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 transitions. Show all posts
Showing posts with label easy transitions. Show all posts
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.
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.
Nearer, My God, to Thee
The Legend:
It is said that a string quartet played this hymn on the deck of the sinking Titanic. The musicians did not survive, and there are conflicting reports about exactly which hymn they did play, but there is pretty universal agreement that they did play a hymn, and it might very well have been this one, as it has long been a favorite, and would certainly have been appropriate.
The Music:
It's really a simple tune, with only three chords. I use the barred G chord, because it makes the notes come out in the right register. I also like to include a lot of "fill" notes. If you just want the melody, play only the notes directly above a written syllable of the lyrics. All the rest are fill. It's easy, and it's in the Public Domain.
It is said that a string quartet played this hymn on the deck of the sinking Titanic. The musicians did not survive, and there are conflicting reports about exactly which hymn they did play, but there is pretty universal agreement that they did play a hymn, and it might very well have been this one, as it has long been a favorite, and would certainly have been appropriate.
The Music:
It's really a simple tune, with only three chords. I use the barred G chord, because it makes the notes come out in the right register. I also like to include a lot of "fill" notes. If you just want the melody, play only the notes directly above a written syllable of the lyrics. All the rest are fill. It's easy, and it's in the Public Domain.
Ghost Riders In the Sky / Ghost Chickens in the Sky
This is my version of the Burl Ives cover of this song, which involves chords, not the flat-picked version more suitable for electric guitars. It works well for accompanying a singer, as rhythm, but not as a guitar solo, unlike practicaly all my other postings. I include it, only because I love it. I love the Christian message, the beat, and the tune. The chords are easy-- so easy in fact that you can hammer-on the entire chord, which is well, as that's what gives the song its beat. If you can't do the hammer-ons, you can still play the song without them, but it won't sound as good.
The chart may be a little unclear about the ending. The first chorus ends, "Ghost herd in the sky!" Second time, it's "Ghost riders in the sky!" Third time, it's "ghost herd in the sky," descending to a very low E note on "sky." Then repeat, "ghost riders in the sky," rising to and hitting the high E on "sky" (two octaves higher than the low E) and holding it. There's a transition measure between the end of the chorus and the beginning of the next verse, except for the last time.
After the chart and the lyrics, there's a Scout version, which cub scouts especially love. Play it straight, try not to laugh, or even crack a smile, and the young boys will just die laughing. Older kids will laugh, too, but they'll be laughing AT you. When performing for older kids, I play up to this by flapping my elbows on the chorus: Pok, pa-pok, POK; Pok, pa-pok, POK! If you can do it without laughing, you're better than I am! Don't try it unless you don't mind looking truly ridiculous!
Both versions are in the public domain.
The chart may be a little unclear about the ending. The first chorus ends, "Ghost herd in the sky!" Second time, it's "Ghost riders in the sky!" Third time, it's "ghost herd in the sky," descending to a very low E note on "sky." Then repeat, "ghost riders in the sky," rising to and hitting the high E on "sky" (two octaves higher than the low E) and holding it. There's a transition measure between the end of the chorus and the beginning of the next verse, except for the last time.
After the chart and the lyrics, there's a Scout version, which cub scouts especially love. Play it straight, try not to laugh, or even crack a smile, and the young boys will just die laughing. Older kids will laugh, too, but they'll be laughing AT you. When performing for older kids, I play up to this by flapping my elbows on the chorus: Pok, pa-pok, POK; Pok, pa-pok, POK! If you can do it without laughing, you're better than I am! Don't try it unless you don't mind looking truly ridiculous!
Both versions are in the public domain.
Softly and Tenderly, Jesus is Calling
By Will Thompson, but in public domain. One of the best-beloved hymns of the English-speaking world.
The Legend:
When world-renowned evangelist Michael Moody lay on his death-bed, he called his friend Will Thompson to his side, and whispered, "Will, I would rather have written "Softly and Tenderly" than anything I have done." The song holds a prominent place in nearly every Protestant hymnal in the world, and has been translated into many languages. Nearly every Gospel recording artist has covered it, but perhaps the best-known version (and my personal favorite) was done by Elvis Presley.
The Tablature:
Play this song SLOWLY! The melodies and harmonies are sweet, but if the bar chords are too much for you, play just the first 4 strings, and it'll still sound good. You can also leave out the ligados (hammer-ons and pull-offs) and the tremolo at the end, if you don't know how to do them. For those who just want the absolute basics, you can also leave out the last three notes in the first line, holding the G chord for two measures, to compensate.
This song sounds good on any kind of guitar, from classical to electric. You can play the tab as a solo by itself, or as an introduction or a bridge if accompanying a singer. For accompaniment, I have found it very effective to just strum the chords at the beginning of each measure, holding each chord for a full count of 3, while letting the voice carry the melody. I also like to use the guitar solo for a fourth verse, or sometimes let the guitar solo carry one or more of the choruses. This song has lots of possibilities!
The Legend:
When world-renowned evangelist Michael Moody lay on his death-bed, he called his friend Will Thompson to his side, and whispered, "Will, I would rather have written "Softly and Tenderly" than anything I have done." The song holds a prominent place in nearly every Protestant hymnal in the world, and has been translated into many languages. Nearly every Gospel recording artist has covered it, but perhaps the best-known version (and my personal favorite) was done by Elvis Presley.
The Tablature:
Play this song SLOWLY! The melodies and harmonies are sweet, but if the bar chords are too much for you, play just the first 4 strings, and it'll still sound good. You can also leave out the ligados (hammer-ons and pull-offs) and the tremolo at the end, if you don't know how to do them. For those who just want the absolute basics, you can also leave out the last three notes in the first line, holding the G chord for two measures, to compensate.
This song sounds good on any kind of guitar, from classical to electric. You can play the tab as a solo by itself, or as an introduction or a bridge if accompanying a singer. For accompaniment, I have found it very effective to just strum the chords at the beginning of each measure, holding each chord for a full count of 3, while letting the voice carry the melody. I also like to use the guitar solo for a fourth verse, or sometimes let the guitar solo carry one or more of the choruses. This song has lots of possibilities!
O My Father
Here it is, just in time for Father's Day! The beautiful lyrics by Eliza R. Snow are in the public domain. It's a bit late for Sister Snow to object, but I doubt she would mind. Don't let the unusual tempo throw you. The music is easy to play.
The time signature of the original, as published in the old, blue hymnal, was 9/8, a difficult tempo for pianists to read, though not really difficult to play. For those who are purists, it should be counted something like this:
ONE, two, three; FOUR, five, six; SEVEN, eight, nine. The major accent falls on the first note of the measure, with minor accents on the fourth and seventh notes.
In the new, green hymnal, it was rewritten in 3/4 time, with a triplet at the end of virtually every measure. This may make it easier for pianists, but all the triplets are confusing in guitar tab. I have divided each measure of the original 9/8 score into three measures of 3/8 tempo for clarity. It sounds just like regular, old 3/4 time, except twice as fast. All the notes are eighth notes, which makes it very easy for guitarists to play.
The downbeat begins at the word, “father.” Thereafter, every three measures of 3/8 time equals one of the original 9/8 measures. Every syllable that begins one of the original 9/8 measures is printed in bold face type. Emphasize these notes just a little stronger than the lead notes of the other measures, to restore the subtle rhythm of the original 9/8 tempo.
Use strong tremolo on the final note. It'll sound gorgeous.
The time signature of the original, as published in the old, blue hymnal, was 9/8, a difficult tempo for pianists to read, though not really difficult to play. For those who are purists, it should be counted something like this:
ONE, two, three; FOUR, five, six; SEVEN, eight, nine. The major accent falls on the first note of the measure, with minor accents on the fourth and seventh notes.
In the new, green hymnal, it was rewritten in 3/4 time, with a triplet at the end of virtually every measure. This may make it easier for pianists, but all the triplets are confusing in guitar tab. I have divided each measure of the original 9/8 score into three measures of 3/8 tempo for clarity. It sounds just like regular, old 3/4 time, except twice as fast. All the notes are eighth notes, which makes it very easy for guitarists to play.
The downbeat begins at the word, “father.” Thereafter, every three measures of 3/8 time equals one of the original 9/8 measures. Every syllable that begins one of the original 9/8 measures is printed in bold face type. Emphasize these notes just a little stronger than the lead notes of the other measures, to restore the subtle rhythm of the original 9/8 tempo.
Use strong tremolo on the final note. It'll sound gorgeous.
Called to Serve
Public domain. This is about as close to the version in the hymnal as I can get it, with no extra notes. It's a fun tune to play! Written in the key of C major, too, so the chords are easy, too. Sounds good on an electric guitar, with lots of fuzz.
Upon the Cross of Calvary
Public Domain. I transposed it into C, because it's hard for me to play in G. I got tendinitis in my left hand from playing with a bent wrist. That's why your guitar teacher won't let you look at your guitar while playing-- it makes you bend your wrist, and causes tendinitis, down the road. Now, my ring finger tends to lock when I play too many G chords. So I use a lot of barred Gs, which don't make my finger lock up. My cross to bear. But this song is about the real cross, borne by the Savior.
I've written it three ways, which can be used as separate versions, or combined as verses. The first, mostly chords, sounds good on a flat-top guitar, played with a pick, or on a classical guitar, strummed with the thumb. The second one cannot be played with a pick, but sounds really "classical" when pinched, especially if you use the fingernails or finger picks. Play it near the bridge for an even more brilliant sound.
The third verse includes lots of "extra" notes to emphasize the 8/8 tempo. I like playing in 8/8, as all the notes are the same length. The "extra" notes are mostly drones in the bass. You can leave out any of them you like, but remember to lengthen the other notes, or the tempo will suffer.
If all you want is the melody, play the 3rd version, except:
1. Leave out all the notes on the 4th, 5th and 6th strings (the drones)
2. Play only the 1st and 7th notes in the 5th measure (GIII)
3. In the next-to-last measure, play only the 1st, 3rd, 5th, and 7th notes
4. In the final measure, play only the 1st note.
This is actually a pretty easy hymn to play. If the CIII chord gives you trouble, you can substitute a regular C chord, but it'll make the transition to the next chord harder-- that's why I used the barre chord.
I've written it three ways, which can be used as separate versions, or combined as verses. The first, mostly chords, sounds good on a flat-top guitar, played with a pick, or on a classical guitar, strummed with the thumb. The second one cannot be played with a pick, but sounds really "classical" when pinched, especially if you use the fingernails or finger picks. Play it near the bridge for an even more brilliant sound.
The third verse includes lots of "extra" notes to emphasize the 8/8 tempo. I like playing in 8/8, as all the notes are the same length. The "extra" notes are mostly drones in the bass. You can leave out any of them you like, but remember to lengthen the other notes, or the tempo will suffer.
If all you want is the melody, play the 3rd version, except:
1. Leave out all the notes on the 4th, 5th and 6th strings (the drones)
2. Play only the 1st and 7th notes in the 5th measure (GIII)
3. In the next-to-last measure, play only the 1st, 3rd, 5th, and 7th notes
4. In the final measure, play only the 1st note.
This is actually a pretty easy hymn to play. If the CIII chord gives you trouble, you can substitute a regular C chord, but it'll make the transition to the next chord harder-- that's why I used the barre chord.
All Creatures of Our God and King--easy version
Similar to the previous post, but without any barre chords, unless you count the two-string barre on the F. Only one even slightly tricky transition is in the 15th measure, where you may have to stretch a bit more than you are used to, to hit the C# in the IV space on the second string with your little finger. Sorry! The note is necessary to the melody, and there's no easier way to play it. If it gives you trouble, try using a capo at the III or IV space, where the frets are noticeably closer together. This will minimize the reach needed, and also make it easier to sing along, as the capo in the IV space puts the song back into the original key of Eb.
This song was written five hundred years ago by St. Francis of Assisi, so the copyright has definitely expired. Enjoy!
This song was written five hundred years ago by St. Francis of Assisi, so the copyright has definitely expired. Enjoy!
All Creatures of Our God and King
Here's one for you guitarists who don't like a lot of "extra" notes. There a NO extra notes here. It may look difficult at first because of the many barre chords. Actually, this is what makes it easy. There are only three basic chords in the whole song: C, E, and A, plus barred versions of them, and a few with very slight variations, such as lifting up the little finger to convert a barred E into an E7. These three basic chords patterns convert into nine different chords when barred in different positions, allowing beautiful chord progressions and easy transitions.
A few specifics:
The tempo is 3/2, and the notes have different values. If you don't know the song, you'll have to follow along in the hymnal to get the timing right. Better yet, go to LDS.org, find the music site, and change the key to C, then print.
5th measure: just slide the barring finger from the VIII position to VII, then to V for the F chord in the next measure. Repeat in the 6th and 7th measures, and again in the 13th and 14th measures and the 14th and 15th.
8th measure: flatten the middle finger of the left hand to fret the "10" notes on the third string. Repeat in the 10th measure.
16th measure: be sure to stop the strum after playing the second string, as the next note is the final note of the strum, and it must be perceived as a separate note, and not as part of the strum. It wouldn't hurt to slow down here.
Last measure: hold as long as you can; unless you are playing an electric guitar, it won't be long enough, because of the weird time signature. You're trying for SIX quarter-notes. Even my Cervantes won't sustain that long.
This song was written by St. Francis of Assisi about five hundred years ago, and is definitely in the public domain.
A few specifics:
The tempo is 3/2, and the notes have different values. If you don't know the song, you'll have to follow along in the hymnal to get the timing right. Better yet, go to LDS.org, find the music site, and change the key to C, then print.
5th measure: just slide the barring finger from the VIII position to VII, then to V for the F chord in the next measure. Repeat in the 6th and 7th measures, and again in the 13th and 14th measures and the 14th and 15th.
8th measure: flatten the middle finger of the left hand to fret the "10" notes on the third string. Repeat in the 10th measure.
16th measure: be sure to stop the strum after playing the second string, as the next note is the final note of the strum, and it must be perceived as a separate note, and not as part of the strum. It wouldn't hurt to slow down here.
Last measure: hold as long as you can; unless you are playing an electric guitar, it won't be long enough, because of the weird time signature. You're trying for SIX quarter-notes. Even my Cervantes won't sustain that long.
This song was written by St. Francis of Assisi about five hundred years ago, and is definitely in the public domain.
Christ the Lord Is Risen Today
An easy one, in time for Easter. There are no hard chords in this song. No barre chords. Chord changes are easy, as long as you can do hammer-ons, pull-offs, and slides. The only remotely hard parts come in the last two Hallelujahs, and the first measure of the last line, with multiple hammer-ons and pull-offs in each of the three measures. But they are all easy ones. Play them slowly, until you get the hang of playing the strings with the left hand, then speed up gradually.
This song sounds especially good with a crisp, bright sound. Play it close to the bridge, and use your fingernails, or finger picks, if you don't have nails, for a clear, crisp, "classical guitar" sound. This song is in the public domain, though I reserve copy rights to my arrangement and tablature. If you reproduce it, please give me credit.
This song sounds especially good with a crisp, bright sound. Play it close to the bridge, and use your fingernails, or finger picks, if you don't have nails, for a clear, crisp, "classical guitar" sound. This song is in the public domain, though I reserve copy rights to my arrangement and tablature. If you reproduce it, please give me credit.
Lead Kindly Light
In the Dominican Republic, where we served our mission, there’s a beautiful, limestone cavern called The Cave of Marvels. The underground, half-mile path winds through stunning rock formations and ancient Indian rock paintings. To preserve the colors, the lights in the cavern must remain off as much as possible. So, the developers installed timers to turn the lights off behind you, and motion sensors to turn them on ahead of you. If you keep walking, you will remain in the light, but if you stop, the lights turn off, and you find yourself in complete darkness. Underground, in an enclosed cavern, the darkness is absolute, even at noonday in the tropics. But if you take a step or two into the dark, the lights come on. Then you can see the path ahead, and the marvelous colors that give the cavern its name. Now, that’s faith. Sometimes, you have to take a step or two into the dark before you can see the path ahead. I always think of The Cave of Marvels when I hear this song, or play it.
Lead Kindly Light is in the public domain, and is well-beloved by Christians of all stripes. Play it slowly, with a lot of expression. The link actually contains two versions. The first is mostly strummed, with a few single notes to bring out the melody, and is very easy to play. The second version is pattern-picked. I like to play them as two verses, or even as three by repeating the first verse at the end. The F chord in the last line of the second verse should be slow-strummed. I like to use a flamenco strum: strum all six strings with all four fingers of the right hand, little finger first, then ring finger, middle finger, and index finger, in rapid succession, with the accent on the index finger. Rotate the hand while doing this, so it comes out as a single, long strum. It takes practice. This song also sounds good when played on the autoharp, or when played as a duet with flute, clarinet, or violin.
Lead Kindly Light is in the public domain, and is well-beloved by Christians of all stripes. Play it slowly, with a lot of expression. The link actually contains two versions. The first is mostly strummed, with a few single notes to bring out the melody, and is very easy to play. The second version is pattern-picked. I like to play them as two verses, or even as three by repeating the first verse at the end. The F chord in the last line of the second verse should be slow-strummed. I like to use a flamenco strum: strum all six strings with all four fingers of the right hand, little finger first, then ring finger, middle finger, and index finger, in rapid succession, with the accent on the index finger. Rotate the hand while doing this, so it comes out as a single, long strum. It takes practice. This song also sounds good when played on the autoharp, or when played as a duet with flute, clarinet, or violin.
Love One Another
This song is NOT in the public domain. The author has kindly given permission for readers of Hymns to copy and use her song "for incidental, non-commercial church or home use." Please do not abuse the privilege.
This song is very easy to play. It's short, simple, and beautiful, and has already become one of the defining hymns of the Latter-Day Saints. I have tried to retain these qualities in my tabbed guitar solo, even though it does not follow the piano music exactly. The piano music says to play it "reverently." For guitarists, I translate this as slowly and smoothly. It also sounds really nice when played crisply, using the fingernails, classical guitar style. You can get a similar effect using plastic finger picks, if you don't have the time or ability to grow and harden your fingernails. This arrangement also sounds very good as a duet with a flute or violin.
The song is very easy to play. All the notes are eighth notes, and all the chords are easy and basic, with the sole exception of the G* chord, which is a standard G chord, but with the second string fretted at the third fret, instead of the first string. (Don't play the first string at all in this chord.) This chord is actually easier to play than a standard G, and brings out the melody nicely, too.
This song is very easy to play. It's short, simple, and beautiful, and has already become one of the defining hymns of the Latter-Day Saints. I have tried to retain these qualities in my tabbed guitar solo, even though it does not follow the piano music exactly. The piano music says to play it "reverently." For guitarists, I translate this as slowly and smoothly. It also sounds really nice when played crisply, using the fingernails, classical guitar style. You can get a similar effect using plastic finger picks, if you don't have the time or ability to grow and harden your fingernails. This arrangement also sounds very good as a duet with a flute or violin.
The song is very easy to play. All the notes are eighth notes, and all the chords are easy and basic, with the sole exception of the G* chord, which is a standard G chord, but with the second string fretted at the third fret, instead of the first string. (Don't play the first string at all in this chord.) This chord is actually easier to play than a standard G, and brings out the melody nicely, too.
Devoted to You
by Felice and Boudleaux Bryant. The Everly Brothers' classic 1958 cover of this song topped the Billboard charts in three categories: Pop, Country, and R&B. This is my tabbed version. The original is NOT in the public domain, but I have not been able to track down any source for sheet music, so I feel justified in publishing my own version. If you know how to contact the copyright owners, let me know.* Please remember, these tabs may be used only for personal, non-commercial performance!
Happy Valentine's Day! This song is dedicated to my wife Barbara, my only and forever valentine. While not specifically LDS, the message of eternal love fits perfectly with the Gospel principle of Eternal marriage. Because the song is not in the public domain, I have included only a few of the lyrics-- just enough to establish where you are in the song. If you don't know the song, lyrics are available from any lyrics website.
The first two measures are introduction only; the verse starts in bar three with, "Darling, you can count on me..." and continues through the refrain. At this point, the music returns to the beginning of the verse, with "Through the years...", etc. At the end of this verse, after the phrase, "Devoted to you," there is a finale consisting of a reprise of the introduction. This is a sweet, delicate song; play it slowly, quietly, and crisply.
The GIII barre chords are necessary to bring out the melody; a regular G chord won't work. Fret them by playing an E barred at the third fret. If you are not familiar with my barre chord notation (GIII, for example), please see the link About the tablature.
* If you are the copyright owner please contact me immediately at d.fallick@hotmail.com or by leaving a comment here, or both. It is not my intention to violate your intellectual property rights. I will remove this post immediately, if you wish.
Happy Valentine's Day! This song is dedicated to my wife Barbara, my only and forever valentine. While not specifically LDS, the message of eternal love fits perfectly with the Gospel principle of Eternal marriage. Because the song is not in the public domain, I have included only a few of the lyrics-- just enough to establish where you are in the song. If you don't know the song, lyrics are available from any lyrics website.
The first two measures are introduction only; the verse starts in bar three with, "Darling, you can count on me..." and continues through the refrain. At this point, the music returns to the beginning of the verse, with "Through the years...", etc. At the end of this verse, after the phrase, "Devoted to you," there is a finale consisting of a reprise of the introduction. This is a sweet, delicate song; play it slowly, quietly, and crisply.
The GIII barre chords are necessary to bring out the melody; a regular G chord won't work. Fret them by playing an E barred at the third fret. If you are not familiar with my barre chord notation (GIII, for example), please see the link About the tablature.
* If you are the copyright owner please contact me immediately at d.fallick@hotmail.com or by leaving a comment here, or both. It is not my intention to violate your intellectual property rights. I will remove this post immediately, if you wish.
Do What Is Right
I love this song, partly because it is so easy to play that it just seems to come naturally. This version is good for beginners. Only standard chords are used, except that G is fretted: 32003x, to bring out the melody. It's not a great change from the standard G. I like to use the full-barre F, but it's not necessary; the four-string F will also work. There are no hammer-ons, pull-offs, slides, tremolos, or harmonics, just simple, standard guitar picking. But it still sounds good. The two-note chords are called pinches, and are always played with the thumb and middle finger of the right hand. They are necessary for the changing emphasis that gives the piece its slightly syncopated rhythm.
In this song, I have departed from my practice of following the layout as printed in Hymns. It's definitely in public domain, so the included lyrics can help even a neophyte keep his or her place. By adding one measure per line, I was able to keep the whole song on a single page. This makes it easier to use the print-out when practicing.
In this song, I have departed from my practice of following the layout as printed in Hymns. It's definitely in public domain, so the included lyrics can help even a neophyte keep his or her place. By adding one measure per line, I was able to keep the whole song on a single page. This makes it easier to use the print-out when practicing.
Etude in Am by Don Fallick
Happy Birthday to me! Herewith, one of the few original songs I've ever written. It was inspired by the first four notes of Greensleeves, but uses a very different chord progression, and is meant to be played considerably faster. Sounds best if played with the fingernails, classical style, or use the lower end of the strings, for a twangy sound. Easy Intermediate level. Uses standard chords and barre chords (F, G, and Am only), with only a couple of hammer-ons.
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