#16
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Check out Hal Leonard's hymn fake book. I would definitely be pulling more from that , if I had a guitarist learning to read this kind of stuff. It does a really good job of pairing things down, while staying true to the original which the pianist would be playing etc. It might also be really helpful in teaching you to reverse engineer the same process yourself, for things which are in that book. It's all public -domain -only tunes. The chord you mentioned in the OP is written as Am/G for example in HL. If you do this stuff long enough, you may get to where you like the extra chords, at least as an OPTION, and they may become very important in arranging instrumentals, (especially if you can learn to read basic CM off a chart). Long-term, the over-busy hymn changes can provide a lot of really good ideas for what to play as chord fills, which seems to always be asked around here. Kind of reversing the process of pairing down, since these are all basically one cord written as multiple, you can use these examples for what to play on a long single chord in other places. Really too much information the beginning though. One thing I tell my acoustic guys is to find the important chords and circle them . Everything else is extra credit somewhat. |
#17
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#18
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Look at your celebration hymnal on this one for a great example of how that 4/2 is actually used. In EVERY occurrence it has the 4 or 2 in the melody, and the other note is used to simply harmonize the alto or tenor voice without a clashing 3rd. In a sense, more for the singer etc... The 4/2 thing is really just a hymnal thing, as far as I've ever seen. You won't usually see them in real chord charts otherwise. You learn to see other things as well : 6th chords are never written that easy in hymnals. They are usually written as a minor chord with the third in the bass, and m7b5 is usually written as an inversion of m6. So, the Bm/D in the measure you posted above is really a D6. So, play D6 or D for that one. You'll notice how it makes that entire measure make more sense. Anyway, the 6 is unnecessary if you're singing anyway, since it's covered by the melody. Last edited by mattbn73; 09-22-2018 at 12:34 PM. |
#19
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HI LukeW
Your description is just fine. There is no prize for hitting a more correct name to passing chords in hymns (which are the reason many guitarists hate trying to play them). Simplifying hymns serves one well…I play for a group of older folks at our church every month, and grew up in church (I'll be 70 in a couple weeks) and have a degree in music. I also play both keys and guitars, and some passing chords in hymns are crucial to the overall feel/sound of the hymn. They always make for interesting transitions. But if left out, most folks would not notice. OFF TOPIC Where in SW Nebraska? We live in Cheyenne… |
#20
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#21
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That would be a long drive just to jam! |
#22
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Yes it would. But thanks anyway.
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