Worship Music 4 Guitar

8/11/2019 Worship Music 4 Guitar

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`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 hoe or in part/ itho+t epi)it ritten per*i&&ion ro* the p+bi&her.

% other right& are (i*ini&he(.

Brayton/ Robert S.Wor&hip +&i) or #+itar

"ir&t (ition 1998.$hir( e)troni) (ition 2009Printe( in the !nite( State& o %*eri)a

AcknowledgmentsI o+( 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(oe( *e ith the (e&ire/ taent/ an( re&o+r)e& toearn to or&hip Hi* in (eeper ay& than I tho+ght po&&ibe. I o+( a&o i'e to than' *ya*iy/ rien(&/ an( a the brother& an( &i&ter& in Chri&t ho ha3e been a great &o+r)e oen)o+rage*ent to *e o3er the year&. I e&pe)iay ant to than' tho&e ho* the 4or( ha&bro+ght in *y path to hep/ tea)h/ in&pire an( a(3i&e *e in thi& en(ea3or, Brittain "raey/#erar( #arno/ anny 6o3oa/ Chri&ty Sha/ 5ohn i)hae $abot/ Chri&topher Whitenton/an( Hora)e Worey.

$hi& boo' i& (e(i)ate( to the 4a*b o #o(/ the ony One in hea3en an( earth ho a&o+n( orthy. ay e a &tri3e to be)o*e orthy to or&hip Hi* ony in &pirit an( tr+th.

Personal Note

%. W. $o7er &tate(/ $o or&hip a))eptaby/ i& to be born ane by the Hoy #ho&t thro+ghaith in the 4or( 5e&+& Chri&t an( ha3e the Hoy Spirit o Chri&t tea)h +& to or&hip an(enabe +& to or&hip. $he a)t that yo+ are rea(ing thi& boo' a*o&t a&&+*e& that yo+area(y ha3e a per&ona reation&hip ith the 4or( 5e&+&. I yo+ (o not/ that probe* i&ea&iy re*e(ie(:He ha& (one the har( part&. He a& born o the 3irgin ary by the HoySpirit/ ea( a &ine&& ie/ pre&ente( Hi*&e a& the pere)t/ ininite atoning boo( &a)rii)eor the &in& o a h+*anity by (ying on a )ro&&/ an( ari&ing ro* the (ea( on the thir( (ay.He no &it& in hea3en by the right han( o #o( the "ather/ an( i )o*e again a& ;ing/4or(/ an( 5+(ge. % that i& et or yo+ to (o i& &in)erey )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 aay ro*:yo+r&in& an( or(ine&&/ an( a))ept Hi* a& yo+r &a3ior an( 4or(. Ha3ing (one thi&/ Ire)o**en( te the or( o yo+r Sa3ior/ in( a gro+p o Chri&tian& to eo&hip ith on areg+ar ba&i&/ &tart ha3ing a (aiy ti*e o or&hip/ prayer/ *e(itation/ an( Bibe &t+(y


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Forward

$here are *any re&o+r)e& on earning to pay *+&i)/ an( there i& )ertainy no &hortage oboo'& o Chri&tian *+&i). B+t or &o*e rea&on/ it i& (ii)+t to in( a boo' on earningChri&tian worship*+&i) on the guitar. I &tr+gge( on)e ith the g+itar hen I a&yo+nger/ b+t a& +n&+))e&&+. $hi& ti*e aro+n( I a& abe to earn it ith the 4or(J& hepor the p+rpo&e o or&hipping Hi*. Seeing a nee( or a boo' to hep other& ith no*+&i)a ba)'gro+n( earn the g+itar/ I praye( the 4or( o+( et *e rite a boo' on the&+bEe)t. He (i(. $he a)t that I ha3e ony been paying g+itar or a &hort ti*e hep& *e tore*e*ber the eary &ti)'ing point&. DonJt orry/ thi& boo' ha& been proorea( by &o*e3ery 'noe(geabe g+itari&t& or a))+ra)y.

$hi& boo' tea)he& the e&&entia& o g+itar& an( *+&i). I )o3er ony the *+&i) )on)ept&that are reK+ire( to earn to pay the g+itar. I )o3er 3ario+& g+itar te)hniK+e&/ b+t *o&tyo)+& on )a&&i)a g+itar te)hniK+e& here I ha3e o+n( the* +&e+. Hoe3er/ i it i& yo+r(e&ire to earn to pay proper )a&&i)a g+itar/ thi& i& probaby not the right boo' or yo+.

$o be &+re/ the )a&&i)a te)hniK+e& are ti*e pro3en an( 3ery orthy o &t+(y or tho&eho inten( to pay the o( *a&ter&. On the other han(/ i yo+ E+&t ha3e a b+rning (e&ire toor&hip yo+r Creator ith hate3er git& He ha& gi3en yo+/ rea( onL

@o+ *ay reey +&e an( (i&trib+te thi& boo' or non-)o**er)ia p+rpo&e&. Pea&e &en( a(onation o M10 or *ore to paypaN)ineno&in.)o* ith a note teing *e ho yo+ ha3ebeen be&&e( by thi& or'. I yo+ tea)h &o*eone e&e ro* thi& boo'/ pea&e en)o+ragethe* to *a'e a (onation too. $han' yo+ or yo+r &+pport.

Hope+y/ I ha3e (one an a(eK+ate Eob o epaining thing& here/ b+t i yo+ ha3eK+e&tion&/ )o**ent&/ )o*pi*ent&/ or )o*paint& aay& ee ree to rite *e.

@o+r &er3ant in Chri&t/

Rob Braytonagnoia/ $ea&*gN)ineno&in.)o*

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Introduction

Music in the Bible

+&i) i& one o the *o&t &ignii)ant ay& that #o( ha& gi3en +& to or&hip Hi*. $he Bibe)ontain& h+n(re(& o &ong& an( reeren)e& to &ong by #o(/ o&e&/ Da3i(/ 5ob/ Soo*on/I&aiah/ 7e'ie/ 6ehe*iah/ Danie/ Ho&ea/ %*o&/ ary/ Pa+/ an( 5e&+&. %ter the 4a&tS+pper/ 5e&+& an( the (i&)ipe& &ang their a&t hy*n together


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that/ &in)e in a pre3io+& atte*pt to pay the g+itar abo+t ten year& earier I (i(nJt e3en earna &inge )hor(. $he 4or( ha& in(ee( been ith *e e3ery &tep o the ay. Hi& Hoy Spiritha& gi3en *e the g+i(an)e/ patien)e/ per&e3eran)e/ an( taent to )arry o+t Hi& i. I 'nothat thro+gh Hi* I ha3e be&&e( Hi*/ an( Hi& other )hi(ren. %n( )ertainy/ I ha3e a&obeen be&&e(. "ran)i& o %&&i&i


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Find a Guitar

!irst" !ind a #rustworth$ !riend

$he ir&t &tep in thi& Eo+rney i& to in( &o*eone ho 'no& abo+t g+itar& an( here to in(the pere)t one or yo+/ an( ho ha& yo+r be&t intere&t in *in(. $hat per&on i&/ o )o+r&e/the 4or( 5e&+&. $he be&t ay to &tart any Eo+rney i& on yo+r 'nee&. $he 4or( 'no&here e3ery g+itar i& in the or(. I it i& tr+y Hi& i or yo+ to earn the g+itar/ yo+ )anre&t a&&+re( that He ha& one area(y pi)'e( o+t or yo+. He i &ho it to yo+


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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 ao yo+ to a(E+&t the

&tring tighter or oo&er to rai&e or oer 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 hen yo+ t+rn the*.

Neck

$he ne)' gi3e& the &tring& a pa)e to &tret)h/ the ret& a pa)e to ie/ an( the g+itari&t apa)e to pay. In&i(e the ne)' on &tee-&tringe( g+itar& i& a tr+&& ro(. It a((& &tine&& tothe ne)'. So*e tr+&& ro(& are a(E+&tabe to gi3e the +thier a ay to )orre)t *inor ne)'arpage.

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& reati3e to the ne)'

(eter*ine& the a)tion 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 ee)t/ the 0 ret.

trings

String& 3ary or ea)h g+itar an( ea)h g+itari&t. Ca&&i)a g+itar& +&e nyon &tring&. $heba&& &tring& are ire o+n( to a(( *a&&. $he etra *a&& ao& the )ore &tring bethinner/ an( thereore ea&ier to pay. %)o+&ti) an( ee)tri) g+itar& +&e &tee &tring&.

%


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Guitar 'asics

#uning

$he pro)e&& o t+ning a g+itar p+t& ea)h &tring in a 'non &tate o pit)h.

(lectronic #uner

e)troni) t+ner& are the ay to go or no3i)e payer&. $+ning by ear ro* reati3e pit)he&an( har*oni)& are or a(3an)e( payer&. % K+art7 ee)troni) t+ner )an be p+r)ha&e( orno*ina )o&t at (i&)o+nt *+&i) &tore&. 4earning to pay a g+itar i& (ii)+t eno+gh itho+tha3ing to on(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 ee)troni)t+ner i& a goo( in3e&t*ent or the beginner an( eperien)e( payer ai'e.

,elative Pitches

$he tra(itiona *etho( o g+itar t+ning i& by +&ing reati3e pit)he&. In thi& *etho(/ yo+ ir&t

t+ne the o &tring/ an( then t+ne the % &tring reati3e to the &tring by retting the &tring on the ith ret. $hi& pro)e&& i& repeate( on the re&t o the &tring&/ e)ept the B&tring/ hi)h i& t+ne( reati3e to the # &tring/ on the o+rth ret. With reati3e t+ning an(har*oni) t+ning/ the &tring& are a(E+&te( or hat i& )ae( 7ero beat. Dete)ting thi& 7erobeat pheno*ena reK+ire& &o*e pra)ti)e to get it right. $he reati3e pit)he& t+ning *etho(i& the *o&t +&e( yet ea&t a))+rate *etho( o a. #et an ee)troni) t+ner.

+armonics

$+ning by har*oni)& i& e3en *ore )o*pi)ate( than reati3e pit)h t+ning. $hi& *etho(reie& 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 net &tring/ e)ept or the &e)on( &tring/ hi)h i& the thir( har*oni) o the&ith &tring/ an( the ir&t &tring/ hi)h i& the o+rth har*oni) o the &ith &tring. On the p+&

&i(e/ thi& *etho( i& the *o&t a))+rate o a. Propery appie(/ thi& *etho( g+arantee& thatat ea&t o+r &tring&


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Notes o% the !ingerboard

On)e yo+ )orre)ty t+ne the g+itar/ yo+ then 'no the note& o ea)h &tring. "ig+re >&ho& the note& or ea)h &tring. Whie earning ea)h note on ea)h &tring i& not reK+ire(/ it(oe& hep in pi)'ing o+t note&. Here are &o*e ai(& in earning the ingerboar(,

%n ea&y ay to re*e*ber the open note& i&,

3ery%nge De)are& #o( Be ate(L

$hin' o the high / B an(


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Figure 3 - Notes of the Keyboard1

Figure 4 - Notes of the Fingerboard ea!h fret is a half-step"

Position

+olding the Guitar

$here are three *ain ay& 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 ri&tto rotate into a po&ition that i& e&& i'ey to )a+&e Repetiti3e Stre&& InE+ry


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DonJt ho( the ne)' i'e a ba&eba bat. Pay ith yo+r th+*b pre&&e( in the *i((e othe ne)'. $hi& reK+ire& )on)entration. $he nat+ra ten(en)y i& to ant to grab thene)' i'e a ba&eba bat. $he rea&on i& too(. $he proper po&ition ee& rong/ an(in the beginning/ yo+r th+*b i& ea'. $o *a'e *atter& or&e/ &o*e a))o*pi&he(


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Figure # - $tandard Notation

Clefs

With a itte i*agination/ yo+ )an &ee the trebe )e/ a&o )ae( the # )e/ &y*bo i& a&tyi7e( D &itting on top o a #. Care+ &t+(y +rther re3ea& that the D i& &itting on top othe D ine/ an( the # i& rappe( aro+n( the # ine. With a itte *ore i*agination yo+ )an&ee that the ba&& )e/ a&o )ae( the " )e/ &y*bo i& a)t+ay the etter ". $he to (ot&o the ba&& )e &y*bo are on either &i(e o the " ine. $he trebe )e an( ba&& )e

together or* the gran( &ta/ a&o )ae( the piano &ta. $he yri)& 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 ti*e o ea)h beat. $he*eter in the ea*pe in(i)ate& o+r K+arter note beat& or ea)h *ea&+re. $he top n+*beri& generay 2/ / >/ or . $he botto* n+*ber i& generay 2/ >/ or 8.So*eti*e& the >G> an( 2G2 *eter& are abbre3iate( ithcor C.

In g+itar notation/ the&e &y*bo& are a&o +&e( to &igniy + an( ha-barr.

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Meter Count Te*po +ses

22

$o ha note& per*ea&+re,Oneto oneto

So to *e(i+* So *ar)h

2

>

$o K+arter note& per

*ea&+re,Oneto oneto

e(i+* to a&t +i)' ar)h

>

$hree K+arter note& per*ea&+re,Oneto three

So to a&t #enera p+rpo&e/ Wat7>

"o+r K+arter note& per*ea&+re,>

Oneto threeo+r

So to a&t #enera p+rpo&e

8

Si eighth note& per*ea&+re,Oneto three %ouri3e &i

Or

Onean( to an( three an(

e(i+* to a&t Sa*e a& G> ti*e/ b+tb+&ier. So*eti*e& it hep&to thin' o ea)h *ea&+re oG8 ti*e a& to *ea&+re& o

G> ti*e.

Table 2 - Common %eters

%nother a)tor o the rhyth* i& the te*po. $he te*po in(i)ate& the n+*ber o beat& per*in+te. % a&t &ong *ight ha3e 120 beat& per *in+te. % &o &ong *ight ha3e 0 beat&per *in+te. When yo+ are ir&t earning to pay/ try to 'eep a& &tea(y a beat a& po&&ibe.$here i& a ten(en)y to pay the ea&y part& a&ter than the har( part&/ or not to ho( thenote& in reati3e ti*e ith ea)h otherT )+tting the ong note& too &hort/ an( ho(ing the &hortnote& too ong. %ter yo+ earn to pay a itte/ 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 paye(. $hepit)h i& (eter*ine( by the reati3e 3erti)a po&ition o the note on the &ta. $he note& onthe ine& o the ba&& )e G> ti*e/ a ha note i&to beat&. % (otte( ha note i& then three beat&. $hat i&/ 2 U 1 . 4i'ei&e/ a (otte(K+arter note i& one an( one-ha beat&. So*eti*e& )on&e)+ti3e eighth note& arebea*e(. Con&e)+ti3e &iteenth note& )an be (o+be bea*e(.

>Be &+re to ony a))ent the o(( beat&. Contin+o+& a))ent on the e3en beat& )an )a+&e a backbeat:theo+n(ation o ro)' *+&i) rhyth*.?So*e hy*na& +rther &hape the note& a& triange&/ (ia*on(&/ et)./ to a&o &igniy the reati3e pit)h.

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,a*e ,ote Tied -est 0ti*e >ti*e 1

ti*e

2otted

Whole

w

.w

Uh beat& beat& 12 beat&

Whole w 2 beat& > beat& 8 beat&

2otted

+al%h

.orH

.h

Uq

1 V beat& beat& beat&

+al% hor H 1 beat 2 beat& > beat&

2otted

3uarter

q

.or Q. qU e beat 1 V beat& beat&

3uarter qor Q V beat 1 beat 2 beat&

2otted

(ighth

e.or E. eU x 4/1beat beat 1 V beat

(ighth

e

or

E

X beat V beat 1 beat

i5teenth xorX 6/1beat X beat V beat

Table 3 - Note and &est 'urations

#ablature

Stan(ar( *+&i)a notation (eine& the rhyth*/ pit)h an( (+ration or the note& o a &ong/b+t it (oe& not (eine hi)h &tring& the&e note& &ho+( be paye(. $hat i& here tabat+re)o*e& in. #+itar tabat+re )on&i&t& o &i parae ine&. a)h ine &igniie& a &tring. On theine& are ritten n+*ber&. $he&e n+*ber& &igniy hi)h ret i& to be paye(. $he n+*ber

0 &igniie& that the &tring i& paye( open


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Figure ) - *ead $heet +,ample

&hord 2iagrams

So*e *+&i) ritten or g+itar )ontain& )hor( (iagra*& abo3e the &ta/ &+)h a& in theea( &heet ea*pe. Beare o *+&i) ritten in at 'ey& 2.

Figure - .ymnal +,ample

&hord Basics

% )hor( i& a gro+p o to or *ore note& that are paye( to &+pport the *eo(y o a &ong.$he har*ony o *o&t hy*n& i& ba&e( on three note& )ae( the aEor $ria(. Chor(&

1%


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*ainy ei&t in the har*ony &trata. "or the *o&t part/ beginning g+itari&t& E+&t earn to pay)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*inoogy i& +&e( ith'ey& an( )hor(&. Within a 'ey/ there are ith/ &e3enth/ thir(/ et)./ )hor(&. 4i'ei&e/ ithina )hor( there are a&o ith/ &e3enth&/ thir(&/ et)./ note&. $o hep (i&ting+i&h the )hor(& o

a 'ey 3er&+& the note& o a )hor(/ the )hor(& o a 'ey are ritten in Ro*an n+*era&


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Seventh Note of a Chord

$here are to 3arietie& o the &e3enth. $he *aEor &e3enth


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.ariation ction to a *a/or triad0a*ple for

2 C 0Minor "at the thir(


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ony the ba&& &tring& / ?/ an( =/ I pay& the &tring/ pay& the 2 &tring/ an( % pay& the1 &tring. 4et *e repeat that. "or )a&&i)a &tye paying


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in"in" 'asics

Whether yo+ inten( ony to &ing to the 4or( in pri3ate or to ea( other& in or&hip/ yo+&ho+( or' on i*pro3ing yo+r &inging. $he 'ey to &inging i& re*e*bering to ho* yo+are &inging. I yo+ are not &inging to the 4or( hen yo+ pra)ti)e/ (onJt epe)t Hi* to &ho+p hen yo+ are &inging in a gro+p. When yo+ pra)ti)e/ )on)entrate on being reae(/)ontroing yo+r breath/ an( ann+n)iation. !&e 3o)a eer)i&e& to pra)ti)e &)ae& an(inter3a&. @o+ i be a*a7e( at ho e 3o)a eer)i&e& hep to i*pro3e yo+r &inging.

,ela5ation

It i& (ii)+t to ha3e a goo( tone hen yo+ are ten&e. Being reae( )an a&o hep yo+rg+itar paying/ an( )an *a'e the hoe eperien)e a greater be&&ing. Start yo+r pra)ti)eith prayer. Cear yo+r *in( o the or(/ an( o)+& yo+r *in( on #o( an( *a'ingbea+ti+ or&hip *+&i) to Hi*. Pray or pea)e in yo+r &o+ an( &pirit. %&' #o( to hepyo+ rea &o that yo+ )an better o)+& on or&hipping Hi*. Ha3ing (one thi&/ it i& goo( torea yo+r *+&)e&. $o (o thi&/ ir&t get into a )o*ortabe po&ition. $a'e &e3era (eep

breath&/ inhaing ro* the (iaphrag*/ an( etting the air e&)ape &oy. $hen/ &tarting ithyo+r eet an( or'ing yo+r ay a the ay +p yo+r bo(y/ )en)h an( rea ea)h *+&)e. Iyo+ are reay &erio+& abo+t i*pro3ing yo+r &inging/ try an aerobi) or'o+t ooe( by&tret)hing eer)i&e&. So*e epert& re)o**en( yo+ a3oi( pra)ti)e atogether +ne&& yo+are reae(. Cear yo+r *in( o the or( an( o)+& on &inging prai&e& an( or&hip to the4or(.

Breath and Pitch &ontrol

So*e peope ha3e a nat+ray p+re toneT other& ha3e a ra&py 3oi)e. $he &a*e Creatorgi3e& both. $he 'ey to pea&ant &inging i& not the K+aity o the 3o)a )or(&/ b+t rather the&tea(ine&& o breath an( )orre)tne&& o pit)h o hat i& &+ng. When yo+ pra)ti)e/ &tri3eor a )orre)t an( &tea(y pit)h.

Here are &o*e ba&i) breathing eer)i&e&. ;eep yo+r ne)' &tret)he( o+t by po&itioningyo+r hea( &+)h that the top o yo+r hea( i& a& ar aay ro* the oor a& po&&ibe. ;eepyo+r rib)age epan(e( an( yo+r &ho+(er& o/ an( breathe ro* yo+r (iaphrag*. Inhae&ienty ith the ba)' o yo+r throat an( Ea in a &ight yan po&ition. hae &oy byboing a &trea* o air. Repeat thi& &oy +p to ten ti*e&. 6et/ ta'e a (eep breath an(&ienty pant &*a &tea(y breath& in an( o+t. Repeat abo+t tenty pant& an( ehae)o*petey. Re&t/ an( repeat +p to i3e ti*e&.

!&e 3o)a ar*-+p&:&inging +p an( (on the &)ae&:to &trengthen yo+r 3o)a abiitie&.%& yo+ pra)ti)e the 3o)a ar*-+p&/ +&e ah ba&e( &yabe&


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Gettin" tarted

We/ eno+gh *+&i) theoryQetJ& get payingL $he 'ey& to earning to pay are &+**e( +pin the&e )are+y &ee)te( n+gget& o a(3i)e,

"or the ir&t e (ay&


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*ain" Grace

So*eti*e& )ae( the Chri&tian 6ationa %nthe*/ %*a7ing #ra)e i& the one o the *o&tre3ere( an( re)ogni7e( &ong& in the or(. It a& ritten by 5ohn 6eton/ a )on3erte(&a3e tra(er ho ater be)a*e an aboitioni&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 ee*ent& o any &ongthat yo+ i e3er earn, )hor( pattern&/ )o+nting/ &tr+**ing/ arpeggiating/ an( tabat+re.Whie it *ay &ee* that an inor(inate a*o+nt o ti*e i& &pent earning E+&t thi& one pie)e/ Ia&&+re yo+ that it i& ti*e e &pent. 4earn ea)h &tep a& be&t a& po&&ibe.

o&t hy*na& ha3e thi& ritten in the 'ey o #. $hi& arrange*ent9i& in the 'ey o C. It+&e& o+r )hor(&, C


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Ama9ing Grace

4 & & !: % - a7ing gra)e ho &eet the

& & & G

&o+n( that &a3e( a ret)h i'e *e.

G; & & ! to 1 an( &ing/ &eet the.

. Change ba)' to the C )hor(/ &tr+*/ an( &ing/ &o+n( that.

A. Str+* an( &ing/ &a3e( a.

8. Str+* an( &ing/ ret)h i'e.

9. Change to a # )hor(/ &tr+*/ an( &ing/ *e.

10. Change to/ an( &tr+* a #A )hor(.

11. Change to a C )hor(/ &tr+*/ an( &ing/ I on)e a&.

12. Str+* an( &ing/ o&t. B+t.

1. Change to an " )hor(/ &tr+*/ an( &ing/ no a*.

1>. Change to a C )hor(/ &tr+*/ an( &ing/ o+n(/ a&.1?. Change to an %*A )hor(/ &tr+*/ an( &ing/ bin( b+t.

1. Change to a # )hor(/ &tr+*/ an( &ing/ no I.

1A. %n( or the ina )hor(/ )hange to a C )hor(/ &tr+* &oy/ an( &ing/ &ee.

1 2

6

0

4

:

Z

an( ?&tring&.

. "ret the 2 &tring ith theinger on the ir&t ret.>. Do not pay the &tring.

G to G; 1. Pa)e theinger on the 1 &tring/ ir&t ret.2. 4it theinger.

G; to & 1. o3e theinger to the 2 &tring.2. o3e thean(inger& to the > an( ?

&tring&.

& to

Am;

1. 4it theinger.2. Do not pay the &tring.

Am; toG

1. 4it theinger.2. o3e theinger to the ? &tring.. Pa)e theinger on the &tring.>. Pa)e theinger on the 1 &tring.

)$


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On)e yo+ ha3e *a&tere( one &tr+* per *ea&+re/ try the G> Si*pe Str+*. $o earn thi&&tr+*/ &tart repeating/ onean( to an( three an( onean( to an( three an(/ an( &o on.

%& yo+ are )o+nting/ pay,

One %))ente( &tr+* (on%n(

$o 4ight &tr+* +p%n( Str+* (on$hree 4ight &tr+* +p%n( Str+* (on

Figure 1 - 34 $imple $trum

$hi& oo'& *+)h ea&ier than it i& to (o. When I ir&t earne( thi&/ I )o+( not beie3e ho)+*&y I et. %ter a/ ho har( i& it to )o+nt to three[ $hi& &ho+( be i'e a'ing an()heing g+*/ right[ "ort+natey/ ater a e &e&&ion&/ I began to get the hang o it. 6o I)an e3en &tr+* an( )he g+* itho+t oo&ing a beatL

%ter earning to pay %*a7ing #ra)e ith the G> Si*pe Str+* rea&onaby e/ net earn

the G> Si*pe %rpeggio >=. $o pay the G> Si*pe %rpeggio a&&+*e the)a&&i)a po&ition ith yo+r right han(. $hat i&/ the I


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eace 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(ne& i& that on)e yo+ ha3e earne( the&e to &ong&/ yo+ i ha3e (e3eope( the &'i& to

ta)'e neary any &ong.

Per%ormance Notes

$he )hor( pattern i& ba&e( on D/ %/ an( *. In the 'ey o D/ % i& the ith an( ? &tring&. Hoe3er/ in thi& arrange*ent/ the&e &tring&are not paye( or the arpeggiate( * )hor(. O;/ b+t &ho+( yo+ ret the&e &tring&

anyay[ $he an&er i& ye& an( no. @e&/ yo+ &ho+( en&+re the &tring& are not aoe( to&+&tain ro* pre3io+&y paye( )hor(&. $hi& )an be (one by *+ting the &tring& ith thehee o yo+r right han(. 6o/ it i& not ab&o+tey ne)e&&ary to ret +npaye( &tring&. It isgoo( or*/ hoe3er/ to ret the*:e&pe)iay tho&e ti*e& hen yo+r right han(a))i(entay pay& a rong &tring. %&o/ i yo+ (o not ret the &tring&/ yo+ i not earn topay the * )hor(. I highy re)o**en( retting +npaye( &tring&.

$o pay the % )hor(/ &tagger yo+r inger& at an ange rather than trying to )ra* a in )o&eto the ret. Hope+y by no yo+r inger& are &trong eno+gh to be abe to (o thi&. I yo+ringer& are E+&t too thi)' to a it/ try +&ing/ oringering in&tea(. $he&e areea&ier to pay/ b+t are *ore (ii)+t to )hange to other )hor(&. I yo+r inger& are &o thi)'that neither o the&e *etho(& or'/ try +&ing E+&t the / or e3en theinger11to barr/that i&/ to &i*+taneo+&y ret the 2/ / an( > &tring& ith the &inge inger. $hi& i& K+ite a)haenge at ir&t/ b+t it i )o*e ith pra)ti)e. @o+ *ight a&o )on&i(er a i(er ne)'e(g+itar &o that the &tring& are a itte *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*pi&he( byrotating theinger (on to te*porariy barr the 1 an( 2 &tring&


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8ariations

$hi& hy*n i& ba&e( on #aation& ?,22, $he r+it& o the &pirit are o3e/ Eoy/ pea)e/ et). $hi&&ong )an be aoe( to repeat or ea)h o the r+it&. @o+ *ight e3en thro in a 3er&e orepeate( ae+ia&. 5+&t be &+re to &tart an( en( ith pea)e.

Fer&e 1, Pea)e i& oing i'e a ri3er...

Fer&e 2, , %e+ia/ ae+ia/ (repeat)...

Fer&e ?, Pea)e i& oing i'e a ri3er...

1 2

6

0

4

:

1 2 B

6

0

4

:

Worship Music 4 Guitar

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