This is one of the most famous, and most performed Christian hymns. It has been covered by performers as diverse as Elvis Presley and Mahalia Jackson. There is no special story associated with its creation, though. Charles Austin Miles was a professional hymn writer, and the garden in the song was non-existent. In fact, his grandson states that the song was composed in a New Jersey basement that lacked even a window to look out of, much less a garden to look at or walk in. Nevertheless, this sentimental hymn has inspired millions of Christians around the world.
There are several good guitar versions available for free on You Tube. I especially like the one by Austin Parker, found HERE. (You may have to adjust the volume, if the link opens up muted.) He plays it in D, and in a totally different style. I’ve invited him to submit a tab as a guest composer, so far without response. If he does, I’ll publish it, as I like his version better than my own. Until then, I guess I’ll have to make do with my own version of this public domain song.
I like to play the first verse by strumming the chords with my thumb, then pinch the chords for the second verse, for variety, but I strum the choruses, slowing for emphasis as prompted by the Spirit. There are only a few spots that need specific instructions.
The hammer-ons and pull-offs in measures [3], [5] and [7] are done with the pinkie. Do the hammer-on in [9] with the index finger. This allows you to hold the chord while accomplishing the ligado. The G13 chord in [10] is just a normal G7, with the D on the 2nd string added with the pinkie. Do the slide in [11] with the middle finger. The C9 in [12] is formed exactly like the G13 chord in [10], by adding the D on the 2nd string with the pinkie. Do the slide in [19] with either the ring or middle finger, whichever is easier for you.
Either way, you’re going to have to hustle to get back to the GIII in [20]. It would be much easier to go to a normal G, or even a G7 (with the first string muted), but then the transition to the G7III in [22] would be much harder.
The second string riff in [23] needs to be played fluidly, with the pinkie, making sure that each note gets a full count. This is a bit slow and deliberate for slides and pull-offs, but sounds really great.
If you are only planning to play the song through one time, skip measures [27] - [33]. If you are planning to play two or more verses, play these measures, reverting to measure [2] each time at the beginning of the next verse. Only the last time should you substitute measures [34] - [40].
Be careful in counting measures [32] and [33]. The notes in [32] are eighth notes, and there are six of them to the measure. The notes in [33] are quarter notes, so each is held twice as long as those in the previous measure.
Measure [35] is played exactly like [28], except, you may wish to slide up to the 5th fret for the FV chord in the next measure, instead of simply changing to it, as shown in the tab. Use the middle finger for the slide from the 5th fret to the 10th. Do the hammer-on in [38] with the ring finger. This helps position the index finger to fret the D in the 7th space, third string. You’ll have to move your hand quickly to reach the F/C chord that begins measure [39]. You may find a different fingering better suited to these last five measures. This one seems to be the best to me, but there’s no way to play it that makes all the transitions easy.
Many people don’t realize it, but there are actually three verses to this hymn. Here are the complete lyrics:
1. I come to the garden alone
While the dew is still on the roses
And the voice I hear falling on my ear
The Son of God discloses.
Refrain:
And He walks with me, and He talks with me,
And He tells me I am His own;
And the joy we share as we tarry there,
None other has ever known.
2. He speaks, and the sound of His voice,
Is so sweet the birds hush their singing,
And the melody that He gave to me
Within my heart is ringing.
Refrain
3. I’d stay in the garden with Him
Though the night around me be falling,
But He bids me go; through the voice of woe
His voice to me is calling.
Refrain
Hackers
I am frequently asked if this blog has ever been hacked. The answer is, Yes. In the last five years, it has been hacked twice. Both hacks were by people concerned that I might be publishing pirated material. (For the record, I do not knowingly pirate material. Ever.) In the first case, I was able to ID the hacker and sent him an email politely explaining that I had not tabbed his published recording, which he would have known right away if he had bothered to look at the tab, or had read the posting in which I lamented that my arrangement was not as good as his! I had published a link to his recording, but unknown to me, the link led to a pirate site. It looked legit to me, but I immediately took down the link, and have not used that site since.
The other time, I was not able to ID the hacker, so I had to hack his hack to get my message back to him. This was a person who thought I must be ripping off copyrighted material belonging to the Church of Jesus Christ of Latter-Day Saints. In my reverse hack, I pointed out that I have received written permission to use the Church's material (under the proper conditions), and offered to show it to him. He emailed me and apologized.
Both cases could have been avoided if the hacker had bothered to read the material they were so concerned about. But I also learned an important lesson: there is no way to know for sure that a private website is not engaging in piracy. That's why there are so few links to other sites here.
The other time, I was not able to ID the hacker, so I had to hack his hack to get my message back to him. This was a person who thought I must be ripping off copyrighted material belonging to the Church of Jesus Christ of Latter-Day Saints. In my reverse hack, I pointed out that I have received written permission to use the Church's material (under the proper conditions), and offered to show it to him. He emailed me and apologized.
Both cases could have been avoided if the hacker had bothered to read the material they were so concerned about. But I also learned an important lesson: there is no way to know for sure that a private website is not engaging in piracy. That's why there are so few links to other sites here.
Glory to God on High
The name of the tune used for this hymn is “Italian Hymn.” It was composed in 1869 by the Italian composer Felice de Giardini (1716–1796), who was living in England at the time. First published that same year, the tune has been included in LDS hymnals since the 1840 edition of A Collection of Sacred Hymns for the Church of Jesus Christ of Latter-day Saints in Europe. There were originally five verses, but only three were used in the Collection of Sacred Hymns. The selection was made by Brigham Young, Parley P. Pratt, and John Taylor. The lyrics and music are now in the public domain.
The original tune was written in F, but I have transposed it to A, to make it easier to play on the guitar. I have also slowed the tempo a bit. For the first two verses, it wouldn’t matter if you played it faster, but the third verse is nearly all triplets. If you like playing that fast, so be it, but I prefer to play a bit slower. Don’t make the mistake of playing the first two verses fast, then slowing down for the triplets. There is no way to disguise the fact that you are doing just that. Instead of thinking you are awesome, the congregation will just think you are an amateur. Far better to play the whole thing at an even tempo, even if it’s a bit slow.
In the second measure, use your pinkie to make the pull-off. You may feel more comfortable doing this as a “push-off” instead. Either way, keep the tempo steady. A steady tempo allows the melody notes to stand out.
Do the mordant in the fifth measure in the same tempo, by strumming the D chord normally (except for the 1st string), then quickly sliding the whole chord up and down two frets, without striking the strings in the middle of the mordant. Play the C# on the 2nd string, 2nd space normally, then strum the E chord. If you do this all without breaking rhythm, you will have the audience eating out of your hand for the rest of the song.
The AV chord at the beginning of the second line is just an E-shape barred at the 5th fret. It sets up the descending pinches. You can use either the index and middle fingers of the right hand, or the middle and ring fingers, for all three pinches. Use the left pinkie to fret the additional notes on the 2nd string in the third measure, and again in the fifth measure.
In the second measure of the third line, the second and third notes are actually part of the strum that begins with the first count, but the strum is slowed way down, so they sound separate notes. The pull-off in the next measure is easy to do, if you lift the ring finger from the 2nd string and use it to do the pull-off.
You can, if you wish, play the third verse the same way, if you are a beginner, or if you just don’t like adding triplets to “fancy up” the sound. A simple tune can be highly effective, and very spiritual. If you would like to add some variety, use the triplets version for the final verse. This may not actually be the third verse. The original song had five, but since this is an instrumental solo, and no one is going to be singing anyway, you can play as many verses as you like.
A triplet consists of three notes, played as a quarter-note, and taking a count of ONE beat. The first note of the triplet is accented. Some musicians actually count, “ONE-and-a, TWO-and-a, THREE-and-a.” I find the extra counting more trouble than it’s worth, so I have stuck with the basic, “ONE, two, three”. To make it more obvious where the triplets end, I have left extra spaces between the last note each triplet and the first note of the following one.
Nearly all of the triplets begin with either the ring finger or the middle finger of the right hand. If you are not used to treble string leads, you may want to practice until you get the hang of it. Treble leads are not any harder than bass string leads, but if you are used to playing the bass string first, your right hand may not want to co-operate. Pay particular attention to the notes on the 2nd string. Most of the melody notes in this part of the song occur on this string. If something doesn’t sound right, check to make sure you’re playing the tab exactly as written, especially on the 2nd string. The triplets stop after the first measure of the last line, switching instead to a straight 3/4 time for just one measure. Then switch back to triplets for the 3rd measure.
Play the third measure of the last line off an AV chord, using whichever right-hand fingers you find easiest. You could play the same notes off a standard A chord, just by shifting the right hand one string towards the treble side of the neck, at the cost of an extremely fast transition to the final, strummed AV. It is much easier to make the change after the second measure, where you have an extra 1/8 note to move your left hand to the V space, while playing the open E string. You may wish to gradually slow down during the last measure of triplets, to clue the audience that the end is coming.
The original tune was written in F, but I have transposed it to A, to make it easier to play on the guitar. I have also slowed the tempo a bit. For the first two verses, it wouldn’t matter if you played it faster, but the third verse is nearly all triplets. If you like playing that fast, so be it, but I prefer to play a bit slower. Don’t make the mistake of playing the first two verses fast, then slowing down for the triplets. There is no way to disguise the fact that you are doing just that. Instead of thinking you are awesome, the congregation will just think you are an amateur. Far better to play the whole thing at an even tempo, even if it’s a bit slow.
In the second measure, use your pinkie to make the pull-off. You may feel more comfortable doing this as a “push-off” instead. Either way, keep the tempo steady. A steady tempo allows the melody notes to stand out.
Do the mordant in the fifth measure in the same tempo, by strumming the D chord normally (except for the 1st string), then quickly sliding the whole chord up and down two frets, without striking the strings in the middle of the mordant. Play the C# on the 2nd string, 2nd space normally, then strum the E chord. If you do this all without breaking rhythm, you will have the audience eating out of your hand for the rest of the song.
The AV chord at the beginning of the second line is just an E-shape barred at the 5th fret. It sets up the descending pinches. You can use either the index and middle fingers of the right hand, or the middle and ring fingers, for all three pinches. Use the left pinkie to fret the additional notes on the 2nd string in the third measure, and again in the fifth measure.
In the second measure of the third line, the second and third notes are actually part of the strum that begins with the first count, but the strum is slowed way down, so they sound separate notes. The pull-off in the next measure is easy to do, if you lift the ring finger from the 2nd string and use it to do the pull-off.
You can, if you wish, play the third verse the same way, if you are a beginner, or if you just don’t like adding triplets to “fancy up” the sound. A simple tune can be highly effective, and very spiritual. If you would like to add some variety, use the triplets version for the final verse. This may not actually be the third verse. The original song had five, but since this is an instrumental solo, and no one is going to be singing anyway, you can play as many verses as you like.
A triplet consists of three notes, played as a quarter-note, and taking a count of ONE beat. The first note of the triplet is accented. Some musicians actually count, “ONE-and-a, TWO-and-a, THREE-and-a.” I find the extra counting more trouble than it’s worth, so I have stuck with the basic, “ONE, two, three”. To make it more obvious where the triplets end, I have left extra spaces between the last note each triplet and the first note of the following one.
Nearly all of the triplets begin with either the ring finger or the middle finger of the right hand. If you are not used to treble string leads, you may want to practice until you get the hang of it. Treble leads are not any harder than bass string leads, but if you are used to playing the bass string first, your right hand may not want to co-operate. Pay particular attention to the notes on the 2nd string. Most of the melody notes in this part of the song occur on this string. If something doesn’t sound right, check to make sure you’re playing the tab exactly as written, especially on the 2nd string. The triplets stop after the first measure of the last line, switching instead to a straight 3/4 time for just one measure. Then switch back to triplets for the 3rd measure.
Play the third measure of the last line off an AV chord, using whichever right-hand fingers you find easiest. You could play the same notes off a standard A chord, just by shifting the right hand one string towards the treble side of the neck, at the cost of an extremely fast transition to the final, strummed AV. It is much easier to make the change after the second measure, where you have an extra 1/8 note to move your left hand to the V space, while playing the open E string. You may wish to gradually slow down during the last measure of triplets, to clue the audience that the end is coming.
Meditation (Meditaçao)
This post was posted some time ago, but the link failed, and never posted. Just scroll down for the post. The link is working now. Sorry!
Rock of Ages
Short, easy, beautiful piece. Only twelve full measures, only three chords, all easy. No barre chords. No hard or fast changes. Lots of fun expression-- it can make people weep. And it’s in the public domain. What’s not to love?
Tempo is approximate; don’t even try to use a metronome. You’ll find yourself wanting to adjust the tempo throughout the song, as you speed up and slow down for emphasis. The count is approximate, too, as I found it confusing to try to put in sixteenth notes.
I recommend you try to stick with the chord strums and pinches as tabbed, as well as the slides, hammer-ons and pull-offs, at least until you get a feel for the arrangement. Yeah, it’s easier without all that expression, but it’s not nearly as beautiful. Done correctly, after three verses, you should see members of the congregation dabbing their eyes.
There are two ways to make a tremolo, and this piece requires both, depending on fretboard position. For notes at the fifth fret and above, make the tremolo by vibrating the fretting finger along the string. For notes below the fifth fret, vibrate across the string, or the tremolo will be weak, or even inaudible.
A few of the slides and changes require you to use specific fingers:
In the last two measures of the second line, use the middle finger for the slide, leaving the index finger free to fret the G on the 6th string in the last measure. The ring finger then plays the B in the IV space of the third string, pulling off to G. It’s not difficult at all, just unusual.
For similar reasons, in the second measure of the last line, I like to use the middle finger for the double slide on the 4th string. In the next measure, the second note is actually part of the strummed chord, but is a quarter note, for emphasis, while the rest of the chord receives a standard strum.
Try to hold the tremolo in the penultimate (next to last) measure as long as you can. You can slide down to the D on the 2nd string if you wish, or play it separately as shown. The rest of the song need not be played very deliberately for the first two verses, but the last time, play at half speed as shown, with great deliberation, emphasizing each chord separately.
The final chord may be played as a standard C if desired, but I think adding the G bass note with the little finger gives a fuller sound. Tip: Play the standard C for the first two verses, reserving the C/G for the final resolve of the song. This chord is properly called, "C with a G bass," but guitarists often call it "C-slash-G," or "C-over-G." Whatever you call it, it's a strong way to end a beautiful song.
Tempo is approximate; don’t even try to use a metronome. You’ll find yourself wanting to adjust the tempo throughout the song, as you speed up and slow down for emphasis. The count is approximate, too, as I found it confusing to try to put in sixteenth notes.
I recommend you try to stick with the chord strums and pinches as tabbed, as well as the slides, hammer-ons and pull-offs, at least until you get a feel for the arrangement. Yeah, it’s easier without all that expression, but it’s not nearly as beautiful. Done correctly, after three verses, you should see members of the congregation dabbing their eyes.
There are two ways to make a tremolo, and this piece requires both, depending on fretboard position. For notes at the fifth fret and above, make the tremolo by vibrating the fretting finger along the string. For notes below the fifth fret, vibrate across the string, or the tremolo will be weak, or even inaudible.
A few of the slides and changes require you to use specific fingers:
In the last two measures of the second line, use the middle finger for the slide, leaving the index finger free to fret the G on the 6th string in the last measure. The ring finger then plays the B in the IV space of the third string, pulling off to G. It’s not difficult at all, just unusual.
For similar reasons, in the second measure of the last line, I like to use the middle finger for the double slide on the 4th string. In the next measure, the second note is actually part of the strummed chord, but is a quarter note, for emphasis, while the rest of the chord receives a standard strum.
Try to hold the tremolo in the penultimate (next to last) measure as long as you can. You can slide down to the D on the 2nd string if you wish, or play it separately as shown. The rest of the song need not be played very deliberately for the first two verses, but the last time, play at half speed as shown, with great deliberation, emphasizing each chord separately.
The final chord may be played as a standard C if desired, but I think adding the G bass note with the little finger gives a fuller sound. Tip: Play the standard C for the first two verses, reserving the C/G for the final resolve of the song. This chord is properly called, "C with a G bass," but guitarists often call it "C-slash-G," or "C-over-G." Whatever you call it, it's a strong way to end a beautiful song.
Lord, Dismiss Us with Thy Blessing
I haven’t been able to learn much about the history of the lyrics, other than the author was John Fawcett, a British-born Baptist theologian, pastor, and hymn writer. The music has been attributed to the XVIII Century, French philosopher Jean-Jacques Rousseau, who apparently was something of a polymath (multiple genius). Besides writing on philosophy, religion, and various works of literature, he wrote the constitutions of two countries (neither his own), influenced the political thinkers of the day in favor of democracy, and taught music and music theory. He also gave music lessons, wrote an opera, and wrote the tune (Greenville) for this hymn.
The hymn itself originally had three verses, and is still listed that way in many Protestant hymnals, though the LDS hymnal only lists two of them. Since this intended as an instrumental solo, you can play as many verses as you like. I have included a key change, from D to C, which is not in the music, but adds to the variety of the piece. If you are going to play three verses, you can change back to D for the third verse, or you can start in C, then change to D and back to C for the third verse.
Either way, the music is played almost exactly the same in both keys, the main difference being which frets are barred. There’s lots of repetition, making the piece much easier than it sounds. For example, the first two lines within each verse are nearly identical, and the last four lines of the second verse are played exactly the same as the corresponding lines of the first verse, except for the barre position. Most of the tab is based on simple chords known to even beginning guitarists: D, A, and C. Between them, they account for nearly half of the measures. Four of the remaining seven chords are either barred A-shapes or barred E-shapes, the easiest barre chords there are. Of the other three chords, two consist of just the first four strings of a barred C-shape. The only other chord is a slight modification of a basic C chord, formed by adding the G on the first string, third space.
Other than the barre chords, the only thing that might give you trouble in this song are the numerous slides, hammer-ons, and pull-offs, most of which need to be done with the left pinkie. Please do not leave them out; they are the melody notes. You can pick the notes individually, instead of doing the ligado techniques, but that actually makes the song harder. As written, the whole song can be done by strumming with the thumb, a thumb-pick, or a flat pick. For variety, or for emphasis, you can finger-pick or pinch the chords in the choruses, except for the final chords in each line. This is not a hard song. The whole arrangement and tab took me less than one day.
Naturally, this one is in the public domain. Enjoy!
The hymn itself originally had three verses, and is still listed that way in many Protestant hymnals, though the LDS hymnal only lists two of them. Since this intended as an instrumental solo, you can play as many verses as you like. I have included a key change, from D to C, which is not in the music, but adds to the variety of the piece. If you are going to play three verses, you can change back to D for the third verse, or you can start in C, then change to D and back to C for the third verse.
Either way, the music is played almost exactly the same in both keys, the main difference being which frets are barred. There’s lots of repetition, making the piece much easier than it sounds. For example, the first two lines within each verse are nearly identical, and the last four lines of the second verse are played exactly the same as the corresponding lines of the first verse, except for the barre position. Most of the tab is based on simple chords known to even beginning guitarists: D, A, and C. Between them, they account for nearly half of the measures. Four of the remaining seven chords are either barred A-shapes or barred E-shapes, the easiest barre chords there are. Of the other three chords, two consist of just the first four strings of a barred C-shape. The only other chord is a slight modification of a basic C chord, formed by adding the G on the first string, third space.
Other than the barre chords, the only thing that might give you trouble in this song are the numerous slides, hammer-ons, and pull-offs, most of which need to be done with the left pinkie. Please do not leave them out; they are the melody notes. You can pick the notes individually, instead of doing the ligado techniques, but that actually makes the song harder. As written, the whole song can be done by strumming with the thumb, a thumb-pick, or a flat pick. For variety, or for emphasis, you can finger-pick or pinch the chords in the choruses, except for the final chords in each line. This is not a hard song. The whole arrangement and tab took me less than one day.
Naturally, this one is in the public domain. Enjoy!
Meditation (Meditaçao)
Don’t let the weird chord names throw you, or prevent you from learning this song. It’s actually not very hard. In fact, it’s the very first Bossa Nova song I ever learned, strumming it softly, before I ever learned to finger-pick. I’ve included the lyrics to all the verses, and a cheat sheet at the end, for those who prefer to strum it and sing the melody. (The cheat sheet chords are even easier!) If, like me, your fingers work better than your voice, you may want to pick it as a guitar solo instead. It sounds great either way. “Lovely” is about the only word to describe it. If you don’t know the piece, see the guitar version by Antonio “Tom” Jobim HERE. I don’t know if this is the original composer, Antonio Carlos Jobim, who also went by the name Tom Jobim, or a wonderful guitarist with a similar name. As you can see, my chords are lots easier, but his are LOTS prettier! Or check out the melody as originally performed by Astrud Gilberto in 1967 HERE.
In tabbing this piece, I have tried something new. There are several places where a barre is indicated, to make the left hand fingering easier, but the indicated note is not actually played. Where this occurs, I have marked the string with a capital X in lightface type, in place of the usual boldface 0. The chords are A9IV, G9II, and especially Fmaj7I, in which the 5th string isn’t even part of the chord, but must be barred in order to ease the transition from C.
On the Coda, just barre the first five strings in the indicated space and slide from one chord to the next, sustaining each chord for just a moment, so the whole slide takes six beats. If your guitar won’t sustain this long (few acoustic guitars will), try playing it as three separate two-chord slides, or play each chord separately as a finger-stopped thumb strum. Finger-stop the chords (except for the last one) by quickly easing the barring finger pressure against the strings just slightly, just enough to damp the strings so they quit sounding, before moving to the next chord. After finger-damping the chord, be sure to lift the finger completely off the strings while moving to the next chord, or the strings may sound. This will not sound like a cool slide, but rather like a muffed transition. Either make the slide definite, or make the stop definite. Let the final Cmaj7 chord ring, and take your bows. I just love a Major Seventh resolve. Your audience will, too.
If you play around on YouTube, you’ll find that every artist who covers this piece does it differently. It’s JAZZ. There’s no “right” way to play it, just so it sounds good to you. A nice thing about this song is that it sounds equally good as a simple melody, or tricked up with all kinds of fancy riffs. Play around with it. Have fun. That’s what jazz is all about.
In tabbing this piece, I have tried something new. There are several places where a barre is indicated, to make the left hand fingering easier, but the indicated note is not actually played. Where this occurs, I have marked the string with a capital X in lightface type, in place of the usual boldface 0. The chords are A9IV, G9II, and especially Fmaj7I, in which the 5th string isn’t even part of the chord, but must be barred in order to ease the transition from C.
On the Coda, just barre the first five strings in the indicated space and slide from one chord to the next, sustaining each chord for just a moment, so the whole slide takes six beats. If your guitar won’t sustain this long (few acoustic guitars will), try playing it as three separate two-chord slides, or play each chord separately as a finger-stopped thumb strum. Finger-stop the chords (except for the last one) by quickly easing the barring finger pressure against the strings just slightly, just enough to damp the strings so they quit sounding, before moving to the next chord. After finger-damping the chord, be sure to lift the finger completely off the strings while moving to the next chord, or the strings may sound. This will not sound like a cool slide, but rather like a muffed transition. Either make the slide definite, or make the stop definite. Let the final Cmaj7 chord ring, and take your bows. I just love a Major Seventh resolve. Your audience will, too.
If you play around on YouTube, you’ll find that every artist who covers this piece does it differently. It’s JAZZ. There’s no “right” way to play it, just so it sounds good to you. A nice thing about this song is that it sounds equally good as a simple melody, or tricked up with all kinds of fancy riffs. Play around with it. Have fun. That’s what jazz is all about.
Guitar strings...
I was reading a blog thread about guitar string brands, and noted several comments from players whose "body chemistry" caused their strings to go dead quickly. Or so they said. My Classical teacher taught me to always wash my hands with soap and water before touching the guitar, to remove finger oils. The oil gets into the windings of the bass strings and attracts and holds dirt particles, tiny bits of dead skin, etc., which can deaden a string literally overnight. Finger oil and dirt also coat the mono-filament strings (the treble strings), which deadens them as well, though not as quickly. Some people have oilier skin than others. If you have oily hands, try washing them with soap, or even detergent, particularly the finger ends, right before playing. Unless you LIKE restringing your guitar, of course! Anybody have any other ideas on how to make strings last longer?
We'll Bring the World His Truth ("Army of Helaman")
Yeah, I know: everyone calls this song, “The Army of Helaman.” Sorry, but that is not actually its title. The original name, according to Janice Kapp Perry, the composer and lyricist, is “We’ll Bring the World His Truth.” So many people called it “The Army of Helaman,” that the LDS Church, which is extremely careful about such things, had to append the alternate title, to avoid confusion. So did I.
Another shocker: the copyright date is 1983. The song is barely thirty years old. I thought it had been around forever. Instead, I find the original copyright date is still valid. It is NOT in the public domain. The Church website states,
© 1983 by Janice Kapp Perry. This song may be copied for incidental, noncommercial church or home use. Official Web site of The Church of Jesus Christ of Latter-day Saints. © 2010 Intellectual Reserve, Inc. All rights reserved.
I would normally conclude from the double copyright that the Church had purchased limited rights from Sister Perry. However, Sister Perry’s own website has not responded to my request for reprint permission. I have waited months for a meaningful reply, and have received only spam. I conclude: either she does not care if I publish this song, or she no longer owns the rights. Nevertheless, I have removed the lyrics from the tab, which is my own work as the arranger. The lyrics are readily available HERE. Write them in if you wish. They are not needed for a strictly instrumental arrangement such as this.
Playing guide:
I have recast the time signature from 3/4 to 6/8, for simplicity. Nearly all the notes come out eighth notes, which is fine for guitar, and it’s much less confusing visually. I didn’t even have to transpose, as it was originally written in C. I did slow it down just a bit, from 116 quarter notes per minute to 100. Remember this when counting: TWO counts = ONE beat.
There are a few unusual (but easy) chords, and a few difficult barre chords. Before you panic, I have tried to leave plenty of time for chord changes. The hard chords make this piece more suitable for intermediate guitarists than for beginners, despite its simple sound. If you play through it, you may find it’s more sophisticated than it seems.
The first two measures are just arpeggios, and are only played once, as an introduction. The verses start with measure [3], where the melody begins. The melody is carried in the bass in this measure, with the rhythm in the treble, just the opposite of the usual arrangement.
Measure [4] is a treble pluck, followed by a rising arpeggio and ending with a descending note, a pattern repeated often in this song. Measure [5] abandons the pattern-picking, for a series of descending pinches. The rhythm is off the beat, but is carried in the bass.
There’s a bit of a tricky pull-off in measure [9]. The trick is pushing the finger off the string (toward the top of the guitar) instead of pulling it, which would be well nigh impossible to accomplish while holding the FI chord. It’s easy if you push it off, though this may seem a little odd, if you’re not used to the technique.
Measures [11] and [12] are the same as [3] and [4]. Measure [13] is nearly identical to [5], except that the first pinch of the measure is replaced by a full, strummed chord, and the rhythm is carried on the bass E string, instead of the A string.
Measures [16] and [17] end with a quarter note, or you can substitute an eighth note and a rest if you are having trouble sustaining these notes. You fret this note with your left pinkie. If you are not used to fretting bass strings with your pinkie, you may well have such trouble.
The next measure, [18] is the last measure of the verse, and is unique in several ways. First, there’s a tempo change to 8/8, just for this one measure. Also, it is contains multiple hammer-ons. Do not omit them. The phrase needs to be played with extreme fluidity. Remember, this eight-note measure should take no longer to play than the six-note measures that precede and follow it. A little practice should suffice; it’s not as hard as it looks. Do not hesitate, but go right into the next measure [19] without a break. I can’t stress this enough: fluidity and perfect timing here will make the song; variation in timing or hesitation will sound terribly amateurish to the audience. Practice playing measures [17] through [19] until you can’t muff them. Your audience will forgive a bobble in any other part of this song, but not here.
Measure [19] begins the chorus. Play the FI chord and then slide up the neck of the guitar to the III space while lifting the left pinkie off the string to make a very fast change to G7III. In measure [21], on the final pinch of the measure, you’ll need to add the F note on the 4th string with the left pinkie. Don’t forget it; it’s the melody note! Then, in [22], you have another one of those push-offs. If you’ll fret the final note of the measure (G on the 6th string) with your left pinkie again, it’ll position your left hand automatically for the FI chord that begins [23].
Measures [29] and [30] are played almost exactly like [21] and [22]. The only difference is in the final note of [30]. This is a melody note AND a transition to Dm7V. DON’T play it exactly the same as [22]! Measure [33] has another one of those push-offs. You can do this one as a pull-off if you wish, I just find it easier to push. Hammer on the F note on the 4th string, then lift the entire left hand from the strings as you do the pull-off or push-off to D (open). End the chorus with a C chord strum and go right into the next verse, starting with measure [3].
Since this is an instrumental solo, you don’t have to play all three verses. Or, if you wish, you can add additional ones. But on the final verse, skip directly from verse [32] to verse [35], play the Finale through ONCE, and stop. This finale is not part of the song as published in The Children’s Songbook. But I hope you’ll like it.
Measures [35] and [36] nearly reprise [33] and [34], with a couple of differences: the initial, two-note pinch in [33] becomes a three-note pinched chord in [35], and a G note is added on the open 3rd string at the end of [36]. This note is important, as it provides a transition to the following musical phrase comprising [37] through the initial chord of [40]. This phrase is the melody associated with the words, “to bring the world His truth,” and is repeated twice more. Note that the chords do not match those used in other parts of the song to accompany the same words, though the effect is similar. In measure [38], the G7* chord can be fretted by barring the 4th, 5th, and 6th strings with the index finger, bending it slightly backwards so as not to buzz on the 2nd string, which is played open. If, like me, your index finger does not bend backward, you’ll have to fret the 4th and 6th strings with the index and middle finger as shown in the chord charts.
The FV and GVII chords in measures [41] and [42] are not terribly hard to play as written. They normally would be played as five-string chords, which are difficult to play. As shown in the tab, you only have to bar the first three strings, but I recommend barring all six strings anyway if you can, as this greatly simplifies the transition to CVIII in the next measure.
Possibly the most technically difficult part of the song occurs right at the end, when you have to fret the 3rd string in the 10th space with the left pinkie, then slide it down to the 7th fret. Then, without a break, lift the fingers off the strings and continue along the guitar neck to the C chord in the first position. Try to do it all in one motion. Sustain the C chord as long as you can, and take your bows.
Another shocker: the copyright date is 1983. The song is barely thirty years old. I thought it had been around forever. Instead, I find the original copyright date is still valid. It is NOT in the public domain. The Church website states,
© 1983 by Janice Kapp Perry. This song may be copied for incidental, noncommercial church or home use. Official Web site of The Church of Jesus Christ of Latter-day Saints. © 2010 Intellectual Reserve, Inc. All rights reserved.
I would normally conclude from the double copyright that the Church had purchased limited rights from Sister Perry. However, Sister Perry’s own website has not responded to my request for reprint permission. I have waited months for a meaningful reply, and have received only spam. I conclude: either she does not care if I publish this song, or she no longer owns the rights. Nevertheless, I have removed the lyrics from the tab, which is my own work as the arranger. The lyrics are readily available HERE. Write them in if you wish. They are not needed for a strictly instrumental arrangement such as this.
Playing guide:
I have recast the time signature from 3/4 to 6/8, for simplicity. Nearly all the notes come out eighth notes, which is fine for guitar, and it’s much less confusing visually. I didn’t even have to transpose, as it was originally written in C. I did slow it down just a bit, from 116 quarter notes per minute to 100. Remember this when counting: TWO counts = ONE beat.
There are a few unusual (but easy) chords, and a few difficult barre chords. Before you panic, I have tried to leave plenty of time for chord changes. The hard chords make this piece more suitable for intermediate guitarists than for beginners, despite its simple sound. If you play through it, you may find it’s more sophisticated than it seems.
The first two measures are just arpeggios, and are only played once, as an introduction. The verses start with measure [3], where the melody begins. The melody is carried in the bass in this measure, with the rhythm in the treble, just the opposite of the usual arrangement.
Measure [4] is a treble pluck, followed by a rising arpeggio and ending with a descending note, a pattern repeated often in this song. Measure [5] abandons the pattern-picking, for a series of descending pinches. The rhythm is off the beat, but is carried in the bass.
There’s a bit of a tricky pull-off in measure [9]. The trick is pushing the finger off the string (toward the top of the guitar) instead of pulling it, which would be well nigh impossible to accomplish while holding the FI chord. It’s easy if you push it off, though this may seem a little odd, if you’re not used to the technique.
Measures [11] and [12] are the same as [3] and [4]. Measure [13] is nearly identical to [5], except that the first pinch of the measure is replaced by a full, strummed chord, and the rhythm is carried on the bass E string, instead of the A string.
Measures [16] and [17] end with a quarter note, or you can substitute an eighth note and a rest if you are having trouble sustaining these notes. You fret this note with your left pinkie. If you are not used to fretting bass strings with your pinkie, you may well have such trouble.
The next measure, [18] is the last measure of the verse, and is unique in several ways. First, there’s a tempo change to 8/8, just for this one measure. Also, it is contains multiple hammer-ons. Do not omit them. The phrase needs to be played with extreme fluidity. Remember, this eight-note measure should take no longer to play than the six-note measures that precede and follow it. A little practice should suffice; it’s not as hard as it looks. Do not hesitate, but go right into the next measure [19] without a break. I can’t stress this enough: fluidity and perfect timing here will make the song; variation in timing or hesitation will sound terribly amateurish to the audience. Practice playing measures [17] through [19] until you can’t muff them. Your audience will forgive a bobble in any other part of this song, but not here.
Measure [19] begins the chorus. Play the FI chord and then slide up the neck of the guitar to the III space while lifting the left pinkie off the string to make a very fast change to G7III. In measure [21], on the final pinch of the measure, you’ll need to add the F note on the 4th string with the left pinkie. Don’t forget it; it’s the melody note! Then, in [22], you have another one of those push-offs. If you’ll fret the final note of the measure (G on the 6th string) with your left pinkie again, it’ll position your left hand automatically for the FI chord that begins [23].
Measures [29] and [30] are played almost exactly like [21] and [22]. The only difference is in the final note of [30]. This is a melody note AND a transition to Dm7V. DON’T play it exactly the same as [22]! Measure [33] has another one of those push-offs. You can do this one as a pull-off if you wish, I just find it easier to push. Hammer on the F note on the 4th string, then lift the entire left hand from the strings as you do the pull-off or push-off to D (open). End the chorus with a C chord strum and go right into the next verse, starting with measure [3].
Since this is an instrumental solo, you don’t have to play all three verses. Or, if you wish, you can add additional ones. But on the final verse, skip directly from verse [32] to verse [35], play the Finale through ONCE, and stop. This finale is not part of the song as published in The Children’s Songbook. But I hope you’ll like it.
Measures [35] and [36] nearly reprise [33] and [34], with a couple of differences: the initial, two-note pinch in [33] becomes a three-note pinched chord in [35], and a G note is added on the open 3rd string at the end of [36]. This note is important, as it provides a transition to the following musical phrase comprising [37] through the initial chord of [40]. This phrase is the melody associated with the words, “to bring the world His truth,” and is repeated twice more. Note that the chords do not match those used in other parts of the song to accompany the same words, though the effect is similar. In measure [38], the G7* chord can be fretted by barring the 4th, 5th, and 6th strings with the index finger, bending it slightly backwards so as not to buzz on the 2nd string, which is played open. If, like me, your index finger does not bend backward, you’ll have to fret the 4th and 6th strings with the index and middle finger as shown in the chord charts.
The FV and GVII chords in measures [41] and [42] are not terribly hard to play as written. They normally would be played as five-string chords, which are difficult to play. As shown in the tab, you only have to bar the first three strings, but I recommend barring all six strings anyway if you can, as this greatly simplifies the transition to CVIII in the next measure.
Possibly the most technically difficult part of the song occurs right at the end, when you have to fret the 3rd string in the 10th space with the left pinkie, then slide it down to the 7th fret. Then, without a break, lift the fingers off the strings and continue along the guitar neck to the C chord in the first position. Try to do it all in one motion. Sustain the C chord as long as you can, and take your bows.
In Our Lovely Deseret
THE HISTORY:
Eliza R. Snow wrote the lyrics to this popular Nineteenth Century tune to convert it into a Latter-Day Saint hymn, but it began as a quite secular march. George F. Root composed the tune and wrote the original lyrics to a song called, “Tramp! Tramp! Tramp! The Boys Are Marching.” Published in 1864, it was one of the most popular songs of the American Civil War. In fact, it was so popular that, though it was written originally to console Union POWs, it was adopted by the Confederacy, with altered lyrics, and was sung by both sides as a marching song.
The tune became so popular that parodies were inevitable. It bears the distinction of being the basis of two different popular children’s hymns, “In Our Lovely Deseret,” and “Jesus Loves the Little Children”.) The Mormon lyrics were written by Eliza R. Snow, acerbic wife of Brigham Young, who never had any children of her own, but did spend much of her life surrounded by “a multitude of children,” who learned to dread their rather strict “Aunt Eliza.”
There are many stories about Eliza Snow’s volatile relationship with her step-children. My favorite is the one that tells how Aunt Eliza spotted some of her step-daughters wearing colorful sashes and took “those worldly things” away from them. It turned out they had been gifts from their father, the prophet, and Eliza had to suffer the embarrassment of being openly chastised by her husband, who told her not to deny his children the gifts he saw fit to give them. Although this was done en famille, the children gleefully repeated it, and it soon became public knowledge.
Eliza fancied herself quite a poet, and no fewer than ten of her works are still found in the current LDS hymnal. “In Our Lovely Deseret” holds the distinction of being the only LDS hymn that specifically mentions the Word of Wisdom.
THE MUSIC:
The tune is meant to be a sprightly march, and should be played quite fast, and with perfect regularity. The only way to learn this is to practice with a metronome, slowly (45 - 70), until you can play it correctly, then try for speed. This will not be easy if you are not used to practicing with a metronome. For this reason, I have classified the tune as Intermediate level, even though there are only four fairly common chords.
Because the tune is a march, I have elected to keep the 4/4 time signature, even though nearly all the notes are eighth-notes. I tried putting “&s” in the count, to show this, but they made the count line so cluttered that it became confusing, so I left them out. If you are not familiar with the song, go to lds.org and listen to it.
There are a few fast transitions involving barre chords. If you are a beginner, you may need to practice them for speed, or you’ll never get the tempo right. Please do not substitute non-barre chords for the barre chords, or you will lose the melody entirely.
There are a few spots where I have called for a chord, but only a single note, or a two-note pinch, is actually played. There’s a reason for this. The following notes can be played quickly and easily if your left hand is already in position. In cases like this, I have tried to put the chord changes for the left hand where you have the most time to make them. This means the changes don’t always fall on the downbeat. Hence, the count line.
Specifically:
In the first (lead-in) measure, fret a normal C chord, adding the F on the D-string in the third space with the pinkie, lifting it quickly for the rest of the measure. Do the pull-off in measure [4] with the pinkie, too. It’s going to be your “finger-dancing” finger for the rest of the song.
When playing the hammer-on in measure [3], lift the barring index finger of the F chord, then hammer it back down to make the hammer-on. This works best with high-tension strings. Do the same thing in measures [6] and [15].
In measure [5], the last two notes are musically the same as the first two note of the song, but I have put them in as a slide to ease the transition from the GIII chord back to C. This works best if you use the ring finger to do the slide. Also, the slide adds variety to a musical phrase that is otherwise a simple repeat of the first four measures.
For similar reasons, I have called for some of the chords to be strummed in one part of the song, and pinched in others. If you have trouble keeping the rhythm while switching from pinches to strums, you might try making all the chords pinches, or even leave out all but the melody notes.
Measure [8] requires some finger dancing. The easy way to hit the fifth note of the measure is to flatten the hand so the pinky frets the G-string at the fifth fret briefly. Just arch the finger so you can play the D note on the B-string. Use the tip of the little finger to fret the G string normally, at the sixth fret, then lift it from the strings to get the D again. Lift the whole hand to play the E-string open, while moving the left hand to First Position for the C chord. Meanwhile, the right hand will have to play the same string with the same finger, twice in succession. There’s no easy way around it.
In Measure [10], catch the A on the G-string by flattening the middle finger, then releasing the entire hand for the open note that begins [11]. This gives you time to change to the C/G chord. I have written in the chord name with a one beat delay to allow time for the transition. You're actually playing some of the notes of that chord while making the chord change. It's easier than it sounds. The last note of [12] is fretted by briefly flattening the pinkie again.
The last three measures recap measures [7], [8], and [9] nearly exactly, with only a slight difference in the melody notes in [16].
THE LYRICS:
I have only included the lyrics for the first verse. The other verses are:
2. That the children may live long
And be beautiful and strong,
Tea and coffee and tobacco they despise,
Drink no liquor, and they eat
But a very little meat;
They are seeking to be great and good and wise.
3. They should be instructed young
How to watch and guard the tongue,
And their tempers train and evil passions bind;
They should always be polite,
And treat ev’rybody right,
And in ev’ry place be affable and kind.
4. They must not forget to pray,
Night and morning ev’ry day,
For the Lord to keep them safe from ev’ry ill,
And assist them to do right,
That with all their mind and might
They may love him and may learn to do his will.
Baptist minister Clare Herbert Woolston wrote a different set of lyrics, calling the song, “Jesus Loves the Little Children.” Woolston wrote three verses and a refrain, but the refrain is all that most people know. Even professional music ministers may not know that there are verses, which follow the same music lines as “In Our Lovely Deseret.” You get two songs for the price of one, both in the public domain!
1. Jesus calls the children dear,
“Come to me and never fear,
For I love the little children of the world;
I will take you by the hand,
Lead you to the better land,
For I love the little children of the world.”
Refrain:
Jesus loves the little children,
All the children of the world.
Red and yellow, black and white,
All are precious in His sight,
Jesus loves the little children of the world.
2. Jesus is the Shepherd true,
And He’ll always stand by you,
For He loves the little children of the world;
He’s a Savior great and strong,
And He’ll shield you from the wrong,
For He loves the little children of the world.
Refrain
3. I am coming, Lord, to Thee,
And Your soldier I will be,
For You love the little children of the world;
And Your cross I’ll always bear,
And for You I’ll do and dare,
For You love the little children of the world.
Refrain
Eliza R. Snow wrote the lyrics to this popular Nineteenth Century tune to convert it into a Latter-Day Saint hymn, but it began as a quite secular march. George F. Root composed the tune and wrote the original lyrics to a song called, “Tramp! Tramp! Tramp! The Boys Are Marching.” Published in 1864, it was one of the most popular songs of the American Civil War. In fact, it was so popular that, though it was written originally to console Union POWs, it was adopted by the Confederacy, with altered lyrics, and was sung by both sides as a marching song.
The tune became so popular that parodies were inevitable. It bears the distinction of being the basis of two different popular children’s hymns, “In Our Lovely Deseret,” and “Jesus Loves the Little Children”.) The Mormon lyrics were written by Eliza R. Snow, acerbic wife of Brigham Young, who never had any children of her own, but did spend much of her life surrounded by “a multitude of children,” who learned to dread their rather strict “Aunt Eliza.”
There are many stories about Eliza Snow’s volatile relationship with her step-children. My favorite is the one that tells how Aunt Eliza spotted some of her step-daughters wearing colorful sashes and took “those worldly things” away from them. It turned out they had been gifts from their father, the prophet, and Eliza had to suffer the embarrassment of being openly chastised by her husband, who told her not to deny his children the gifts he saw fit to give them. Although this was done en famille, the children gleefully repeated it, and it soon became public knowledge.
Eliza fancied herself quite a poet, and no fewer than ten of her works are still found in the current LDS hymnal. “In Our Lovely Deseret” holds the distinction of being the only LDS hymn that specifically mentions the Word of Wisdom.
THE MUSIC:
The tune is meant to be a sprightly march, and should be played quite fast, and with perfect regularity. The only way to learn this is to practice with a metronome, slowly (45 - 70), until you can play it correctly, then try for speed. This will not be easy if you are not used to practicing with a metronome. For this reason, I have classified the tune as Intermediate level, even though there are only four fairly common chords.
Because the tune is a march, I have elected to keep the 4/4 time signature, even though nearly all the notes are eighth-notes. I tried putting “&s” in the count, to show this, but they made the count line so cluttered that it became confusing, so I left them out. If you are not familiar with the song, go to lds.org and listen to it.
There are a few fast transitions involving barre chords. If you are a beginner, you may need to practice them for speed, or you’ll never get the tempo right. Please do not substitute non-barre chords for the barre chords, or you will lose the melody entirely.
There are a few spots where I have called for a chord, but only a single note, or a two-note pinch, is actually played. There’s a reason for this. The following notes can be played quickly and easily if your left hand is already in position. In cases like this, I have tried to put the chord changes for the left hand where you have the most time to make them. This means the changes don’t always fall on the downbeat. Hence, the count line.
Specifically:
In the first (lead-in) measure, fret a normal C chord, adding the F on the D-string in the third space with the pinkie, lifting it quickly for the rest of the measure. Do the pull-off in measure [4] with the pinkie, too. It’s going to be your “finger-dancing” finger for the rest of the song.
When playing the hammer-on in measure [3], lift the barring index finger of the F chord, then hammer it back down to make the hammer-on. This works best with high-tension strings. Do the same thing in measures [6] and [15].
In measure [5], the last two notes are musically the same as the first two note of the song, but I have put them in as a slide to ease the transition from the GIII chord back to C. This works best if you use the ring finger to do the slide. Also, the slide adds variety to a musical phrase that is otherwise a simple repeat of the first four measures.
For similar reasons, I have called for some of the chords to be strummed in one part of the song, and pinched in others. If you have trouble keeping the rhythm while switching from pinches to strums, you might try making all the chords pinches, or even leave out all but the melody notes.
Measure [8] requires some finger dancing. The easy way to hit the fifth note of the measure is to flatten the hand so the pinky frets the G-string at the fifth fret briefly. Just arch the finger so you can play the D note on the B-string. Use the tip of the little finger to fret the G string normally, at the sixth fret, then lift it from the strings to get the D again. Lift the whole hand to play the E-string open, while moving the left hand to First Position for the C chord. Meanwhile, the right hand will have to play the same string with the same finger, twice in succession. There’s no easy way around it.
In Measure [10], catch the A on the G-string by flattening the middle finger, then releasing the entire hand for the open note that begins [11]. This gives you time to change to the C/G chord. I have written in the chord name with a one beat delay to allow time for the transition. You're actually playing some of the notes of that chord while making the chord change. It's easier than it sounds. The last note of [12] is fretted by briefly flattening the pinkie again.
The last three measures recap measures [7], [8], and [9] nearly exactly, with only a slight difference in the melody notes in [16].
THE LYRICS:
I have only included the lyrics for the first verse. The other verses are:
2. That the children may live long
And be beautiful and strong,
Tea and coffee and tobacco they despise,
Drink no liquor, and they eat
But a very little meat;
They are seeking to be great and good and wise.
3. They should be instructed young
How to watch and guard the tongue,
And their tempers train and evil passions bind;
They should always be polite,
And treat ev’rybody right,
And in ev’ry place be affable and kind.
4. They must not forget to pray,
Night and morning ev’ry day,
For the Lord to keep them safe from ev’ry ill,
And assist them to do right,
That with all their mind and might
They may love him and may learn to do his will.
Baptist minister Clare Herbert Woolston wrote a different set of lyrics, calling the song, “Jesus Loves the Little Children.” Woolston wrote three verses and a refrain, but the refrain is all that most people know. Even professional music ministers may not know that there are verses, which follow the same music lines as “In Our Lovely Deseret.” You get two songs for the price of one, both in the public domain!
1. Jesus calls the children dear,
“Come to me and never fear,
For I love the little children of the world;
I will take you by the hand,
Lead you to the better land,
For I love the little children of the world.”
Refrain:
Jesus loves the little children,
All the children of the world.
Red and yellow, black and white,
All are precious in His sight,
Jesus loves the little children of the world.
2. Jesus is the Shepherd true,
And He’ll always stand by you,
For He loves the little children of the world;
He’s a Savior great and strong,
And He’ll shield you from the wrong,
For He loves the little children of the world.
Refrain
3. I am coming, Lord, to Thee,
And Your soldier I will be,
For You love the little children of the world;
And Your cross I’ll always bear,
And for You I’ll do and dare,
For You love the little children of the world.
Refrain
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