This lovely Christmas carol plays really well in C, but sounds better capoed up a couple of frets to D. Unfortunately, the original music is in G, so it’s a bit of a stretch to go that high with a capo. Best bet if you want to play a duet with another instrument is to use the interactive transposer on lds.org’s website. It’s currently located on each hymn’s page at the top of the page, though the church has moved it around a bit in the last few years.
There’s a lot of “expression” in this version: slides, hammer-ons, pull-offs, etc. I’m sorry if it makes this song a bit hard to play, but not everything that’s lovely can also be easy. Practice helps. I’ve worked hard to get this out in time to give you a month to practice. The chords are easy, at least! There are three barre chords listed, but they are all the same chord, really. Just a barre-E chord shape, played at different frets. The others are just variations of C, G, or Dm, and should be easy enough.
There’s a trick to make the slide/pull-off in the first measure easier. Fret the first string in the 1st space with the index finger, and in the 3rd space with the ring finger at the same time. When you slide up to the 5th space (with the ring finger), the index finger is then automatically positioned in the 3rd space for the pull-off. Another way to do this is to position your hand for the CaddG chord as shown and play it from there, sliding the whole chord up and down the neck. This may make it easier to pinch the C chord in the next measure.
Sometimes, instead of the pull-off, I just do a slide back down to the third space, making a mordant, instead of a complex slide/pull-off. They sound equally good to me, and I can’t decide which to put in here. Try it both ways, and use the one that’s best for you. Actually, this riff occurs in three other places in the song, so you can have it both ways!
Don’t let the name of the GaddD chord in measure [3] throw you. It’s fretted just like a normal G, only with the ring finger on the #2 string instead of the #1 string, so it’s actually easier to play. From this point on, until measure [15], all the chords are quite standard for any intermediate guitarist. Even the G7addD chord in [15] isn’t all that hard. It’s just a normal G7 with the D note added on the #2 string. You can play it like a normal G7 and add the D note with your pinkie, if you want to, but you aren’t going to be playing the #5 and #6 strings, so it’s just as easy to play it as a two-finger chord, hitting the D note with your ring finger. This sets you up for a super easy transition to the GaddD at the end of the measure.
In measure [16], you don’t have to actually fret the G7 chord, as you’re only playing the open strings. I just lift my hand off the fretboard briefly, without changing the finger positions. That sets up the C/G in the next measure really nicely. I only included the name of the G7 in the tab so you would know not to change your hand position to a normal G shape.
Verse 2 is nearly all eighth-notes, alternating between treble melody notes and bass fill notes, with very few chords, until you reach measure [25]. You do this with a rocking motion of the right wrist, interspersed with the occasional arpeggio or pattern-pick. I won’t go into the details; they should be obvious from the tab. From [25] to the end of the verse is basically a repeat of the Intro.
Verse 3 is very much like Verse 2, only with pinched chords instead of single melody notes. The real differences come at the end of the verse, starting in [37]. Hold the CaddG chord for two extra beats, as shown in the counting line: 1 2 3 (45) 6 &. You may find it a bit of a challenge to go from GIII to CVIII and stay on the beat, without over-running the 8th space. If practice doesn’t help you to nail this fast and accurately, try substituting just the C note on the #1 string for the CVIII chord. It won’t sound as good as the whole chord, but it’s way better than flubbing the climax of the song.
History:
This song was first published in Laudis Corona, a Catholic hymnal published in Boston in 1885. The composer and lyricist are both anonymous. Anybody know anything more?
Ye Elders of Israel
This song is lots of fun to sing. The challenge was making it fun to play, without either oversimplifying or making it too complicated. I hope you’ll think I’ve succeeded.
The song begins in the key of A, because that’s the one key that is easy to play this melody in on the guitar. There’s lots of repetition. Each verse consists of a melody phrase of two lines, repeated exactly in the next two lines. Then, the same phrase is repeated once again in the chorus. The first and second verses are identical. To add a little variety to all this repetition, I have used a pattern pick in the chorus, and used mostly chords in the verses. There are only four chords used in the first two verses, and all four are dead easy to play.
At the end of the second chorus, there’s a key change to C. It’s not technically difficult to make the change, but you may find it mentally difficult to go from one key to another in the middle of a pattern pick. It’ll also blow the minds of your audience, so practice the key change until you can do it without any change in tempo. The trick is to not think of it as a key change, but as just another chord change, which, in fact, it is.
The verse part of the third verse continues the pattern pick, right on into the chorus, still in the key of C. But the third verse chorus is repeated as a bass line, leading up to the final four measures of chords. These are still easy chords. In fact, there’s not a barre chord or a difficult chord in the song anywhere. That doesn’t mean the song is easy, though. The 88 beats per minute tempo is pretty fast, considering that the pattern picks are all eighth-notes. If you’re not used to playing pattern picks, be careful! The pattern changes a lot to bring out the melody, and may not be apparent at first. You’re going to be doing a lot of left hand movements to hit the right notes, including lots of ligados (hammer-ons and pull-offs and slides), right from the beginning.
Yeah, there are twelve of them, but that’s not as bad as you may think, as you probably already know almost all of them, by one name or another. Specifically, the first two verses just use A, E, E7, and D. If you want, you can just play the whole song in this key by repeating the verse and chorus a third time. Duck soup easy, but not terribly impressive.
For those who are a bit more adventurous, play the third verse as tabbed, in the key of C. Here’s where the majority of the chords come in. There’s C, F, and G7, of course, plus a couple of “added fifth” chords for flavor, and a couple of alternate ways of playing C, F and G. Those last two are actually easier to play than the normal way.
In playing CaddG, you are just adding the fifth note of the C scale to a normal C chord. In playing G7addD you are adding the fifth note of the G scale to a normal G7. That’s why they are called “added fifth” chords. These extra notes are actually part of the normal chord structure, but are added in again to emphasize that note. For example, a C chord contains the notes C, E, and G. That’s the definition of a “C Major” chord. But, as normally played on the guitar, it comes out: x32010, or [blank] C E G C E. If you want to emphasize the G note, or if the G on the open 3rd string is too low for the melody, you can add in a higher G by fretting the 1st string in the 3rd space: x32013, or [blank] C E G C G. Chords like this are usually called “added fifth” chords, and are usually written Cadd5 or Gadd5. Frankly, I find this more confusing than helpful, but I don’t want to just call them C or G, (which would technically be correct) as they are played differently. So I specify the added notes in the chord name: CaddG and GaddD. Please don’t just play an ordinary C or G. In this song, the added notes are needed to carry the melody or an important harmony.
Alternate bass chords are similar-- you’re just using a different note of the chord than usual for the bass note. Such chords are written like this: C/G. Technically, this chord would be called “C with a G bass,” or something similar, but most guitarists just call it “C over G”. Pianists and other guitarists know what they mean, and who else cares? C/G is played by adding a bass G on the #6 string, 3rd space with the pinkie. If you have a very small hand and a very wide guitar neck, this might be hard for you. You can substitute a normal C chord, if you wish. G/C is even easier. You just play it like the first three strings of an F, only in the the third space (Third Position). Easiest of the lot is F/C. That’s another three-string chord, played exactly like an ordinary D chord, only in the Fifth Position (5th fret), as shown in the tab and the chord charts.
That’s IT. There are NO BARRE CHORDS and NO HARD CHORDS in this song. NONE!
In measure [2], starting from a normal A-Shape position, move the left hand DOWN the neck of the guitar (toward the nut) to fret the Ab on the 3rd string, 1st space, then slide right back to the 2nd space. You’ll have to lift the fingers off the strings going down to avoid scraping the string, but don’t change the hand shape, as you’re going to need it again immediately. Next, the ring finger gets a workout, fretting and releasing the 2nd string, still without changing the chord shape. Fret the 2nd string in the 3rd space with the pinkie, still maintaining the chord for the three-string pinch in the 4th measure. Move up to Second Position (shown by Roman numeral II) for the pull-off, going back to the A chord for the next two measures.
Continue to play as shown throughout the second line, with one exception: in measure [8], you don’t actually have to change chord shapes with your left hand. From the E7, you can just flatten the fingers across the strings to hit the A chord, then go right back to the E. In the last measure of the line, it’s best to actually change to the A-shape, as you’re going to let the notes ring. Measures [10] through [17] are played exactly like [2] through [9], except that the last three chords are strummed instead of being pinched. All the notes are identical.
The chorus is a modified pattern-pick. Calling the right hand fingers Thumb, Index, Middle, and Ring, with an asterisk indicating a left hand ligado, and separating measures with slashes, the chorus pick looks like this:
/ MTIM *TRM / RTIR *TRM / RTIM RMRI / RTIM RMRM /
/ RTIM RIRI / RTIM ITIT / RTIM RTRT / MTIR MTIM /
The pattern doesn’t repeat exactly, but it’s not completely random, either. Play this chorus, exactly the same, after each of the first two verses. Then, change chords to the C chord that begins the third verse. Since you’re now playing in a different key, the pattern pick must change also. The pattern for measures [26] - [33] is:
/ MTIM *TMI / RTIM RIRM / RTIM (III) RM (I) RM / RTIM RMRM /
/ RTIM RMRM / RTIR MTMT / RTIR *T RT / MTIR M T I T /
IMPORTANT: These patterns do not indicate which strings to play with the right hand, only which fingers to use! They have been worked out to avoid situations where you might have to play the same string with the same finger in twice succession, which would cause you to mess up the rhythm. However, this is a personal preference. If a further modification suits you better, by all means use it.
Measures [34] - [37] are played exactly like [26] - [29], but the next line is NOT an exact duplicate of the second line, as you might expect. Measures [38] and [39] are:
/ RTIR RT*T / RTIR MTMT / but next is a measure of pinches, followed by a strum.
The chorus of the third verse (measures [42] - [49] inclusive) is exactly like [26] - [33], except for the last note, which is a bass G on the 6th string, 3rd space, to lead into the chorus reprise. This reprise, comprising measures [50] - [57], is basically just the melody line of the chorus, played on the bass strings, up until the C chord in measure [53]. The two notes on the open G string in [55] give you plenty of time to move your hand to the Fifth Position (5th fret) for the F/C chord. Slow down a bit as you change positions for the other two chords of the measure, just enough for emphasis, but not so slow that it looks like you are having trouble reaching them. I like to end on a C/G chord for a fuller sound, but if this shape is too hard to reach quickly, just play a regular C. No one but you will notice the difference.
A wonderful family history entry about Cyrus H. Wheelock, who wrote the words, can be found at this link: https://familysearch.org/photos/stories/2965374. The tune, called “Babylon”, was adapted from the song, “Long, Long Ago”, written in England by Thomas H. Bayly in 1833. It was a nostalgic tune that immediately became quite popular in England, and was also popular in the United States by 1844. Brother Wheelock could scarcely have helped hearing the song, as he served three missions to England, and was writing hymns in Utah during the period of its greatest popularity in the US, but we have no information about the date the poem was written, or who adapted the tune to it.
General
The song begins in the key of A, because that’s the one key that is easy to play this melody in on the guitar. There’s lots of repetition. Each verse consists of a melody phrase of two lines, repeated exactly in the next two lines. Then, the same phrase is repeated once again in the chorus. The first and second verses are identical. To add a little variety to all this repetition, I have used a pattern pick in the chorus, and used mostly chords in the verses. There are only four chords used in the first two verses, and all four are dead easy to play.
At the end of the second chorus, there’s a key change to C. It’s not technically difficult to make the change, but you may find it mentally difficult to go from one key to another in the middle of a pattern pick. It’ll also blow the minds of your audience, so practice the key change until you can do it without any change in tempo. The trick is to not think of it as a key change, but as just another chord change, which, in fact, it is.
The verse part of the third verse continues the pattern pick, right on into the chorus, still in the key of C. But the third verse chorus is repeated as a bass line, leading up to the final four measures of chords. These are still easy chords. In fact, there’s not a barre chord or a difficult chord in the song anywhere. That doesn’t mean the song is easy, though. The 88 beats per minute tempo is pretty fast, considering that the pattern picks are all eighth-notes. If you’re not used to playing pattern picks, be careful! The pattern changes a lot to bring out the melody, and may not be apparent at first. You’re going to be doing a lot of left hand movements to hit the right notes, including lots of ligados (hammer-ons and pull-offs and slides), right from the beginning.
The Chords
Yeah, there are twelve of them, but that’s not as bad as you may think, as you probably already know almost all of them, by one name or another. Specifically, the first two verses just use A, E, E7, and D. If you want, you can just play the whole song in this key by repeating the verse and chorus a third time. Duck soup easy, but not terribly impressive.
For those who are a bit more adventurous, play the third verse as tabbed, in the key of C. Here’s where the majority of the chords come in. There’s C, F, and G7, of course, plus a couple of “added fifth” chords for flavor, and a couple of alternate ways of playing C, F and G. Those last two are actually easier to play than the normal way.
Added fifth chords (a bit of chord theory)
In playing CaddG, you are just adding the fifth note of the C scale to a normal C chord. In playing G7addD you are adding the fifth note of the G scale to a normal G7. That’s why they are called “added fifth” chords. These extra notes are actually part of the normal chord structure, but are added in again to emphasize that note. For example, a C chord contains the notes C, E, and G. That’s the definition of a “C Major” chord. But, as normally played on the guitar, it comes out: x32010, or [blank] C E G C E. If you want to emphasize the G note, or if the G on the open 3rd string is too low for the melody, you can add in a higher G by fretting the 1st string in the 3rd space: x32013, or [blank] C E G C G. Chords like this are usually called “added fifth” chords, and are usually written Cadd5 or Gadd5. Frankly, I find this more confusing than helpful, but I don’t want to just call them C or G, (which would technically be correct) as they are played differently. So I specify the added notes in the chord name: CaddG and GaddD. Please don’t just play an ordinary C or G. In this song, the added notes are needed to carry the melody or an important harmony.
Alternate bass chords are similar-- you’re just using a different note of the chord than usual for the bass note. Such chords are written like this: C/G. Technically, this chord would be called “C with a G bass,” or something similar, but most guitarists just call it “C over G”. Pianists and other guitarists know what they mean, and who else cares? C/G is played by adding a bass G on the #6 string, 3rd space with the pinkie. If you have a very small hand and a very wide guitar neck, this might be hard for you. You can substitute a normal C chord, if you wish. G/C is even easier. You just play it like the first three strings of an F, only in the the third space (Third Position). Easiest of the lot is F/C. That’s another three-string chord, played exactly like an ordinary D chord, only in the Fifth Position (5th fret), as shown in the tab and the chord charts.
That’s IT. There are NO BARRE CHORDS and NO HARD CHORDS in this song. NONE!
Specifics:
In measure [2], starting from a normal A-Shape position, move the left hand DOWN the neck of the guitar (toward the nut) to fret the Ab on the 3rd string, 1st space, then slide right back to the 2nd space. You’ll have to lift the fingers off the strings going down to avoid scraping the string, but don’t change the hand shape, as you’re going to need it again immediately. Next, the ring finger gets a workout, fretting and releasing the 2nd string, still without changing the chord shape. Fret the 2nd string in the 3rd space with the pinkie, still maintaining the chord for the three-string pinch in the 4th measure. Move up to Second Position (shown by Roman numeral II) for the pull-off, going back to the A chord for the next two measures.
Continue to play as shown throughout the second line, with one exception: in measure [8], you don’t actually have to change chord shapes with your left hand. From the E7, you can just flatten the fingers across the strings to hit the A chord, then go right back to the E. In the last measure of the line, it’s best to actually change to the A-shape, as you’re going to let the notes ring. Measures [10] through [17] are played exactly like [2] through [9], except that the last three chords are strummed instead of being pinched. All the notes are identical.
Pattern picks
/ MTIM *TRM / RTIR *TRM / RTIM RMRI / RTIM RMRM /
/ RTIM RIRI / RTIM ITIT / RTIM RTRT / MTIR MTIM /
The pattern doesn’t repeat exactly, but it’s not completely random, either. Play this chorus, exactly the same, after each of the first two verses. Then, change chords to the C chord that begins the third verse. Since you’re now playing in a different key, the pattern pick must change also. The pattern for measures [26] - [33] is:
/ MTIM *TMI / RTIM RIRM / RTIM (III) RM (I) RM / RTIM RMRM /
/ RTIM RMRM / RTIR MTMT / RTIR *T RT / MTIR M T I T /
IMPORTANT: These patterns do not indicate which strings to play with the right hand, only which fingers to use! They have been worked out to avoid situations where you might have to play the same string with the same finger in twice succession, which would cause you to mess up the rhythm. However, this is a personal preference. If a further modification suits you better, by all means use it.
Measures [34] - [37] are played exactly like [26] - [29], but the next line is NOT an exact duplicate of the second line, as you might expect. Measures [38] and [39] are:
/ RTIR RT*T / RTIR MTMT / but next is a measure of pinches, followed by a strum.
The chorus of the third verse (measures [42] - [49] inclusive) is exactly like [26] - [33], except for the last note, which is a bass G on the 6th string, 3rd space, to lead into the chorus reprise. This reprise, comprising measures [50] - [57], is basically just the melody line of the chorus, played on the bass strings, up until the C chord in measure [53]. The two notes on the open G string in [55] give you plenty of time to move your hand to the Fifth Position (5th fret) for the F/C chord. Slow down a bit as you change positions for the other two chords of the measure, just enough for emphasis, but not so slow that it looks like you are having trouble reaching them. I like to end on a C/G chord for a fuller sound, but if this shape is too hard to reach quickly, just play a regular C. No one but you will notice the difference.
History:
A wonderful family history entry about Cyrus H. Wheelock, who wrote the words, can be found at this link: https://familysearch.org/photos/stories/2965374. The tune, called “Babylon”, was adapted from the song, “Long, Long Ago”, written in England by Thomas H. Bayly in 1833. It was a nostalgic tune that immediately became quite popular in England, and was also popular in the United States by 1844. Brother Wheelock could scarcely have helped hearing the song, as he served three missions to England, and was writing hymns in Utah during the period of its greatest popularity in the US, but we have no information about the date the poem was written, or who adapted the tune to it.
Praise to the Lord new version
I finally got it right, after two previous versions and months of pondering. This version is not as easy as the easy version, nor as hard as the hard one, but it’s better than either, especially the finale, which is completely new.
You won’t need many instructions for this one.
Play the first four measures from a C chord hand position. This positions your hand perfectly for the following GaddD chord, but you may substitute a full-barre GIII if it’s easier for you. I often do.
The next line is nearly identical to the first, except for the C chord in the second measure and the GIII chord in the last measure of the line. Again, if it’s easier for you, you can substitute GaddD. I like to use one of these chords in the first line, and the other in the second line, for a slight difference in the harmonies.
The CaddG chord in the next measure is necessary to carry the melody. Do not substitute a normal C chord! If the CaddG chord is too hard for you, just play the G note of the chord. Do the tremolo in the next measure with the little finger. Make the tremolo strong.
In the next-to-last measure of the third line, over the word “organ”, there’s a Roman numeral III. This indicates a change of the left hand to “Third Position” (also called “third fret”). Use your index finger to fret the G note in the third space, then slide it back to the first space and do the pull-off, leaving your hand once again positioned for the following GaddD chord. This makes an otherwise difficult transition into an easy one. Similarly, in the last line, the Roman numeral II means you play the G note on the bass string with your middle finger, and the hammer-on in the same measure with your index finger.
Play the last four measures normally. Play as many verses as you like. Then, last time around, substitute the last line for these four measures. The last line is intended to be played through as a single, long phrase, up until the final three chords. Note that the fifth and sixth measures of the line are exactly the same as the first and second measures.
This long riff ends with a double hammer-on. If you use the ring finger to hammer-on the D note on the 2nd string, it puts you in a perfect position to play the following GaddD chord. You won't need to move your fingers for the final note of the riff, as it's an open E. The riff does not need to be especially fast to be effective. It does need to be played at a steady, unvarying rhythm. Then, slow down a bit for the last three chords. Play them as cleanly as possible, without buzzing or slurring. Your audience will love it.
You won’t need many instructions for this one.
Play the first four measures from a C chord hand position. This positions your hand perfectly for the following GaddD chord, but you may substitute a full-barre GIII if it’s easier for you. I often do.
The next line is nearly identical to the first, except for the C chord in the second measure and the GIII chord in the last measure of the line. Again, if it’s easier for you, you can substitute GaddD. I like to use one of these chords in the first line, and the other in the second line, for a slight difference in the harmonies.
The CaddG chord in the next measure is necessary to carry the melody. Do not substitute a normal C chord! If the CaddG chord is too hard for you, just play the G note of the chord. Do the tremolo in the next measure with the little finger. Make the tremolo strong.
In the next-to-last measure of the third line, over the word “organ”, there’s a Roman numeral III. This indicates a change of the left hand to “Third Position” (also called “third fret”). Use your index finger to fret the G note in the third space, then slide it back to the first space and do the pull-off, leaving your hand once again positioned for the following GaddD chord. This makes an otherwise difficult transition into an easy one. Similarly, in the last line, the Roman numeral II means you play the G note on the bass string with your middle finger, and the hammer-on in the same measure with your index finger.
Play the last four measures normally. Play as many verses as you like. Then, last time around, substitute the last line for these four measures. The last line is intended to be played through as a single, long phrase, up until the final three chords. Note that the fifth and sixth measures of the line are exactly the same as the first and second measures.
This long riff ends with a double hammer-on. If you use the ring finger to hammer-on the D note on the 2nd string, it puts you in a perfect position to play the following GaddD chord. You won't need to move your fingers for the final note of the riff, as it's an open E. The riff does not need to be especially fast to be effective. It does need to be played at a steady, unvarying rhythm. Then, slow down a bit for the last three chords. Play them as cleanly as possible, without buzzing or slurring. Your audience will love it.
Come, Listen to a Prophet’s Voice
This is an EASY song to play. Don’t be fooled by the Roman numerals or the final C/G chord, which is just a normal C, with the G note added on the 6th string with the little finger . There are really only two, very easy chords in this song: C and a two-finger version of G. The rest is just a bit of lead, with a trick to make it even easier.
The trick is to move your hand one fret up the guitar neck, from time to time, then back to the normal position, for the following C chord. In classical guitar, this normal position is called, “First Position”. So, one fret higher on the neck would be “Second Position,” right? It is indicated by a Roman Numeral II above the staff.
Normally, you would fret the notes in the first space with the index finger, the notes in the second space with the middle finger, and the notes in the third space with the ring finger. In Second Position, that means that any notes in the second space are to be fretted with the index finger, while those in the third space are fretted with the middle finger, and those in the fourth space with the ring finger. That’s the “trick.” By knowing when to move your hand up the neck, and how far, you can make complex-looking riffs easy!
It is a bit tough to reach a normal G chord from Second Position, so I use a modified, two-finger “wrap-around” G. Fret the first string with the middle or ring finger, while wrapping the hand around the neck, so you can fret the sixth string with the thumb. Mute the A string with the thumb also, so it doesn’t sound. This chord is actually easier to do on steel string guitars, with their narrow necks, and is often used in rock music. If it’s too big a reach for you, don’t play the fifth and sixth strings. Or you can substitute a full-barre GIII if you wish.
There are no advanced techniques in this song, but there are lots of hammer-ons, pull-offs, and slides, which makes it easy to play quickly. Nevertheless, learn it slowly first, keeping the timing perfect, until you’ve got it memorized. It won’t take long, as there’s lots of repetition. Then speed up to full speed. Learning it this way will ensure that your timing never varies, and that will blow the minds of your audience.
I did not split any measures, except for the first and last. This resulted in a split slide at the end of the third line and beginning of the fourth line. Perform this slide from 2nd to 3rd fret exactly the same as the one two measures previous. The only difference is in the way I had to write it, to go from the end of one line to the beginning of the next.
I would perform several verses. This song has the potential to be a great set opener, and a perennial crowd-pleaser.
History
The lyrics are from a poem by Joseph S. Murdock, and refer to his friendship with Joseph Smith, Jr., for whom he had acted as a bodyguard. The music is by Joseph J. Daynes, a child prodigy who became the first Tabernacle organist at age sixteen, in 1867. He held that position until 1900. Evan Stephens, the conductor of the Mormon Tabernacle Choir during Daynes’ tenure as organist, said Daynes “was, without doubt, one of the greatest organists of his time.”
The song is in the Public Domain.
The trick is to move your hand one fret up the guitar neck, from time to time, then back to the normal position, for the following C chord. In classical guitar, this normal position is called, “First Position”. So, one fret higher on the neck would be “Second Position,” right? It is indicated by a Roman Numeral II above the staff.
Normally, you would fret the notes in the first space with the index finger, the notes in the second space with the middle finger, and the notes in the third space with the ring finger. In Second Position, that means that any notes in the second space are to be fretted with the index finger, while those in the third space are fretted with the middle finger, and those in the fourth space with the ring finger. That’s the “trick.” By knowing when to move your hand up the neck, and how far, you can make complex-looking riffs easy!
It is a bit tough to reach a normal G chord from Second Position, so I use a modified, two-finger “wrap-around” G. Fret the first string with the middle or ring finger, while wrapping the hand around the neck, so you can fret the sixth string with the thumb. Mute the A string with the thumb also, so it doesn’t sound. This chord is actually easier to do on steel string guitars, with their narrow necks, and is often used in rock music. If it’s too big a reach for you, don’t play the fifth and sixth strings. Or you can substitute a full-barre GIII if you wish.
There are no advanced techniques in this song, but there are lots of hammer-ons, pull-offs, and slides, which makes it easy to play quickly. Nevertheless, learn it slowly first, keeping the timing perfect, until you’ve got it memorized. It won’t take long, as there’s lots of repetition. Then speed up to full speed. Learning it this way will ensure that your timing never varies, and that will blow the minds of your audience.
I did not split any measures, except for the first and last. This resulted in a split slide at the end of the third line and beginning of the fourth line. Perform this slide from 2nd to 3rd fret exactly the same as the one two measures previous. The only difference is in the way I had to write it, to go from the end of one line to the beginning of the next.
I would perform several verses. This song has the potential to be a great set opener, and a perennial crowd-pleaser.
History
The lyrics are from a poem by Joseph S. Murdock, and refer to his friendship with Joseph Smith, Jr., for whom he had acted as a bodyguard. The music is by Joseph J. Daynes, a child prodigy who became the first Tabernacle organist at age sixteen, in 1867. He held that position until 1900. Evan Stephens, the conductor of the Mormon Tabernacle Choir during Daynes’ tenure as organist, said Daynes “was, without doubt, one of the greatest organists of his time.”
The song is in the Public Domain.
Let Us Oft Speak Kind Words
I tried to tab this exactly as written in Hymns, but it was too hard to play, so I transposed it into the key of C and started over. It was easier to play, but too staccatto, so I eliminated some of the chords. It sounded better, so I kept simplifying, until I had produced this version. I like the full version for organ and choir, but for the guitar, it needs to be simple. Since it was so simple already, I re-wrote it one last time to eliminate the few remaining barre chords.
Special instructions:
Very few special instructions are needed for this song. There’s a slide in the first measure on page two, immediately followed by a hammer-on. You could do both as slides, but it’s difficult to sustain the note long enough. (Hint: if you’re going to try this, fret the whole riff with the index finger.) Or, you could substitute a pull-off for the slide, but it sounds harsher. The song is all about softness and sweet tones of the heart, so use the slide if you can. You may find it necessary, as I do, to slide with the index finger, so you can hammer-on with the middle finger.
Two measures later, there’s a modified C chord, with the melody note (G) added on the 1st string, 3rd space, using the little finger. This chord could also be called CaddG,but since it only occurs once, and is a simple modification of the chord you are already holding, I’ve chosen not to mention it in the tab. If it’s too hard, just put in the melody note and leave off the rest of the chord. Fret the slide which follows with the pinkie, which positions your hand back in the C chord position for the last two pinches of the measure.
In the next measure there’s a series of three-string pinches, all fretted in the fifth fret. This is actually an alternate way of playing a C chord. It is usually played as a barre chord, with the barre in the third space (barred A shape). It is not necessary to actually play it that way here, since the only strings used are the 2nd, 3rd, and 4th, eliminating the need for a barre. Play it like an A chord, only fretted in the 5th space. Just be sure to only play the fretted strings!
At the end of this line, there are four notes that do not correspond to any words in the lyrics. This is a fill, put in by me, because I cannot hold a note for three beats at the slow pace of this song, without tremolo. Tremolos below the fourth fret do not work well on the guitar, and are not easy. The fill is not part of the original hymn. Leave it out if you wish.
You will want to use tremolos where called for in the tab. Place the ring finger in the indicated space, as you would if you were fretting the note normally with that finger. Then, without actually sliding the fingertip, wiggle the finger back and forth rapidly along the string by moving the whole hand along the neck. Watch a video of any violinist playing to see what this looks like. Tremolos above the fourth fret are rather easy to do, help sustain the note, and sound really cool.
History
In 1939, Joseph Townsend, the author of this hymn, who was then about ninety years old, was contacted for background information about the song. “Let Us Oft Speak Kind Words” was written, he said, while he was in the superintendency of a very large Sunday School. The people seemed given to fault-finding remarks, and he thought how much finer it would be to hear kind words spoken more often. He said the song stopped the gossip and produced a kindlier feeling in the town.
Though he wrote many hymns, this one may have been his favorite, as “Kind Words are Sweet Tones of the Heart” is the only thing engraved on his headstone, besides his name and dates of birth and death.
Composition
Like so many others, this tune was composed by Ebenezer Beesley (1840-1906), a prolific writer and composer of LDS hymns, handcart pioneer, and an early director of the Tabernacle Choir. Besides this hymn, there are eleven more of his compositions in the current (green) LDS hymnal:
5 “High on the Mountain Top”
16 “What Glorious Scenes Mine Eyes Behold”
32 “The Happy Day at Last Has Come”
76 “God of Our Fathers, We Come unto Thee”
77 “Great Is the Lord”
153 “Lord We Ask Thee Ere We Part”
156 “Sing We Now at Parting”
177 “‘Tis Sweet to Sing the Matchless Love”
185 “Reverently and Meekly Now”
280 “Welcome, Welcome, Sabbath Morning”
282 “We Meet Again in Sabbath School”.
Special instructions:
Very few special instructions are needed for this song. There’s a slide in the first measure on page two, immediately followed by a hammer-on. You could do both as slides, but it’s difficult to sustain the note long enough. (Hint: if you’re going to try this, fret the whole riff with the index finger.) Or, you could substitute a pull-off for the slide, but it sounds harsher. The song is all about softness and sweet tones of the heart, so use the slide if you can. You may find it necessary, as I do, to slide with the index finger, so you can hammer-on with the middle finger.
Two measures later, there’s a modified C chord, with the melody note (G) added on the 1st string, 3rd space, using the little finger. This chord could also be called CaddG,but since it only occurs once, and is a simple modification of the chord you are already holding, I’ve chosen not to mention it in the tab. If it’s too hard, just put in the melody note and leave off the rest of the chord. Fret the slide which follows with the pinkie, which positions your hand back in the C chord position for the last two pinches of the measure.
In the next measure there’s a series of three-string pinches, all fretted in the fifth fret. This is actually an alternate way of playing a C chord. It is usually played as a barre chord, with the barre in the third space (barred A shape). It is not necessary to actually play it that way here, since the only strings used are the 2nd, 3rd, and 4th, eliminating the need for a barre. Play it like an A chord, only fretted in the 5th space. Just be sure to only play the fretted strings!
At the end of this line, there are four notes that do not correspond to any words in the lyrics. This is a fill, put in by me, because I cannot hold a note for three beats at the slow pace of this song, without tremolo. Tremolos below the fourth fret do not work well on the guitar, and are not easy. The fill is not part of the original hymn. Leave it out if you wish.
You will want to use tremolos where called for in the tab. Place the ring finger in the indicated space, as you would if you were fretting the note normally with that finger. Then, without actually sliding the fingertip, wiggle the finger back and forth rapidly along the string by moving the whole hand along the neck. Watch a video of any violinist playing to see what this looks like. Tremolos above the fourth fret are rather easy to do, help sustain the note, and sound really cool.
History
In 1939, Joseph Townsend, the author of this hymn, who was then about ninety years old, was contacted for background information about the song. “Let Us Oft Speak Kind Words” was written, he said, while he was in the superintendency of a very large Sunday School. The people seemed given to fault-finding remarks, and he thought how much finer it would be to hear kind words spoken more often. He said the song stopped the gossip and produced a kindlier feeling in the town.
Though he wrote many hymns, this one may have been his favorite, as “Kind Words are Sweet Tones of the Heart” is the only thing engraved on his headstone, besides his name and dates of birth and death.
Composition
Like so many others, this tune was composed by Ebenezer Beesley (1840-1906), a prolific writer and composer of LDS hymns, handcart pioneer, and an early director of the Tabernacle Choir. Besides this hymn, there are eleven more of his compositions in the current (green) LDS hymnal:
5 “High on the Mountain Top”
16 “What Glorious Scenes Mine Eyes Behold”
32 “The Happy Day at Last Has Come”
76 “God of Our Fathers, We Come unto Thee”
77 “Great Is the Lord”
153 “Lord We Ask Thee Ere We Part”
156 “Sing We Now at Parting”
177 “‘Tis Sweet to Sing the Matchless Love”
185 “Reverently and Meekly Now”
280 “Welcome, Welcome, Sabbath Morning”
282 “We Meet Again in Sabbath School”.
We're okay.
As some of you may know, my wife and I are currently serving a temple mission here is Santiago Chile, where we were treated (???) to an 8.3 earthquake last night, plus "dozens of aftershocks", if you believe the news. We only felt four or five, but they were pretty big for "aftershocks"! Anyway, we are okay, and the temple is still here, with only the most minor of damage. Pray for the folks on the coast, who were subjected to tsunami waves reaching as high as 15 feet in some places.
‘Tis Sweet to Sing the Matchless Love
This is not an easy one, but it’s pretty, and that’s excuse enough. It’s got hard, unusual chords, difficult chord changes, and a most unusual time signature. I can’t remember ever playing anything in 6/4 time before. Fortunately, that’s the easiest part. You play it just like 6/8 time, except at half speed. The song, as written for choral singing, is even slower. I’ve speeded it up by nearly fifty percent for the guitar solo. It still sounds slow and deliberate, but it doesn’t d-r-a-g.
The faster speed does make the difficult chord transitions even more difficult, as they have to be done quickly. For all the above reasons, I’ve classified this song as “advanced.” If you’re at home with barre chords, especially with barred C-shape chords, you won’t find this piece especially hard. There are two of them: FV and GVII. Both need to be reached in a single, quick motion: the FV from a normal C chord, and the GVII from a GIII. Neither is easy to accomplish quickly, without lots of practice. If you are an advanced player, you will already have done this practice. Most intermediate players are not used to this chord shape. But if you are an intermediate player, and want to move up, this is a good song to learn on, as it’ll force you to learn to hit the chord in a single motion, without any “finger dancing.”
If you look closely at the tab or the chord charts, you will see that there are three different G chords used in this song, and three different G7 chords. Please do use all of them. They have different sounds, and relate to different harmonies and different chord progressions. None of them should be particularly difficult for an intermediate or advanced player.
Please note that this tab is for the tune name HANCOCK, as shown in Hymns #177, and will not work for the tune name MEREDITH (Hymns #176). I can’t recall ever having heard #176 actually sung in church. The lyrics are the same, but the melodies are very different, and have different composers.
Ebenezer Beesley (1840-1906), who composed this tune, was a prolific writer and composer. He was a handcart pioneer who emigrated to Utah from England with his family. In 1880 he became the director of the Tabernacle Choir. Besides this hymn, there are eleven others of his compositions in the current English language LDS Church hymnal:
5 “High on the Mountain Top”
16 “What Glorious Scenes Mine Eyes Behold”
32 “The Happy Day at Last Has Come”
76 “God of Our Fathers, We Come unto Thee”
77 “Great Is the Lord”
153 “Lord We Ask Thee Ere We Part”
156 “Sing We Now at Parting”
185 “Reverently and Meekly Now”
232 “Let Us Oft Speak Kind Words”
280 “Welcome, Welcome, Sabbath Morning”
282 “We Meet Again in Sabbath School”.
George A. Manwaring (1854-1889), the lyricist for this hymn, often collaborated with Beesley. They had much in common. Both were pioneers, British emigrés, polygamists, early Tabarnacle Choir members, and prolific hymn writers. A more extensive biography of Manwaring can be found attached to the posting for “Lord, We Ask Thee Ere We Part”.
The faster speed does make the difficult chord transitions even more difficult, as they have to be done quickly. For all the above reasons, I’ve classified this song as “advanced.” If you’re at home with barre chords, especially with barred C-shape chords, you won’t find this piece especially hard. There are two of them: FV and GVII. Both need to be reached in a single, quick motion: the FV from a normal C chord, and the GVII from a GIII. Neither is easy to accomplish quickly, without lots of practice. If you are an advanced player, you will already have done this practice. Most intermediate players are not used to this chord shape. But if you are an intermediate player, and want to move up, this is a good song to learn on, as it’ll force you to learn to hit the chord in a single motion, without any “finger dancing.”
If you look closely at the tab or the chord charts, you will see that there are three different G chords used in this song, and three different G7 chords. Please do use all of them. They have different sounds, and relate to different harmonies and different chord progressions. None of them should be particularly difficult for an intermediate or advanced player.
Please note that this tab is for the tune name HANCOCK, as shown in Hymns #177, and will not work for the tune name MEREDITH (Hymns #176). I can’t recall ever having heard #176 actually sung in church. The lyrics are the same, but the melodies are very different, and have different composers.
Ebenezer Beesley (1840-1906), who composed this tune, was a prolific writer and composer. He was a handcart pioneer who emigrated to Utah from England with his family. In 1880 he became the director of the Tabernacle Choir. Besides this hymn, there are eleven others of his compositions in the current English language LDS Church hymnal:
5 “High on the Mountain Top”
16 “What Glorious Scenes Mine Eyes Behold”
32 “The Happy Day at Last Has Come”
76 “God of Our Fathers, We Come unto Thee”
77 “Great Is the Lord”
153 “Lord We Ask Thee Ere We Part”
156 “Sing We Now at Parting”
185 “Reverently and Meekly Now”
232 “Let Us Oft Speak Kind Words”
280 “Welcome, Welcome, Sabbath Morning”
282 “We Meet Again in Sabbath School”.
George A. Manwaring (1854-1889), the lyricist for this hymn, often collaborated with Beesley. They had much in common. Both were pioneers, British emigrés, polygamists, early Tabarnacle Choir members, and prolific hymn writers. A more extensive biography of Manwaring can be found attached to the posting for “Lord, We Ask Thee Ere We Part”.
O Thou Rock of Our Salvation
Actually, this song is easier than it appears. There are really only four chords. You can play all the Fs as FI if you are not afraid of barre chords. That’s how I actually play it, most of the time. GIII is exactly the same chord shape as FI, of course, only two frets higher on the neck. The other two F chords, F and F/C, are put in to make it easier to play. You can actually play the whole piece without using any barre chords, just by leaving off the special chorus that comes after the last verse, substituting instead the regular chorus.
If you can play in the key of C, you already know how to play a normal F chord. F/C is played the same way. Just add in the C note on the 5th string, 3rd space, with your little finger. Similarly, the C/G chord is just a normal C, with the G note added in on the 6th string, 3rd space, again with the little finger.
If this is too much of a stretch for you, substitute a normal C, and start working on some finger stretching exercises. My favorite is to spread the little finger and ring finger of the left hand by placing two fingers of the right hand between them for ten seconds. Then place three fingers between them for ten seconds. Then do the same between the middle and ring fingers. Then do the same between the index and middle fingers. You can do these exercises unobtrusively anywhere. Done several times a day, this should loosen up your fretting hand fast.
A couple of tricks to make this piece even easier:
-- When playing a C chord, and the tab calls for you to fret the 3rd string, 2nd space (A), it’s usually easiest to do so by flattening the middle finger across the strings briefly, rather than moving the whole hand.
-- When doing a pull-off on the 3rd string, as in the second measure, starting and ending with a C chord, it may be easier to do it as a push-off instead. It will sound the same, but you don’t need to release and re-fret the chord, which slows you down a lot. Trying to do the pull-off without releasing the chord is awkward, and makes for a weak pull-off.
Composition:
from Wkipedia:
William Clayson (1840–1887) was a Latter-day Saint hymn writer who wrote the music of "The Day Dawn is Breaking"; "Nearer, Dear Savior, to Thee"; "Hope of Israel"; "O Thou Rock of Our Salvation"; "The Iron Rod" and "Oh, What Songs of the Heart".
Clayson was born in England. He joined The Church of Jesus Christ of Latter-day Saints (LDS Church) in 1855. In 1859 he served as branch president in Irchester. In 1861 he emigrated to Utah Territory, settling in Payson, Utah. He married Susan Moulton in Utah who he had become engaged to before leaving England. He was associated with the LDS Sunday School in Payson, and all his hymn tunes were written as accompaniments to words by Joseph L. Townsend, who was also associated with the Sunday School in Payson.
That’s all I know about the composition and lyrics of this song. Does anyone know any more?
If you can play in the key of C, you already know how to play a normal F chord. F/C is played the same way. Just add in the C note on the 5th string, 3rd space, with your little finger. Similarly, the C/G chord is just a normal C, with the G note added in on the 6th string, 3rd space, again with the little finger.
If this is too much of a stretch for you, substitute a normal C, and start working on some finger stretching exercises. My favorite is to spread the little finger and ring finger of the left hand by placing two fingers of the right hand between them for ten seconds. Then place three fingers between them for ten seconds. Then do the same between the middle and ring fingers. Then do the same between the index and middle fingers. You can do these exercises unobtrusively anywhere. Done several times a day, this should loosen up your fretting hand fast.
A couple of tricks to make this piece even easier:
-- When playing a C chord, and the tab calls for you to fret the 3rd string, 2nd space (A), it’s usually easiest to do so by flattening the middle finger across the strings briefly, rather than moving the whole hand.
-- When doing a pull-off on the 3rd string, as in the second measure, starting and ending with a C chord, it may be easier to do it as a push-off instead. It will sound the same, but you don’t need to release and re-fret the chord, which slows you down a lot. Trying to do the pull-off without releasing the chord is awkward, and makes for a weak pull-off.
Composition:
from Wkipedia:
William Clayson (1840–1887) was a Latter-day Saint hymn writer who wrote the music of "The Day Dawn is Breaking"; "Nearer, Dear Savior, to Thee"; "Hope of Israel"; "O Thou Rock of Our Salvation"; "The Iron Rod" and "Oh, What Songs of the Heart".
Clayson was born in England. He joined The Church of Jesus Christ of Latter-day Saints (LDS Church) in 1855. In 1859 he served as branch president in Irchester. In 1861 he emigrated to Utah Territory, settling in Payson, Utah. He married Susan Moulton in Utah who he had become engaged to before leaving England. He was associated with the LDS Sunday School in Payson, and all his hymn tunes were written as accompaniments to words by Joseph L. Townsend, who was also associated with the Sunday School in Payson.
That’s all I know about the composition and lyrics of this song. Does anyone know any more?
I Stand All Amazed
I couldn’t find this hymn, in my records, so I rewrote it, then found the old one here on the blog. I like the new version MUCH better! It’s actually easier to play, too. I feel I was inspired to do the new version. Try it!
Level of difficulty
This is going to be one of my personal favorites! Play it with lots of feeling. There are no barre chords, no hard chords-- not many chords at all. Most of the piece is melody. I’ve tried to avoid hard chord changes. There’s a lot of repetition, too: the second two lines of the verse are almost a complete repetition of the first two lines.
There are quite a few hammer-ons, pull-offs, slides, and tremolos. For this reason, I was tempted to classify the piece as Intermediate level, but honestly, it’s not beyond most beginners. You could actually omit those special techniques and it would sound okay, but please don’t! It sounds SOOO much better with “expression.” The following paragraphs tell in detail how to do this.
Chording
I’ve tried to arrange the fingering to make it easy and smooth. This requires a slight alteration in the way you play the CaddD chord. Play it like a C chord, but with the D added on the 2nd string, 3rd space, as shown in the chord charts. Leave the index finger in place too, on the same string, as in a normal C chord, and it positions your hand perfectly for the pull-off which follows.
Phrasing
Play the last line on page one as a single phrase. In the fourth measure of that line, move your hand position up the neck of the guitar, and fret the D on the 2nd string, 3rd space with your index finger. That’s what the Roman numeral III above the note indicates. This allows you to fret the C on the third string, 5th space, with your ring finger. Your middle finger then falls naturally into position for the slide, making an easy transition to the strummed G7 chord. This may seem like a lot of finger dancing for the sake of one easy chord change. Trust me, it’s not. I spent nearly as much time smoothing out chord changes as I did in arranging the rest of the song.
In the next-to-last measure of the next-to-last line of the Chorus, I've made one significant change. Instead of pinching the 2nd and 4th strings for the double slide, as in the previous line, strum the first four strings, with strings #1 and #3 open. These strings will continue to ring as you do the double slide on the other two strings, giving an interesting effect.
The 2nd, 3rd, and 4th measures of the Chorus also need to be played as a single musical phrase. I suggest you practice with a metronome until you can play each phrase with absolute regularity. The fastest way to do this is to start slowly, maybe even at half speed. Do not increase your speed until you can play each phrase with absolute regularity of tempo. Gradually increase the speed with increasing fluency, until you can play at full speed in perfect tempo.
Expression
In the next line, do the “strong tremolo” with the ring finger, to set up for the double slide that follows. Make the tremolo as strong as possible, vibrating the ring finger along (not across) the string, without actually moving the end of the finger. Use the middle and ring fingers for the double slide. Pre-spray the strings with string lubricant if necessary, to avoid squeaking. Trust me, all this “expression” without ever pausing or changing pace will blow the minds of your listeners.
You can strum the pinched chords, or pinch any of the strummed ones, if you wish. I’ve put in a variety, with mostly pinched chords in the verse, and mostly strummed ones in the chorus. In some places, I’ve done it to make playing easier, in others for the sound effect. Try it as tabbed, then make any modifications you like. I don’t have an electric guitar available to try this song on, but I bet it would sound great. Somebody please try it and let me know.
History
Charles Hutchinson Gabriel composed the music and wrote the lyrics. Known as a child prodigy of the organ, he began writing and composing hymns for his own church by age 16. As a young adult, he began a career as a prolific professional gospel song writer / composer. He is said to have written and/or composed between 7,000 and 8,000 songs, many still available in hymnals of various churches. He wrote under several names, including Charlotte G. Homer!
Gabriel was also known as a humble man, apparently unaffected by the adulation that often gives child prodigies a swelled head. This song reflects his humility in Christ. It is in the public domain. I have been unable to find any more specific details about its composition. The message speaks for itself.
Level of difficulty
This is going to be one of my personal favorites! Play it with lots of feeling. There are no barre chords, no hard chords-- not many chords at all. Most of the piece is melody. I’ve tried to avoid hard chord changes. There’s a lot of repetition, too: the second two lines of the verse are almost a complete repetition of the first two lines.
There are quite a few hammer-ons, pull-offs, slides, and tremolos. For this reason, I was tempted to classify the piece as Intermediate level, but honestly, it’s not beyond most beginners. You could actually omit those special techniques and it would sound okay, but please don’t! It sounds SOOO much better with “expression.” The following paragraphs tell in detail how to do this.
Chording
I’ve tried to arrange the fingering to make it easy and smooth. This requires a slight alteration in the way you play the CaddD chord. Play it like a C chord, but with the D added on the 2nd string, 3rd space, as shown in the chord charts. Leave the index finger in place too, on the same string, as in a normal C chord, and it positions your hand perfectly for the pull-off which follows.
Phrasing
Play the last line on page one as a single phrase. In the fourth measure of that line, move your hand position up the neck of the guitar, and fret the D on the 2nd string, 3rd space with your index finger. That’s what the Roman numeral III above the note indicates. This allows you to fret the C on the third string, 5th space, with your ring finger. Your middle finger then falls naturally into position for the slide, making an easy transition to the strummed G7 chord. This may seem like a lot of finger dancing for the sake of one easy chord change. Trust me, it’s not. I spent nearly as much time smoothing out chord changes as I did in arranging the rest of the song.
In the next-to-last measure of the next-to-last line of the Chorus, I've made one significant change. Instead of pinching the 2nd and 4th strings for the double slide, as in the previous line, strum the first four strings, with strings #1 and #3 open. These strings will continue to ring as you do the double slide on the other two strings, giving an interesting effect.
The 2nd, 3rd, and 4th measures of the Chorus also need to be played as a single musical phrase. I suggest you practice with a metronome until you can play each phrase with absolute regularity. The fastest way to do this is to start slowly, maybe even at half speed. Do not increase your speed until you can play each phrase with absolute regularity of tempo. Gradually increase the speed with increasing fluency, until you can play at full speed in perfect tempo.
Expression
In the next line, do the “strong tremolo” with the ring finger, to set up for the double slide that follows. Make the tremolo as strong as possible, vibrating the ring finger along (not across) the string, without actually moving the end of the finger. Use the middle and ring fingers for the double slide. Pre-spray the strings with string lubricant if necessary, to avoid squeaking. Trust me, all this “expression” without ever pausing or changing pace will blow the minds of your listeners.
You can strum the pinched chords, or pinch any of the strummed ones, if you wish. I’ve put in a variety, with mostly pinched chords in the verse, and mostly strummed ones in the chorus. In some places, I’ve done it to make playing easier, in others for the sound effect. Try it as tabbed, then make any modifications you like. I don’t have an electric guitar available to try this song on, but I bet it would sound great. Somebody please try it and let me know.
History
Charles Hutchinson Gabriel composed the music and wrote the lyrics. Known as a child prodigy of the organ, he began writing and composing hymns for his own church by age 16. As a young adult, he began a career as a prolific professional gospel song writer / composer. He is said to have written and/or composed between 7,000 and 8,000 songs, many still available in hymnals of various churches. He wrote under several names, including Charlotte G. Homer!
Gabriel was also known as a humble man, apparently unaffected by the adulation that often gives child prodigies a swelled head. This song reflects his humility in Christ. It is in the public domain. I have been unable to find any more specific details about its composition. The message speaks for itself.
We Are All Enlisted
Only four chords to this song, and they’re all super easy! Not only that, but fully half of the twenty-four measures are repeats. You only have to learn these measures, and you’ve got the whole song: [1], [2], [3], [4], [7], [9], [10], [11], [12], [15], and [16]. I’m not counting [8], which consists entirely of a single, strummed C chord. The only place where the repetition is not exact is in the last line, where the notes are picked separately, without hammer-ons or slides.
There are no hard chords or difficult transitions, but the tempo is FAST, so I added a change of pace in the middle. It’s slower than the rest of the song, but still not exactly SLOW. Remember, the metronome numbers are for quarter-notes, not eighth-notes, and the song is arranged in 8/8 time, so each beat of the metronome counts for TWO “counting numbers,” not one. If you want to count each counting number separately, double the metronome speed.
Nearly all the G7 chords in the tab are really Gs, but there’s no need to kill your hand making fast chord changes. The #1 string is not played in any of these G chords, so the difference is academic. It’s easier to hit the melody notes from a G7 hand position, so I’ve called them all G7. You can play G the “right” way if you like, but your hand will get mighty tired.
In measures [7] and [23], do the hammer-on with the ring finger, leaving the middle finger free to do the slide which follows. The last note of the measure is an open e-string, giving you time to position your hand for the following C chord strum.
Some chords are pinched, some are strummed, and some are played as arpeggios. If you are using finger-picks, be sure to play the arpeggios with the fingers, leaving the thumb and thumb pick free to strum the next chord. If you try to strum the arpeggios, you may have difficulty getting the thumb back into strumming position in time. You will either have a choppy rhythm, or you may hit the strings with the thumb pick on the way up.
A couple of tips:
-- the pull-offs on the third string are easier to do quickly as push-offs. Instead of pulling the string away from you to pluck it with the middle finger of the left hand, push it toward you to pluck it. This may seem a bit unnatural at first, but it’s not hard to do.
-- in measures [7] and [23], fret the A note on the third string, 2nd space, by briefly flattening the middle finger across the string, instead of moving it from the fifth string. It’s a bit faster, where speed really counts.
It’s not actually necessary, but I like to end the song with a C/G chord, which is just a normal C with the G note added with the little finger on the #6 string. It gives a fuller sound than a normal C chord, but contains all the same notes. If you’re following the tab, your finger will already be there, but if you have trouble hitting it in tempo, just play a normal C, as tabbed.
In this song, tempo is king. It sounds terrific when played at speed, and it’s not hard to do. With a little practice, you can sound like a fretboard wizard.
There are no hard chords or difficult transitions, but the tempo is FAST, so I added a change of pace in the middle. It’s slower than the rest of the song, but still not exactly SLOW. Remember, the metronome numbers are for quarter-notes, not eighth-notes, and the song is arranged in 8/8 time, so each beat of the metronome counts for TWO “counting numbers,” not one. If you want to count each counting number separately, double the metronome speed.
Nearly all the G7 chords in the tab are really Gs, but there’s no need to kill your hand making fast chord changes. The #1 string is not played in any of these G chords, so the difference is academic. It’s easier to hit the melody notes from a G7 hand position, so I’ve called them all G7. You can play G the “right” way if you like, but your hand will get mighty tired.
In measures [7] and [23], do the hammer-on with the ring finger, leaving the middle finger free to do the slide which follows. The last note of the measure is an open e-string, giving you time to position your hand for the following C chord strum.
Some chords are pinched, some are strummed, and some are played as arpeggios. If you are using finger-picks, be sure to play the arpeggios with the fingers, leaving the thumb and thumb pick free to strum the next chord. If you try to strum the arpeggios, you may have difficulty getting the thumb back into strumming position in time. You will either have a choppy rhythm, or you may hit the strings with the thumb pick on the way up.
A couple of tips:
-- the pull-offs on the third string are easier to do quickly as push-offs. Instead of pulling the string away from you to pluck it with the middle finger of the left hand, push it toward you to pluck it. This may seem a bit unnatural at first, but it’s not hard to do.
-- in measures [7] and [23], fret the A note on the third string, 2nd space, by briefly flattening the middle finger across the string, instead of moving it from the fifth string. It’s a bit faster, where speed really counts.
It’s not actually necessary, but I like to end the song with a C/G chord, which is just a normal C with the G note added with the little finger on the #6 string. It gives a fuller sound than a normal C chord, but contains all the same notes. If you’re following the tab, your finger will already be there, but if you have trouble hitting it in tempo, just play a normal C, as tabbed.
In this song, tempo is king. It sounds terrific when played at speed, and it’s not hard to do. With a little practice, you can sound like a fretboard wizard.
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