Jeremy Camp - Youre Worthy Of My Praise
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File info:
Band name | Jeremy Camp |
Song name | Youre Worthy Of My Praise |
Tab type | Guitar tab |
Added | 05/20/2008 |
Size | 7.46 kb |
File format | |
Views/Loads | 0/0 |
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I like to be very specific and thorough, so this is a bit long. Tuning: Appears to be in drop-D, although I'm not 100% sure of that. But it sounds good, and makes you look cool when you do the chord-riffs. ;-] I'll show chords for both tunings. EFFECTS: On the intro, a stereo filter effect is being used with a clean guitar. It sound exactly like a MF-105 Moogerfooger MURF Analog Guitar Effect (and probably is). They run about $400. There is also possibly a compressor, depending on the clean sound of your own guitar. Distortion on the remainder of the song is kind of crunchy/chunky, most likely analog distortion, or a nice quality digital distortion (like in an expensive effects floor processor. Sounds more analog to me, though. Vocals on the intro have been either filtered or EQ'ed so there are no lows and lots of highs, then the effect is turned off once distortion on the guitars is active. CHORDS -First, the clean chords on the intro: Standard - Drop D G5 - 3x0033 - 5x0033 D5 - xx023x - same C2 - x3x03x - same Am7 - x0201x - same These next ones are not clean, but I thought I'd include them anyway. Eb - x65046 - 111343 F - 133211 - 333211 G - 355433 - 555433 -Now, power chords. Please note that using power chords on only the lowest three strings will produce a more crunchy distortion and a more consistent timbre (tone color). G - 355xxx - 555xxx D - 10-12-12-x-x-x - 12-12-12-x-x-x or 000xxx (depends on your taste. I prefer the 1st, then I slide way down to a low Eb when it comes around.) C - 8-10-10-x-x-x - 10-10-10-x-x-x Am - 577xxx - 777xxx Eb - x688xx - 111xxx F - 133xxx - 333xxx NOTE about alternative bass notes: The guitar(s) do(es) not play any alternative bass notes, as is sometimes the case with other songs. For example, with a D/F#, the guitar(s) play(s) a D power chord, the bass player will completely handle the alternatives. So make sure your bass player is EQ'ed good and mixed at a proper level with the rest of the instruments. Bass is supposed to be the 2nd loudest instrument, 2nd only to drums, and vocals should be louder than all instruments. This is the professional standard. Each | | is one measure in 4/4 time. Into: |G5 |D5 |C2 |Am7 D5| |G5 |D5 |Eb |F | *(Then the riff plays around with a G power chord using a basic Gm pentatonic scale.) VERSE (use power chords, or only 5ths and roots, never 2nds or 3rds): beat 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 |GG |GG |FF |FF |CC |CC |GG 1 2 3 4 |Am D/F# | CHORUS 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 |G |D |C |Am D | |G |D |Eb |F | |G | - this last measure wraps around back into the verse, or into the instrumental. In other words, it doesn't technically belong to the chorus, if we went by strict rules of timing. INSTRUMENTAL This just stays on G for about 8 measures, one of the rhythm guitars is using a filter-type effect either controlled by an expression pedal, or automatically by sensitivity of the player's strum. I think it sounds kinda dumb, and it would be way better with a screaming guitar solo with lots of harmonics, bends, vibratoes, and maybe a divebomb or pick slide. And definitely some fast arpegios. That's what I do anyway, although I'm still trying to get the divebomb into there somehow. You might also consider lengthening the solo. TABS: G riff (in drop D). Note this riff isn't possible in standard tuning. e------------------------------ B------------------------------ G------------------------------ D--0-3-5--5-x-x-5--x--5/6/5---x A--0-3-5--5-x-x-5--x--5-------x D--0-3-5--5-x-x-5--x--5-------x Chorus. (chord): G | D | e---------------------------------------|-------------------------------------| B---------------------------------------|-------15--15--(15)--x-x-------------| G--------12/14--14--14--14\12--12-12-12-|-12/14----------14---x-x--14--14--14-| D---------------------------------------|-------------------------------------| A---------------------------------------|-------------------------------------| D---------------------------------------|-------------------------------------| C | Am D | e------------------------------------|-------------------|---------------| B------------------------------------|-------------------|-15--15--15----| G---14/17--17--17--17\12--12--12--12-|-12/14--14--14--14-|-------------x-| D------------------------------------|-------------------|---------------| A------------------------------------|-------------------|---------------| D------------------------------------|-------------------|---------------| Repeat top G and D sections, then do this: (parts of it are kinda hard to hear.) Eb | F | G | If you are going into a verse e----------------|----------------|-------------| or into the instrumental, or B----------------|-------------18-|-18s20-\-----| into the G riff (like the one G---15---14------|--14--15--17----|-------------| before the verses), ignore D-------------15-|----------------|-------------| this last G section. A----------------|----------------|-------------| D----------------|----------------|-------------| Personal Recommendations: On the chorus on the Eb-F-G part, add some vibratos to the leads wherever possible to give it some life. What I like to do at the end of the first chorus where the other guitarist is playing the G riff (and also on the very last chorus) is the above part, minus the slide at the end, plus this: (Keep a vibrato going on the last note, and get it to scream if you can do it without killing the note or hitting the string again.) e---------------------------------| B---18v---16v---16h18---15v--\----| Make sure you end before the double G G---------------------------------| strum on the rhythm, or you may risk D---------------------------------| killing the dynamic effect of the song A---------------------------------| there. D---------------------------------| To get a full sound out of your guitar, try having your sound guy pan your guitar completely left then add a small delay, like 0.05 sec. (500 ms) or so in the right channel at the same volume level. If that isn't possible, try using stereo chorus in conjunction with stereo reverb, set so it's not obvious and overdone, yet still gives the impression of more than one guitar. The idea is to cut through the mix, and it sounds awesome on rhythm. You can also simply have one rhythm guitarist in the left channel, and another in the right, but that means the two will have to have perfectly identical strums to get the same effect. I'm not sure which of these things have been done on this particular song, but if you listen, you'll notice a difference in the left and right channels. If you have any questions, e-mail me at GuitarOfGold@sbcglobal.net