This is CHRIST THE LORD HAS RISEN TODAY, in Spanish, with the chords written in "Sol-fa" format (sometimes called "solmization" in English). Other than that, it's identical to the English version already posted. I just wanted my Spanish-speaking friends to be able to play this cool song.
Christ the Lord Is Risen Today VIDEO LESSON
My first video! Sound leaves a bit to be desired, but it's reasonable, especially if you listen with any sort of headphones. A complete video lesson on how to play this hymn is available by clicking HERE. As always, it is strictly non-commercial. I do not use any cookies, and I do not use, distribute, or sell any user information.
I strongly recommend that you download and print the tablature, so you can follow along while watching the video. Happy Easter!
I strongly recommend that you download and print the tablature, so you can follow along while watching the video. Happy Easter!
Sweet is the Work
The chords:
No hard chords in this song, unless you absolutely cannot play barre chords. If that’s the case, or if you cannot hit the final GIII chord in rhythm, substitute a normal G. It won’t sound quite as good for a final resolution, but it won’t sound bad. Only you will know the difference.
The rest of the chords are just your old friends G, D, D7, and C, with two miniscule exceptions. D/A is just a normal D chord, but you play the open A string, instead of damping or omitting it, as usual. This is important, as the melody depends on this note, but it’s no harder than playing a normal D.
The other exception is GaddD. This is played just like a normal G, except that the second string is fretted in the third space, instead of the first string, which is not played. This is very similar to the hand position required for a normal G, except that it’s actually easier to play! Just be sure not to play the open first string. If this is hard for you, fret the first string in the third space too, and play all six strings. The high G note will distract a bit from the melody, but it’s far better than an open E, which has no place in any G-type chord.
Techniques:
Most of the transitions in this song are quite easy, but there are three spots that can be difficult to play quickly and smoothly, unless you use some easy, but counter-intuitive techniques.
In the transition from measure [3] to measure [4], you can reach the chord more easily if you fret the final note of [3] with your ring finger. This may feel odd, but it positions your ring finger on the correct string for the D chord in the next measure. For this to work, you will have to do the glissando between measures [2] and [3] with your middle finger. It won’t take much practice for you to see that this is a much faster and smoother way to play this riff.
In measure [14], the chord labelled G7 should really be a G, but it’s a lot easier to get to the G7 hand position from the preceding C. Since the first string is not played anyway, it doesn’t really matter. The notes form a G chord anyway. To avoid confusion, I have shown the way to fret the G7 in the chord diagram, but have placed an X instead of a 0 on the first string, to show that it is fretted but not played.
The third sticky spot is the trickiest of the lot. It occurs in measure [15]. To smooth the transition to the barred GIII chord, fret the last note of [15], in the fourth space on the fourth string, with your little finger. This positions it handily on the correct string for the following chord. As you make the barre with your index finger, your little finger will just automatically slide up a fret to the fifth space. It’s counter-intuitive, but it really works. To add a bit of expression, you can even allow the little finger to press on the string as it slides, creating a bit of glissando between the notes.
History:
Isaac Watts, the author of this hymn, was born near London, England, on July 17, 1674. He was a precocious child, studying Latin by the age of four, and “writing respectable verses at the age of seven” according to biographical notes in a later Anglican hymnal. At the age of 24, he became assistant minister of the Independent Church in London. In 1702, he became pastor. He suffered from delicate health all his life, but managed to publish over 800 hymns during his lifetime, as well as books of poetry, treatises, sermons, and tracts. Watts died November 25, 1748. There is a monument to his memory in Westminster Abbey.
“Sweet Is the Work” has been sung to several tunes. This one, called “Douglass,” was composed by John J. McClellan, Jr. (April 20, 1874 – August 2, 1925), while he was serving as chief organist of the Salt Lake Tabernacle. McClellan was born in Payson, Utah. By eleven, he was church organist there. He studied music in the US and Europe, was organist of St. Thomas Catholic Church in Ann Arbor, Michigan, taught music at Brigham Young Academy, forerunner of BYU, and served as pianist for the Salt Lake Opera Company. McClellan became the Tabernacle organist in 1900, where he accompanied the Mormon Tabernacle Choir until 1925, and inaugurated the free weekly organ recitals there.
John J. McClellan is also known for making the first known organ recording, recorded at the Mormon Tabernacle in Salt Lake City in September 1910, by the Columbia Graphophone Company. Although technically successful, it was never released for publication.
Dulce Tu obra es, Señor
Los acordes:
Sin acordes duros en esta canción, a menos que absolutamente no pueden tocar acordes con cejilla. Si ese es el caso, o si no puede tocar el final acorde de Sol III en ritmo, sustitute el Sol normal. No sonará tan bueno para una resolución final, pero no va a sonar mal. Sólo usted sabrá la diferencia.
El resto de los acordes son sus viejos amigos de Sol, Re, Re7, y Do, con dos excepciones minúsculas. Re/La se realiza exacto como Re normal, pero dejando sonar el quinto cuerdo, contra de costumbre. Ya que es importante, porque la melodía depende de esta nota, la realización era sensilla.
La otra excepción es el Sol+5. Este se juega al igual que un Sol normal, excepto que la segunda cuerda se trasta en el tercer espacio, en lugar de la primera cuerda, que no se reproduce. Esto es muy similar a la posición de la mano requerido para un Sol normal, excepto que en realidad ¡es más fácil de jugar! Sólo asegúrese de no tocar la primera cuerda al aire. Si esto es difícil para usted, traste de la primera cuerda en el tercer espacio también, y toque a las seis cuerdas. La nota alta Sol distraerá un poco de la melodía, pero es mucho mejor que la cuerda al aire, que no tiene niguna parte de cualquier tipo acorde Sol.
Las técnicas:
La mayoría de las transiciones en esta canción son bastante fácil, pero hay tres puntos que pueden ser difíciles de reproducir de forma rápida y sin problemas, a menos que utilice algunas técnicas sencillas, pero contrarios a la intuición.
En la transición del compás [3] para el [4], se puede llegar a la cuerda más fácilmente si traste la nota final de [3] con su dedo anular. Esto puede sentirse extraño, pero esto colocara a su dedo anular en la cuerda correcta para el acorde Re en el siguiente compás. Para hacerlo debidamente, tenia que hacer el glissando entre los compases [2] y [3] con el dedo medio. No se necesitará mucha práctica para ver que esta manera del tocar este riff es más rápida y suave.
En el compás [14], el acorde designado Sol7 realmente es un Sol, pero es mucho más fácil para llegar a la posición de mano de Sol7 del Do anterior, que por medio de Sol. La primera cuerda no se toca, entonces realmente no importa nada. Las notas forman un acorde de Sol de ambos modos. Para evitar la confusion, he mostrado el Sol7 en el diagrama de acordes, pero he colocado una X en lugar de un 0 en la primera cuerda, para demostrar que se trasta, pero no se toca.
El tercer punto dificil es lo más complicado del lote. Se produce en el compas [15]. Para facilitar la transición hasta la cuerda cejiillada Sol III, traste la última nota de [15], en el cuarto espacio de la cuarta cuerda, con su dedo meñique. Esto lo posiciona cómodamente en la cadena correcta para el siguiente acorde. Al realizar la cejilla con su dedo índice, el dedo meñique se deslizara automáticamente un traste más, al quinto espacio. Es contrario a la intuición, pero realmente funciona. Para añadir un poco de expresión, se puede permitir el dedo meñique a presionar sobre la cuerda ya que se desliza, creando un poco de glissando entre las notas.
Historia:
Isaac Watts, el autor de este himno, se nació cerca de Londres, Inglaterra, el 17 de julio de 1674. Fue un niño precoz, estudiando el latin por la edad de cuatro años, y "escribiendo respetables versos a la edad de siete años", según notas biográficas en un himnario Anglicana más recente. Como adulto, se convirtió en pastor de la Iglesia Independiente en Londres. Sufría de salud delicada durante toda su vida, pero logró publicar más de 800 himnos durante su vida, así como libros de poemas, de tratados, y de sermones. Watts murió el 25 de noviembre de 1748. Hay un monumento a su memoria en la Abadía de Westminster.
"Dulce tu obra es" se ha cantado a varias melodías. Éste, llamado "Douglass," fue compuesta por John J. McClellan, Jr. (el 20 de abril de 1874 - el 02 de agosto de 1925), mientras se desempeñaba como organista del Tabernáculo de Salt Lake City. McClellan se nació en Payson, Utah. A la edad de once años, era organista de la iglesia allí. Estudió música en los Estados Unidos y en Europa, fue organista de la iglesia católica St. Thomas en Ann Arbor, Michigan, enseñó música en la Academia Brigham Young, precursor de la Universidad Brigham Young, y se desempeñó como pianista para el Salt Lake Opera Company. McClellan se convirtió en el organista del Tabernáculo en el año 1900, donde acompañaba al Coro del Tabernáculo Mormón hasta 1925, e inaugurado los recitales gratuitos semanales allí.
También, es conocido por hacer la primera grabación de órgano que conocemos, grabado en el Tabernáculo Mormón en Salt Lake City en septiembre de 1910, por la Columbia Graphophone Company. Aunque técnicamente exitoso, nunca fue lanzado para la publicación.
Sin acordes duros en esta canción, a menos que absolutamente no pueden tocar acordes con cejilla. Si ese es el caso, o si no puede tocar el final acorde de Sol III en ritmo, sustitute el Sol normal. No sonará tan bueno para una resolución final, pero no va a sonar mal. Sólo usted sabrá la diferencia.
El resto de los acordes son sus viejos amigos de Sol, Re, Re7, y Do, con dos excepciones minúsculas. Re/La se realiza exacto como Re normal, pero dejando sonar el quinto cuerdo, contra de costumbre. Ya que es importante, porque la melodía depende de esta nota, la realización era sensilla.
La otra excepción es el Sol+5. Este se juega al igual que un Sol normal, excepto que la segunda cuerda se trasta en el tercer espacio, en lugar de la primera cuerda, que no se reproduce. Esto es muy similar a la posición de la mano requerido para un Sol normal, excepto que en realidad ¡es más fácil de jugar! Sólo asegúrese de no tocar la primera cuerda al aire. Si esto es difícil para usted, traste de la primera cuerda en el tercer espacio también, y toque a las seis cuerdas. La nota alta Sol distraerá un poco de la melodía, pero es mucho mejor que la cuerda al aire, que no tiene niguna parte de cualquier tipo acorde Sol.
Las técnicas:
La mayoría de las transiciones en esta canción son bastante fácil, pero hay tres puntos que pueden ser difíciles de reproducir de forma rápida y sin problemas, a menos que utilice algunas técnicas sencillas, pero contrarios a la intuición.
En la transición del compás [3] para el [4], se puede llegar a la cuerda más fácilmente si traste la nota final de [3] con su dedo anular. Esto puede sentirse extraño, pero esto colocara a su dedo anular en la cuerda correcta para el acorde Re en el siguiente compás. Para hacerlo debidamente, tenia que hacer el glissando entre los compases [2] y [3] con el dedo medio. No se necesitará mucha práctica para ver que esta manera del tocar este riff es más rápida y suave.
En el compás [14], el acorde designado Sol7 realmente es un Sol, pero es mucho más fácil para llegar a la posición de mano de Sol7 del Do anterior, que por medio de Sol. La primera cuerda no se toca, entonces realmente no importa nada. Las notas forman un acorde de Sol de ambos modos. Para evitar la confusion, he mostrado el Sol7 en el diagrama de acordes, pero he colocado una X en lugar de un 0 en la primera cuerda, para demostrar que se trasta, pero no se toca.
El tercer punto dificil es lo más complicado del lote. Se produce en el compas [15]. Para facilitar la transición hasta la cuerda cejiillada Sol III, traste la última nota de [15], en el cuarto espacio de la cuarta cuerda, con su dedo meñique. Esto lo posiciona cómodamente en la cadena correcta para el siguiente acorde. Al realizar la cejilla con su dedo índice, el dedo meñique se deslizara automáticamente un traste más, al quinto espacio. Es contrario a la intuición, pero realmente funciona. Para añadir un poco de expresión, se puede permitir el dedo meñique a presionar sobre la cuerda ya que se desliza, creando un poco de glissando entre las notas.
Historia:
Isaac Watts, el autor de este himno, se nació cerca de Londres, Inglaterra, el 17 de julio de 1674. Fue un niño precoz, estudiando el latin por la edad de cuatro años, y "escribiendo respetables versos a la edad de siete años", según notas biográficas en un himnario Anglicana más recente. Como adulto, se convirtió en pastor de la Iglesia Independiente en Londres. Sufría de salud delicada durante toda su vida, pero logró publicar más de 800 himnos durante su vida, así como libros de poemas, de tratados, y de sermones. Watts murió el 25 de noviembre de 1748. Hay un monumento a su memoria en la Abadía de Westminster.
"Dulce tu obra es" se ha cantado a varias melodías. Éste, llamado "Douglass," fue compuesta por John J. McClellan, Jr. (el 20 de abril de 1874 - el 02 de agosto de 1925), mientras se desempeñaba como organista del Tabernáculo de Salt Lake City. McClellan se nació en Payson, Utah. A la edad de once años, era organista de la iglesia allí. Estudió música en los Estados Unidos y en Europa, fue organista de la iglesia católica St. Thomas en Ann Arbor, Michigan, enseñó música en la Academia Brigham Young, precursor de la Universidad Brigham Young, y se desempeñó como pianista para el Salt Lake Opera Company. McClellan se convirtió en el organista del Tabernáculo en el año 1900, donde acompañaba al Coro del Tabernáculo Mormón hasta 1925, e inaugurado los recitales gratuitos semanales allí.
También, es conocido por hacer la primera grabación de órgano que conocemos, grabado en el Tabernáculo Mormón en Salt Lake City en septiembre de 1910, por la Columbia Graphophone Company. Aunque técnicamente exitoso, nunca fue lanzado para la publicación.
A Dios ofrecemos gozosa canción
To my English-speaking friends-- The English version of this song, and of this post, are called "The Joy and the Song", and can be found a little further down in the blog.
A Dios ofrecemos gozosa canción es a partir de un libro de canciones llamado Zion’s Praises (1ª edición, 1903), donde esta numerado como Himno # 227. Este libro, y presumiblemente las canciones en el, son propiedad de The Re-Organized Church of Jesus Christ of Latter-Day Saints, conocido hoy como La Comunidad de Cristo. Esta iglesia fue formada por los Santos de los Últimos Días que permanecieron en Nauvoo, y no tomaron parte en el éxodo hacia el oeste. Emma Smith, esposa del profeta José Smith, Jr., fue miembro fundador de la iglesia, y José Smith III, hijo de Emma y José, fue su primer presidente. Zion’s Praises era la himnario de la iglesia 1903-1933.
Fue increíblemente difícil de encontrar el himno original por internet. En himnarios SUD, está disponible en la himario Himnos, pero no en la versión Inglés. El himno original, con palabras en inglés, fue escrito en la tonalidad de Si bemol, lo cual es casi imposible tocar por la guitarra sin el utilizar de una cejilla. La versión española, como se encuentra en Himnos, ha sido un tanto reorganizado y adaptado a la tonalidad de sol mayor, lo cual es perfecto para la guitarra. Si le gustaría escuchar la canción, necesita abrirlo en su tableta o teléfono, como la versión para la computadora no tiene una función de reproductor. La versión de la tableta / teléfono lo hace. ¡Imagínate! Porque la versión iglesa fue la primera, hé incluyado la letra y el título en inglés.
También hay una versión de este himno, de idioma inglés, en este blog,bajo el título originál. Aparte del idioma preferido, la única diferencia entre los dos es que el inglés sigue el formato de deletraficación de la nomenclatura acorde: C, D, E, F, G, A, y B, en lugar de do, re, mi, fa, sol, la, y si (o ti). Una discusión de este formato, con tablas de equivalencia, se puede encontrar al hagar clic en la entrada "Chord Theory" en la sección “The Tabs” de este blog.
En realidad jugando esta canción es fácil. No hay acordes duros o transiciones dificiles. Hay ligados ascendentes y descendentes, que se muestran por guiones entre las notas, y glissandos, que se muestran por barras entre las notas: barras diagonales indican un tono ascendente, barras invertidas indican una caída de tono. Cuando sea necesario o útil, para cambiar la posición de la mano izquierda a la segunda posición, o hacia atrás hasta la primera posición, he colocado los números romanos por encima de la tablatura. Primera posición significa que se atrasa de las notas en el primer espacio con el indicio, los que están en el segundo espacio con el medio, y aquellos en el tercer espacio con el anulario. Segunda posición significa que desliza la mano izquierda hacia "arriba" del mástil de la guitarra (hacia el puente) un traste, por lo que las notas en el segundo espacio se atrastan con el indicio, los que están en el tercer espacio con el medio, y los del cuarto espacio con el anulario.
Hay dos tipos de acordes mandados en esa tablatura. Acordes pinzados se reproducen por tocarse la nota bajo con el pulgar derecho, y las otras notas con los dedos apropiados. En esta canción, todos acordes que no son marcados de otro modo, se nececsitan tocarse pinzados. Acordes rasgueados están marcados con una linea ondulada a la derecha de las notas. Para aquellos que no conocen bién la canción, he incluido números de conteo debajo de las letras.
Esta es una canción bién amada. La letra es la traducción cla más perfecta que he encontrado. No sé porqué no está en la edición inglesa de la himnario, pero estoy múy felíz de que tenemos en español.
A Dios ofrecemos gozosa canción es a partir de un libro de canciones llamado Zion’s Praises (1ª edición, 1903), donde esta numerado como Himno # 227. Este libro, y presumiblemente las canciones en el, son propiedad de The Re-Organized Church of Jesus Christ of Latter-Day Saints, conocido hoy como La Comunidad de Cristo. Esta iglesia fue formada por los Santos de los Últimos Días que permanecieron en Nauvoo, y no tomaron parte en el éxodo hacia el oeste. Emma Smith, esposa del profeta José Smith, Jr., fue miembro fundador de la iglesia, y José Smith III, hijo de Emma y José, fue su primer presidente. Zion’s Praises era la himnario de la iglesia 1903-1933.
Fue increíblemente difícil de encontrar el himno original por internet. En himnarios SUD, está disponible en la himario Himnos, pero no en la versión Inglés. El himno original, con palabras en inglés, fue escrito en la tonalidad de Si bemol, lo cual es casi imposible tocar por la guitarra sin el utilizar de una cejilla. La versión española, como se encuentra en Himnos, ha sido un tanto reorganizado y adaptado a la tonalidad de sol mayor, lo cual es perfecto para la guitarra. Si le gustaría escuchar la canción, necesita abrirlo en su tableta o teléfono, como la versión para la computadora no tiene una función de reproductor. La versión de la tableta / teléfono lo hace. ¡Imagínate! Porque la versión iglesa fue la primera, hé incluyado la letra y el título en inglés.
También hay una versión de este himno, de idioma inglés, en este blog,bajo el título originál. Aparte del idioma preferido, la única diferencia entre los dos es que el inglés sigue el formato de deletraficación de la nomenclatura acorde: C, D, E, F, G, A, y B, en lugar de do, re, mi, fa, sol, la, y si (o ti). Una discusión de este formato, con tablas de equivalencia, se puede encontrar al hagar clic en la entrada "Chord Theory" en la sección “The Tabs” de este blog.
En realidad jugando esta canción es fácil. No hay acordes duros o transiciones dificiles. Hay ligados ascendentes y descendentes, que se muestran por guiones entre las notas, y glissandos, que se muestran por barras entre las notas: barras diagonales indican un tono ascendente, barras invertidas indican una caída de tono. Cuando sea necesario o útil, para cambiar la posición de la mano izquierda a la segunda posición, o hacia atrás hasta la primera posición, he colocado los números romanos por encima de la tablatura. Primera posición significa que se atrasa de las notas en el primer espacio con el indicio, los que están en el segundo espacio con el medio, y aquellos en el tercer espacio con el anulario. Segunda posición significa que desliza la mano izquierda hacia "arriba" del mástil de la guitarra (hacia el puente) un traste, por lo que las notas en el segundo espacio se atrastan con el indicio, los que están en el tercer espacio con el medio, y los del cuarto espacio con el anulario.
Hay dos tipos de acordes mandados en esa tablatura. Acordes pinzados se reproducen por tocarse la nota bajo con el pulgar derecho, y las otras notas con los dedos apropiados. En esta canción, todos acordes que no son marcados de otro modo, se nececsitan tocarse pinzados. Acordes rasgueados están marcados con una linea ondulada a la derecha de las notas. Para aquellos que no conocen bién la canción, he incluido números de conteo debajo de las letras.
Esta es una canción bién amada. La letra es la traducción cla más perfecta que he encontrado. No sé porqué no está en la edición inglesa de la himnario, pero estoy múy felíz de que tenemos en español.
The Joy and the Song-- English version of a Spanish translation
“The Joy and the Song” is available in the Spanish language hymnal Himnos, but not in the English language hymnal. The original hymn, with English words, is from a songbook called Zion’s Praises (1st Edition, 1903), copyrighted by The Re-Organized Church of Jesus Christ of Latter-Day Saints, which is known today as The Community of Christ. This church was formed by Latter-Day Saints who stayed in Nauvoo, and did not take part in the exodus to the west. Emma Smith, wife of the prophet Joseph Smith, Jr., was a founding member of the church, and Joseph Smith III, son of Emma and Joseph, was its first president. Zion’s Praises was their hymnal from 1903 to 1933.
It was amazingly hard to find the original hymn online. The original hymn, with English words, was written in the key of Bb,which is nearly impossible to play on the guitar without using a capo. The Spanish version, as found in Himnos, has been somewhat re-arranged and transposed into the key of G, which is perfect for the guitar. If you are unfamiliar with it, and would like to hear the song, you’ll need to open it on your tablet or phone, as the laptop/desktop version doesn’t have a player function. The tablet/phone version does. Go figure! Because it’s only the Spanish version that’s readily available, I’m including the Spanish lyrics and title, as well as the original English lyrics and title.
I’m also including a Spanish language version of this tab & post, under the Spanish title “A Dios ofrecemos gozosa canción”. Apart from the preferred language of the lyrics, the only difference between the two is that the Spanish one follows the “sol-fa” format of chord naming: do, re, mi, fa, sol, la, and ti (or si in some countries), instead of C, D, E, F, G, A, and B. In English, this system is sometimes called solmization. A discussion of this format, with equivalency charts, can be found in the entry “Chord Theory” in The Tabs section of this blog.
Actually playing this song is easy. There are no hard chords or transitions. There are hammer-ons, and pull-offs, shown by underscores between the notes, and slides, shown by slashes between the notes: forward slashes indicate a rising tone, backslashes indicate a falling tone. Where it is necessary, or even helpful, to change the left hand position to Second Position, or back to First Position, I have placed Roman numerals above the staff. First Position means you fret the notes in the first space with the index finger, those in the second space with the middle finger, and those in the third space with the ring finger. Second Position means you slide the left hand “up” the neck of the guitar (toward the bridge) one fret, so the notes in the second space are fretted with the index finger, those in the third space with the middle finger, and those in the fourth space with the ring finger.
There are two kinds of chords called out in the tab. Pinched chords are played by plucking the bass note of the chord with the right thumb, and the other notes with the appropriate fingers. In this song, all chords not otherwise marked are to be pinched. Chords that are to be strummed are marked with a wiggly, vertical line to the right of the notes to be strummed. For those not familiar with the song, I’ve included counting numbers below the lyrics.
It’s a pretty song, well-beloved by our Latin brothers and sisters. The lyrics are as close to a perfect translation of the original English lyrics as it’s possible to get. I don’t know why it’s not in the English language edition of the hymnal.
It was amazingly hard to find the original hymn online. The original hymn, with English words, was written in the key of Bb,which is nearly impossible to play on the guitar without using a capo. The Spanish version, as found in Himnos, has been somewhat re-arranged and transposed into the key of G, which is perfect for the guitar. If you are unfamiliar with it, and would like to hear the song, you’ll need to open it on your tablet or phone, as the laptop/desktop version doesn’t have a player function. The tablet/phone version does. Go figure! Because it’s only the Spanish version that’s readily available, I’m including the Spanish lyrics and title, as well as the original English lyrics and title.
I’m also including a Spanish language version of this tab & post, under the Spanish title “A Dios ofrecemos gozosa canción”. Apart from the preferred language of the lyrics, the only difference between the two is that the Spanish one follows the “sol-fa” format of chord naming: do, re, mi, fa, sol, la, and ti (or si in some countries), instead of C, D, E, F, G, A, and B. In English, this system is sometimes called solmization. A discussion of this format, with equivalency charts, can be found in the entry “Chord Theory” in The Tabs section of this blog.
Actually playing this song is easy. There are no hard chords or transitions. There are hammer-ons, and pull-offs, shown by underscores between the notes, and slides, shown by slashes between the notes: forward slashes indicate a rising tone, backslashes indicate a falling tone. Where it is necessary, or even helpful, to change the left hand position to Second Position, or back to First Position, I have placed Roman numerals above the staff. First Position means you fret the notes in the first space with the index finger, those in the second space with the middle finger, and those in the third space with the ring finger. Second Position means you slide the left hand “up” the neck of the guitar (toward the bridge) one fret, so the notes in the second space are fretted with the index finger, those in the third space with the middle finger, and those in the fourth space with the ring finger.
There are two kinds of chords called out in the tab. Pinched chords are played by plucking the bass note of the chord with the right thumb, and the other notes with the appropriate fingers. In this song, all chords not otherwise marked are to be pinched. Chords that are to be strummed are marked with a wiggly, vertical line to the right of the notes to be strummed. For those not familiar with the song, I’ve included counting numbers below the lyrics.
It’s a pretty song, well-beloved by our Latin brothers and sisters. The lyrics are as close to a perfect translation of the original English lyrics as it’s possible to get. I don’t know why it’s not in the English language edition of the hymnal.
What Was Witnessed in the Heavens?
For my darling wife, Barbara, just because she loves it-- and because it’s her birthday.
Happy Birthday, dear!
The Song:
This song is harder than it looks, but a lot easier than it might be, so I’m calling it Intermediate level. It does contain eight chords, and five are barre chords, but two are just barrred A-shapes, which can be played as a two-finger chord, using the middle finger to barre the 2nd, 3rd, and 4th strings in the second space, bending the second knuckle backwards a bit to clear the 1st string. This is a jazz technique pioneered by the great Django Rinehart, father of modern jazz guitar, who only had the use of two fingers on his left hand. (Really!)
Two more barre chords are a barred E-shape, probably the most common barre chord, and a barred Em7-shape, another two-finger chord, and one of the easiest. The other barre chord, EIV, is a truncated version of a barred C-shape. The full version of this chord is generally conceded to be a difficult one, but since none of the notes used in the tab fall on the 5th string, I have left it out, making the chord MUCH easier to play. The other three chords are just A, E, and D.
I’ve left out several chords, in the interest of easier chord changes, substituting melody notes to carry the tune. So the chords alone make this an Intermediate level piece. But there’s more. Nearly every measure ends with a triplet-- three notes played in the time of a single beat. This constant slowing down and speeding up adds a lot to the appeal of the song. It also adds a bit to the difficulty level, since most of these triplets are achieved by using a double-ligado-- either a slide/pull-off, or a hammer-on/slide. One is even a mordant, achieved by sliding an entire chord down a fret and back up again, in the space of a single beat! In fact, this piece is just full of such combinations of techniques. Definitely not Beginner level. Sorry, all you beginners who would like to learn this song!
History
This is one of the few times where we know more about the composer of the song than we do about the writer of the words. The music was composed by Evan Stephens, an early Tabernacle Choir director and prolific composer. Nineteen of the songs in the current English language version of the hymnal were written or composed by him. Stephens was the first person to be employed as a full-time Tabernacle Choir Director, and it was he who first took the Choir on touring concerts. He also more than doubled the size of the choir, from 125 members to over 300.
We know nothing of the circumstances surrounding the composition of this particular song, and even less about the writer of the lyrics, John S. Davis. The name is just too common, and without corroborating details, there is no way for me to sort out which one he is. If anyone knows, please contact me.
The Song:
This song is harder than it looks, but a lot easier than it might be, so I’m calling it Intermediate level. It does contain eight chords, and five are barre chords, but two are just barrred A-shapes, which can be played as a two-finger chord, using the middle finger to barre the 2nd, 3rd, and 4th strings in the second space, bending the second knuckle backwards a bit to clear the 1st string. This is a jazz technique pioneered by the great Django Rinehart, father of modern jazz guitar, who only had the use of two fingers on his left hand. (Really!)
Two more barre chords are a barred E-shape, probably the most common barre chord, and a barred Em7-shape, another two-finger chord, and one of the easiest. The other barre chord, EIV, is a truncated version of a barred C-shape. The full version of this chord is generally conceded to be a difficult one, but since none of the notes used in the tab fall on the 5th string, I have left it out, making the chord MUCH easier to play. The other three chords are just A, E, and D.
I’ve left out several chords, in the interest of easier chord changes, substituting melody notes to carry the tune. So the chords alone make this an Intermediate level piece. But there’s more. Nearly every measure ends with a triplet-- three notes played in the time of a single beat. This constant slowing down and speeding up adds a lot to the appeal of the song. It also adds a bit to the difficulty level, since most of these triplets are achieved by using a double-ligado-- either a slide/pull-off, or a hammer-on/slide. One is even a mordant, achieved by sliding an entire chord down a fret and back up again, in the space of a single beat! In fact, this piece is just full of such combinations of techniques. Definitely not Beginner level. Sorry, all you beginners who would like to learn this song!
History
This is one of the few times where we know more about the composer of the song than we do about the writer of the words. The music was composed by Evan Stephens, an early Tabernacle Choir director and prolific composer. Nineteen of the songs in the current English language version of the hymnal were written or composed by him. Stephens was the first person to be employed as a full-time Tabernacle Choir Director, and it was he who first took the Choir on touring concerts. He also more than doubled the size of the choir, from 125 members to over 300.
We know nothing of the circumstances surrounding the composition of this particular song, and even less about the writer of the lyrics, John S. Davis. The name is just too common, and without corroborating details, there is no way for me to sort out which one he is. If anyone knows, please contact me.
Important Notice:
Google has removed your ability to follow Blogger sites, like this one, if you don’t have a Google account. Here’s a better way to contact me. Click on the “Contact Information” field just below my picture, in the column at right. If you have a Google account, “Click My Pic” will still work, and you can still follow this blog. In fact, you probably won’t notice the difference at all.
Hey, Matthew! or, what those underscores mean.
I don't usually comment back on comments, because if it's important enough to publish, I want everyone to see it, not just those who are interested in one particular entry out of 183. So here it is in public: The underscores in my tabs indicate ligados. They may be a hammer-on or a pull-off, depending on whether the notes are going up or down. Slashes between notes are slides. Hope this enlightens a few folks.
If you have specific questions, you can easily contact me. Just join the blog, then click on my pic and send me an email. I have to be one of the easiest people on the planet to contact. I'll be happy to answer reasonable questions. I don't use your personal information for ANYTHING. Wouldn't know how, even if I wanted to. This is a completely non-commercial blog.
If you have specific questions, you can easily contact me. Just join the blog, then click on my pic and send me an email. I have to be one of the easiest people on the planet to contact. I'll be happy to answer reasonable questions. I don't use your personal information for ANYTHING. Wouldn't know how, even if I wanted to. This is a completely non-commercial blog.
Jesus, the Very Thought of Thee
This one is slow, easy to play, lovely, and has an interesting history. There’s not a hard chord, technique, or transition in it, and the words were written by a canonized saint-- in the twelfth century. What’s not to love?
Technique
If you can play C, G7 and G, you can play this song. The G chord I use is actually a GaddD chord, but it’s fretted exactly like a normal G, except the ring finger frets the third space on the 2nd string instead of the 1st string, which is not played. This makes it even easier to play than a normal G.
All the chord changes in the first two lines (except one) follow a note played on an open string, giving you plenty of time to make the change. The exception is the change from C to GaddD at the end of the seventh measure. I usually fret the D note on the #2 string with my ring finger, making the change to GaddD super easy.
Similarly, the pull-off in the first measure of the third line eases the transition to GaddD. Then, after playing the chord and holding it as long as needed, release it, shifting the hand to a normal G7 position. Since you are not playing the #1 string, this chord is actually a G, but it’s easier to hit the notes called out in the tab from the G7 hand position, and it makes no difference to the music what you call it.
For the whole third line, you’re actually holding the middle and ring fingers in place, using the index finger to fret the melody notes. In the third measure of the line, I usually just flatten my middle finger across the #3 string briefly to hit the A note, instead of fretting it with the index finger. Do it the way it is easiest for you.
There’s an optional pull-off in the third line. Play the C note with the index finger, then pull that finger off the string, plucking the string with the left hand. It makes the two notes sonnd more connected, and is therefore called a ligado, the Spanish word for “tied”.
The last line is all played from a C hand position. On the final chord, if you wish, you can fret the #6 string in the 3rd space with your pinkie, turning the chord into a C/G, which just means a C chord with a G bass note. I like the sound of it better with a deeper bass, but it’s not necessary. If you prefer, just play a normal C here, omitting the #1 string. This omission is necessary, as the melody note is the C on the 2nd string. If you play the E on the open #1 string, the melody won’t sound right.
History
Edward Caswall, who translated the lyrics, was a clergyman in the Church of England who later converted to Catholicism and became a Catholic priest. Over his long lifetime as a clergyman, he wrote and translated hundreds of hymns.
Saint Bernard of Clairvaux was without doubt, Western Europe's “man of the twelfth century.” Adviser of popes, preacher of the Second Crusade, defender of the faith, healer of a schism, reformer of a monastic Order, Scripture scholar, theologian and eloquent preacher, he was the son of a French nobleman, who gave up all his advantages to become a priest. He was the first member of the Cistercian order to be placed on the Calendar of Saints, and was canonized, or officially recognized as a saint, on January 18, 1174. This was exactly 842 years ago today, January 25, 2016, due to confusion between the Julian Calendar in use at the time, and the Gregorian Calendar in use worldwide today. If you think that’s confusing, you don’t know the half of it!
If Saint Bernard did in fact write this hymn, it was probably written in Latin, but I have been unable to find any original lyrics. The music is a different story. It was composed by John B. Dykes, in the mid-nineteenth century, approximately seven centuries later. We don’t have an exact composition date for this tune, as Dykes was a prodigy who was Assistant Organist at his church by the age of ten, and who composed over three hundred hymn tunes in his short lifetime. He is better known as the composer of the tune used for Lead Kindly Light (Hymns #97).
Technique
If you can play C, G7 and G, you can play this song. The G chord I use is actually a GaddD chord, but it’s fretted exactly like a normal G, except the ring finger frets the third space on the 2nd string instead of the 1st string, which is not played. This makes it even easier to play than a normal G.
All the chord changes in the first two lines (except one) follow a note played on an open string, giving you plenty of time to make the change. The exception is the change from C to GaddD at the end of the seventh measure. I usually fret the D note on the #2 string with my ring finger, making the change to GaddD super easy.
Similarly, the pull-off in the first measure of the third line eases the transition to GaddD. Then, after playing the chord and holding it as long as needed, release it, shifting the hand to a normal G7 position. Since you are not playing the #1 string, this chord is actually a G, but it’s easier to hit the notes called out in the tab from the G7 hand position, and it makes no difference to the music what you call it.
For the whole third line, you’re actually holding the middle and ring fingers in place, using the index finger to fret the melody notes. In the third measure of the line, I usually just flatten my middle finger across the #3 string briefly to hit the A note, instead of fretting it with the index finger. Do it the way it is easiest for you.
There’s an optional pull-off in the third line. Play the C note with the index finger, then pull that finger off the string, plucking the string with the left hand. It makes the two notes sonnd more connected, and is therefore called a ligado, the Spanish word for “tied”.
The last line is all played from a C hand position. On the final chord, if you wish, you can fret the #6 string in the 3rd space with your pinkie, turning the chord into a C/G, which just means a C chord with a G bass note. I like the sound of it better with a deeper bass, but it’s not necessary. If you prefer, just play a normal C here, omitting the #1 string. This omission is necessary, as the melody note is the C on the 2nd string. If you play the E on the open #1 string, the melody won’t sound right.
History
Edward Caswall, who translated the lyrics, was a clergyman in the Church of England who later converted to Catholicism and became a Catholic priest. Over his long lifetime as a clergyman, he wrote and translated hundreds of hymns.
Saint Bernard of Clairvaux was without doubt, Western Europe's “man of the twelfth century.” Adviser of popes, preacher of the Second Crusade, defender of the faith, healer of a schism, reformer of a monastic Order, Scripture scholar, theologian and eloquent preacher, he was the son of a French nobleman, who gave up all his advantages to become a priest. He was the first member of the Cistercian order to be placed on the Calendar of Saints, and was canonized, or officially recognized as a saint, on January 18, 1174. This was exactly 842 years ago today, January 25, 2016, due to confusion between the Julian Calendar in use at the time, and the Gregorian Calendar in use worldwide today. If you think that’s confusing, you don’t know the half of it!
If Saint Bernard did in fact write this hymn, it was probably written in Latin, but I have been unable to find any original lyrics. The music is a different story. It was composed by John B. Dykes, in the mid-nineteenth century, approximately seven centuries later. We don’t have an exact composition date for this tune, as Dykes was a prodigy who was Assistant Organist at his church by the age of ten, and who composed over three hundred hymn tunes in his short lifetime. He is better known as the composer of the tune used for Lead Kindly Light (Hymns #97).
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