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Knapp, Jennifer - Trinity

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"Trinity" by Jennifer Knapp
From "Kansas" (Gotee Records, 1997)
Words and music by Jennifer Knapp
Copyright  1997 Gotee Music/West Hudson Music (BMI)
Transcribed by

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
More tab available at


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 

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!


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