New blog name
As Elder Boyd K. Packer pointed out in General Conference, "Mormons" is what others call us, referring to our belief in The Book of Mormon. But that is incorrect. Our correct name is, The Church of Jesus Christ of Latter-Day Saints, and church members are correctly addressed as Latter-Day Saints. If we don't get it right, we certainly can't expect others to. So, in the spirit of emphasizing the central role of the Savior in my life, I have retitled this blog. I hope this doesn't confuse anyone.
A wonderful tribute -- "I Get Lifted Up"
An old college friend, Carolyn Wing Greenlee, has posted a wonderful tribute to her deceased friend Jim. Carolyn is a blind musician, songwriter, author, publisher and producer. Her friend Jim was a great guitarist and Christian songwriter. Carolyn has posted a touching and sensitive post about his death and how it taught her the meaning of the Redemption of Christ, together with one of her favorite tracks of Jim's music, "I Get Lifted Up." I hadn't heard it before, but it's worth listening to. I told Carolyn I would post a link on my blog HERE. The track is at the end of her blog post, so you'll have to scroll to the end to find it, but it's worth it. Not LDS, but definitely Christian.
I don't often post links to other people's blogs, especially if they are not related to LDS music. This one is exceptional. I hope you like it.
I don't often post links to other people's blogs, especially if they are not related to LDS music. This one is exceptional. I hope you like it.
Just As I Am
This traditional Protestant hymn is in the public domain. Sorry, but it needs to be in the key of F to make the melody come out right on the guitar. You can transpose it to another key, if a vocalist or another instrument is going to carry the melody. A violin works very well for this.
The song itself is rather simple, except for the fact that you need to play the full barre F and the full barre Bb. You could play a regular F, but there's just no way to play Bb without barring. For this reason, and because it contains slides and pull-offs, I classify it as "Intermediate", though it's simpler than a lot of beginner songs in other ways.
Played very slowly, with lots of feeling, it's a lovely song, and I especially like the lyrics. For a truly moving version by vocalist Brian Doerksen, over a guitar/organ duet, accmpanying an Easter video, click HERE.
There are at least two versions of how the lyrics came to be written. Both agree they were written by Charlotte Elliott in 1835. One version has her writing the song immediately after a conversion experience, the other as a sort of journal entry recording her thoughts in a time of trouble.
Billy Graham claimed he was converted to Christ after hearing this song. He used it so extensively in his campaigns that many Christians think he wrote it! Many other evangelical ministries of various Protestant churches have also found it apt. I associate it with the Baptists, because I first encountered it in an independent Baptist church.
The song itself is rather simple, except for the fact that you need to play the full barre F and the full barre Bb. You could play a regular F, but there's just no way to play Bb without barring. For this reason, and because it contains slides and pull-offs, I classify it as "Intermediate", though it's simpler than a lot of beginner songs in other ways.
Played very slowly, with lots of feeling, it's a lovely song, and I especially like the lyrics. For a truly moving version by vocalist Brian Doerksen, over a guitar/organ duet, accmpanying an Easter video, click HERE.
There are at least two versions of how the lyrics came to be written. Both agree they were written by Charlotte Elliott in 1835. One version has her writing the song immediately after a conversion experience, the other as a sort of journal entry recording her thoughts in a time of trouble.
Billy Graham claimed he was converted to Christ after hearing this song. He used it so extensively in his campaigns that many Christians think he wrote it! Many other evangelical ministries of various Protestant churches have also found it apt. I associate it with the Baptists, because I first encountered it in an independent Baptist church.
An Angel from on High, easier and better
There are a few transitions in this version that may require a bit of practice for smoothness, but not as many as you might think. That’s one reason I tabbed it in C, instead of the key of G, as it’s written in Hymns. The other reason is that I have tendinitis, which makes my left hand lock up when I play in G. I got it from years of twisting my left wrist so I could see what my left hand was doing. If your guitar teacher tells you not to look at your left hand, there’s a reason!
The (slightly) hard transitions are in the fourth measure of the first line and the third measure of the last line, where you have to go rapidly from a barred GIII chord to an F note on the first string. All you really have to do is slide the left hand down to the F, but you’ll want to lift your fingers from all the strings during the slide, to avoid sliding noises. You may also find the pull-off in the third measure of the second line difficult. The trick is to leave all the fingers in place except the barring finger, then use that finger to do the pull-off. This is actually the easiest way to make the change, at least for me.
The second and fourth measures of the third line require you to play the CIII as a barred-A, a barre chord that gives lots of people problems. This could be done in other ways, but none lends itself to the quick series of rapid chord changes required so well as the barred C, F, and G progression. If you have trouble with barred-A chords, you may be exerting more pressure with the left hand than the chord really needs. Done properly, this type of chord is not really hard to play at all, but the finger placement has to be exact, using good technique, with the fingers arched, and only the tips contacting the strings. Many beginners try to muscle this chord instead of learning it right, then wonder why it seems so hard.
A word about the tempo. Switching from 6/8 to 4/4 does more than change the count. The speed of the music also increases dramatically. If you are playing more than one verse, you can play the second part in 8/8 instead of 4/4, which will make the last two lines slow and lyrical instead of quick and bright. You might also consider strumming more of the chords instead of pinching them, as shown in the tab. The bright sound of the pinches sounds really good played near the bridge, giving the piece a real “guitar” sound, especially when played a bit faster than is normal when accompanying singers.
This song is intermediate level, and is in the public domain.
The (slightly) hard transitions are in the fourth measure of the first line and the third measure of the last line, where you have to go rapidly from a barred GIII chord to an F note on the first string. All you really have to do is slide the left hand down to the F, but you’ll want to lift your fingers from all the strings during the slide, to avoid sliding noises. You may also find the pull-off in the third measure of the second line difficult. The trick is to leave all the fingers in place except the barring finger, then use that finger to do the pull-off. This is actually the easiest way to make the change, at least for me.
The second and fourth measures of the third line require you to play the CIII as a barred-A, a barre chord that gives lots of people problems. This could be done in other ways, but none lends itself to the quick series of rapid chord changes required so well as the barred C, F, and G progression. If you have trouble with barred-A chords, you may be exerting more pressure with the left hand than the chord really needs. Done properly, this type of chord is not really hard to play at all, but the finger placement has to be exact, using good technique, with the fingers arched, and only the tips contacting the strings. Many beginners try to muscle this chord instead of learning it right, then wonder why it seems so hard.
A word about the tempo. Switching from 6/8 to 4/4 does more than change the count. The speed of the music also increases dramatically. If you are playing more than one verse, you can play the second part in 8/8 instead of 4/4, which will make the last two lines slow and lyrical instead of quick and bright. You might also consider strumming more of the chords instead of pinching them, as shown in the tab. The bright sound of the pinches sounds really good played near the bridge, giving the piece a real “guitar” sound, especially when played a bit faster than is normal when accompanying singers.
This song is intermediate level, and is in the public domain.
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.
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