"Trinity" by Jennifer Knapp From "Kansas" (Gotee Records, 1997) Words and music by Jennifer Knapp Copyright © 1997 Gotee Music/West Hudson Music (BMI) http://www.jenniferknapp.com Transcribed by T-rev http://www.t-rev.net No capo. Heavy palm-muting (see hints below). x022xx A(no3) x002xx D(/A,no3) with lick on fourth string: -0h4-0- 022xxx E(no3) Fifth string lick near the end (after "wretch like me"): -0-3b- h = hammer on b = bend up VERSE: A, D, A, D (each line) You in the mirror staring back at me Oh conscience let me be To pure all things are pure To those who’re defiled unbelieving nothing is pure Their minds their conscience defiled They profess to know God but deceive Him by deeds all the while CHORUS: E, D (each line) Where do I stand on the rock or in the sand Oh Holy Spirit won’t you help me understand Holy Spirit won’t you say a prayer for me With your groanings My mind my conscience defiled Send the blood of the Lamb don’t leave me in exile What was that promise on the cross at Calvary Confess the Lord and the truth shall set you free Create in me a clean heart Oh God renew a steadfast spirit within me To my prayers You’ve always given heed Blessed be thy God Who never turned away from me Hid His face from all my sin forgot, forgot my iniquity Raise your hands sing praises to the Lord He is the King and He’ll reign forevermore He died upon the cross at Calvary He died to save a wretch like me Transcribed 1/4/2000 by T-rev More tab available at http://www.t-rev.net ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Three Hints: 1. strums can be up-strokes or down-strokes. use only down strokes. (a down-stroke is when your hand moves down across the strings, from the lower-pitch notes to the higher notes.) 2. strums can be slow or fast. use only fast strums. (with a slow strum you can hear the individual notes one at a time, which is called an arpeggio. a fast strum is also technically an arpeggio, but it's so fast that you can't tell the notes apart and it sounds almost like they were all played simultaneously.) 3. use "palm-muting." this means you let your right palm muffle the strings a bit. your palm should only touch the strings very close to--or even directly over--the bridge (where the strings end), so that you don't completely muffle them, only partially. so, putting it all together, use percussive "fast down-strokes." the palm-muting will make the notes "staccato" (short, abrupt, not sustained). you could leave your palm on the strings continuously, but the way i do it is to let my palm touch only when my pick touches the strings. it's almost as if you are hitting the strings with your whole hand, pick and palm together, not so much strumming down toward your toes and along the strings, but more like you're directly attacking (almost slapping) them. and remember that your palm has to be over the bridge of the guitar. but wait, it gets a bit more complicated. the palm-muting alternates on and off. while you play A, you should mute; while you play D, don't mute. but for both, make sure you only hit a couple of strings each time (this is made easier with the "attack/slap" as opposed to the classic down-strum) now that you've got all that, here's the rhythm: 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . X x x X x x X x O o o O h o o o those aren't kisses and hugs! X = accented and muted x = non-accented muted O = accented not muted ("o" for open :) o = non-accented not muted h = hammered-on note, no strum or, for practice, here's a simpler pattern, which is really the basis for the above rhythm (and many others, e.g. "the great adventure" by SCC): 1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 . X x x X x x X x X x x X x x X x try strumming that (all down-strokes) while counting out loud "ONE!...TWO!...THREE!...FOUR!..." you'll notice that there are three accented strums, equally spaced, for every four beats (4 beats equal one "measure" or "bar"). the first accent comes when you say "ONE!" the second accent comes between "TWO!" and "THREE!" and the third accent comes when you say "FOUR!" so, within each measure, the three accents are equally spaced, but the first accent of each measure comes just a bit sooner after the last accent of the previous measure. does that make sense? of course, if you're like me, it's a lot easier just to listen to the cd than to try to interpret X's and O's. good luck! Trevor
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