It’s totally fair to assume this song is in C minor. Sure, C minor chords shows up here and there, and much of the melodic content could be attributed to the C minor pentatonic scale. I wouldn’t blame anyone for thinking this song is in C minor.
The U.S. was founded on Enlightenment principles, and many of our deepest assumptions about art and life come from the era after Bach’s lifetime. Although Bach’s music is universally loved now, the stern Lutheran beliefs that infused its creation are counter-cultural today, and have often been ignored or derided since his lifetime. These days, the idea that theology can find direct expression in music theory can seem at best a heady curiosity, and at worst a regression to a way of conceiving the world whose very nature challenges some of our most cherished cultural, social, and political achievements.
One of the best things about the drive to produce holiday albums is the way it sometimes brings musicians together and spurs interesting collaborations, like this unlikely musical two-some. Enjoy!
The same note, one octave up, appears in Fret 11 on the 1st string, but in order to get back to the previous D#/E♭, we have to skip one string and go back three frets this time (follow the top-right green arrow). This happens every time we cross the 2nd string, because of the tuning alteration. Obviously, we could have used another reference point, the note E an octave up, which appears in Fret 12 of the 1st string, but it helps to understand the relationship between the strings that cross the 2nd string.