64 se oye un son en alta esfera jazz guitar
TRANSCRIPT
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Wesley/Mendelssohn
Swing eighths
Arranged by Jon NicolHark! The Herald Angels Sing
Hark!Hail
F
thethe
herheav'n
D7#9
- ald
bornan
Prince
G9
gelsof
- sing,Peace!
C7 F
"GloHail
rythe
D7#9
- toSun
theof
4
new
Right
G9
borneous
C7
--
King;ness!
F
-
F
LightPeace
andon earth
life
D7#9
andto all
mer
G7
-
Hecy mild,
brings,
G7#5
7 Ris'n
C
God
with
and sin
heal
C/Bb
nersing
--
rein
F/A
conHis
G7
- ciled!"
wings.
C7
-
F/C
MildJoy
fulHe
- alllays
yeHis
11
naglo
C9
tions
ry
F/C
--
riseby,
C9
F/C
JoinBorn
thethat
triman
umph
no
- of
more
C9
themay
F/C
skies;die,
C9
14 Bb6
WithBorn
anto
gelraise
F/A - ic
the
- host
sons
Gm7
proof
D7
claim,earth,
Gm7
-
C7
"ChristBorn
isto
borngive
D7#9
in
them
17
Bethsec
G7
le
ond
C9
-
-hem!"birth.
A7#5
-
Bb6
Hark!
the her
F/A ald
- an
Gm7
gels
D7
- sing,
Gm7
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21 1.
C7
"Glo
ry
D7#9
- to
the new
G7
born
C9
- King!"
F
D7#9
24 2.
G7 C9 F D7#9 G7 C9
King!"
F
D7#9
G7 C9
29 Bb6
Hark!
the her
F/A ald
- an
Gm7
gels
D7
- sing,
Gm7
C7
"Glo
ry- to
D7#9
the
32
new
G7
born
C9
- King!
A7#5
Bb6
Hark!
the her
F/A ald
-
35
an
Gm7
gels
D7
- sing,
Gm7
C7
"Glo
ry- to
D7#9
the new
G7
-
38
Copyright © 2009 Jon Nicol, FiveCentSongs (ASCAP)
born
C9
King!
F
D7#9
G7 C7
Tag
vocal ad lib
F D7#9 G7 repeat as desired
C7 43
EndingF
D7#9
the new
G7
bornC9
-
King.F
F<9#11
2
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Hark the Herald Angels Sing—Chord & Instruction Guide
If you’re unfamiliar with a lot of these types of jazz chords, take some time to study through the “Intro to Jazz Voicings” located in the appendix of this book. It’s not written on the chart, but the in‐tro to this tune is the turnaround chords in the first ending. As with most things
jazz, countless substitu‐tions can and are made in this arrangement. The F can be replaced with an Fmaj7. The C7 with the C9. The G7 with the G9, etc. But as we go through the rest of these chords, I’ll note the voicings you should stick with (and why you should).
Whenever you see a dom7 chord (G7) moving to a dom7#5 (G7#5), it’s an arrangement technique to bring more tension to the progression. That’s exactly what happens in measure 9. It
builds up and then releases the tension of #5 chord with a walk down to yet another
G7.
The F/C and C9 are fun to bounce back and forth on. You could change the C9 to a C7 and the fingerings between the two chords would be more common. But if you can learn to jump be‐tween the C9 and F/C, it’s a great sound.
The Bb6 moves smoothly to the F/A after you get them under your fingers. They aren’t the easiest chords to play, but they sound good together. In contrast, the voicings of Gm7 to D7 (and back) in this
situation is dictated by ease of play. By playing the Gm7 like this, your 3rd finger acts as an anchor to allow your other fingers to shift to the D7.
This final chord is just a “jazzy” sounding end‐ing chord. I also created some movement
within this chord by reaching up with my 4th finger and grabbing the D at the 10th fret/1st string.
The Left Hand: While many of these tunes I used finger‐style, this is an exception. What this one called for was Freddie Green/“four‐on‐the‐floor” comping. If you’re not familiar with this, it’s a straight down‐stroke “chunk‐chunk‐chunk‐chunk” on the quarter notes. There are exceptions when the chord changes on the offbeat.