There are a few transitions in this version that may require a bit of practice for smoothness, but not as many as you might think. That’s one reason I tabbed it in C, instead of the key of G, as it’s written in Hymns. The other reason is that I have tendinitis, which makes my left hand lock up when I play in G. I got it from years of twisting my left wrist so I could see what my left hand was doing. If your guitar teacher tells you not to look at your left hand, there’s a reason!
The (slightly) hard transitions are in the fourth measure of the first line and the third measure of the last line, where you have to go rapidly from a barred GIII chord to an F note on the first string. All you really have to do is slide the left hand down to the F, but you’ll want to lift your fingers from all the strings during the slide, to avoid sliding noises. You may also find the pull-off in the third measure of the second line difficult. The trick is to leave all the fingers in place except the barring finger, then use that finger to do the pull-off. This is actually the easiest way to make the change, at least for me.
The second and fourth measures of the third line require you to play the CIII as a barred-A, a barre chord that gives lots of people problems. This could be done in other ways, but none lends itself to the quick series of rapid chord changes required so well as the barred C, F, and G progression. If you have trouble with barred-A chords, you may be exerting more pressure with the left hand than the chord really needs. Done properly, this type of chord is not really hard to play at all, but the finger placement has to be exact, using good technique, with the fingers arched, and only the tips contacting the strings. Many beginners try to muscle this chord instead of learning it right, then wonder why it seems so hard.
A word about the tempo. Switching from 6/8 to 4/4 does more than change the count. The speed of the music also increases dramatically. If you are playing more than one verse, you can play the second part in 8/8 instead of 4/4, which will make the last two lines slow and lyrical instead of quick and bright. You might also consider strumming more of the chords instead of pinching them, as shown in the tab. The bright sound of the pinches sounds really good played near the bridge, giving the piece a real “guitar” sound, especially when played a bit faster than is normal when accompanying singers.
This song is intermediate level, and is in the public domain.
Nearer, My God, to Thee, YouTube video
Click here for the video. A good headset is helpful, as the guitar is rather quiet, but the tone is excellent. Thanks to Jason Booth for this one. His picking is impeccable. Nice classical guitar, nice intro and finale (Jason's own). Thanks for sharing this one, Jason. And thanks for the credit, too. Let us know if you do any others! Best way to do that is to join the site and click on my thumbnail pic to send a message. I answer all legitimate emails. Or, you can comment on the song post. I don't check comments on old posts every day, as there's a lot of spam to wade through. So member messages are still the best way.
Come, Come, Ye Saints
An old favorite, and not especially hard. There are NO BARRE CHORDS! It does contain an F, which some beginners may find difficult. The only unusual chord is CaddG, which is played exactly like a regular C chord, but with the G note added in the third space on the first string with the little finger. Using this instead of a regular C allows the sound to rise with the melody of the song. You can just use the regular C if you are accompanying singing, but if you're playing it as a guitar solo, you'll want to carry the melody on the first string.
The tempo of the song is the only really weird part. In the hymnal, it keeps changing back and forth between 4/4 and 3/4. I have as usual recast this in eighth notes, as 8/8 and 6/8, which makes the counting easier. But it's still not easy, as the rhythm is sprung, and would need sixteenth notes to come out right. That's OK; sixteenth notes are no harder to play than quarter notes or eighth notes, but if I had to write them out, and count up to sixteen every measure, it would double the number of pages needed, and would not make the song any clearer to those who already know it. Which is most likely anyone who would be reading this blog anyway.
As a possibly interesting aside, I first tabbed this song while living in a housing tract built on land that was once a cattle ranch owned by William Clayton, the author of the lyrics. Sister Clayton, his great, great grand-daughter, still lived there, as a 90-year-old spinster. She didn't get out much, but I was asked to take the Sacrament to her a few times before she died. They played this song at her funeral.
Public domain, of course.
The tempo of the song is the only really weird part. In the hymnal, it keeps changing back and forth between 4/4 and 3/4. I have as usual recast this in eighth notes, as 8/8 and 6/8, which makes the counting easier. But it's still not easy, as the rhythm is sprung, and would need sixteenth notes to come out right. That's OK; sixteenth notes are no harder to play than quarter notes or eighth notes, but if I had to write them out, and count up to sixteen every measure, it would double the number of pages needed, and would not make the song any clearer to those who already know it. Which is most likely anyone who would be reading this blog anyway.
As a possibly interesting aside, I first tabbed this song while living in a housing tract built on land that was once a cattle ranch owned by William Clayton, the author of the lyrics. Sister Clayton, his great, great grand-daughter, still lived there, as a 90-year-old spinster. She didn't get out much, but I was asked to take the Sacrament to her a few times before she died. They played this song at her funeral.
Public domain, of course.
Praise to the Lord, the Almighty, EASY version
I never was really satisfied with the other version, but have left it on the blog, for those like me who like barre chords. For those who don't, this version has NO BARRE CHORDS, nor any hard chords or techniques at all. In fact, it is "almighty easy"!
It's so easy, there's really not a lot to say about it. If you can't do hammer-ons or pull-offs, just ignore them. The song will still sound just fine.
There are only four chords in the song, but two of them may look a little strange. GaddD and CaddG are just very simple variations on normal G and C chords. GaddD is played exactly like a regular G chord, except the ring finger of the left hand frets the second string in the third space, instead of the first string, which is not played. It's actually easier to play than a regular G, because the hand doesn't have to stretch so far. CaddG is played exactly like a regular C, except you have to add the G note on the first string, third space, with your pinkie. If this is hard for you, you can just play a regular C, but the melody will suffer. C'mon! It's not that hard!
There are a couple of spots where you have to hold the first note in the measure for a count of 1 and a half beats. If you just hold the first note a bit, then make the last two notes very quick, it'll come out right. If you don't know the song, and don't know how to count, go ahead and make all three notes equal in all the measures. It'll sound a little different in a couple of places, to those who know the song, but it won't sound bad, just a little odd. Your audience may even think you did it that way on purpose!
I like to repeat the final phrase of the last line, using a bass run, on the last time through.
That's IT! Way better than the other tab I wrote for it at first. I think you'll enjoy it. It was written in 1665, so the copyright has definitely expired, if there ever was one.
It's so easy, there's really not a lot to say about it. If you can't do hammer-ons or pull-offs, just ignore them. The song will still sound just fine.
There are only four chords in the song, but two of them may look a little strange. GaddD and CaddG are just very simple variations on normal G and C chords. GaddD is played exactly like a regular G chord, except the ring finger of the left hand frets the second string in the third space, instead of the first string, which is not played. It's actually easier to play than a regular G, because the hand doesn't have to stretch so far. CaddG is played exactly like a regular C, except you have to add the G note on the first string, third space, with your pinkie. If this is hard for you, you can just play a regular C, but the melody will suffer. C'mon! It's not that hard!
There are a couple of spots where you have to hold the first note in the measure for a count of 1 and a half beats. If you just hold the first note a bit, then make the last two notes very quick, it'll come out right. If you don't know the song, and don't know how to count, go ahead and make all three notes equal in all the measures. It'll sound a little different in a couple of places, to those who know the song, but it won't sound bad, just a little odd. Your audience may even think you did it that way on purpose!
I like to repeat the final phrase of the last line, using a bass run, on the last time through.
That's IT! Way better than the other tab I wrote for it at first. I think you'll enjoy it. It was written in 1665, so the copyright has definitely expired, if there ever was one.
Merry Christmas, everybody!
Here's my Christmas present to you all: an absolutely amazing You-tube of a guy who has become my favorite young guitarist. Click here to open your present! Sungha Jung was 8 when this video was made. He's now 11, and MUCH BETTER! To see what else he can do, I recommend three other videos:
Canon in D (with Trace Bundy)
Manha Do Carnaval
Bolero (Yes, the entire orchestral work by Maurice Ravel, with four-part orchestration, all played live on one acoustic guitar, by an eleven-year old boy.)
Sungha says his parents will only let him practice 2 hours a day when school is in session, so it usually takes him 3 days to learn a song, or up to a week for a really hard one! He currently has about 330 You-Tube videos published. Google Sungha Jung for more. Merry Christmas!
Canon in D (with Trace Bundy)
Manha Do Carnaval
Bolero (Yes, the entire orchestral work by Maurice Ravel, with four-part orchestration, all played live on one acoustic guitar, by an eleven-year old boy.)
Sungha says his parents will only let him practice 2 hours a day when school is in session, so it usually takes him 3 days to learn a song, or up to a week for a really hard one! He currently has about 330 You-Tube videos published. Google Sungha Jung for more. Merry Christmas!
O Little Town of Bethlehem
Well, I figured if I didn't get it posted soon, I'd have to save it for next Christmas. It may contain errors or need tweaking a bit; I didn't play through it as many times as usual, and I sometimes get errors anyway, so, if something looks wrong, it probably is. Let me know in a comment, or, if you're a follower, click my thumbnail photo and email me.
This is a gorgeous song, and not especially hard to play, if you can play barre chords. If you can't, don't despair: there are substitutes, and even an entire alternate last line, on the third page.
The first verse is mostly chords and melody notes. The original is written in 4/4 time, which, as usual, I've recast as 8/8 to make it easier to see the rhythm. Remember, the "100" shown as a metronome setting is for EIGHTH NOTES. If you try to play it as 100 quarter notes per minute, you'll sound way too fast.
Play the slide in the second measure with the little finger of the left hand (right hand for you southpaws). This will set you up perfectly for the barre chord that starts the third measure. CaddG is just a C chord, with the pinkie in the third fret to add the G note. No sweat.
Beginning with the 5th line, you will encounter arpeggios, grace notes, and other "extra" notes. If you don't like them, just repeat the first four lines. It's a guitar solo-- no one will know. If you're doing that, you can leave out all those "extra" notes.
I recommend you leave in all the "extra" notes called out in the tab, for a more Baroque sound. If it ain't Baroque, don't fix it! --motto of the Eighteenth Century Cooking Club, which I just made up. Seriously, the first four lines are better for accompanying singers, while the last four are better as an instrumental solo.
Next Christmas, I'll try to get my Christmas carols done by Thanksgiving, so you have time to learn them.
This is a gorgeous song, and not especially hard to play, if you can play barre chords. If you can't, don't despair: there are substitutes, and even an entire alternate last line, on the third page.
The first verse is mostly chords and melody notes. The original is written in 4/4 time, which, as usual, I've recast as 8/8 to make it easier to see the rhythm. Remember, the "100" shown as a metronome setting is for EIGHTH NOTES. If you try to play it as 100 quarter notes per minute, you'll sound way too fast.
Play the slide in the second measure with the little finger of the left hand (right hand for you southpaws). This will set you up perfectly for the barre chord that starts the third measure. CaddG is just a C chord, with the pinkie in the third fret to add the G note. No sweat.
Beginning with the 5th line, you will encounter arpeggios, grace notes, and other "extra" notes. If you don't like them, just repeat the first four lines. It's a guitar solo-- no one will know. If you're doing that, you can leave out all those "extra" notes.
I recommend you leave in all the "extra" notes called out in the tab, for a more Baroque sound. If it ain't Baroque, don't fix it! --motto of the Eighteenth Century Cooking Club, which I just made up. Seriously, the first four lines are better for accompanying singers, while the last four are better as an instrumental solo.
Next Christmas, I'll try to get my Christmas carols done by Thanksgiving, so you have time to learn them.
A-Soulin' video
This is a video of two of my first-year students, Nicole and Corine, playing a duet in their very first "public" performance. The video and sound quality is lousy, as it was taken with an inexpensive digital camera, but it should give you an idea what the song sounds like. You'll need Windows Media Player or something similar to view it. It takes about six minutes to load on my laptop, which admittedly is not lightning fast for a 30 second video clip.
Nicole and Corine don't sing the words, because they live in the Dominican Republic and speak Spanish, so I just taught them the instrumental parts. I don't believe the lyrics have ever been translated. The lyrics are not difficult, if you speak English. The vocal part of the song uses the same guitar techniques as the instrumental duet part, though the order is slightly different, and the guitars play in unison. This gives a nice contrast, and nearly doubles the length of the piece, without requiring additional learning.
Nicole and Corine don't sing the words, because they live in the Dominican Republic and speak Spanish, so I just taught them the instrumental parts. I don't believe the lyrics have ever been translated. The lyrics are not difficult, if you speak English. The vocal part of the song uses the same guitar techniques as the instrumental duet part, though the order is slightly different, and the guitars play in unison. This gives a nice contrast, and nearly doubles the length of the piece, without requiring additional learning.
What Child Is This?
Merry Christmas, Poet-With-A-Day-Job!
Poet commented on another post that this Christmas carol would be the best Christmas present ever, so here it is! Actually, it was quite easy for me to do, as the tab was already present on this website, only it was listed as Greensleeves. It's now also listed as, "What Child Is This?" The tab is the same, as there's no difference in the music. I apologize for not including the Christmas carol words for the second and third verses, but that would take more time than I have right now. You are welcome to print the tab and write in the proper words.
Poet also mentioned that he (she?) is a beginner. The song is published with complete instructions for playing all three verses, which are tabbed in order of increasing complexity. Of course, as a guitar instrumental solo, they need not be played in this order! But if you find arpeggios stuck in around the melody daunting, you can still do fine by playing the first verse or two, and learn the arpeggios later, when you have more confidence.
If you like this tab, you might also like A-Soulin', which is another very old, English Christmas carol. It was popularized in the 1960s by the folk group, Peter, Paul and Mary, but my version is a guitar duet in the form of a round. There are no difficult techniques or chords in it. In fact, there's only ONE strummed chord! It's so simple that I teach it to my first-year students. Nevertheless, it sounds absolutely stunning. Check out the video clip of two of my first-year students.
Poet commented on another post that this Christmas carol would be the best Christmas present ever, so here it is! Actually, it was quite easy for me to do, as the tab was already present on this website, only it was listed as Greensleeves. It's now also listed as, "What Child Is This?" The tab is the same, as there's no difference in the music. I apologize for not including the Christmas carol words for the second and third verses, but that would take more time than I have right now. You are welcome to print the tab and write in the proper words.
Poet also mentioned that he (she?) is a beginner. The song is published with complete instructions for playing all three verses, which are tabbed in order of increasing complexity. Of course, as a guitar instrumental solo, they need not be played in this order! But if you find arpeggios stuck in around the melody daunting, you can still do fine by playing the first verse or two, and learn the arpeggios later, when you have more confidence.
If you like this tab, you might also like A-Soulin', which is another very old, English Christmas carol. It was popularized in the 1960s by the folk group, Peter, Paul and Mary, but my version is a guitar duet in the form of a round. There are no difficult techniques or chords in it. In fact, there's only ONE strummed chord! It's so simple that I teach it to my first-year students. Nevertheless, it sounds absolutely stunning. Check out the video clip of two of my first-year students.
Before Thee, Lord, I Bow My Head-- for flat picking
Yes, you read that right. This version is in the key of C, and it is specifically intended for flat picking. If you want to get a similar effect on a classical guitar, strum all the chords with your thumb, which gives an easy, laid-back sound to the piece. And it CAN be played without barre chords!
The tempo is unusual, but you can play it just like a 6/8 tempo, only it'll come out twice as fast in 6/4. I strongly recommend that you learn each part of the song slowly first, before attempting to play it at speed. You can also give the piece a more "country" sound by turning all the strummed chords into Carter licks. A Carter lick is a quick strum down and then back up again, the whole lick counting one count. Carter licks sound really good with an alternating bass note, either before the licks or after them. For this song, though, to do this, you'll need to add an extra couple of notes to each measure, converting it into 8/4 or 8/8 time. More on this later.
To play the song as written, there are only a few comments that need to be made. The melody is carried in the bass line, which is unusual for a hymn, but not for country Gospel music. The song is also written in Hymns as a round in two parts. This is also unusual, though not unique. If you're going to play it as a guitar solo, or with just one singer, use the first ending, which I think sounds better. There won't be time enough for the second singing part in the last measure, so I've included an alternative ending for accompanying duets, as published in the hymnal. The rest of the song is as close to the hymnal as I could make it and still have it come out right for the guitar.
The hammer-ons and pull-offs called for are NOT quick. Each note is a quarter note, just as in the picked notes. In fact, you can pick the ligados too, if you have trouble with ligados, but the ligado notes sound better-connected. The chord symbols appear over the spot where you need to fret them with the left hand, not necessarily where the chord is strummed. This is done to make it easier to find the notes with the left hand; if you want to do it another way, by all means do what works best for you.
F/C is read, "F, with a C bass note" and is played like a regular F chord, adding the C note with the left pinkie. You can just play a normal F if you like, but the bass note called for in the melody line happens to be the C, so it works better, if you can do it.
For the Chorus, the music specifies that the tempo be played "Brightly," hence the increased metronome setting. In the Chorus, the melody is carried in the treble strings. Play the first part of the Chorus in rapid but complete phrases: "How sweet thy word I’ve heard this day!" should be played as a complete phrase, without pauses. Similarly, "Be thou my guide, O Lord, I pray," except remember that "word", "guide" and "Lord" each have two syllables: "wor-ord", "gui-ide" and "Lo-ord" respectively. CaddG is a regular C chord, with the little finger adding the G on the first string. It's not hard to play, but it may be difficult to do the pull-off with the little finger while holding the chord. If you have trouble, don't play the full chord, just the G note, and do the pull-off, which carries the melody. The second time, fret the first string in the second space with the first joint of the index finger, as if barring the strings. This makes for a super easy transition to the GIII chord.
Don't forget, you'll have to go back to the G7 position to do the bass run in the next measure. This is made a bit easier by the change in tempo, as the tune slows back down to the original 120 beats/minute. The melody switches back to the bass strings, too. " Seal thou the word upon my heart," is also to be played as a single phrase, for the guitar solo version. I think that after you get it up to speed, you'll really like it.
To play the piece in 8/8, as a country Gospel tune, you'll need to add a few notes here and there, to make the count come out even. It's easy to add a few extra bass notes to do so, and create an alternating bass line at the same time. You'll also need to play the final chord slowly, to contrast with the Carter licks, so it sounds like the piece is definitely ended.
The tempo is unusual, but you can play it just like a 6/8 tempo, only it'll come out twice as fast in 6/4. I strongly recommend that you learn each part of the song slowly first, before attempting to play it at speed. You can also give the piece a more "country" sound by turning all the strummed chords into Carter licks. A Carter lick is a quick strum down and then back up again, the whole lick counting one count. Carter licks sound really good with an alternating bass note, either before the licks or after them. For this song, though, to do this, you'll need to add an extra couple of notes to each measure, converting it into 8/4 or 8/8 time. More on this later.
To play the song as written, there are only a few comments that need to be made. The melody is carried in the bass line, which is unusual for a hymn, but not for country Gospel music. The song is also written in Hymns as a round in two parts. This is also unusual, though not unique. If you're going to play it as a guitar solo, or with just one singer, use the first ending, which I think sounds better. There won't be time enough for the second singing part in the last measure, so I've included an alternative ending for accompanying duets, as published in the hymnal. The rest of the song is as close to the hymnal as I could make it and still have it come out right for the guitar.
The hammer-ons and pull-offs called for are NOT quick. Each note is a quarter note, just as in the picked notes. In fact, you can pick the ligados too, if you have trouble with ligados, but the ligado notes sound better-connected. The chord symbols appear over the spot where you need to fret them with the left hand, not necessarily where the chord is strummed. This is done to make it easier to find the notes with the left hand; if you want to do it another way, by all means do what works best for you.
F/C is read, "F, with a C bass note" and is played like a regular F chord, adding the C note with the left pinkie. You can just play a normal F if you like, but the bass note called for in the melody line happens to be the C, so it works better, if you can do it.
For the Chorus, the music specifies that the tempo be played "Brightly," hence the increased metronome setting. In the Chorus, the melody is carried in the treble strings. Play the first part of the Chorus in rapid but complete phrases: "How sweet thy word I’ve heard this day!" should be played as a complete phrase, without pauses. Similarly, "Be thou my guide, O Lord, I pray," except remember that "word", "guide" and "Lord" each have two syllables: "wor-ord", "gui-ide" and "Lo-ord" respectively. CaddG is a regular C chord, with the little finger adding the G on the first string. It's not hard to play, but it may be difficult to do the pull-off with the little finger while holding the chord. If you have trouble, don't play the full chord, just the G note, and do the pull-off, which carries the melody. The second time, fret the first string in the second space with the first joint of the index finger, as if barring the strings. This makes for a super easy transition to the GIII chord.
Don't forget, you'll have to go back to the G7 position to do the bass run in the next measure. This is made a bit easier by the change in tempo, as the tune slows back down to the original 120 beats/minute. The melody switches back to the bass strings, too. " Seal thou the word upon my heart," is also to be played as a single phrase, for the guitar solo version. I think that after you get it up to speed, you'll really like it.
To play the piece in 8/8, as a country Gospel tune, you'll need to add a few notes here and there, to make the count come out even. It's easy to add a few extra bass notes to do so, and create an alternating bass line at the same time. You'll also need to play the final chord slowly, to contrast with the Carter licks, so it sounds like the piece is definitely ended.
The Lord Is My Shepherd
If you're a beginner, don't let the tab scare you. There's a very easy, strummed version shown as a cheat sheet at the end of the tab. Both are in the key of A, so you can play them as alternate verses, or as a duet, if you like.
To make this a bit easier, I've tried to use chords that lend themselves to easy changes. For example, you can easily change from Av to Dv by just flattening the fingers of the left hand across the strings. Same for D6v. To get from the (unbarred) A to the (barred) Av at the end of the song, use the first joint of the index finger (the one closest to the palm) to fret the first string, as it's already in position over the string, and just needs to be slid up to the IV space. Then, it's easy to hit the barre in the v space for the full-barre Av.
Counting this song is easy, if you remember that every two notes equal one count! I routinely recast 3/4 time songs like this as 6/8, as it rarely makes a difference. This is one of the rarelies, so I left it in 3/4. But remember the metronome setting of 70 is for two notes, not one, or the song will really drag.
I have to confess, I'm not entirely happy with this arrangement, but audiences seem to like it. If anyone knows a better one, I'd love to see it.
The cheat sheet at the end of the tab is for strumming, to accompany a singer. The chords are much easier, and you can even play it with a pick, if you want. I usually replace the high A note at the end with an Av chord, but if you aren't up to playing full barre chords, you can just tremolo the last note, and it'll sound great. Virtually any guitarist can play this version. My seven year old student Meilin picked it up and started playing it (while singing!) the first time she heard it.
To make this a bit easier, I've tried to use chords that lend themselves to easy changes. For example, you can easily change from Av to Dv by just flattening the fingers of the left hand across the strings. Same for D6v. To get from the (unbarred) A to the (barred) Av at the end of the song, use the first joint of the index finger (the one closest to the palm) to fret the first string, as it's already in position over the string, and just needs to be slid up to the IV space. Then, it's easy to hit the barre in the v space for the full-barre Av.
Counting this song is easy, if you remember that every two notes equal one count! I routinely recast 3/4 time songs like this as 6/8, as it rarely makes a difference. This is one of the rarelies, so I left it in 3/4. But remember the metronome setting of 70 is for two notes, not one, or the song will really drag.
I have to confess, I'm not entirely happy with this arrangement, but audiences seem to like it. If anyone knows a better one, I'd love to see it.
The cheat sheet at the end of the tab is for strumming, to accompany a singer. The chords are much easier, and you can even play it with a pick, if you want. I usually replace the high A note at the end with an Av chord, but if you aren't up to playing full barre chords, you can just tremolo the last note, and it'll sound great. Virtually any guitarist can play this version. My seven year old student Meilin picked it up and started playing it (while singing!) the first time she heard it.
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