Beruflich Dokumente
Kultur Dokumente
Rev. Gary
Davis
Taught by
Ernie Hawkins
Index
Crucifixion ................................................................................ 44
2
Explanation of the Tab System
Learning from listening is unquestionably the best way, the Generally for fingerpicking styles you will be playing the thumb,
only way that suits this kind of music. You are setting the notes index and middle fingers of your picking hand. To indicate the
down for a record of what happened, a record that can be studied, picking finger in tab the stems go up and line up down from the
preserved and so on, a necessary and useful companion to the numbers.
recordings of the actual sounds. I keep thinking of this as I
transcribe; if you could do it, it would be good to have a legend A. A stem down means that your thumb strikes the note.
across each page reading : Listen to the record if you want to learn B. If a stem is up, your index or middle finger strikes the note.
the song. The choice of finger is left up to you, as your fingers will
Hally Wood (taken from the Publishers Foreword dictate what is most comfortable, especially when playing
to the New Lost City Ramblers Songbook.) a song up to tempo!
C. The diagram below shows an open sixth string played with
Copyright 1965 Oak Publications
All rights reserved. Used by permission.
the thumb followed by the second fret of the third string
played with the index or middle finger:
1
2
These words are most suitable for introducing the tablature 3 2
4
system, for tablature is just a guide and should be used in 5
conjunction with the recordings. Tablature is not like music 6 0
notation, however the combination of tab and music in an
arrangement forms a complete language. Used together with the In most cases the thumb will play an alternating bass
original recordings they give a total picture of the music. pattern, usually on the bass strings. The index and middle
The tab system does not attempt to show rhythms or accents. fingers play melodic notes on the first, second and third strings.
These can be found on the music or heard in the recordings. Music Please remember, this is not a rule; there are many exceptions.
notation tackles these articulations to a degree, but the overall In fingerpicking there are two picking styles: Regular
sensations, the feel and the soul of music cannot be wholly picking and pinching two notes together. A pinch is shown
captured on the written page. In the words of the great Sufi Hazrat in the tab by a line connecting two notes. A variation of this can
Inayat Khan: The traditional ancient songs of India composed also be two treble notes pinched with a bass note. Follow the
by great Masters have been handed down from father to son. The examples below from left to right:
way music is taught is different from the Western way. It is not
1) 2) 3) 4) 5) 6)
always written, but is taught by imitation. The teacher sings and
the pupil imitates and the intricacies and subtleties are learned by 1 1
imitation. 2 3 1
3 3
This is the theme Ive tried to interpolate into the tablature. 4
5
3 3
Tablature is the roadmap and you are the driver. Now to the tab: 6 0 1 1
Each space indicates a string. The top space represents the first
string, second space the second string, etc. A zero means an open 1) The open sixth string is played with the thumb.
string, a number in the space indicates the fretted position, for 2) The first fret of the sixth string is pinched together with the
instance a 1 in a space indicates the first fret of that string. third fret on the third string. The sixth string is played with
the thumb, the third string with the index finger.
1
3) The thumb strikes the third fret of the fourth string.
2 4) The first fret/sixth string is played with the thumb; its
3
4 pinched with two notes in the treble. The index and middle
5
6 fingers strike the first fret/first string and the third fret/
second string.
5) The next note is the index finger hitting the first fret/second
In the diagram below the zero is on the second string and string.
indicates the open second string is played. The 1 is placed on the 6) Lastly, the bass note is played with the thumb on the third
third string and signifies the first fret of the third string. Likewise, fret/fourth string.
the 4 is in the fourth space and indicates the fourth fret of the
fourth string. There are certain places in blues and contemporary guitar that
call for the use of either strumming techniques or accented bass
1 notes. The tab illustrates these as follows:
2 0
3 1 1) 2) 3) 4) 5)
4 4
5
6
E
1 0 0 0
2 0 0 0
3
4
1 y 1
2 i 1 t
5 2 2
6 0 0
3
1) The thumb hits the open sixth string and the second fret on 3) HARMONICS: Symbolized by a dot (). To play a harmonic:
the fifth string should also sound. For example, play an E gently lay your finger directly above the indicated fret (dont
chord. Now strike the open string and vary the force of your press down!) The two notes in the example are both
attack. Try hitting it hard enough so that the fifth string harmonics. The first on the twelfth fret/third string is
vibrates as well. This technique is very important for played with the index/middle finger, while the second
developing a full sound and the right alternating bass notetwelfth fret/fourth stringis played with the thumb.
sound.
4) SLIDE: Shown with a dash (). Play the second fret/sixth
2) Next the arrow notation indicates a brush and the arrow string and then slide up to the fourth fret of the sixth string.
head indicates the direction of the brush. This is a continuous movement: the string is struck once
with your thumb.
A. If the arrowhead is pointed down, the hand brushes up
towards the sixth string. 5) PULL-OFF: P designates a pull-off. Fret both the sev-
B. If pointed up, the hand brushes down towards the first enth and ninth frets on the second string. Play the ninth fret
string. with your index/middle finger and then quickly remove it
C. The number of strings to be played by the brush is in the same stroke, leaving the seventh fret/second string.
shown by the length of the arrows. For example, this Pull-offs are generally in a downward direction.
arrow shows a brush up toward the sixth string, but
indicates to strike only the first, second and third strings. 6) In certain cases other specific symbols are added to the tab,
D. The brush can be done with your whole hand, for instance:
index finger or middle and ring finger. Let comfort plus A. For ARTIFICIAL HARMONICS an X is placed after the
a full and right sound guide your choice. fretted position.
B. For SNAPPING a note an indication may be given with
3) The third set of notes again shows the sixth string/open a symbol or the written word.
bass note played with the thumb and being struck hard
enough to make the fifth string/second fretted position Many times these special techniques are combined, for in-
sound. stance putting a pull-off and a hammer-on together. Coordination
of your fretting and picking hands will be complex initially, but the
4) Once more an arrow pointed downward indicates a brush end results are exciting and fun to play.
up. This example forms an E chord and the brush up
includes the first, second, third and fourth strings.
5) The last set of notes has an arrow pointed upward, indicat- PICKING HAND POSITION FOR FINGERPICKING STYLES:
ing a brush downward striking the first, second, and third The Classical and Flamenco schools have strict right-hand rules,
strings. however for this style of acoustic fingerpicking there are NO
RULES, only suggestions. Your right hand position should be
dictated by comfort, however in observation of many well-known
Here are several special effects that are also symbolized in
fingerpickers I found one hand position similaritythey all tend to
tablature:
rest their little finger and/or ring finger on the face of the guitar.
1) 2) 3) 4) 5) This seems to help their balance for accenting notes and control
of the guitar. Experiment with this position: it may feel uncomfort-
1 7 able at first. I ask my students to perfect this position and then
2 8 W 9 P7
3 12 compare the sound to when their finger(s) were not placed on the
4 12 face of the guitar. They usually find the sound is greatly improved
5 2 3H
6 2 4 when some contact is kept with the guitar face.
I hope you will feel at home and comfortable with the tablature
2) WHAM: Designated by a W. In the example the eighth
and musical notations. Remember, these are only road maps
fret/second string is whammed and played with the
indicating where and how you should place your fingers. The
seventh fret/first string. Both notes are played together
playing and musical interpretation is up to you.
with your index and middle fingers respectively. The
whammed note is stretched. We do this by literally
bending the note up. We can wham the note up a half
tone, full tone, etc.
4
Keep Your Lamp Trimmed and Burning
Em C
# 4 # .
J
& 4
INTRO
7 7 6 7 7 7 10 7 0 3 5 3 0
8 8 8 8 10 8 3 0
9 9 9 9
0
2
0 2
3
B
j Em Em
#
& #
1st CHORUS
0 0 3 3 3 5 3
0 0 2 -5 2 -5 2 -5 5 3 0
2
1
0
2
1 -4
2 -5 5
1 -4
2 -5 5
1 -4
2 -5 5
2
2 0
D Em Em
#
&
3 7 10 7 0 3 3
3 3 0 3 5 8 10 8 0 3 5 2 -5
2
4
2
4
2
4
9 0 4
5 5
1 -4
2 -5 5
C B Em
# j
& #
3 5 3 3 5 3 0 0 0
2 -5 5 3 0 3 0 0 0
1 -4
2 -5 5 0
2 2
1
0
2
0 2 2
3 2 0
5
Em B
# #
&
VERSE
7 7 7 7 7 7 10 7 0
8 8 8 8 8 10 8 0 0 10 10
9 9 9 9 9 0 8
9
8
9
7 7
# Em
&
7 10 7 0 7 7 7 7 12 10 7 0
10 8 3 8 8 8 10 8
9 9 9
0 0
C B Em Em
j
#
&
n # 2nd CHORUS
3 5 3 0 0 0 3 3
3 0 0 0 2 -5 2 -5
0
2 2
1
0
2
1 -4
2 -5 5
1 -4
2 -5 5
0 2 2
3 2 0
D Em
#
&
3 5 3 3 7 10 7 0
2 -5 5 3 0 3 3 0 3 5 8 10 8 3
1 -4
2 -5 5
2
4
2
4
2
4
9
6
Em
#
&
3 3 3 5 3 7 10 7 0
5 2 -5 2 -5 5 3 0 8 10 8 0
4
5 5
1 -4
2 -5 5
1 -4
2 -5 5
9
0
0
B
j Em Em
#
& #
1st VARIATION in CHORUS
0 0 3 5 3
0 0 0 3 -5 5
2
1 2
0 0
2
2 -4
3 -5 5
0
2 2 0
0 3 0 0
G Em
#
&
7 10 7 0 0
0 8 10 8 0
2 0
0
0
9
2 0 0
0
2
2 0 2 0
3 3 0
j C B Em
j
#
&
# J
3 5 3 0 3 5 3 0 0 0
3 -5 5 3 0 0 0
2 -4
3 -5 0
2 2
1
0
2
0 2 2
0 0 3 2 0
7
Em D
#
& #
j #
2nd VARIATION in CHORUS
2 2
0 1 1
1 2 0 1 2
0 2 2 0
4 2 0
2 2
0 2
2
0
Em
#
& # n
#
0
0
2 0 1 2 0 1 2
0 2 2 0
4 2 0
2 0 2
3 0 0
C Em B Em
# j
& ggg
# # ggg
gg
ggg 00
1
0
0
0
0
2 ggg 0
2 2 1 ggg 22
3 3
3
0 1 2
g0
Chorus:
Keep your lamp trimmed and burning (3x)
For this old world is almost done
8
Samson and Delilah
G Gm D C
# 4 U U
j
64 .. .. j 44 b
b
& 4
INTRO
3 3 3 0 0 3 0 0 3 5 6 5 3
3 3 3 0 3 0 3 3 8 7 5
4
5
4
5
4
5
4
5
4
5
4
5
7
8
5
0
5
5
5 5 5 5 3 3 10
3 3 3 3 3 3 10
G C
Gm D G U
# n b
& b
10 8 6 5 3 10 12 15 3
8 8 8 7 3 5 12 12 3
10
9
9
10
7
8
5
0
4
5
5 12 12 4
5
10 5 5
8 3 3
G
#
& n
# #
J
1st CHORUS
3 3
3 3
4
5
4
5 0 0 5
0
5
0
5
0
3 2 0 0
1 2 1 2 1 -2
3 3 3
C jG
# .
& #
3 3 5 3 3
3 3 5
4
5
4
5
5
5 5 5
3 4
5
0
5
0
2 0 0
3 0 2
3 3
9
j
C
#
&
#
J
3 3 7 0 3
3 3 8 8 5
4
5
4
5 0 2 4 5
7 5
5
1 -2 3 3 10
3 3 3
G C
Gm
b
D
G
# n ww
& b ww
w
w
10 8 6 5 3 3
8 8 8 7 3 3
10
9
9
10
7
8
5
0
4
5
4
5
10 5 5
8 3 3
G j
..
#
&
J
VERSE BEHIND VOCAL
3 3 3 3
.. 3
4 0
0 5 5 2 5 2 0 0 0 2 4 5 0
2 5 2 2 -5 2
3 3
j
#
..
&
J
3 3 3 3
3
4 0
3
4 ..
5 5 2 5 2 0 0 0 5 0
5 2 2 -5 2 2
3 3
10
(last time) j
#
&
J
3 3 3 3 3
3 3 3 5
5
4
5 2 5
0
2 0 0 0 2 4
4
5
5 2 2 -5
j
# b b
&
(to Chorus)
6W 6W 3 5 P3 6 3 3
3 5 3
5
4
5
4
5 0
2
3
G j
# ..
&
1st GUITAR BREAK
3 3 0 3 0 3 3 0 3
3
4
3
4
3
.. 3
4
3
4 0
5 5 5 5 5 5 2 5 2 0 0
5 2
j
#
&
3 0 3 3 3 0 3
3
5 0 2 4 5 0 5
4
5 2 5
0
2 0 0
2 5 2
3
11
j
#
&
J
3 3 0 3 0 3 3 0 3
3 3 3 3
0
4
5
4
5 5 5 5
4
5 2 5
0
2 0 0
3 -5 2 5 2
3
j
#
&
3 0 3 3 3 3
3 3
5 0 2 4 5 0 5
4 4
2
3
1. 2.
# . ww
& . ww
J
3 3 0 3 0 3
0
3
4
3
4
3
.. 3
4
5 2 0 0 0 5 5 5 5 5
2 3 -5 2
3
G j
#
&
2nd GUITAR BREAK
3 3 0 3 3 0 3 3 0 3 3 0
3 3 0 3 3 3 3
4
5
4
5
4
5
4
5
4
5
4
5 2 5
0
2 0 0 5 0 2 4
5 2
12
j
#
&
J
3 3 3 0 3
3
5 0 5
4
5 2 5
0
2 0 0 0
2 5 2 3 -5 2
3 3
j
#
&
3 3 0 3 3 0 3 3 0 3 3 0
3 3 0 3 3 3
4
5
4
5
4
5
4
5 5
4
5 2 5
0
2 0 0 5 0 2 4
5 2
.. . . b
# J J
&
3 12 12 12 10 12 12 10 10 12 6W 3 0
12 12 12 12 12
5 0
12 12 12
0
3
G j
# b #
j #
&
#
(CHORUS)
3 3 3 6W 3 5 3 7 6 7 7
3 3 3 8 7 8
4
5
0 4
5
4
5
0 7
5
6
4 5
7
1 2
3 3 3
13
j j C G
# #
& #
#
J
7 6 7 0 3 3 5 3 3 3
8 7 8 8 3 3 5 5 3
6
4
7
5 5
4
5
4
5
5
5
5
5
4
5
3 4
5
0
3 0
3 3
# b # j
& #
3 3 6W 3 5 3 7 6 7 0
3 3 8 7 8
5
0
2 0 0
4
5
4
5 0
7
5
6
4
7
2
3 3
C G C
Gm
b
D
G
# n b
ww
ww
&
w
3 10 8 6 5 3
5 8 8 8 7 3
5
5
10
9
9
10
7
8
5
0
4
5
3 3 10 10
3 10 8 3
14
SAMSON AND DELILAH
Yeah, you read about old Samson, told from his birth
He was the strongest man that ever had lived on Earth
So one day while Samson was a-walkin along
He looked on the ground and saw an old jawbone
He stretched out his arm, God knows, it broke like flint
When he got to movin ten thousand was dead
(Cho.)
15
Children of Zion
Am j . j j
#
& 44
#
#
J
J
CHORUS
5 5 5 8 5 0 4 -5 5 5
5 8 8 4 -5 5 8 5
2 -7
5
7 7 7 7
4 -5
6 -7
5
7
5
7
0 0 0 0 0
. j C Am
&
8 8 5 5 0 3 P0
8 1 3 P1
7 7 7
0
2 2
2
0 0 0 3 3 3 0
A Am Am
& b
b n
n
..
# #
J J J
VERSE
1
1
1
1
1
2
1
2
1
2 ..
1 1 2 2
3 3 3 0 0 0
2 -5 2 -5 2 -5
&
#
J J
2 0 2 0 2 0 2 0
0 0 3 3 3 3 0
2 -5 2 -5 3
16
C Am A Am
& b b n n
0 3 P0
1 1 3 P1 1 1 1 1 1
0
2 2 2
2 1
1
1
1
2 2
2
2
2
3 3 3 3 0 3 3 3 0
Am j j
ggg
& #
J J
1st VERSE
BREAK
5 5 5 5 ggg 85 5 0 8 5 0 8
5
5
5
5
5
5
5
5 g5
2 -7 4 -7
0
C Am
&
0 0 3 P0
3 P1 1 1 3 P1
2 0
2 2 2
2
3 3 3 3 0
3
Am
A Am
& b
b n
n
J
2nd VERSE BREAK
12 12 12
1 1 1 1 1 13 13 13
1
1
1
1
2 2
2
2
2
2 -14 14 14 14
3 3 3 0
17
&
J
12 12 15 12 15 12 0
13 13 13 13 3 P1
9 -14 14 14 14 2
C Am A Am
&
b b
n n
0 3 P0
1 1 3 P1 1 1 1 1 1
0
2 2 2
2 1
1
1
1
2 2
2
2
2
3 3 3 3 0 3 3 3 0
Am
&
3rd VERSE BREAK
2 0 2 0 2 0 2 0
3 2 0 3 2 0 3 2 0 3 2 0 3 3 3 3 0
3 3 3
C Am A Am
& b b n n
0 3 P0
1 1 3 P1 1 1 1 1 1
0
2 2 2
2 1
1
1
1
2 2
2
2
2
3 3 3 3 0 3 3 3 0
18
CHILDREN OF ZION
Chorus:
I rapped and I rapped in the mercy of the door
Til my head got wet with the midnight dew
Feel like children of Zion
I feel like children of Zion, amen
Lord, I feel like children of Zion, amen
19
Oh Glory, How Happy I Am
j .
G G D C D G
# 4 j j
& 4
3 0 0 3 7 7 5 0 3 5 7 7
3 3 3 0 3 3 3 8 8 8
4
5 5 0 2
4
5 5
7 5
0 2 4 5
7
5
3 3 3
C G A D G
# j j . .
&
3 0 0 7 5 3 7
5 3 0 3 3 7 3 3 8
5
5
0
0 0 7 0
5 4
5
4
5
7
5
3 0 0 2 7
3 3
G G D Cj D G
#
.
&
10 10 7 5 7 10 10 10 12 12 7 7 5 0 3 5 7 7
8 8 8 8 8 13 13 8 8 8
9
7
9
7
5
7
5
7
9
7
9
12
10
12
10 5
7 5
0 2 4 5
7
C G A j D G
# j j . .
&
3 0 0 7 7 5 5 3
5 3 0 3 3 7 7 3
5
5
0
0 0 7 0
5 4
5
3 0 0 2 7
3 3 3
20
OH GLORY, HOW HAPPY I AM
Chorus:
Oh glory, how happy I am (2x)
My soul is washed in the blood of the lamb
Glory hallelu
21
I Belong to the Band
C j j
Am
.
C
4 # . .
& 4
CHORUS
0 0 3 3 3 3 5 3 0 0
4 1 1 1
2 2
2
2
2
2 0 2
3 0 3 3 0 3
3 3
F G C
{ }
&
3 0 0
3 P1 3 P1 3 1 1
2 0 0 2H { 10 }
2 3 3 2 2
0 3 3
1 3 3 3
C
& #
#
1st VERSE
0 0 3 5 P3 0
1 1 3 4 1 4 1 3 P1 1
0 2 2
3
0 2
3 0 3 0 3 3 3
3 3
F G C
&
(To Chorus)
3 0 0
3 P1 3 P1 3 1 1 1
2 3
2 0
3
0 2H
2
0
2
0 3 3
1 3 3 3
22
C j j
j j j j
&
J J J J
2nd VERSE
8 5 8 8 5 0
3 -5 3 -5 3 -5 8 3 -5 8 1 3 P1
3 -5
5
5 3 -5
5
5 3 -5
5
5 3 -5
5
5
(Am) C j
j
&
J
8 5 0
1 3 -5 8 1 3 P1 3 P1
2 0 2
3 -5
5
5
2 2 0
0 0
3 3
G C j
j b j
n
&
J J
(To Chorus) 3rd VERSE
8 5
3 1 1 1 3 -5 8 3 -5
0 2H
2
0
2 3 -5
5
5
8
3 -5
5
2 3 3 3
3 3 3
j j (Am) C
b j j
n
&
J J
8 5 8 5 0
8 3 -5 8 1 3 P1 1 3 -5
5
8
3 -5
5
5
2 0 2
3 -5
5
0 0
3
23
j G C
&
(To Chorus)
8 5 0
8 1 3 P1 3 P1 3 1 1 1
5
2 2 0 0 2H
2
0
2
2 3 3 3
3 3 3 3
Chorus:
Hallelujah, Hallelujah,
I belong to the band, Hallelu
Hallelujah, Hallelujah,
I belong to the band, Hallelu
24
Im Goin to Sit on the Banks of the River
D G D G D
j j
# 4
& 4 .
.
2 3 3 3 3 2 3 3 3 2
3 3 3 3 3 3
4 5
4
5
4
5
4
5 4 5
4
5 0 5 4
5 5 2 5
3 3 3
G D G
# w
&
3 7 7 8 8 10 10 10 10 10 10 7
3 3 8 7 7 8 8 8 8 8 8
5
4
5
4
5
7 7 7 7
9
7
9
7
9
7
9 9
7
9 9
7
j jG
[variation]
C
. j G }
# # n
. {
&
9 10 10 10 8 10 8 7 3 0 3 {10 7 10 7 }
8 8 8 8 8 8 3 3 8 8
9 0
10
9
10
9
9
10
9
10
9
10
7 4
5 5
4
5
10 10 2 3
10 10 8 3 3
j D j G
#
&
7 7 5 5 3 3 3 3
8 8 7 7 3 3
0
7
0
5
0
4
5 0
4
5
0 2
3 3
25
IM GOIN TO SIT ON THE BANKS OF THE RIVER
26
Death Dont Have No Mercy
3 3
Em B
# 4 J J J J # j
& 4 #
J J
INTRO
0 3 5 3 5 7 10 7 0 3 5W 3 0
5 8 10 8 3 0 4 -5 5 -3 0
7
(4 -5) 2
1
2
1
2 2
Em Em Am B
#
& #
#
3 VERSE
3
0 0 0 0 0 2 0
0 0 0 0 1 0
0
2 1 2
0
2
0
2
0
2
0
2
0
2
2
2
2
1
2 0 2 2 0 2
0 3 0 0
Em G A D j
# . .
&
3
3 3
0 0 0 3 3 3 2 3
0 0 0 3 3
2
0
2 0
0
2
0
2
0
2 5
4
5
4
5 2 0 2 0
2 0 0 2 0
0 3 3 0 2
G j B Em
.
3
# 3
&
# #
#
J 3
3 3 3 2 2 0 0 0 0 0 0
0 0 0 0 0 0 0
0
0
0
0 0 1
2
1
2
1
0
2
0
2 0
0
2
2 0 1 2 2
3 2 0 0 0 3 0
27
Am C Em C
# j
&
#
3
0
1 1 1 1 1 1 0 1 0
2
2
2
2
2
2
0
2
0
2 2
0
2
0 0
2
0 3 0 1 2 3 3
3
Em B Em
#
3
& n
# # #
3 3
2 0 0 0
0 0 0
1
2
1 5 4 2 0 0 1 2
0
2
0
2
2 0 1 2 2 2
3 0 0 0
Em B Em
#
& #
J
J
# J
GUITAR BREAK
3
3 3
3 5W3 0 0 0
4 -5 5 -3 0 0 0 3 0 0
2
1
2
1
2 -4 4 2 0
2
0 2 0
2
0
2
0
2
2 2
0 0
G D G B
#
#
#
&
3 3
7 7 7 7 10 7 10 7 0 0 3 5 7 7 7 7 7 5 5 0
8 8 10 8 3 3 7 8 8 8 8 4 4 4 4
9 9 5
0
7
5
7
5
7
5
7
5
4
4
4
4
4
4
4
4
3
28
Em D Em Am
j 3
j
3
#
&
J 3
7 7 7 7 7 7 7 10 10 0 7 7 5 5 5 5 5 5 5 7 7 5 0 0
8 8 8 8 7 7 7 8 8 5 5 5 5 8 8 0 3
9 9 9 9 7
7
7
7
9 9
4 -7
5
7
5
7
5
7 7
0 0 0
0
Em B
j Em
# 3
{
#
& J J
# J # }
3
3
3 5 W3 0 0 0
4 -5 0 5 -3 0 0 0 3 { 00 0
0 0 2
1
2
1
2 -4 4 2 0
2 0 1 2 2
0
2
}
2 2
0 0 0 0
29
DEATH DONT HAVE NO MERCY
Well, hell leave you standing and crying in this land (2x)
It come to your house and wont stay long
You look in the bed and somebody be gone
Well, hell leave you standing and crying in this land
| Em | Am B7 | Em | Em |
|G | A7 D7 |G | B7 |
| Em | Em | Am |C |
| Em C | Em B7 | Em | Em ||
30
Twelve Gates to the City
A E
### 4
& 4 n #
3
CHORUS
0 0 0 0
1W 0 0
0
2 2
2
2
2 0
2
2
2 1
2
1
2
1
2 0 1 2
4 4 4 4 2 2
5 5 0
A D
## n
& # b
n
# #
3
3
0 0 2 2
0 3 1W 1 1
1
2 1 P0
2 2
2
2
2 0
2
2
2 1
2 0
2 2
0 1 2
4 4 4 4 4
0 0 5 5
E A
### n
& n b n ..
b b
3
3 3
0 0 5 4 P0
0
1
3
2
4
5
3
4 2 2 2 ..
2 1 P0 4 3 1 P0 2 2
4 4 4 4
0 0 5 5
A E
### .
&
n # #
3
VERSE 3
3
0
2 2
0
2 2
2
2
2 0
2
0 1 2
2 2
2 0
4 4 4 4 0 0 0 3 4 4 4
5 5 4 4 5 0
31
A
###
&
n # # n # #
J 3 3
3 3
3 3
2 2 2
2
0 1 2
2 2
2
2
2 0
2
0 1 2
0 0 0 3 4 4 4 4 0 0 0 3 4
4 4 5 5 4 4
E A
###
.
3 3
& n b
n # # #
J 3
3
3
0
2
2 2
2 0
2
0 1 2
2 2
2 1
2 1
2 0 1HP0
4 4 0 0 0 3 4 4 2
5 0 4 4
E A
### n b n
..
& b . n # n b
J
3
3 3
0 4 5 4 P0
0
1
3
2
3
4
4
5
3
4 2
2
2
2
2 ..
2 1 P0 3 4 3 1 P0 2 2
4 4 4 4
0 0 5 5
3
A
# # n
### J J
J J
& J J
HIGH BREAK
9 11 -12 12 12 12 11 -12 12 12 10 9 12 9
5 -10 5 -10
32
3
n
###
#
J
#
J
J J #
J
& J
3
n # n
###
#
J
& J
3
>
A D E A
###
& n #
#
# b
J
3 3
9 12 9 0 2 9
10 10 10 1 -2 2 3 10
1 -2
1 -2
2
2
2
0 0 1 2
9
7 1 P0
4 4
0
A
### 3 3
n b # J n b
&
X
3
J
Snap 3
(To Verse Pattern)
2 0
1H P 0
2
0 1 2
2 1
2 0 1HP0
2 2
2
2
2
4 4 4 4
5 5
33
TWELVE GATES TO THE CITY
Chorus:
Oh, what a beautiful city
Oh, what a beautiful city
Oh, what a beautiful city
Twelve gates to the city, Hallelujah
34
Let Us Get Together
G D j
# 4 # #
n # n #.
& 4
VERSE
3 3 3 2 0 1 2 0 1 2
3 0 1 2 3 3 3
4
5
0 2 3 4 4
5
4
5 0 0 0
0
3 2 3 2 2
G
# . j
.
&
2 2 0
0 1 3 3
0
2
0 0 5 5
0
2 0 0
0 2
2 3 2 2 3 3 3
G Am C Am (G)
# n
# #
&
3 3 7 7 5 5 0 0 5 5 5 2
6 6 5 1 5 5 2
0 5
7
5
7 5
5
0
2
5
5
5
5
3
4
0 2 0 3 0
3
G D C G A D G
j
# . # w
&
3 3 3 2 0 3 0 0 2 3
3 3 3 1 3 3 2
4
5
4
5
2
4
0
2 5 5
2
2 0 5 5
3 0
3 3 2 3 3
35
j j
# . .
&
GUITAR BREAK
7 7 7 10 7 10 7 8 8 8 8
8 8 8 8 7 7
5
9
9 7
9
7
7
7
7 7 7
5 5
5 5
j j j j
.
# #
#
&
8 8 7 8 8 5 6 7 0 3 3
7 7 7 7 8 3 0 3 3
7
7
7
7
7
7
3
5
4
5
4
5 5
5
5 5
j j . C j Am (G)
. #
#
&
#
7 7 10 7 7 7 10 8 8 10 8 5 6 7
8 8 8 8 8 8 5 7
9
9 7
9
7 7
9
9
10
9
10
9
10 10
5
7
5
7
5
7
6
G D G j A D G
j j
# .
# n
&
7 5 5 3 3 0 3 7 10 0 0 0 2 2 3 3 3
8 7 3 3 8 2 2 1 1 3 3 3
7 7 4
5 5 5
7 7
7
0
2
0
2
2
0
2
0
4
5
4
5
4
5 5
0
3
36
LET US GET TOGETHER
37
Right Now
j D
j n # j j n # j j n # j
# # 4 j n #
& 4
PART I
0 1 2 0 1 2 0 1 2 0 1 2
0 0 0
0 0 0 0
3 2 3 2 3 2 3
j j
G j j j j
## n n n
&
# n # n
1 0 1 0 1 0
3 3 3 3 3
0
0
3
0
3
0
0 1 2 2 0 1 2 2
2 3 3 3
D G D
j j j j
# n # n
& #
2 3 5 3 2 2 0 1 2 1 0
3 3 3 3 3 3
4
2
4
4
5
4
5 4
2
4
2
4
2 0
5 5 0
3 2
D G
# .
& #
n
2 2 5 5 5 3 5 3 5
3 3 3
4
2
4
2
4 4
5 5
4 5 5
5 5 5 5
5 3 3
38
j
## .
Dj
j
Bm
A
D
G
D
&
J
3 2 0 2 0 2 3 5 3 2 2 2
3 3 2 3 3 3 3 3
5
4
4
0
2
2
4
4
5
4
5
2
4
2
4
0 2 0 5 5 5 5 5 5
3 2
D j j j
# n # n # n
& # # J
PART II
5 5 5 5 5 5 5 7
4 7 7 7 4 7 7 7 4 7 7 7
4 7 7 7 4 7 7 7 4 7 7 7 7
G j
# # n
n
j
&
n
#
Continue as Part I
8 7 5 0 1 0
7 7 7 3 3 3
7 7 0
3
2 2 0 1
3
D
j
# ggg
& # ggg
ENDING
5 7 10 ggg 23
3
2
5 7 7
7 ggg 2
4
5
0 7 ggg 45
39
RIGHT NOW
40
I Heard the Angels Sing
C Em C Em C Em B Em
# 4 ..
& 4 #
#
VERSE
(Repeat through Verse)
1
0
0
0
1
0
0
0
1
0
0
2
0
0 ..
2 2 2 2 2 1 2
3 2 3 2 3 2 0 1 2 2
3 0
j Em
j .
#
&
CHORUS
3 0 3 3 3 5 3 7 7 10 7 10 7 0
5 5 5 5 3 5 8 8 8 10 8
5
4
5 5
4
5
9 9 9
j j
B Em
# j
&
#
3 3 0 3 5 3 7 10 7 0 0
5 5 5 3 5 8 10 8 0 0 0
4
5
4
5 5
2
1
0
2
2 2
0
j
Em
# j
&
CHORUS
with BASS
3 3 3 5 3 7 7 7 10 7 0
5 5 5 5 3 5 8 8 8 10 8 0
4
5
4
5
4
5
9 9 9
0 3 0 7 0
41
B Em
# j
&
#
3 3 3 5 3 7 10 7 0 0
5 5 5 5 8 10 8 0 0
4
5
4
5
4
5
9
0
2
1
2
1 2
0 0 0 0 2 2
0 3 3 2 0
B Em
# . j .. j
& . #
ENDING
3 5 3 0 0 3 5 3 0
.. 3 0
2
0
2 .. 3 0
2
0 1 2 0
0 2 2 2 0 2
3 2 0 3
j
B Em j
#
&
#
0 12 12 12 12 12 12 7 0 3 5 3 0 0
0 0
2
1
2 2
2 0 0
B Em B Em
# . j j
& . #
.. #
3 5 3 0 0 3 5 3 0 0
.. 3 0
2
0
2 .. 3 0
2
0
2
0 1 2 0 1 2
0 2 2 2 0 2 2 2
3 2 0 3 2 0
42
I HEARD THE ANGELS SINGING
43
Crucifixion
G j
# 4 .
& 4
PART I
3 3 3
0 0 0
3 2 3 2 3 2
3 3 3
# n j n
& n #
1 0 1 0
3 3 3 0
0
0 0
3 3
3 0
2 0
3 2 3
3 3 3 3
C D C G G C E
# j #
&
.
# n b
3 3 3 3
1 1 0 1 3 3 1 0 0 0 1 2
2
0
2 0 2
2
4
3
3 2 1
5
3 3
G C
# j j
& #
3
0 0 0 1 3
0
0
0
3 0
2 0 0 2
2 3 2
3 3
44
G C (G) j
# *
& # n #
#
0 5 0
2 3 3 1 0 1 3 0
0
2 }3 3 2
0
0 2
3 0
2
2 3 3
3 3 2 3
G G C E G
j #
# b b
& n
b
0 0 0 0 3 3 3 3 3
3 2 1 0 0 1 2 0
0
4 3 2 0
3 2 1 0
0
0
2
3
# # n
J
& #
*Variation etc.
6 -7 0
8 6 3 0
3 0
2 0
G G G
n j
#
#
& # #
PART II (GUITAR BREAK)
10 9 10 10 10 13 13 10 10 7 7
8 7 8 8 12 12 8 8 8 8
7
9
6
8
7
9
7
9
12
12
12
12
7
9
7
9
7 7
0
45
j
G C j D G
b bn ... # j
# n #
& J
#
10 10 8 7 8 9 10 10 6 7 3
8 8 8 7 8 9 10 10 7 8 3
10 10
9
9
10
8
9
9 10 11
12
11
12
6 7
0
4
10
10 8 9 10
# b
& # j
n
0 3 3 6 3 0 3
3 0 3 3
3 0
3 -5
0
2 0 0
4
5
4
5
2
3
j G C
#
j
n #
&
J
3 7 10 10 8 7 8 8
3 8 8 8 8 7 8 8
4
5 9
7
0
10 10
9
9
10
8
9
9 9
10
10
3 10 8
j
G C G D G
# n
&
10 8 10 8 7 7 5 5 3 3 3 3
8 8 8 8 8 7 7 3 3 3 3
10
9
9
10
9
10
7
9
7
9
5
0
5
0
4
5
4
5 0
4
5
4
5
10 2
10 3 3
46
I Am the Light of This World
C F jG C
# n *
& 44 #
CHORUS
3 1 P0 1 P0 0 3 3 1 P0 3
1 4 1 1 1
2 4
0
2
0
2
2
3 3 0 0 2
3
1 1 3 3 3
F jG C
# n
& #
3 1 P0 1 P0 0 3 1 0 1 P0
1 4 1 1 1 1
2 4
0
2
0
2
2
3 3 0 0
3 3
1 1 3 3 3
*Variation
b # n
& #
etc.
3 1 P0 3 6 3 0 1 P0
6 1 4 1
0 2 4
0
C j j
j
&
VERSE
0 3 3 3 1 P0 3 0 3 3 1 P0 3 0 3
1 1 1 1 1 1
2
0
2 2 2 2
0
2 2 2 2
3 3 3 3 3 3 3
3 3
47
F G C
&
3 3 3 1 P0 0 3 1 3 1 0
1 1 1 0 1 1
0
2
0
2 2 2 3
0
2
3 3 3 2 3
3 1 3
Chorus:
Just as long as Im in this world, I am the light
of this world (4x)
48
Youve Got to Move
D
## 4 n #
& 4 n
J n
5 5 5 5 10 7
5 -7 7 7 10 7
5 -7 7 7 10 7
9 7 0 0 3 2 0
9 2 2
A j j
D G
D G
j
## n
&
1 0 2 2 3 5 3 2 2
2 3 3 3 3 3 3 3 3 3
0
2 0
2
4
2
4
4
5
4
5
2
4
2
4
4
5
0 0 5 5
3
D j G D D j
# j
& # n
2 5 2 5 5 5
3 0 3 3 3 3 3 3 3 3 3
2
4 4 4
2
4
2
4
4
5
4
5
2
4
2
4
2
4
5
4
5
4
5 5 5
5
G
j j D j j
# . j . . .
j
& #
5 3 2 5 2
3 3 5W 3 5 3 3 3 0 3 3 3 3
4
5
4
5 5 5 4
2
4 4
2
4
2
4
2
4
2
4
5
3 3 3 3
49
YOUVE GOT TO MOVE
Chorus:
Youve got to move, Youve got to move
Youve got to move, oh move
When my God, Oh get ready, Youve got to move
50