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.
Showing posts with label simple techniques. Show all posts
Showing posts with label simple techniques. Show all posts
A-Soulin'
Similar to the old Peter, Paul, & Mary version of this very old, English carol, but arranged as a round for two guitars. There's a very short lyric section, which isn't at all hard to sing. The round is in two "parts", but they're almost exactly the same, except for the end of the intro and the coda, where they have to transition to unison. Meylin, my seven-year-old beginning guitar student, can play it. The hardest part is not getting "pulled off" of your part by listening to the other player.
Play at a steady pace, without variation, and it'll sound fantastic. Especially if you can do it while looking a bit bored. Mind you, no one will think it's actually easy. They'll just think you're showing off. And that you have talent worth showing off. It's actually not bad as a solo piece, too, but the duet round just blows people away.
Play at a steady pace, without variation, and it'll sound fantastic. Especially if you can do it while looking a bit bored. Mind you, no one will think it's actually easy. They'll just think you're showing off. And that you have talent worth showing off. It's actually not bad as a solo piece, too, but the duet round just blows people away.
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.
Master, the Tempest Is Raging
LOTS of "extra" notes in this one! But if you don't want them, you can ignore any notes except the ones directly over the words of the song. Of course there are lots of chords, so if you just want the melody line, you'll have to pick it out of the chords.
Play this song fast, and it'll sound just great. As an experiment, I switched to using the letters h and p to indicate hammer-ons and pull-offs, instead of my usual underscore. Does it make a difference to anyone?
All the chords are normal, common chords, including some barre chords, indicated by Roman numerals to show where the barre goes. All the notes are eighth notes, which makes keeping the tempo really easy, even though it's fast. That's one reason I put the "extra" notes in. They actually make it easier to play. The only exception is the last chord, which needs to be held for a count of three. Alternatively, you could play the first chord in the last measure as a three-note "broken" chord, saving the last chord for a full measure of its own.
Play this song fast, and it'll sound just great. As an experiment, I switched to using the letters h and p to indicate hammer-ons and pull-offs, instead of my usual underscore. Does it make a difference to anyone?
All the chords are normal, common chords, including some barre chords, indicated by Roman numerals to show where the barre goes. All the notes are eighth notes, which makes keeping the tempo really easy, even though it's fast. That's one reason I put the "extra" notes in. They actually make it easier to play. The only exception is the last chord, which needs to be held for a count of three. Alternatively, you could play the first chord in the last measure as a three-note "broken" chord, saving the last chord for a full measure of its own.
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.
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