What more can be done with a hymn that the Mormon Tabernacle Choir has used as their “Music and the Spoken Word” opening theme song for the last 75 years?
Plenty, it turns out.
Every now and then, a hymn just demands to be arranged for the guitar, and when thus played, sounds like it was always meant to be a guitar song. This is one such hymn.
Moreover, it contains no barre chords, no difficult chords, no especially hard techniques, and no fast or difficult chord changes, yet it sounds fantastic. What more could a guitarist ask for?
It’s in the Public Domain, too.
Nevertheless, this is not a song for beginners. There is LOTS of expression, often in long strings of ligados, and in a few places, slides on two strings simultaneously. It shouldn’t be too hard for any experienced guitarist to learn, but will require some practice.
Instructions:
This piece is based on a pattern pick, using two patterns, with modifications.
Measure [1] introduces Pattern A: treble - bass, treble - bass, treble - bass.
Measure [2] introduces Pattern B: treble - arpeggio - bass.
To avoid confusion, the right hand fingers are numbered, not named: the thumb is #1, the index = #2, the middle finger #3, and the ring finger = #4. The right pinkie is not numbered, because it is not used. (The left pinkie IS used. A lot.) Similarly, although the strings are normally distinguished by the numbers 1 - 6, to avoid confusion with the numbered fingers of the right hand, I shall call the strings by the notes they make when played open: e, B, G, D, A, and E respectively.
For these patterns, lead with the #4 finger on the initial treble note. #1 plays the bass notes of pattern A, and the first two or three notes of the arpeggio in pattern B. #2 plays the next note of the arpeggio, and #3 and 4 play the other notes as appropriate. The second chord in measure [2] is a C/G (pronounced “C over G”), and is fretted exactly like a C chord, except that the pinkie frets the bass E string in the third space.
Measure [6] breaks the pattern slightly with a glissando (a slide) on the B string, using the left pinkie. Measure [7] appears to be Pattern A again, but there’s an easier way to play it. Since the left pinkie is already in the fifth space from the last note of the previous measure, the left Index finger is perfectly positioned to fret the e string in the third space, a technique referred to as “Third Position” and usually marked in guitar music with a small Roman numeral III above the staff. Third Position means that the hand is moved up the neck of the guitar, so the Index finger, which usually frets notes in the first space, now frets notes in the third space. In this system, the normal hand position is called, “First Position,” but is only marked with a Roman Numeral I above the staff when needed.
Measure [8] returns to First Position and Pattern B, continuing in Measures [9] and [10]. To fret the last note in [9], flatten the middle finger briefly across the G string. Measure [10] introduces a pull-off, a very slight variation on Pattern B, but significant, as eight of the next nine measures contain either pull-offs, hammer-ons, or slides. You’ll have to fret the B string with the Index and Ring fingers simultaneously in the first and third spaces, then pull-off the Ring finger.
Measure [11] departs from the pattern altogether. There are two hammer-ons in this measure, shown two different ways. I use the same underscore for the hammer-on and for the pull-off. I realize that it may seem comfusing at first, but it’s really not possible to mix them up, as pull-offs always go down in tone, while hammer-ons always go up.
Measure [12] is actually a return to Pattern B, but doesn’t look it, due to all of the pull-offs. Fret the e string with the Index and Ring fingers simultaneously in the first and third spaces, to do the pull-off. Continue to hammer-on and pull off with the Index finger in the next measure, beginning with the C chord.
The next three measures, [13] through [16], completely depart from Patterns A and B, in order to follow the melody closely. In [13] there’s a --pull-off -- hammer-on -- pull-off -- riff, repeated with a --hammer-on -- pull-off -- riff in [14]. You may find it easiest to play this second riff with the pinkie.
The next measure [15], begins a series of double-glissandos, or slides done on two strings simultaneously. Play the double slide on the D and B strings with the Middle and Ring fingers respectively, to set up for the change to F which follows. You don’t actually need to do the two-string barre for the F chord at this time, as the e string is not played until the end of the next measure.
That F chord is vital, as it sets up the whole measure which follows. The word Mordent refers tp tje sound made by using a “Wa-Wa” pedal. If you are amplified and have a wa-wa pedal, use it here. If not, you’ll have to play it as two double-glissandos, as shown in the tab. Play the Mordent using the Middle and Ring fingers to fret the G and D strings respectively. Briefly lift the fingers off the fretbpoard without changing their positions, just long enough for the pinch on the open B and G strings, then replace the Index and Middle fingers on the B and G strings for the slide. Play the C chord which follows in the next measure as part of the same phrase that began in Measure [15].
Measure [16] will “make” the song in the minds of your audience if done right. Practice with a metronome until you can play it exactly on the beat, with no pause before or after the measure. Blows people away.
The next three measures, [17], [18] and [19], are a return to Pattern B, except that the previous 4th finger lead notes are now pinched chords. Play the slide in [18] on the e and B strings with the index and ring fingers respectively, starting in Third Position and sliding to First Position. This sets up your hand for the C chord which follows.
The final three measures are just chords. Measure [20] contains the only “barred” chord in the piece-- the first three strings of a normal F chord. Even if you can’t do full barre chords, there’s no reason you should have any difficulty with this simple, three-string chord.
Play the final two measures very slowly and deliberately.The second chord in [21] is actually a GaddD, but there’s no reason to fret the whole chord, when you’re only going to play three strings, and two of them are open! Just lift the fingers off the strings, maintaining the C-shape, and fret the third space on the B string with the pinkie. Quickly pinch the three strings with the #2, #3, and #4 fingers, then change right back to the C chord, using the pinkie to fret the bass E string in the third space, which changes the C into a C/G. (Pronounced, “C over G”.)
Contrary to my usual practice of including the lyrics of the first verse, I have included those of the fourth, because of the importance of its message: Repent and live! I hope you enjoy playing this song as much as I’ve enjoyed arranging it.
History:
“Gently Raise the Sacred Strain” was included in the first LDS hymnal, compiled by Emma Smith shortly after her baptism, and published in 1835. The lyrics were written by William W. Phelps, who was boarding with the Smiths at the time. No one seems to know the original tune, but we do know it was not the current one, which was composed for the Tabernacle Choir by Thomas C. Griggs, who was not even born until 1845!
Showing posts with label stunning. Show all posts
Showing posts with label stunning. Show all posts
I Stand All Amazed
I couldn’t find this hymn, in my records, so I rewrote it, then found the old one here on the blog. I like the new version MUCH better! It’s actually easier to play, too. I feel I was inspired to do the new version. Try it!
Level of difficulty
This is going to be one of my personal favorites! Play it with lots of feeling. There are no barre chords, no hard chords-- not many chords at all. Most of the piece is melody. I’ve tried to avoid hard chord changes. There’s a lot of repetition, too: the second two lines of the verse are almost a complete repetition of the first two lines.
There are quite a few hammer-ons, pull-offs, slides, and tremolos. For this reason, I was tempted to classify the piece as Intermediate level, but honestly, it’s not beyond most beginners. You could actually omit those special techniques and it would sound okay, but please don’t! It sounds SOOO much better with “expression.” The following paragraphs tell in detail how to do this.
Chording
I’ve tried to arrange the fingering to make it easy and smooth. This requires a slight alteration in the way you play the CaddD chord. Play it like a C chord, but with the D added on the 2nd string, 3rd space, as shown in the chord charts. Leave the index finger in place too, on the same string, as in a normal C chord, and it positions your hand perfectly for the pull-off which follows.
Phrasing
Play the last line on page one as a single phrase. In the fourth measure of that line, move your hand position up the neck of the guitar, and fret the D on the 2nd string, 3rd space with your index finger. That’s what the Roman numeral III above the note indicates. This allows you to fret the C on the third string, 5th space, with your ring finger. Your middle finger then falls naturally into position for the slide, making an easy transition to the strummed G7 chord. This may seem like a lot of finger dancing for the sake of one easy chord change. Trust me, it’s not. I spent nearly as much time smoothing out chord changes as I did in arranging the rest of the song.
In the next-to-last measure of the next-to-last line of the Chorus, I've made one significant change. Instead of pinching the 2nd and 4th strings for the double slide, as in the previous line, strum the first four strings, with strings #1 and #3 open. These strings will continue to ring as you do the double slide on the other two strings, giving an interesting effect.
The 2nd, 3rd, and 4th measures of the Chorus also need to be played as a single musical phrase. I suggest you practice with a metronome until you can play each phrase with absolute regularity. The fastest way to do this is to start slowly, maybe even at half speed. Do not increase your speed until you can play each phrase with absolute regularity of tempo. Gradually increase the speed with increasing fluency, until you can play at full speed in perfect tempo.
Expression
In the next line, do the “strong tremolo” with the ring finger, to set up for the double slide that follows. Make the tremolo as strong as possible, vibrating the ring finger along (not across) the string, without actually moving the end of the finger. Use the middle and ring fingers for the double slide. Pre-spray the strings with string lubricant if necessary, to avoid squeaking. Trust me, all this “expression” without ever pausing or changing pace will blow the minds of your listeners.
You can strum the pinched chords, or pinch any of the strummed ones, if you wish. I’ve put in a variety, with mostly pinched chords in the verse, and mostly strummed ones in the chorus. In some places, I’ve done it to make playing easier, in others for the sound effect. Try it as tabbed, then make any modifications you like. I don’t have an electric guitar available to try this song on, but I bet it would sound great. Somebody please try it and let me know.
History
Charles Hutchinson Gabriel composed the music and wrote the lyrics. Known as a child prodigy of the organ, he began writing and composing hymns for his own church by age 16. As a young adult, he began a career as a prolific professional gospel song writer / composer. He is said to have written and/or composed between 7,000 and 8,000 songs, many still available in hymnals of various churches. He wrote under several names, including Charlotte G. Homer!
Gabriel was also known as a humble man, apparently unaffected by the adulation that often gives child prodigies a swelled head. This song reflects his humility in Christ. It is in the public domain. I have been unable to find any more specific details about its composition. The message speaks for itself.
Level of difficulty
This is going to be one of my personal favorites! Play it with lots of feeling. There are no barre chords, no hard chords-- not many chords at all. Most of the piece is melody. I’ve tried to avoid hard chord changes. There’s a lot of repetition, too: the second two lines of the verse are almost a complete repetition of the first two lines.
There are quite a few hammer-ons, pull-offs, slides, and tremolos. For this reason, I was tempted to classify the piece as Intermediate level, but honestly, it’s not beyond most beginners. You could actually omit those special techniques and it would sound okay, but please don’t! It sounds SOOO much better with “expression.” The following paragraphs tell in detail how to do this.
Chording
I’ve tried to arrange the fingering to make it easy and smooth. This requires a slight alteration in the way you play the CaddD chord. Play it like a C chord, but with the D added on the 2nd string, 3rd space, as shown in the chord charts. Leave the index finger in place too, on the same string, as in a normal C chord, and it positions your hand perfectly for the pull-off which follows.
Phrasing
Play the last line on page one as a single phrase. In the fourth measure of that line, move your hand position up the neck of the guitar, and fret the D on the 2nd string, 3rd space with your index finger. That’s what the Roman numeral III above the note indicates. This allows you to fret the C on the third string, 5th space, with your ring finger. Your middle finger then falls naturally into position for the slide, making an easy transition to the strummed G7 chord. This may seem like a lot of finger dancing for the sake of one easy chord change. Trust me, it’s not. I spent nearly as much time smoothing out chord changes as I did in arranging the rest of the song.
In the next-to-last measure of the next-to-last line of the Chorus, I've made one significant change. Instead of pinching the 2nd and 4th strings for the double slide, as in the previous line, strum the first four strings, with strings #1 and #3 open. These strings will continue to ring as you do the double slide on the other two strings, giving an interesting effect.
The 2nd, 3rd, and 4th measures of the Chorus also need to be played as a single musical phrase. I suggest you practice with a metronome until you can play each phrase with absolute regularity. The fastest way to do this is to start slowly, maybe even at half speed. Do not increase your speed until you can play each phrase with absolute regularity of tempo. Gradually increase the speed with increasing fluency, until you can play at full speed in perfect tempo.
Expression
In the next line, do the “strong tremolo” with the ring finger, to set up for the double slide that follows. Make the tremolo as strong as possible, vibrating the ring finger along (not across) the string, without actually moving the end of the finger. Use the middle and ring fingers for the double slide. Pre-spray the strings with string lubricant if necessary, to avoid squeaking. Trust me, all this “expression” without ever pausing or changing pace will blow the minds of your listeners.
You can strum the pinched chords, or pinch any of the strummed ones, if you wish. I’ve put in a variety, with mostly pinched chords in the verse, and mostly strummed ones in the chorus. In some places, I’ve done it to make playing easier, in others for the sound effect. Try it as tabbed, then make any modifications you like. I don’t have an electric guitar available to try this song on, but I bet it would sound great. Somebody please try it and let me know.
History
Charles Hutchinson Gabriel composed the music and wrote the lyrics. Known as a child prodigy of the organ, he began writing and composing hymns for his own church by age 16. As a young adult, he began a career as a prolific professional gospel song writer / composer. He is said to have written and/or composed between 7,000 and 8,000 songs, many still available in hymnals of various churches. He wrote under several names, including Charlotte G. Homer!
Gabriel was also known as a humble man, apparently unaffected by the adulation that often gives child prodigies a swelled head. This song reflects his humility in Christ. It is in the public domain. I have been unable to find any more specific details about its composition. The message speaks for itself.
God, Our Father, Hear Us Pray
WARNING: CONTAINS VERY EASY CHORDS (with scary names.) And lots of barre chords. If you can play barre chords, you should have no trouble.
THE CHORDS:
According to the piano music in the hymnal, this song is a long series of chords, with hardly any melody notes. That sounds good when accompanying choral or congregational singing, but does not do so well as an instrumental solo. But it’s such a beautiful song, with such a lovely chord progression, that I could not resist it. It did require a bit of arranging for instrumental guitar, and in one case, I had to substitute an F#7 chord for Fdim7, to bring out the melody.
There are lots of “diminished seventh” chords in this song. Don’t let that throw you. They are beautiful, and easy to play. Only the names are scary. And there’s a secret to playing them that you may not know.
THE SECRET: Nearly all diminished seventh chords are played exactly the same way; only the barre position varies. Sometimes, even that does not change. The second chord in the first measure is actually an Fdm7, but it’s played exactly the same as Ddim7. The name is the only difference! That’s right-- the very same chord has two different names. Actually, it has four different names: Ddim7 = Fdim7 = G#dim7 = Bdim7. All four are exactly the same chord, played exactly the same way. All four names are equally correct.
I call them all Ddim7 for simplicity. Change the barre position, and you get other diminished seventh chords, in similar groups of four. There are technical reasons for this. I won’t go into them here, but if you are interested, see the PDF document in The Tabs at right, called “Diminished Seventh Chord Theory”. You’ll learn how, by mastering one easy, four-string chord, you can play five dozen really beautiful chords. Really.
Those dim7 chords probably all should have Roman numerals attached, to show which space the barre goes in. I didn’t do it, because their names would be ridiculously long, and would not fit in the tablature. G#dim7II, for example.
Some chords called for in the piano music have been replaced with single notes or two-note pinches, for playability. In the interest of simplicity, and to avoid confusion, I have left their chord names out of the tab entirely.
There are two different ways of playing A7 in this tab, two ways of playing Bm, and two ways to play D7. All are necessary to bring out the melody. If you just play them one way, the melody will go down where it’s supposed to go up,. There are also two different ways of playing G. You may find it easier to fret the non-barred G as if you were playing G7, for easier chord changes. The #1 string is not played, so there is no difference between G and G7, so far as the actual notes played are concerned. Use which ever feels easiest to you.
PLAYING TIPS:
-- At the end of the second measure, you can ease the transition from G to BmII by releasing the G chord early. It won’t matter, as the third pinch is on two open strings. Do the same at the end of the tenth measure, where the transition is from G to BII .
-- The first measure of the second line shows a ligado on the G string, from the 4th fret to the 2nd fret. Normally, this would be played as a pull-off, but if your fingers are short, like mine, you may find it easier to do a push off instead. Whichever way you do it. leave the index finger on the string in the 2nd space, where it will be perfectly positioned for the following D chord.
-- In the first measure of the last line, you will normally use your ring finger to fret the G note on the #1 string. If you leave it on the string, you can easily move it to the second space, to make the pull off, in preparation for the following GIII chord.
-- Following this chord, there are two notes (C and B) on the #1 string, which are to be played with “strong tremolo”. This is done by rapidly vibrating the fretting finger (probably the ring finger) along the string, while continuing to hold the note. The tremolo will be strongest if performed with the finger closer to the next higher fret, rather than in the middle of the space. If you are playing more than one verse, you may choose to omit the tremolo from the earlier verses, adding it in on the last verse for emphasis.
-- The final three chords require you to go from an Em7 shape to an A7 shape to an E shape, while simultaneously sliding the barre from VII to V to III. Quickly. There is no trick for doing this easily. It’s a hard series to play well, even though the chords individually are not difficult. As in all such situations, the only strategy that works is lots of practice. Sorry, there is no royal road here. It just takes work. However, it’s worth it, as this is a lovely way to end the phrase. You may even wish to repeat the last four measures, slowly, as a finale after the last verse.
-- Since this guitar arrangement is still mostly chords, it works without alteration as a guitar accompaniment for singers, or as a duet with some other instrument. I’d love to hear it done as a duet with a violin. Any violinists out there want to jam?
Historical notes:
Text of the lyrics is by Annie Pinnock Malin, an early Utah pioneer. I have been unable to learn anything about the circumstances under which she wrote this song. Anyone have any information?
The music is from a tune called “Mercy”, by Louis M. Gottschalk, adapted by Edwin P. Parker. Gottschalk was a child prodigy of the piano, born in the USA, but classically trained in Europe, who performed throughout the United States. He left the U.S. after a scandal, and died in Brazil, leaving a large corpus of music. Several of his tunes are well-known hymns, but this is the only one included in the LDS Hymnal, which states that it was “adapted by Edwin P. Parker.
Parker is listed in hymnals of various churches as adapting works by Gottschalk (and other composers), though the names are often misspelled. To further cloud the issue, there are several historical personages of note named Edwin P. Parker, with conflicting birthdates and biographical information. I’m not going to repeat any of them, as I have no way to tell which are true, or even which refer to this-- and not some other-- Edwin P. Parker.
This song is in the public domain.
THE CHORDS:
According to the piano music in the hymnal, this song is a long series of chords, with hardly any melody notes. That sounds good when accompanying choral or congregational singing, but does not do so well as an instrumental solo. But it’s such a beautiful song, with such a lovely chord progression, that I could not resist it. It did require a bit of arranging for instrumental guitar, and in one case, I had to substitute an F#7 chord for Fdim7, to bring out the melody.
There are lots of “diminished seventh” chords in this song. Don’t let that throw you. They are beautiful, and easy to play. Only the names are scary. And there’s a secret to playing them that you may not know.
THE SECRET: Nearly all diminished seventh chords are played exactly the same way; only the barre position varies. Sometimes, even that does not change. The second chord in the first measure is actually an Fdm7, but it’s played exactly the same as Ddim7. The name is the only difference! That’s right-- the very same chord has two different names. Actually, it has four different names: Ddim7 = Fdim7 = G#dim7 = Bdim7. All four are exactly the same chord, played exactly the same way. All four names are equally correct.
I call them all Ddim7 for simplicity. Change the barre position, and you get other diminished seventh chords, in similar groups of four. There are technical reasons for this. I won’t go into them here, but if you are interested, see the PDF document in The Tabs at right, called “Diminished Seventh Chord Theory”. You’ll learn how, by mastering one easy, four-string chord, you can play five dozen really beautiful chords. Really.
Those dim7 chords probably all should have Roman numerals attached, to show which space the barre goes in. I didn’t do it, because their names would be ridiculously long, and would not fit in the tablature. G#dim7II, for example.
Some chords called for in the piano music have been replaced with single notes or two-note pinches, for playability. In the interest of simplicity, and to avoid confusion, I have left their chord names out of the tab entirely.
There are two different ways of playing A7 in this tab, two ways of playing Bm, and two ways to play D7. All are necessary to bring out the melody. If you just play them one way, the melody will go down where it’s supposed to go up,. There are also two different ways of playing G. You may find it easier to fret the non-barred G as if you were playing G7, for easier chord changes. The #1 string is not played, so there is no difference between G and G7, so far as the actual notes played are concerned. Use which ever feels easiest to you.
PLAYING TIPS:
-- At the end of the second measure, you can ease the transition from G to BmII by releasing the G chord early. It won’t matter, as the third pinch is on two open strings. Do the same at the end of the tenth measure, where the transition is from G to BII .
-- The first measure of the second line shows a ligado on the G string, from the 4th fret to the 2nd fret. Normally, this would be played as a pull-off, but if your fingers are short, like mine, you may find it easier to do a push off instead. Whichever way you do it. leave the index finger on the string in the 2nd space, where it will be perfectly positioned for the following D chord.
-- In the first measure of the last line, you will normally use your ring finger to fret the G note on the #1 string. If you leave it on the string, you can easily move it to the second space, to make the pull off, in preparation for the following GIII chord.
-- Following this chord, there are two notes (C and B) on the #1 string, which are to be played with “strong tremolo”. This is done by rapidly vibrating the fretting finger (probably the ring finger) along the string, while continuing to hold the note. The tremolo will be strongest if performed with the finger closer to the next higher fret, rather than in the middle of the space. If you are playing more than one verse, you may choose to omit the tremolo from the earlier verses, adding it in on the last verse for emphasis.
-- The final three chords require you to go from an Em7 shape to an A7 shape to an E shape, while simultaneously sliding the barre from VII to V to III. Quickly. There is no trick for doing this easily. It’s a hard series to play well, even though the chords individually are not difficult. As in all such situations, the only strategy that works is lots of practice. Sorry, there is no royal road here. It just takes work. However, it’s worth it, as this is a lovely way to end the phrase. You may even wish to repeat the last four measures, slowly, as a finale after the last verse.
-- Since this guitar arrangement is still mostly chords, it works without alteration as a guitar accompaniment for singers, or as a duet with some other instrument. I’d love to hear it done as a duet with a violin. Any violinists out there want to jam?
Historical notes:
Text of the lyrics is by Annie Pinnock Malin, an early Utah pioneer. I have been unable to learn anything about the circumstances under which she wrote this song. Anyone have any information?
The music is from a tune called “Mercy”, by Louis M. Gottschalk, adapted by Edwin P. Parker. Gottschalk was a child prodigy of the piano, born in the USA, but classically trained in Europe, who performed throughout the United States. He left the U.S. after a scandal, and died in Brazil, leaving a large corpus of music. Several of his tunes are well-known hymns, but this is the only one included in the LDS Hymnal, which states that it was “adapted by Edwin P. Parker.
Parker is listed in hymnals of various churches as adapting works by Gottschalk (and other composers), though the names are often misspelled. To further cloud the issue, there are several historical personages of note named Edwin P. Parker, with conflicting birthdates and biographical information. I’m not going to repeat any of them, as I have no way to tell which are true, or even which refer to this-- and not some other-- Edwin P. Parker.
This song is in the public domain.
I Feel My Savior's Love
Merry Christmas from Jason Booth!
Just in time for Christmas, Jason emailed me and offered this tab and video. I think you'll agree that both are fantastic. Here's the tab, and Jason's comments, both published with his permission. There's also a video of Jason playing the piece [HERE]. This arrangement is NOT in the Public Domain, but Jason has generously offered them to the blog. Same rules apply as for my tabs. Thank you, Jason.
Jason describes himself thus: I'm a married, father of four, mechanical engineer, who loves all things guitar related. I've been playing for about 17 years. I've accompanied people in talent shows and at different church functions. I just think the guitar is wonderful. I actually am in the process of building my own acoustic guitar, but since I work on it when I'm not busy with my kids the process is a couple of years in the works so far.
The song is originally written in the key of F. This arrangement is in the key of D, to get
to F you just need to put a capo on the 3rd fret. In my video I have the capo on the 2nd
fret because that’s the range that fit my daughter’s voice the best. The tab is written for a guitar tuned to
DADGBE, regular tuning with the low E string dropped to a D. [This is often called, "drop D tuning"-- Don]
The song requires the use of the barred C-form chord. Because the low string is dropped to a D it makes a couple of strange barred chords that take a bit of practice to be able to go to smoothly, like the G in measure 10 and the F#m in measure 11. Because the song is finger picked you can cheat a little bit though. You don’t have to have all of your fingers in place at the beginning of the measure, just the ones that are needed for the first note. Then the fingers in place act as an anchor to help the others land in the correct position. That’s the technique I use going from the D5 in measure 9 to the G in measure 10. I make sure my 1st finger is on the 6th string at the 5th fret and my 3rd finger is on the 1st sting at the 7th fret at the start of the measure then I have a whole extra beat to get my other two in place. I do the same thing for the F#m in the 11th measure.
I added a couple of beats to measures 13 and 17 to account for a couple of notes that are usually held longer by the person singing the song and I liked the way it sounded. If you end up playing along with someone who is playing on the piano you’ll need to make some adjustments there. To start the song I play the end of the song starting on the last note of measure 13 as an intro. I end the song with a slow strum of the full D chord, ending on the 2nd string, a D.
Just in time for Christmas, Jason emailed me and offered this tab and video. I think you'll agree that both are fantastic. Here's the tab, and Jason's comments, both published with his permission. There's also a video of Jason playing the piece [HERE]. This arrangement is NOT in the Public Domain, but Jason has generously offered them to the blog. Same rules apply as for my tabs. Thank you, Jason.
Jason describes himself thus: I'm a married, father of four, mechanical engineer, who loves all things guitar related. I've been playing for about 17 years. I've accompanied people in talent shows and at different church functions. I just think the guitar is wonderful. I actually am in the process of building my own acoustic guitar, but since I work on it when I'm not busy with my kids the process is a couple of years in the works so far.
I wrote a couple of paragraphs about playing the song. That was
harder than I thought it would be. Let me know if something doesn't
make sense. Here they are:
The song requires the use of the barred C-form chord. Because the low string is dropped to a D it makes a couple of strange barred chords that take a bit of practice to be able to go to smoothly, like the G in measure 10 and the F#m in measure 11. Because the song is finger picked you can cheat a little bit though. You don’t have to have all of your fingers in place at the beginning of the measure, just the ones that are needed for the first note. Then the fingers in place act as an anchor to help the others land in the correct position. That’s the technique I use going from the D5 in measure 9 to the G in measure 10. I make sure my 1st finger is on the 6th string at the 5th fret and my 3rd finger is on the 1st sting at the 7th fret at the start of the measure then I have a whole extra beat to get my other two in place. I do the same thing for the F#m in the 11th measure.
I added a couple of beats to measures 13 and 17 to account for a couple of notes that are usually held longer by the person singing the song and I liked the way it sounded. If you end up playing along with someone who is playing on the piano you’ll need to make some adjustments there. To start the song I play the end of the song starting on the last note of measure 13 as an intro. I end the song with a slow strum of the full D chord, ending on the 2nd string, a D.
Ding-Dong, Merrily on High (easier)
It's HARD to play this song at the proper speed. Doing so requires paying strict attention to correct fingering of both the left and right hands. What works best for me may not work best for you, so don't hesitate to change these instructions if your fingers like a different pattern better! The chords called out in the chord charts require some odd fingerings to allow for fast chord changes, so I have specified which finger to use in the charts. The number 1 = the index finger, 2 = the middle finger, etc. You may find some of these fingerings counter-intuitive, but they are the ones I have found work the best in this particular song.
Meanwhile, back at the first verse:
Strum the initial C chord with the thumb, then play the second note with the ring finger of the right hand. This leaves the stronger middle finger to initiate the pull-off series on the second string. You'll probably have to release the C chord-shape with the left hand to play that series. Play the last note, on the third string, with the right index finger.
In the second measure, play all the third string notes with the right middle finger, and the bass string with the right thumb. This sets you up to play the F chord in the third measure as a thumb strum. The next three notes, all on the second string, can be played rapidly by using a different right hand finger for each one: ring-middle-index. If you know classical guitar terminology, use alternating rest-strokes. In the final measure, use a thumb strum, and pluck the final note with the middle finger (that's a free-stroke in classical guitar).
The Chorus
The Chorus is the fastest part of the song, and thus the hardest to play. Practice each measure until you can do it without thinking about it, then go on to the next. All three Choruses are the same, except for the last line of the final Chorus.
Pluck the first note of the first measure with the right ring finger, then strum the next two notes. Release the chord shape with the left hand, and play the fourth note with the ring finger. Then pluck the next-to-last note with the right middle finger, pulling-off the last note with the left hand. All the notes are eighth-notes, and should have equal length and emphasis.
The second measure of the Chorus has a slightly different pattern. All the notes on the first string are plucked with the right middle finger, the bass note with the thumb, and all the rest with the right index finger. Releasing the chord-shape after the first two notes will make this measure much easier on your left hand. The third measure has the same pattern.
The pattern for the fourth and fifth measures is actually the same, except shifted down one string. The second string notes are all plucked with the right middle finger, bass notes with the thumb, and all others with the index finger. There are no notes on the first string.
The sixth measure is different. Keep the chord shape with the left hand throughout the measure. All second string notes are plucked with the right ring finger, all third string notes with the middle finger, all fourth string notes with the index finger, and the bass with the thumb. The same pattern holds for the final two measures of the Chorus, except for the strummed chord at the beginning of the seventh measure. I like to repeat the Chorus, but it's not required except after the last verse.
The Second Verse
This same pattern is continued into the second verse, except for the second measure, where it shifts down another string, so the chord is strummed by the thumb, then the third string is plucked by the right ring finger, the fourth by the middle finger, the fifth by the index, and the bass by the thumb. At the end of this measure, shift back to the previous pattern, and keep it up until the end of the verse. Repeat the verse, then go right into the Chorus.
The Third Verse
The Third Verse does not follow the melody-- it just sounds really neat! If you want to follow the melody, just repeat the First Verse. But if you want to play the Third Verse the way I've arranged it, here's how.
After the initial strum, release the chord-shape with the left hand. The rest of the measure consists essentially of scales, descending from treble to bass, then ascending again. If you have trouble performing two pull-offs or hammer-ons in a row, you'll have trouble with this verse, but if you can do them, it makes the verse extremely easy, as it's the same pattern, just on different strings.
The only “odd” note comes in the third measure, where you have to fret the fifth string in the fourth space with your left pinkie. If your pinkie is not up to this, you can move your hand around and hit the note in the same place with your ring finger, but it's a lot of finger-dancing for one note. I use my pinkie, and figure if it doesn't sound too good, nobody is likely to notice, as it's a “grace note.”
Repeat the verse, going immediately into the beginning of the repetition without a pause. Even though you are doing exactly the same thing, most of your audience will think you somehow have shifted the guitar down an octave, and will wonder how you did it!
Final Chorus:
The last Chorus is played exactly like all the others, except for the last two measures. You can slow down for this “finale”, but it's way more impressive if you don't. The next-to-last measure is actually easier than in the previous Choruses, to allow a bit more time for you to move your hand up the neck to the eighth fret, for the full-barre C chord.
Just strum the two bass strings quickly, so they sound more or less together, then “slow strum” the other four strings, so each one can be heard independently. (But don't slow down!) Hold the final note as long as you can. If you don't break the rhythm, and you play it as fast as it's written (or even close), your applause will be thunderous!
Beautiful Savior
ABOUT THE SONG:
For such a well-beloved old hymn, there is remarkably little agreement about any part of this song. The title, lyrics, composer(s), lyricist(s), English translator(s), even the authenticity of the score are all hotly disputed. Legend has it The Crusaders’ Hymn was sung by German Crusaders on their way to the Holy Land. But no one has established which of the nine Crusades (spanning three centuries) is meant, much less documented the legend. Others attribute the original German lyrics to 17th Century German Jesuits, three or four centuries later.
Most Protestants call it Fairest Lord Jesus, and most Catholics call it The Crusaders’ Hymn, but Lutherans and Mormons call it Beautiful Savior, and use different lyrics. All versions refer to the Son of God and Son of Man, whose beauty and purity exceed those of all natural phenomena. But there is little or no agreement on specifics. Due to the multiplicity of “original German sources,” it is perfectly possible that all those claiming to be the “original” translator are correct!
The music itself is cited as an old, Silesian folksong, in a German text published in 1842, while the Crusades lasted from 1095 to 1291. Eight centuries is plenty of time for a hymn to give rise to a folksong, or vice-versa. No one truly knows which came first. To further muddy the water, the first English translation was published in 1677, almost two centuries before the “original” German text that it was translated from! Nevertheless, we know that the English version is not the original, as it is listed as a translation in its earliest extant version. That may be the only fact about this beautiful, old hymn that can be stated without dispute.
ABOUT THE CHORDS:
I arranged this song at the request of my daughter Thora. It will stretch your hands. If you are not up to that, you can dumb it down and sing the melody. To facilitate this, I’ve left it in the key of D, as published in The Children’s Songbook. If you are accompanying vocalists, substitute D, A, and G for the relevant barre chords, and it becomes a very easy song to play. You can strum the chords, or use a pattern pick. Play all the chords listed, including those in brackets.
To include the melody and all the cool harmonies in your solo, play it as written. Played this way, it is not a song for beginners, but it’s not as hard as it looks. True, there are seventeen chords, and some of them look rather strange, but five are common chords you already know, or very slight variations. For example, D/A is just a regular D chord, but you play the open A string, too. Read it as, “D, A bass.”
Of the rest, nine are slight variations of barred E, barred A, and barred Am, chord shapes you probably already know if you are used to playing barre chords. A#dim and A7II are less common, but are simple, two-finger chords. There is really only one difficult chord, called DII, but also called D/F#II. Read these as D (barred at the second fret), and D, F# bass (barred at the second fret). They are really the same chord; the only difference being whether or not you play the #6 string. This chord is a barred C shape, which is a tough chord shape for many people to master. It is not by any means impossible, though, and its full, rich sound makes it very important in nearly all music genres.
PLAYING INSTRUCTIONS:
To minimize finger dancing, I begin the Intro by barring at the tenth fret, but you don’t have to if it’s not comfortable. Steel-string guitars have two “extra” frets on the neck, which makes this much easier. If you have large hands and a classical guitar, it may be easier to play the notes as written, or invent an intro of your own. There is nothing “official” about introductions; you can use whatever you like. You may even wish to use the coda (the underlined measures on the last page) as an introduction. If you do, the actual coda at the end becomes a reprise of the intro, which is a cool way to end a song.
At the end of the second line, after playing A7II, lift the whole hand off the strings when you play the open E string. This gives you time to move up the neck for the upcoming DX. This chord makes the fingering way easy: all changes can be made by flattening and un-flattening the pinky. There are other ways to play these notes, but this way minimizes chord changes. The last measure of the third line includes an [A] in lightface type. If you are playing the tab, just ignore it, as the necessary notes are in the tab. But if you are strumming accompaniment, you should play the [A], and the following [A7], or it will sound wrong.
At the end of the line, lift the whole left hand from the strings while playing the open E string. This gives you more time to move to the fifth fret, easing the chord change to AV. The mordant (--5_7_5--) in the next measure sets up the transition to the following DV. There’s no slick way to make the change to EmVII in the middle of the next measure, but the change from a barred A shape to a barred Am shape is not a difficult one. The only tricky part is doing so while moving up the neck two frets. Remember to lift the fingers from the fretboard slightly while changing, or the slide will be audible.
In the first line of page two, make the same changes in reverse, ending the line with a regular D. I tried using DV, to minimize the change from AV, but it just doesn’t sound the same. D also eases the chord changes at the beginning of the next line. The D probably will not sustain for the full measure, unless you are playing an electric guitar. Use the [rest] at the end of the measure to start the change to D/F#II. This chord is a barred C shape, played at the second fret, allowing the #6 string to sound. Read it as, “D, F# bass”. You can substitute a D/AV (DV, allowing the open A string to sound), which many find easier, and sounds almost as good. Try it both ways, and decide for yourself. The barred C shape is a difficult one to master, but worth the effort. This song is all about gorgeous harmonies; if you dumb it down, you cheat yourself and your audience.
At the beginning of the fourth line, hold the AV as long as possible, while fretting the G note on the 2nd string with the pinky. That converts the chord into an A7, an interesting resolve to the preceding phrase. Starting in the next measure, there's another one of those barred C shapes. This time, it actually makes the transition to the following BmII easier. I have added arpeggios between the next, strummed chords. Playing the arpeggios with the thumb gives a soft sound. Slow down a bit for emphasis.
The coda (the underlined measures) will sound faster, because you are playing eight notes to the bar, but the tempo doesn’t really change at all. Play the chord and the first two notes at the beginning of each measure with the thumb, then pluck the treble strings with the fingers. The slides, hammer-ons, and pull-offs add even more variety. You could play all the D chords in the coda the same way, as a regular D, but starting at the fifth fret and working down to the regular D lends a sense of closure that would otherwise be lacking. In the next-to-last measure, you will have to release the A chord to do the hammer-ons. Slow down for emphasis, and hold the final D chord as long as you can. Stunning!
For such a well-beloved old hymn, there is remarkably little agreement about any part of this song. The title, lyrics, composer(s), lyricist(s), English translator(s), even the authenticity of the score are all hotly disputed. Legend has it The Crusaders’ Hymn was sung by German Crusaders on their way to the Holy Land. But no one has established which of the nine Crusades (spanning three centuries) is meant, much less documented the legend. Others attribute the original German lyrics to 17th Century German Jesuits, three or four centuries later.
Most Protestants call it Fairest Lord Jesus, and most Catholics call it The Crusaders’ Hymn, but Lutherans and Mormons call it Beautiful Savior, and use different lyrics. All versions refer to the Son of God and Son of Man, whose beauty and purity exceed those of all natural phenomena. But there is little or no agreement on specifics. Due to the multiplicity of “original German sources,” it is perfectly possible that all those claiming to be the “original” translator are correct!
The music itself is cited as an old, Silesian folksong, in a German text published in 1842, while the Crusades lasted from 1095 to 1291. Eight centuries is plenty of time for a hymn to give rise to a folksong, or vice-versa. No one truly knows which came first. To further muddy the water, the first English translation was published in 1677, almost two centuries before the “original” German text that it was translated from! Nevertheless, we know that the English version is not the original, as it is listed as a translation in its earliest extant version. That may be the only fact about this beautiful, old hymn that can be stated without dispute.
ABOUT THE CHORDS:
I arranged this song at the request of my daughter Thora. It will stretch your hands. If you are not up to that, you can dumb it down and sing the melody. To facilitate this, I’ve left it in the key of D, as published in The Children’s Songbook. If you are accompanying vocalists, substitute D, A, and G for the relevant barre chords, and it becomes a very easy song to play. You can strum the chords, or use a pattern pick. Play all the chords listed, including those in brackets.
To include the melody and all the cool harmonies in your solo, play it as written. Played this way, it is not a song for beginners, but it’s not as hard as it looks. True, there are seventeen chords, and some of them look rather strange, but five are common chords you already know, or very slight variations. For example, D/A is just a regular D chord, but you play the open A string, too. Read it as, “D, A bass.”
Of the rest, nine are slight variations of barred E, barred A, and barred Am, chord shapes you probably already know if you are used to playing barre chords. A#dim and A7II are less common, but are simple, two-finger chords. There is really only one difficult chord, called DII, but also called D/F#II. Read these as D (barred at the second fret), and D, F# bass (barred at the second fret). They are really the same chord; the only difference being whether or not you play the #6 string. This chord is a barred C shape, which is a tough chord shape for many people to master. It is not by any means impossible, though, and its full, rich sound makes it very important in nearly all music genres.
PLAYING INSTRUCTIONS:
To minimize finger dancing, I begin the Intro by barring at the tenth fret, but you don’t have to if it’s not comfortable. Steel-string guitars have two “extra” frets on the neck, which makes this much easier. If you have large hands and a classical guitar, it may be easier to play the notes as written, or invent an intro of your own. There is nothing “official” about introductions; you can use whatever you like. You may even wish to use the coda (the underlined measures on the last page) as an introduction. If you do, the actual coda at the end becomes a reprise of the intro, which is a cool way to end a song.
At the end of the second line, after playing A7II, lift the whole hand off the strings when you play the open E string. This gives you time to move up the neck for the upcoming DX. This chord makes the fingering way easy: all changes can be made by flattening and un-flattening the pinky. There are other ways to play these notes, but this way minimizes chord changes. The last measure of the third line includes an [A] in lightface type. If you are playing the tab, just ignore it, as the necessary notes are in the tab. But if you are strumming accompaniment, you should play the [A], and the following [A7], or it will sound wrong.
At the end of the line, lift the whole left hand from the strings while playing the open E string. This gives you more time to move to the fifth fret, easing the chord change to AV. The mordant (--5_7_5--) in the next measure sets up the transition to the following DV. There’s no slick way to make the change to EmVII in the middle of the next measure, but the change from a barred A shape to a barred Am shape is not a difficult one. The only tricky part is doing so while moving up the neck two frets. Remember to lift the fingers from the fretboard slightly while changing, or the slide will be audible.
In the first line of page two, make the same changes in reverse, ending the line with a regular D. I tried using DV, to minimize the change from AV, but it just doesn’t sound the same. D also eases the chord changes at the beginning of the next line. The D probably will not sustain for the full measure, unless you are playing an electric guitar. Use the [rest] at the end of the measure to start the change to D/F#II. This chord is a barred C shape, played at the second fret, allowing the #6 string to sound. Read it as, “D, F# bass”. You can substitute a D/AV (DV, allowing the open A string to sound), which many find easier, and sounds almost as good. Try it both ways, and decide for yourself. The barred C shape is a difficult one to master, but worth the effort. This song is all about gorgeous harmonies; if you dumb it down, you cheat yourself and your audience.
At the beginning of the fourth line, hold the AV as long as possible, while fretting the G note on the 2nd string with the pinky. That converts the chord into an A7, an interesting resolve to the preceding phrase. Starting in the next measure, there's another one of those barred C shapes. This time, it actually makes the transition to the following BmII easier. I have added arpeggios between the next, strummed chords. Playing the arpeggios with the thumb gives a soft sound. Slow down a bit for emphasis.
The coda (the underlined measures) will sound faster, because you are playing eight notes to the bar, but the tempo doesn’t really change at all. Play the chord and the first two notes at the beginning of each measure with the thumb, then pluck the treble strings with the fingers. The slides, hammer-ons, and pull-offs add even more variety. You could play all the D chords in the coda the same way, as a regular D, but starting at the fifth fret and working down to the regular D lends a sense of closure that would otherwise be lacking. In the next-to-last measure, you will have to release the A chord to do the hammer-ons. Slow down for emphasis, and hold the final D chord as long as you can. Stunning!
Dream A Little Dream Of Me
It’s not really LDS, or even religious, but it’s such a pretty lovesong, and a chaste one at that, that I couldn’t resist including it as a Valentine’s Day treat. Yeah, I know, it’s barely New Years, but it might take you a while to get this one down pat, as the chord progressions, while beautiful, are a bit unusual. I’m including two versions. If you like instrumental guitar solos, play the tab version. If you’re intending to sing it to someone special, the cheat sheet is probably better. Or, you can do as I do most of the time -- play the chords and sing it, but include some finger-pickin’ as an interlude.
The “cheat” version is intended to be strummed, either with a soft, flat pick or with the thumb. Strum slowly and easily, DOWN up-down-up, DOWN up-down-up, DOWN up-down-up, DOWN up-down-up. The song makes extensive use of barre chords, to bring out the melody, even when chording. They are not especially difficult ones, but you may find the use of the GVII chord (a barred C) difficult, if you are not used to it. I often play it as a four-string chord, which makes it much easier.
The transitions: CIII - B7II - Fm7sus & CIII - B7II - A7 are central to the song. The only really hard part of this is making the transition B7II - A7 quickly. I do it by just lifting the barre and sliding the whole chord two frets toward the nut. It may feel “wrong” to play A7 this way at first, but it’s lots faster than trying to change finger positions to play it the normal way, and it does pre-position your hand perfectly for the full-barre F which follows.
The song will sound LOTS better if you put in the melody notes on the F - Fm phrase. See the tab version for the exact notes to play. The AV - A6V - AV transition is even easier, as all you are doing is moving the little finger. You have to be quick to hit the following E7 and stay in the rhythm, but again, you can do it much faster if you just pick up the barring finger and move the whole hand, playing the chord with the “wrong” fingers. Try hard not to actually slide the chord. It sounds bad if you do, though sliding UP the bass string to the AV works really well. Barbara says it’s her favorite part of the song!
I wrote the tab version in 8/8 time, to make all the notes come out eighth notes, or very nearly all of them. I don’t know what the original time signature was-- 4/4, or even 2/4. I tried writing it as 4/4, and it just looked too “busy” to be easily readable. The hard thing is to make it sound slow and relaxed. It might take a month of practice, which is why I’m posting it now. If you haven’t been working on “Til There Was You” from last year, this makes an acceptable replacement, and it’s not nearly as hard. It even works well as a duet -- if one of you has a throaty, contralto voice like Mama Cass!
This is NOT in public domain, so -- SORRY! You don't get the full lyrics with the tab. I've included them with the cheat sheet, because you can't write a cheat sheet without the lyrics! The arrangements are all mine, including simplified (really!) chords. Papa Denny must be double-jointed, to play the chords he's written. I can't!
The “cheat” version is intended to be strummed, either with a soft, flat pick or with the thumb. Strum slowly and easily, DOWN up-down-up, DOWN up-down-up, DOWN up-down-up, DOWN up-down-up. The song makes extensive use of barre chords, to bring out the melody, even when chording. They are not especially difficult ones, but you may find the use of the GVII chord (a barred C) difficult, if you are not used to it. I often play it as a four-string chord, which makes it much easier.
The transitions: CIII - B7II - Fm7sus & CIII - B7II - A7 are central to the song. The only really hard part of this is making the transition B7II - A7 quickly. I do it by just lifting the barre and sliding the whole chord two frets toward the nut. It may feel “wrong” to play A7 this way at first, but it’s lots faster than trying to change finger positions to play it the normal way, and it does pre-position your hand perfectly for the full-barre F which follows.
The song will sound LOTS better if you put in the melody notes on the F - Fm phrase. See the tab version for the exact notes to play. The AV - A6V - AV transition is even easier, as all you are doing is moving the little finger. You have to be quick to hit the following E7 and stay in the rhythm, but again, you can do it much faster if you just pick up the barring finger and move the whole hand, playing the chord with the “wrong” fingers. Try hard not to actually slide the chord. It sounds bad if you do, though sliding UP the bass string to the AV works really well. Barbara says it’s her favorite part of the song!
I wrote the tab version in 8/8 time, to make all the notes come out eighth notes, or very nearly all of them. I don’t know what the original time signature was-- 4/4, or even 2/4. I tried writing it as 4/4, and it just looked too “busy” to be easily readable. The hard thing is to make it sound slow and relaxed. It might take a month of practice, which is why I’m posting it now. If you haven’t been working on “Til There Was You” from last year, this makes an acceptable replacement, and it’s not nearly as hard. It even works well as a duet -- if one of you has a throaty, contralto voice like Mama Cass!
This is NOT in public domain, so -- SORRY! You don't get the full lyrics with the tab. I've included them with the cheat sheet, because you can't write a cheat sheet without the lyrics! The arrangements are all mine, including simplified (really!) chords. Papa Denny must be double-jointed, to play the chords he's written. I can't!
Brightly Beams Our Father's Mercy
This is one of my favorite hymns, both to sing and to play. There are very few "grace notes" in it; nearly all of it is melody. The few grace notes are put in parentheses, in light face type. You can safely ignore them if you only want to play the melody. You can also substitute the regular C chord for all the different C chords, the regular F for all the F chords, and the regular G for all the different G chords, if you are not comfortable with barre chords. It won't sound as nice or follow the melody as well, but will be perfectly fine for accompanying vocalists.
Notes:
I usually play the first F as a regular, four-string F, just because the chord change from C and back is easier that way, and it's a very fast change.
The transition F(I) to F(V) may be hard to make rapidly, if you are not used to playing these chords. It is perfectly acceptable to avoid the change by playing all the F chords in the tenth measure the same. If you do this, it sounds much better if you leave out the F(I) chord and substitute the F(5) chord, rather than the other way around.
It's also perfectly OK to make the final C chord a normal one, without the G bass, if your pinkie isn't up to it. But it sounds a bit thin for a finale. The full, six-string chord sounds much better to end the song on.
It wouldn't hurt to put tremolo on the E note on the third string in the next-to-last measure. That's why I play it in the 9th fret of the third string, instead of just playing the first string open, which is the same note. When performed as a guitar solo, this piece sounds better with lots of pauses, holds, and tremolos. I like to use these forms of expression to emphasize the words of the hymn that feel most important to me at the time I am playing them. You cannot be too expressive with this song-- the more expression you put in, the better your audience will like it, even at the risk of totally losing the rhythm!
This song is in the public domain.
Notes:
I usually play the first F as a regular, four-string F, just because the chord change from C and back is easier that way, and it's a very fast change.
The transition F(I) to F(V) may be hard to make rapidly, if you are not used to playing these chords. It is perfectly acceptable to avoid the change by playing all the F chords in the tenth measure the same. If you do this, it sounds much better if you leave out the F(I) chord and substitute the F(5) chord, rather than the other way around.
It's also perfectly OK to make the final C chord a normal one, without the G bass, if your pinkie isn't up to it. But it sounds a bit thin for a finale. The full, six-string chord sounds much better to end the song on.
It wouldn't hurt to put tremolo on the E note on the third string in the next-to-last measure. That's why I play it in the 9th fret of the third string, instead of just playing the first string open, which is the same note. When performed as a guitar solo, this piece sounds better with lots of pauses, holds, and tremolos. I like to use these forms of expression to emphasize the words of the hymn that feel most important to me at the time I am playing them. You cannot be too expressive with this song-- the more expression you put in, the better your audience will like it, even at the risk of totally losing the rhythm!
This song is in the public domain.
Til There Was You
From The Music Man by Meredith Willson. Start practicing NOW for next Valentine's Day. This is one of the most beautiful love songs ever written, and one of the hardest to play. It's the most difficult in my personal repertoire. It is NOT in the public domain, so no lyrics. You can get them on nearly any lyrics website. Hard as this version is, the original is even harder, as Willson wrote it in the key of Eb. I've transposed it down (one fret) to D, where it's slightly easier to play. There are so many barre chords, it scarcely makes a difference.
The chords in this song are unusual, hauntingly beautiful, and excruciatingly difficult to play. The chord changes are fast, and there's no room for error. Do NOT attempt this song unless you are an ADVANCED guitarist. If you are an advanced guitarist, don't let the weird chords scare you off. It took me more than a year to master, but it was well worth the effort. It's that pretty.
The chords in this song are unusual, hauntingly beautiful, and excruciatingly difficult to play. The chord changes are fast, and there's no room for error. Do NOT attempt this song unless you are an ADVANCED guitarist. If you are an advanced guitarist, don't let the weird chords scare you off. It took me more than a year to master, but it was well worth the effort. It's that pretty.
Greensleeves/What Child Is This?
Definitely in the public domain! This song has been around, in one form or another, since the time of Shakespeare. Some say it was written by King Henry VIII. The title and lyrics have changed over the centuries, and the tune has been used as a bawdy ballad, a love song, a political ditty, even an accompaniment to executions. My version is intended to be an instrumental solo; it doesn't matter what you call it or where the lyrics come from.
This version has three verses, each different in mood. It's fun to play, and uses lots of slides, hammer-ons, pull-offs, tremolos, and single and double harmonics. Done without fanfare, it tends to stun audiences, which is pretty good for a piece that scarcely lasts three minutes!
I don't have a complete study guide written for Greensleeves, but there is a minimal one at the end of the tab.
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