Worship Music 4 Guitar

Worship Music for Guitar
Rob Brayton
Copyright 1998-2009 Robert S. Brayton
`WORSHIP !SIC "OR #!I$%R
Worship Music for Guitar
Copyright 1998-2009 Robert S. Brayton
$hi& boo'an( )o*panion re&o+r)e& are )opyrighte(, no one *ay )opy it -or )o**er)ia.
+&e in any -or*/ in 0ho.e or in part/ 0itho+t e1p.i)it 0ritten per*i&&ion -ro* the p+b.i&her.
%.. other right& are (i*ini&he(.
Brayton/ Robert S.
Wor&hip +&i) -or #+itar
"ir&t 2(ition 1998.
$hir( 2.e)troni) 2(ition 2009
Printe( in the !nite( State& o- %*eri)a
Acknowledgments
I 0o+.( -ir&t .i'e to than' *y Creator an( Sa3ior/ the 4or( 5e&+& Chri&t/ the be&t -rien(
anyone )o+.( e3er ha3e. He ha& en(o0e( *e 0ith the (e&ire/ ta.ent/ an( re&o+r)e& to
.earn to 0or&hip Hi* in (eeper 0ay& than I tho+ght po&&ib.e. I 0o+.( a.&o .i'e to than' *y
-a*i.y/ -rien(&/ an( a.. the brother& an( &i&ter& in Chri&t 0ho ha3e been a great &o+r)e o-
en)o+rage*ent to *e o3er the year&. I e&pe)ia..y 0ant to than' tho&e 0ho* the 4or( ha&
bro+ght in *y path to he.p/ tea)h/ in&pire an( a(3i&e *e in thi& en(ea3or, Brittain "ra.ey/
#erar( #arno/ anny 6o3oa/ Chri&ty Sha0/ 5ohn i)hae. $a.bot/ Chri&topher Whitenton/
an( Hora)e Wor.ey.
$hi& boo' i& (e(i)ate( to the 4a*b o- #o(/ the on.y One in hea3en an( earth 0ho 0a&
-o+n( 0orthy. ay 0e a.. &tri3e to be)o*e 0orthy to 0or&hip Hi* on.y in &pirit an( tr+th.
Personal Note
%. W. $o7er &tate(/ 8$o 0or&hip a))eptab.y/ i& to be born ane0 by the Ho.y #ho&t thro+gh
-aith in the 4or( 5e&+& Chri&t an( ha3e the Ho.y Spirit o- Chri&t tea)h +& to 0or&hip an(
enab.e +& to 0or&hip.9 $he -a)t that yo+ are rea(ing thi& boo' a.*o&t a&&+*e& that yo+
a.rea(y ha3e a per&ona. re.ation&hip 0ith the 4or( 5e&+&. I- yo+ (o not/ that prob.e* i&
ea&i.y re*e(ie(:He ha& (one the har( part&. He 0a& born o- the 3irgin ary by the Ho.y
Spirit/ .ea( a &in.e&& .i-e/ pre&ente( Hi*&e.- a& the per-e)t/ in-inite atoning b.oo( &a)ri-i)e
-or the &in& o- a.. h+*anity by (ying on a )ro&&/ an( ari&ing -ro* the (ea( on the thir( (ay.
He no0 &it& in hea3en by the right han( o- #o( the "ather/ an( 0i.. )o*e again a& ;ing/
4or(/ an( 5+(ge. %.. that i& .e-t -or yo+ to (o i& &in)ere.y )a.. on the na*e o- the 4or( 5e&+&
Chri&t -or the -orgi3ene&& o- yo+r &in& in a &po'en prayer/ repent:t+rn a0ay -ro*:yo+r
&in& an( 0or.(.ine&&/ an( a))ept Hi* a& yo+r &a3ior an( 4or(. Ha3ing (one thi&/ I
re)o**en( te.. the 0or.( o- yo+r Sa3ior/ -in( a gro+p o- Chri&tian& to -e..o0&hip 0ith on a
reg+.ar ba&i&/ &tart ha3ing a (ai.y ti*e o- 0or&hip/ prayer/ *e(itation/ an( Bib.e &t+(y <&tart
0ith the #o&pe. o- 5ohn=/ an( get bapti7e(.
1
Table of Contents
Wor&hip +&i) -or #+itar............................................................................1
Wor&hip +&i) -or #+itar............................................................................1
$ab.e o- Content&......................................................................................2
$ab.e o- Content&......................................................................................2
"or0ar(.....................................................................................................>
Intro(+)tion...............................................................................................?
+&i) in the Bib.e.................................................................................?
Wor&hip #o( Where3er @o+ %re..........................................................?
6ot In @o+r O0n Strength....................................................................?
"in( a #+itar..............................................................................................A
"ir&t/ "in( a $r+&t0orthy "rien(............................................................A
$ype& o- #+itar&..................................................................................A
#+itar Part&.........................................................................................8
...........................................................................................................8
Hea(...................................................................................................8
$+ning Peg&........................................................................................8
6e)'...................................................................................................8
6+t/ Bri(ge/ an( Sa((.e.......................................................................8
String&................................................................................................8
Bo(y...................................................................................................9
"ret&...................................................................................................9
#+itar Ba&i)&...........................................................................................10
$+ning..............................................................................................10
2.e)troni) $+ner................................................................................10
Re.ati3e Pit)he&.................................................................................10
Har*oni)&.........................................................................................10
6ote& o- the "ingerboar(....................................................................11
Po&ition.............................................................................................12
Ho.(ing the #+itar..............................................................................12
!&ing a P.e)tr+* <pi)'=......................................................................1B
+&i) Ba&i)&...........................................................................................1>
$he "o+r Part& o- +&i).....................................................................1>
+&i) 6otation...................................................................................1>
Stan(ar( 6otation..............................................................................1>
C.e-&.................................................................................................1?
;ey Signat+re....................................................................................1?
eter................................................................................................1?
6ote&................................................................................................1C
$ab.at+re...........................................................................................1A
4ea( Sheet........................................................................................1A
Chor( Diagra*&................................................................................18
Hy*na.&............................................................................................18
Chor( Ba&i)&.....................................................................................19
aEor $ria(........................................................................................19
Chor( Fariation&................................................................................19
inor Chor(&.....................................................................................20
Se3enth 6ote o- a Chor(....................................................................20
In3er&ion&..........................................................................................20
Other Chor( Fariation&......................................................................20
etho(& o- #+itar P.aying..................................................................21
Rhyth*GStr+**ing............................................................................21
"inger Pi)'ing....................................................................................21
".at pi)'ing........................................................................................21
C.a&&i)a............................................................................................21
Singing Ba&i)&.........................................................................................2B
Re.a1ation.........................................................................................2B
Breath an( Pit)h Contro.....................................................................2B
%nn+n)iation.....................................................................................2B
#etting Starte(........................................................................................2>
%*a7ing #ra)e........................................................................................2?
Pea)e i& ".o0ing 4i'e a Ri3er...................................................................B0
Per-or*an)e 6ote&............................................................................B0
Fariation&..........................................................................................B1
ore +&i) Ba&i)&...................................................................................BB
;ey&.................................................................................................BB
o(e&...............................................................................................BB
Cir).e o- "i-th&...................................................................................BB
$ran&po&ing ;ey&..............................................................................B?
Capo.................................................................................................B?
o3ab.e <BarrH= Chor(&.....................................................................BC
Per-or*an)e 6ote&............................................................................BA
2-ba&e( BarrH Chor(&.......................................................................BA
%-ba&e( BarrH Chor(&.......................................................................B8
Repeat De&ignation&..........................................................................>0
Har*oni)&.........................................................................................>1
Intonation..........................................................................................>1
P.aying By 2ar.........................................................................................>2
Str+* an( Pi)' Pattern&....................................................................>>
Ba&& R+n&........................................................................................>C
Pra)ti)e 4og............................................................................................>A
6o0 $hat @o+ %re a #+itari&t...................................................................>8
+&i) in Wor&hip.....................................................................................>9
#o(.y +&i)......................................................................................?0
Bib.e Re-eren)e&.....................................................................................?B
Rea(ing 4i&t............................................................................................?C
#.o&&ary..................................................................................................?A
I+i)' Re-eren)e Chart&...........................................................................C1
21a*p.e 1 - %&+&..............................................................................C1
21a*p.e 2 - C&+&2/ C&+&>/ #&+&>.....................................................C1
21a*p.e B - 2*A...............................................................................C1
21a*p.e > - D*aE9/ D*A...................................................................C1
21a*p.e ? - %9..................................................................................C1
;ey&........................................................................................................C?
$ab Sheet................................................................................................CA
Hy*na.....................................................................................................C8
3
Forward
$here are *any re&o+r)e& on .earning to p.ay *+&i)/ an( there i& )ertain.y no &hortage o-
boo'& o- Chri&tian *+&i). B+t -or &o*e rea&on/ it i& (i--i)+.t to -in( a boo' on .earning
Chri&tian worship *+&i) on the guitar. I &tr+gg.e( on)e 0ith the g+itar 0hen I 0a&
yo+nger/ b+t 0a& +n&+))e&&-+.. $hi& ti*e aro+n( I 0a& ab.e to .earn it 0ith the 4or(J& he.p
-or the p+rpo&e o- 0or&hipping Hi*. Seeing a nee( -or a boo' to he.p other& 0ith no
*+&i)a. ba)'gro+n( .earn the g+itar/ I praye( the 4or( 0o+.( .et *e 0rite a boo' on the
&+bEe)t. He (i(. $he -a)t that I ha3e on.y been p.aying g+itar -or a &hort ti*e he.p& *e to
re*e*ber the ear.y &ti)'ing point&. DonJt 0orry/ thi& boo' ha& been proo-rea( by &o*e
3ery 'no0.e(geab.e g+itari&t& -or a))+ra)y.
$hi& boo' tea)he& the e&&entia.& o- g+itar& an( *+&i). I )o3er on.y the *+&i) )on)ept&
that are reK+ire( to .earn to p.ay the g+itar. I )o3er 3ario+& g+itar te)hniK+e&/ b+t *o&t.y
-o)+& on ).a&&i)a. g+itar te)hniK+e& 0here I ha3e -o+n( the* +&e-+.. Ho0e3er/ i- it i& yo+r
(e&ire to .earn to p.ay 8proper9 ).a&&i)a. g+itar/ thi& i& probab.y not the right boo' -or yo+.
$o be &+re/ the ).a&&i)a. te)hniK+e& are ti*e pro3en an( 3ery 0orthy o- &t+(y -or tho&e
0ho inten( to p.ay the o.( *a&ter&. On the other han(/ i- yo+ E+&t ha3e a b+rning (e&ire to
0or&hip yo+r Creator 0ith 0hate3er gi-t& He ha& gi3en yo+/ rea( onL
@o+ *ay -ree.y +&e an( (i&trib+te thi& boo' -or non-)o**er)ia. p+rpo&e&. P.ea&e &en( a
(onation o- M10 or *ore to paypa.N)ineno&in.)o* 0ith a note te..ing *e ho0 yo+ ha3e
been b.e&&e( by thi& 0or'. I- yo+ tea)h &o*eone e.&e -ro* thi& boo'/ p.ea&e en)o+rage
the* to *a'e a (onation too. $han' yo+ -or yo+r &+pport.
Hope-+..y/ I ha3e (one an a(eK+ate Eob o- e1p.aining thing& here/ b+t i- yo+ ha3e
K+e&tion&/ )o**ent&/ )o*p.i*ent&/ or )o*p.aint& a.0ay& -ee. -ree to 0rite *e.
@o+r &er3ant in Chri&t/
Rob Brayton
agno.ia/ $e1a&
0*-gN)ineno&in.)o*
4
Introduction
Music in the Bible
+&i) i& one o- the *o&t &igni-i)ant 0ay& that #o( ha& gi3en +& to 0or&hip Hi*. $he Bib.e
)ontain& h+n(re(& o- &ong& an( re-eren)e& to &ong by #o(/ o&e&/ Da3i(/ 5ob/ So.o*on/
I&aiah/ 27e'ie./ 6ehe*iah/ Danie./ Ho&ea/ %*o&/ ary/ Pa+./ an( 5e&+&. %-ter the 4a&t
S+pper/ 5e&+& an( the (i&)ip.e& &ang their .a&t hy*n together <atthe0 2C,B0=. any o-
the &ong& o- Da3i( 0ere propheti) &ong& abo+t 5e&+&. Da3i( 0a& reno0n -or hi& abi.ity to
p.ay the harp <1 Sa*+e. 1C,18=. $he Bib.e &ay& that a-ter the trib+.ation& o- the boo' o-
Re3e.ation&/ the 4or( 0i.. gi3e +& a ne0 &ong <Re3e.ation& ?=. $here 0i.. be &ong in the
ne1t .i-e a& 0e.. a& in thi& .i-e.
It &ee*& that *a'ing *+&i) an( &inging are i*portant to the 4or(. $he Bib.e ta.'& abo+t
the ten-&tring .yre/ -.+te/ bagpipe& <no 0on(er %*a7ing #ra)e &o+n(& &o goo( on
bagpipe&=/ )y*ba./ gong/ ta*bo+rine/ (r+*/ (+.)i*er/ an( other&. $he P&a.*& e3en
)ontain *+&i)a. notation&/ &+)h a& the 0or( 8Se.ah.9 Se3era. P&a.*& e3en en( 0ith a
Se.ah. o&t Bib.e &)ho.ar& be.ie3e thi& Hebre0 0or( *ean& 8to pa+&e.9 Whi.e &)ho.ar&
*ay not agree on the e1a)t app.i)ation o- thi& 0or(/ it *a'e& &en&e that thi& i& an
in(i)ation -or the &inger to &top &inging. D+ring thi& ti*e/ the in&tr+*ent& 0o+.( )ontin+e
p.aying 0hi.e the .i&tener& re-.e)te( on 0hat 0a& E+&t &+ng.
Worship God Wherever You Are
In P&a.* 100/ Da3i( &ing& that 0e &ho+.( a.. 8a'e a Eoy-+. noi&e to the 4or(.9 In
2phe&ian& ?,19 Pa+. e1hort& +& to a.0ay& be/ 8Spea'ing to yo+r&e.3e& in p&a.*& an(
hy*n& an( &pirit+a. &ong&/ &inging an( *a'ing *e.o(y in yo+r heart to the 4or(.9
So*eti*e& 0hen I .i&ten to an a))o*p.i&he( *+&i)ian I thin' that *y *ea&.y o--ering o-
&ong *+&t grate on the 4or(J& ner3e&. B+t then I re*e*ber ho0 &0eet my )hi.(renJ&
*+&i) an( &inging &o+n(& to *y ear&/ e3en 0hen it i& .e&& than per-e)tion. We are a..
#o(J& )hi.(ren. I a* )on3in)e( that 0hen 0e rea..y try to *a'e a Eoy-+. noi&e/ e3en tho+gh
it *ay be .e&& than per-e)t/ #o( i& p.ea&e(/ honore(/ an( g.ori-ie(. It i& i*portant to
a.0ay& 0or&hip #o( -ro* a p+re heart. Do not &ing .yri)& that yo+ are not a.&o .i3ing. I-
there i& &in in yo+r .i-e/ #o( 0i.. not honor yo+r hypo)ri&y <%*o& ?,2B=. %. W. $o7er 0rote
in The Pursuit of God, 8#o( re3ea.& Hi*&e.- to Obabe&J an( hi(e& Hi*&e.- in thi)' (ar'ne&&
-ro* the 0i&e an( pr+(ent. We *+&t &i*p.i-y o+r approa)h to Hi*. We *+&t &trip (o0n
to the e&&entia.& <an( they 0i.. be -o+n( to be b.e&&e(.y -e0=. We *+&t p+t a0ay a.. e--ort
to i*pre&&/ an( )o*e 0ith the g+i.e.e&& )an(or o- )hi.(hoo(. I- 0e (o thi&/ 0itho+t (o+bt
#o( 0i.. K+i)'.y re&pon(.9
23en tho+gh I ha3e a g+itar/ I (o not a.0ay& ha3e it 0ith *e. $here are other ti*e& 0hen
in&tr+*enta. p.aying/ no *atter ho0 &i*p.e/ get& in the 0ay o- 0or&hip. In the&e ti*e&/ I
&ing a cappella. $here a.&o are ti*e& 0hen &i.en)e:E+&t p+tting yo+r han( o3er yo+r
*o+th in the pre&en)e o- the a.*ighty #o(:i& the *o&t the appropriate -or* o- 0or&hip.
Not In Your Own trength
6ot by po0er/ not by *ight/ b+t by *y Spirit &ay& the 4or( o- ho&t& <Pe)hariah >,C=. %bo+t
one year be-ore .ea(ing *e to 0rite thi& boo'/ I praye( that the 4or( 0o+.( he.p *e to
0or&hip an( prai&e Hi* better. I 0a& &+rpri&e( 0hen I -e.t that He 0a& .ea(ing *e to .earn
to p.ay the g+itarQan( to &ing. I ha( ne3er (one either p+b.i).yL He a&&+re( *e that it
0a& Hi& 0i../ an( that He 0o+.( he.p an( &trengthen *e by Hi& gra)e. I 0a& g.a( to hear
5
that/ &in)e in a pre3io+& atte*pt to p.ay the g+itar abo+t ten year& ear.ier I (i(nJt e3en .earn
a &ing.e )hor(. $he 4or( ha& in(ee( been 0ith *e e3ery &tep o- the 0ay. Hi& Ho.y Spirit
ha& gi3en *e the g+i(an)e/ patien)e/ per&e3eran)e/ an( ta.ent to )arry o+t Hi& 0i... I 'no0
that thro+gh Hi* I ha3e b.e&&e( Hi*/ an( Hi& other )hi.(ren. %n( )ertain.y/ I ha3e a.&o
been b.e&&e(. "ran)i& o- %&&i&i <0ho i& )re(ite( 0ith the 0or(& to 8%.. Creat+re& o- O+r
#o( an( ;ing9= &ai( that 0ho e3er &ing& to the 4or(/ pray& t0i)e:on)e -ro* the 0or(&/
an( on)e -ro* the heart.
6
Find a Guitar
!irst" !ind a #rustworth$ !riend
$he -ir&t &tep in thi& Eo+rney i& to -in( &o*eone 0ho 'no0& abo+t g+itar& an( 0here to -in(
the per-e)t one -or yo+/ an( 0ho ha& yo+r be&t intere&t in *in(. $hat per&on i&/ o- )o+r&e/
the 4or( 5e&+&. $he be&t 0ay to &tart any Eo+rney i& on yo+r 'nee&. $he 4or( 'no0&
0here e3ery g+itar i& in the 0or.(. I- it i& tr+.y Hi& 0i.. -or yo+ to .earn the g+itar/ yo+ )an
re&t a&&+re( that He ha& one a.rea(y pi)'e( o+t -or yo+. He 0i.. &ho0 it to yo+ <in Hi&
ti*e=Rb+t yo+ *+&t a&' -ir&t. %.&o/ i- He )hoo&e&/ He *ay &en( yo+ he.p. $hatJ& 0hat He
(i( -or *e.
#$pes o% Guitars
$here are -o+r *ain type& o- g+itar&/ an( one 8hybri(.9 2a)h ha& a(3antage& an(
(i&a(3antage&. I- yo+ are .e-t-han(e(/ a& I a*/ yo+ *ay be te*pte( to b+y a .e-t-han(e(
g+itar. #rante(/ &tr+**ing a right-han(e( g+itar (oe& -ee. a .itt.e a0'0ar( at -ir&t/ b+t in
&o*e 0ay&/ a right-han(e( g+itar i& ea&ier -or the .e-t-han(er to p.ay. o&t o- the (i--i)+.t
ta&'& in g+itar p.aying i& in the .e-t han(. I .earne( to p.ay on a right-han(e( g+itar 0ith 3ery
.itt.e (i--i)+.ty. %.. the in&tr+)tion& in thi& boo' are geare( to0ar( right-han(e( p.aying.
Type d!anta"es #isad!anta"es
&lassical'
!olk
6y.on &tring& are ea&y on the -inger&
Wi(e ne)' i& ea&ier to p.a)e -inger&
Can be 8*i)Je(9/ or retro-itte( 0ith an
e.e)tri) pi)'+p -or a*p.i-i)ation
6ot a& .o+(/ &hort &+&tain
Wi(e ne)' *a'e& &o*e )hor(& *ore
(i--i)+.t to -inger -or 3ery &*a.. han(&
Acoustic Brighter an( .o+(er &o+n(ing &tee.
&tring& 0ith a .onger &+&tain than ny.on
6arro0 ne)' i& ea&ier -or &*a.. han(&
Can be 8*i)Je(9/ or retro-itte( 0ith an
e.e)tri) pi)'+p -or a*p.i-i)ation
Phy&i)a..y the *o&t (i--i)+.t to p.ay (+e
to the high-ten&ione( &tee. &tring&
6arro0 ne)' )an be re&tri)ti3e to .arge
han(&
(lectric 4o0 ten&ion &tring& an( narro0 ne)'
With a*p.i-i)ation/ 0i.. -i.. any &i7e roo*
% hea(phone a*p.i-ier a..o0& pra)ti)e
0itho+t (i&t+rbing other&
Fery .ong <&o*eti*e& too .ong= &+&tain
Signa. *o(i-ier& )reate ne0 &o+n(&
4o0 ten&ion &tring& ben( ea&i.y )a+&ing
note& to be o-- pit)h
6arro0 ne)' )an be re&tri)ti3e
ReK+ire& an a*p.i-ier or 8(ire)t bo19
Wor.(.y a&&o)iation
Acoustic)
electric
2a&y to a*p.i-y/ b+t (oe&nJt reK+ire an
a*p.i-ier
With a*p.i-i)ation/ 0i.. -i.. any &i7e roo*
Ha& a 0ar* a)o+&ti) &o+n(
ore e1pen&i3e
Prea*p.i-ier *ay reK+ire batterie&
ay not be a& .o+( a& a nor*a. a)o+&ti)
g+itar <&ha..o0er bo(y=
*e%t)
handed
Initia..y ea&ier to &tr+* -or .e-tie&.
Ho0e3er/ 0ith pra)ti)e/ right-han(e(
g+itar& are E+&t a& ea&y.
ore e1pen&i3e
6ee( &pe)ia. )hor( boo'&/ et).
+)h har(er to -in(
Table 1 - Guitar Comparisons
$
Guitar Parts
Figure 1 - Guitar Parts
+ead
$he hea( i& the top o- the g+itar. It& Eob i& to ho.( the t+ning peg&...an( to bang into thing&
:be )are-+.L
#uning Pegs
$he t+ning peg&/ or *a)hine&/ ho.( one en( o- the &tring. $hey a..o0 yo+ to a(E+&t the
&tring tighter or .oo&er to rai&e or .o0er the pit)h o- the &tring. When &hopping -or a g+itar/
*a'e &+re the t+ning peg& are not .oo&e an( (o not &.ip 0hen yo+ t+rn the*.
Neck
$he ne)' gi3e& the &tring& a p.a)e to &tret)h/ the -ret& a p.a)e to .ie/ an( the g+itari&t a
p.a)e to p.ay. In&i(e the ne)' on &tee.-&tringe( g+itar& i& a tr+&& ro(. It a((& &ti--ne&& to
the ne)'. So*e tr+&& ro(& are a(E+&tab.e to gi3e the .+thier a 0ay to )orre)t *inor ne)'
0arpage.
Nut" Bridge" and addle
$he n+t ho.(& the &tring& on the hea(/ the bri(ge ho.(& the &tring& on the bo(y/ an( the
&a((.e (eter*ine& the height o- the &tring&. $he height o- the &tring& re.ati3e to the ne)'
(eter*ine& the 8a)tion9 o- the g+itar. $he ).o&er the &tring& are to the ne)'/ the ea&ier the
&tring& are to pre&& again&t the -ret&. $hi& *a'e& -or a -a&t a)tion. It a.&o *a'e& the
&tring& a higher ri&' -or b+77ing again&t the other -ret&. $he n+t i&/ in e--e)t/ the 0 -ret.
trings
String& 3ary -or ea)h g+itar an( ea)h g+itari&t. C.a&&i)a. g+itar& +&e ny.on &tring&. $he
ba&& &tring& are 0ire 0o+n( to a(( *a&&. $he e1tra *a&& a..o0& the )ore &tring be
thinner/ an( there-ore ea&ier to p.ay. %)o+&ti) an( e.e)tri) g+itar& +&e &tee. &tring&.
%
%)o+&ti) g+itar& genera..y ha3e the .o0e&t -o+r &tring& 0ire 0o+n(/ ).a&&i)a. an( e.e)tri)
g+itar& ha3e the .o0e&t three &tring& 0ire 0o+n(. $he &tring& on an a)o+&ti) g+itar ha3e
the highe&t ten&ion. $hi& *a'e& the &tring& p.ay .o+(er/ b+t it a.&o *a'e& the* *ore
(i--i)+.t to p.ay. When yo+ are -ir&t .earning to p.ay/ &tart 0ith a .ight ga+ge o- &tring&. $he
K+a.ity o- the &tring& *a'e a big (i--eren)e in the &o+n( K+a.ity an( .onge3ity o- the &tring&
:yo+ (o get 0hat yo+ pay -or in &tring&.
Bod$
$he bo(y ho.(& the bri(ge an( a*p.i-ie& the &o+n( o- the 3ibrating &tring&. $o a .e&&er
e1tent/ it a.&o gi3e& the g+itari&t &o*ething to &tea(y the g+itar. $he top o- the bo(y i& the
&o+n(boar(. So+n(boar(& )an be &o.i( or .a*inate <p.y0oo(=. % &o.i( top i& +&+a..y
&+perior to a .a*inate top. So*e 0oo(&/ &+)h a& &pr+)e i*pro3e their tone 0ith age. $he
&o+n( o- )e(ar an( .a*inate top& genera..y (o not &igni-i)ant.y i*pro3e.
On an e.e)tri) g+itar/ the bo(y i& &o.i(. It (oe& not a*p.i-y the &o+n( (ire)t.y b+t ha&
e.e)tri) pi)'+p&. $he pi)'+p& are )oi.& o- 0ire that generate an e.e)tri) )+rrent 0hen ).o&e
to a 3ibrating &tee. &tring. $hi& &igna. i& )onne)te( to an e.e)troni) a*p.i-ier an( &pea'er.
Be)a+&e the &tring& are not +&ing their energy to *a'e &o+n(/ the &+&tain i& *+)h .onger.
!rets
$he -ret& are *athe*ati)a..y &pa)e( *eta. bar& e*be((e( in the -ingerboar( o- the ne)'.
6ote& are &o+n(e( on a g+itar by ho.(ing the &tring again&t the -ret by pre&&ing the &tring
(o0n &.ight.y behin( the -ret. On a.. b+t ).a&&i)a. g+itar&/ there are *ar'er& on the ne)' to
he.p the g+itari&t .o)ate the -ret& *ore ea&i.y. So*e ba&& g+itar&/ an( 8&.i(e9 g+itar& (o not
ha3e -ret&. %-ter *+)h +&e/ the -ret& )an be)o*e 0orn (o0n. Be a0are that 0orn -ret&
an( a 0arpe( ne)' )an *a'e a g+itar e&pe)ia..y (i--i)+.t -or a beginner to p.ay. So*e
g+itar& ha3e a 7ero -ret in a((ition to the n+t. $he 7ero -ret a..o0& pre)i&e a(E+&t*ent o-
the height& o- the &tring&.
&
Guitar 'asics
#uning
$he pro)e&& o- t+ning a g+itar p+t& ea)h &tring in a 'no0n &tate o- pit)h.
(lectronic #uner
2.e)troni) t+ner& are the 0ay to go -or no3i)e p.ayer&. $+ning by ear -ro* re.ati3e pit)he&
an( har*oni)& are -or a(3an)e( p.ayer&. % K+art7 e.e)troni) t+ner )an be p+r)ha&e( -or
no*ina. )o&t at (i&)o+nt *+&i) &tore&. 4earning to p.ay a g+itar i& (i--i)+.t eno+gh 0itho+t
ha3ing to 0on(er i- the g+itar i& in t+ne. %n(/ i- by a))i(ent/ the g+itar i& o+t o- t+ne/ yo+
)an be e3en *ore )on-+&e( abo+t the &o+n(& yo+ are trying to *a'e. % K+art7 e.e)troni)
t+ner i& a goo( in3e&t*ent -or the beginner an( e1perien)e( p.ayer a.i'e.
,elative Pitches
$he tra(itiona. *etho( o- g+itar t+ning i& by +&ing re.ati3e pit)he&. In thi& *etho(/ yo+ -ir&t
t+ne the .o0 2 &tring/ an( then t+ne the % &tring re.ati3e to the 2 &tring by -retting the 2
&tring on the -i-th -ret. $hi& pro)e&& i& repeate( on the re&t o- the &tring&/ e1)ept the B
&tring/ 0hi)h i& t+ne( re.ati3e to the # &tring/ on the -o+rth -ret. With re.ati3e t+ning an(
har*oni) t+ning/ the &tring& are a(E+&te( -or 0hat i& )a..e( 87ero beat.9 Dete)ting thi& 7ero
beat pheno*ena reK+ire& &o*e pra)ti)e to get it right. $he re.ati3e pit)he& t+ning *etho(
i& the *o&t +&e( yet .ea&t a))+rate *etho( o- a... #et an e.e)troni) t+ner.
+armonics
$+ning by har*oni)& i& e3en *ore )o*p.i)ate( than re.ati3e pit)h t+ning. $hi& *etho(
re.ie& on the -a)t that the &e)on( har*oni) o- one &tring i& the &a*e note a& the thir(
har*oni) o- the ne1t &tring/ e1)ept -or the &e)on( &tring/ 0hi)h i& the thir( har*oni) o- the
&i1th &tring/ an( the -ir&t &tring/ 0hi)h i& the -o+rth har*oni) o- the &i1th &tring. On the p.+&
&i(e/ thi& *etho( i& the *o&t a))+rate o- a... Proper.y app.ie(/ thi& *etho( g+arantee& that
at .ea&t -o+r &tring& <C/ ?/ 2/ an( 1= are in t+ne. %-ter yo+ get +&e( to the 0ay the g+itar
&o+n(&/ try .earning thi& *etho(. $here are other re.ation&hip& o- har*oni)& bet0een the
&tring&. "or *ore in-or*ation on har*oni)&/ &ee $ab.e 10 on page >1. 23en &o/ the be&t
a(3i)e -or beginner& i& to -in( an e.e)troni) t+ner.
1(
Notes o% the !ingerboard
On)e yo+ )orre)t.y t+ne the g+itar/ yo+ then 'no0 the note& o- ea)h &tring. "ig+re >
&ho0& the note& -or ea)h &tring. Whi.e .earning ea)h note on ea)h &tring i& not reK+ire(/ it
(oe& he.p in pi)'ing o+t note&. Here are &o*e ai(& in .earning the -ingerboar(,
%n ea&y 0ay to re*e*ber the open note& i&,
23ery %nge. De).are& #o( Be 21a.te(L
$hin' o- the high 2/ B an( <&o*eti*e&= # &tring& a& the *e.o(y &tring&/ an( the 2/ %
an( <&o*eti*e&= D &tring& a& the ba&& &tring&. Whate3er &tring& are )+rrent.y not
being p.aye( a& ba&& or *e.o(y &tring& are -or har*ony.
$he note& on the -i-th -ret are the &a*e a& the open &tring&/ e1)ept &hi-te( +p one/ an(
the B t+rn& into a C <&ee "ig+re 2=.
2 % D # B 2
% D # C 2 %
Open
"i-th -ret
Figure 2 - Fifth Fret
%.. the note& ha3e a &harp or -.at note <
#
or
b
= bet0een the*/ e1)ept B an( C/ an( 2
an( ". $he *+&i)ian& theory o- re.ati3ity i& not 2 S *)
2
/ rather it i& 2 S "
b
. 4i'e0i&e/
" S 2
#
/ B S C
b
/ an( C S B
#
. $h+&/ on the -ingerboar(/ B an( C/ an( 2 an( " are one
-ret apartT a.. the other note& are t0o -ret& apart. $he&e t0o note&/ B an( 2/ are the
note& -or the t0o *e.o(y &tring&.
%& yo+ are .earning )hor(&/ pay attention to the po&ition o- the .o0e&t note o- ea)h
)hor(. $hi& i& the root o- the )hor(. In other 0or(&/ i- yo+ 'no0 a gi3en )hor(/ yo+
a.&o 'no0 0here to -in( the ba&& note )orre&pon(ing to that )hor(. "or in&tan)e/ the
.o0e&t note p.aye( in a C )hor( i& the -i-th &tring/ thir( -ret. $he -i-th &tring/ thir( -ret i&
C.
4earn the note& o- the ba&i) )hor(&, C S C 2 #/ " S " % C/ # S # B D/ D S D "
#
%/ %
S % C
#
2/ 2 S 2 #
#
B. 6oti)e that 0ith the&e )hor(&/ the &harp note& on.y appear on
the *i((.e note <the thir(= o- the )hor(. %.*o&t a.. *+&i) -or the g+itar i& ba&e( on
the&e &i1 )hor(&/ an( their 3ariation&. <See the Chor( Di)tionary -or re)o**en(e(
-ingering.=
11
Figure 3 - Notes of the Keyboard
1
Figure 4 - Notes of the Fingerboard ea!h fret is a half-step"
Position
+olding the Guitar
$here are three *ain 0ay& to ho.( the g+itar, ).a&&i)a./ -o.'/ an( &tan(ing.
$he ).a&&i)a. po&ition i& the be&t *etho( -or rea)hing the -ingerboar(/ an( -or)e& the 0ri&t
to rotate into a po&ition that i& .e&& .i'e.y to )a+&e Repetiti3e Stre&& InE+ry <RSI= prob.e*&.
$he one (ra0ba)' i& that the proper ).a&&i)a. po&ition i& 0ith yo+r .e-t -oot proppe( +p
abo+t 10 in)he&. 8Rea.9 ).a&&i)a. g+itari&t&/ o- )o+r&e/ )arry a -ootre&t 0ith the* at a..
ti*e&/ &o thi& i& not a prob.e*.
$he -o.' po&ition i& ba&i)a..y the &a*e a& the ).a&&i)a. po&ition/ e1)ept 0ith the g+itar on
the right 'nee 0itho+t a -ootre&t. $hi& i& the *etho( that I +&e the *o&t.
When &tan(ing/ I high.y re)o**en( +&ing a g+itar &trap.
2
I- yo+ thin' that yo+ *ight nee(
to p.ay 0hi.e &tan(ing/ be &+re to pra)ti)e &o*e 0hi.e &tan(ingQitJ& a .ot (i--erent than
&itting.
O- a.. the 0ay& peop.e 0i.. te.. yo+ on ho0 to ho.( a g+itar/ the be&t a(3i)e that I ha3e -o+n(
i&,
1
So*e piano e1a*p.e& are in).+(e( in thi& boo' -or tho&e 0ho a.rea(y 'no0 the piano an( are no0 .earning the
g+itar. I- yo+ (o not a.rea(y 'no0 the piano/ yo+ *ay ignore the&e e1a*p.e&.
2
C.a&&i)a. g+itar& (o not ta'e 0e.. to g+itar &trap&:they are (e&igne( to be p.aye( on.y 0hi.e &itting <0ith yo+r
-oot proppe( +p abo+t 10 in)he&=.
1)
DonJt ho.( the ne)' .i'e a ba&eba.. bat. P.ay 0ith yo+r th+*b pre&&e( in the *i((.e o-
the ne)'. $hi& reK+ire& )on)entration. $he nat+ra. ten(en)y i& to 0ant to grab the
ne)' .i'e a ba&eba.. bat. $he rea&on i& t0o-o.(. $he proper po&ition -ee.& 0rong/ an(
in the beginning/ yo+r th+*b i& 0ea'. $o *a'e *atter& 0or&e/ &o*e a))o*p.i&he(
<non-).a&&i)a.= g+itari&t& a.0ay& ho.( the ne)' thi& 0ay. $hey (o it &o they )an +&e the
th+*b to -ret the ba&& note&. %-ter a 0hi.e o- ho.(ing the g+itar proper.y/ it 0i.. begin to
-ee. *ore nat+ra./ an( yo+r th+*b &trength 0i.. in)rea&e.
Ho.( yo+r -inger& o- the .e-t han( &o that the tip& )o*e &traight (o0n on the &tring&.
When yo+ are -ir&t &tarting/ the .e-t han( an( -inger& are -ore3er a))i(enta..y *+ting
&tring&. !&e E+&t the tip& o- the -inger& 0hen -retting a &tring bet0een other &tring&/
pre&& the &tring a& near to the -ret a& po&&ib.e/ an( on.y +&e on.y eno+gh -or)e to 'eep
the &tring -ro* b+77ing again&t the -ret.
DonJt a..o0 the pa.* o- yo+r han( to to+)h the ne)'. $hi& i& a )o**on prob.e*:
e&pe)ia..y near the in(e1 -inger. a'e &+re the -inger& e1ten( o+t an( o3er the &tring&
&o thi& (oe&nJt happen.
I- yo+ &tart ha3ing RSI prob.e*& &+)h a& )arpa.-t+nne. &yn(ro*e/ try the ).a&&i)a.
po&ition. %.&o/ try to +&e yo+r .e-t han( .e&&. I- yo+r prob.e* per&i&t&/ &top p.aying +nti.
yo+ are ab.e to )on&+.t 0ith a (o)tor.
-sing a Plectrum .pick/
$hi& boo' i& ba&e( *ain.y on -ingerpi)'ing &ty.e& an( not p.e)tr+* &ty.e&. % pi)' i& +&e(
-or &tr+**ing an( 8-.atpi)'ing.9 %-ter a -e0 0ee'& o- -ingerpi)'ing/ the -inger& on the right
han( be)o*e )a..+&e( eno+gh that a pi)' i& not ne)e&&ary. I- yo+ nee( a brighter &o+n(/
gro0 the -ingernai.& on yo+r right han( &o they are e3en 0ith the -ingertip/ an( p.ay 0ith
yo+r nai.&. @o+ &ho+.( ne3er +&e a pi)' on ny.on &tring&.
13
Music 'asics
%& *+&i) ha& )o*e (o0n thro+gh the age&/ there ha3e been *any &tan(ar(& (e3e.op.
$hi& &e)tion atte*pt& to e1p.ain &o*e o- the )on)ept& o- *+&i) that are )o**on to a..
*+&i)/ e&pe)ia..y tho&e )on)ept& re.ating to 0or&hip *+&i) on g+itar. $here i& a (anger in
atte*pting to -it *+&i) )on)ept& into too &*a.. a bott.e/ (+e to the a.*o&t .i*it.e&&
3ariation& 0ithin *+&i). $here i& a.&o a (anger in pre&enting a.. the )on)ept& o- *+&i)/ in
that it )an be o3er0he.*ing/ )on-+&ing/ an( +nne)e&&ary. So/ a& yo+ rea( the -o..o0ing/
'eep in *in( that the&e are on.y the required ba&i)&:reK+ire( -or &i*p.e &ong& an(
hy*n& -or the g+itar. "or any )on)ept pre&ente( here/ there i& in3ariab.y at .ea&t one
e1)eption or 3ariation that i& not *entione(. $hi& i& 0hy I +&e the 0or(&/ 8almost a.0ay&/9
8genera..y &pea'ing/9 8+&+a..y/9 et)./ thro+gho+t. 6onethe.e&&/ 0e *+&t &tart &o*e0here/
&o here i& 0here 0e &tart.
#he !our Parts o% Music
+&i) i& *a(e o- &o+n(, *e.o(y an( har*ony/ an( o))+r& in ti*e, rhyth* an( te*po.
+&i)a. &o+n( o))+r& 0ithin three &trata/ or .ayer&. $he .o0e&t .ayer i& the -o+n(ation:the
ba&e. In -a)t/ the 0or( 8ba&&9 i& (eri3e( -ro* the 4atin 0or( -or 8ba&e.9 $he ne1t .ayer i&
the har*ony .ayer. $he highe&t .ayer i& the *e.o(y. In hy*n *+&i)/ thi& i& tr+e a.*o&t
0itho+t e1)eption. $he &oprano part/ the top note/ i& the *e.o(y. $he *i((.e note&/ a.to
an( tenor -i.. in the har*ony. $he ba&& part/ the .o0e&t note/ i& the -o+n(ation -or the
har*ony/ an( he.p& to (e.ineate the rhyth*. %.. the&e .ayer& intera)t to -or* an intere&ting
&o+n( )a..e( *+&i). $he pre&en)e an( intera)tion o- the .ayer& are )are-+..y ti*e( an(
&yn)opate(. $hi& ti*ing -or*& the rhyth*/ or beat/ o- the *+&i). $he &pee( 0ith 0hi)h
the *+&i) i& p.aye( i& )a..e( the te*po.
Music Notation
tandard Notation
Stan(ar( *+&i)a. notation (e-ine& the rhyth*/ an( the pit)h an( (+ration -or the note& o- a
&ong. "ig+re ? i& an e1a*p.e o- &tan(ar( notation. $he note& &ho0n are the note& o- the
open &tring& on the g+itar. "or the g+itar/ the note& are 0ritten one o)ta3e higher on the
&ta-- than they &o+n(. By 0riting g+itar *+&i) one o)ta3e higher than i& &o+n(&/ *ore o-
the note& are in the treb.e ).e-.
14
Figure # - $tandard Notation
Clefs
With a .itt.e i*agination/ yo+ )an &ee the treb.e ).e-/ a.&o )a..e( the # ).e-/ &y*bo. i& a
&ty.i7e( D &itting on top o- a #. Care-+. &t+(y -+rther re3ea.& that the D i& &itting on top o-
the D .ine/ an( the # i& 0rappe( aro+n( the # .ine. With a .itt.e *ore i*agination yo+ )an
&ee that the ba&& ).e-/ a.&o )a..e( the " ).e-/ &y*bo. i& a)t+a..y the .etter 8"9. $he t0o (ot&
o- the ba&& ).e- &y*bo. are on either &i(e o- the " .ine. $he treb.e ).e- an( ba&& ).e-
together -or* the gran( &ta--/ a.&o )a..e( the piano &ta--. $he .yri)& <0or(&= are 0ritten
be.o0 the &ta--.
Key Signature
$he 'ey &ignat+re (e).are& the 'ey o- the *+&i). ;ey& 0i.. be )o3ere( in *ore (etai. in a
.ater &e)tion.
Meter
$he *eter (eter*ine& the rhyth* o- the *+&i). It )on&i&t& o- a n+*ber on top o- another
n+*ber. In thi& e1a*p.e the *eter i& >G>. $he top n+*ber te..& yo+ the n+*ber o- beat&
in ea)h *ea&+re. $he botto* n+*ber te..& yo+ the 3a.+e/ or 8ti*e9 o- ea)h beat. $he
*eter in the e1a*p.e in(i)ate& -o+r K+arter note beat& -or ea)h *ea&+re. $he top n+*ber
i& genera..y 2/ B/ >/ or C. $he botto* n+*ber i& genera..y 2/ >/ or 8.
So*eti*e& the >G> an( 2G2 *eter& are abbre3iate( 0ith
c
or
C
.
B
B
In g+itar notation/ the&e &y*bo.& are a.&o +&e( to &igni-y -+.. an( ha.--barrH.
15
Meter Count Te*po +ses
2
2
$0o ha.- note& per
*ea&+re,
One t0o one t0o
S.o0 to *e(i+* S.o0 *ar)h
2
>
$0o K+arter note& per
*ea&+re,
One t0o one t0o
e(i+* to -a&t I+i)' ar)h
B
>
$hree K+arter note& per
*ea&+re,
One t0o three
S.o0 to -a&t #enera. p+rpo&e/ Wa.t7
<oo* pah pah=
>
>
"o+r K+arter note& per
*ea&+re,
>
One t0o three -o+r
S.o0 to -a&t #enera. p+rpo&e
C
8
Si1 eighth note& per
*ea&+re,
One t0o three %our -i3e &i1
Or
One an( t0o an( three an(
e(i+* to -a&t Sa*e a& BG> ti*e/ b+t
b+&ier. So*eti*e& it he.p&
to thin' o- ea)h *ea&+re o-
CG8 ti*e a& t0o *ea&+re& o-
BG> ti*e.
Table 2 - Common %eters
%nother -a)tor o- the rhyth* i& the te*po. $he te*po in(i)ate& the n+*ber o- beat& per
*in+te. % -a&t &ong *ight ha3e 120 beat& per *in+te. % &.o0 &ong *ight ha3e C0 beat&
per *in+te. When yo+ are -ir&t .earning to p.ay/ try to 'eep a& &tea(y a beat a& po&&ib.e.
$here i& a ten(en)y to p.ay the ea&y part& -a&ter than the har( part&/ or not to ho.( the
note& in re.ati3e ti*e 0ith ea)h otherT )+tting the .ong note& too &hort/ an( ho.(ing the &hort
note& too .ong. %-ter yo+ .earn to p.ay a .itt.e/ a *etrono*e i& a goo( in3e&t*ent.
Notes
$he note& (e&)ribe the pit)h an( (+ration o- ea)h in&tr+*ent that i& to be p.aye(. $he
pit)h i& (eter*ine( by the re.ati3e 3erti)a. po&ition o- the note on the &ta--. $he note& on
the .ine& o- the ba&& ).e- <-ro* botto* to top= &pe.. #oo( Boy& Do "ine %.0ay&. $he
&pa)e& &pe.. %.. Co0& 2at #ra&&. $he .ine& o- the treb.e ).e- &pe.. 23ery #oo( Boy Doe&
"ine. $he &pa)e& &pe.. " % C 2. $here i& one .e(ger .ine bet0een the ba&& an( treb.e
).e-. It i& *i((.e C. 4e(ger .ine& a..o0 the &ta--& to be e1ten(e( ad hoc.
$he (+ration o- note& are &igni-ie( by their &hape.
?
$0o *etho(& are +&e( to e1ten( a
note beyon( it& nor*a. (+ration. One i& to 8tie9 note& together. $he other i& to 8(ot9 note&.
Dotte( note& are e1ten(e( one ha.- o- their 3a.+e. "or in&tan)e/ in >G> ti*e/ a ha.- note i&
t0o beat&. % (otte( ha.- note i& then three beat&. $hat i&/ 2 U 1 S B. 4i'e0i&e/ a (otte(
K+arter note i& one an( one-ha.- beat&. So*eti*e& )on&e)+ti3e eighth note& are
8bea*e(.9 Con&e)+ti3e &i1teenth note& )an be (o+b.e bea*e(.
>
Be &+re to on.y a))ent the o(( beat&. Contin+o+& a))ent on the e3en beat& )an )a+&e a backbeat:the
-o+n(ation o- ro)' *+&i) rhyth*.
?
So*e hy*na.& -+rther &hape the note& a& triang.e&/ (ia*on(&/ et)./ to a.&o &igni-y the re.ati3e pit)h.
16
,a*e ,ote Tied -est 0 ti*e >

ti*e 1

ti*e
2otted
Whole
w. w U h B beat& C beat& 12 beat&
Whole w 2 beat& > beat& 8 beat&
2otted
+al%
h. or H. h U q 1 V beat& B beat& C beat&
+al% h or H 1 beat 2 beat& > beat&
2otted
3uarter
q. or Q. q U e W beat 1 V beat& B beat&
3uarter q or Q V beat 1 beat 2 beat&
2otted
(ighth
e. or E. e U x
4
/1 beat W beat 1 V beat
(ighth e or E X beat V beat 1 beat
i5teenth x or X
6
/1 beat X beat V beat
Table 3 - Note and &est 'urations
#ablature
Stan(ar( *+&i)a. notation (e-ine& the rhyth*/ pit)h an( (+ration -or the note& o- a &ong/
b+t it (oe& not (e-ine 0hi)h &tring& the&e note& &ho+.( be p.aye(. $hat i& 0here tab.at+re
)o*e& in. #+itar tab.at+re )on&i&t& o- &i1 para..e. .ine&. 2a)h .ine &igni-ie& a &tring. On the
.ine& are 0ritten n+*ber&. $he&e n+*ber& &igni-y 0hi)h -ret i& to be p.aye(. $he n+*ber
0 &igni-ie& that the &tring i& p.aye( open <+n-rette(=. "ig+re C &ho0& tab.at+re -or p.aying
ea)h &tring in a &.o0 &tr+* 0ith no &tring& being -rette(.
Figure ( - Tablature
*ead heet
% .ea( &heet )ontain& the *e.o(y/ 0ritten a& note& on a treb.e &ta--/ the har*ony/ 0ritten
a& )hor(& abo3e the &ta--/ an( .yri)&/ 0ritten be.o0 the &ta--.
1$
Figure ) - *ead $heet +,ample
&hord 2iagrams
So*e *+&i) 0ritten 8-or g+itar9 )ontain& )hor( (iagra*& abo3e the &ta--/ &+)h a& in the
.ea( &heet e1a*p.e. Be0are o- *+&i) 0ritten in -.at 'ey& <B
b
/ 2
b
/ et).=/ an(Gor )ontaining
a .ot o- -.at )hor(&. %.&o be0are o- *+&i) 0ith a )hor( -or e3ery note or near.y e3ery note
o- the *e.o(y. $hi& i& not rea..y g+itar *+&i). $hi& i& piano *+&i) 0ith g+itar )hor(
(iagra*& a((e(. On.y the *o&t &'i..e( g+itari&t )o+.( e3er hope to p.ay thi& a& it i& 0rittenL
+&i) 0ritten in C/ #/ D/ %/ 2/ or &o*eti*e& " <in other 0or(&/ 'ey& 0ith *o&t.y &harp&/
not -.at&= are the ea&ie&t to p.ay on a g+itar. %3oi( 'ey& 0ith -.at& +nti. yo+ )an .earn to
tran&po&e an( +&e a )apo <&ee page B?=. Whi.e a &'i..e( piani&t p.ay& a (i--erent )hor( -or
ea)h note o- the *e.o(y/ the beginning g+itari&t )an genera..y get a0ay 0ith p.aying one/
t0o/ or at *o&t/ three )hor(& per *ea&+re. Pra)ti)e 0i.. he.p yo+ .earn 0hi)h one& to p.ay
an( 0hi)h one& to thro0 a0ay. "or e1a*p.e/ re-erring again to the .ea( &heet e1a*p.e
abo3e/ yo+ )an &'ip the DA an( C )hor(&.
+$mnals
o&t hy*na.& are 0ritten -or piano an( organ. Ho0e3er/ 0ith a .itt.e pra)ti)e/ yo+ )an
.earn to p.ay &o*e hy*n& -ro* a hy*na.. $he &e)ret i& .earning to &tay a0ay -ro* hy*n&
0ith a .ot o- -.at& in the 'ey &ignat+re <or .earning to tran&po&e=/ .earning to rea( note& on
the ba&& ).e-/ an( .earning to p.ay the II/ III/ an( FI )hor(& a& *inor )hor(& <*ore on thi& in
the ne1t &e)tion=. #enera..y &pea'ing/ the -ir&t ba&& note o- ea)h *ea&+re i& the root or
-i-th o- the har*ony -or that *ea&+re. In other 0or(&/ i- the -ir&t ba&& note o- a *ea&+re i&
#/ )han)e& are goo( that a # )hor( 0i.. be the )orre)t )hor( -or that *ea&+re. Co*pare
the )hor(& in "ig+re A 0ith the ba&& note& in "ig+re 8. $hey are i(enti)a.. %n( in -a)t/ the
)hor(& the*&e.3e& are i(enti)a.. On the .ea( &heet/ the )hor(& are 0ritten a& te1t abo3e
the &ta--. In the hy*na./ the )hor(& are 0ritten e1p.i)it.y/ note by note. "or *ore in&tr+)tion
on the&e )on)ept&/ &ee page >2.
Figure - - .ymnal +,ample
&hord Basics
% )hor( i& a gro+p o- t0o or *ore note& that are p.aye( to &+pport the *e.o(y o- a &ong.
$he har*ony o- *o&t hy*n& i& ba&e( on three note& )a..e( the aEor $ria(. Chor(&
1%
*ain.y e1i&t in the har*ony &trata. "or the *o&t part/ beginning g+itari&t& E+&t .earn to p.ay
)hor(& -ro* *e*ori7ing an( pra)ti)ing -ro* )hor( )hart&.
Part o- the )on-+&ion o- .earning *+&i) i& the -a)t that the &a*e ter*ino.ogy i& +&e( 0ith
'ey& an( )hor(&. Within a 'ey/ there are -i-th/ &e3enth/ thir(/ et)./ )hor(&. 4i'e0i&e/ 0ithin
a )hor( there are a.&o -i-th/ &e3enth&/ thir(&/ et)./ note&. $o he.p (i&ting+i&h the )hor(& o-
a 'ey 3er&+& the note& o- a )hor(/ the )hor(& o- a 'ey are 0ritten in Ro*an n+*era.& <F/
FII/ III/ et).=. $he note& o- a )hor( are 0ritten in %rabi) n+*ber& <?/ A/ B/ et).=.
Ma7or #riad
$he note& o- the )hor( in *o&t )o**on *+&i) are ba&e( on a root <1=/ a thir( <B=/ an( a
-i-th <?=. $he root i(enti-ie& the )hor(. "or in&tan)e/ a )hor( 0ith a C a& the root i& a C
)hor(. $he other t0o note& are the thir( an( the -i-th. 2 i& the thir( 0ho.e note abo3e C/
an( # i& the -i-th note abo3e C
C
. $h+&/ the C )hor( )on&i&t& o- C/ 2/ an( #. So*eti*e&
the root i& re-erre( to a& the toni)/ the thir( i& re-erre( to a& the *e(iant/ or *i((.e/ an( the
-i-th i& re-erre( to a& the (o*inant.
Figure / - Piano Chord Constru!tion for C-!hord C + G"
&hord 8ariations
$here are .itera..y h+n(re(& o- )hor( 3ariation&. o&t o- the 3ariation& are +&e( -or &pe)ia.
e--e)t. Chor( 3ariation& -a.. into -o+r )ategorie&, *o(i-ying the root/ *o(i-ying the thir(/
*o(i-ying the -i-th/ an( a((ing *ore note& to the ba&i) tria(. "ort+nate.y/ 90Y o- the ti*e/
a *inor <-.atting the thir(= or &e3enth <a((ing the note 10 ha.- &tep& abo3e the root= are the
on.y required 3ariation& to b+i.( )hor( progre&&ion&. 23en *ore -ort+nate i& the -a)t that
they are ea&y to .earn an( p.ay. "or in&tan)e/ right no0/ -in( a &tan(ar(-t+ne( g+itar/ an(
&tr+* the -o+r thinne&t &tring&. @o+ E+&t p.aye( a 3ariation o- 2-*inor-&e3enth-o3er-D
<2*AGD= )hor(. $hi& i& a rea. )hor(/ +&e( in rea. *+&i). $he point i&/ &o*eti*e& )hor(&
that .oo' (i--i)+.t are &o*eti*e& the ea&ie&t to p.ay.
Minor Chords
$he *aEor tria( i& )on3erte( to a *inor )hor( by -.atting the thir( by a ha.- &tep. $h+&/ C
*inor i& C/ 2
b
/ #
A
. "or a gi3en 'ey/ the root <I=/ -orth <IF=/ an( -i-th <F= o- that 'ey are
nat+ra..y *aEor )hor(&. $he &e)on( <II=/ thir( <III=/ an( &i1th <FI= )hor(& o- a gi3en 'ey are
nat+ra..y *inor )hor(&. $he &e3enth )hor( o- the 'ey <FII= i& nat+ra..y (i*ini&he( <the thir(
and the -i-th note& are -.atte(=. Di*ini&he( )hor(& are rare.y reK+ire(.
C
ore pre)i&e.y/ the thir( i& -o+r ha.--&tep& abo3e the root/ an( the -i-th i& &e3en ha.--&tep& abo3e the root.
A
$he -.atte( thir( i& three ha.--&tep& abo3e the root/ the -i-th i& &e3en ha.--&tep& abo3e the root.
1&
Seventh Note of a Chord
$here are t0o 3arietie& o- the &e3enth. $he *aEor &e3enth <*aEA or A=/ an( the *ore
)o**on 8E+&t p.ain9 &e3enth <A=/ a.&o )a..e( the (o*inant &e3enth. Both are a((e( to a
*aEor or *inor )hor( tria(. $he &e3enth a((& the note ten ha.- &tep& abo3e the root. $he
*aEor &e3enth a((& a note e.e3en ha.- &tep& abo3e the root. $h+&/ CA i& C/ 2/ #/ Bb/ an(
C*aEA i& C/ 2/ #/ B. $he &e3enth a((& a &*a.. a*o+nt o- (i&&onan)e to the )hor(.
Se3enth& are +&+a..y +&e( right be-ore the en( o- a phra&e to &igna. that 8&o*ething big9 i&
abo+t to happen. $hey he.p p+&h the *+&i) a.ong ba)' to the root )hor( o- the &ong.
$he *aEor &e3enth note i& on.y one ha.- &tep -ro* the o)ta3e o- the root. Be)a+&e o- thi&
the *aEor &e3enth )hor( rea..y &tan(& o+t 0hen +&e( in a &ong. $he *aEor &e3enth i&
rare.y reK+ire( in hy*n *+&i).
Inversions
%& -ar a& )hor(& an( *+&i) are )on)erne(/ it *atter& .itt.e 0hi)h C/ 2/ an( # note& are
p.aye( to -or* a C )hor( a& .ong a& it (oe&nJt inter-ere 0ith the *e.o(y &trata. Within the
)onte1t o- a &ong/ -e0 peop.e 0o+.( e3er noti)e i- the C )hor( 0ere p.aye( C 2 #/ or 2 #
C/ or # C 2. $hat i&/ pro3i(e( a C note i& p.aye( in the ba&& &trata/ an( the note& o- the
)hor( (o not 0an(er into the *e.o(y &trata. $he&e other -or*&/ 2 # C an( # 2 C/ are
)a..e( the -ir&t an( &e)on( in3er&ion& o- the )hor(. any o- the g+itar )hor(& are ba&e( on
in3er&ion&. It i& not i*portant that yo+ +n(er&tan( the in3er&ion&/ on.y that yo+ 'no0 that
in3er&ion& are +&e( in g+itar )hor(&.
Other Chord Variations
Other )o**on 3ariation& in).+(e &+&pen( -o+rth <&+& >/ or &+&=/ &+&pen( &e)on( <&+& 2=/
&i1th <C=/ a(( ninth <a(( 9=/ ninth <9=/ an( a.ternate ba&& <Gba&&=. $o &+&pen( a -o+rth or
&e)on(/ the thir( i& re*o3e(/ an( the &e)on( or -o+rth i& +&e( in it& p.a)e. $he &i1th i& t0o
ha.--&tep& abo3e the -i-th. $he ninth i& the &a*e a& a &e)on(/ b+t +&+a..y p.aye( an o)ta3e
abo3e the root. "or a(( 9/ on.y the ninth i& a((e(. "or 9/ a(( the ninth an( the &e3enth.
%n a.ternate ba&& *ere.y *ean& to p.ay a (i--erent note -or the ba&&. It i& a.&o &o*eti*e&
re-erre( to a& the a.ternate root. @o+ *ay a.&o &ee )hor(& 0ith 8noB.9 $he&e are
&o*eti*e& the t0o note 8po0er )hor(&9 )o**on in Ro)' *+&i). "or the&e )hor(&/ E+&t
p.ay the .o0e&t t0o I an( F note& o- the )hor(.
)(
.ariation ction to a *a/or triad
01a*ple for
2 C
#
03
Minor ".at the thir( <
b
B= %* <% C 2=
uspend
second
Rep.a)e the thir( 0ith the &e)on(
8
<2= % &+& 2 <% B 2=
uspend
%ourth
Rep.a)e the thir( 0ith the -o+rth <>= % &+& or % &+& > <% D 2=
2iminished ".at the thir( an( -i-th <
b
B/
b
?= % (i* or % <% C 2
b
=
Augmented Sharp the -i-th <
#
?= % a+g <% C
#
2
#

=
i5th %(( the &i1th <C= %C <% C
#
2 "
#

=
eventh %(( the &e3enth <A= %A <% C
#
2 #=
Minor seventh ".at the thir( <
b
B=/ a(( the &e3enth <A= %*A <% C 2 #=
Ma7or seventh %(( the *aEor &e3enth <A= %*aEA or %A <% C
#
2 #
#

=
Ninth %(( the &e3enth an( ninth8 <A an( 9= %9 <% C
#
2 #
#

B=
Add ninth %(( the ninth8 on.y <9= % a(( 9 <% C
#
2 B=
Alternate bass %(( the ba&& a& the ba&& note %G2 <2 % C
#
2=
Table 4 - Common Chord 0ariations
Methods o% Guitar Pla$ing
Fario+& *etho(& o- pi)'ing an( &tr+**ing the )hor(& a(( intere&ting 3ariation& to the
*+&i). $hi& boo' .ean& hea3i.y to0ar( the ).a&&i)a. te)hniK+e.
,h$thm'trumming
$hi& i& the &tap.e o- -o.' g+itar p.aying. In thi& *etho(/ the g+itari&t -inger& )hor(& 0ith the
.e-t han( an( &tr+*& the &tring& (o0n an( +p in 3ario+& rhyth* pattern& +&ing the right
han(. %.ternating ba&& pattern& are 3ery goo( 0ith &i*p.e *+&i)/ &+)h a& hy*n&.
!inger Picking
"inger pi)'ing )an *ean either bro'en 8arpeggiate(9 )hor(&/ or p.aying in(i3i(+a. &tring&
in(epen(ent o- )hor( pattern&. $he .atter *etho( i& &o*eti*e& +&e( in ).a&&i)a. *+&i).
!lat picking
With eno+gh pra)ti)e/ yo+ )an pi)' o+t the &tring& +&ing a &ing.e pi)'. ".at-pi)'ing an(
-inger pi)'ing are )o**on in -o.' an( b.+egra&& *+&i).
&lassical
C.a&&i)a. g+itar i& &o*eti*e& ba&e( on )hor(&/ b+t it a.&o a..o0& non-)hor( pi)'ing. o&t
).a&&i)a. g+itari&t (o not +&e tab.at+re/ b+t in&tea( +&e &tan(ar( notation. $o &igni-y 0hi)h
&tring to p.ay/ tiny n+*ber& are 0ritten by the note&. !&+a..y/ on.y the treb.e ).e- i& +&e(
0ith the note& 0ritten one o)ta3e higher than the a)t+a. &o+n(.
In ).a&&i)a. g+itar p.aying/ the th+*b an( -ir&t three -inger& o- the right han( are gi3en the
na*e& P/ I/ / an( %. $he&e are (eri3e( -ro* the Ita.ian na*e& -or the -inger&. In Ita.ian/
th+*b i& P+.gar/ the in(e1 -inger i& )a..e( In(i)e/ the *i((.e i& e(io/ an( the ring -inger i&
the %nn+.ar, hen)e/ P/ I/ / an( %. $he right 8.itt.e9 -inger genera..y i& not +&e( in ).a&&i)a.
p.aying/ b+t 0hen it i&/ it i& (e&ignate( the 8Z/9 82/9 or e3en 8C/9 (epen(ing 0hi)h boo' yo+
rea(. 2a)h -inger i& a&&igne( to genera..y on.y p.ay &pe)i-i) &tring&. $he th+*b/ P/ p.ay&
8
Re*e*ber/ the &e)on( an( ninth are the &a*e note. $he &e)on( i& +&+a..y p.aye( in the &a*e o)ta3e a& the
root 0here the ninth i& +&+a..y p.aye( in a higher o)ta3e than the root.
)1
on.y the ba&& &tring& <>/ ?/ an( C=/ I p.ay& the B &tring/ p.ay& the 2 &tring/ an( % p.ay& the
1 &tring. 4et *e repeat that. "or ).a&&i)a. &ty.e p.aying <re)o**en(e(=/ the th+*b/ P/
p.ay& on.y the ba&& &tring& <>/ ?/ an( C &tring&=/ I p.ay& the B &tring/ p.ay& the 2 &tring/
an( % p.ay& the 1 &tring.
$hi& *ay &ee* &trange at -ir&t/ b+t it i& 0orth .earning. By p.aying in thi& *anner/ the right
han( (oe& not *o3eT on.y the -inger& o- the right han( *o3e. $hi& +.ti*ate.y *a'e& it
ea&ier to hit the )orre)t &tring&. %.&o/ yo+ are ab.e to better )ontro. 0hat &tring& are p.aye(
0itho+t ha3ing to re&ort to (a*ping in(i3i(+a. &tring& 0ith the .e-t han(. "+rther*ore/ thi&
a..o0& yo+ to p.+)' a.. the note& o- a )hor( at the &a*e ti*e.
"or a.. it& a(3antage&/ the ).a&&i)a. po&ition *a'e& or(inary &tr+**ing 3ery (i--i)+.t. $o
p.ay a &tr+*/ the th+*b p.ay& C/ ?/ or >/ I p.ay& B/ p.ay& 2/ an( % p.ay& 1. $hi& i& (one in
rapi( &+))e&&ion &o it &o+n(& .i'e the &tring& 0ere &tr+**e(. %gain/ the a(3antage i& that
the han( (oe& not *o3e re.ati3e to the &tring&. I- yo+ are -ingerpi)'ing a &ong that nee(& a
&tr+* in the *i((.e/ pra)ti)e thi& *etho(. I- yo+ are p.aying a &ong that i& )o*p.ete.y
&tr+**e(/ E+&t +&e the th+*b or a pi)' to &tr+* a.. the &tring&. %.ternati3e.y/ a &ing.e
-inger &tr+* <in(e1 or *i((.e -inger= )an be +&e( 0itho+t *o3ing the 0ho.e han(. $hi& i&
)a..e( a br+&h &tro'e. Be)a+&e the br+&h &tro'e *etho( (oe& not reK+ire the 0ho.e han(
to *o3e/ it 0or'& be&t 0ith the ).a&&i)a. po&ition.
o&t 8rea.9 ).a&&i)a. g+itar& (o not ha3e (ot *ar'ing& on the -ingerboar(. It i& &ti.. re.ati3e.y
ea&y to pi)' o+t -ret& i- yo+ re*e*ber thi& abo+t the ).a&&i)a. g+itar,
$here are t0e.3e -ret& -ro* the n+t to 0here the ne)' *eet& the bo(y
$he eye )an re.iab.y )o+nt +p to abo+t &i1 -ret&. $o -in( higher -ret&/ )o+nt ba)' -ro*
the ne)'. "or e1a*p.e/ C i& on the &e3enth -ret. "or *o&t peop.e/ it i& ea&ier to )o+nt
ba)' -i3e -ret& -ro* the ne)'/ than it i& to )o+nt &e3en -ret& -ro* the n+t.
!n.e&& yo+ are ha3ing e1tre*e (i--i)+.ty in -in(ing a -ret/ a3oi( the +&e o- 8)heater
*ar'er&.9
))
4in"in" 'asics
Whether yo+ inten( on.y to &ing to the 4or( in pri3ate or to .ea( other& in 0or&hip/ yo+
&ho+.( 0or' on i*pro3ing yo+r &inging. $he 'ey to &inging i& re*e*bering to 0ho* yo+
are &inging. I- yo+ are not &inging to the 4or( 0hen yo+ pra)ti)e/ (onJt e1pe)t Hi* to &ho0
+p 0hen yo+ are &inging in a gro+p. When yo+ pra)ti)e/ )on)entrate on being re.a1e(/
)ontro..ing yo+r breath/ an( ann+n)iation. !&e 3o)a. e1er)i&e& to pra)ti)e &)a.e& an(
inter3a.&. @o+ 0i.. be a*a7e( at ho0 0e.. 3o)a. e1er)i&e& he.p to i*pro3e yo+r &inging.
,ela5ation
It i& (i--i)+.t to ha3e a goo( tone 0hen yo+ are ten&e. Being re.a1e( )an a.&o he.p yo+r
g+itar p.aying/ an( )an *a'e the 0ho.e e1perien)e a greater b.e&&ing. Start yo+r pra)ti)e
0ith prayer. C.ear yo+r *in( o- the 0or.(/ an( -o)+& yo+r *in( on #o( an( *a'ing
bea+ti-+. 0or&hip *+&i) to Hi*. Pray -or pea)e in yo+r &o+. an( &pirit. %&' #o( to he.p
yo+ re.a1 &o that yo+ )an better -o)+& on 0or&hipping Hi*. Ha3ing (one thi&/ it i& goo( to
re.a1 yo+r *+&).e&. $o (o thi&/ -ir&t get into a )o*-ortab.e po&ition. $a'e &e3era. (eep
breath&/ inha.ing -ro* the (iaphrag*/ an( .etting the air e&)ape &.o0.y. $hen/ &tarting 0ith
yo+r -eet an( 0or'ing yo+r 0ay a.. the 0ay +p yo+r bo(y/ ).en)h an( re.a1 ea)h *+&).e. I-
yo+ are rea..y &erio+& abo+t i*pro3ing yo+r &inging/ try an aerobi) 0or'o+t -o..o0e( by
&tret)hing e1er)i&e&. So*e e1pert& re)o**en( yo+ a3oi( pra)ti)e a.together +n.e&& yo+
are re.a1e(. C.ear yo+r *in( o- the 0or.( an( -o)+& on &inging prai&e& an( 0or&hip to the
4or(.
Breath and Pitch &ontrol
So*e peop.e ha3e a nat+ra..y p+re toneT other& ha3e a ra&py 3oi)e. $he &a*e Creator
gi3e& both. $he 'ey to p.ea&ant &inging i& not the K+a.ity o- the 3o)a. )or(&/ b+t rather the
&tea(ine&& o- breath an( )orre)tne&& o- pit)h o- 0hat i& &+ng. When yo+ pra)ti)e/ &tri3e
-or a )orre)t an( &tea(y pit)h.
Here are &o*e ba&i) breathing e1er)i&e&. ;eep yo+r ne)' &tret)he( o+t by po&itioning
yo+r hea( &+)h that the top o- yo+r hea( i& a& -ar a0ay -ro* the -.oor a& po&&ib.e. ;eep
yo+r rib)age e1pan(e( an( yo+r &ho+.(er& .o0/ an( breathe -ro* yo+r (iaphrag*. Inha.e
&i.ent.y 0ith the ba)' o- yo+r throat an( Ea0 in a &.ight 8ya0n9 po&ition. 21ha.e &.o0.y by
b.o0ing a &trea* o- air. Repeat thi& &.o0.y +p to ten ti*e&. 6e1t/ ta'e a (eep breath an(
&i.ent.y pant &*a.. &tea(y breath& in an( o+t. Repeat abo+t t0enty pant& an( e1ha.e
)o*p.ete.y. Re&t/ an( repeat +p to -i3e ti*e&.
!&e 3o)a. 0ar*-+p&:&inging +p an( (o0n the &)a.e&:to &trengthen yo+r 3o)a. abi.itie&.
%& yo+ pra)ti)e the 3o)a. 0ar*-+p&/ +&e 8ah9 ba&e( &y..ab.e& <.a/ *a/ na/ -a/ et).= 4ong 2-
ba&e( &y..ab.e& &+)h a& 8*ee/9 8nee/9 et)./ he.p brighten yo+r tone 0ith na&a. re&onan)e.
I- yo+r tone i& a.rea(y too bright/ .ong O-ba&e( &y..ab.e& &+)h a& 8.o/9 8go/9 8*o/9 et)./ he.p
b+i.( *o+th an( throat re&onan)e.
Annunciation
When &inging/ yo+ *+&t &pea' the 0or(& o- the &ong &o the .i&tener& )an +n(er&tan( 0hat
yo+ are &inging. S+re/ the 4or( 'no0& e3en o+r groaning/ b+t the peop.e .i&tening nee( to
hear it ).ear.y. Fo)a. 0ar*-+p& a.&o he.p to b+i.( 3o.+*e. De).are the tr+th& o- the 4or(
bo.(.yL
)3
Gettin" 4tarted
We../ eno+gh *+&i) theoryQ.etJ& get p.ayingL $he 'ey& to .earning to p.ay are &+**e( +p
in the&e )are-+..y &e.e)te( n+gget& o- a(3i)e,
"or the -ir&t -e0 (ay& <or *aybe 0ee'&=/ yo+r -ingertip& 0i.. be &ore. 23ent+a..y/
)a..+&e& 0i.. b+i.( +p on yo+r -ingertip& an( they 0i.. not h+rt any*ore. ;eep yo+r
-ingernai.& tri**e( 3ery &hort on yo+r .e-t han(.
%t -ir&t/ yo+ 0i.. -ee. 3ery ).+*&y. $hi& i& nor*a.. O3er the *onth&/ yo+r -inger& 0i..
e3ent+a..y be)o*e 8progra**e(9 to hit right note&.
4earning a ne0 in&tr+*ent genera..y happen& in &tage&. In the beginning/ it &ee*&
tota..y hope.e&&. $hen/ &.o0.y/ yo+ 0i.. begin to *a'e goo( progre&& -or a 0hi.e/ an(
then &ee* to rea)h a p.atea+. When yo+ rea)h a p.atea+/ it &o*eti*e& &ee*& .i'e
yo+ 0i.. ne3er get beyon( thi& one &tep. Pra)ti)e reg+.ar.y/ an( E+&t &ti)' 0ith it. $hen
one (ay/ yo+ 0i.. brea' thro+gh the p.atea+. It 0i.. happen i- yo+ E+&t &ti)' 0ith it. Be
&+re yo+r *oti3ation i& p+re/ an( pray.
Prioriti7e tone an( -or* o3er &pee(. It i& better to ha3e a goo( &o+n( an( &tea(y
ti*ing than to be ab.e to p.ay -a&t. When yo+ are .earning a ne0 pie)e/ 0or' o+t the
(i--i)+.t &e)tion& in(epen(ent.y an( p.ay the* &.o0.y. Con)entrate an( ana.y7e e3ery
*o3e*ent. % *etrono*e )an he.p yo+ .earn &tea(ine&& o- beat.
$o &tart/ try to pra)ti)e -i3e (ay& per 0ee'/ 0ith at .ea&t -i3e *in+te& o- a)t+a. p.aying.
Reg+.ar pra)ti)e i& )riti)a.L %-ter yo+r -inger& &top h+rting/ gra(+a..y 0or' yo+r 0ay +p
to 20 to B0 *in+te& at .ea&t three/ pre-erab.y -i3e/ ti*e& per 0ee'. Re*e*ber that thi&
ti*e i& not E+&t g+itar pra)ti)e/ b+t i& ti*e -or 0or&hip. DonJt get &o in3o.3e( *a'ing
*+&i) that yo+ tota..y -orget the a'er o- *+&i). %.0ay& begin 0ith prayer.
Ba( habit& .earne( at the &tart are har( to brea'. Pay attention to pra)ti)e/ po&t+re/
an( po&ition. Pra)ti)e reg+.ar.y/ +&e )orre)t -or*/ an( be *in(-+. o- 0here yo+r
-inger& are an( 0hat note& an( )hor(& yo+ are p.aying. $a'e a .e&&on or &it (o0n 0ith
an e1perien)e( p.ayer/ i- nee( be/ to en&+re yo+ are ho.(ing an( p.aying the g+itar
)orre)t.y. ;eep yo+r g+itar in t+ne.
When -or*ing the )hor(&/ re*e*ber to p.a)e yo+r -inger& E+&t &.ight.y behin( the -ret&.
Pre&& on.y har( eno+gh that the &tring& (o not b+77 0hen p.aye(.
I- yo+ get tire( o- &inging a &ong (+ring yo+r pra)ti)e/ try 0hi&t.ing/ h+**ing/ or
&inging 8(o-(o-(o.9 Whi&t.ing &o+n(& 3ery ni)e 0ith &o*e &ong&.
+&i) tea)her& o-ten re)o**en( reg+.ar p.aying be-ore an a+(ien)e <or e3en a tape
re)or(er=. It gi3e& yo+ a goo( in)enti3e -or po.i&hing yo+r p.aying.
DonJt be a-rai( to ta'e a .e&&on no0 an( then/ or e3en reg+.ar.y. P.ay 0ith a& *any
(i--erent peop.e a& yo+ )an. Pra)ti)e 0ith 3o)a. 0ar*-+p&. Pra)ti)e &inging a.ong
0ith re)or(ing& o- pro-e&&iona. *+&i)ian&. %tte*pt to e*+.ate their te)hniK+e/ b+t
app.y yo+r o0n #o(-gi3en per&ona.ity. a'e tape& o- yo+r&e.-. $hi& )an be a great
he.p in po.i&hing yo+r &o+n(. Ho0e3er/ (onJt be (i&)o+rage( by 0hat yo+ re)or(. @o+
are by -ar yo+r 0or&t )riti). @o+ rea..y (onJt &o+n( a& ba( to other& a& yo+ &o+n( to
yo+r&e.-. Stri3e to (o yo+r be&t an( .ea3e per-e)tion to the pro-e&&iona.&.
)4
*a5in" Grace
So*eti*e& )a..e( the Chri&tian 6ationa. %nthe*/ %*a7ing #ra)e i& the one o- the *o&t
re3ere( an( re)ogni7e( &ong& in the 0or.(. It 0a& 0ritten by 5ohn 6e0ton/ a )on3erte(
&.a3e tra(er 0ho .ater be)a*e an abo.itioni&t prea)her. $he i*portan)e o- .earning thi&
&ong a& pre&ente( here )annot be o3er-e&ti*ate(. Here are a.. the e.e*ent& o- any &ong
that yo+ 0i.. e3er .earn, )hor( pattern&/ )o+nting/ &tr+**ing/ arpeggiating/ an( tab.at+re.
Whi.e it *ay &ee* that an inor(inate a*o+nt o- ti*e i& &pent .earning E+&t thi& one pie)e/ I
a&&+re yo+ that it i& ti*e 0e.. &pent. 4earn ea)h &tep a& be&t a& po&&ib.e.
o&t hy*na.& ha3e thi& 0ritten in the 'ey o- #. $hi& arrange*ent
9
i& in the 'ey o- C. It
+&e& -o+r )hor(&, C <I=/ " <IF=/ # <F=/ an( %*A <FI*A=. $he I/ IF/ F/ an( to a .e&&er e1tent/
FI*A are the ba&i) )hor(& +&e( in a.. g+itar *+&i). $he C/ "/ # an( %*A )hor(& go
parti)+.ar.y 0e.. together (+e to the -a)t that the -inger& o- the .e-t han( *o3e re.ati3e.y .itt.e
bet0een the&e )hor(&. $ry to *a'e the )hor( )hange& 0ith a &ing.e -.+i( *otion. With
pra)ti)e <O;/ 0ith *+)h pra)ti)e= )hanging )hor(& 0i.. e3ent+a..y be)o*e a+to*ati).
$he )hor( pattern -or %*a7ing #ra)e i& C C " G C C C # G #A C C " G C %*A # C.
$he &ong i& (i3i(e( into -o+r *+&i)a. phra&e& o- -o+r bar& ea)h. $he -ir&t phra&e en(& in
the *i((.e o- a &enten)e on the &+b-(o*inant ". $he &e)on( phra&e en(& the &enten)e
0ith the (o*inant #. % #A .ea(&
10
the thir( phra&e that again en(& in the *i((.e o- a
&enten)e 0ith a &+b-(o*inant ". $he -ina. phra&e ta'e& a (aring .eap to %* to &igna. the
en( i& near. %-ter one .a&t 3i&it to the (o*inant #/ the &ong ret+rn& &a-e.y ho*e to en(
0ith C. It i& thi& &i*p.e an( pre(i)tab.e )hor( &tr+)t+re that &o en(ear& the *e.o(y o- thi&
&ong in o+r heart&. Sophi&ti)ate( )hor( &tr+)t+re& *ay *a'e -or better )on3er&ation
a*ong *+&i) &)ho.ar&/ b+t it i& har( to beat the p+re &i*p.i)ity o- thi& great o.( hy*n.
Start by .earning the )hor( )hange&. Pra)ti)e C to " an( C to " +nti. they be)o*e &ing.e
*otion&. $hen .earn C to # an( C to # +nti. they be)o*e &ing.e *otion&. "ina..y/ pra)ti)e
the other )hor( )hange& +nti. they a.&o be)o*e a+to*ati).
%& yo+ are .earning/ 0or' to0ar( 'eeping a &tea(y te*po. $he &tr+*& &ho+.( o))+r
&tea(i.y at a rate o- abo+t one &tr+* e3ery t0o or three &e)on(&. It *ight he.p to tap yo+r
-oot at a &.o0/ &tea(y beat an( )o+nt one t0o three/ one t0o three/ et)./ -or ea)h
*ea&+re. %-ter yo+ )an p.ay 0ith &o*e reg+.arity/ get a *etrono*e. Set it -or C0 to A0
beat& per *in+te.
9
# i& a per-e)t.y goo( 'ey -or the g+itar. I ha3e tran&po&e( it to C to -a)i.itate -ingerpi)'ing the *e.o(y.
10
$hi& i& no &+rpri&e. $he (o*inant &e3enth <FA= i& te)hni)a..y re-erre( to a& the .ea(ing )hor(.
)5
Ama9ing Grace
4 & & !
: % - a7ing gra)e ho0 &0eet the
& & & G
&o+n( that &a3e( a 0ret)h .i'e *e.
G; & & !
<&e.ah= I On)e 0a& .o&t/ b+t no0 a*
& Am; G &
-o+n(. Wa& B.in( b+t/ no0 I &eeL
$o p.ay %*a7ing #ra)e/ -o..o0 the&e &tep&,
1. "or* the C )hor( 0ith yo+r .e-t han(.
2. P.+)' the B &tring <#=Rthi& i& the -ir&t note o- the &ong. Sing 8%-.9
B. Str+* the &tring& -ro* ? to 1 <(o0n= 0ith the th+*b o- yo+r right han( an( &ing
the -ir&t *ea&+re/ 8-*a7ing.9
>. Str+* again an( &ing/ 8gra)e ho0.9
?. Change to the " )hor( an( &tr+* > to 1 an( &ing/ 8&0eet the.9
C. Change ba)' to the C )hor(/ &tr+*/ an( &ing/ 8&o+n( that.9
A. Str+* an( &ing/ 8&a3e( a.9
8. Str+* an( &ing/ 80ret)h .i'e.9
9. Change to a # )hor(/ &tr+*/ an( &ing/ 8*e.9
10. Change to/ an( &tr+* a #A )hor(.
11. Change to a C )hor(/ &tr+*/ an( &ing/ 8I on)e 0a&.9
12. Str+* an( &ing/ 8.o&t. B+t.9
1B. Change to an " )hor(/ &tr+*/ an( &ing/ 8no0 a*.9
1>. Change to a C )hor(/ &tr+*/ an( &ing/ 8-o+n(/ 0a&.9
1?. Change to an %*A )hor(/ &tr+*/ an( &ing/ 8b.in( b+t.9
1C. Change to a # )hor(/ &tr+*/ an( &ing/ 8no0 I.9
1A. %n( -or the -ina. )hor(/ )hange to a C )hor(/ &tr+* &.o0.y/ an( &ing/ 8&ee.9
1 2 B
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Am; .A & ( G/
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)6
Chord #ia"ra* Motion
& to ! 1. Rotate yo+r -inger (o0n &o that it -ret& both
the 1 an( 2 &tring&.
2. o3e the an( -inger& on the &a*e -ret& on
the B an( > &tring&.
B. Do not p.ay the ? an( C &tring&.
! to & 1. Rotate the -inger +p &o that on.y the 2 &tring i&
-rette(.
2. o3e the an( -inger& to the > an( ?
&tring&.
B. Do not p.ay the C &tring.
& to G 1. 4i-t the -inger.
2. o3e the an( -inger& to the &a*e -ret& on
the ? an( C &tring&.
B. P.a)e the -inger on the 1 &tring/ thir( -ret.
G to & 1. 4i-t the -inger.
&tring&.
B. "ret the 2 &tring 0ith the -inger on the -ir&t -ret.
>. Do not p.ay the C &tring.
G to G; 1. P.a)e the -inger on the 1 &tring/ -ir&t -ret.
2. 4i-t the -inger.
G; to & 1. o3e the -inger to the 2 &tring.
&tring&.
& to
Am;
1. 4i-t the -inger.
2. Do not p.ay the C &tring.
Am; to
G
1. 4i-t the -inger.
2. o3e the -inger to the ? &tring.
B. P.a)e the -inger on the C &tring.
>. P.a)e the -inger on the 1 &tring.
)$
On)e yo+ ha3e *a&tere( one &tr+* per *ea&+re/ try the BG> Si*p.e Str+*. $o .earn thi&
&tr+*/ &tart repeating/ one an( t0o an( three an( one an( t0o an( three an(/ an( &o on.
%& yo+ are )o+nting/ p.ay,
One %))ente( &tr+* (o0n
%n(
$0o 4ight &tr+* +p
%n( Str+* (o0n
$hree 4ight &tr+* +p
%n( Str+* (o0n
Figure 11 - 324 $imple $trum
$hi& .oo'& *+)h ea&ier than it i& to (o. When I -ir&t .earne( thi&/ I )o+.( not be.ie3e ho0
).+*&y I -e.t. %-ter a../ ho0 har( i& it to )o+nt to three[ $hi& &ho+.( be .i'e 0a.'ing an(
)he0ing g+*/ right[ "ort+nate.y/ a-ter a -e0 &e&&ion&/ I began to get the hang o- it. 6o0 I
)an e3en &tr+* an( )he0 g+* 0itho+t .oo&ing a beatL
%-ter .earning to p.ay %*a7ing #ra)e 0ith the BG> Si*p.e Str+* rea&onab.y 0e../ ne1t .earn
the BG> Si*p.e %rpeggio <&ee page >>=. $o p.ay the BG> Si*p.e %rpeggio a&&+*e the
).a&&i)a. po&ition 0ith yo+r right han(. $hat i&/ the I <in(e1= -inger p.ay& on.y the B &tring/
the <*i((.e= -inger p.ay& on.y the 2 &tring/ the % <ann+.ar or ring= -inger p.ay& on.y the 1
&tring/ an( the P <th+*b= p.ay& a.. ba&& note& o- the >/ ?/ an( C &tring&. $o p.ay it/ &i*p.y
p.ay the ba&& note on the -ir&t beat/ the B &tring on the &e)on( beat/ an( the 2 &tring on the
thir( beat o- ea)h *ea&+re. In other 0or(&/ repeat, P I pattern. 2n( the &ong 0ith a
.ight &tr+* a)ro&& a.. the &tring&.
$he BG> Si*p.e %rpeggio *ay &ee* boring 0hen p.aye( by it&e.-. We../ it i&. $hat bring&
+& to the tab.at+re. $he tab.at+re arrange*ent ta'e& the BG> Si*p.e %rpeggio an( a((&
the *e.o(y on top. $he tab.at+re i& ba&e( on the &a*e )hor(& 0ith on.y a -e0 e1tra note&
a((e( -or the *e.o(y. P.aying it i& *o&t.y a *atter o- p.aying the )hor(& arpeggio. @o+
*ay noti)e that &o*e o- the note& o- arpeggiate( har*ony are in the *e.o(y &trata. $hi&
i& be)a+&e the *e.o(y )o..i(e& 0ith the " )hor( arpeggio. Rather than brea' the &tea(y
beat o- the arpeggio/ the ne1t note +p o- the arpeggio i& &+b&tit+te(. I- yo+ are ab.e to p.ay
a -+.. barrH "/ &tart the arpeggio on the > &tring to a3oi( the )o..i&ion a.together. In other
p.a)e&/ the arpeggio i& &tarte( a &tring .o0er to a3oi( )o..i(ing 0ith the *e.o(y. In yet other
p.a)e&/ 0here the *e.o(y get& b+&y/ the note& o- the arpeggio are (roppe(. Other0i&e the
har*ony )an begin to 8+p&tage9 the *e.o(y. $he *e.o(y note& &ho+.( be &.ight.y
a))ente( &o a& to ri&e abo3e the re&t o- the note&.
I- yo+ ha3e ne3er p.aye( a g+itar be-ore/ e1pe)t thi& to ta'e at .ea&t one *onth/ po&&ib.y a&
.ong a& three *onth& o- &tea(y pra)ti)e <-i3e to thirty *in+te& a (ay/ three to -i3e (ay& a
0ee'= to .earn thi& &ong. DonJt 0orry, It gets easier with practice?
)%

Arrangement Copyright 1997 Robert S. Brayton All Rights Reserved
)&
6eace is Flowin" 7i8e a -i!er
Ha3ing *ore or .e&& *a&tere( %*a7ing #ra)e/ it i& ti*e to .earn another &ong. $he goo(
ne0& i& that on)e yo+ ha3e .earne( the&e t0o &ong&/ yo+ 0i.. ha3e (e3e.ope( the &'i..& to
ta)'.e near.y any &ong.
Per%ormance Notes
$he )hor( pattern i& ba&e( on D/ %/ an( 2*. In the 'ey o- D/ % i& the -i-th <F=/ an( 2* i&
the &e)on( <II=. $he # )hor(/ .earne( in %*a7ing #ra)e/ i& the -o+rth <IF=/ b+t i& not +&e(
in thi& arrange*ent. $hi& arrange*ent b.en(& the *e.o(y on top o- arpeggio )hor(&. $he
ni)e thing abo+t thi& &ong i& that the *e.o(y )on-or*& a*a7ing.y 0e.. to the >G> %rpeggio 1
pattern. $he 2 )hor( i& in).+(e( in the )hor( tab.e. It i& goo( to .earn 2 an( 2* together/
e3en tho+gh 2 i& not +&e( in thi& &ong.
$o p.ay an 2* )hor(/ -ret the > an( ? &tring&. Ho0e3er/ in thi& arrange*ent/ the&e &tring&
are not p.aye( -or the arpeggiate( 2* )hor(. O;/ b+t &ho+.( yo+ -ret the&e &tring&
any0ay[ $he an&0er i& ye& an( no. @e&/ yo+ &ho+.( en&+re the &tring& are not a..o0e( to
&+&tain -ro* pre3io+&.y p.aye( )hor(&. $hi& )an be (one by *+ting the &tring& 0ith the
hee. o- yo+r right han(. 6o/ it i& not ab&o.+te.y ne)e&&ary to -ret +np.aye( &tring&. It is
goo( -or*/ ho0e3er/ to -ret the*:e&pe)ia..y tho&e ti*e& 0hen yo+r right han(
a))i(enta..y p.ay& a 0rong &tring. %.&o/ i- yo+ (o not -ret the &tring&/ yo+ 0i.. not .earn to
p.ay the 2* )hor(. I high.y re)o**en( -retting +np.aye( &tring&.
$o p.ay the % )hor(/ &tagger yo+r -inger& at an ang.e rather than trying to )ra* a.. in ).o&e
to the -ret. Hope-+..y by no0 yo+r -inger& are &trong eno+gh to be ab.e to (o thi&. I- yo+r
-inger& are E+&t too thi)' to a.. -it/ try +&ing / or -ingering in&tea(. $he&e are
ea&ier to p.ay/ b+t are *ore (i--i)+.t to )hange to other )hor(&. I- yo+r -inger& are &o thi)'
that neither o- the&e *etho(& 0or'/ try +&ing E+&t the / or e3en the -inger
11
to barrH/
that i&/ to &i*+.taneo+&.y -ret the 2/ B/ an( > &tring& 0ith the &ing.e -inger. $hi& i& K+ite a
)ha..enge at -ir&t/ b+t it 0i.. )o*e 0ith pra)ti)e. @o+ *ight a.&o )on&i(er a 0i(er ne)'e(
g+itar &o that the &tring& are a .itt.e *ore &pa)e( o+t.
In bar 1> o- the &ong/ the 1 &tring i& -rette( on the &e)on( -ret. $hi& i& a))o*p.i&he( by
rotating the -inger (o0n to te*porari.y barrH the 1 an( 2 &tring& <%C=. $he .a&t *ea&+re
ha& 80 H 29 on the 1 &tring. $hi& i& a te)hniK+e )a..e( a 8ha**er on/9 or 8ha**er.9 $o
p.ay thi&/ p.ay the 1 &tring open <0=/ an( then K+i)'.y -ret the &tring <2= har( eno+gh to
)a+&e the &tring to ).ear.y &o+n( the -rette( note.
11
!&ing the -inger 0i.. )o*e in han(y -or %-ba&e( barrH )hor(& .ater.
3(
8ariations
$hi& hy*n i& ba&e( on #a.ation& ?,22, $he -r+it& o- the &pirit are .o3e/ Eoy/ pea)e/ et). $hi&
&ong )an be a..o0e( to repeat -or ea)h o- the -r+it&. @o+ *ight e3en thro0 in a 3er&e o-
repeate( a..e.+ia&. 5+&t be &+re to &tart an( en( 0ith pea)e.
Fer&e 1, Pea)e i& -.o0ing .i'e a ri3er...
Fer&e 2, <#o(J&= 4o3e i& -.o0ing .i'e a ri3er...
Fer&e B, 5oy i& -.o0ing .i'e a ri3er...
Fer&e >, %..e.+ia/ a..e.+ia/ (repeat)...
Fer&e ?, Pea)e i& -.o0ing .i'e a ri3er...
1 2 B
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A
A
(
6
4
<
6
A .A &@ (/
>
(
2
m 0
;
1 2 B
6
0
4
:
<
=
B
G
(
3
2
:
=
M;
;
A
B
(
6
<
6
6
(m .( G B/
(
<
4 m
;
1 2 B
6
0
4
:
<
=
B
G@
(
1
2
:
=
M;
;
A
B
(
6
<
m
6
( .( G@ B/
(
<
4
3
6
;
31
3)
More Music 'asics
6o0 that yo+ )an p.ay t0o &ong&/ it i& ti*e -or &o*e *ore *+&i) theory.
Be$s
$he 'ey (eter*ine& the o3era.. pit)h o- the &ong. $he )hor(& yo+ ha3e .earne( &o -ar, C/
"/ #/ an( %*A -ro* Amazing Grace/ an( D/ %/ 2*/ an( 2 -ro* Peace is lowing !ike a
"i#er/ *a'e a 0e..-ro+n(e( )hor( ar&ena.. With the&e )hor(&/ yo+ )an p.ay *o&t &ong& in
the 'ey& o- C/ #/ D an( %. $he&e 'ey& )o3er a 0i(e range o- &ong& an( 3o)a. range&. I-
yo+ .earn to p.ay by ear/ D an( # are the on.y 'ey& yo+ are .i'e.y to e3er nee(.
9ey 4harps I I8 8
& 0 & ! G
G 1 G & 2
2 2 2 G A
A B A 2 (
( > ( A B<A=
B ? B ( "
#
Table # - $harp Keys
In $ab.e ?/ the )hor(& yo+ a.rea(y 'no0 are in bold .etter&. !&+a..y/ in the 'ey o- 2/ the
-i-th <F= i& p.aye( a& a BA <&ee )hor( (i)tionary=. In the 'ey o- B/ &tart 0ith p.aying B an(
"
#
in the ha.--barrH po&ition& <&ee the &e)tion on barrH )hor(&=. $hen/ gra(+a..y 0or' yo+r
0ay +p to -+..-barrH po&ition&. "or the 'ey o- B/ yo+ *ight be better o-- to tran&po&e to %/
)apo 2/ or/ better yet/ i- yo+r g+itar i& the on.y in&tr+*ent/ tran&po&e to C an( &ing a ha.-
&tep higher <&ee the &e)tion on tran&po&ing 'ey&=. aEor %-ba&e( -+..-barrH )hor(& &+)h
a& B are (i--i)+.t -or beginner& to p.ay.
Modes
o&t *+&i)/ an( )ertain.y *o&t 0or&hip *+&i)/ i& p.aye( 0ithin the t0e.3e-inter3a. &)a.e.
$he&e t0e.3e inter3a.& are bro'en +p into eight 80ho.e9 note&. $o &i*p.i-y the pro)e&&/ the
t0e.3e inter3a.& 0ere (i3i(e( into eight 0ho.e note& by a((ing 8ha.- &tep&9 bet0een the
0ho.e note&. $0o o- the ha.- &tep& ha( to be (roppe( to .ea3e E+&t t0e.3e inter3a.&. $he
re&+.t i& the 8&)a.e.9 % &)a.e o- 0ho.e note& )an be &tarte( on any o- the eight 0ho.e note&.
4oo' at the -ingerboar( on page 12 an( p.ay a &)a.e o- 0ho.e note& &tarting on ea)h note.
@o+ 0i.. noti)e that ea)h &)a.e ha& a (i--erent -ee.. $he &)a.e &tarting 0ith % i& the *inor
&)a.e. $he &)a.e &tarting 0ith C i& the *aEor &)a.e. $hat .ea3e& -i3e other *o(e& that
*o&t peop.e (o not 'no0 e1i&t. $here are a.&o pentatoni) an( 0ho.e &tep &)a.e&. %.. o-
thi& i& *entione( to rai&e yo+r a0arene&& o- the -a)t that *o(e& e1i&t beyon( E+&t the
*aEor an( *inor &)a.e&.
&ircle o% !i%ths
Within the *aEor an( *inor &)a.e&/ there e1i&t& a )on)ept )a..e( the )ir).e o- -i-th&. $he
)ir).e o- -i-th& i& (eri3e( by )o+nting a -i-th <that i&/ &e3en ha.- &tep&= to )reate a )ir).e o-
)hor(&. It i& not )riti)a. that yo+ +n(er&tan( the )ir).e o- -i-th& per-e)t.y:it i& on.y a too. to
he.p that )an he.p yo+ +n(er&tan( the re.ation&hip o- 'ey&/ )hor(& an( note&. @o+ )an
i*pre&& yo+r -rien(& by re*e*bering, #oo( Dee(& %re 23er Bearing "r+it.
33
Figure 11 - Cir!le of Fifths
12
%& yo+ pi)' any gi3en )hor( on the )ir).e/ the )hor( i**e(iate.y ).o)'0i&e i& the -i-th <F=/
an( the )hor( i**e(iate.y )o+nter-).o)'0i&e i& the -o+rth <IF=. <$he root o- a -i-th i&
a.0ay& the -o+rth o- that -i-th an( 3i)e 3er&a=. $he&e are *aEor )hor(& -or the 'ey <I/ IF/
an( F=. Contin+ing ).o)'0i&e/ the ne1t three are the &e)on( <II*=/ &i1th <FI*=/ an( thir(
<III*=. $he&e are the *o&t +&e( *inor )hor(& -or the 'ey. It i& rare that any gi3en &ong
reK+ire&
1B
other )hor(& beyon( the&e &i1.
$he )ir).e o- -i-th& i& a.&o he.p-+. -or (eter*ining 'ey &ignat+re&. $he 'ey o- C (oe& not
ha3e &harp& or -.at& in the 'ey &ignat+re. Pro)ee(ing ).o)'0i&e -ro* C/ ea)h 'ey a((& a
&harp in the 'ey &ignat+re. Pro)ee(ing )o+nter-).o)'0i&e -ro* C/ ea)h 'ey a((& a -.at.
On the g+itar/ &teer to0ar( 'ey& 0ith &harp&. %& a.rea(y note(/ a g+itari&t 0ho 'no0& on.y
"/ C/ #/ D/ %/ an( 2 )hor(& in *aEor/ *inor an( &e3enth 3ariation& )an p.ay near.y any
&ong p.aye( in the 'ey o- C/ #/ D/ or %. "or ea)h *aEor &)a.e 'ey in the )ir).e o- -i-th&/ the
eK+i3a.ent *inor &)a.e 'ey i& three &tep& ).o)'0i&e.
Sharp& an( -.at& are a((e( to a 'ey &ignat+re in a &pe)i-i) or(er that i& a.&o &ho0n by the
)ir).e o- -i-th&. Sharp& a))+*+.ate &tarting 0ith the 'ey o- #. $he a))+*+.ate( &harp&
&tart 0ith "/ an( are a.. the note& one 'ey )o+nter-).o)'0i&e. "or e1a*p.e/ the 'ey o- #
+&e& "
#
/ the 'ey o- D +&e& "
#
an( C
#
/ the 'ey o- % +&e& "
#
/ C
#
an( #
#
/ an( &o on. ".at&
a))+*+.ate &tarting 0ith the 'ey o- ". $he a))+*+.ate( -.at& are the ne1t 'ey )o+nter-
).o)'0i&e. "or e1a*p.e/ the 'ey o- " +&e& B
b
/ the 'ey o- B
b
+&e& B
b
an( 2
b
/ the 'ey o-
12
@o+ *ay noti)e that there are thirteen )hor(& in the )ir).e. $hi& i& be)a+&e "
#
an( #
b
are a)t+a..y the &a*e
)hor( <thi& i& )a..e( 8enhar*oni)9 note&=.
1B
So*e *+&i) *ay ha3e other )hor(&/ b+t they are rare.y required.
34
2
b
+&e& B
b
/ 2
b
/ an( %
b
/ an( &o on. 6oti)e that the -.at& rea( ba)'0ar(& -ro* the
&harp&, the &harp& are #/ D/ %/ 2/ B/ "/ an( the -.at& are "/ B/ 2/ %/ D/ #. %.&o/ a& the
&harp& gro0 in -i-th& <D i& the -i-th o- #/ % i& the -i-th o- #/ et).=/ the -.at& gro0 in -o+rth& <B
i& the -o+rth o- "/ 2 i& the -o+rth o- B/ et).=.
#ransposing Be$s
So*eti*e& yo+ *ight )o*e a)ro&& a &ong that i& too high or too .o0 to &ing. In thi& )a&e/
yo+ *ight 0ant to tran&po&e the &ong into a .o0er or higher 'ey. $ran&po&ing i& &i*p.y a
*atter o- rai&ing or .o0ering a.. the note& an( )hor(& by n+*ber o- ha.--&tep (i--eren)e&
bet0een the 'ey&. $he )hor( 3ariation& re*ain the &a*e:*inor& are &ti.. *inor&/
&e3enth& are &ti.. &e3enth&/ et).
I- yo+ nee( to tran&po&e +p one or t0o ha.- &tep&/ try a )apo. Other0i&e/ re-er to $ab.e C
to .o)ate the ne0 tran&po&e( )hor(&. I- the *+&i) be.ong& to yo+/ yo+ *ight 0ant to 0rite
the tran&po&e( )hor(& ne1t to the printe( )hor(& +&ing a pen)i. <or better yet/ a bright re(
pen=. "or e1a*p.e/ to tran&po&e -ro* C to %/ p.ay a.. C )hor(& a& % )hor(&/ # )hor(& a&
2 )hor(&/ " )hor(& a& D )hor(&/ et). In thi& tab.e/ ea)h 'ey i& .i&te( a ro0/ an( the )hor(&
-or the 'ey& are in the )o.+*n&. $he re)o**en(e( g+itar 'ey& are .ight.y &ha(e(. $he I/
IF/ an( F )hor(& are &ha(e( in b.+e/ an( the II/ III/ an( FI )hor(& are &ha(e( gray.
I IIm IIIm I8 8 8im
8II
C D 2 " # % B
D
b
2
b
" #
b
%
b
B
b
C
D 2 "
#
# % B C
#
2
b
" # %
b
B
b
C D
2 "
#
#
#
% B C
#
D
#
" # % B
b
C D 2
"
#
#
b
#
#
%
b
%
#
B
b
B
C
#
D
b
D
#
2
b
"
# % B C D 2 "
#
%
b
B
b
C D
b
2
b
" #
% B C
#
D 2 "
#
#
#
B
b
C D 2
b
" # %
B C
#
D
#
2 "
#
#
#
%
#
Table ( 3 4ni5ersal Transposing Chart
&apo
% )apo i& a (e3i)e that ).a*p& onto the ne)' o- the g+itar. $he e.a&ti) ban( )apo &+itab.e
-or *o&t p.aying. $he )apo i& p.a)e( &o that it &i*+.taneo+&.y pre&&e& a.. the &tring& to a
gi3en -ret/ e--e)ti3e.y *a'ing that -ret the ne0 7ero -ret. It i& +&e( to rai&e the pit)h o- the
35
g+itar. % )apo p.a)e( on the -ir&t -ret rai&e& a.. the note& one ha.- &tep/ et). It tran&po&e&
+p 0itho+t ha3ing to p.ay (i--erent )hor(&. "or e1a*p.e/ to rai&e %*a7ing #ra)e one &tep/
p.a)e the )apo E+&t behin( the &e)on( -ret an( p.ay the &a*e )hor(& <C/ "/ #/ an( %*A=.
6o0 yo+ 0i.. be p.aying in the 'ey o- D <one &tep abo3e C=/ an( &o+n(ing the )hor(& D/ #/
%/ an( B*A. #enera..y &pea'ing/ it i& better to not to atte*pt to p.ay 0ith the )apo abo3e
the thir( or -o+rth -ret.
In an ear.ier &e)tion I &+gge&te( &teering a0ay -ro* 'ey& 0ith -.at&. We../ that i& goo(
a(3i)e in theory/ b+t *any &ong& are 0ritten in 'ey& 0ith -.at&. "ort+nate.y/ tho&e &ong&
)an ea&i.y be *o3e( into an ea&ier 'ey by +&ing a )apo. "or e1a*p.e/ a &ong that 0a&
0ritten in D
b
)an be p.aye( in the 'ey o- C <one ha.--&tep .o0er= 0ith a )apo on the -ir&t -ret.
$he )apo rai&e& a.. note& one ha.- &tep. $hi&/ )o*bine( 0ith .aying a.. the )hor(& one ha.-
&tep .o0er in the 'ey o- C/ re&+.t& in the note& &o+n(ing a& 0ritten. O- )o+r&e/ i- yo+ are
p.aying by yo+r&e.-/ (onJt bother 0ith the )apo/ E+&t tran&po&e an( &ing .o0er. Ob3io+&.y/ i-
yo+ are ab.e to p.ay the )hor(& 0ith -.at& a& 0ritten/ (onJt tran&po&e or )apo:E+&t p.ay itL
Written
9ey
Flats
Trans:
pose
to;
Capo
I I8 8
! 1 2 1 " 2 B
b
% C BA
B
b
2 % 1 B
b
% 2
b
D " 2
(
b
B D 1 2
b
D %
b
# B
b
%
A
b
> # 1 %
b
# D
b
C 2
b
D
2
b
? C 1 D
b
C #
b
" %
b
#
G
b
C 2 2 #
b
2 B % D
b
BA
! .alt?/ 1 D B " D B
b
# C %
Table ) - Transposing Keys 6ith Flats
$he&e 'ey& are re.ati3e.y ea&y to tran&po&e (+e to the -a)t that the 'ey& are ).o&e to a 'ey
0ith &harp&. "or the *o&t part/ yo+ )an ignore the -.at &ign an( E+&t p.ay one .etter be.o0
0hat i& 0ritten. "or in&tan)e/ *+&i) 0ith -i3e -.at& i& .i'e.y to ha3e a .ot o- D
b
/ #
b
/ an( %
b
)hor(& -or the I/ IF/ an( F )hor(&. $o p.ay thi& *+&i) <re-er to $ab.e A=/ p+t yo+r )apo on
the -ir&t -ret/ an( tran&po&e to C. $o tran&po&e/ p.ay D
b
a& C/ #
b
a& "/ an( %
b
a& #. In
other 0or(&/ -or *o&t in&tan)e&/ to p.ay the -.at 'ey& o- "/ B
b
/ 2
b
/ %
b
/ or D
b
, )apo1/ (rop
the -.at/ an( p.ay the )hor( one .etter be.o0 0hat i& 0ritten. $o p.ay #
b
/ )apo 2. " *ight
be p.aye( )apo 1 or/ i- yo+ ha3e tro+b.e 0ith the BA )hor(/ )apo B. When a.. e.&e -ai.&/
re*e*ber thi&, capo up" transpose down.
Movable .BarrC/ &hords
C/ #/ %/ D/ an( 2 are 'no0n a& the 8open9 )hor(&. $hey a.. ha3e t0o thing& in )o**on,
they ha3e at .ea&t one open &tring being p.aye( in the )hor(/ an( they +&e three -inger& to
-or* the )hor(. $hi& *ean& that i- the in(e1 -inger )an be +&e( .i'e a )apo/ the&e )hor(&
)an be *o3e( to any po&ition on the -ingerboar(. Hen)e/ the ter* 8*o3ab.e9 )hor(&.
BarrH )hor(& are the on.y 0ay &o*e )hor(& )an be p.aye(. "or in&tan)e/ it i& i*po&&ib.e to
*a'e a C* -ro* an open C )hor(. Re)a.. that a C )hor( i& *a(e -ro* C/ 2/ an( #. $he
thir( <B=/ 2/ *+&t be -.atte( to )reate the *inor 3ariation. Ho0e3er/ it i& an open &tring:it
)annot be -.atte(. So/ the C* )hor( i& p.aye( a& an %* )hor( barrH( on the thir( -ret to
rai&e it to C*. $he -inger i& +&e( -or the barrH/ an( the )hor( i& p.aye( 0ith the / /
an( -inger&/ in&tea( o- the +&+a. / / an( -inger&.
36
%* C*
O- the&e open )hor(&/ % an( 2 are e&pe)ia..y attra)ti3e -or +&ing a& barrH )hor(&. $hi& i&
(+e to the -a)t that they are p.aye( on the -ir&t an( &e)on( -ret& <.e&& o- a &tret)h=/ an( that
the &e3enth <A= an( *inor <*= 3ariation& are *a(e by either *o3ing/ or re*o3ing -inger&
rather than a((ing or )hanging -inger&. $he barrH )hor(& in thi& boo' are a.. % an( 2
ba&e(. $he na*e& o- the 2-ba&e( barrH )hor(& are (eter*ine( by the na*e& o- the note&
o- the -ir&t an( &i1th &tring. 4i'e0i&e/ the na*e& o- the %-ba&e( barrH )hor(& are
(eter*ine( by the na*e& o- the note& o- the -i-th &tring. With the&e barrH )hor(&/ a((e( to
the open )hor(&/ yo+ are ab.e to p.ay a.*o&t any )on)ei3ab.e )hor(.
%nother -eat+re o- the 2- an( %-ba&e( barrH )hor(& i& the re.ati3e inter3a.& o- 2 an( %
the*&e.3e&. 2 i& the -i-th <F= o- %/ an( % i& the -o+rth <IF= o- 2. So/ i- yo+ are p.aying an %-
ba&e( barrH )hor(/ )hanging to the -i-th <F= i& a *atter o- )hanging the / / an(
-inger& to the 2-ba&e( )hor( o- the &a*e -ret. 4i'e0i&e/ 0hen p.aying a 2-ba&e( barrH
)hor(/ the -o+rth <IF= i& the %-ba&e( )hor( o- the &a*e -ret.
Per%ormance Notes
$o p.ay -+.. barrH )hor(&/ .ay the -ir&t an( &e)on( Eoint& o- the -inger -.at.y a)ro&& the
ba&e -ret in &+)h a 0ay that a.. the &tring& are -rette( E+&t behin( the ba&e -ret. $he ha.-
barrH i& *+)h ea&ier. 5+&t p.a)e -ir&t Eoint o- the -inger &o that the reK+ire( &tring& are
-rette(. @o+ *ight -in( it *ore )o*-ortab.e to ang.e the -inger& o- the .e-t han(/ rather than
the &tan(ar( po&ition o- 'eeping the -inger& perpen(i)+.ar to the -ingerboar(. Re-er be.o0
-or a (iagra* o- -+..-barrH -ingering.
Figure 12 - Full 7arr8 Fingering
E-based Barr Chords
2-ba&e( *inor <*= )hor( 3ariation& are -or*e( by re*o3ing the -inger. Beginner& )an
then pre&& the -inger on top o- -inger to he.p it 0ith the barrH. Se3enth <A= 3ariation&
3$
are -or*e( by re*o3ing the -inger. $o p.ay a ninth 3ariation <9=/ *o3e the -inger to
the 1 &tring. $he 2-ba&e( )hor(& reK+ire (i--erent -ingering to -or* the aEor A <A=
3ariation& <&ee the Chor( Di)tionary=.
On 2-ba&e( barrH )hor(&/ the root <1= i& repeate( on the > &tring. %& a re&+.t/ the ? an( C
&tring& are optiona.. $hi& -a)t &i*p.i-ie& the p.aying o- the&e )hor(& to 0here e3en a
beginner )an ea&i.y p.ay the&e )hor(&. When yo+ are -ir&t .earning to p.ay/ (onJt bother
0ith the -+.. barrH/ b+t on.y barrH the 1 an( 2 &tring& 0ith the tip o- the -inger. $hi& i&
)a..e( a ha.--barrH <anything .e&& that a -+.. barrH i& a ha.- barrH=. %.&o/ -ret the > &tring 0ith
the -inger in&tea( o- the -inger <re-er to the )hor( )hart be.o0=.
-based Barr Chords
$he %-ba&e( *aEor )hor(& )an a.ternati3e.y be -or*e( by barring the -ir&t Eoint o- the
-inger a)ro&& the 2/ B/ an( > &tring& in&tea( o- the &tan(ar( / / an( -inger p.a)e*ent.
$hi& i& e&pe)ia..y han(y in the higher -ret& 0here there i& .e&& roo*. In pra)ti)e/ the *o&t
)o**on )hor(& ba&e( on the %-ba&e( )hor( are *inor <*= an( *inor &e3enth <*A=
3ariation&. aEor %-ba&e( barrH )hor(& are (i--i)+.t to p.ay.
%& in the 2-ba&e( barrH )hor(&/ the root <1= i& repeate( on the B &tring. Con)ei3ab.y then/
%-ba&e( barrH )hor(& )an be p.aye( on E+&t the 1/ 2 an( B &tring&. $hi& i& not +&+a..y (one
(+e to the rather thin &o+n( o- on.y three &tring&.
6osition
2fret3
0:based 2notes of
the 6 strin"3
:based 2notes of
the 5 strin"3
Open 2 2 #
#
B % % C
#
2
6 " " % C B
b
B
b
D "
0 "
#
"
#
%
#
C
#
B B D
#
"
#
4 # # B D C C 2 #
: #
#
#
#
C D
#
C
#
C
#
" #
#
< % % C
#
2 D D "
#
%
= %
#
%
#
D " D
#
D
#
# %
#
; B B D
#
"
#
2 2 #
#
B
Table - - 7arr8 Chords
3%
1 2 B
6
0
4
:
<
=
B
G@
!
1
2
:
=
M;
;
A
B
(
6
<
m
6
( .( G@ B/
(
<
4
3
6
;
( !@ G G@
1 2 B
6
0
4
:
<
=
&@
A
3
1
:
<
=
M; ;
A
Bb
(
6
4
<
6
A .A &@ (/
>
(
2
m
A B & &@
6
0
4
:
<
=
2 :
=
M; ;
A 6
<
6
6
()based !ull BarrC
<
4
4
3
1
11
m
6
0
4
:
<
=
3
4
:
<
=
M; ;
A
6
4
<
6
A)based BarrC
>
2
1
1
m
6
0
4
:
<
=
2 :
=
M; ;
A 6
6
()based +al% BarrC %or Ma7or &hords
<
0
3
11
m
>
>
1
4
6
0
4
:
<
=
:
<
=
M; ;
A
6
4
<
6
A)based Alternate %or Ma7or &hords
>
3
1
m
1
>
6
0
4
:
<
=
:
=
M; ;
A 6
6
()based +al% BarrC %or Minor &hords
<
4
3
11
m
>
>
1
6
0
4
:
<
=
3
4
:
<
=
M; ;
A
6
4
<
6
A)based Alternate %or Minor &hords
>
2
1
1
m
3&
,epeat 2esignations
+&i) o-ten repeat&. $hi& -a)t a..o0& 0ritten *+&i) to be &hortene( 0ith repeat
(e&ignation&. $ab.e 9 &ho0& the *eaning o- )o**on repeat (e&ignation&.
Mar8in" Italian Translation Meanin"
%
Segno
<&aneJyoh=
% &ignpo&t % genera. p+rpo&e *ar'er
Co(a % tai.pie)e % *ar'er -or the -or*a. en(ing o-

the &ong
Fine or U
"ine <-eeJnay= $he en( ar'& the -ina. *ea&+re. On.y
3a.i( a-ter an en)o+nter 0ith an 8al
fine9 (e&ignation
D.C. Da Capo "ro* the beginning Start p.aying -ro* the beginning o-
the &ong
D.S. Da. Segno "ro* the &ign Start p.aying -ro* the $egno
D.C. al fine Da Capo a.
"ine
"ro* the beginning
to the -ina. *ea&+re
Start p.aying at the beginning an(
en( at the fine
D.S. al fine Da. Segno a.
"ine
"ro* the &ign to
the -ina. *ea&+re
Start p.aying -ro* the $egno an(
en( at the fine
D.C. al Coda Da Capa a.
Co(a
"ro* the beginning
to the en(ing
Start -ro* the beginning +nti.
en)o+ntering the To Coda/ E+*p to
the Co(a
D.S. al Coda Da. Segno a.
Co(a
"ro* the &ign to
the en(ing
Start p.aying -ro* the $egno +nti.
the To Coda/ E+*p to the Co(a
To Coda
$o Co(a #o to the en(ing 5+*p to the Co(a. On.y 3a.i( a-ter
an en)o+nter 0ith an 8al Coda9
(e&ignation
/, ,/
Repeat a.. *ea&+re& 0ithin the&e
(o+b.e (otte( bar&
,/
Repeat -ro* the beginning <&a*e
a& D.C.=
Table / - &epeat 'esignations
+&i) )ontaine( 0ith repeat bar& i& repeate( -or a.. 3er&e&. So*e &ong& *ight ha3e
a.ternate en(ing& -or &o*e o- the repeat&. $he Ita.ian (e&ignation& a..o0 a 3ery pre)i&e
gran+.arity o- part& o- &ong& to be repeate(. "ort+nate.y/ not a.. *+&i) i& thi& )rypti).
1>
any ti*e& yo+ 0i.. a.&o en)o+nter *+&i) 0ith ).ear <2ng.i&h= (e&ignation& &+)h a&/
8Re-rain/9 8Fer&e&/9 8Repeat Re-rain/9 8go to Fer&e B/9 et). $he&e are inten(e( to be &e.--
e1p.anatory.
1>
%)t+a..y it get& 0or&e. y -a3orite i& %a &apo senza ripetizione:repeat -ro* the beginning ignoring any
repeat&.
4(
+armonics
% gi3en &tring 3ibrate& at a )ertain rate 0hen p.+)'e(. $hi& rate (eter*ine& the pit)h/ or
-+n(a*enta. -reK+en)y. $he &tring i& a.&o 3ibrating at higher rate& that are *+.tip.e& o- the
-+n(a*enta. -reK+en)y. $he&e are )a..e( the har*oni)&/ or o3ertone&. @o+ )an p.ay
the&e har*oni)& by .ight.y to+)hing the &tring at )ertain -ret& 0ith yo+r .e-t han(/ an(
p.+)'ing the &tring near the bri(ge 0ith yo+r right han(.
<ar*onic Fret ,otes Inter!al
6 12 2 % D # B 2 One o)ta3e
0 A/ 19 B 2 % D "
#
B One o)ta3e U -i-th <?=
4 ?/ 2> 2 % D # B 2 $0o o)ta3e&
: >/ 9/ 1C #
#
C
#
"
#
B D
#
#
#
$0o o)ta3e& U thir( <B=
< B X B 2 % D "
#
B $0o o)ta3e& U -i-th <?=
Table 11 - .armoni!s
@o+ 0i.. re)a.. that the *aEor )hor( )on&i&t& o- a root/ thir( <B= an( -i-th <?=. 6oti)e in $ab.e
10 that &o*e o- the har*oni)& E+&t happen to -a.. on the -i-th an( thir(. It i& no )oin)i(en)e
that the&e are the note& o- a )hor(. $he rea&on that the -i-th har*oni7e& 0ith the root i&
be)a+&e the &e)on( har*oni) o- the root is the -i-th <?= p.aye( an o)ta3e higher. $he -i-th
har*oni) repeat& it again t0o o)ta3e& higher. $he -o+rth har*oni) is the thir( <B=/ t0o
o)ta3e& higher. $he i*portan)e o- the&e -a)t& )annot be o3ere&ti*ate( in the
(e3e.op*ent o- *aEor )hor( tria(&/ an( )hor( progre&&ion&.
%& &tate( ear.ier/ har*oni)& are a.&o +&e-+. -or g+itar t+ning. 21)ept -or the 2 &tring/ the
thir( har*oni) on any &tring i& the &a*e a& the &e)on( har*oni) on the &tring abo3e it.
%.&o/ the thir( har*oni) o- the C &tring i& the &a*e note a& the 1 &tring. 4i'e0i&e/ the
&e)on( har*oni) o- the C &tring i& the &a*e note a& the 2 &tring. %r*e( 0ith thi&
'no0.e(ge/ try t+ning yo+r g+itar by the&e har*oni) re.ation&hip&. By the 0ay/ har*oni)&
)an he.p e3en 0hen t+ning 0ith an e.e)troni) t+ner <)hro*ati)=. $he higher/ ).earer &o+n(
o- a har*oni) i& &o*eti*e& ea&ier -or the t+ner to 8.o)' on9 to.
Intonation
One .a&t 0or( abo+t har*oni)&. 6oti)e the -ir&t har*oni)/ an inter3a. o- one o)ta3e/ i& on
the t0e.-th -ret. $hi& &ho+.( be the &a*e pit)h a& the note p.aye( at the t0e.-th -ret.
Si*i.ar.y/ the &e)on( har*oni)/ one o)ta3e p.+& one -i-th/ )an be p.aye( on -ret &e3en or
nineteen. "ret nineteen a.&o happen& to be one o)ta3e an( one -i-th o- the &tring. %gain/
the har*oni) p.aye( at the nineteenth -ret &ho+.( be the &a*e pit)h a& the note p.aye( at
the nineteenth -ret. $hi& i& )a..e( 8intonation.9 $here are t0o thing& that )an )a+&e
in)orre)t intonation, a ba( g+itar/ or o.( &tring&. When yo+ are &hopping -or a g+itar a.0ay&
)he)' that the intonation i& rea&onab.y ).o&e -or ea)h &tring.
41
6layin" 'y 0ar
With eno+gh pra)ti)e/ *any &i*p.e hy*n& )an be p.aye( by ear. o&t peop.e enEoy
hearing the o.( hy*n& *ore than ne0 *+&i) any0ay. So*e hy*n& 0or' 0e.. 0ith I/ IF/
an( F )hor(&/ an( other& (o not. $hi& tab.e i& a &*a.. &a*p.ing o- one& that are 'no0n to
0or' rea&onab.y 0e... 21pe)t yo+r -ir&t one& to ta'e &e3era. ho+r& to a))o*p.i&h. $he
hy*n& .i&te( in bo.(-a)e type are in thi& boo'.
<y*ns with *ostly I= I.= and . chords
%.. Creat+re& o- O+r #o( an( ;ing
%*a7ing #ra)e
B.e&&e( %&&+ran)e
Bringing In the Shea3e&
Chri&t %ro&e
Co*e $ho+ "o+nt o- 23ery B.e&&ing
Co+nt @o+r B.e&&ing&
Cro0n Hi* With any Cro0n&
"or the Bea+ty o- the 2arth
#o( i& So #oo(
#reat i& $hy "aith-+.ne&&
Ha3e $hine O0n Way/ 4or(
Ho.y/ Ho.y/ Ho.y
I Ha3e De)i(e( to "o..o0 5e&+&
I S+rren(er %..
I %* $hine/ Oh 4or(
I ;no0 Who* I Ha3e Be.ie3e(
IJ.. ".y %0ay
In the #ar(en
4eaning on the 23er.a&ting %r*&
4o3e 4i-te( e
Ro)' o- %ge&
O.( R+gge( Cro&&
On0ar( Chri&tian So.(ier&
Pea)e i& ".o0ing 4i'e a Ri3er
ReEoi)e/ the 4or( i& ;ing
Si.ent 6ight
$he So.i( Ro)'
S0eet Ho+r o- Prayer
S0ing 4o0/ S0eet Chariot
$a'e $i*e to be Ho.y
$e.. e the Story o- 5e&+&
$hi& i& y "atherJ& Wor.(
What a "rien( We Ha3e in 5e&+&
Fi)tory in 5e&+&
'ost children(s hymns and spirituals
$o p.ay the&e hy*n& by ear/ -o..o0 the&e &tep&,
1. Write the 0or(& (o0n on a &heet o- paper. 4ea3e &o*e &pa)e bet0een the .ine&.
2. I- yo+ ha3e thi& &ong in a hy*na. or &ongboo'/ +&e the *eter -ro* it/ an( +&e the -ir&t
ba&& note o- ea)h *ea&+re a& a g+i(e -or the )hor( &e.e)tion. S'ip to &tep C.
B. $ry 3ario+& )hor(& <&tart 0ith C/ #/ D/ an( %= +nti. yo+ -in( one that &ee*& to -it yo+r
&inging range. o&t &ong& &tart an( en( 0ith the toni) )hor( <I=/ an( &tart 0ith the
toni) <1=/ thir( <B=/ or -i-th <?= note.
>. !&ing a pen)i./ 0rite thi& )hor( abo3e the -ir&t 0or(.
?. Deter*ine the *eter by h+**ing the &ong 0hi.e )o+nting in yo+r hea( <6 2 B/ an( 6 2
4 >= 0hi.e p.aying the BG> an( >G> ba&i) &tr+* pattern& +nti. yo+ -in( the one that
&ee*& right.
C. Start p.aying the &ong 0ith the &e.e)te( )hor( an( *eter +nti. the )hor( no .onger
&o+n(& right/ or &o+n(& .i'e it nee(& to )hange. It *ight be one *ea&+re/ ha.- a
*ea&+re/ or 20 *ea&+re&/ it a.. (epen(& on the &ong. I- yo+ (o en( +p 0ith a .ong
&e)tion 0itho+t a )hor( )hange/ yo+ )an go ba)' a try other )hor(& .ater.
A. $ry the I/ IF/ an( F )hor(& to &ee 0hi)h &o+n(& the be&t <the best/ not ne)e&&ari.y
per-e)t=. $ry II/ III/ an( FI )hor(& <*ight nee( to be *inor= 0here the I/ IF/ an( F
)hor(& (o not &o+n( )o*p.ete.y right. Fery o-ten/ the F an( FI )hor(& 0i.. be in the
&e3enth <A= 3ariation.
8. Write thi& )hor( abo3e the 0or(.
4)
9. Repeat the pre3io+& three &tep& -or the re&t o- the hy*n.
10. When yo+ get (one/ yo+ &ho+.( ha3e &o*ething .i'e the Amazing Grace )hor( g+i(e
on page 2C <S+rpri&eL yo+ ha3e been p.aying by ear -ro* the beginning=.
11. I- yo+ are pi)'ing )hor(& by ba&& note& -ro* a hy*na. or piano arrange*ent/ an( the
-ir&t ba&& note in a *ea&+re (oe&nJt &o+n( right/ try one o- the other ba&& note& 0ithin
the *ea&+re. I- that (oe&nJt 0or'/ a&&+*e the ba&& note i& the -i-th <?=/ an( try the
)hor( 0ith the ba&& note a& the -i-th <?=. I- that (oe&nJt &o+n( right/ a&&+*e the ba&&
note i& a thir( <B=/ an( try the )hor( 0ith the ba&& note a& a thir( <B=. "or in&tan)e/ i-
the ba&& note i& an 2/ an( an 2 )hor( <2 #
#
B= (oe&nJt &o+n( right/ try a C )hor( <C 2
#=/ or an % )hor( <% C
#
2=. I- a.. e.&e -ai.&/ .oo' at a.. the note& in the arrange*ent to
(eter*ine the e1a)t )hor( that i& 0ritten in there.
12. $ry 3ario+& &tr+* an( pi)' pattern& +nti. yo+ -in( the )o*bination that &o+n(& the
be&t. %(( &e3enth <A= 3ariation& <e&pe)ia..y on F an( FI )hor(&= an(Gor ba&& r+n& at
the en( o- phra&e& or 0here nee(e(.
1B. P.ay it -or &o*eone <e&pe)ia..y another g+itari&t= to &ee ho0 they .i'e it. Be open to
&+gge&tion&.
1>. I- yo+ are +&ing a yo+r o0n hy*na. or &ongboo'/ 0rite the )hor(& in big .etter& +&ing a
re( *ar'er. a'e &+re to +&e one that (oe&nJt b.ee( thro+gh the paper. $he bright
re( in' *a'e& it ea&y to rea( in the heat o- a .i3e per-or*an)e.
I- none o- the abo3e &tep& 0or'/ )on&i(er the&e point&,
6ot a.. &ong& &o+n( goo( on g+itar <e1)e&&i3e )hor( )hange&/ or too 8or)he&trate(9=
6ot a.. &ong& )an be ea&i.y p.aye( on a g+itar <&ee abo3e=
@o+ nee( *ore pra)ti)e 0ith other &ong& be-ore atte*pting thi& &ong
$ry to -in( a &ongboo' 0ith the )hor(& a.rea(y 0or'e( o+t <I pro*i&e not to te..=
43
trum and Pick Patterns
$he &tr+* an( pi)' pattern& are -or the right han( 0hat )hor( (iagra*& are -or the .e-t
han(. $he&e &ho0 3ario+& rhyth* pattern& that are p.aye( 0ith the right han(/ 0hi.e the
)hor(& are being -or*e( 0ith the .e-t han(. On)e yo+ ha3e (eter*ine( the )hor( pattern&
-or a &ong/ &e.e)t &tr+* an( pi)' pattern& to go 0ith the *+&i). Be.o0 are &o*e g+i(e.ine&
-or p.aying pattern&,
I- a pattern &ee*& too b+&y -or a gi3en &ong/ p.ay the pattern o3er t0o *ea&+re&. I- a
pattern &ee*& too thin/ p.ay it t0i)e per *ea&+re.
$o p.ay a &ong in CG8 ti*e/ p.ay a BG> pattern t0i)e -or ea)h *ea&+re.
It i& not ne)e&&ary to p.ay a &ing.e pattern -or the entire &ong/ or e3en phra&e.
a'e &+re the pattern rea..y -it& the *+&i). "or in&tan)e/ a -a&t a.ternating ba&& -o.'
rhyth* i& not going to (o 0e.. 0ith a &tate.y hy*n &+)h a& Ho.y/ Ho.y/ Ho.y.
%rpeggio r+n& *ay be e1ten(e( beyon( a &ing.e *ea&+re. Ho0e3er/ (o not p.ay
*ore than t0o *ea&+re& 0itho+t p.aying a ba&& note.
!&+a..y/ yo+ &ho+.( (a*p a.. the &tring& be-ore )hanging to a ne0 )hor(.
"or *ea&+re& 0ith *ore than one )hor(/ re&tart the pattern -or the ea)h )hor(.
"or *ea&+re& 0ith a )hor( -or ea)h beat/ p.ay the P an( % <or &o*eti*e& = note& -or
ea)h )hor( in ea)h beat. Or/ ignore the )hor(& on the e3en n+*bere( beat&. $hat i&/
on.y )hange )hor(& on the -ir&t <an( po&&ib.y the thir(= beat.
Str+*& *ay either be (one 0ith the th+*b/ or 0ith the in(e1 -inger. !&ing the in(e1
-inger i& )a..e( a 8br+&h &tro'e9. It i& e&pe)ia..y goo( -or the -o.' an( Carter pattern&.
Here/ the th+*b p.ay& the a.ternating ba&& note& 0hi.e the in(e1 -inger p.ay& the re&t
o- the &tring&.
$he a.ternate ba&& note i& a.0ay& the ne1t higher &tring/ e1)ept -or the D )hor(/ 0here
yo+ *ight p.ay either the ne1t .o0er <?=/ higher <B=/ or e3en the &a*e <>= &tring <non-
a.ternating=.
%n arpeggio i& p.aye( one note at a ti*e. % pin)h i& 0hen a ba&& note i& p.aye( 0ith
another note. % p+.. i& 0hen &e3era. note& are p.aye( together/ b+t not 0ith an
oppo&ing ba&& note.
$ra3i& Pi)'ing i& +&+a..y <b+t not ne)e&&ari.y= p.aye( 0ith on.y the th+*b an( in(e1
-inger&.
$he &tr+* pattern& *ay be p.aye( 0ith either yo+r th+*b or a pi)' <(o not +&e a pi)' on
ny.on &tring&=. $he PI% pattern& are p.aye( 0ith the P <th+*b= pri*ari.y p.aying the ba&&
&tring&/ the I <In(e1= pri*ari.y p.aying the B &tring/ the <i((.e= pri*ari.y p.aying the 2
&tring/ an( the % <ring -inger= pri*ari.y p.aying the 1 &tring. $here are .itera..y tho+&an(& o-
po&&ib.e pattern&. $here i& &pa)e in the tab.e -or yo+ to 0rite in yo+r o0n pattern&.
44
3 > 4 4 > 4
6attern 1 ? ) ? 3 ? 1 ? ) ? 3 ? 4 ?
Basic trum
imple trum
&arter !olk trum B B b
D+ebrewE trum B b B b
$ncopated trum
!olk trum B b B B
imple Arpeggio P I M P I M A
!olk DtrumE P IMA IMA p IMA IMA P IMA p IMA
Arpeggio 6 P I M A M I P I M A M I M A
Arpeggio 0 P I A M I M P I M I A I M I
imple Pull P MA I P MA I MA
low Pull P I MA I MA I P I MA I p I MA I
Arpeggio Pull 6 P I MA I A M P IMA p I M A
Arpeggio Pull 0 P I MA p I P I MA p I MA
imple Pinch P9 I M P9 I M A
low Pinch P I pMA I A M P I pMA I P I PMA I
Arpeggio Pinch P9 M I A P M P9 M I A p M I
Moving Bass P I pM I p+A I P M A p M A p+ A
Minor Arpeggio P I M A p P I M A M I A
!olk !ingerpick P M I A I A P M I A p M I A
#ravis Picking 6
6<
P9 I M P A I M
#ravis Picking 0 P pA P I P
7e"end
Do0n&tro'e <C to 1= an( +p&tro'e <1 to C= &tr+*&
B" b Ba&& note/ a.ternate ba&& note
P I M A P+.gar <th+*b=/ In(e1/ i((.e/ an( %nn+.ar <&o*eti*e& )a..e( $ 1 2 B=.
p" pF %.ternate ba&& note&
Bold Bold &y*bo.& in(i)ate an a))ente( beat
$trum and Pi!: Patterns
1?
$hi& &ty.e o- pattern 0a& *a(e -a*o+& by er.e $ra3i&. It i& a >G> on.y pattern. "or a 8Chet %t'in&9 &o+n(/
.ight.y (a*p the ba&& &tring 0ith the hee. o- the right han(.
45
Bass ,uns
!&e( in &paring.y an( in goo( ta&te/ ba&& r+n& are e&pe)ia..y e--e)ti3e 0ith -a&ter *o3ing
-o.' rhyth* pattern&. % ba&& r+n i& a &erie& o- ba&& note& that +&+a..y &igna.& that a ne0
phra&e i& )o*ing. $he ba&& r+n i& p.aye( in&tea( o- the nor*a. )hor( pattern -or the .a&t
*ea&+re o- the phra&e. $he r+n *ay be either (e&)en(ing or a&)en(ing/ that i&/ going +p
or (o0n. When yo+ are p.aying a ba&& r+n/ +&e the .e-t-han( -inger that )orre&pon(& to
the -ret n+*ber <the -ret per -inger r+.e=. $hat i&/ in the C to # r+n/ the -inger i& +&e( -or
B/ an( the -inger i& +&e( -or C an( #. In the D to %/ an( % to 2 r+n&/ the -inger i&
+&e( -or B an( D
#
/ an( the -inger i& +&e( -or C
#
an( #
#
. %& 0ith any -.o+ri&h/ a .itt.e
goe& a .ong 0ay&, one or t0o ba&& r+n& at *o&t are eno+gh -or *o&t &ong&. Be.o0 i& a
tab.e o- )o**on ba&& r+n&.
I . I. I #ia"ra* 'ass -un
C #

C

B
D %

D

C
#
% 2

%

#
#
"
#
7ass &uns
46
6ractice 7o"
#ate
Minutes
6racticed
6ro"ress>,otes
4$
,ow That @ou re a Guitarist
Di( the 4or( .ea( yo+ to p.ay the g+itar on.y -or Hi*/ or (oe& He 0ant yo+ to &hare thi&
ta.ent that He ha& gi3en yo+[ $here are *any p.a)e& that He )an +&e yo+. Be.o0 i& a .i&t
o- p.a)e& that yo+ *ight )on&i(er,
Sing yo+r )hi.(ren <gran()hi.(ren/ yo+nger &ib.ing&= to &.eep 0ith the o.( &0eet hy*n&
4ea( the 0or&hip ti*e in yo+r S+n(ay S)hoo. ).a&&/ )h+r)h/ Bib.e &t+(y/ et).
Ch+r)h 8&pe)ia.9 *+&i)
a'e tape& to &en( to -rien(& an( .o3e( one&, it *ini&ter& to the &a3e( an( 0itne&&e&
to the .o&t
4ea( )aro.& at yo+r (epart*entJ& Chri&t*a& party. $hi& i& one 0ay to .i-t +p the na*e
o- 5e&+& a*ong yo+r )o-0or'er& that i& .e&& .i'e.y to )o&t yo+ yo+r Eob.
Ho&pita.&. Phy&i)a. therapy rehab patient& are +&+a..y *obi.e eno+gh to *eet in a (ay
roo*. %rrange a reg+.ar ti*e <B0 to >? *in+te&/ one or t0o S+n(ay a-ternoon& per
*onth= 0ith the rehab hea( n+r&e/ or )oor(inator.
Retire*ent ho*e&/ &h+t-in&/ orphanage&/ battere( 0o*en ho*e&/ pri&on&/ et)./ are
o-ten 3ery re)epti3e
P.ay o+t(oor& in the par' or &o*e other .o)ation/ either a.one 0ith the 4or(/ or -or
pa&&er&-by
Ha3e get-together& -or yo+r .o&t neighbor& at yo+r ho+&e <I )a.. the* 8Hy*nboree&9=.
Be &+re to a.&o in3ite .ot& o- Chri&tian -rien(&. DonJt get (i&)o+rage( 0hen no one/ or
on.y a -e0 )o*eQit happen&.
$he i*portant thing i& to not b+ry yo+r ta.ent in the earth/ b+t +&e it -or the ;ing(o*
<atthe0 2?=.
4%
Music in Worship
%.tho+gh any Eoy-+. noi&e i& en)o+rage( -or 0or&hip in P&a.*& 100/ the *o&t )o**on
in&tr+*ent& -or 0or&hip *+&i) to(ay are the 3oi)e/ piano/ organ/ an( g+itar. Da3i( p.aye(
the ten-&tring .yre. It i& .i'e.y that Da3i(J& .yre ha( ten &tring& to p.ay t0o pentatoni) <-i3e-
&tep= o)ta3e&. $he *o(ern g+itar ha& on.y &i1 &tring&/ b+t +&e& -ret& to )reate +p to -o+r
t0e.3e-&tep o)ta3e&.
!p +nti. a -e0 h+n(re( year& ago/ )h+r)h *+&i) 0a& &+ng a cappella/ that i&/ 0itho+t
in&tr+*ent&. In -a)t/ the ter* 8a cappella9 i& Ita.ian -or 8a& in the )hape..9 Be-ore that/
)h+r)h *+&i) 0a& )hante(. I- yo+ a&' -i3e Chri&tian& to (e-ine 0or&hip *+&i)/ yo+ are
.i'e.y to get -i3e (i--erent an&0er&. "or one thing/ *o(ern Chri&tian *+&i) )an be
)ategori7e( into &e3era. gro+p&, 0or&hip/ prai&e/ go&pe./ &pirit+a./ in&pirationa./
)onte*porary/ et). Within the&e gro+p&/ there are (i--ering &ty.e&/ &+)h a& a cappella/
).a&&i)a./ )hant/ -o.'/ ea&y .i&tening/ )o+ntry an( 0e&tern/ Ea77/ ro)'/ ne0 age/ et). In
&o*e )h+r)he&/ on.y 3oi)e i& a..o0e( -or the p+rpo&e& o- 0or&hip. In other )ir).e&/ it
&ee*& that any 8Eoy-+. noi&e9 i& )on&i(ere( 0or&hip.
1C
When I thin' o- 0or&hip *+&i)/ I thin' o- *+&i) that a+g*ent& *y *e(itation/ prayer/
prai&e/ an( 0or&hip o- #o( <p.ea&e &ee the re-eren)e( Bib.e 3er&e& pro3i(e( in the ne1t
appen(i1=,
Wi.. the obEe)t o- thi& 0or&hip <#o(= be p.ea&e( 0ith the 0or(& an( *+&i)[ Wor&hip
*+&i) a.0ay& 0or&hip& &o*ething. a'e )ertain that #o(/ an( on.y #o(/ i& the on.y
obEe)t o- yo+r 0or&hip <21o(+& 20,B/ atthe0 >,10/ Re3e.ation 19,10/ 22,8 - 9=.
Whate3er yo+ (o/ (o all to the g.ory o- #o( <I Corinthian& 10,B1=. Wo+.( 5e&+& ha3e
&+ng thi& &ong in thi& *anner <I Corinthian& C,1?=[
%re the .yri)& in per-e)t agree*ent 0ith the Bib.e/ an( Bib.i)a. prin)ip.e&[ <Ro*an&
1C,1A/ 2 5ohn A - 11= Ob3io+&.y/ .yri)& ta'en &traight -ro* #o(J& 0or(/ the Bib.e are
the be&t &tarting p.a)e <P&a.*& 12,C=. #o( *+&t be 0or&hippe( in &pirit an( in tr+th
<5ohn >,2>=.
Wi.. *e(itating on/ an( *e*ori7ing the .yri)& a+g*ent *y (ai.y 0a.' 0ith the 4or( the
0ay that *e(itating on/ an( *e*ori7ing the Bib.e (oe& <5o&h+a 1,8/ P&a.*& 119,11=[
I& the a))o*panying *+&i) #o(.y[ Doe& it re-re&h an( bring pea)e to the &o+.[ <1
Sa*+e. 1C,2B=
I- I 0ere .i&tening to thi& *+&i) .i3e/ 0hen the *+&i) en(&/ 0o+.( I -ee. .i'e E+&t prai&ing
the 4or( be)a+&e the *+&i) *agni-ie( the 4or( <P&a.* >A,1=/ or 0o+.( I -ee. that I
&ho+.( app.a+( be)a+&e o- a great per-or*an)e <prai&e o- *an=[
Doe& the *+&i) he.p *e in *y per&ona. 0or&hip/ prai&e/ *e(itation/ an( prayer
<Co.o&&ian& B,1C=[
$hi& i& the )riteria that I +&e -or &e.e)ting 0or&hip *+&i)/ hen)e the *+&i) in thi& boo'.
1C
5ohn )%rth+r/ Ashamed of the Gospel, 8%.*o&t nothing i& (i&*i&&e( a& inappropriate, ro)' 8n9 ro.. o.(ie&/
(i&)o t+ne&/ hea3y *eta./ rapQ In -a)t/ one o- the -e0 thing& E+(ge( o+t o- p.a)e in )h+r)h the&e (ay& i& ).ear an(
-or)e-+. prea)hing.9
4&
Godl$ Music
Be-ore 2.i&ha 0a& ab.e to prophe)y in 2 ;ing& B,1?/ he reK+ire( .i&tening to a *in&tre.. He
reK+ire( a *in&tre.:one 0ho p.ay& a &tringe( in&tr+*ent/ not a &inger. <)-. 1 Sa*+e. 10,?
R C.= It 0a& Da3i(J& 3irt+o&o harp p.aying that (ro3e o+t the e3i. &pirit -ro* Sa+. in 1
Sa*+e. 1C,2B. +&i) a.one/ 0ith or 0itho+t .yri)&/ i& ab.e to get the han( o- the 4or( into
peop.e/ an( e3i. &pirit& o+t o- <or into[= peop.e.
$he 0or( 8ho.y9 *ean& 8to be &eparate( +nto #o(.9 So*e Chri&tian *+&i) ha&/ or
atte*pt& to ha3e #o(-honoring .yri)&/ b+t i& *i1e( 0ith a))o*panying *+&i) that i&
0or.(.y. $hi& *+&i) ha& bro+ght &o*e to hear the #o&pe. 0ho *ight not ha3e hear( it
other0i&e an( po&&ib.y e3en +nto &a.3ation. I reEoi)e/ -or thi& i& a goo( thing <Phi.ippian&
1,18=. Ho0e3er/ E+&t be)a+&e thi& *+&i) &o*eti*e& he.p& to bring the .o&t to a 'no0.e(ge
o- the #o&pe. (oe& not *ean that it i& the be&t *+&i) to pro*ote the gro0th o- Chri&tian&/
or that it i& )on(+)i3e to *e(itation an( prayer <1 Corinthian& 10,2B/ 2 $i*othy B,?/ 1 5ohn
2,1? R 1C=. In the Bib.e/ *+&i) i& +&e( -or 0or&hip/ prai&e/ *e(itation an( e1hortation:not
-or rea)hing the .o&t. #o(& *etho( o- rea)hing the .o&t i& thro+gh the prea)hing <Ro*an&
10,1>= an( &haring o- Hi& p+re 0or( <I&aiah ??,11/ %)t& 1,8=.
In 1 5ohn >,1 R C/ the be.o3e( apo&t.e 0arn& Chri&tian& to try the &pirit&. 23ery prophet/
prea)her/ tea)her/ &ong/ &ong0riter/ &ong.ea(er/ boo'/ a+thor/ an( tran&.ator are
in-.+en)e( by a &pirit. $he &pirit i& either o- Chri&t/ or o- anti)hri&t <atthe0 12,B0=. Fer&e
? o- 1 5ohn > rea(& <re-erring to &pirit o- anti)hri&t=/ 8$hey are o- the 0or.(, there-ore &pea'
they o- the 0or.(/ an( the 0or.( hear& the*.9 5e&+& ta+ght in atthe0 1B,2> R B0 that the
ene*y ha& &o0n tare& a*ong the 0heat. $he&e -a.&e prophet& inten( to *a'e
*er)han(i&e o- yo+ <2 Peter 2,B=. $o(ayJ& Chri&tian *+&i) i& big b+&ine&&. Re)ent.y/ a
-rien( atten(e( a )on)ert o- a 0i(e.y pop+.ar )onte*porary Chri&tian arti&t. She &ai( the
arti&t that &he 0ent to &ee 0a& a b.e&&ing -or her. Ho0e3er/ &he (i&)erne( the 8opening
a)t9 0a& nothing *ore than 0o.3e& in &heepJ& ).othing <atthe0 A,1?=. Re*ar'ab.y/ the
)on)e&&ion& &tan( <the )on)ert 0a& not at a )h+r)h= &o.( a.)oho.i) beer thro+gho+t the
entire )on)ertL
5.I. Pa)'er .a*ente( that *o(ern Chri&tianity i& B/000 *i.e& 0i(e an( ha.- an in)h thi)'.
We nee( .e&& o- the &ha..o0 hypo)ri&y o- the 0or.( an( a pa&&ion -or *ore o- #o(J& in-inite
(eep tr+th. $hi& i& not on.y *y opinion. Con&i(er 0hat &o*e great *en o- #o( ha3e &ai(,
8So*e 0i.. *aintain the i- bib.i)a. prin)ip.e& are pre&ente(/ the *e(i+* (oe&nJt *atter. $hat i&
non&en&e. I- an entertaining *e(i+* i& the 'ey to 0inning peop.e/ 0hy not go a.. o+t[ Why not
ha3e a rea. )arni3a.[ % tattooe( a)robat on a high 0ire )o+.( E+gg.e )hain &a0& an( &ho+t
Bib.e 3er&e& 0hi.e a tri)' (og ba.an)e( on hi& hea(. $hat 0o+.( (ra0 a )ro0(. %n( the
content o- the *e&&age 0o+.( &ti.. be bib.i)a.. ItJ& a bi7arre &)enario/ b+t one that i..+&trate&
ho0 the *e(i+* )an )heapen an( )orr+pt the *e&&age.9 <5ohn )%rth+r/ Ashamed of the
Gospel, 199B/ e*pha&i& in the origina.=
8Be a.ar*e( i- the p.ain #o&pe./ &etting -orth *anJ& +tter r+in an( he.p.e&&ne&&/ an( #o(J& -ree
an( -+.. &a.3ation/ -ai.& to i*pre&& yo+ an( yo+ -ee. it i& trite an( tire&o*e. $ho&e 0ho tire o- the
0ho.e&o*e 0ater o- .i-e an( &ee' a *ore &ophi&ti)ate( (rin' o-ten be)o*e into1i)ate( 0ith
their o0n ).e3erne&& in&tea( o- #o(J& goo(ne&&/ an( en( +p pro*oting their o0n g.ory in&tea(
o- #o(J&.9 <Dr. Spiro& Po(hiate&/ &onquering the ear of %eath/ 19A0=
8"or )ent+rie& the Ch+r)h &too( &o.i(.y again&t e3ery -or* o- 0or.(.y entertain*ent/
re)ogni7ing it -or 0hat i& 0a&:a (e3i)e -or 0a&ting ti*e/ a re-+ge -ro* the (i&t+rbing 3oi)e o-
)on&)ien)e/ a &)he*e to (i3ert attention -ro* *ora. a))o+ntabi.ity. Q So to(ay 0e ha3e the
a&toni&hing &pe)ta).e o- *i..ion& o- (o..ar& being po+re( into the +nho.y Eob o- pro3i(ing earth.y
5(
entertain*ent -or the &o-)a..e( &on& o- hea3en.9 <%. W. $o7er/ The "oot of the "ighteous,
19??)
8$he -a)t i&/ that *any 0o+.( .i'e to +nite )h+r)h an( &tage/ )ar(& an( prayerT (an)ing an(
&a)ra*ent&. I- 0e are po0er.e&& to &te* thi& torrent/ 0e )an at .ea&t 0arn *en o- it& e1i&ten)e/
an( entreat the* to 'eep o+t o- it. When the o.( -aith i& gone/ an( enth+&ia&* -or the go&pe. i&
e1tin)t/ it i& no 0on(er that peop.e &ee' &o*ething e.&e in the 0ay o- (e.ight. 4a)'ing brea(/
they -ee( on a&he&T reEe)ting the 0ay o- the 4or(/ they r+n gree(i.y in the path o- -o..y.9 <C. H.
Sp+rgeon/
1A
188A=
8$he 'ing(o* o- #o( i& 0ithin yo+/ &ay& Chri&t/ o+r Sa3ior. $+rn yo+r&e.-/ there-ore/ 0ith a..
yo+r heart to #o( an( -or&a'e thi& 0ret)he( 0or.(/ an( yo+ 0i.. &oon -in( great in0ar( re&t.
4earn to (e&pi&e o+t0ar( thing&/ an( gi3e yo+r&e.- to in0ar( thing&/ an( yo+ 0i.. &ee the
'ing(o* o- #o( )o*e into yo+r &o+..9 <$ho*a& \ ;e*pi&/ )mitation of &hrist, 1>2A=
So*e atte*pt to E+&ti-y their *+&i) by )iting that/ in an e--ort to 0in the .o&t &o+.& at the
.o)a. ta3ern/ artin 4+ther ba&e( hy*n *e.o(ie& on the (rin'ing &ong& o- hi& (ay. 4+ther
0a& an a))o*p.i&he( *+&i)ian an( a goo( tenor. In rea.ity/ the *aEority o- hi& *ore than
thirty hy*n& 0ere 0ritten/ *+&i) an( a../ by hi*&e.- an( other& in hi& )h+r)h:not the
(r+n'& at the .o)a. ta3ern. 4+ther 0rote in the pre-a)e to hi& hy*nboo'/ 8I 0i&h that the
yo+ng *en *ight ha3e &o*ething to ri( the* o- their .o3e (ittie& an( 0anton &ong& an(
*ight in&tea( o- the&e .earn 0ho.e&o*e thing& an( th+& yie.( 0i..ing.y to the goo(T a.&o/
be)a+&e I a* not o- the opinion that a.. the art& &ha.. be )r+&he( to earth an( peri&h
thro+gh the #o&pe./ a& &o*e bigote( per&on& preten(/ b+t 0o+.( 0i..ing.y &ee the* a../
an( e&pe)ia..y *+&i)/ &er3ant& o- Hi* 0ho ga3e an( )reate( the*.9 C.ear.y/ 4+therJ&
(e&ire 0a& -or yo+ng per&on& to t+rn -ro* the &en&+a. an( 80anton9 *+&i) o- the (ay/ an(
rep.a)e it 0ith goo(/ 0ho.e&o*e &ong&. He 0rote,
A mighty fortress is our God, a bulwark ne#er failing*
+ur helper ,e, amid the flood of mortal ills pre#ailing-
or still our ancient foe doth seek to work us woe*
,is craft and power are great,
And, armed with cruel hate, on earth is not ,is equal-
I 0a& a((i)te( to ro)' *+&i) -or *any year&. It 0a& on.y a-ter hearing that it *ight be ba(/
that I (e)i(e( to try to )o*p.ete.y &top .i&tening to it. !n-ort+nate.y/ I 0ent o3erboar(. $hi&
.ea( to a *aEor prob.e* 0ith .ega.i&* in *y .i-e an( -a*i.y. I+itting ro)' *+&i) an(
te.e3i&ion ha& he.pe( *e to i*pro3e *y 0a.' 0ith the 4or( tre*en(o+&.y/ an( ha& *a(e it
ea&ier to get ri( o- other &in in *y .i-e. Ho0e3er/ I trie( to i*po&e *y )on3i)tion& on other&.
2a)h Chri&tian *+&t e3a.+ate #o(]& )a..ing -or the*&e.3e&. In .earning the g+itar/ I ha3e
p+rpo&e( to on.y .earn &ong& that 0or&hip Hi*. I &hare thi& 0ith yo+ in .o3e/ that yo+ *ight
a.&o i*pro3e yo+r 0a.' 0ith the 4or(.
1A
Sp+rgeon &pent o3er 20 year& 0riting &e3en 3o.+*e& o- e1ege&i& on the P&a.*&:near.y >00 page& on P&a.*&
119 a.one. He .ater 0rote/ 8On.y tho&e 0ho ha3e *e(itate( pro-o+n(.y +pon the P&a.*& )an ha3e any a(eK+ate
)on)eption o- the 0ea.th they )ontain. So*eti*e& a& I pon(ere( o3er the* ho.y -ear -e.. +pon *e/ an( I &hran'
-ro* the atte*pt to e1p.ain the*e& &o &+b.i*e.9
51
'ible -eferences
Here are the Bib.e 3er&e& na*e( in thi& boo'. P.ea&e rea( an( *e(itate on the&e. Can
there be any (o+bt that #o( ha& high &tan(ar(& -or 0hat He (e&ire& in 0or&hip *+&i)[
(5odus 0GH4 $ho+ &ha.t ha3e no other go(& be-ore *e.
Ioshua 6H1 $hi& boo' o- the .a0 &ha.. not (epart o+t o- thy *o+thT b+t tho+ &ha.t *e(itate
therein (ay an( night/ that tho+ *aye&t ob&er3e to (o a))or(ing to a.. that i& 0ritten therein,
-or then tho+ &ha.t *a'e thy 0ay pro&pero+&/ an( then tho+ &ha.t ha3e goo( &+))e&&.
6 amuel 6GH< J = %-ter that tho+ &ha.t )o*e to the hi.. o- #o(/ 0here i& the garri&on o-
the Phi.i&tine&, an( it &ha.. )o*e to pa&&/ 0hen tho+ art )o*e thither to the )ity/ that tho+
&ha.t *eet a )o*pany o- prophet& )o*ing (o0n -ro* the high p.a)e 0ith a p&a.tery
(guitar)/ an( a tabret <tambourine)/ an( a pipe/ an( a harp/ be-ore the*T an( they &ha..
prophe&y, an( the Spirit o- the 4ORD 0i.. )o*e +pon thee/ an( tho+ &ha.t prophe&y 0ith
the*/ an( &ha.t be t+rne( into another *an.
6 amuel 6=H61 $hen an&0ere( one o- the &er3ant&/ an( &ai(/ Beho.(/ I ha3e &een
^Da3i(_/ that i& )+nning in p.ayingQan( the 4or( i& 0ith hi*.
6 amuel 6=H04 %n( it )a*e to pa&&/ 0hen the e3i. &pirit -ro* #o( 0a& +pon Sa+./ that
Da3i( too' a harp/ an( p.aye( 0ith hi& han(, &o Sa+. 0a& re-re&he(/ an( 0a& 0e../ an( the
e3i. &pirit (eparte( -ro* hi*.
0 Bings 4H6< (.lisha is speaking) B+t no0 bring *e a *in&tre.. %n( it )a*e to pa&&/
0hen the *in&tre. p.aye(/ that the han( o- the 4or( )a*e +pon hi*.
Psalms 60H= $he 0or(& o- the 4or( are p+re 0or(&, a& &i.3er trie( in a -+rna)e o- earth/
p+ri-ie( &e3en ti*e&.
Psalms :;H6 O ).ap yo+r han(&/ a.. ye peop.eT &ho+t +nto #o( 0ith the 3oi)e o- tri+*ph.
Psalms 66AH66 $hy 0or( ha3e I hi( in *ine heart/ that I *ight not &in again&t thee.
Isaiah <<H66 So &ha.. *y 0or( be that goeth -orth o+t o- *y *o+th, it &ha.. not ret+rn +nto
*e 3oi(/ b+t it &ha.. a))o*p.i&h that 0hi)h I p.ea&e/ an( it &ha.. pro&per in the thing
0hereto I &ent it.
Amos <H60" 04 "or I 'no0 yo+r *ani-o.( tran&gre&&ion& an( yo+r *ighty &in&Qta'e tho+
a0ay -ro* *e the noi&e o- thy &ong&T -or I 0i.. not hear the *e.o(y o- thy 3io.&. (/0iol1 is
from the ,ebrew word nebel (nebel is more often translated /psaltery1)- )t is belie#ed to be
an ancient forerunner to the guitar-)
Matthew :H6G .also *uke :H1/ $hen &aith 5e&+& +nto hi*/ #et thee hen)e/ Satan, -or it i&
0ritten/ $ho+ &ha.t 0or&hip the 4or( thy #o(/ an( hi* on.y &ha.t tho+ &er3e.
Matthew ;H6< Be0are o- -a.&e prophet&/ 0hi)h )o*e to yo+ in &heep]& ).othing/ b+t
in0ar(.y they are ra3ening 0o.3e&.
Matthew 60H4G .also *uke 66H04/ He that i& not 0ith *e i& again&t *eT an( he that
gathereth not 0ith *e &)attereth abroa(.
Matthew 64H0< B+t 0hi.e *en &.ept/ hi& ene*y )a*e an( &o0e( tare& a*ong the 0heat/
an( 0ent hi& 0ay.
Matthew 0=H4G .also Mark 6:H0=/ (immediately following the !ast $upper) %n( 0hen
they ha( &+ng an hy*n/ they 0ent o+t into the *o+nt o- O.i3e&. (/They1, of course, refers
to 2esus and the ele#en apostles-)
5)
Iohn :H0: #o( i& a Spirit, an( they that 0or&hip hi* *+&t 0or&hip hi* in &pirit an( in
tr+th.
Iohn 6<H: %bi(e in *e/ an( I in yo+. %& the bran)h )annot bear -r+it o- it&e.-/ e1)ept it
abi(e in the 3ineT no *ore )an ye/ e1)ept ye abi(e in *e.
Acts 6H1 B+t ye &ha.. re)ei3e po0er/ a-ter that the Ho.y #ho&t i& )o*e +pon yo+, an( ye
&ha.. be 0itne&&e& +nto *e both in 5er+&a.e*/ an( in a.. 5+(aea/ an( in Sa*aria/ an( +nto
the +tter*o&t part o- the earth.
,omans 6GH6: Ho0 then &ha.. they )a.. on hi* in 0ho* they ha3e not be.ie3e([ an( ho0
&ha.. they be.ie3e in hi* o- 0ho* they ha3e not hear([ an( ho0 &ha.. they hear 0itho+t a
prea)her[
,omans 6=H6; 6o0 I be&ee)h yo+/ brethren/ *ar' the* 0hi)h )a+&e (i3i&ion& an(
o--en&e& )ontrary to the (o)trine 0hi)h ye ha3e .earne(T an( a3oi( the*.
6 &orinthians =H6< ;no0 ye not that yo+r bo(ie& are the *e*ber& o- Chri&t[ Sha.. I then
ta'e the *e*ber& o- Chri&t/ an( *a'e the* the *e*ber& o- a har.ot[ #o( -orbi(.
6 &orinthians 6GH04 %.. thing& are .a0-+. -or *e/ b+t a.. thing& are not e1pe(ient, a.. thing&
are .a0-+. -or *e/ b+t a.. thing& e(i-y not.
6 &orinthians 6GH46 Whether there-ore ye eat/ or (rin'/ or 0hat&oe3er ye (o/ (o a.. to the
g.ory o- #o(.
0 &orinthians =H6: J 61 Be ye not +neK+a..y yo'e( together 0ith +nbe.ie3er&, -or 0hat
-e..o0&hip hath righteo+&ne&& 0ith +nrighteo+&ne&&[ %n( 0hat )o**+nion hath .ight 0ith
(ar'ne&&[ %n( 0hat )on)or( hath Chri&t 0ith Be.ia.[ Or 0hat part hath he that be.ie3eth
0ith an in-i(e.[ %n( 0hat agree*ent hath the te*p.e o- #o( 0ith i(o.&[ "or ye are the
te*p.e o- the .i3ing #o(T a& #o( hath &ai(/ I 0i.. (0e.. in the*/ an( 0a.' in the*T an( I 0i..
be their #o(/ an( they &ha.. be *y peop.e. Where-ore )o*e o+t -ro* a*ong the*/ an(
be ye &eparate/ &aith the 4or(/ an( to+)h not the +n).ean thing an( I 0i.. re)ei3e yo+/ an(
0i.. be a "ather +nto yo+/ an( ye &ha.. be *y &on& an( (a+ghter&/ &aith the 4or( %.*ighty.
(rom )saiah 34 and 2erimiah 56-)
Galations <H6= J 6; $hi& I &ay then/ Wa.' in the Spirit/ an( ye &ha.. not -+.-i.. the .+&t o- the
-.e&h. "or the -.e&h .+&teth again&t the Sprit/ an( the Spirit again&t the -.e&h, an( the&e are
)ontrary the one to the other, &o that ye )annot (o the thing& yo+ 0o+.(.
Galations <H00 B+t the -r+it o- the Spirit i& .o3e/ Eoy/ pea)e/ .ong&+--ering/ gent.ene&&/
goo(ne&& -aith/ *ee'ne&&/ te*peran)e, again&t &+)h there i& not .a0.
(phesians <H1 J 66 "or ye 0ere &o*eti*e& (ar'ne&&/ b+t no0 are ye .ight in the 4or(,
0a.' a& )hi.(ren o- .ight, <-or the -r+it o- the Spirit i& in a.. goo(ne&& an( righteo+&ne&& an(
tr+thT= pro3ing 0hat i& a))eptab.e +nto the 4or(. %n( ha3e no -e..o0&hip 0ith the +n-r+it-+.
0or'& o- (ar'ne&&/ b+t rather repro3e the*.
Philipians 6H61 What then[ 6ot0ith&tan(ing/ e3ery 0ay/ 0hether in preten&e/ or in tr+th/
Chri&t i& prea)he(T an( I therein (o reEoi)e/ yea/ an( 0i.. reEoi)e.
&olossians 4H6= 4et the 0or( o- Chri&t (0e.. in yo+ ri)h.y in a.. 0i&(o*T tea)hing an(
a(*oni&hing one another in p&a.*& an( hy*n& an( &pirit+a. &ong&/ &inging 0ith gra)e in
yo+r heart& to the 4or(.
0 #imoth$ 4H< Ha3ing a -or* o- go(.ine&&/ b+t (enying the po0er thereo-, -ro* &+)h t+rn
a0ay.
0 Peter 0H4 %n( in )o3eto+&ne&& &ha.. they (false prophets) 0ith -eigne( 0or(& *a'e
*er)han(i&e o- yo+, 0ho&e &enten)e no0 -ro* o- o.( .ingereth not/ an( their (e&tr+)tion
&.+*bereth not.
53
6 Iohn 0H6< J 6; 4o3e not the 0or.(/ neither the thing& that are in the 0or.(. I- any *an
.o3e the 0or.(/ the .o3e o- the "ather i& not in hi*. "or a.. that i& in the 0or.(/ the .+&t o- the
-.e&h/ an( the .+&t o- the eye&/ an( the pri(e o- .i-e/ i& not o- the "ather/ b+t i& o- the 0or.(.
%n( the 0or.( pa&&eth a0ay/ an( the .+&t thereo-, b+t he that (oeth the 0i.. o- #o( abi(eth
-ore3er.
6 Iohn :H6 J = Be.o3e(/ be.ie3e not e3ery &pirit/ b+t pro3e the &pirit&/ 0hether they are o-
#o(T be)a+&e *any -a.&e prophet& are gone o+t into the 0or.(. Hereby 'no0 ye the Spirit
o- #o(, e3ery &pirit that )on-e&&eth that 5e&+& Chri&t i& )o*e in the -.e&h i& o- #o(, an(
e3ery &pirit that )on-e&&eth not 5e&+& i& not o- #o(, an( thi& i& the &pirit o- the anti)hri&t/
0hereo- ye ha3e hear( that it )o*ethT an( no0 it i& in the 0or.( a.rea(y. @e are o- #o(/
*y .itt.e )hi.(ren/ an( ha3e o3er)o*e the*, be)a+&e greater i& he that i& in yo+ than he
that i& in the 0or.(. $hey are o- the 0or.(, there-ore &pea' they a& o- the 0or.(/ an( the
0or.( heareth the*. We are o- #o(, he that 'no0eth #o( heareth +&T he 0ho i& not o-
#o( heareth +& not. By thi& 0e 'no0 the &pirit o- tr+th/ an( the &pirit o- error.
0 Iohn ; J 66 "or *any (e)ei3er& are entere( into the 0or.(/ 0ho )on-e&& not that 5e&+&
Chri&t )o*e in the -.e&h. $hi& i& a (e)ei3er an( an anti)hri&t. 4oo' to yo+r&e.3e&/ that 0e
.o&e not tho&e thing& 0hi)h 0e ha3e 0ro+ght/ b+t that 0e re)ei3e a -+.. re0ar(.
Who&oe3er tran&gre&&eth/ an( abi(eth not in the (o)trine o- Chri&t/ hath not #o(. He that
abi(eth in the (o)trine o- Chri&t/ he hath both the "ather an( the Son. I- there )o*e any
+nto yo+/ an( bring not thi& (o)trine/ re)ei3e hi* not into yo+r ho+&e/ neither bi( hi* #o(
&pee(,
,evelation 4H6= and 06 So then be)a+&e tho+ art .+'e0ar*/ an( neither )o.( nor hot/ I
0i.. &pe0 thee o+t o- *y *o+thQ $o hi* that o3er)o*eth 0i.. I grant to &it 0ith *e in *y
throne/ e3en a& I a.&o o3er)a*e/ an( a* &et (o0n 0ith *y "ather in hi& throne. (There
are three ways to make something /lukewarm-1 .ither taking something that is cold and
heating it7but not too much, by taking something that is hot and allowing it to grow cold,
or by mi8ing hot with cold- Adding worldly music to God(s truths is mi8ing hot and cold-)
,evelation 6AH6G %n( I -e.. at hi& -eet to 0or&hip hi*. %n( he &ai( +nto *e/ See tho+ (o
it not, I a* thy -e..o0 &er3ant/ an( o- thy brethren that ha3e the te&ti*ony o- 5e&+&, 0or&hip
#o(, -or the te&ti*ony o- 5e&+& i& the &pirit o- prophe)y.
,evelation 00H1 J A %n( I 5ohn &a0 the&e thing&/ an( hear( the*. %n( 0hen I ha(
hear( an( &een/ I -e.. (o0n to 0or&hip be-ore the -eet o- the ange. 0hi)h &ho0e( *e the&e
thing&. $hen &aith he +nto *e/ See tho+ (o it not, -or I a* thy -e..o0&er3ant/ an( o- thy
brethren the prophet&/ an( o- the* 0hi)h 'eep the &aying& o- thi& boo', 0or&hip #o(.
54
-eadin" 7ist
!rom Mel Ba$ PublicationsH
Mel Ba$Ks 2elu5e Gospel Guitar MethodH 8olume 6 J Bill Ba$
$he -ir&t part (oe& an e1)e..ent ta&' o- e1p.aining g+itar ba&i)&. $he -ir&t ha.- o- the boo' i&
-o)+&e( pri*ari.y on &tr+**ing/ 0here the &e)on( ha.- o- the boo' i& *ore -ingerpi)'ing.
$he &e)on( ha.- ha& &o*e origina. 0or&hip &ong& by Bi.. Bay hi*&e.-. %-ter yo+ -ini&h
3o.+*e 1/ yo+ )an pro)ee( to 3o.+*e 2.
!avorite +$mns %or Acoustic Guitar J ,ick !oster
weet #ennessee +$mns ) Gerard Garno
$he&e are )o..e)tion& o- hy*n& 0ith )a&&ette tape& a3ai.ab.e -or ea)h. When yo+ are
rea(y -or the ne1t &tep +p/ try the&e boo'&.
Other publishersH
+ow to Pla$ Guitar ) ,oger (vans" t? MartinKs Press
Ironi)a..y/ thi& i& one o- the .ea&t e1pen&i3e genera.-p+rpo&e g+itar boo'& that i& a.&o one o-
the be&t. St. artinJ& Pre&& a.&o ha& &i*i.ar boo'& -or other in&tr+*ent&.
All the Best ong %or (as$ Guitar J 2avid Winkler" *illenas Publishing &o?
$hi& )ontain& A? hy*n& an( )hor+&e& that are arrange( in or(er o- (i--i)+.ty -ro* &i*p.e to
(i--i)+.t. $he &ong& are arrange( -or g+itar &tr+**ing.
WorshipH the Missing Iewel in the (vangelical &hurch J A? W? #o9er" &hristian
Publications
%.. o- $o7erJ& boo'& are 0orth rea(ing. $hi& one (ea.& &pe)i-i)a..y 0ith 0or&hip.
55
Glossary
A cappella Ita.ian -or/ 8a& in the )hape. <Ch+r)h=.9 Singing/ genera..y in har*ony/ 0itho+t
in&tr+*ent&. It i& (i--erent -ro* a )hant in that )hant i& *o&t.y &+ng in +ni&on.
Accelerando $o a))e.erate/ or &pee( +p the te*po o- a &ong.
Accidental % &harp or -.at note that i& &harpe( or -.atte( other than be)a+&e o- the 'ey
&ignat+re.
Alamoth +&i)a. notation -ro* the P&a.*& that probab.y *ean& 8-or high 3oi)e&9 <.itera..y
-or the 3irgin&=.
Alleluia Hebre0 -or 8prai&e @ah0eh.9
Arpeggiate $o p.ay 8harp-.i'e.9 $o brea' )hor(& into in(i3i(+a. note&.
Arrangement % &pe)i-i) 0ay o- p.aying a &ong. %ny gi3en &ong *ay be p.aye( a
*+.tit+(e o- (i--erent 80ay&9:0ith (i--erent )hor( &tr+)t+re&/ te*po&/ rhyth*&/
in&tr+*ent&/ et). $he 80ay&9 are the arrange*ent&.
Backbeat +&i) 0ith a))ent& on the &e)on( an( -orth beat& o- a *ea&+re that are o-ten
a))ente( by a (r+* or other per)+&&ion in&tr+*ent.
Bar %nother 0or( -or *ea&+re.
BarrC "ren)h -or 8bar.9 $o +&e the in(e1 -inger a& a bar a)ro&& the &tring&.
Beat % &ing.e +nit o- ti*e in a &ong.
&apo % &*a.. *o3ab.e bar that i& ).a*pe( to the ne)' o- a g+itar to rai&e the pit)h o- a..
the &tring&.
&hant P.ain&ong/ genera..y ba&e( on the P&a.*&/ &+ng in &ing.e note +ni&on/ or &i*p.e/
pre(e-ine( har*ony/ an( +&+a..y 0itho+t in&tr+*ent&. Chant i& .arge.y +niK+e to o.( or(er&
o- the Catho.i) )h+r)he&/ an( the %*i&h. See acappella.
&onsonance % per-e)t b.en(ing o- har*ony.
2ampen $o .ight.y *+te a &tring.
2escant % har*ony part o- *+&i) that intentiona..y o))+r& abo3e the *e.o(y.
2iatonic Ba&e( on the &tan(ar( eight-note o)ta3e.
2issonance %n i*per-e)t b.en(ing o- har*ony. % .itt.e (i&&onan)e gi3e& a &ong a
)ontra&t an( a((& 3ariety. $oo *+)h (i&&onan)e (ra0& attention a0ay -ro* the .yri)& an(
*e.o(y.
(nharmonic 6ote& or )hor(& that are 0ritten (i--erent.y/ b+t &o+n( the &a*e. "or
in&tan)e/ "
#
an( #
b
&o+n( the &a*e pit)h.
!ingerpicking %ny &ty.e o- g+itar p.aying that (oe& not +&e a p.e)tr+*.
Gittith +&i)a. notation -ro* the P&a.*& o- +n)ertain *eaning. It *o&t .i'e.y in(i)ate& to
p.ay in an +p.i-ting *anner/ or po&&ib.y re-er& to p.aying on a #ittite harp.
56
Godl$ Music +&i) that 0or&hip& #o( in &pirit an( in tr+th.
*$rics
21a.t&/ 0or&hip& an( prai&e& the na*e o- the 4or(
21hort& Chri&tian& to *ore #o(.y .i3ing
21tra)te( -ro* the Bib.e/ or b+i.t on &o.i( Bib.e (o)trine
I& not inten(e( to e3ange.i7e or prea)h the #o&pe. to the .o&t
Melod$
Singab.e an( p.ea&ing
Pro&o(y - the *e.o(y *+&t 8-it9 the .yri)&
Righteo+& .yri)& )annot ha3e pro&o(y 0ith 0i)'e( *+&i) 1 Cor C,1> ` 1?
+armon$
%+g*ent& the *e.o(y
Di&&onan)e (oe& not o3erta'e )on&onan)e
,h$thm
#i3e& the &ong a pre(i)tab.e an( intere&ting -ra*e0or'
%))ente( o(( beat& - the rhyth* -o..o0& the heartbeat
Doe& not reK+ire a (r+*beat - (r+*& are not *entione( in the Bib.e
Syn)opation i& the e1)eption/ not the r+.e
+al%)step $he &*a..e&t inter3a. in the (iatoni) &)a.e. $here are t0e.3e ha.- &tep& in an
o)ta3e.
+armonic 1. <no+n= % -reK+en)y o- pit)h re.ate( to another pit)h by a 0ho.e n+*ber
*+.tip.e o- that pit)h. 2. <a(E.= P.ea&ant.y re.ate( in pit)h.
+ol$ Set apart -or the &er3i)e o- #o(.
Interval $he (i--eren)e in pit)h bet0een t0o tone&.
Be$ $he toni) -o+n(ation o- a &ong.
*eannoth % ter* -ro* the P&a.*& o- +n)ertain *eaning. It *o&t .i'e.y in(i)ate& to p.ay
either in a .o0 regi&ter/ or perhap& 80ith (eep -ee.ing.9
*egalism When &o*eone &ing.e& o+t a (o)trine that they +&e to E+(ge the*&e.3e& an(
other&/ an( reK+ire b.in( obe(ien)e to thi& (o)trine. We are to E+(ge o+r&e.3e& 0ith #o(J&
0or(/ an( &h+n anything that &ti-.e& o+r re.ation&hip 0ith the 4or( <5ohn 1?,>=.
*uthier 4itera..y/ a .+te *a'er. One 0ho *a'e& or repair& &tringe( in&tr+*ent&/
&pe)i-i)a..y .+te&/ g+itar& or 3io.in&.
*$rics $he 0or(& o- a &ong.
Mahalath +&i)a. notation -ro* the P&a.*& probab.y *eaning 8p.aye( on a harp/9 or 8to
p.ay &o.e*n.y.9
Maschil % 0or( -ro* the P&a.*& o- +n)ertain *eaning. It *o&t .i'e.y in(i)ate& a p&a.*
-or )onte*p.ation or *e(itation.
Measure $he ba&i) rhyth*i) +nit o- *+&i).
Meter $he rhyth*i) -o+n(ation o- a &ong.
Metronome % (e3i)e to he.p *+&i)ian& 'eep a &tea(y beat.
MI2I +&i) In&tr+*ent& Digita. Inter-a)e. $hi& i& an 0ay o- )onne)ting t0o or *ore
e.e)troni) *+&i)a. (e3i)e& &o that *+&i)a. e3ent& <&+)h a& pre&&ing or re.ea&ing a 'ey=
generate( by one (e3i)e pro(+)e& *+&i) &o+n(& on the other (e3i)e. "or the *o&t part/
the *+&i)a. e3ent& are &tarting an( en(ing note&.
5$
Mode S)a.e progre&&ion& e&tab.i&he( in the i((.e %ge& an( )o(i-ie( in the #regorian
)hant&. $he &e3en *o(e& )an be hear( by p.aying an o)ta3e o- 0hite 'ey& on a piano.
Depen(ing on 0here yo+ &tart (eter*ine& the *o(e. C to C i& Ionian/ D to D i& Dorian/ 2
to 2 i& Phrygian/ " to " i& 4y(ian/ # to # i& i1o.y(ian/ % to % i& %eo.ian/ an( B to B i&
)a..e( the 4o)rian *o(e. $o(ay/ the Ionian *o(e i& )a..e( the *aEor &)a.e/ an( the
%eo.ian *o(e i& )a..e( the *inor &)a.e. So*e *o(ern &ong& that &o+n( .i'e they are in a
*inor 'ey/ are in the Dorian *o(e. ore genera..y/ a *o(e )an be any &et o- note
inter3a.&. So*eti*e& the 0or(& 8*o(e9 an( 8&)a.e9 are +&e( inter)hangeab.y.
Mute $o p.ay 0ith .itt.e or no &o+n(.
Natural $o -.atten a &harpe( note/ or &harpen a -.atte( note.
Neginoth +&i)a. notation -ro* the P&a.*& that probab.y *ean& 80ith &tring
in&tr+*ent&.9
Nehiloth +&i)a. notation -ro* the P&a.*& that probab.y *ean& 80ith -.+te
a))o*pani*ent.9
Octave %n inter3a. o- eight 0ho.e &tep&/ or t0e.3e ha.--&tep&/ 0here one tone ha& t0i)e a&
*any 3ibration& per &e)on( a& the other.
Phrase % &eg*ent o- a &ong/ poe*/ or &enten)e.
Pitch $he -reK+en)y o- a &o+n( *ea&+re( in )y).e& or 3ibration& per &e)on( <)p&= or
Hert7 <H7=.
Plectrum % pi)'.
,eprise $o p.ay a part o- a &ong again.
,est $o )ea&e p.aying -or a &pe)i-ie( perio( o- ti*e.
,itardo $o retar(/ or gra(+a..y &.o0 the te*po o- a &ong.
cale % &erie& o- &+))e&&i3e tone& that *a'e +p an o)ta3e. $he *o&t )o**on are the
*aEor an( *inor &)a.e&. $hey )on&i&t o- &e3en tone inter3a.& *a(e -ro* t0e.3e
&e*itone&.
elah +&i)a. notation -ro* the P&a.*& (ire)ting the &inger<&= to re&t 0hi.e the
in&tr+*ent& )ontin+e( to p.ay.
emitone See ha.--&tep.
heminith +&i)a. notation -ro* the P&a.*& that probab.y *ean& 8-or .o0 3oi)e&.9
higgiaon % 0or( -ro* the P&a.*& o- +n)ertain *eaning. It *o&t .i'e.y in(i)ate& a
&tringe( in&tr+*ent.
hoshahannim +&i)a. notation -ro* the P&a.*& that probab.y *ean& 8p.aye( 0ith a
tr+*pet9 <.itera..y re-er& to a .i.y=.
topped Anapestic ,h$thm % (angero+& BG> ti*e rhyth* o- t0o rapi( beat&/ a &ing.e
beat/ an( a *i&&ing beat.
5%
$ncopation %n i*per-e)t a(heren)e to an e&tab.i&he( rhyth*. 4i'e (i&&onan)e/
&yn)opation )an be goo( in &*a.. K+antitie&/ b+t )an (ra0 attention a0ay -ro* the .yri)&
an( *e.o(y 0hen not +&e( in ba.an)e.
#acit $o )ea&e *a'ing &o+n(.
#empo $he e1a)t ti*ing o- *+&i)/ *ea&+re( in beat& per *in+te.
4argo >0 R C0
4arghetto C0 R CC
%(agio CC R AC
%n(ante AC R 108
o(erato 108 R 120
%..egro 120 R 1C8
Pre&to 1C8 R 200
Pre&ti&&i*o 200 R 208
#onic 1. $he -ir&t note o- a &)a.e. 2. $he root note o- a )hor(.
Worship In the Bib.e/ thi& 0or( .itera..y *ean& to -a.. on yo+r -a)e to pay ho*age/ an( to
&ho0 re3eren)e an( a(oration. $he #ree' 0or( +&e( in the Bib.e i& (eri3e( -ro* the
)on)ept o- a (og .i)'ing it& *a&terJ& han(.
Lero Beat When t0o pit)he& are a.*o&t i(enti)a./ they 0i.. generate a 0arb.ing or
throbbing &o+n( a& the -reK+en)ie& hetero(yne or 8beat9 again&t ea)h other. $he
-reK+en)y o- the beating i& the -reK+en)y (i--eren)e o- the t0o pit)he&. %& the t0o pit)he&
be)o*e i(enti)a./ the -reK+en)y o- thi& beating (i*ini&he& to 7ero.
5&
Auic8 -eference Charts
$he )hor( (iagra*& &ho0 0here to -ret the &tring& 0ith the .e-t han( to -or* 3ario+&
)hor(&. $he )hor( (iagra*& in thi& boo' &ho0 the na*e& o- the note& that are being
p.aye(/ an( other i*portant note& re.ati3e to that )hor(. Chor( 3ariation& -a.. into -o+r
)ategorie&, root *o(i-i)ation&/ thir( *o(i-i)ation&/ -i-th *o(i-i)ation&/ an( a((e( note&.
Root *o(i-i)ation& in).+(e a.ternate root <Gr=/ an( to a .e&&er (egree/ )hor( in3er&ion&.
$hir( <B= *o(i-i)ation& )on&i&t o- */ *A/ &+&2 &+&>/ (i*/ an( noB. "i-th <?= *o(i-i)ation&
)on&i&t o- (i* an( a+g 3ariation&--the&e are rare.y reK+ire(. %((e( note& *o(i-i)ation&
)on&i&t *ain.y o- C/ A/ *A/ 9/ an( a((9. With the e1)eption& note( be.o0/ the )hor( )hart&
in thi& boo' are inten(e( to be &e.--e1p.anatory.
(5ample 6 ) Asus
"ro* Chor( Fariation& tab.e/ 0e &ee that rep.a)ing the thir( <B= 0ith the -o+rth <>= )reate&
the 8&+&9 3ariation. 4oo'ing in the )hor( (i)tionary/ 0e &ee that the thir( <B= i& p.aye( on
the &e)on( -ret o- the 2 &tring/ an( that the -o+rth <>= i& on the thir( -ret o- the 2 &tring. So/
to p.ay the %&+& )hor(/ -ret the thir( -ret o- the 2 &tring 0ith the -inger.
(5ample 0 ) &sus0" &sus:" Gsus:
%& note( ear.ier/ the C )hor( ha& t0o thir(& <B=:one on the 1 &tring/ an( one on the >
&tring. $o )reate the 8&+&29 3ariation/ the thir( <B= *+&t be rep.a)e( 0ith the 2.
!n-ort+nate.y/ the 1 &tring i& open:it )annot be p.aye( any .o0er. $here are t0o
po&&ibi.itie&, p.ay the C&+&2 a& an %-ba&e( %&+&2 barrH )hor( on the thir( -ret/ or re*o3e
the -inger -ro* the > &tring to )reate the &+&2/ an( *+te/ or (o not p.ay the 1 &tring.
4i'e0i&e/ C&+&> <a.&o )a..e( C&+&= i& -or*e( by rotating the -inger to barrH the 1 an( 2
&tring& on the -ir&t -ret/ an( *+ting the > &tring 0ith the -inger. 4i'e the C )hor(/ the #
)hor( a.&o ha& the thir( <B= on t0o &tring&. Be)a+&e the thir( on the 2 &tring i& an open
&tring/ the on.y po&&ib.e thir( *o(i-i)ation 3ariation -or # i& #&+&>. $hi& i& +&+a..y p.aye(
by a((ing the -o+rth <>= on the 2 &tring 0itho+t )hanging the ? &tring -ingering. $e)hni)a..y/
thi& i& a #a((>.
(5ample 4 ) (m;
$hi& )hor( i& -or*e( by p.aying the B <*= an( > <A= &tring& in the open po&ition/ an( a((ing
the > -inger on the thir( -ret/ 2 &tring <A=.
(5ample : ) 2ma7A" 2m;
% proper *aE9 )hor( reK+ire& at .ea&t ? note&/ na*e.y/ D/ "
#
/ %/ C
#
/ an( 2. $he nor*a. D
)hor( on.y +&e& > &tring&. $he D on the &i1 &tringe( 2-ba&e( barrH )hor( i& p.aye( on the
10
th
-ret. $hatJ& o+t. $he %-ba&e( barrH )hor(& (o not a..o0 a *aE9 3ariation. Stri'e t0o.
$hi& i& a )a&e 0here yo+ &+b&tit+te a D*aEA <barrH the 1/ 2 an( B &tring& on the &e)on(
-ret= an( (onJt te.. anybo(y:theyJ.. ne3er *i&& it. $o -or* the D*A )hor(/ &tart 0ith D*/
barrH the -inger a)ro&& the 1 an( 2 &tring&/ an( re*o3e the -inger.
(5ample < ) AA
So*e )hor( )hart& &ho0 %9 a& the nor*a. % )hor( 0ith the 2 &tring open. $hi& i&
be)a+&e the 2 an( the 9 are the &a*e note. Ho0e3er/ in rea.ity thi& i& an %&+&2/ or
%a((9noB )hor(. % proper %9 i& -or*e( by barring the -inger on the &e)on( -ret a)ro&&
the 2/ B/ an( > &tring&/ +&ing the -inger to -ret the 1 &tring on the thir( -ret/ an( the B
-inger on the B &tring/ -o+rth -ret.
6(
Basic &hords
1 2 B
6
0
4
:
<
=
&@
A
3
1
:
<
=
M;
;
A
A
(
6
4
<
6
A .A &@ (/
>
(
2
m 0
;
1 2 B
6
0
4
:
<
=
&
G
(
2
1
<
:
=
M; ;
0
A
(
6
<
6
4
Am; .A & ( G/
>
m
1 2 B
6
0
4
:
<
=
B
A
!@
3
2
1
<
m
;
B
2@
6
6
4
B; .B 2@ !@ A/
>
4
1 2 B
6
0
4
:
<
=
&
G
(
3
2
1
:
:
=
M;
;
A
&
(
6
4
0
6
4
& .& ( G/
add G
>
<
1 2 B
6
0
4
:
<
=
A
!@
2
3
2
1
:
= M; ; 2
6
0
<
6
4
2 .2 !@ A/
>
>
1 2 B
6
0
4
:
<
=
A
!
2
3
2
1
:
= M; ; 2
6
0
<
6
m
2m .2 ! A/
>
>
1 2 B
6
0
4
:
<
=
A
!@
2
3
2
1
:
= ; &
6
0
<
4
2; .2 !@ A &/
>
>
1 2 B
6
0
4
:
<
=
B
G@
(
1
2
:
=
M;
;
A
B
(
6
<
m
6
( .( G@ B/
(
<
4
3
6
;
1 2 B
6
0
4
:
<
=
&
A
!
2
1
:
=
A 6
4
! .! A &/
1
! 3 6
0
>
>
Z
m
<
1 2 B
6
0
4
:
<
=
G
G
2
3
2
4
:
:
= M; ;
A
B
B
6
4 <
6
4
G .G B 2/
G
6
<
61
BarrC &hords
1 2 B
6
0
4
:
<
=
B
G@
(
1
2
:
=
M;
;
A
B
(
6
<
m
6
( .( G@ B/
(
<
4
3
6
;
1 2 B
6
0
4
:
<
=
&@
A
3
1
:
<
=
M; ;
0
A
(
6
4
<
6
A .A &@ (/
>
(
2
m
1 2 B
6
0
4
:
<
=
A
!
2 :
=
M; ;
A
&
!
6
<
6
6
! .! A &/
!
<
4
4
3
&
1
11
m
1 2 B
6
0
4
:
<
=
2
Bb 3
4
:
<
=
M; ;
0
Bb
!
6
4
<
6
Bb .Bb 2 !/
>
!
2
1
1
m
2 B >
6
0
4
:
<
=
A@
!@
2 :
=
M; ;
A
&@
!@
6
<
6
6
!@ .!@ A@ &@/
!@
<
4
4
3
&@
1
11
m
2 B >
6
0
4
:
<
=
2@
B 3
4
:
<
=
M; ;
0
B
!@
6
4
<
6
B .B 2@ !@/
>
!@
2
1
1
m
B > ?
6
0
4
:
<
=
B
G
2 :
=
M; ;
A
2
G
6
<
6
6
G .G B 2/
G
<
4
4
3
2
1
11
m
B > ?
6
0
4
:
<
=
(
& 3
4
:
<
=
M; ;
0
&
G
6
4
<
6
& .& ( G/
>
G
2
1
1
m
> ? C
6
0
4
:
<
=
&
G@
2 :
=
M; ;
A
2@
G@
6
<
6
6
G@ .G@ & 2@/
G@
<
4
4
3
2@
1
11
m
> ? C
6
0
4
:
<
=
!
&@ 3
4
:
<
=
M; ;
0
&@
G@
6
4
<
6
&@ .&@ ! G@/
>
G@
2
1
1
m
6)
More &hords
1 2 B
6
0
4
:
<
=
2
2
1 2 B
6
0
4
:
<
=
2
2
1 2 B
6
0
4
:
<
=
2
2
1 2 B
6
0
4
:
<
=
2
2
1 2 B
6
0
4
:
<
=
2
2
1 2 B
6
0
4
:
<
=
2
2
.ariation ction to a *a/or triad
01a*ple for
2 C
#
03
Alternate bass %(( the ba&& a& the ba&& note %G2 <2 % C
#
2=
Minor ".at the thir( <bB= %* <% C 2=
uspend second Rep.a)e the thir( 0ith the &e)on( <2= % &+& 2 <% B 2=
uspend %ourth Rep.a)e the thir( 0ith the -o+rth <>= % &+& or % &+& > <% D 2=
2iminished ".at the thir( an( -i-th <bB/ b?= % (i* or % <% C 2

b =
Augmented Sharp the -i-th <
#
?= % a+g or %U <% C
#
2
#

=
i5th %(( the &i1th <C= %C <% C
#
2 "
#

=
eventh %(( the &e3enth <A= %A <% C
#
2 #=
Minor seventh ".at the thir( <bB=/ a(( the &e3enth <A= %*A <% C 2 #=
Ma7or seventh %(( the *aEor &e3enth <A= %*aEA or %A <% C
#
2 #
#

=
Ninth %(( the &e3enth an( ninth <A an( 9= %9 <% C
#
2 # B=
Add ninth %(( the ninth on.y <9= %a((9 <% C
#
2 B=
Ma7or ninth %(( the *aEor &e3enth an( ninth <A an( 9= %*aE9 or %9 <% C
#
2 #
#

B=
Chord 0ariations
63
9eys
9ey 4harps I I8 8
& 0 C " #
G 1 # C D
2 2 D # %
A B % D 2
( > 2 % B<A=
B ? B 2 "
#
$harp Keys
Written
9ey
Flats
Trans:
pose
to;
Capo
I I8 8
! 1 2 1 " 2 B b % C BA
Bb 2 % 1 B b % 2 b D " 2
(b B D 1 2 b D % b # B b %
Ab > # 1 % b # D b C 2 b D
2b ? C 1 D b C # b " % b #
Gb C 2 2 # b 2 B % D b BA
! .alt?/ 1 D B " D B b # C %
Flat Keys
Cir!le of Fifths
64
I II III I8 8 8I 8II
C
C
#
Db
D
D
#
2b
2 "
"
#
#b
#
#
#
%b
%
%
#
Bb
B
B C
C
#
Db
D
D
#
2b
2 "
"
#
#b
#
#
#
%b
%
%
#
Bb
%
#
Bb
B C
C
#
Db
D
D
#
2b
2 "
"
#
#b
#
#
#
%b
%
%
%
#
Bb
B C
C
#
Db
D
D
#
2b
2 "
"
#
#b
#
#
#
%b
#
#
%b
%
%
#
Bb
B C
C
#
Db
D
D
#
2b
2 "
"
#
#b
#
#
#
#
%b
%
%
#
Bb
B C
C
#
Db
D
D
#
2b
2 "
"
#
#b
"
#
#b
#
#
#
%b
%
%
#
Bb
B C
C
#
Db
D
D
#
2b
2 "
"
"
#
#b
#
#
#
%b
%
%
#
Bb
B C
C
#
Db
D
D
#
2b
2
2 "
"
#
#b
#
#
#
%b
%
%
#
Bb
B C
C
#
Db
D
D
#
2b
D
#
2b
2 "
"
#
#b
#
#
#
%b
%
%
#
Bb
B C
C
#
Db
D
D
D
#
2b
2 "
"
#
#b
#
#
#
%b
%
%
#
Bb
B C
C
#
Db
C
#
Db
D
D
#
2b
2 "
"
#
#b
#
#
#
%b
%
%
#
Bb
B C
Transposing Chart
1 2 B > ? C A 8 9 10 11 12
6
0
4
:
<
= (
A
2
G
B
(
!
A@'Bb
2@ (b
G@ Ab
&
! !@ Gb
&@ 2b
A
(
B
!@ Gb
G 2
A@ Bb
! &
G
2@'(b
G@ Ab B
!@'Gb
&@'2b
G@'Ab
A
(
&
A
2
G
!
&@'2b
G@'Ab
2@'(b
A@ Bb
A@'Bb
B
B (
A 2
!@'Gb
&
G
2@'(b
A@'Bb
!
&
&@'2b
G@'Ab
(
B
!@'Gb
&@'2b
2
A
!
&
G
2
2@ (b
A@'Bb
!@ Gb
&@ 2b
G@ Ab
2@'(b
(
A
2
G
B
(
Fretboard Notes
<ar*onic Fret ,otes Inter!al
6 12 2 % D # B 2 One o)ta3e
0 A/ 19 B 2 % D "
#
B One o)ta3e U -i-th <?=
4 ?/ 2> 2 % D # B 2 $0o o)ta3e&
: >/ 9/ 1C #
#
C
#
"
#
B D
#
#
#
$0o o)ta3e& U thir( <B=
< B X B 2 % D "
#
B $0o o)ta3e& U -i-th <?=
.armoni!s
65
Tab 4heet
66
<y*nal
In).+(e( here i& a &hort hy*na. -or g+itar. $he hy*n& are in a.phabeti)a. or(er.
Whene3er po&&ib.e/ the 'ey& -or thi& hy*na. 0ere &e.e)te( 0ith t0o *ain obEe)ti3e&, to be
in one o- the ba&i) 8g+itar9 'ey&/ an( to be 0ithin the range o- the &oprano re)or(er. $hi&
.et& yo+ p.ay 0ith &oprano in&tr+*ent& &+)h a& the re)or(er/ -.+te or 3io.in. %.&o/ the 'ey o-
D i& +&e( 0hene3er po&&ib.e -or tho&e 0ho enEoy p.aying 0ith the %ppa.a)ian .ap (+.)i*er.
"or &o*e/ the &e.e)te( 'ey *ay be a .itt.e .o0. In the&e )a&e&/ +&e a )apo to rai&e the
g+itar to a higher pit)h. % )apo *ay a.&o be +&e( on the thir( -ret to a))o*pany 2b <a.to=
in&tr+*ent&.
%.. $hing& Bright an( Bea+ti-+. 5e&+& i& %.. the Wor.( to e
%n( Can It Be[ 5e&+& 4o3e& e
%re @o+ a So.(ier o- the Cro&& 5oy-+./ 5oy-+./ We %(ore $hee
%re @o+ Wa&he( in the B.oo([ 5+&t %& I %*
%t Ca.3ary 5+&t O3er in #.ory 4an(
Be Sti.. an( ;no0 4et the 4o0er 4ight& be B+rning
Be $ho+ y Fi&ion 4i'e a Ri3er #.orio+&
B.e&&e( %&&+ran)e y Co+ntry/ $i& o- $hee
B.e&t Be the $ie $hat Bin(& y 5e&+&/ I 4o3e $hee
Brea' $ho+ the Brea( o- 4i-e 6ear to the Heart o- #o(
Brethren We Ha3e et to Wor&hip 6othing B+t the B.oo( o- 5e&+&
"a)e to "a)e On 5or(anJ& Stor*y Ban'&
"aire&t 4or( 5e&+& Ri&e !p/ O en o- #o(
"aith o- O+r "ather& Ro)' o- %ge&
"or the Bea+ty o- the 2arth Sha.. We #ather at the Ri3er[
#i3e e 5e&+& Stan(ing on the Pro*i&e&
#o( i& So #oo( S0eet By an( By
#reat i& $hy "aith-+.ne&& S0eet Ho+r o- Prayer
Ha..e.+EahL What a Sa3iorL $a'e $i*e to be Ho.y
He 4ea(eth e $he So.i( Ro)'
Higher #ro+n( $here i& a "o+ntain "i..e( 0ith B.oo(
Ho.y/ Ho.y/ Ho.y $hi& I& y "atherJ& Wor.(
Ho0 "ir* a "o+n(ation $i& So S0eet
I %* Bo+n( -or the Pro*i&e( 4an( $o #o( be the #.ory
I ;no0 Who* I Ha3e Be.ie3e( $r+&t an( Obey
I +&t $e.. 5e&+& $+rn @o+r 2ye& !pon 5e&+&
I 6ee( $hee 23ery Ho+r Fi)tory in 5e&+&
I**orta./ In3in)ib.e What a "rien( We Ha3e in 5e&+&
In the #ar(en We #ather $ogether
It I& We.. With y So+. When I S+r3ey the Won(ro+& Cro&&
When We %.. #et to Hea3en
6$
6%
6&
$(
$1
$)
$3
$4
$5
$6
$$
$%
$&
%(
%1
%)
%3
%4
%5
%6
%$
%%
%&
&(
&1
&)
&3
&4
&5
&6
&$
&%
&&
1((
1(1
1()
1(3
1(4
1(5
1(6
1($
1(%
1(&
11(
111
11)

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Worship Music 4 Guitar

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Worship Music for Guitar

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