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!
Un Flambeau, Jeanette, Isabelle (Bring a Torch!)
An old, French Christmas carol, much beloved in France, and practically unknown in the English-speaking world. Possibly because the English lyrics don't seem to flow very well. The French lyrics don't, either, but the French don't seem to care. They can deal with a slightly "sprung" rhythm. I have "un-sprung" it in this version, (to make it easier to play) by adding and extra "Ah" and stretching out the word, "bell-e, and then adding another "Ah!" to make it all come out even. Non-French audiences don't seem to mind the change.
If anybody asks, I'll tab the last line in the traditional manner and add it.
I know it's too late for Christmas Carols, two days after Christmas, but it's the best I can do. Maybe it'll help next year. When you're my age, that doesn't seem so far away.
If anybody asks, I'll tab the last line in the traditional manner and add it.
I know it's too late for Christmas Carols, two days after Christmas, but it's the best I can do. Maybe it'll help next year. When you're my age, that doesn't seem so far away.
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.
Christmas Duet for Guitar & Violin
My own arrangement. Actually, this is a medley of the Christmas carols, "Angels We Have Heard On High," and "Joy to the World," plus the Easter song, "Christ the Lord is Risen Today." I first tried the medley as a tribute to President Hinckley's statement that without Easter, there would be no Christmas. The three songs go so well together, musically, too!
You'll want too play right through the transitions from one song into the next without hesitation. If this is hard for you, practice just the measure before and after each transition, over and over, until you can play the transition without hesitation. The second time around, the songs are not complete, just a few bars of each to remind the audience what they are hearing, ending with the joyous finale of "Let Earth receive her King!" (tum ta-TUM!)
Sounds really, REALLY good with a decent violinist. The guitar part fits around the violin melody just right. I don't have a program for writing sheet music, so you have to transpose and print out the violin part. Fortunately, that's not very hard. Instructions follow the chord charts at the end of the guitar part. Anybody know a good, CHEAP (preferably free) program for writing violin music?
You'll want too play right through the transitions from one song into the next without hesitation. If this is hard for you, practice just the measure before and after each transition, over and over, until you can play the transition without hesitation. The second time around, the songs are not complete, just a few bars of each to remind the audience what they are hearing, ending with the joyous finale of "Let Earth receive her King!" (tum ta-TUM!)
Sounds really, REALLY good with a decent violinist. The guitar part fits around the violin melody just right. I don't have a program for writing sheet music, so you have to transpose and print out the violin part. Fortunately, that's not very hard. Instructions follow the chord charts at the end of the guitar part. Anybody know a good, CHEAP (preferably free) program for writing violin music?
Jesu Joy of Man's Desiring
The old Bach perennial. It's not necessarily a Christmas song, but it seems to get played a lot around Christmas time. This is a somewhat simplified version. Feel free to add all the flourishes you want.
I love Baroque music. In fact, I once dreamed of starting an 18th Century Cooking Club. Our motto would be, (are you ready for this?)
If it ain't Baroque...don't fix it! (AAAAAAgh!)
I love Baroque music. In fact, I once dreamed of starting an 18th Century Cooking Club. Our motto would be, (are you ready for this?)
If it ain't Baroque...don't fix it! (AAAAAAgh!)
More new Christmas tabs
Jesu Joy of Man's Desiring, & a Christmas Duet for Guitar & Violin. Also, Regocijad, the Spanish version of Joy to the World, and an easy version. More details later.
New Christmas Music
Away In A Manger
A-Soulin' (instrumental duet)
Un Flambeau (Bring A Torch)
I'll post more about each one when I have time. For now, just a reminder that they are listed in the Links.
How great it is to have my files back!
A-Soulin' (instrumental duet)
Un Flambeau (Bring A Torch)
I'll post more about each one when I have time. For now, just a reminder that they are listed in the Links.
How great it is to have my files back!
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!
Sweet Hour of Prayer
Public domain.
One of my favorite hymns. I couldn't figure out why I never tabbed it, especially as it's written in C, the easiest key of them all to tab! Then I tried to do it. It turns out it's IMPOSSIBLE to play in C (for me, anyway).
I tried transposing it into all twelve keys. The only one that's really playable on the guitar is A, so that's what I used. If you want to sing it, or play with another instrument, you'll have to use a capo, or go to the Church website and use their music transposer. Go to lds.org. Click on Gospel library/music, and search for the hymn you want, then select the key you want it in. It'll give you an exact transcription, for any hymn in the current, English-language hymnal. It won't do hymns that have been dropped from older editions, or ones that are only in foreign language editions. And it won't do Primary songs. It won't do tablature, either, of course. For that, you need me. You can't have everything.
If you don't like pattern-picking, you won't like this arrangement. If I get enough comments, maybe I'll do a different arrangement, with more chords and with fewer arpeggios. For now, though, this is it. It was a bear to do, though it's not hard to play, once I figured out where to put the melody notes. There's really only one barre chord in it-- Av, which is an E barred in the V fret. There is also a Dv called for, but it's really just a slight modification of the Av chord.
There are a couple of places in the refrain, where you have to stretch to fret the 2nd string in the IX fret, while maintaining a barre at the V fret. On paper, it looks like quite a stretch, but that high on the neck, the frets are quite a bit closer together, so it's not as hard as it looks. Hitting the V fret on the 1st string while playing a D chord (in the first line) is actually harder.
My hand won't stretch that way, but fortunately, it doesn't matter if you let the fingers on the 1st and 2nd strings slide out of position a bit, since you aren't going to play them until later anyway. I just let my whole hand slide up the neck a fret and back down again. If you're quick about it, no one will ever know.
One of my favorite hymns. I couldn't figure out why I never tabbed it, especially as it's written in C, the easiest key of them all to tab! Then I tried to do it. It turns out it's IMPOSSIBLE to play in C (for me, anyway).
I tried transposing it into all twelve keys. The only one that's really playable on the guitar is A, so that's what I used. If you want to sing it, or play with another instrument, you'll have to use a capo, or go to the Church website and use their music transposer. Go to lds.org. Click on Gospel library/music, and search for the hymn you want, then select the key you want it in. It'll give you an exact transcription, for any hymn in the current, English-language hymnal. It won't do hymns that have been dropped from older editions, or ones that are only in foreign language editions. And it won't do Primary songs. It won't do tablature, either, of course. For that, you need me. You can't have everything.
If you don't like pattern-picking, you won't like this arrangement. If I get enough comments, maybe I'll do a different arrangement, with more chords and with fewer arpeggios. For now, though, this is it. It was a bear to do, though it's not hard to play, once I figured out where to put the melody notes. There's really only one barre chord in it-- Av, which is an E barred in the V fret. There is also a Dv called for, but it's really just a slight modification of the Av chord.
There are a couple of places in the refrain, where you have to stretch to fret the 2nd string in the IX fret, while maintaining a barre at the V fret. On paper, it looks like quite a stretch, but that high on the neck, the frets are quite a bit closer together, so it's not as hard as it looks. Hitting the V fret on the 1st string while playing a D chord (in the first line) is actually harder.
My hand won't stretch that way, but fortunately, it doesn't matter if you let the fingers on the 1st and 2nd strings slide out of position a bit, since you aren't going to play them until later anyway. I just let my whole hand slide up the neck a fret and back down again. If you're quick about it, no one will ever know.
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