Liturgical Guitarist: Morning Has Broken

Composer
trad.
Year of composition
2004
Arranger
Lyricist
none
Difficulty
Moderate (Grades 4-6)
Duration
2 minutes
Genre
Classical music
Instrumentation
Solo instrument (Acoustic Guitar [notation])
Instrumental parts
Not available
Related scores
Liturgical Guitarist: I Need Thee Every Hour, Liturgical Guitarist: The Angel Gabriel, Liturgical Guitarist: Silent Night (STILLE NACHT), Liturgical Guitarist: Now the Green Blade Rises (NOEL NOUVELET), Liturgical Guitarist: Let Us Break Bread Together, Liturgical Guitarist: Just As I Am, Liturgical Guitarist: Dona Nobis Pacem, Liturgical Guitarist: Beneath the Cross of Jesus, Liturgical Guitarist: Ye Sons and Daughters, Liturgical guitarist: Comfort, Comfort, O My People, Liturgical Guitarist: We Gather Together, Liturgical Guitarist: There Is a Fountain, Liturgical Guitarist: Rock of Ages, Cleft for Me, Liturgical Guitarist: Abide with Me, Liturgical Guitarist: Christ the Lord Is Risen Today (LLANFAIR), Liturgical Guitarist: Parce Domine, Liturgical Guitarist: Angels We Have Heard On High, Liturgical Guitarist: Hark! The Herald Angels Sing, Liturgical Guitarist: O Little Town of Bethlehem, Liturgical Guitarist: God Rest You Merry, Gentlemen, Liturgical Guitarist: Come, Thou Long-Expected Jesus (HYFRYDOL), Liturgical Guitarist: People, Look East (BESANCON), Liturgical Guitarist: I Heard the Voice of Jesus, Liturgical Guitarist: Dona Nobis Pacem (Round: Guitar and 2 Recorders), Liturgical Guitarist: The King of Love My Shepherd Is, Lullaby (Brahms'), O'Nailon's Hornpipe, Liturgical Guitarist: Let All Mortal Flesh Keep Silence (PICARDY), Liturgical Guitarist: Joyful, Joyful, We Adore Thee - G Major, Liturgical Guitarist: How Can I Keep from Singing (SHAKER HYMN), Liturgical Guitarist: Be Thou My Vision (SLANE), Liturgical Guitarist: Away in a Manger, Liturgical Guitarist: At the Cross Her Station Keeping (STABAT MATER) and Liturgical Guitarist: Amazing Grace

Follow fingerings carefully, especially in the trickier parts (measures 12-15, 19, 22, 23, 26, and 27). I wrote my own Cat Stevens inspired turnaround, which takes up most of the first ending. I couldn't write out his due to copyright, but I would recommend finding his arrangement, transposing it, and adapting it to this key. You can even modulate up to the key of A, but that will take you beyond an intermediate level of difficulty. The final three measures of the first ending should give you some ideas how to vary the piece the second time through. Have fun!

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