Don’t let the chord names fool you! This is not a particularly hard song. In fact, there are really only four chords: a couple of barred E-shapes, a couple of barred A-shapes, C, and G7. There are some quick chord changes, but the barre chords make them really easy. Just move your hand along the neck without changing the chord shape. (Lift your fingers completely off the strings to avoid that annoying scraping noise.)
The pattern pick is also easy: groups of three notes, with lots of repetition. Yes, it’s fairly fast, and there are lots of fill notes, but they are all in the original music as published in The Children’s Songbook.
The time signature is also unususal, but is also in the original, and actually makes the playing easier for the guitar. I could have recast it as 6/8, 3/8, or even as 4/4, with four triplets per measure. All would have been more confusing than the 12/8 tempo as originally written. Just remember that each measure contains four groups of three notes each, with the stress on the first note of each group, and you’ll do fine. The lyrics naturally stress the lines properly.
I have replaced the introduction in the book with my own. If you don’t like it, you are free to replace my introduction with whatever you feel works better. My intro is just arpeggios in C. It’s brief, to give the audience just enough time to get used to the rhythm, without overwhelming the rather simple melody line. The only difficult part of the introduction comes right at the end, when you have to switch from leading with your right thumb to leading with your right middle finger, ring finger, etc. (bass lead to treble lead).
The tab is straightforward and needs no explanation, for the most part. An exception is at the end of the third line. I have specified the GIII chord, rather than the normal G, because it makes for a very fast chord change to the CVIII chord that starts the next phrase. Both chords are just barred E-shapes, so all you have to do is move your hand from the III position to the VIII position. This would be a much harder chord change if you also had to change fingering at the same time.
In the first measure of the fourth line, you’‘ll have to stretch your left pinkie two frets up the neck to hit the high B at the 12th fret. Don’t worry, the frets are really close together in this part of the neck, and the stretch isn’t difficult.
The FVIII in the next measure is just a barred A-shape, one of the most standard barre chords around. Fret it the same way you would fret an A-shape in the III space, because you’ll be going there soon. The FVIII to CIII transition is accomplished by maintaining the finger shape and moving the entire hand along the neck, similar to the E-shape transition in the third line.
There’s another pinkie stretch in the first measure of the finale. This time, it’s only one fret, so even though the frets are farther apart near the nut, it’s not as great a stretch as the one at the 12th fret. You will have to switch back to thumb lead in the next measure. The arpeggios which make up the last 1-1/2 measures of the verse are all exactly the same. Then go right to the beginning of the first measure in the next verse, skipping the Introduction.
The finale of the last verse is NOT the same. The first measure is identical to the corresponding measures of Verses 1 and 2, but the arpeggios are different, as is the ending. Slow down for the final three notes and chord. You may substitute a C/G chord final C, if you wish, by fretting the #6 string with your pinkie in the 3rd space while playing the C chord. This gives it a fuller sound.
This song is not in the public domain. The copyright is held by the Church of Jesus Christ of Latter-Day Saints. The guitar arrangement and tablature are mine.
Showing posts with label hammer-ons and pull-offs. Show all posts
Showing posts with label hammer-ons and pull-offs. Show all posts
Come, O Thou King of Kings-- two versions
Another favorite from the pen of pioneer apostle Parley P. Pratt, who also wrote the lyrics to “The Morning Breaks”, “An Angel from On High”, and “Jesus, Once of Humble Birth”, as well as several other popular LDS hymns, Most were written as poems while traveling to England for one of his many missions. The date and specific provenance of “Come, O Thou King of Kings” are unknown, but Elder Pratt wrote all of these hymns as poems, and is not responsible for the tunes of any of the above, just the lyrics.
This is an easy song to play on the guitar. I include two versions: one for beginning to intermediate guitarists, and another, even simpler, for absolute beginners. The simplified version contains only four chords: C, G, G7, and a three-string version of F with no notes on the 1st string, thus avoiding any need to barre. It does contain hammer-ons and pull-offs, but they are easy ones, making this arrangement a good one for learning those techniques.
As simple as this version is, it contains the full melody, in both parts, as well as a few strummed chords for rhythm. There is no finger-picking or pattern-picking. It could also be flat-picked.
The more difficult version contains barre chords and a few alternate voicings. It also contains slightly more complex riffs, a bent note, and a final verse featuring a pattern-picked fill. The chord changes are a bit harder, but any intermediate guitarist should have no trouble with this tab. Only the final measure on the first page is at all unusual; it includes a slow-strummed FI chord that takes up two beats. Both versions are so easy that no specific instructions should be needed by any but a true beginner.
For true beginners
1. Please use the Simplified version until you can play it well, then advance to the more complex version. It will be much easier to learn that way.
2. Reading the tab: each line of the tab represents one string of the guitar; the numbers show which fret needs to be fretted with the left hand. Right hand fingering is not shown. Generally, the two bass strings (E and A) are played with the thumb; the D-string is played with the index finger, the G-string with the middle finger, the B-string with the ring finger, and the e-string with the pinkie. Chords are shown by placing two or more notes in line vertically. A wiggly vertical line to the left of the chord means to strum it with the right thumb. For convenience, I have placed the name of the chord above the place where you need to change your left hand position, even if you don’t actually strum the chord until later. Hold the hand position until a different chord is called for.
3. Ligados: underscores between two notes indicate you are to hammer-on or pull-off from the first note to play the second. For example, in the second measure, you twice have to pull-off a note that is fretted in the first fret. Play the first note in the first fret normally, then pluck the string with the fretting finger of the left hand, producing two notes in succession that sound like they are tied together. (Ligado is the Spanish word for tied.) This is called a pull-off, and produces a falling tone sequence. In the fourth measure, you have to produce two rising ligado notes. Play the note on the open string, then hammer down the tip of the index finger in the first space. This is called a hammer-on. These techniques are very common in fingerstyle guitar.
4. Melody notes: Occasionally, you will need to add a note that is not in the chord you are playing, in order to play the melody. The final two notes of the second line are such. In general, you will fret melody notes in the first space with the index finger, in the second space with the middle finger, and in the third space with the ring finger. Such “finger dancing” may feel uncomfortable. After a bit of practice, it will begin to feel natural, and will keep your fingers from colliding.
5. Combining techniques: In the last line you need to combine techniques. Play the G chord normally, lift the ring finger of the left hand to play the e-string open, replace it to play the G note in the third space on the e-string, then pull it off to sound the string open. The first time you do this, it will feel weird to pull-off with your ring finger. Do it that way anyway-- it will strengthen that finger. In more advanced music, you will often use that finger for advanced techniques.
6. Counting tempo: This hymn was written in 4/4 time, but most of the notes are actually eighth-notes, not quarter-notes, so I have arranged it in 8/8 time. This simplifies counting, but remember, if you use a metronome, each tick equals two counts, or the music will drag terribly. Unlike sheet music, tablature has no way to indicate how long to hold each note. Using the counting numbers below the tab will help. The physical distance between successive notes has no meaning; it is determined by the length of the words in the lyrics. I have included the words of the first verse as a reference, so you will know where you are in the song. The repeat signs at the beginning of the first measure and the end of the last measure show that you can repeat the piece, for several verses. This is a guitar solo, not a vocal accompaniment, so only the first verse is included.
7. Chord charts are found at the end of the tab, and show the exact fingering of each chord used in the tab. Note that F is a three-note chord. The Xs indicate that you are not to play the 1st, 5th, and 6th strings, eliminating the need to barre the first two strings, which causes many beginners difficulty. If you can play the F normally, you are, of course, welcome to do so.
This is an easy song to play on the guitar. I include two versions: one for beginning to intermediate guitarists, and another, even simpler, for absolute beginners. The simplified version contains only four chords: C, G, G7, and a three-string version of F with no notes on the 1st string, thus avoiding any need to barre. It does contain hammer-ons and pull-offs, but they are easy ones, making this arrangement a good one for learning those techniques.
As simple as this version is, it contains the full melody, in both parts, as well as a few strummed chords for rhythm. There is no finger-picking or pattern-picking. It could also be flat-picked.
The more difficult version contains barre chords and a few alternate voicings. It also contains slightly more complex riffs, a bent note, and a final verse featuring a pattern-picked fill. The chord changes are a bit harder, but any intermediate guitarist should have no trouble with this tab. Only the final measure on the first page is at all unusual; it includes a slow-strummed FI chord that takes up two beats. Both versions are so easy that no specific instructions should be needed by any but a true beginner.
For true beginners
1. Please use the Simplified version until you can play it well, then advance to the more complex version. It will be much easier to learn that way.
2. Reading the tab: each line of the tab represents one string of the guitar; the numbers show which fret needs to be fretted with the left hand. Right hand fingering is not shown. Generally, the two bass strings (E and A) are played with the thumb; the D-string is played with the index finger, the G-string with the middle finger, the B-string with the ring finger, and the e-string with the pinkie. Chords are shown by placing two or more notes in line vertically. A wiggly vertical line to the left of the chord means to strum it with the right thumb. For convenience, I have placed the name of the chord above the place where you need to change your left hand position, even if you don’t actually strum the chord until later. Hold the hand position until a different chord is called for.
3. Ligados: underscores between two notes indicate you are to hammer-on or pull-off from the first note to play the second. For example, in the second measure, you twice have to pull-off a note that is fretted in the first fret. Play the first note in the first fret normally, then pluck the string with the fretting finger of the left hand, producing two notes in succession that sound like they are tied together. (Ligado is the Spanish word for tied.) This is called a pull-off, and produces a falling tone sequence. In the fourth measure, you have to produce two rising ligado notes. Play the note on the open string, then hammer down the tip of the index finger in the first space. This is called a hammer-on. These techniques are very common in fingerstyle guitar.
4. Melody notes: Occasionally, you will need to add a note that is not in the chord you are playing, in order to play the melody. The final two notes of the second line are such. In general, you will fret melody notes in the first space with the index finger, in the second space with the middle finger, and in the third space with the ring finger. Such “finger dancing” may feel uncomfortable. After a bit of practice, it will begin to feel natural, and will keep your fingers from colliding.
5. Combining techniques: In the last line you need to combine techniques. Play the G chord normally, lift the ring finger of the left hand to play the e-string open, replace it to play the G note in the third space on the e-string, then pull it off to sound the string open. The first time you do this, it will feel weird to pull-off with your ring finger. Do it that way anyway-- it will strengthen that finger. In more advanced music, you will often use that finger for advanced techniques.
6. Counting tempo: This hymn was written in 4/4 time, but most of the notes are actually eighth-notes, not quarter-notes, so I have arranged it in 8/8 time. This simplifies counting, but remember, if you use a metronome, each tick equals two counts, or the music will drag terribly. Unlike sheet music, tablature has no way to indicate how long to hold each note. Using the counting numbers below the tab will help. The physical distance between successive notes has no meaning; it is determined by the length of the words in the lyrics. I have included the words of the first verse as a reference, so you will know where you are in the song. The repeat signs at the beginning of the first measure and the end of the last measure show that you can repeat the piece, for several verses. This is a guitar solo, not a vocal accompaniment, so only the first verse is included.
7. Chord charts are found at the end of the tab, and show the exact fingering of each chord used in the tab. Note that F is a three-note chord. The Xs indicate that you are not to play the 1st, 5th, and 6th strings, eliminating the need to barre the first two strings, which causes many beginners difficulty. If you can play the F normally, you are, of course, welcome to do so.
We'll Bring the World His Truth ("Army of Helaman")
Yeah, I know: everyone calls this song, “The Army of Helaman.” Sorry, but that is not actually its title. The original name, according to Janice Kapp Perry, the composer and lyricist, is “We’ll Bring the World His Truth.” So many people called it “The Army of Helaman,” that the LDS Church, which is extremely careful about such things, had to append the alternate title, to avoid confusion. So did I.
Another shocker: the copyright date is 1983. The song is barely thirty years old. I thought it had been around forever. Instead, I find the original copyright date is still valid. It is NOT in the public domain. The Church website states,
© 1983 by Janice Kapp Perry. This song may be copied for incidental, noncommercial church or home use. Official Web site of The Church of Jesus Christ of Latter-day Saints. © 2010 Intellectual Reserve, Inc. All rights reserved.
I would normally conclude from the double copyright that the Church had purchased limited rights from Sister Perry. However, Sister Perry’s own website has not responded to my request for reprint permission. I have waited months for a meaningful reply, and have received only spam. I conclude: either she does not care if I publish this song, or she no longer owns the rights. Nevertheless, I have removed the lyrics from the tab, which is my own work as the arranger. The lyrics are readily available HERE. Write them in if you wish. They are not needed for a strictly instrumental arrangement such as this.
Playing guide:
I have recast the time signature from 3/4 to 6/8, for simplicity. Nearly all the notes come out eighth notes, which is fine for guitar, and it’s much less confusing visually. I didn’t even have to transpose, as it was originally written in C. I did slow it down just a bit, from 116 quarter notes per minute to 100. Remember this when counting: TWO counts = ONE beat.
There are a few unusual (but easy) chords, and a few difficult barre chords. Before you panic, I have tried to leave plenty of time for chord changes. The hard chords make this piece more suitable for intermediate guitarists than for beginners, despite its simple sound. If you play through it, you may find it’s more sophisticated than it seems.
The first two measures are just arpeggios, and are only played once, as an introduction. The verses start with measure [3], where the melody begins. The melody is carried in the bass in this measure, with the rhythm in the treble, just the opposite of the usual arrangement.
Measure [4] is a treble pluck, followed by a rising arpeggio and ending with a descending note, a pattern repeated often in this song. Measure [5] abandons the pattern-picking, for a series of descending pinches. The rhythm is off the beat, but is carried in the bass.
There’s a bit of a tricky pull-off in measure [9]. The trick is pushing the finger off the string (toward the top of the guitar) instead of pulling it, which would be well nigh impossible to accomplish while holding the FI chord. It’s easy if you push it off, though this may seem a little odd, if you’re not used to the technique.
Measures [11] and [12] are the same as [3] and [4]. Measure [13] is nearly identical to [5], except that the first pinch of the measure is replaced by a full, strummed chord, and the rhythm is carried on the bass E string, instead of the A string.
Measures [16] and [17] end with a quarter note, or you can substitute an eighth note and a rest if you are having trouble sustaining these notes. You fret this note with your left pinkie. If you are not used to fretting bass strings with your pinkie, you may well have such trouble.
The next measure, [18] is the last measure of the verse, and is unique in several ways. First, there’s a tempo change to 8/8, just for this one measure. Also, it is contains multiple hammer-ons. Do not omit them. The phrase needs to be played with extreme fluidity. Remember, this eight-note measure should take no longer to play than the six-note measures that precede and follow it. A little practice should suffice; it’s not as hard as it looks. Do not hesitate, but go right into the next measure [19] without a break. I can’t stress this enough: fluidity and perfect timing here will make the song; variation in timing or hesitation will sound terribly amateurish to the audience. Practice playing measures [17] through [19] until you can’t muff them. Your audience will forgive a bobble in any other part of this song, but not here.
Measure [19] begins the chorus. Play the FI chord and then slide up the neck of the guitar to the III space while lifting the left pinkie off the string to make a very fast change to G7III. In measure [21], on the final pinch of the measure, you’ll need to add the F note on the 4th string with the left pinkie. Don’t forget it; it’s the melody note! Then, in [22], you have another one of those push-offs. If you’ll fret the final note of the measure (G on the 6th string) with your left pinkie again, it’ll position your left hand automatically for the FI chord that begins [23].
Measures [29] and [30] are played almost exactly like [21] and [22]. The only difference is in the final note of [30]. This is a melody note AND a transition to Dm7V. DON’T play it exactly the same as [22]! Measure [33] has another one of those push-offs. You can do this one as a pull-off if you wish, I just find it easier to push. Hammer on the F note on the 4th string, then lift the entire left hand from the strings as you do the pull-off or push-off to D (open). End the chorus with a C chord strum and go right into the next verse, starting with measure [3].
Since this is an instrumental solo, you don’t have to play all three verses. Or, if you wish, you can add additional ones. But on the final verse, skip directly from verse [32] to verse [35], play the Finale through ONCE, and stop. This finale is not part of the song as published in The Children’s Songbook. But I hope you’ll like it.
Measures [35] and [36] nearly reprise [33] and [34], with a couple of differences: the initial, two-note pinch in [33] becomes a three-note pinched chord in [35], and a G note is added on the open 3rd string at the end of [36]. This note is important, as it provides a transition to the following musical phrase comprising [37] through the initial chord of [40]. This phrase is the melody associated with the words, “to bring the world His truth,” and is repeated twice more. Note that the chords do not match those used in other parts of the song to accompany the same words, though the effect is similar. In measure [38], the G7* chord can be fretted by barring the 4th, 5th, and 6th strings with the index finger, bending it slightly backwards so as not to buzz on the 2nd string, which is played open. If, like me, your index finger does not bend backward, you’ll have to fret the 4th and 6th strings with the index and middle finger as shown in the chord charts.
The FV and GVII chords in measures [41] and [42] are not terribly hard to play as written. They normally would be played as five-string chords, which are difficult to play. As shown in the tab, you only have to bar the first three strings, but I recommend barring all six strings anyway if you can, as this greatly simplifies the transition to CVIII in the next measure.
Possibly the most technically difficult part of the song occurs right at the end, when you have to fret the 3rd string in the 10th space with the left pinkie, then slide it down to the 7th fret. Then, without a break, lift the fingers off the strings and continue along the guitar neck to the C chord in the first position. Try to do it all in one motion. Sustain the C chord as long as you can, and take your bows.
Another shocker: the copyright date is 1983. The song is barely thirty years old. I thought it had been around forever. Instead, I find the original copyright date is still valid. It is NOT in the public domain. The Church website states,
© 1983 by Janice Kapp Perry. This song may be copied for incidental, noncommercial church or home use. Official Web site of The Church of Jesus Christ of Latter-day Saints. © 2010 Intellectual Reserve, Inc. All rights reserved.
I would normally conclude from the double copyright that the Church had purchased limited rights from Sister Perry. However, Sister Perry’s own website has not responded to my request for reprint permission. I have waited months for a meaningful reply, and have received only spam. I conclude: either she does not care if I publish this song, or she no longer owns the rights. Nevertheless, I have removed the lyrics from the tab, which is my own work as the arranger. The lyrics are readily available HERE. Write them in if you wish. They are not needed for a strictly instrumental arrangement such as this.
Playing guide:
I have recast the time signature from 3/4 to 6/8, for simplicity. Nearly all the notes come out eighth notes, which is fine for guitar, and it’s much less confusing visually. I didn’t even have to transpose, as it was originally written in C. I did slow it down just a bit, from 116 quarter notes per minute to 100. Remember this when counting: TWO counts = ONE beat.
There are a few unusual (but easy) chords, and a few difficult barre chords. Before you panic, I have tried to leave plenty of time for chord changes. The hard chords make this piece more suitable for intermediate guitarists than for beginners, despite its simple sound. If you play through it, you may find it’s more sophisticated than it seems.
The first two measures are just arpeggios, and are only played once, as an introduction. The verses start with measure [3], where the melody begins. The melody is carried in the bass in this measure, with the rhythm in the treble, just the opposite of the usual arrangement.
Measure [4] is a treble pluck, followed by a rising arpeggio and ending with a descending note, a pattern repeated often in this song. Measure [5] abandons the pattern-picking, for a series of descending pinches. The rhythm is off the beat, but is carried in the bass.
There’s a bit of a tricky pull-off in measure [9]. The trick is pushing the finger off the string (toward the top of the guitar) instead of pulling it, which would be well nigh impossible to accomplish while holding the FI chord. It’s easy if you push it off, though this may seem a little odd, if you’re not used to the technique.
Measures [11] and [12] are the same as [3] and [4]. Measure [13] is nearly identical to [5], except that the first pinch of the measure is replaced by a full, strummed chord, and the rhythm is carried on the bass E string, instead of the A string.
Measures [16] and [17] end with a quarter note, or you can substitute an eighth note and a rest if you are having trouble sustaining these notes. You fret this note with your left pinkie. If you are not used to fretting bass strings with your pinkie, you may well have such trouble.
The next measure, [18] is the last measure of the verse, and is unique in several ways. First, there’s a tempo change to 8/8, just for this one measure. Also, it is contains multiple hammer-ons. Do not omit them. The phrase needs to be played with extreme fluidity. Remember, this eight-note measure should take no longer to play than the six-note measures that precede and follow it. A little practice should suffice; it’s not as hard as it looks. Do not hesitate, but go right into the next measure [19] without a break. I can’t stress this enough: fluidity and perfect timing here will make the song; variation in timing or hesitation will sound terribly amateurish to the audience. Practice playing measures [17] through [19] until you can’t muff them. Your audience will forgive a bobble in any other part of this song, but not here.
Measure [19] begins the chorus. Play the FI chord and then slide up the neck of the guitar to the III space while lifting the left pinkie off the string to make a very fast change to G7III. In measure [21], on the final pinch of the measure, you’ll need to add the F note on the 4th string with the left pinkie. Don’t forget it; it’s the melody note! Then, in [22], you have another one of those push-offs. If you’ll fret the final note of the measure (G on the 6th string) with your left pinkie again, it’ll position your left hand automatically for the FI chord that begins [23].
Measures [29] and [30] are played almost exactly like [21] and [22]. The only difference is in the final note of [30]. This is a melody note AND a transition to Dm7V. DON’T play it exactly the same as [22]! Measure [33] has another one of those push-offs. You can do this one as a pull-off if you wish, I just find it easier to push. Hammer on the F note on the 4th string, then lift the entire left hand from the strings as you do the pull-off or push-off to D (open). End the chorus with a C chord strum and go right into the next verse, starting with measure [3].
Since this is an instrumental solo, you don’t have to play all three verses. Or, if you wish, you can add additional ones. But on the final verse, skip directly from verse [32] to verse [35], play the Finale through ONCE, and stop. This finale is not part of the song as published in The Children’s Songbook. But I hope you’ll like it.
Measures [35] and [36] nearly reprise [33] and [34], with a couple of differences: the initial, two-note pinch in [33] becomes a three-note pinched chord in [35], and a G note is added on the open 3rd string at the end of [36]. This note is important, as it provides a transition to the following musical phrase comprising [37] through the initial chord of [40]. This phrase is the melody associated with the words, “to bring the world His truth,” and is repeated twice more. Note that the chords do not match those used in other parts of the song to accompany the same words, though the effect is similar. In measure [38], the G7* chord can be fretted by barring the 4th, 5th, and 6th strings with the index finger, bending it slightly backwards so as not to buzz on the 2nd string, which is played open. If, like me, your index finger does not bend backward, you’ll have to fret the 4th and 6th strings with the index and middle finger as shown in the chord charts.
The FV and GVII chords in measures [41] and [42] are not terribly hard to play as written. They normally would be played as five-string chords, which are difficult to play. As shown in the tab, you only have to bar the first three strings, but I recommend barring all six strings anyway if you can, as this greatly simplifies the transition to CVIII in the next measure.
Possibly the most technically difficult part of the song occurs right at the end, when you have to fret the 3rd string in the 10th space with the left pinkie, then slide it down to the 7th fret. Then, without a break, lift the fingers off the strings and continue along the guitar neck to the C chord in the first position. Try to do it all in one motion. Sustain the C chord as long as you can, and take your bows.
Abide with Me; 'Tis Eventide
Abide with Me; ’Tis Eventide post
A funny thing happened on the way to this website. I was unable to find a single YouTube or MP3 guitar solo of this popular hymn. Nor could I find a tab listed anywhere. I checked twenty pages deep, and found not a one! There are lots of other versions of this song, but not guitar solos. Part of the problem undoubtedly comes from the fact that the search terms, “abide with me” and “eventide” are also shared by the hymn “Abide with Me.” But the bottom line is, if you learn this song and publish it on the web, you will receive instant, worldwide recognition, because you will be the only one on the web doing it. Chance of a lifetime.
Not much seems to be known about the song itself. WikiPedia contains only an entry of one brief paragraph. Same for HymnWiki, and all other web-based song engines I could find. Hardly anyone has covered it. It’s a shame, because it’s a beautiful song. And it's in the Public Domain.
Actually, the song is musically rather simple, if you are not afraid of a few barre chords. You don't even have to finger-pick it. The whole song can be thumb strummed, pinched, or played with a flat pick. It appears in the key of Eb in the LDS hymnal, but I have transposed it into the keys of A and C, because they are MUCH easier to play. For similar reasons, I have recast it into 6/8 time instead of 3/4, as published in Hymns. Remember that the metronome tempo refers to quarter-notes, so each metronome beat equals two counts.
In the first line, notes # 2 & 3 of the second and fourth measures are not actually part of the melody, but are included to help with the timing and to keep the song from dragging. You can leave them out if you wish, but the song sounds more finished with them in. The final measure of the line is a partial measure, concluded at the beginning of the next line. I don’t usually use partial measures, but in this case, they make the tab easier to follow. Line two is an exact duplicate of the first line, except for notes 5 and 6 of the fourth measure. It’s important to play the E7 chords as written, and not substitute the easier, two-finger version, which will not work.
In the third line, I like to keep my middle finger on the #1 string, and just slide it up to the fifth fret and back down again. I haven’t marked it as a slide, because you still have to pluck the string to get the note, unlike a true slide, where you are sliding instead of plucking. Following the E chord, fret the 2nd string, 4th fret with the ring finger, and the next note, 1st string, 2nd fret, with the index finger. This makes the transition to the following E7 chord easier.
The fourth line contains the only difficult chords in the song. Both the EIV and DII are barred C-shapes. I’ve tried to keep this part as easy as possible by putting them together, so you can just slide from one to the other. Don’t neglect the pull-off in the second measure. It actually makes this difficult chord change easier. Do the pull-off with your pinkie. A/E is just a normal A chord, but let the bass E string sound. You can also let the high E string sound if you wish, but I think it detracts from the melody note, which is found on the #2 string.
The last line recaps the words of the fourth line, but the melody is very different, as you can easily see from the chord structure. Please do not substitute the unbarred A chord for the barred version called for in the tab. The melody note is on the first string, 5th fret, which is quite a reach unless you play it as a barred E-shape, as indicated.
You can play as many verses of this song as you like; you don’t have to stick to three, though the audience may expect it. Verse 2: The chords are exactly the same as the first verse. The only difference is that in the first two lines, the chords are pinched instead of plucked. It sounds very different, though.
Verse 3: BIG difference, beginning with a key change to the key of C. The first two lines do not need any special instructions, but the first note of the third line is fretted at the 5th fret. This is a hard stretch from a C position, so it’s easier to release the C chord and fret the note by barring at the 5th fret with the index finger. It also makes the transition to FV in the second measure much easier. In the same measure, you can easily hit the C at the 8th fret, first string by briefly flattening the pinkie. It’s lots easier than moving the pinkie tip to the first string and back again for successive eighth-notes.
Play the CIII in the third measure as marked. Don’t try to substitute a normal C chord, or you’ll miss the melody note. In the fourth measure, you’ll probably need to release the GIII to play the melody notes, then quickly hit the chord again. If you can’t do this, practice this transition over and over until you can nail the chord all at once. In fact, this song makes a pretty good etude for learning barre chords really well.
The G7V and F7III are D7 chord shapes, something you don’t see much. Nevertheless, they are not hard to play. You don’t even really have to barre them, as you’re only playing one of the four “barred” strings. I find it easier to barre five or six strings, even though I don’t need to, than to bend my fingers so much. You’ll probably need to release the CIII to play the open first string, but don’t move the barring finger much, as you just have to put it right back for the following GIII.
You could substitute the E on the second string, fifth fret for the open first string. This would allow you to leave the barre in place for the chord change. I find it easier the way I have written it. Similarly, you could substitute a G7III for the G7 called out in the tab. This makes the GIII to G7III chord change really easy, but at the cost of a slower change back to C at the end of the line. I think the way I have written it is marginally easier and faster overall.
Notice the slide at the beginning of line 5. Hold your index finger in barring position, and slide from the third fret up to the seventh. You can pull your barring finger slightly off the string as you slide, producing a blurred sound called a slur. The second and third notes of each measure in this line are not part of the melody, but are inserted to bring out the rhythm. Unlike all previous lines, this one ends in a complete measure. The chord which occupies the final, partial measure in each of the previous lines is here replaced by the finale, shown at the beginning of the last line.
The broken chord at the beginning of the final line consists of six notes, perfect for 6/8 time. The two single notes in the next measure also perfectly fit the time signature. Hold each for three counts, then immediately play the final C/G. This may be the most difficult chord change in the piece, just because of the need to traverse the entire length of the fretboard in such a short length of time, and hit a six-string chord. If you just cannot do it, substitute a regular C chord, but it won’t sound as full.
This hymn sounds especially good if you strum the first and third verses with a soft flat-pick, and finger-pick the second verse. (It helps to hold the pick in your mouth while finger-picking.) If you do this, you'll want to strum the final chord UP, treble to bass. Sounds way cool.
A funny thing happened on the way to this website. I was unable to find a single YouTube or MP3 guitar solo of this popular hymn. Nor could I find a tab listed anywhere. I checked twenty pages deep, and found not a one! There are lots of other versions of this song, but not guitar solos. Part of the problem undoubtedly comes from the fact that the search terms, “abide with me” and “eventide” are also shared by the hymn “Abide with Me.” But the bottom line is, if you learn this song and publish it on the web, you will receive instant, worldwide recognition, because you will be the only one on the web doing it. Chance of a lifetime.
Not much seems to be known about the song itself. WikiPedia contains only an entry of one brief paragraph. Same for HymnWiki, and all other web-based song engines I could find. Hardly anyone has covered it. It’s a shame, because it’s a beautiful song. And it's in the Public Domain.
Actually, the song is musically rather simple, if you are not afraid of a few barre chords. You don't even have to finger-pick it. The whole song can be thumb strummed, pinched, or played with a flat pick. It appears in the key of Eb in the LDS hymnal, but I have transposed it into the keys of A and C, because they are MUCH easier to play. For similar reasons, I have recast it into 6/8 time instead of 3/4, as published in Hymns. Remember that the metronome tempo refers to quarter-notes, so each metronome beat equals two counts.
In the first line, notes # 2 & 3 of the second and fourth measures are not actually part of the melody, but are included to help with the timing and to keep the song from dragging. You can leave them out if you wish, but the song sounds more finished with them in. The final measure of the line is a partial measure, concluded at the beginning of the next line. I don’t usually use partial measures, but in this case, they make the tab easier to follow. Line two is an exact duplicate of the first line, except for notes 5 and 6 of the fourth measure. It’s important to play the E7 chords as written, and not substitute the easier, two-finger version, which will not work.
In the third line, I like to keep my middle finger on the #1 string, and just slide it up to the fifth fret and back down again. I haven’t marked it as a slide, because you still have to pluck the string to get the note, unlike a true slide, where you are sliding instead of plucking. Following the E chord, fret the 2nd string, 4th fret with the ring finger, and the next note, 1st string, 2nd fret, with the index finger. This makes the transition to the following E7 chord easier.
The fourth line contains the only difficult chords in the song. Both the EIV and DII are barred C-shapes. I’ve tried to keep this part as easy as possible by putting them together, so you can just slide from one to the other. Don’t neglect the pull-off in the second measure. It actually makes this difficult chord change easier. Do the pull-off with your pinkie. A/E is just a normal A chord, but let the bass E string sound. You can also let the high E string sound if you wish, but I think it detracts from the melody note, which is found on the #2 string.
The last line recaps the words of the fourth line, but the melody is very different, as you can easily see from the chord structure. Please do not substitute the unbarred A chord for the barred version called for in the tab. The melody note is on the first string, 5th fret, which is quite a reach unless you play it as a barred E-shape, as indicated.
You can play as many verses of this song as you like; you don’t have to stick to three, though the audience may expect it. Verse 2: The chords are exactly the same as the first verse. The only difference is that in the first two lines, the chords are pinched instead of plucked. It sounds very different, though.
Verse 3: BIG difference, beginning with a key change to the key of C. The first two lines do not need any special instructions, but the first note of the third line is fretted at the 5th fret. This is a hard stretch from a C position, so it’s easier to release the C chord and fret the note by barring at the 5th fret with the index finger. It also makes the transition to FV in the second measure much easier. In the same measure, you can easily hit the C at the 8th fret, first string by briefly flattening the pinkie. It’s lots easier than moving the pinkie tip to the first string and back again for successive eighth-notes.
Play the CIII in the third measure as marked. Don’t try to substitute a normal C chord, or you’ll miss the melody note. In the fourth measure, you’ll probably need to release the GIII to play the melody notes, then quickly hit the chord again. If you can’t do this, practice this transition over and over until you can nail the chord all at once. In fact, this song makes a pretty good etude for learning barre chords really well.
The G7V and F7III are D7 chord shapes, something you don’t see much. Nevertheless, they are not hard to play. You don’t even really have to barre them, as you’re only playing one of the four “barred” strings. I find it easier to barre five or six strings, even though I don’t need to, than to bend my fingers so much. You’ll probably need to release the CIII to play the open first string, but don’t move the barring finger much, as you just have to put it right back for the following GIII.
You could substitute the E on the second string, fifth fret for the open first string. This would allow you to leave the barre in place for the chord change. I find it easier the way I have written it. Similarly, you could substitute a G7III for the G7 called out in the tab. This makes the GIII to G7III chord change really easy, but at the cost of a slower change back to C at the end of the line. I think the way I have written it is marginally easier and faster overall.
Notice the slide at the beginning of line 5. Hold your index finger in barring position, and slide from the third fret up to the seventh. You can pull your barring finger slightly off the string as you slide, producing a blurred sound called a slur. The second and third notes of each measure in this line are not part of the melody, but are inserted to bring out the rhythm. Unlike all previous lines, this one ends in a complete measure. The chord which occupies the final, partial measure in each of the previous lines is here replaced by the finale, shown at the beginning of the last line.
The broken chord at the beginning of the final line consists of six notes, perfect for 6/8 time. The two single notes in the next measure also perfectly fit the time signature. Hold each for three counts, then immediately play the final C/G. This may be the most difficult chord change in the piece, just because of the need to traverse the entire length of the fretboard in such a short length of time, and hit a six-string chord. If you just cannot do it, substitute a regular C chord, but it won’t sound as full.
This hymn sounds especially good if you strum the first and third verses with a soft flat-pick, and finger-pick the second verse. (It helps to hold the pick in your mouth while finger-picking.) If you do this, you'll want to strum the final chord UP, treble to bass. Sounds way cool.
Danny Boy-- guitar/mandolin duet
This is a great tune for a duet, but each of the parts can be played alone, too. I know it's not really Gospel-related, and is rather Catholic in tone, referring as it does to "saying an ave" (pronounced AH-vay), which is how some Catholics refer to the prayer which in Latin begins, "Ave Maria". In English, it's called a "Hail Mary."
Actually, the tune is far older than the words associated with it, and makes a really lovely instrumental duet. The tune was collected in County Londonderry (or Derry) in what is now Northern Ireland, in the mid-1800s, and was so old even then that no one even knew its name, so the collector just referred to it as "The Londonderry Air." The tune is in the public domain. The lyrics were written by Frederic Weatherly, and originally set to a completely different tune. In 1913, he adapted it to fit the Londonderry Air, so the song Danny Boy, as we now know it, is only 100 years old. But in that century, it has become so popular that hardly anyone remembers the previous version or name.
The mandolin is tuned exactly like the violin, so you could substitute a violin for the mandolin part. Or you could, if I had used mandolin musical notation instead of tablature. But there are countless violin versions available in sheet music, and I couldn't find any in tab. If you're an accomplished mandolin player, you're doubtless used to reading sheet music, but for those who, like me, are not accomplished, I've provided tab. Either part can also be played separately as a solo.
The piece is actually not difficult for the guitarist who can play standard barre chords. It uses only barred E-shape chords, except for CaddE and CaddD near the end. Both are based on the CVIII chord, and can be played that way, if your fingers are long, or your guitar is small. Otherwise, just play the first four strings of those chords, as written. I have a 3/4 size classical guitar which I use for teaching very young students, and it works perfectly for me to play the full chords (all six strings), and still reach the 12th fret with my little finger.
I've added a reprise of the last line, as a finale, ending with CVIII. I like to end on a rising note, but you can leave off the finale if you prefer the C/G resolution.
Actually, the tune is far older than the words associated with it, and makes a really lovely instrumental duet. The tune was collected in County Londonderry (or Derry) in what is now Northern Ireland, in the mid-1800s, and was so old even then that no one even knew its name, so the collector just referred to it as "The Londonderry Air." The tune is in the public domain. The lyrics were written by Frederic Weatherly, and originally set to a completely different tune. In 1913, he adapted it to fit the Londonderry Air, so the song Danny Boy, as we now know it, is only 100 years old. But in that century, it has become so popular that hardly anyone remembers the previous version or name.
The mandolin is tuned exactly like the violin, so you could substitute a violin for the mandolin part. Or you could, if I had used mandolin musical notation instead of tablature. But there are countless violin versions available in sheet music, and I couldn't find any in tab. If you're an accomplished mandolin player, you're doubtless used to reading sheet music, but for those who, like me, are not accomplished, I've provided tab. Either part can also be played separately as a solo.
The piece is actually not difficult for the guitarist who can play standard barre chords. It uses only barred E-shape chords, except for CaddE and CaddD near the end. Both are based on the CVIII chord, and can be played that way, if your fingers are long, or your guitar is small. Otherwise, just play the first four strings of those chords, as written. I have a 3/4 size classical guitar which I use for teaching very young students, and it works perfectly for me to play the full chords (all six strings), and still reach the 12th fret with my little finger.
I've added a reprise of the last line, as a finale, ending with CVIII. I like to end on a rising note, but you can leave off the finale if you prefer the C/G resolution.
Heark, All Ye Nations
This song is in the public domain, which is good, as it’s a sprightly song that’s fun to play. The tempo is fast, the chord changes are fast, and there are a few interesting chords, but none that are especially difficult for intermediate guitarists who can cope with normal barre chords. There are a few minor challenges, though.
The first occurs right in the very first measure. The ligado --2__0-- on the third string is nearly impossible to do well, if you do it as a normal pull-off. But it’s easy if you treat it as a “push-off” instead. Push the string toward you and away from the fretboard, plucking the string with the back of the fingertip, instead of the front edge, as in a normal pull-off. This is still called a pull-off, but the motion is the exact opposite to what you’re used to. It may seem odd at first, but is much easier and faster than pulling, at least in this circumstance. Other pull-offs and hammer-ons are done normally.
The first measure of the fourth line also has a few tricky spots. If you leave the left hand fingers in the C chord shape, and just fret the D on the 2nd string with the pinky, you are actually forming a C9 chord, so there’s no reason to change your hand position. For this reason, I have shown the index finger position in the chord chart for C9 in lightface type. It’s not actually part of the chord, but there’s no reason to remove it. Hit the A on the 3rd string by flattening the middle finger while releasing all the other fingers, preparatory to moving the hand up to the III position for the GIII chord.
Play the G6III in the next measure by moving the pinky from the 4th string to the 2nd string. This is really easy, because it’s still in the same fret. Hold the other notes of the chord while doing the pull-off that converts it back to GIII. Technically, it’s really a G7III, but since you’re not playing the F on the 4th string, but only letting it ring, the difference is academic.
Hit the C note on the 3rd string by flattening the ring finger. Hit the A note on the same string by moving the barring index finger to the II position. From here, it’s just about as easy to slide up the neck to the III position and play a CIII, as it is to continue down the neck and play the C/G as written. I like the sound of the C/G better, so I have called it out in the tab, but you can play it either way, as all the notes of the two chords are identical. Just the order is different.
CIII = G-C-G-C-E-G
C/G = G-C-E-G-C-E
The first measure on the second page contains another one of those “push-offs” again, exactly like the first measure of the song. The next measure shows an FI chord, though it’s actually a continuation of the C chord from the previous measure. But the last chord of the measure is an FI. Since only the 2nd and 5th strings are being played at the beginning of the measure, and the notes are the same in FI as in C, there’s no reason not to make the change at the beginning of the measure, where you have more time to do it.
In the next-to-last measure of the line, you may have trouble with the double hammer-on:
--0__1__3--. If you cannot do both, just do whichever is easier for you, or sounds better to you.
Play as many or as few verses as you like, then substitute the last two measures as shown. Each triplet takes the same time as a single count of the other measures, so practice until you can get them very fast. Do the quick changes between the GIII and the CIII by flattening the pinky across the strings briefly, then "unflattening" it. Then slide quickly up the neck to the VIII fret for the final riff. Sometimes I strum the entire CVIII chord instead of playing the final note, for a fuller sound.
The first occurs right in the very first measure. The ligado --2__0-- on the third string is nearly impossible to do well, if you do it as a normal pull-off. But it’s easy if you treat it as a “push-off” instead. Push the string toward you and away from the fretboard, plucking the string with the back of the fingertip, instead of the front edge, as in a normal pull-off. This is still called a pull-off, but the motion is the exact opposite to what you’re used to. It may seem odd at first, but is much easier and faster than pulling, at least in this circumstance. Other pull-offs and hammer-ons are done normally.
The first measure of the fourth line also has a few tricky spots. If you leave the left hand fingers in the C chord shape, and just fret the D on the 2nd string with the pinky, you are actually forming a C9 chord, so there’s no reason to change your hand position. For this reason, I have shown the index finger position in the chord chart for C9 in lightface type. It’s not actually part of the chord, but there’s no reason to remove it. Hit the A on the 3rd string by flattening the middle finger while releasing all the other fingers, preparatory to moving the hand up to the III position for the GIII chord.
Play the G6III in the next measure by moving the pinky from the 4th string to the 2nd string. This is really easy, because it’s still in the same fret. Hold the other notes of the chord while doing the pull-off that converts it back to GIII. Technically, it’s really a G7III, but since you’re not playing the F on the 4th string, but only letting it ring, the difference is academic.
Hit the C note on the 3rd string by flattening the ring finger. Hit the A note on the same string by moving the barring index finger to the II position. From here, it’s just about as easy to slide up the neck to the III position and play a CIII, as it is to continue down the neck and play the C/G as written. I like the sound of the C/G better, so I have called it out in the tab, but you can play it either way, as all the notes of the two chords are identical. Just the order is different.
CIII = G-C-G-C-E-G
C/G = G-C-E-G-C-E
The first measure on the second page contains another one of those “push-offs” again, exactly like the first measure of the song. The next measure shows an FI chord, though it’s actually a continuation of the C chord from the previous measure. But the last chord of the measure is an FI. Since only the 2nd and 5th strings are being played at the beginning of the measure, and the notes are the same in FI as in C, there’s no reason not to make the change at the beginning of the measure, where you have more time to do it.
In the next-to-last measure of the line, you may have trouble with the double hammer-on:
--0__1__3--. If you cannot do both, just do whichever is easier for you, or sounds better to you.
Play as many or as few verses as you like, then substitute the last two measures as shown. Each triplet takes the same time as a single count of the other measures, so practice until you can get them very fast. Do the quick changes between the GIII and the CIII by flattening the pinky across the strings briefly, then "unflattening" it. Then slide quickly up the neck to the VIII fret for the final riff. Sometimes I strum the entire CVIII chord instead of playing the final note, for a fuller sound.
An Angel from on High, easier and better
There are a few transitions in this version that may require a bit of practice for smoothness, but not as many as you might think. That’s one reason I tabbed it in C, instead of the key of G, as it’s written in Hymns. The other reason is that I have tendinitis, which makes my left hand lock up when I play in G. I got it from years of twisting my left wrist so I could see what my left hand was doing. If your guitar teacher tells you not to look at your left hand, there’s a reason!
The (slightly) hard transitions are in the fourth measure of the first line and the third measure of the last line, where you have to go rapidly from a barred GIII chord to an F note on the first string. All you really have to do is slide the left hand down to the F, but you’ll want to lift your fingers from all the strings during the slide, to avoid sliding noises. You may also find the pull-off in the third measure of the second line difficult. The trick is to leave all the fingers in place except the barring finger, then use that finger to do the pull-off. This is actually the easiest way to make the change, at least for me.
The second and fourth measures of the third line require you to play the CIII as a barred-A, a barre chord that gives lots of people problems. This could be done in other ways, but none lends itself to the quick series of rapid chord changes required so well as the barred C, F, and G progression. If you have trouble with barred-A chords, you may be exerting more pressure with the left hand than the chord really needs. Done properly, this type of chord is not really hard to play at all, but the finger placement has to be exact, using good technique, with the fingers arched, and only the tips contacting the strings. Many beginners try to muscle this chord instead of learning it right, then wonder why it seems so hard.
A word about the tempo. Switching from 6/8 to 4/4 does more than change the count. The speed of the music also increases dramatically. If you are playing more than one verse, you can play the second part in 8/8 instead of 4/4, which will make the last two lines slow and lyrical instead of quick and bright. You might also consider strumming more of the chords instead of pinching them, as shown in the tab. The bright sound of the pinches sounds really good played near the bridge, giving the piece a real “guitar” sound, especially when played a bit faster than is normal when accompanying singers.
This song is intermediate level, and is in the public domain.
The (slightly) hard transitions are in the fourth measure of the first line and the third measure of the last line, where you have to go rapidly from a barred GIII chord to an F note on the first string. All you really have to do is slide the left hand down to the F, but you’ll want to lift your fingers from all the strings during the slide, to avoid sliding noises. You may also find the pull-off in the third measure of the second line difficult. The trick is to leave all the fingers in place except the barring finger, then use that finger to do the pull-off. This is actually the easiest way to make the change, at least for me.
The second and fourth measures of the third line require you to play the CIII as a barred-A, a barre chord that gives lots of people problems. This could be done in other ways, but none lends itself to the quick series of rapid chord changes required so well as the barred C, F, and G progression. If you have trouble with barred-A chords, you may be exerting more pressure with the left hand than the chord really needs. Done properly, this type of chord is not really hard to play at all, but the finger placement has to be exact, using good technique, with the fingers arched, and only the tips contacting the strings. Many beginners try to muscle this chord instead of learning it right, then wonder why it seems so hard.
A word about the tempo. Switching from 6/8 to 4/4 does more than change the count. The speed of the music also increases dramatically. If you are playing more than one verse, you can play the second part in 8/8 instead of 4/4, which will make the last two lines slow and lyrical instead of quick and bright. You might also consider strumming more of the chords instead of pinching them, as shown in the tab. The bright sound of the pinches sounds really good played near the bridge, giving the piece a real “guitar” sound, especially when played a bit faster than is normal when accompanying singers.
This song is intermediate level, and is in the public domain.
Play "Misty" for me!
NOT public domain, but I have permission of the copyright owner to publish this arrangement. More about this later.
I first fell in love with this tune in the 1960s. I could spend hours trying to hear when Johnny Mathis would start singing "Onnnnnnnnnnnnnnnnn my own..." Never did. I always wanted to learn to play it. Couldn't find a guitar arrangement, so I eventually did my own. I didn't realize it at the time, but "Misty" was originally written as a jazz instrumental. This is the first solo instrumental arrangement I ever did "on my own." My daughter Amy loved it so much, I eventually gave her the rights to the arrangement one Birthday when I was too broke to buy anything suitable, hence the odd copyright notice. Amy very kindly gave me permission to publish "her" song here.
Though there are a lot of different chords listed in the charts, they are REALLY EASY. to play. They are not nearly as hard as they may seem from the odd names. Though there are eighteen different chords shown in the charts, eight of them are movable chords, the chief differences being the fret where the chord is played. Of the other ten, three are very common chords you almost certainly know already, six are slight and easy variations on common chords, and the other is played with all the strings open. What's not to love?
I wasn't as skilled twenty-five years ago, when I made this arrangement, so the transitions are easy. I was really proud of myself, and couldn't wait to show MY arrangement to my mom, who once played piano in Carnegie Hall. Her comment was, "It needs to be more legado." Trust Mom to take you down a peg when you need it.
At the time, I didn't know how to get that "legado" sound, but over the years I've learned a few tricks, like hammer-ons, pull-offs, slides, and right hand tapping, note-bending, etc. I've used them all in this piece, and it now sounds polished. Wish my mom had lived long enough to hear it!
There are a few unusual techniques. Quite a few of the hammer-ons and pull-offs are done with the little finger. Right in the first line, there's a riff involving both hands. You have to tap (hammer-on) in the VIII space with the index finger of the RIGHT hand, then do a pull-off with the same finger, followed immediately by a pull-off with the little finger of the LEFT hand. It's LOTS easier if you are already picking near the middle of the string, and gives a really mellow sound.
Go immediately to a C to A7 chord change, strumming one extra time while all the fingers of the left hand are off the strings. In other words, play: C - [off] - A7. The five-note run in the last measure of the line sounds great played VERY vast. It sounds MUCH harder than it actually is, thanks to the two hammer-ons.
In the second line, don't be freaked out by the F#7 to Fmaj7 transition. You just slide the whole chord to the nut, allowing the open first string to ring through the change. You may have to hold the chord a bit tighter than you are used to, to get it to sound throughout the change, without strumming again. After the tempo change, make each of the strums very definite.
Play to the end of the first verse, then go back to the beginning, excluding the half-measure of F9 at the beginning, and play the second verse. At the end of the second verse, go straight to the coda and play it. In the last line of the coda, there's a mordant on the B7 chord. This means you have to slide the whole chord down to the VI fret and back up again within ONE beat, producing a sort of a "WAH-ooo-WAH" sound. Or you can use a Wah-Wah pedal, if you've got one. Bend the A note on the second string by pulling it sideways. I wouldn't use electronics to simulate it-- they just don't sound the same.
At the end of the coda, return to the beginning again (minus the first half-measure) and play through the third verse, adding the tag line, "Look at me!" Add it, even if you're not singing, as it resolves beautifully to the Cmaj7. There are a few tricks in there, such as the bent E note on the second string, but the timing is critical, so I've included a line of counting numbers. Strum the Cmaj7 SLOWLY, but still within ONE beat, then tremolo the chord. This is easy, if your ax has a whammy bar. Mine does not, so I get the tremolo by flutter-fanning air into the sound hole with my cupped right hand. I'm not at all sure why it works, but it looks and sounds just like you're playing an invisible whammy bar. Brings down the house.
I first fell in love with this tune in the 1960s. I could spend hours trying to hear when Johnny Mathis would start singing "Onnnnnnnnnnnnnnnnn my own..." Never did. I always wanted to learn to play it. Couldn't find a guitar arrangement, so I eventually did my own. I didn't realize it at the time, but "Misty" was originally written as a jazz instrumental. This is the first solo instrumental arrangement I ever did "on my own." My daughter Amy loved it so much, I eventually gave her the rights to the arrangement one Birthday when I was too broke to buy anything suitable, hence the odd copyright notice. Amy very kindly gave me permission to publish "her" song here.
Though there are a lot of different chords listed in the charts, they are REALLY EASY. to play. They are not nearly as hard as they may seem from the odd names. Though there are eighteen different chords shown in the charts, eight of them are movable chords, the chief differences being the fret where the chord is played. Of the other ten, three are very common chords you almost certainly know already, six are slight and easy variations on common chords, and the other is played with all the strings open. What's not to love?
I wasn't as skilled twenty-five years ago, when I made this arrangement, so the transitions are easy. I was really proud of myself, and couldn't wait to show MY arrangement to my mom, who once played piano in Carnegie Hall. Her comment was, "It needs to be more legado." Trust Mom to take you down a peg when you need it.
At the time, I didn't know how to get that "legado" sound, but over the years I've learned a few tricks, like hammer-ons, pull-offs, slides, and right hand tapping, note-bending, etc. I've used them all in this piece, and it now sounds polished. Wish my mom had lived long enough to hear it!
There are a few unusual techniques. Quite a few of the hammer-ons and pull-offs are done with the little finger. Right in the first line, there's a riff involving both hands. You have to tap (hammer-on) in the VIII space with the index finger of the RIGHT hand, then do a pull-off with the same finger, followed immediately by a pull-off with the little finger of the LEFT hand. It's LOTS easier if you are already picking near the middle of the string, and gives a really mellow sound.
Go immediately to a C to A7 chord change, strumming one extra time while all the fingers of the left hand are off the strings. In other words, play: C - [off] - A7. The five-note run in the last measure of the line sounds great played VERY vast. It sounds MUCH harder than it actually is, thanks to the two hammer-ons.
In the second line, don't be freaked out by the F#7 to Fmaj7 transition. You just slide the whole chord to the nut, allowing the open first string to ring through the change. You may have to hold the chord a bit tighter than you are used to, to get it to sound throughout the change, without strumming again. After the tempo change, make each of the strums very definite.
Play to the end of the first verse, then go back to the beginning, excluding the half-measure of F9 at the beginning, and play the second verse. At the end of the second verse, go straight to the coda and play it. In the last line of the coda, there's a mordant on the B7 chord. This means you have to slide the whole chord down to the VI fret and back up again within ONE beat, producing a sort of a "WAH-ooo-WAH" sound. Or you can use a Wah-Wah pedal, if you've got one. Bend the A note on the second string by pulling it sideways. I wouldn't use electronics to simulate it-- they just don't sound the same.
At the end of the coda, return to the beginning again (minus the first half-measure) and play through the third verse, adding the tag line, "Look at me!" Add it, even if you're not singing, as it resolves beautifully to the Cmaj7. There are a few tricks in there, such as the bent E note on the second string, but the timing is critical, so I've included a line of counting numbers. Strum the Cmaj7 SLOWLY, but still within ONE beat, then tremolo the chord. This is easy, if your ax has a whammy bar. Mine does not, so I get the tremolo by flutter-fanning air into the sound hole with my cupped right hand. I'm not at all sure why it works, but it looks and sounds just like you're playing an invisible whammy bar. Brings down the house.
Did You Think to Pray?
This hymn is so much like Sweet Hour of Prayer, it's a shame not to post them both together. Same key, same techniques, even the same subject! Only the time signature and the actual melody are different, but still so similar it's uncanny. Even the pattern picks are very similar. If you like one, you're sure to like the other.
For those who don't like pattern-picking ("all those darned arpeggios!"), I apologize. I do like them, but I usually try for more variety. The next one will be VERY different!
Public domain. For those who are interested, I've included a brief pattern-picking chart at the end. Enjoy!
For those who don't like pattern-picking ("all those darned arpeggios!"), I apologize. I do like them, but I usually try for more variety. The next one will be VERY different!
Public domain. For those who are interested, I've included a brief pattern-picking chart at the end. Enjoy!
Placentero nos es trabajar
This song is in the public domain, but you won't find it in the English hymnal, only in the Spanish one. It is one of the best-loved hymns of the Latin-American saints.
For those who do not read Spanish, I have included a time count, and have changed the time signature from the original 4/4 to 8/8, to simplify the tab. It will still sound the same. Play it fast, "with enthusiasm" ("con entusiasmo") Here is my attempt to translate the Spanish words into English. For those who do speak Spanish, I apologize if my translation is lacking in any way. I'm not much of a poet.
ENGLISH TRANSLATION:
It is pleasant for us to work
In the vinyard of the great God Jesus
And honorable for us to to preach
To His people, His law and His light.
By His light, by His light,
It is pleasant for us to work.
By His light, by His light,
We will die in Him without sadness.
Hear the Word of God
With eagerness, loyalty and fervor.
Forever and always remember
His purity, truth, and love.
With love, with love,
Hear the Word of God.
With love, with love,
Bear the flag of God.
Oh, brothers! Good-by, then Good-bye!
The moment to leave has come.
If we keep the faith in the great God,
We will yet see each other far Beyond.
Far Beyond, far Beyond,
O, brothers! Good-by, then Good-by!
Far Beyond, far Beyond,
We will live with God in love.
THE STORY:
Clate W. Mask, Jr., of the Second Quorum of the Seventy, loves to tell how his grandfather, Andrés C. González, came to write this song. With apologies to Elder Mask, the story goes like this:
Andrés C. González was a schoolmaster’s son, and was one of the first called to serve a mission in Mexico City during the revolutionary era. Preaching on a street corner, he and his companion thought they could attract more attention by singing the popular Protestant hymn, “In the Sweet By and By.” Instead, they attracted the attention of the police, who jailed them for “stealing” the Protestants’ song.
Unable to sleep in the jail, Elder González wrote “Mormon” lyrics to the song. Back on the street corner after being released, the Elders sang “Placentero,” with the new words. The police were ready to haul them back to jail, but Elder Gonzalez exclaimed, "You can't take us to jail. It's not the same song."
Later, in another place, the same missionaries were arrested by the federales, and stood before a firing squad. Convinced they were about to die, Elder González took a lesson from the great Book of Mormon missionary, Abinadi. Remembering how Abinadi gained his reprieve so he could preach to the King, Elder González told the federales, “You can’t kill us yet, we have a message for your Presidente which we have not yet delivered.”
The soldiers were sceptical, but eventually took Elder González to see the President of Mexico. On learning Elder González’ identity, the Presidente told him, “Your father was my favorite teacher.” He pardoned the two missionaries, and at Elder González’ request, proclaimed that the Mormons could preach the Gospel freely throughout Mexico without harassment. This was the beginning of the hugely successful LDS missionary movement in Mexico.
THE TABLATURE:
It's a simple song, really. The difficulty is in trying to play it fast. The hammer-ons and pull-offs help, but there are still pleny of transitions that will need practice to get smooth and fast. Keep the beat regular; it's better to play slow than irregularly, especially on this piece. You don't need lots of expression, except for the many ligados (hammer-ons and pull-offs).
In general, most of the notes are easiest to get if you leave your left hand in the C chord position, using the little finger to do the ligados. It's not as hard as it sounds, really! If you do this, there will be a few pull-offs you will need to do with the middle finger, in the second space. Since your finger is already bent, it can be hard to accomplish. I do a "reverse pull-off" by flicking the middle finger off the string in a straightening motion. Again, not hard, just counter-intuitive.
If it's too hard for you to reach the C chord in the last measure of each verse, after performing the pull-off on the third string, you can reach the same notes on the second string, pulling off --1__0--. Musically, there's no difference, just do it whichever way is easiest for you.
After playing the three verses (if you wish to), add the finale as shown. I like to end with the high-sounding C VIII chord, but you can substitute a regular C, or even split the dirrerence with a C III (barred A at the third fret.)
For those who do not read Spanish, I have included a time count, and have changed the time signature from the original 4/4 to 8/8, to simplify the tab. It will still sound the same. Play it fast, "with enthusiasm" ("con entusiasmo") Here is my attempt to translate the Spanish words into English. For those who do speak Spanish, I apologize if my translation is lacking in any way. I'm not much of a poet.
ENGLISH TRANSLATION:
It is pleasant for us to work
In the vinyard of the great God Jesus
And honorable for us to to preach
To His people, His law and His light.
By His light, by His light,
It is pleasant for us to work.
By His light, by His light,
We will die in Him without sadness.
Hear the Word of God
With eagerness, loyalty and fervor.
Forever and always remember
His purity, truth, and love.
With love, with love,
Hear the Word of God.
With love, with love,
Bear the flag of God.
Oh, brothers! Good-by, then Good-bye!
The moment to leave has come.
If we keep the faith in the great God,
We will yet see each other far Beyond.
Far Beyond, far Beyond,
O, brothers! Good-by, then Good-by!
Far Beyond, far Beyond,
We will live with God in love.
THE STORY:
Clate W. Mask, Jr., of the Second Quorum of the Seventy, loves to tell how his grandfather, Andrés C. González, came to write this song. With apologies to Elder Mask, the story goes like this:
Andrés C. González was a schoolmaster’s son, and was one of the first called to serve a mission in Mexico City during the revolutionary era. Preaching on a street corner, he and his companion thought they could attract more attention by singing the popular Protestant hymn, “In the Sweet By and By.” Instead, they attracted the attention of the police, who jailed them for “stealing” the Protestants’ song.
Unable to sleep in the jail, Elder González wrote “Mormon” lyrics to the song. Back on the street corner after being released, the Elders sang “Placentero,” with the new words. The police were ready to haul them back to jail, but Elder Gonzalez exclaimed, "You can't take us to jail. It's not the same song."
Later, in another place, the same missionaries were arrested by the federales, and stood before a firing squad. Convinced they were about to die, Elder González took a lesson from the great Book of Mormon missionary, Abinadi. Remembering how Abinadi gained his reprieve so he could preach to the King, Elder González told the federales, “You can’t kill us yet, we have a message for your Presidente which we have not yet delivered.”
The soldiers were sceptical, but eventually took Elder González to see the President of Mexico. On learning Elder González’ identity, the Presidente told him, “Your father was my favorite teacher.” He pardoned the two missionaries, and at Elder González’ request, proclaimed that the Mormons could preach the Gospel freely throughout Mexico without harassment. This was the beginning of the hugely successful LDS missionary movement in Mexico.
THE TABLATURE:
It's a simple song, really. The difficulty is in trying to play it fast. The hammer-ons and pull-offs help, but there are still pleny of transitions that will need practice to get smooth and fast. Keep the beat regular; it's better to play slow than irregularly, especially on this piece. You don't need lots of expression, except for the many ligados (hammer-ons and pull-offs).
In general, most of the notes are easiest to get if you leave your left hand in the C chord position, using the little finger to do the ligados. It's not as hard as it sounds, really! If you do this, there will be a few pull-offs you will need to do with the middle finger, in the second space. Since your finger is already bent, it can be hard to accomplish. I do a "reverse pull-off" by flicking the middle finger off the string in a straightening motion. Again, not hard, just counter-intuitive.
If it's too hard for you to reach the C chord in the last measure of each verse, after performing the pull-off on the third string, you can reach the same notes on the second string, pulling off --1__0--. Musically, there's no difference, just do it whichever way is easiest for you.
After playing the three verses (if you wish to), add the finale as shown. I like to end with the high-sounding C VIII chord, but you can substitute a regular C, or even split the dirrerence with a C III (barred A at the third fret.)
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