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                <text>from: Walker, William. The Southern Harmony, and Musical Companion. E.W. Miller, 1854. p.8&lt;br /&gt;&lt;a href="https://imslp.org/wiki/The_Southern_Harmony_(Walker,_William)" title="https://imslp.org/wiki/The_Southern_Harmony_(Walker,_William)"&gt;https://imslp.org/wiki/The_Southern_Harmony_(Walker,_William)&lt;/a&gt;</text>
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                  <text>Guitar solos in the first position with chords, tab, and standard notation. &lt;br /&gt;Fingerings are added to tablature as dots. &lt;br /&gt;&lt;br /&gt;The key of G has basic chords in the guitar's first position: &lt;br /&gt;&lt;br /&gt;All the open strings are notes that are in the G Major scale, EADGBE. &lt;br /&gt;The I(G) and IV(D) chords have the same ring/middle finger shapes, &lt;br /&gt;and the G Major scale can be fretted mostly within the first three frets. &lt;br /&gt;&lt;br /&gt;Many solos like this can be made from similar songs in the Key of G. &lt;br /&gt;The chords and melody usually blend well on the fretboard.&lt;br /&gt;&lt;br /&gt;I credit &lt;a href="https://reneheredia.com/" title="https://reneheredia.com/"&gt;René Heredia&lt;/a&gt; for this style of tablature notation.&lt;br /&gt;I learned to notate fret hand fingerings with dots on tablature from him.&lt;br /&gt;&#13;
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                  <text>from: de Lusse, Charles, Recueil de Romances Historiques. Tome Second. 1774. p.75&lt;br /&gt;&lt;a href="https://en.wikipedia.org/wiki/File:Recueil_de_romances_75.png" title="https://en.wikipedia.org/wiki/File:Recueil_de_romances_75.png"&gt;https://en.wikipedia.org/wiki/File:Recueil_de_romances_75.png&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;from: Joyce, P.W. A collection of songs in the Irish Language. Dublin, 1903. pp.28-30&lt;br /&gt;&lt;a href="https://imslp.org/wiki/Irish_Music_and_Song_(Joyce%2C_Patrick_Weston)" title="https://imslp.org/wiki/Irish_Music_and_Song_(Joyce%2C_Patrick_Weston)"&gt;https://imslp.org/wiki/Irish_Music_and_Song_(Joyce%2C_Patrick_Weston)&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;from: Reid, John. Songs of Scotland. Boosey and Co. 1908. p. 62.&lt;br /&gt;&lt;a href="https://imslp.org/wiki/Songs_of_Scotland_(Reid%2C_John)" title="https://imslp.org/wiki/Songs_of_Scotland_(Reid%2C_John)"&gt;https://imslp.org/wiki/Songs_of_Scotland_(Reid%2C_John)&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;from: Walker, William. The Southern Harmony, and Musical Companion. E.W. Miller, 1854. p.8 &lt;br /&gt;&lt;a href="https://imslp.org/wiki/The_Southern_Harmony_(Walker,_William)" title="https://imslp.org/wiki/The_Southern_Harmony_(Walker,_William)"&gt;https://imslp.org/wiki/The_Southern_Harmony_(Walker,_William)&lt;/a&gt;</text>
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                  <text>Guitar solos in the first position with chords, tab, and standard notation. &lt;br /&gt;Fingerings are added to tablature as dots. &lt;br /&gt;&lt;br /&gt;The key of G has basic chords in the guitar's first position: &lt;br /&gt;&lt;br /&gt;All the open strings are notes that are in the G Major scale, EADGBE. &lt;br /&gt;The I(G) and IV(D) chords have the same ring/middle finger shapes, &lt;br /&gt;and the G Major scale can be fretted mostly within the first three frets. &lt;br /&gt;&lt;br /&gt;Many solos like this can be made from similar songs in the Key of G. &lt;br /&gt;The chords and melody usually blend well on the fretboard.&lt;br /&gt;&lt;br /&gt;I credit &lt;a href="https://reneheredia.com/" title="https://reneheredia.com/"&gt;René Heredia&lt;/a&gt; for this style of tablature notation.&lt;br /&gt;I learned to notate fret hand fingerings with dots on tablature from him.&lt;br /&gt;&#13;
&lt;div style="text-align: left;"&gt;&lt;br /&gt;When I studied with René, he wrote custom songs for my abilities during each lesson.&lt;br /&gt;He wrote music using a permanent marker (and made very few mistakes.)&lt;br /&gt;His method of writing tablature with dots, stems, and strumming symbols was very clear to read, and his songwriting is wonderful.&lt;/div&gt;</text>
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                  <text>Guitar solos in the first position with chords, tab, and standard notation. &lt;br /&gt;Fingerings are added to tablature as dots. &lt;br /&gt;&lt;br /&gt;The key of G has basic chords in the guitar's first position: &lt;br /&gt;&lt;br /&gt;All the open strings are notes that are in the G Major scale, EADGBE. &lt;br /&gt;The I(G) and IV(D) chords have the same ring/middle finger shapes, &lt;br /&gt;and the G Major scale can be fretted mostly within the first three frets. &lt;br /&gt;&lt;br /&gt;Many solos like this can be made from similar songs in the Key of G. &lt;br /&gt;The chords and melody usually blend well on the fretboard.&lt;br /&gt;&lt;br /&gt;I credit &lt;a href="https://reneheredia.com/" title="https://reneheredia.com/"&gt;René Heredia&lt;/a&gt; for this style of tablature notation.&lt;br /&gt;I learned to notate fret hand fingerings with dots on tablature from him.&lt;br /&gt;&#13;
&lt;div style="text-align: left;"&gt;&lt;br /&gt;When I studied with René, he wrote custom songs for my abilities during each lesson.&lt;br /&gt;He wrote music using a permanent marker (and made very few mistakes.)&lt;br /&gt;His method of writing tablature with dots, stems, and strumming symbols was very clear to read, and his songwriting is wonderful.&lt;/div&gt;</text>
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                  <text>from: de Lusse, Charles, Recueil de Romances Historiques. Tome Second. 1774. p.75&lt;br /&gt;&lt;a href="https://en.wikipedia.org/wiki/File:Recueil_de_romances_75.png" title="https://en.wikipedia.org/wiki/File:Recueil_de_romances_75.png"&gt;https://en.wikipedia.org/wiki/File:Recueil_de_romances_75.png&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;from: Joyce, P.W. A collection of songs in the Irish Language. Dublin, 1903. pp.28-30&lt;br /&gt;&lt;a href="https://imslp.org/wiki/Irish_Music_and_Song_(Joyce%2C_Patrick_Weston)" title="https://imslp.org/wiki/Irish_Music_and_Song_(Joyce%2C_Patrick_Weston)"&gt;https://imslp.org/wiki/Irish_Music_and_Song_(Joyce%2C_Patrick_Weston)&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;from: Reid, John. Songs of Scotland. Boosey and Co. 1908. p. 62.&lt;br /&gt;&lt;a href="https://imslp.org/wiki/Songs_of_Scotland_(Reid%2C_John)" title="https://imslp.org/wiki/Songs_of_Scotland_(Reid%2C_John)"&gt;https://imslp.org/wiki/Songs_of_Scotland_(Reid%2C_John)&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;from: Walker, William. The Southern Harmony, and Musical Companion. E.W. Miller, 1854. p.8 &lt;br /&gt;&lt;a href="https://imslp.org/wiki/The_Southern_Harmony_(Walker,_William)" title="https://imslp.org/wiki/The_Southern_Harmony_(Walker,_William)"&gt;https://imslp.org/wiki/The_Southern_Harmony_(Walker,_William)&lt;/a&gt;</text>
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                <text>Intermediate guitar Solo in D-dorian with chords, tab, and standard notation. Fingerings are added to tablature as dots.&lt;br /&gt;&lt;br /&gt;Wondrous Love is similar to many songs like Captain Kidd, and Jack Hall. I don't know which happened first, but it's interesting to me that there are secular and religious songs that resemble each other.&lt;br /&gt;&lt;br /&gt;I've heard it said of African-American Spirituals, that sometimes in the songs God is not in heaven, but within us. It's a different locus of Divinity. I think &lt;a href="https://en.wikipedia.org/wiki/Henry_Edward_Krehbiel" title="https://en.wikipedia.org/wiki/Henry_Edward_Krehbiel"&gt;Henry Edward Krehbiel&lt;/a&gt; provides a quote from &lt;a href="https://www.google.com/search?client=firefox-b-1-e&amp;amp;q=Booker+T+Washington" title="https://www.google.com/search?client=firefox-b-1-e&amp;amp;q=Booker+T+Washington"&gt;Booker T. Washington&lt;/a&gt; about a personal locus of Divinity in &lt;a href="https://imslp.org/wiki/Afro-American_Folksongs_(Krehbiel%2C_Henry_Edward)" title="https://imslp.org/wiki/Afro-American_Folksongs_(Krehbiel%2C_Henry_Edward)"&gt;Afro-American Folksongs (1914) p.30&lt;/a&gt;, when Washington says, "They [Sorrow Songs/Slave Songs/Spirituals] breathe a childlike faith in a personal Father."&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;I think that concept of Divinity may be in &lt;a href="https://en.wikipedia.org/wiki/Vera_Hall" title="https://en.wikipedia.org/wiki/Vera_Hall"&gt;Vera Hall's&lt;/a&gt; singing of &lt;span class="views-field views-field-title-1"&gt;&lt;span class="field-content"&gt;&lt;a href="https://archive.culturalequity.org/field-work/vera-hall-1948/new-york-city-548/he-believe-have-everlasting-home" title="https://archive.culturalequity.org/field-work/vera-hall-1948/new-york-city-548/he-believe-have-everlasting-home"&gt;He That Believe Have An Everlasting Home&lt;/a&gt;, when she sings, "I'm sometimes up, I'm sometimes down, I'm sometimes almost level with the ground." I think that concept is also in the song Wondrous Love.&lt;/span&gt;&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;My favorite recording of Wondrous Love is sung acapella by &lt;a href="https://en.wikipedia.org/wiki/Jean_Ritchie" title="https://en.wikipedia.org/wiki/Jean_Ritchie"&gt;Jean Ritchie&lt;/a&gt;.&lt;br /&gt;Her singing can be heard at:&lt;br /&gt;&lt;a href="https://archive.culturalequity.org/field-work/jean-ritchie-1949-and-1950/jean-ritchie-349/wondrous-love" title="https://archive.culturalequity.org/field-work/jean-ritchie-1949-and-1950/jean-ritchie-349/wondrous-love"&gt;https://archive.culturalequity.org/field-work/jean-ritchie-1949-and-1950/jean-ritchie-349/wondrous-love&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;A melody can do wondrous things. The more I play fingerstyle guitar, the more I try to make sure the melody is the focus.</text>
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                  <text>Guitar solos in the first position with chords, tab, and standard notation. &lt;br /&gt;Fingerings are added to tablature as dots. &lt;br /&gt;&lt;br /&gt;The key of G has basic chords in the guitar's first position: &lt;br /&gt;&lt;br /&gt;All the open strings are notes that are in the G Major scale, EADGBE. &lt;br /&gt;The I(G) and IV(D) chords have the same ring/middle finger shapes, &lt;br /&gt;and the G Major scale can be fretted mostly within the first three frets. &lt;br /&gt;&lt;br /&gt;Many solos like this can be made from similar songs in the Key of G. &lt;br /&gt;The chords and melody usually blend well on the fretboard.&lt;br /&gt;&lt;br /&gt;I credit &lt;a href="https://reneheredia.com/" title="https://reneheredia.com/"&gt;René Heredia&lt;/a&gt; for this style of tablature notation.&lt;br /&gt;I learned to notate fret hand fingerings with dots on tablature from him.&lt;br /&gt;&#13;
&lt;div style="text-align: left;"&gt;&lt;br /&gt;When I studied with René, he wrote custom songs for my abilities during each lesson.&lt;br /&gt;He wrote music using a permanent marker (and made very few mistakes.)&lt;br /&gt;His method of writing tablature with dots, stems, and strumming symbols was very clear to read, and his songwriting is wonderful.&lt;/div&gt;</text>
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                  <text>from: de Lusse, Charles, Recueil de Romances Historiques. Tome Second. 1774. p.75&lt;br /&gt;&lt;a href="https://en.wikipedia.org/wiki/File:Recueil_de_romances_75.png" title="https://en.wikipedia.org/wiki/File:Recueil_de_romances_75.png"&gt;https://en.wikipedia.org/wiki/File:Recueil_de_romances_75.png&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;from: Joyce, P.W. A collection of songs in the Irish Language. Dublin, 1903. pp.28-30&lt;br /&gt;&lt;a href="https://imslp.org/wiki/Irish_Music_and_Song_(Joyce%2C_Patrick_Weston)" title="https://imslp.org/wiki/Irish_Music_and_Song_(Joyce%2C_Patrick_Weston)"&gt;https://imslp.org/wiki/Irish_Music_and_Song_(Joyce%2C_Patrick_Weston)&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;from: Reid, John. Songs of Scotland. Boosey and Co. 1908. p. 62.&lt;br /&gt;&lt;a href="https://imslp.org/wiki/Songs_of_Scotland_(Reid%2C_John)" title="https://imslp.org/wiki/Songs_of_Scotland_(Reid%2C_John)"&gt;https://imslp.org/wiki/Songs_of_Scotland_(Reid%2C_John)&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;from: Walker, William. The Southern Harmony, and Musical Companion. E.W. Miller, 1854. p.8 &lt;br /&gt;&lt;a href="https://imslp.org/wiki/The_Southern_Harmony_(Walker,_William)" title="https://imslp.org/wiki/The_Southern_Harmony_(Walker,_William)"&gt;https://imslp.org/wiki/The_Southern_Harmony_(Walker,_William)&lt;/a&gt;</text>
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