Another one by Charles Wesley. If the name sounds familiar to you, it should. He also wrote five other hymns in the hymnal of the Church of Jesus Christ of Latter-Day Saints, as well as six thousand others not found in the LDS hymn book. The five are:
Jesus, Lover of My Soul,
Ye Simple Souls Who Stray,
Christ the Lord is Risen Today,
Hark, the Herald Angels Sing,
Come Let Us Anew.
The guy’s a heavyweight poet and lyricist for sure. Not only that, he was also an Anglican minister, a contemporary of George Washington, and his big brother John was the founder of the Methodist church. Not surprisingly, Charles grew up to be a minister, like his father and his brothers. So did his son, and grandson. How would you like to grow up in a family like that?
Rejoice, the Lord is King! was written as a poem, to celebrate the kingship of Jesus, as mentioned in both the Old and New Testaments, the only books of scripture available to Wesley at that time. We don’t know exactly when it was written, but it was first published in Wesley’s book, Moral and Sacred Poems, in 1744, and had been set to music as a hymn by 1770. It has since become a favorite of Christians around the world.
As the hymn gained in popularity, it attracted other composers including George Handel and William E. Fischer. Different churches have standardized on three separate tunes. The one most Mormons are familiar with is called, “Jubilate,” and was written in 1894 by Horatio W. Parker, an American organist, choirmaster, and composer who began composing at age 15. He composed “Jubilate” when he was 21, and already successful on both sides of the Atlantic.
Play this song rapidly. The metronome setting shows 160 eighth-notes per minute, but you may wish to count it in quarter-notes, as written in Hymns. I recast it in 8/8 time, to simplify the counting of sixteenth-notes. It was written in the key of C, which makes it easy to play. Only one chord is played in an unusual way.
Play the Dm as it is shown in the chord chart, to ease the transition to the following notes. Instead of showing the position of the left-hand fingers in the chord chart with zeros, as usual, I have used the numbers 1 - 4, to show which finger goes where, with 1 = index finger, 2 = middle finger, 3 = ring finger, and 4 = little finger. As a rule, I just use zeros, as it doesn’t really matter which finger goes in which spot as long as you are comfortable, and using finger numbers gets confusing. But this time it’s important, so I have broken my rule. Fret the Dm in the refrain the same way, but play it as a broken chord. Do not strum or pinch it. That is why it is shown in lightface, italic type.
In the next-to-last measure, hold the single D note with lots of tremolo. Since this note is found at the third fret, you can get a much better tremolo effect by vibrating the string across the neck, rather than along it, as you normally would. Notes fretted in the first three frets require this technique to achieve a strong tremolo.
This song is in the public domain.
Praise God, from Whom All Blessings Flow
I would like to dedicate this tab to my guitar-picking buddy, Dalin Bird, who just recently “discovered” it in the LDS hymnal. I was surprised he’d never heard it before, as it is one of the best known melodies in all of Christian musical tradition. This is for you, Dalin.
In most English-speaking, Protestant churches, this hymn is called, “The Doxology.” A doxology (from Greek doxa “glory” and -logia “saying”) is a short hymn of praises to God, typically an expression of praise sung to the Holy Trinity. “Praise God, from Whom All Blessings Flow” is in widespread use in English language, Protestant churches. It is usually sung to the tune “Old Hundredth,” also called “Old 100th,” because of its association with Psalm 100. In Menonite tradition, the hymn is often called, “606,” it’s number in their hymnal. Students at Goshen College traditionally stand and sing “The Doxology” when 6:06 remains in a soccer game— but (so I’m told) only if Goshen is winning.
The tune is usually attributed to the French Calvinist composer Loys (or Louis) Bourgeois, who lived about 1510 – 1560. Ironically, it was not originally used as a setting for Psalm 100, but rather for Psalm 134, and is listed that way in the Geneva Psalter published in 1551. That is the earliest extant published version of the tune, but, like many other old hymns, there are unsubtantiated rumors that it is older still.
Virtually all published versions of this tune are in “Long Meter,” a poetic convention consisting of four lines of eight syllables, which is shown in the LDS hymnal as (LM) 8888. Naturally, this works well in 4/4 time, which consists of four beats per measure. A similar poetic convention, called “Common Meter,” abbreviated (CM) 8686, consists of four lines alternating between eight and six syllables each. This works very well for music set to 6/8 time. This tune works well in either meter, so I have tabbed it with a second verse in 6/8. Lest you object to changing the meter of a hymn, the Tabernacle Choir does exactly that in their version of “The Battle Hymn of the Republic.”
In 6/8 time, the accents are on the 1st and 4th beats: 1 2 3 4 5 6, giving each measure two main beats, just like 4/4 time, but with each half of the measure divided into three notes instead of two. If you don’t like the 6/8 time, just play the first verse. One common use of doxologies is as a sort of a coda, tacked onto the end of another hymn. If you wish to use “The Doxology” this way, just use one verse. Use the first verse for hymns in 2/4, 4/4, or 8/8 time, and the second verse for hymns in 3/4 or 6/8.
Only one part of this tab requires explanation. The slide right at the end of the song is done very quickly. It does not actually have to reach all the way to the 7th fret. Use the slide as a sort of a light accent, before playing the final, high C at the 8th fret, then hold the C with lots of tremolo.
In most English-speaking, Protestant churches, this hymn is called, “The Doxology.” A doxology (from Greek doxa “glory” and -logia “saying”) is a short hymn of praises to God, typically an expression of praise sung to the Holy Trinity. “Praise God, from Whom All Blessings Flow” is in widespread use in English language, Protestant churches. It is usually sung to the tune “Old Hundredth,” also called “Old 100th,” because of its association with Psalm 100. In Menonite tradition, the hymn is often called, “606,” it’s number in their hymnal. Students at Goshen College traditionally stand and sing “The Doxology” when 6:06 remains in a soccer game— but (so I’m told) only if Goshen is winning.
The tune is usually attributed to the French Calvinist composer Loys (or Louis) Bourgeois, who lived about 1510 – 1560. Ironically, it was not originally used as a setting for Psalm 100, but rather for Psalm 134, and is listed that way in the Geneva Psalter published in 1551. That is the earliest extant published version of the tune, but, like many other old hymns, there are unsubtantiated rumors that it is older still.
Virtually all published versions of this tune are in “Long Meter,” a poetic convention consisting of four lines of eight syllables, which is shown in the LDS hymnal as (LM) 8888. Naturally, this works well in 4/4 time, which consists of four beats per measure. A similar poetic convention, called “Common Meter,” abbreviated (CM) 8686, consists of four lines alternating between eight and six syllables each. This works very well for music set to 6/8 time. This tune works well in either meter, so I have tabbed it with a second verse in 6/8. Lest you object to changing the meter of a hymn, the Tabernacle Choir does exactly that in their version of “The Battle Hymn of the Republic.”
In 6/8 time, the accents are on the 1st and 4th beats: 1 2 3 4 5 6, giving each measure two main beats, just like 4/4 time, but with each half of the measure divided into three notes instead of two. If you don’t like the 6/8 time, just play the first verse. One common use of doxologies is as a sort of a coda, tacked onto the end of another hymn. If you wish to use “The Doxology” this way, just use one verse. Use the first verse for hymns in 2/4, 4/4, or 8/8 time, and the second verse for hymns in 3/4 or 6/8.
Only one part of this tab requires explanation. The slide right at the end of the song is done very quickly. It does not actually have to reach all the way to the 7th fret. Use the slide as a sort of a light accent, before playing the final, high C at the 8th fret, then hold the C with lots of tremolo.
Roxanne Sloan, composer
My grand-daughter, Roxanne Sloan, is seven years old. This is her first composition. She is taking piano lessons, but has never been taught to compose, nor to write music. She composed this in her head, without using a piano or other musical instrument. When asked, she said she could hear the notes in her head. I promised her that if she would write out her composition, I would post it. Click HERE to see it. --Proud Grandpa Don
Far, Far Away on Judea’s Plains
“Far, Far Away on Judea’s Plains” may be the only popular Christmas carol originally composed for a Mormon choir. It got its start in 1869, when John Menzies Macfarlane composed it for the St. George, Utah choir, which he directed. It was first published in the December 15, 1889 issue of the Juvenile Instructor, ancestor to today’s New Era magazine. Brother Macfarlane also composed the tune. The song has achieved acceptance in the Christian community at large. Few who sing it realize it is not a traditional Christmas carol.
Merry Christmas!
This song contains a lot of dotted eighth-notes and sixteenth-notes. I haven’t put them in. You know the song anyway. Remember that the metronome count is for quarter-notes. Play it fast.
The entire first line is fretted from the basic C-shape. CaddG is just a normal C chord with the G added on the first string, to bring out the melody. The bass note C on the fifth string forms a drone that helps to keep the rhythm steady. Don’t leave it out-- it will help your audience follow the rhythm too. The notes on the bass strings in the next two measures serve the same purpose.
Similarly, the second line is played (mostly) from the GIII position. The exception is a very brief excursion into the CIII position. You don’t even have to move the barre. Just switch from the barred E-shape to the barred A-shape, and then right back.
The first line of the chorus is played from the C-shape again, but the second line is different. FV is normally played as a C-shape barred at the 5th fret. Since many guitarists have a hard time reaching this chord quickly, I have modified it to a four-string chord. This also eases the transition to the following CIII chord. The arpeggios at the ends of measure 5 and 6 are for time-keeping, similar to the drones in the first line of the verse. You can hold the G7III briefly for emphasis, if you wish.
The arpeggio at the beginning of the last line is another one for time-keeping, but the ones in the next measure are not. They are part of the melody. Do not leave them out! The C/G in the last measure is just another variation on the basic C-shape. Just add the bass G note with the left pinkie and strum all six strings. The full sound gives a better resolution for the end of the song.
You can play as many verses as you like. You may want to alternate pinching and strumming the chords from verse to verse, or change the tempo, for variety. This song is in the public domain.
Merry Christmas!
This song contains a lot of dotted eighth-notes and sixteenth-notes. I haven’t put them in. You know the song anyway. Remember that the metronome count is for quarter-notes. Play it fast.
The entire first line is fretted from the basic C-shape. CaddG is just a normal C chord with the G added on the first string, to bring out the melody. The bass note C on the fifth string forms a drone that helps to keep the rhythm steady. Don’t leave it out-- it will help your audience follow the rhythm too. The notes on the bass strings in the next two measures serve the same purpose.
Similarly, the second line is played (mostly) from the GIII position. The exception is a very brief excursion into the CIII position. You don’t even have to move the barre. Just switch from the barred E-shape to the barred A-shape, and then right back.
The first line of the chorus is played from the C-shape again, but the second line is different. FV is normally played as a C-shape barred at the 5th fret. Since many guitarists have a hard time reaching this chord quickly, I have modified it to a four-string chord. This also eases the transition to the following CIII chord. The arpeggios at the ends of measure 5 and 6 are for time-keeping, similar to the drones in the first line of the verse. You can hold the G7III briefly for emphasis, if you wish.
The arpeggio at the beginning of the last line is another one for time-keeping, but the ones in the next measure are not. They are part of the melody. Do not leave them out! The C/G in the last measure is just another variation on the basic C-shape. Just add the bass G note with the left pinkie and strum all six strings. The full sound gives a better resolution for the end of the song.
You can play as many verses as you like. You may want to alternate pinching and strumming the chords from verse to verse, or change the tempo, for variety. This song is in the public domain.
Prayer of Thanksgiving
Just BARELY in time for Thanksgiving-- sorry for the delay. Anyway, here it is. I’ve never performed it before an audience, but it’s easy enough to play, fingerstyle or flat-picked. It’s short enough that you may prefer to use it as an introduction to a vocal accompaniment. There are NO difficult chords or transitions, and you can leave out the hammer-ons and pull-offs if they are hard for you. The only unusual chord is GaddD, but it’s very easy. It’s played EXACTLY like G, but the ring finger is on the 2nd string instead of the 1st string, which is muted or not played.
HISTORY
Originally called “Wilt heden nu treden,” (We Gather Together), the hymn was written by Adrianus Valerius in 1597, to celebrate the Dutch victory in their war of liberation against Catholic Spain. Under Spanish rule, Protestant Dutch were forbidden to gather for worship, hence the title. The lyrics and title we now know were written by Edward Baker in 1894. These lyrics do not actually translate the Dutch, but they do preserve the internal rhyme scheme and much of the sentiment of the original.
The tune is an old, Dutch folk tune. An orchestral score was first published in 1877 by Eduard Kremser, who also translated the lyrics into Latin and German. For this reason, the tune is often called, “Kremser.” The hymn became popular in the United States during World War Two, when “the wicked opressing” was understood to refer to Nazi Germany and Imperial Japan.
In the United States, this hymn is usually associated with the Thanksgiving Day holiday, but in other parts of the world, and especially in Europe, it is more often considered a hymn of liberation from military conquest. The hymn is in the public domain.
HISTORY
Originally called “Wilt heden nu treden,” (We Gather Together), the hymn was written by Adrianus Valerius in 1597, to celebrate the Dutch victory in their war of liberation against Catholic Spain. Under Spanish rule, Protestant Dutch were forbidden to gather for worship, hence the title. The lyrics and title we now know were written by Edward Baker in 1894. These lyrics do not actually translate the Dutch, but they do preserve the internal rhyme scheme and much of the sentiment of the original.
The tune is an old, Dutch folk tune. An orchestral score was first published in 1877 by Eduard Kremser, who also translated the lyrics into Latin and German. For this reason, the tune is often called, “Kremser.” The hymn became popular in the United States during World War Two, when “the wicked opressing” was understood to refer to Nazi Germany and Imperial Japan.
In the United States, this hymn is usually associated with the Thanksgiving Day holiday, but in other parts of the world, and especially in Europe, it is more often considered a hymn of liberation from military conquest. The hymn is in the public domain.
Come, O Thou King of Kings-- two versions
Another favorite from the pen of pioneer apostle Parley P. Pratt, who also wrote the lyrics to “The Morning Breaks”, “An Angel from On High”, and “Jesus, Once of Humble Birth”, as well as several other popular LDS hymns, Most were written as poems while traveling to England for one of his many missions. The date and specific provenance of “Come, O Thou King of Kings” are unknown, but Elder Pratt wrote all of these hymns as poems, and is not responsible for the tunes of any of the above, just the lyrics.
This is an easy song to play on the guitar. I include two versions: one for beginning to intermediate guitarists, and another, even simpler, for absolute beginners. The simplified version contains only four chords: C, G, G7, and a three-string version of F with no notes on the 1st string, thus avoiding any need to barre. It does contain hammer-ons and pull-offs, but they are easy ones, making this arrangement a good one for learning those techniques.
As simple as this version is, it contains the full melody, in both parts, as well as a few strummed chords for rhythm. There is no finger-picking or pattern-picking. It could also be flat-picked.
The more difficult version contains barre chords and a few alternate voicings. It also contains slightly more complex riffs, a bent note, and a final verse featuring a pattern-picked fill. The chord changes are a bit harder, but any intermediate guitarist should have no trouble with this tab. Only the final measure on the first page is at all unusual; it includes a slow-strummed FI chord that takes up two beats. Both versions are so easy that no specific instructions should be needed by any but a true beginner.
For true beginners
1. Please use the Simplified version until you can play it well, then advance to the more complex version. It will be much easier to learn that way.
2. Reading the tab: each line of the tab represents one string of the guitar; the numbers show which fret needs to be fretted with the left hand. Right hand fingering is not shown. Generally, the two bass strings (E and A) are played with the thumb; the D-string is played with the index finger, the G-string with the middle finger, the B-string with the ring finger, and the e-string with the pinkie. Chords are shown by placing two or more notes in line vertically. A wiggly vertical line to the left of the chord means to strum it with the right thumb. For convenience, I have placed the name of the chord above the place where you need to change your left hand position, even if you don’t actually strum the chord until later. Hold the hand position until a different chord is called for.
3. Ligados: underscores between two notes indicate you are to hammer-on or pull-off from the first note to play the second. For example, in the second measure, you twice have to pull-off a note that is fretted in the first fret. Play the first note in the first fret normally, then pluck the string with the fretting finger of the left hand, producing two notes in succession that sound like they are tied together. (Ligado is the Spanish word for tied.) This is called a pull-off, and produces a falling tone sequence. In the fourth measure, you have to produce two rising ligado notes. Play the note on the open string, then hammer down the tip of the index finger in the first space. This is called a hammer-on. These techniques are very common in fingerstyle guitar.
4. Melody notes: Occasionally, you will need to add a note that is not in the chord you are playing, in order to play the melody. The final two notes of the second line are such. In general, you will fret melody notes in the first space with the index finger, in the second space with the middle finger, and in the third space with the ring finger. Such “finger dancing” may feel uncomfortable. After a bit of practice, it will begin to feel natural, and will keep your fingers from colliding.
5. Combining techniques: In the last line you need to combine techniques. Play the G chord normally, lift the ring finger of the left hand to play the e-string open, replace it to play the G note in the third space on the e-string, then pull it off to sound the string open. The first time you do this, it will feel weird to pull-off with your ring finger. Do it that way anyway-- it will strengthen that finger. In more advanced music, you will often use that finger for advanced techniques.
6. Counting tempo: This hymn was written in 4/4 time, but most of the notes are actually eighth-notes, not quarter-notes, so I have arranged it in 8/8 time. This simplifies counting, but remember, if you use a metronome, each tick equals two counts, or the music will drag terribly. Unlike sheet music, tablature has no way to indicate how long to hold each note. Using the counting numbers below the tab will help. The physical distance between successive notes has no meaning; it is determined by the length of the words in the lyrics. I have included the words of the first verse as a reference, so you will know where you are in the song. The repeat signs at the beginning of the first measure and the end of the last measure show that you can repeat the piece, for several verses. This is a guitar solo, not a vocal accompaniment, so only the first verse is included.
7. Chord charts are found at the end of the tab, and show the exact fingering of each chord used in the tab. Note that F is a three-note chord. The Xs indicate that you are not to play the 1st, 5th, and 6th strings, eliminating the need to barre the first two strings, which causes many beginners difficulty. If you can play the F normally, you are, of course, welcome to do so.
This is an easy song to play on the guitar. I include two versions: one for beginning to intermediate guitarists, and another, even simpler, for absolute beginners. The simplified version contains only four chords: C, G, G7, and a three-string version of F with no notes on the 1st string, thus avoiding any need to barre. It does contain hammer-ons and pull-offs, but they are easy ones, making this arrangement a good one for learning those techniques.
As simple as this version is, it contains the full melody, in both parts, as well as a few strummed chords for rhythm. There is no finger-picking or pattern-picking. It could also be flat-picked.
The more difficult version contains barre chords and a few alternate voicings. It also contains slightly more complex riffs, a bent note, and a final verse featuring a pattern-picked fill. The chord changes are a bit harder, but any intermediate guitarist should have no trouble with this tab. Only the final measure on the first page is at all unusual; it includes a slow-strummed FI chord that takes up two beats. Both versions are so easy that no specific instructions should be needed by any but a true beginner.
For true beginners
1. Please use the Simplified version until you can play it well, then advance to the more complex version. It will be much easier to learn that way.
2. Reading the tab: each line of the tab represents one string of the guitar; the numbers show which fret needs to be fretted with the left hand. Right hand fingering is not shown. Generally, the two bass strings (E and A) are played with the thumb; the D-string is played with the index finger, the G-string with the middle finger, the B-string with the ring finger, and the e-string with the pinkie. Chords are shown by placing two or more notes in line vertically. A wiggly vertical line to the left of the chord means to strum it with the right thumb. For convenience, I have placed the name of the chord above the place where you need to change your left hand position, even if you don’t actually strum the chord until later. Hold the hand position until a different chord is called for.
3. Ligados: underscores between two notes indicate you are to hammer-on or pull-off from the first note to play the second. For example, in the second measure, you twice have to pull-off a note that is fretted in the first fret. Play the first note in the first fret normally, then pluck the string with the fretting finger of the left hand, producing two notes in succession that sound like they are tied together. (Ligado is the Spanish word for tied.) This is called a pull-off, and produces a falling tone sequence. In the fourth measure, you have to produce two rising ligado notes. Play the note on the open string, then hammer down the tip of the index finger in the first space. This is called a hammer-on. These techniques are very common in fingerstyle guitar.
4. Melody notes: Occasionally, you will need to add a note that is not in the chord you are playing, in order to play the melody. The final two notes of the second line are such. In general, you will fret melody notes in the first space with the index finger, in the second space with the middle finger, and in the third space with the ring finger. Such “finger dancing” may feel uncomfortable. After a bit of practice, it will begin to feel natural, and will keep your fingers from colliding.
5. Combining techniques: In the last line you need to combine techniques. Play the G chord normally, lift the ring finger of the left hand to play the e-string open, replace it to play the G note in the third space on the e-string, then pull it off to sound the string open. The first time you do this, it will feel weird to pull-off with your ring finger. Do it that way anyway-- it will strengthen that finger. In more advanced music, you will often use that finger for advanced techniques.
6. Counting tempo: This hymn was written in 4/4 time, but most of the notes are actually eighth-notes, not quarter-notes, so I have arranged it in 8/8 time. This simplifies counting, but remember, if you use a metronome, each tick equals two counts, or the music will drag terribly. Unlike sheet music, tablature has no way to indicate how long to hold each note. Using the counting numbers below the tab will help. The physical distance between successive notes has no meaning; it is determined by the length of the words in the lyrics. I have included the words of the first verse as a reference, so you will know where you are in the song. The repeat signs at the beginning of the first measure and the end of the last measure show that you can repeat the piece, for several verses. This is a guitar solo, not a vocal accompaniment, so only the first verse is included.
7. Chord charts are found at the end of the tab, and show the exact fingering of each chord used in the tab. Note that F is a three-note chord. The Xs indicate that you are not to play the 1st, 5th, and 6th strings, eliminating the need to barre the first two strings, which causes many beginners difficulty. If you can play the F normally, you are, of course, welcome to do so.
My Heavenly Father Loves Me
Like many hymns, this song is better known by its first line, “Whenever I Hear the Song of a Bird.” It has also been called, “The Beautiful World,” which is not its title at all.
The author/composer was Clara W. McMaster. As a member of the Primary Board of The Church of Jesus Christ of Latter-day Saints for many years, she wrote many popular children’s songs, including “Teach Me to Walk in the Light,” “Reverently, Quietly” and “Kindness Begins with Me.” She was also a member of the Mormon Tabernacle Choir for 22 years.
Like many Primary songs, this one is more complex musically than it sounds, but it is not difficult to play, if you don’t mind barre chords. Half the chords in the song are barre chords, including CIII and FV, which many intermediate guitarists find difficult. They are worth learning, as they are used frequently in pattern picking and fingerstyle music of all sorts, as well as in much jazz guitar music. The solution, as usual, is plenty of practice.
If you just want to strum this song for accompaniment, you can use the more common chord voicings, but you will lose the lovely, high-pitched melody. If you do this, substitute G7 for all of the G chords, C for all the C chords, etc. This arrangement is intended as a guitar solo. A really cool way to use it is to strum the chords as accompaniment to a singer or vocal group, then play this solo as an instrumental bridge between verses. The last line of the tab, beginning with the last note in measure [13], makes a great instrumental introduction, too.
Begin measure [1] by fretting the single G note with your pinkie. The best way to do this is to pre-position your left hand for the CaddG chord, but only play the top note, changing to the C chord at the beginning of [2] by simply lifting the pinkie off the string. Replace it for the second half of the measure, to make the CaddG chord again.
The next two measures use partial and full chords to emphasize the melody line on the first two strings. Be sure to strum only the strings indicated. Because all chords are to be strummed, this is an easy song to flat-pick. I think it sounds better thumb-strummed, or you can use a very soft pick.
In measure [5], you can substitute an E chord for the E7 if you like. E7 gives a softer sound, and is called for in the original music. Sometimes, I like to play E in [5], and E7 in measure [13], to avoid excessive repetition.
Notice the slide up on the first string at the very end of measure [7]. There is no final note shown, as the slide is just an accent. This is called, slurring the note. It’s quite easy to do: just leave your index finger on the string as you slide up from the third fret to the fifth, then strum the chord normally. It sounds really cool, and takes absolutely no trouble at all to add. Just don’t get too carried away and do it all the time, or it will lose its impact.
There are a couple of tricky spots in measure [8]. If you are not completely easy with the barred-C chord shape, you’ll need to practice it until you can hit it reliably while sliding your hand up the neck from CaddG, a rather quick slide from first position to fifth position. There’s also a pull-off called for at the end of the measure. Making this pull-off while holding the chord can be tricky. You can either release the chord, to give your hand some extra room, or push the note off instead of pulling it.
Measures [10], [11], [12] and [13] are played exactly like [2], [3], [4] and [5], unless you choose to substitute an E chord for one of the E7 chords. Measure [14] is just a very slow, deliberate strum of an FI chord. Play each note separately.
In [15], you could substitute a CaddG for the CIII, if you find it easier to play. I use the CIII to ease the transitions from FI, and to the following CVIII, as all three are barre chords. Play the A note on the first string (fifth fret) by flattening the pinkie across the string, then play the B at the seventh fret by stretching the pinkie along the string, slurring the note. Slur the 5th note too, coming down from the twelfth fret to the tenth, at the end of the measure.
In measure [16], change hand position to GIII at the fourth note, where indicated, even though you don’t strum the chord until the last note of the measure. The change is not strictly necessary at the fourth note, as you can easily reach that note from the barre-A shape of the CIII chord, but this is the easiest place in the measure to make the change. Holding the CIII until the next-to-last note necessitates a rather quick and complex chord change (CIII to GIII to C/G) all within the span of three counts. The tempo is slow enough that you can make such a chord change, but why make things harder to no purpose? It sounds exactly the same either way.
This song is not in the public domain. The Church of Jesus Christ of Latter-Day Saints holds the copyright, which allows you to use the song only for non-commercial, church and home use. Please abide by the terms of this copyright restriction.
The author/composer was Clara W. McMaster. As a member of the Primary Board of The Church of Jesus Christ of Latter-day Saints for many years, she wrote many popular children’s songs, including “Teach Me to Walk in the Light,” “Reverently, Quietly” and “Kindness Begins with Me.” She was also a member of the Mormon Tabernacle Choir for 22 years.
Like many Primary songs, this one is more complex musically than it sounds, but it is not difficult to play, if you don’t mind barre chords. Half the chords in the song are barre chords, including CIII and FV, which many intermediate guitarists find difficult. They are worth learning, as they are used frequently in pattern picking and fingerstyle music of all sorts, as well as in much jazz guitar music. The solution, as usual, is plenty of practice.
If you just want to strum this song for accompaniment, you can use the more common chord voicings, but you will lose the lovely, high-pitched melody. If you do this, substitute G7 for all of the G chords, C for all the C chords, etc. This arrangement is intended as a guitar solo. A really cool way to use it is to strum the chords as accompaniment to a singer or vocal group, then play this solo as an instrumental bridge between verses. The last line of the tab, beginning with the last note in measure [13], makes a great instrumental introduction, too.
Begin measure [1] by fretting the single G note with your pinkie. The best way to do this is to pre-position your left hand for the CaddG chord, but only play the top note, changing to the C chord at the beginning of [2] by simply lifting the pinkie off the string. Replace it for the second half of the measure, to make the CaddG chord again.
The next two measures use partial and full chords to emphasize the melody line on the first two strings. Be sure to strum only the strings indicated. Because all chords are to be strummed, this is an easy song to flat-pick. I think it sounds better thumb-strummed, or you can use a very soft pick.
In measure [5], you can substitute an E chord for the E7 if you like. E7 gives a softer sound, and is called for in the original music. Sometimes, I like to play E in [5], and E7 in measure [13], to avoid excessive repetition.
Notice the slide up on the first string at the very end of measure [7]. There is no final note shown, as the slide is just an accent. This is called, slurring the note. It’s quite easy to do: just leave your index finger on the string as you slide up from the third fret to the fifth, then strum the chord normally. It sounds really cool, and takes absolutely no trouble at all to add. Just don’t get too carried away and do it all the time, or it will lose its impact.
There are a couple of tricky spots in measure [8]. If you are not completely easy with the barred-C chord shape, you’ll need to practice it until you can hit it reliably while sliding your hand up the neck from CaddG, a rather quick slide from first position to fifth position. There’s also a pull-off called for at the end of the measure. Making this pull-off while holding the chord can be tricky. You can either release the chord, to give your hand some extra room, or push the note off instead of pulling it.
Measures [10], [11], [12] and [13] are played exactly like [2], [3], [4] and [5], unless you choose to substitute an E chord for one of the E7 chords. Measure [14] is just a very slow, deliberate strum of an FI chord. Play each note separately.
In [15], you could substitute a CaddG for the CIII, if you find it easier to play. I use the CIII to ease the transitions from FI, and to the following CVIII, as all three are barre chords. Play the A note on the first string (fifth fret) by flattening the pinkie across the string, then play the B at the seventh fret by stretching the pinkie along the string, slurring the note. Slur the 5th note too, coming down from the twelfth fret to the tenth, at the end of the measure.
In measure [16], change hand position to GIII at the fourth note, where indicated, even though you don’t strum the chord until the last note of the measure. The change is not strictly necessary at the fourth note, as you can easily reach that note from the barre-A shape of the CIII chord, but this is the easiest place in the measure to make the change. Holding the CIII until the next-to-last note necessitates a rather quick and complex chord change (CIII to GIII to C/G) all within the span of three counts. The tempo is slow enough that you can make such a chord change, but why make things harder to no purpose? It sounds exactly the same either way.
This song is not in the public domain. The Church of Jesus Christ of Latter-Day Saints holds the copyright, which allows you to use the song only for non-commercial, church and home use. Please abide by the terms of this copyright restriction.
In the Garden
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
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.
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