-ons are also often indicated in tablature by the letter h before the note: --0--h2--.
Pull-offs are even easier. They are indicated with an underscore, like the hammer-on, but the second note is lower than the first. Sometimes they are indicated with a p before the note. You simply play the note as indicated, then, without pausing, pluck the string with the same finger of the left hand that is holding the note: --2__0--. This also causes the notes to sound connected, so is also called a ligado.
Another way to connect two notes is to slide from one note to the next without lifting the finger off the string. This is called a slide, or glissando, and is indicated in my tabs with a slash. A forward slash / indicates you are sliding up the neck (toward the body of the guitar) A back slash \ means you are sliding down the neck (away from the body of the guitar). “Up” and “down” in this sense refer to whether the next note is higher or lower in pitch, and have nothing to do with which part of the guitar is physically higher or lower. Slides look like this in the tab: --4-/-5-- and --4-\-2--.
If you are a real beginner, practice this song slowly, until you can play it smoothly all the way through, then gradually increase the pace. Otherwise, you’ll end up playing parts of it faster than others, and the habit will be really hard to break.
This is one of the very few hymns in the LDS hymnal that is NOT easier to play in C (on the guitar), so I have transposed it to the key of G. You can use a capo at the fifth fret, to play this song in the key of C, as it was written in the hymnal, if you wish. Unless you are playing with another instrument or a singer, I cannot imagine why you would want to do so.
Welcome, Welcome, Sabbath Morning is in the public domain.
#5 High on the Mountain Top
#16 What Glorious Scenes Mine Eyes Behold
#32 The Happy Day at Last Has Come
#76 God of Our Fathers, We Come Unto Thee
#77 Great Is the Lord
#156 Sing We Now at Parting
#232 Kind Words Are Sweet Tones of the Heart
#177 Tis Sweet to Sing the Matchless Love
#185 Reverently and Meekly Now
#232 Let Us Oft Speak Kind Words
#280 Welcome, Welcome, Sabbath Morning
#282 We Meet Again in Sabbath School
He has more tunes in the current LDS hymnal than any other composer except for Evan Stephens, and also composed others that were included in previous editions of the hymnal, but are not used in the current edition.
“Welcome, Welcome, Sabbath Morning” is a sprightly tune, and sounds good played fast, as just an instrumental melody, without any chording at all, but I have included one G7 and one G chord, just for variety. They are so simple, and so standard, that I haven’t even included chord charts. If you are such a rank beginner that you do not know how to play these chords, you probably should not be starting with this hymn. It’s not really a simple song. It’s full of hammer-ons, pull-offs, and slides. You could certainly play it without those techniques, but it wouldn’t sound nearly as good. Using ligado techniques of various sorts as well as normal, stacatto notes adds a subtle kind of interest to the song that you cannot get from a piano. I haven’t tried it, but I suspect it would sound good as a duet with a violin or viola.
If you are a newcomer to finger-picking, the simplicity of this song may tempt you to try it, despite the use of slightly advanced techniques. Go ahead! None of the techniques in this song are especially difficult, even if you are trying them for the first time. Here are some tips to make it even easier:
With a few exceptions detailed below, always fret all notes in the first space with the index finger, those in the second space with the middle finger, and those in the third space with the ring finger. This allows you to change from one note to the next quickly, without moving the hand.
The exceptions are several notes in the fourth and fifth spaces:
In the second line, the double pull-off 5-3-0 requires you to move your hand up the neck, so you can fret the fifth space with your ring finger, while simultaneously fretting the same string in the third space with the index finger. This allows for an extremely fast double pull-off. While your index finger is still at the third fret, play the 3-0 pull-off on the next string with the index finger, then move it back to normal position for the rest of the line.
At the end of the first measure in line three, move your hand to make the slide with your strongest finger, which for most guitarists is the middle finger. The next two notes are on open strings, giving you plenty of time to move your hand back into the normal ("first") position.
In the next measure, you can either move your hand again, then move it back quickly, or, if your hand will stretch, you can fret it with the pinkie, without moving your hand. Try it both ways, and do it the way that works best for you.
The first two measures of the next line are played exactly the same as line three, but in the third measure, you will need to reposition your hand to fret the slide, so you might as well play the whole measure that way. The double slide, down-and-up, is not nearly as hard as it looks. The only tricky part is hitting the right fret. It’s fast, and it’s easy to slide too far unintentionally. The solution is to practice. A lot.
The last two lines are played exactly like the first two, except one octave lower, and the final chord is a G, instead of a G7. Playing the same notes an octave lower does require different fingering on the fretboard, but the techniques are the same as in the rest of the song. You will probably notice that it’s easier to hit the G chord from the lower notes, since the first and second fingers are already positioned near the 5th string. If this seems like a lot of extra work, you can simply play the last two lines exactly like the first two, only adding the chord at the end. The notes will not be wrong, but it’ll sound a bit funny, as your brain will expect the lower notes. That’s all there is to it!
If you’ve never done them before, hammer-ons, pull-offs, and slides may seem daunting to you. They need not. The hammer-on is indicated by two notes connected with an underscore, when the second note is higher in pitch than the first note. Perform it by playing the string normally, as indicated in the tab, then hammering down on the string in the indicated space with the tip of the proper finger: --0__2--. This creates a sound that makes the two notes seem to be tied together. Ligado is the Spanish word for “tied”, and is used in guitar music to indicate connected notes like these. Hammer-ons are also often indicated in tablature by the letter h before the note: --0--h2--.
Pull-offs are even easier. They are indicated with an underscore, like the hammer-on, but the second note is lower than the first. Sometimes they are indicated with a p before the note. You simply play the note as indicated, then, without pausing, pluck the string with the same finger of the left hand that is holding the note: --2__0--. This also causes the notes to sound connected, so is also called a ligado.
Another way to connect two notes is to slide from one note to the next without lifting the finger off the string. This is called a slide, or glissando, and is indicated in my tabs with a slash. A forward slash / indicates you are sliding up the neck (toward the body of the guitar) A back slash \ means you are sliding down the neck (away from the body of the guitar). “Up” and “down” in this sense refer to whether the next note is higher or lower in pitch, and have nothing to do with which part of the guitar is physically higher or lower. Slides look like this in the tab: --4-/-5-- and --4-\-2--.
If you are a real beginner, practice this song slowly, until you can play it smoothly all the way through, then gradually increase the pace. Otherwise, you’ll end up playing parts of it faster than others, and the habit will be really hard to break.
This is one of the very few hymns in the LDS hymnal that is NOT easier to play in C (on the guitar), so I have transposed it to the key of G. You can use a capo at the fifth fret, to play this song in the key of C, as it was written in the hymnal, if you wish. Unless you are playing with another instrument or a singer, I cannot imagine why you would want to do so.
Welcome, Welcome, Sabbath Morning is in the public domain.
The Day Dawn Is Breaking
There are no hard chords in this song. Although G7addF may look odd, it's rather easy to play. It's just like a normal G7, except you have to add the F note on the fourth string, with your little finger. The only really difficult part is getting the whole song up to speed. It sounds OK played slowly, so you can play it anywhere from half speed to as posted, if you are playing it as an instrumental solo. If you intend to sing it or accompany singers, the guitar part needs to be played at the metronome speed listed on the tab.
This is the same speed called for in the hymnal, and it IS fast. I recommend that you practice it at half speed until you can play it perfectly, before attempting to increase the speed. That's how I learned it.
If you have trouble with barre chords, you may be tempted to substitute the regular F and G chords for the barred FI and GIII. If you do, the chords may not follow the melody, and, at the end of the verse, the alternate transition: F - G - C will actually be slower than the FI - GIII - C as written. An acceptable compromise, if you just cannot do barre chords at all, is to play the regular F, then slide it up two frets for an alternative G, thus: F = xx3211, G = xx5433. While this does not give as full a sound, or follow the melody perfectly, it is as fast as using the full barre chords, and does give an idea of the melody.
This song is in the public domain.
This is the same speed called for in the hymnal, and it IS fast. I recommend that you practice it at half speed until you can play it perfectly, before attempting to increase the speed. That's how I learned it.
If you have trouble with barre chords, you may be tempted to substitute the regular F and G chords for the barred FI and GIII. If you do, the chords may not follow the melody, and, at the end of the verse, the alternate transition: F - G - C will actually be slower than the FI - GIII - C as written. An acceptable compromise, if you just cannot do barre chords at all, is to play the regular F, then slide it up two frets for an alternative G, thus: F = xx3211, G = xx5433. While this does not give as full a sound, or follow the melody perfectly, it is as fast as using the full barre chords, and does give an idea of the melody.
This song is in the public domain.
High on the Mountain Top in C (intermediate version)
Actually, it's easy, if you can do the barre chords. Much as I hate to split measures between two lines, I've done so on every line, as that's the way it's written in the hymnal. About the only changes I've made from the hymnal have to do with the tempo. If you try playing this as a guitar solo at the speed called for in the hymnal, it will really drag, so I've specified a much faster beat. I've also recast it in 4/4 instead of 2/2. The difference is almost imperceptible, and I find it easier to count "1-2-3-4" than "1-&-2-&". If you want to be perfectly faithful to the original, emphasize the #3 beat, so it's equal to the #1. That's the only difference.
In some ways, this song is easier than the "beginner" version in G, as there are no minor chords, and all the transitions are straightforward, if you are comfortable with barre chords. The only remotely difficult transitions are in the 5th - 6th measures and 9th - 10th measures, where you have to slide the whole GIII chord down to GbII to catch the F# on the first string with the index finger, then back again immediately to GIII for the chord. This may seem a bit odd to you, but it's one of the things barre chords were invented for.
High on the Mountain Top is in the public domain. The patriotic lyrics were taken from a poem by Joel Hills Johnson. Click HERE for the story of how this poem came to be written, including the fifth and sixth verses, which do not appear in the hymnal.
In some ways, this song is easier than the "beginner" version in G, as there are no minor chords, and all the transitions are straightforward, if you are comfortable with barre chords. The only remotely difficult transitions are in the 5th - 6th measures and 9th - 10th measures, where you have to slide the whole GIII chord down to GbII to catch the F# on the first string with the index finger, then back again immediately to GIII for the chord. This may seem a bit odd to you, but it's one of the things barre chords were invented for.
High on the Mountain Top is in the public domain. The patriotic lyrics were taken from a poem by Joel Hills Johnson. Click HERE for the story of how this poem came to be written, including the fifth and sixth verses, which do not appear in the hymnal.
How Gentle God's Commands
Two versions -- an easy one in A, that uses only TWO chords (E and A), and a harder one in C that requires barre chords and harder techniques. Both are in public domain.
First, the easy version. The first verse uses pinched chords, and there are only two measures in the whole verse that require more than one pinch. Easy. It's in 3/4 time, and all the notes are quarter-notes. There are a couple of measures where only two of the three beats are shown. In both cases, that's the first and third beats. You can let the first beat ring for two counts (a half-note), or damp the first beat to a quarter-note and insert a quarter-rest. Or, you can mix and match. It's a simple tune to learn, but still sounds good. If you're playing steel strings, you might try using finger-picks on this one. If you're playing nylon strings, use your fingernails, for a crisp, "classical guitar" sound, or use your fingertips, if you want a mellow tone.
In the fifth measure, the A chord is slightly changed. Note the F# played on the third string at the fourth fret. It's just a bit of a stretch, but don't leave it out or substitute another note for it; it's necessary to carry the melody. It also provides a nice contrast with the normal A chord in the next measure.
The second verse is in 6/8 time, so all the notes are eighth-notes. The chording is the same as the first verse, but the chords are all "broken chords". A lot of "extra" drone notes on the open A string and E string are set in, to fill out the bass. Rock the right hand, playing the bass notes with the thumb, and the melody notes with the fingers. The audience will think it sounds much more difficult than the first verse, but it's actually very nearly as easy. If you're comfortable with barre chords, substitute a barred Av for the last note, for a dynamite finale.
First, the easy version. The first verse uses pinched chords, and there are only two measures in the whole verse that require more than one pinch. Easy. It's in 3/4 time, and all the notes are quarter-notes. There are a couple of measures where only two of the three beats are shown. In both cases, that's the first and third beats. You can let the first beat ring for two counts (a half-note), or damp the first beat to a quarter-note and insert a quarter-rest. Or, you can mix and match. It's a simple tune to learn, but still sounds good. If you're playing steel strings, you might try using finger-picks on this one. If you're playing nylon strings, use your fingernails, for a crisp, "classical guitar" sound, or use your fingertips, if you want a mellow tone.
In the fifth measure, the A chord is slightly changed. Note the F# played on the third string at the fourth fret. It's just a bit of a stretch, but don't leave it out or substitute another note for it; it's necessary to carry the melody. It also provides a nice contrast with the normal A chord in the next measure.
The second verse is in 6/8 time, so all the notes are eighth-notes. The chording is the same as the first verse, but the chords are all "broken chords". A lot of "extra" drone notes on the open A string and E string are set in, to fill out the bass. Rock the right hand, playing the bass notes with the thumb, and the melody notes with the fingers. The audience will think it sounds much more difficult than the first verse, but it's actually very nearly as easy. If you're comfortable with barre chords, substitute a barred Av for the last note, for a dynamite finale.
Praise to the Man
This is about as easy as it gets! The only thing even faintly scary about this song is the F/C chord. Read that, "F with a C bass," and you won't be scared. It's just a normal F chord, but you add the C on the 5th string, third space, with your pinkie, to follow the melody. Or, if you are already comfortable with barre chords, just play the full-barre F, but avoid the #6 string. If you really are a beginner, just play a regular, four-string F, but it won't sound quite as good.
There are also pull-offs in measures # 3, 11, and 27. These are easy to do. Fret the second string in the first space (C) with your index finger, and simultaneously in the third space (D) with your pinkie. When you pluck the string with your right hand, only the D will sound, of course. Leaving the index finger in place, pull the pinkie off the string, so it plucks the string again, sounding the C. This produces a legato sound, (search "ligado" on this blog), and also allows you to play the two-note sequence much faster than you otherwise could.
The song was originally written in 2/4 time, but I have re-cast it in 4/8. There is actually no difference, except that it's easier to count in eighth notes. The metronome setting has therefore been increased to 132. To be perfectly faithful to the piano music in the hymnal, it should have been somewhere between 152 - 192, but this just sounds too fast to me. If you are accompanying a singer, 132 would probably be too slow, but if you are playing it as a guitar solo, the speed is not terribly important, anyway.
Both the tune and the lyrics are in the public domain.
There are also pull-offs in measures # 3, 11, and 27. These are easy to do. Fret the second string in the first space (C) with your index finger, and simultaneously in the third space (D) with your pinkie. When you pluck the string with your right hand, only the D will sound, of course. Leaving the index finger in place, pull the pinkie off the string, so it plucks the string again, sounding the C. This produces a legato sound, (search "ligado" on this blog), and also allows you to play the two-note sequence much faster than you otherwise could.
The song was originally written in 2/4 time, but I have re-cast it in 4/8. There is actually no difference, except that it's easier to count in eighth notes. The metronome setting has therefore been increased to 132. To be perfectly faithful to the piano music in the hymnal, it should have been somewhere between 152 - 192, but this just sounds too fast to me. If you are accompanying a singer, 132 would probably be too slow, but if you are playing it as a guitar solo, the speed is not terribly important, anyway.
Both the tune and the lyrics are in the public domain.
We Thank Thee, O God, For a Prophet
This song is unusual, in that it is actually easier to play the melody from the tab than to strum accompaniment from the chords. That’s because strumming it requires frequent, fast chord changes, especially between G7 and F. The tab allows you to simply play the needed note as a melody note, without changing the chord at all, so most of the song is played from the C chord.
There is one barre chord in the entire song, a GIII. Of course, you can substitute a normal G, or use the G7 position, without playing the #1 string, as I do in the rest of the song, but the melody won’t be exactly right. All the G7 chords shown in the tab are actually Gs, but it’s just lots easier to fret the chord as a G7 and leave out the F on the high E string, than it is to change from C to G. I’ve specified the four-string F chord, as it’s easier to play than the full barre F, and the musical difference in this case is not great. But if you can do bar chords easily, the full, six-string F does sound a bit better.
I’ve included all the chord changes needed for strumming accompaniment, in small type, in italics, in brackets, to minimize confusion. You can replace some of the single notes with strummed chords, or pinched chords, for variety, when playing solo. It also makes a lovely duet, with one guitar playing lead, and the other strumming. If you are playing with a more legato* instrument, such as a violin or flute, pinched chords, near the bridge, give a more classical sound.
There are lots of hammer-ons and pull-offs in this song. If you don’t like such ligados*, you can eliminate them, and just play each note normally, but that sounds rather staccato* to my ear. Putting in the ligados did make it somewhat more challenging to write clearly, though. Fourteen of the seventeen measures either begin or end with a ligado that crosses the bar. It was inevitable that at least one of them would also cross from the end of one line to the beginning of the next.
* The term legato comes from Itallian, and refers to the sound of notes that flow into each other. Staccato is its opposite: notes that end abruptly. The phrase, “La-la-la-la-la,” is legato, while, “Dot-dot-dot-dot-dot,” is staccato. These two terms are used in all orchestral, choral, and piano music. Ligado comes from Spanish, like other classical guitar terms, and indicates a hammer-on or a pull-off. These are only two of several popular techniques for producing the legato sound, but those other techniques, such as slides, taps, and harmonics, are never called ligados. Ligados are the only legato techniques used in this song.
Technical stuff:
When I write tab, I indicate ligados by tying the notes together with underscores. Other techniques are indicated in other ways, specific to the technique. Slides are shown by a slash between two notes: a forward slash (/) means slide to a higher note, a back slash (\) means slide to a lower note. Harmonics are indicated by an exclamation point before the note: !12 means to play a harmonic at the twelfth fret, with the string open. Taps are shown by the word Tap, in italics, above the tab. If I don’t have room, I just use the capital T. This can be confusing, because the capital T above the tab is also frequently used by other tab writers to indicate a thumb wrap. I have small hands and a wide-neck guitar, so I never do thumb wraps.
Published by permission of the copyright holder.
There is one barre chord in the entire song, a GIII. Of course, you can substitute a normal G, or use the G7 position, without playing the #1 string, as I do in the rest of the song, but the melody won’t be exactly right. All the G7 chords shown in the tab are actually Gs, but it’s just lots easier to fret the chord as a G7 and leave out the F on the high E string, than it is to change from C to G. I’ve specified the four-string F chord, as it’s easier to play than the full barre F, and the musical difference in this case is not great. But if you can do bar chords easily, the full, six-string F does sound a bit better.
I’ve included all the chord changes needed for strumming accompaniment, in small type, in italics, in brackets, to minimize confusion. You can replace some of the single notes with strummed chords, or pinched chords, for variety, when playing solo. It also makes a lovely duet, with one guitar playing lead, and the other strumming. If you are playing with a more legato* instrument, such as a violin or flute, pinched chords, near the bridge, give a more classical sound.
There are lots of hammer-ons and pull-offs in this song. If you don’t like such ligados*, you can eliminate them, and just play each note normally, but that sounds rather staccato* to my ear. Putting in the ligados did make it somewhat more challenging to write clearly, though. Fourteen of the seventeen measures either begin or end with a ligado that crosses the bar. It was inevitable that at least one of them would also cross from the end of one line to the beginning of the next.
* The term legato comes from Itallian, and refers to the sound of notes that flow into each other. Staccato is its opposite: notes that end abruptly. The phrase, “La-la-la-la-la,” is legato, while, “Dot-dot-dot-dot-dot,” is staccato. These two terms are used in all orchestral, choral, and piano music. Ligado comes from Spanish, like other classical guitar terms, and indicates a hammer-on or a pull-off. These are only two of several popular techniques for producing the legato sound, but those other techniques, such as slides, taps, and harmonics, are never called ligados. Ligados are the only legato techniques used in this song.
Technical stuff:
When I write tab, I indicate ligados by tying the notes together with underscores. Other techniques are indicated in other ways, specific to the technique. Slides are shown by a slash between two notes: a forward slash (/) means slide to a higher note, a back slash (\) means slide to a lower note. Harmonics are indicated by an exclamation point before the note: !12 means to play a harmonic at the twelfth fret, with the string open. Taps are shown by the word Tap, in italics, above the tab. If I don’t have room, I just use the capital T. This can be confusing, because the capital T above the tab is also frequently used by other tab writers to indicate a thumb wrap. I have small hands and a wide-neck guitar, so I never do thumb wraps.
Published by permission of the copyright holder.
He Is Risen
I had intended to publish this for Easter, but somehow filed it in the wrong folder and forgot it, until Jared Hillam sent me this request:
Hi Don,
I've really enjoyed learning your rendition of "A Poor Wayfaring Man of Grief."
I was wondering if you happend to have a tab for "He Has Risen." My wife was playing it on the piano and I thought it would be really neat on the guitar.
Thanks,
Jared Hillam
Well, Jared, thank YOU for reminding me! This is indeed a beautiful song. It goes well with a piano, and makes a fantastic duet with a violin! A piano tends to drown out my classical guitar, but you could play it on an electric guitar, and adjust the volume as needed.
The tab is pretty straightforward, without any special chords or techniques, except you really do need to play the F and G chords as full barre chords, to follow the melody. I especially like the contrast between the pinched chords and the strummed ones. Remember, the GIII chord is just an E, barred at the third fret, and you're in business.
This piece is in the public domain.
Hi Don,
I've really enjoyed learning your rendition of "A Poor Wayfaring Man of Grief."
I was wondering if you happend to have a tab for "He Has Risen." My wife was playing it on the piano and I thought it would be really neat on the guitar.
Thanks,
Jared Hillam
Well, Jared, thank YOU for reminding me! This is indeed a beautiful song. It goes well with a piano, and makes a fantastic duet with a violin! A piano tends to drown out my classical guitar, but you could play it on an electric guitar, and adjust the volume as needed.
The tab is pretty straightforward, without any special chords or techniques, except you really do need to play the F and G chords as full barre chords, to follow the melody. I especially like the contrast between the pinched chords and the strummed ones. Remember, the GIII chord is just an E, barred at the third fret, and you're in business.
This piece is in the public domain.
Teach Me to Walk In the Light
FOR RANK BEGINNERS:
At the top of the page is the title of the hymn, and the hymn number, as found in the LDS hymnal, Hymns. Then follow general instructions, such as “Strum all chords.” This means that anywhere you see a chord in the tablature, it is to be strummed, not plucked or pinched. Individual notes are always plucked unless otherwise instructed.
Each line of music is divided into four separate parts. The top line shows the chord names. They are given only when the chord changes, so the first line of the tab shows the E chord only once, though it is strummed nine times. The B7 chord shown next continues onto the second line, even though it is only shown on the first line, etc. Sometimes, special instructions are also included in this line, such as, slow, or hold.
The next six lines are the actual tablature. Each horizontal line of dashes represents a string of the guitar, with the top one representing the high e-string, the next representing the B-string, etc., as shown at the beginning of the tab. I usually omit the names of the strings when writing tab, unless they are tuned in a non-standard tuning, but I put them in on this song, for the use of true beginners.
In reading tablature (tab for short), the strings are fretted where the numbers indicate the proper fret: 1 = the first fret, etc. A zero -- 0 -- indicates the string is to be played “open” (unfretted). If there is no number on the string, do not play it. Vertical lines indicate measures, as in traditional music.
The next line is the lyrics of the song. Since the purpose of the tablature is to teach how to play a guitar instrumental solo, only the first verse of the song is included, for those who are familiar with it, to help them know where they are in the song.
The bottom line contains the time count, or tempo. This song is in “three-four” time, meaning that each measure contains three beats, and the first beat of each measure is accented by being played a bit louder than the others: ONE two three; ONE two three, etc. The accented beats are shown in bold face type. In general, each beat is accompanied by either a strummed chord or a plucked note, except for the last measure of each line, where the chord is strummed and allowed to ring through the other two beats, which are counted, but not played. This is shown by placing the other two beats in parentheses: (2 3). In the last line, the third beat of the first measure is also treated this way, and is shown in parentheses, too: (3) .
The next-to-last measure is also counted differently. There are six notes in the measure, but they are “eighth notes”, instead of the “quarter notes” that make up the rest of the song. The measure takes exactly the same length of time as the other measures, because the notes are played twice as fast. To count these notes, count the last two measures, “ONE-and-two-and-three-and-ONE, (two, three)”. The beat remains steady.
All but the very last note of the next-to-last measure can be easily played by simply strumming an E chord slowly, so each string sounds separately. You’ll have to stretch your pinkie to reach that note in the 4th fret, or else, let your hand slide slightly up the neck of the guitar, hit the note, then slide right back down to play the E chord.
Chord charts are shown at the end of the song. If you don’t know how to play a chord, the chord charts show you how. The vertical lines represent the guitar strings, and the horizontal lines show the frets. The top line shows the nut of the guitar, with Xs above strings that are not played. Finger positions are usually shown with zeros, or large, black dots, but I have used numbers to indicate which finger is placed where: 1 = the index finger, 2 = the middle finger, 3 = the ring finger, and 4 = the pinky.
I have tried to arrange the song so it would be as easy as possible to play, since I’m arranging it for my seven-year-old student, Meylin. If you are really a rank beginner, start by just strumming the chords as shown in the counting line, until you can make the chord changes without missing a beat. Only then should you try to learn how to put in the melody notes.
Most of the notes are part of the chords, and can be played just by selecting the proper string. Some of the notes are different, though. In the first line, a couple of the “extra” notes in the second fret can be reached just by flattening the left hand across the strings. Others need to be added with the pinky. In the third line, the E chord can be changed to an E7 just by lifting the 3rd finger. Replace it to hit the third note in the next measure.
This song is not in the public domain, but I have received written permission of the copyright owner (The Church of Jesus Christ of Latter-Day Saints) to publish it in this format, for personal or incidental, non-commercial home or church use.
At the top of the page is the title of the hymn, and the hymn number, as found in the LDS hymnal, Hymns. Then follow general instructions, such as “Strum all chords.” This means that anywhere you see a chord in the tablature, it is to be strummed, not plucked or pinched. Individual notes are always plucked unless otherwise instructed.
Each line of music is divided into four separate parts. The top line shows the chord names. They are given only when the chord changes, so the first line of the tab shows the E chord only once, though it is strummed nine times. The B7 chord shown next continues onto the second line, even though it is only shown on the first line, etc. Sometimes, special instructions are also included in this line, such as, slow, or hold.
The next six lines are the actual tablature. Each horizontal line of dashes represents a string of the guitar, with the top one representing the high e-string, the next representing the B-string, etc., as shown at the beginning of the tab. I usually omit the names of the strings when writing tab, unless they are tuned in a non-standard tuning, but I put them in on this song, for the use of true beginners.
In reading tablature (tab for short), the strings are fretted where the numbers indicate the proper fret: 1 = the first fret, etc. A zero -- 0 -- indicates the string is to be played “open” (unfretted). If there is no number on the string, do not play it. Vertical lines indicate measures, as in traditional music.
The next line is the lyrics of the song. Since the purpose of the tablature is to teach how to play a guitar instrumental solo, only the first verse of the song is included, for those who are familiar with it, to help them know where they are in the song.
The bottom line contains the time count, or tempo. This song is in “three-four” time, meaning that each measure contains three beats, and the first beat of each measure is accented by being played a bit louder than the others: ONE two three; ONE two three, etc. The accented beats are shown in bold face type. In general, each beat is accompanied by either a strummed chord or a plucked note, except for the last measure of each line, where the chord is strummed and allowed to ring through the other two beats, which are counted, but not played. This is shown by placing the other two beats in parentheses: (2 3). In the last line, the third beat of the first measure is also treated this way, and is shown in parentheses, too: (3) .
The next-to-last measure is also counted differently. There are six notes in the measure, but they are “eighth notes”, instead of the “quarter notes” that make up the rest of the song. The measure takes exactly the same length of time as the other measures, because the notes are played twice as fast. To count these notes, count the last two measures, “ONE-and-two-and-three-and-ONE, (two, three)”. The beat remains steady.
All but the very last note of the next-to-last measure can be easily played by simply strumming an E chord slowly, so each string sounds separately. You’ll have to stretch your pinkie to reach that note in the 4th fret, or else, let your hand slide slightly up the neck of the guitar, hit the note, then slide right back down to play the E chord.
Chord charts are shown at the end of the song. If you don’t know how to play a chord, the chord charts show you how. The vertical lines represent the guitar strings, and the horizontal lines show the frets. The top line shows the nut of the guitar, with Xs above strings that are not played. Finger positions are usually shown with zeros, or large, black dots, but I have used numbers to indicate which finger is placed where: 1 = the index finger, 2 = the middle finger, 3 = the ring finger, and 4 = the pinky.
I have tried to arrange the song so it would be as easy as possible to play, since I’m arranging it for my seven-year-old student, Meylin. If you are really a rank beginner, start by just strumming the chords as shown in the counting line, until you can make the chord changes without missing a beat. Only then should you try to learn how to put in the melody notes.
Most of the notes are part of the chords, and can be played just by selecting the proper string. Some of the notes are different, though. In the first line, a couple of the “extra” notes in the second fret can be reached just by flattening the left hand across the strings. Others need to be added with the pinky. In the third line, the E chord can be changed to an E7 just by lifting the 3rd finger. Replace it to hit the third note in the next measure.
This song is not in the public domain, but I have received written permission of the copyright owner (The Church of Jesus Christ of Latter-Day Saints) to publish it in this format, for personal or incidental, non-commercial home or church use.
I Need Thee Every Hour
The chords are pretty standard, except for C9, which is just a normal C chord with the D note added with the little finger. Try to use the full barre chords if you can, as they emphasize the melody. The final measure, ending in C VIII, is just an E chord, barred at the 8th fret. This is much easier to do than it appears, as the frets are so much closer together at the top end of the fretboard.
Note that chords with a wavy line to the left are to be strummed, while others, without the wavy line of slashes, are to be pinched. Of course, you can strum them all or pinch them all if you wish, but playing it this way adds variety to the sound of what otherwise would be a rather simple song.
Public Domain.
Note that chords with a wavy line to the left are to be strummed, while others, without the wavy line of slashes, are to be pinched. Of course, you can strum them all or pinch them all if you wish, but playing it this way adds variety to the sound of what otherwise would be a rather simple song.
Public Domain.
Come, Ye Children of The Lord
Two versions-- one easy, one somewhat harder. Oddly enough, though I arranged both versions, and have labeled the harder one "performance version", I like the easy one best. It uses plain, easy chords, all strummed, with the melody picked out in single notes, making it perfect for picking out on a steel-string flat-top. Which I seldom do. So seldom that I gave away my old flat-top some years ago, and don't often miss it.
In either version, you can hit the D note after the F chord with the little finger, a lick that repeats a few times. There's also a repeating lick where you have to hit the A note on the G string from a C chord, which you do by briefly flattening the middle finger, to catch the A, then immediately returning to the C chord.
If you're accompanying singers, definitely use the "easy" version, as the "performance" version has too much other stuff going on, and would either confuse the singers, or distract the audience.
The "performance" version is actually closer to the sheet music printed in the hymnal, which it follows almost perfectly. But frankly, I think it sounds better on the piano or organ than on the guitar.
In either version, you can hit the D note after the F chord with the little finger, a lick that repeats a few times. There's also a repeating lick where you have to hit the A note on the G string from a C chord, which you do by briefly flattening the middle finger, to catch the A, then immediately returning to the C chord.
If you're accompanying singers, definitely use the "easy" version, as the "performance" version has too much other stuff going on, and would either confuse the singers, or distract the audience.
The "performance" version is actually closer to the sheet music printed in the hymnal, which it follows almost perfectly. But frankly, I think it sounds better on the piano or organ than on the guitar.
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