For fingerstyle and classical guitarists and anyone who just wants to know more about the song, this is an original guitar arrangement I’ve made of the Scottish traditional melody, Auld Lang Syne. For anyone interested in playing it, it should be played freely in a flowing arpeggiated style with the melody emphasised so it will be heard over the bass and harmony notes underneath. The melody notes have upward pointing stems in the notation. The bass and most of the harmonies have downward pointing note stems. This is the standard convention when notating music with multiple parts (such as bass, harmony and melody) on a single music staff.
Many of the tips and techniques which we use on stage in front of large audiences have equal application for a small group. The ability to flow from one song to another, going up keys, blending songs together, singing in harmonies and so on all apply equally to a small group as they do to a large. In fact, because worship leading in a house church or small group is more intimate and usually only has a guitar or two, a piano or a quiet rhythmical instrument, the discerning praise and worship leader is presented with a golden opportunity to explore and develop vocal harmonies, open worship and high praise in a way that is simply not available in the big church environment.
These British metal masters are known by two trademarks – the screaming twin-guitar harmonies of Glenn Tipton and K.K. Downing, and the operatic banshee wails of their iconic vocalist, Rob Halford. Despite the success of 1990’s Painkiller album, which was widely hailed as one of the Priest’s best, Halford stunned his bandmates and fans in 1991 by announcing that he was leaving pursue a solo career. Judas Priest sat out a good portion of the 1990s while Halford released numerous albums under the Fight, Two, and Halford banners, none of which came close to recapturing the heights he’d scaled with his former band. Meanwhile, the remaining Priest members decided to give it the old college try again in the late 1990s and hired a new American vocalist – Tim “Ripper” Owens – who had previously “played” the part of Halford in an Ohio based Judas Priest tribute band. Priest’s first album with Owens – 1997’s Jugulator – enjoyed some critical acclaim and even garnered a Grammy nomination, but the record’s sales were not up to expectations. After one more album with Owens at the front – 2001’s godawful Demolition – Owens was given his walking papers and the Priest and Halford camps mended fences. Since then, Judas Priest has continued on its mission of metal and they are currently touring the world in support of their seventeenth studio album, 2014’s Redeemer of Souls.
The Eagles sure knew how to write classic rock songs that would endure, didn’t they? Their songs are fun to sing along with, because they’re catchy, have good harmonies and great guitar riffs. “Take it Easy” has been around since 1972, with airplay rotation on every classic rock radio station since then.
In 1965, at age 20, he worked his first full time club job at the “Aces Club” in the City of Industry. This lasted 3 1/2 years. During the same time he did an album titled the “International Submarine Band” with Gram Parsons on the Lee Hazelwood, Inc. label.
With such an array of styles to emulate, and have fun with, many inspired listeners soon develop a passion to learn how to play the piano for themselves. There is nothing more satisfying than feeling the jazz beneath your fingertips.
In 1955 Day cut his first instrumental single, “Rippin’ Out”; over the next two years he toured extensively with Pierce and also appeared infrequently with the Cherokee Cowboys, Ernest Tubb’s Texas Troubadors, and Jim Reeves’ Blue Boys. In 1959, Day rejoined Price, where he was teamed with a young bassist named Willie Nelson; when Nelson broke from Price three years later, he took Day with him. By 1963 Day also began performing with George Jones, and released his debut solo LP, Steel and Strings. In the years to follow he tenured with the likes of Ferlin Husky, Leon Russell, Clay Baker, Charlie Louvin, and Don Walser, and also cut a number of records, including All Those Years, For Jimmy Day Fans Only, and Jimmy Day and the Texas Outlaw Jam Band.
