50 jon. Creative Chords for the Church AccompanistAll Hail the Power of Jesus’ Name Amazing Grace America the Beautiful Angels We Have Heard on High .. At the Cross Be Thou My Vision Beneath the Cross of Jesus Blessed Assurance Break Thou the Bread of Life Christ the Lord Is Risen Today Come, Thou Long-Expected Jesus Come, Ye Thankful People, Come Crown Him with Many Crowns Fairest Lord Jesus Grace Greater than Our Sin... Hark! the Herald Angels Sing Have Thine Own Way, Lord He Leadeth Me ea His Eye Is on the Sparrow... Holy, Holy, Holy! Lord God Almighty TAm Thine, 0 Lord... In My Heart There Rings 2 Melody In the Garden It Js Well with My Soul Jesus Loves Me Jesus Paid [t All... Joy to the World! Joyful, Joyful, We Adore Thee Just As T Am Lead On, 0 King Eternal .. Leaning on the Everlasting Arms Let Us Break Bread Together My Jesus, I Love Thee My Savior's Love Near the Cross Nothing but the Blood 0 Come, All Ye Faithful 0 Come, 0 Come, Emmanuel Only Trust Him Pass Me Not Redeemed Rock of Ages Savior, Like a Shepherd Lead Us Silent Night! Holy Night! Softly and Tenderly ‘The Old Rugged Cross ‘There Is a Fountain To God Be the Glory Were You There? ‘What Child Is This? CHORD SYMBOLS MODULATION CHARTS Contents in alphabetical order +92 98 100 to2 104 106 1086 cL ; oe C2All Hall the Power of Jeu Name : June: CORONATION) Words by Hic hy EDWARD PERRONET ole Holoey Arranged by Carol Tornquist This arrangement uses the well-known hymn tune: CORONATION. Notice that the Intro. and the Transition are identical... except for the last bar. In the transition (on the next page), the bar preceding the last verse uses 16th notes in the R.H. to give a more dramatic effect, signaling that this is the final verse. * 2 INTRO] B G & g Cmaj9 Dius D7 | OG Dunis j \ — he i = = 3—— I 3 = | 1 ei CPr ar An Sat = pes: = 2 o P ! D Em bD G eS ee hail the pow'r of Je = sus’ name! Let ‘e @ e ¢ non [pa Goren bes oeeeaaT p+ } DH # ey oe r : vores oa SSS Arr. © Copyright 2000 Word Music, Ine, ‘Al rights reserved.‘This RE-HARMONIZED VERSE sounds different because: + The first 3 bars keep “G” as the bass note (ostinato bass). + The L.H. (beginning in bar 28) has more movement and more rhythmic interest, which gives this last verse a more dramatic effect. * The chord progression has several “surprises”... especially from bar 35 through the end, 6 & g Cmaj9 Dsus DTG 2 ptsus R Fy D LAST VERSE 6 Gmaj7 oo o7 @ Cm cof cm DB RP yo wm oF By Ala >a = ing— song, And crown maj? pb? ve aegapaeas ve = A sg = last = ing— song,‘Amazing Grace Words by Traditional American melody jolt NEWTON and john P. RES (stanaa 5) Arranged by Carol Tornquist Since this classic hymn has 5 verses (at least!), the final verse definitely calls for some different harmonies! While the Intro. sounds like the last phrase of the song, notice that the Transition is completely different. (This is a welcome change since usually no verses are omitted!) INTRO] zm = € DT 6 Gmaj? § a POF ‘Arr. © Copyright 2000 Word Music, In. ‘AM rights reserved.‘his RE-HARMONIZED VERSE sounds different because: + More contemporary chords are used... for example Gmaj7, A9, A13, and A13+. + There is more movement throughout the entire last verse. pms RANSTATON oie vee) i maj? g Am? Disus D7 >A LAST VERSE, B G By oR IO Em c Gmaj? G3 G7 c2 c Bm? Bm?10 America, the Beautiful Music by SANUEL A. WARD Arranged by Carol Tornquist at the Intro. “borrows” the first 6 notes of our national anthem (“O say, can you see...”). They are repeated in the to the last verse as well. (Actually, this beloved patriotic hymn is much easier to sing than THE STAR- SPANGLED BANNER... having brought about several attempts to have this hymn become our national anthem!) Bho Gm Be BE cnt B Flsus F7 Bb } f = - = Sj B= ==5 =j P P Pea 4 + cious skies, For ber wages of an ie =f E fits = A + bove the fruit - ed 0 ol 4 Boo Gon BR puns ==. 4 q a + s o—--9—" 1 ——- Eb et Funis Gunis Bunis Funis F7 | Bb 8 Bn 2 ; oO ae a a ine = crown thy good with broth = er-hood From sea to shin = ing seat % =i ott {3 — —— = —= ‘Arr, © Copyright 2000 Word Music, ne ‘il rights reserved,This RE-HARMONIZED VERSE sounds different because: + There is more movement, particularly in the inner voices. + The harmonies change more frequently than in the traditional version. + The final bar doesn’t get back to the tonic chord (1) until the 3rd beat. [ Gpional TRANSITION Qo at vers) Bb Gm Bm Gc Flsus FT P9sus K * " | —— 1 ef Ge =e 3 = Sj = =F + 4.0 —— = [LAST VERSE] es Bb B° BE BE p9sus 7 ar : bode eau = ti-ful for gwalll pie mi? cm? ry BET piSsus i763) Bl7 i Se ge a fie _ mer + decal A+ mer shed His grace on Ae And A 1 4, = Be ER® G7t5) G7 cm? F9sus F769) Ghmaxdbmaj Bi SS et Lae crown thy good with broth - ‘er-hood From sea to shin - ing_——_seat A bo ; = a az | a ie a id be 4S. Is We k Angels We Have Heard on High Trationa french carl 8 Tratonal french melody Arranged by Carol Torngust Notice that the Intro, uses both the chord progression and the familiar 8th note pattern from the chorus of this well-loved carol. While it is not literally the last 4 bars of the song, it definitely suggests the familiar refrain, INTRO] F Dm Gm? c Fmaj7 Bh Cus C7 F VERSE s Fm om cor BE & 4mer e 1.An - gels we have heard | on high, REPEAT ane = z S oF =A 9 3 3 > o 2 = om a g 1 ex - cel - sis De ‘Arr. © Copgright 2000 Word Muse, Ie. mitered————les—“‘i—CS 13 sis RE-HARMONIZED VERSE sounds different because: + New harmonies begin immediately on the first chord of the last verse (Fmaj7), eparture from the traditional barmonies throughout Pera tise this is the final chorus, the L.HL moves down to the lower register ofthe keyboard (even playing some octaves) ona TRARSTTON Go en) 5 \"F Spm Gn a and continue to be an interesting 8: f Po = = ‘LAST VERSE* Bimaj? om) Bimaj? Gm? Bhai cys Fas F ATsus AT 31. Fmaj? ° Bhmaj? Gn? Gm? An? Bhmaj? Bion) Gm iq Bimai? Gn? G19. G7 cr “Lyrics for last verse omitted duc to Tack of space.14 At the Cross Words by Musi by isaac wags AALPH E Huson Arranged by Carol Tornquist ‘The Intro. is based on a combination of the first two bars of the chorus (“At the cross, at the cross where I first saw the light...”) and the last two bars (“...And now Iam happy all the day”). These well-known melodic fragments let the ingers know for sure which hymn they are about to sing. Notice that although the melody is familiar, the harmonies are not... which adds musical “fresh air” from the very first note! INTRO] = ER Com? Em? Al BéTsus iT B : : =p = ~ eee a = : a LA ate = Pape = 5 VERSE] BiZausp, Buf oa BB py % PS = 3 ; == = = = = 6 SSS SS = SS : =: lus! and did my Say = tor bleed? And did’ my ier Would eS ——— t ——" SS = 3 L7 sus Es 1 7. pe zs Ep Roo Bids =e oe t=- 7 He de-vote that sa, - ered head Kor sin - ners such as At the . t e ys . Loeb —t 7 = =f == = ES 3 | = —— = = F e B oe Be K pe == = = i —- f | = ; =: PSs a a aS 3 cross at the cross, where Tirta the light And the byr-den of my heart rolled away, It was =a pe = fF fe 2 oe a ae f = = eee oe gal La a REPEAT va node 7 Ab En Ab nb pir EE ay Bbw, | a — = $a = Pai = SS = ee '3 fey there by faith Tre ceived my__ sight, And now Tam hap-py all the day! as), .— QQ aoe : = # rt pi eS = t fe =e] ‘Ars © Copright 2000 Word Mus, ne ‘All Fights reserved,| RE-HARMONIZED VERSE sounds different because: “There is a lot of movement in the inner voices (mostly passing tones) ‘The chords change more frequently than in the traditional version. Many “altered” chords are used (usually indicated by the use of accidentals... oF notes not found in the key of Bb.) optional TRANSITION Go Tat vers) , cm? Ext al Fm Ep Aim a SS ae a3 = 5 Ss be Peet son fle —— be @) sm? 9 1 ma ©1E e709 3) a En on end BE almas7 on? Pert) wis eras) eS more Here, drops of grief can at Ts = in? BZ j6 alm Abuai? phy Eheus ® ———S- ; 4 SSS SSS cross, at the cross, where I first Tee see = == = 7 nares peels 3 f Tt - T Fm? tus c7 cm SP RB rm m9 B69) Bh a eS See Sa Pea am hap py all the gore by fh receted my sR And as SS SSto eo © Re Thou My Vision Traditional ish hymn we Traitonal rsh melody Arranged by Carol Tornquist ‘The melody of this beautiful hymn tune is introduced by using the first part of the thid line (“Thow my best thought... With the renewed interest in Irish music, this hymn has been rediscovered in some churches... and has broad appeal in both traditional and contemporary forms of worship. Notice how similar the Transition isto the Into. INTRO] 4, id Bb Bsus, Bb Bb y Boo OR Ab OF a Oe C7 Bb save that i" Ab oom cm Ab Bb ——— ‘Thou — my___best__ thought, __ by day or by REDENT (ornededjo bar, Fm? Ab B Bhaunis.) Bh Ab ore e ° a ee ry ‘Ar Copyright 2000 Word Msc, rights reserved.; RE-HARMONIZED VERSE sounds different because: Many contemporary chords are used... especially major and minor 7s and 9s. The base line generally moves by just a whole step or a half step (which it also did in the traditional version). However, actual chords don’t change as often, particularly in the first half of the final verse. pond TRANSTTION (oT es) Bb AS Be B En? pnt) BE oR Gh Ghmaj7 BSTsus Gm7 Abmaj? Ro ont Abmaj Gn) Gm? Cm? Heart of — own heart, what + B pin = BB Abmaj7 Abmaj Abmaj9 Abmaj7 Gm? Bi sus,Beneath the Cross of jesus Words Music by wae C CLPHANE FREDERICK. MAKER Arranged by Carol Tornguist 18 Because this hymn is in the key of Db Major, several double flats (+) are used. Don't let that intimidate you, though! (Just remember to play them one half-step lower than “tegular” flats.) Notice that the Intro. is loosely based on the last 4 bars, INTRO] 4; abeimts) BE RR PH om = RE imei aly aus Db : Be - | yd | & ADE ebm? aly Db a fain would take my — stand; ‘The neath the cross of = Je. = sus. mt eo be ————— —te- 2 See J Bim g RT pm Bim Gis Gi F Db Ci tae Dea oe vies a wea - ry f ft Bop = wil - der = ness, A. ; TaPEAT arcades] ra al San Db ww = En ab [a Zp er * : ===: F : 5S SS =i burn - ing of the noon tide’ heat And the bur - den of the — day. Arr. © Copyright 2000 Word Musi, Ine. con tereteis RE-HARMONIZED VERSE sounds different because: «Several “altered” chords are used (which means even more accidentals than in the first verse)! ~The very last bar ofthis final verse uses a single not... the fonic (DY... before adding the harmony beneat it on the vond nod thd beats, This gives ita more dramatic effect because it signals the “end,” and should include a ritard. “tonal TRANGTTTON (os von) Db Ab Ab p DEE im BE SbmaZai7 haus AST /AST VERSE ne Bin? Eb? G Sp bp FHT FT pe pb Der Be OF Bim ml EL pln? Bh AAR cmth5) co P9sus FT 4 ask. no oth - er sum- shine than The sun shine of His face; Con + cs bi Depa pir Didwus BIS DZ G2 Gh niSsus BL Ehm Eb? a on = ly shame, Mya Web Blessed! Assurance mn FANNY j cRosey PHOEBE P KNAPP Arranged by Carol Tornquist This hymn favorite is notated in compound meter, meaning that the notes that get the “beat” (8th notes) are in groups of 3. ‘The “9” in the time signature tells you that there are 9 beats/measure... although, at a moderately fast tempo, it “feels” like the song has 3 beats/measure... or 3 groups af 3! Incidentally, in time a 2 bar Intro. is often enough to establish the “feel” of a song. (You will notice that most songs in this folio are in simple meter, and have 4 bar Intros.) [INTRO] p v7 Ent Em Gar Dsus D Epl py -| : — Cay a ” hea So, E =x E =] a [ERs] ae 2 feo p Egy = —= {| Ovwhat a fore - taste of glo -ry divine Helin f sal- ; a SS SEH SS St Gpg 7 BP 8 = 0 5 va - tion, pur-chase of a ee E = G te eee GS 4 #0 yb my sony te Th ay 4 9+ ft tf f < f oes SF pt = # . REPEAT (ar needed)tobar3.——*+d Ram o H Bara |'d Se ry, this is my song, Prais-ing my Say - Se =e So sm gmt all the day ¥ ki| RE-HARMONIZED VERSE sounds different because: ‘There is a lot more movement... especially in the LH. ‘The rhythm pattern (J 2) is used to give it “energy.” (Notice the first verse LH. used mostly dotted quarter notes.) Ne gray harmonies ae included... for example, major 7s and 9s, minor 7s and “altered” chords. T VERSE) p SmaiZ Dib c) Ch [aa NSTION avo) D7 Es? B Saat all is at AT Dsus 43.Per fect sub - mis - sion~ = wth — = SSS SSS A CimBw? Gmaj7 & CimBpt 7 Adus AT UR a As Se > & Bm aS Sav - tor am hap-py and blest; Watch-ing and wait - ing, took-ing 4 - SSS D AQsus AT D9 Gmaj7 42 Fj? ee f Gi a2 Fy sus DI G Doss D9 Gmaj7 4P Fym? Bm Dip b1 ams & 79) De De Prais ingmy Sav this is my song,———~Break Thou the Bread of Life Words by Ns by any 4 atuRy Wii f. shi Arranged by Carol Tornquist ithe Intro. is taken from the first phrase of the verse using chords similar to the re-harmonized verse, Notice that bar 4 uses Em7/A rather than the more traditional dominant (A or A7). The same harmony (Em7/A) has been added to the fire ending as an aid to the singers. (And remember... this is not a communion hymn!) INTRO Dd Fan Bm? HM Gmaj9 Em? m9 Bl r r ‘VERSE ‘Thou didst break the loaves Be - REPEAT (as needed) wo bar 3 D oD o G Asus ar Ey spit = it pants for ‘Thee, O Livy - ‘Arr. © Copyright 2000 Word Muse, Ine, I rights reserved.his RE-HARMONIZED VERSE sounds different because: © Traditional harmonies are enhanced by substituting major 7s and 9s (e.g. Dmaj7 and Gmaj9) as well as minor 7s and 9s e.g. Em7 and Am9). ‘Once again, moving inner voice parts add fullness and flow to the music. (Compare bars 32-38 to bars 11-17 on the revious page.) lnal TRANSTTION fost vee) ' D ma G Em? Em? atsus A? ¢ ? D Bm? Pm? Gmaj9 i E7 BE? Cmaj9 709) >I =p Dmaj7 Em? Em? Fm? gy B9sus B7 — ASsus ad Em? an) 7 2 EL * an OR & But Ad sus As” ASTWords by on [Otay Lyra Deve, 108 HURL WLEy Arranged by Carol Tornguist Surely the most well-known Easter song of all, this hymn celebrating Christ's resurrection should always be played with energy! Even though the Intro, doesn’t use the “note for note” melody, there is no doubt which hymn is about to be sung because of the RH. rhythm established in the first 2 measures ([7 JJ J J). By the time the congregation hears the familise melody of “Ai-le-” (Iu-ia) in the third measure, they should be ready to join you (with “gusto”) on the first note of the first verse! [rKo} or ee= = Loh the Lod rh’ to 2 f= = .see 25 ESS —s si Se = ‘ 2 S E £ pwBe g 5 € Gare = : = or 4 mo - w an =e & pora & wm pv es § 4 B ff SSS SSS ae . SSS SS 3, A oP BR os —— + : = =_—— a Sond aes z ——— ne a = ty Bo Roms» opts — : —+ Fe a 5 = _ _ J. —— SSS SS i ‘Arr. © Copyright 2000 Word Music, Ine, ‘Al rghts reserved.aL is RE-HARMONIZED VERSE sounds different because: interesting due to the LH. octaves which move mostly in whole ot half steps. + ‘The chord inversions are more i re Sar capt patsern from the fs ending (J. 49) is used again inthis final verse, which adds masical continuity the arrangement. (See bars 29, 33, 35, 37, and 41.) pron TRANSITION o ost ves) D Dunis Daj a Be A BR Gc BD Asus AAT LAST VERSE Asus A 4.Crown Him the Lord of heav’nt One — with the with the | Spir - it thro’ -Him—glv’n From yon - der glo - Hous 1 on io D DP Em? Py Ass A Duis end - less days A - dored and mag - ni - fied! ‘Thou, O.Lord, thro” o0 Frirest Lord jens Anonym Geran yn eto Arranged by Carol Tornquist Even though the Intro, isa departure from the original Iarmonization (and uses more 8th notes!), make sure that you play it evenly and legato (smoothly). It will add to the “elegant simplicity” of this classic hymn. INTRO] By cu 9p Bp Re Ee pi Ab Blows Bb Bly OR REPEAT frneedao bars cm ER Be Bb oBiT | B " # ” soul's glo = ry, Joy, and crown. ght 2000 Word Musi, Ine, igh reserved.This RE-HARMONIZED VERSE sounds different because: ‘+ There is more movement in both hands. 2 When played at a somewhat slower tempo than the previous verses. and forte rather than mezzo-forte.. these mors interesting harmonies will add to the drama of the lyric which moves from “pictures” of nature (eg, meadows, ‘sunshine, and the garb of spring) to praising the Lord of creation forever and ever! ome a THORSON oD) pegermesmoscomerm eae ge a ee ral. LAST VERSE o RES f 8 on c Om o Bb Broader c+769)C79) FT eee e Pee oF DeGrace Greater than Our Sin Words by Music hy julia. jokusfon DANIEL B, TOWNER Arranged by Carol Tornquist Although the Intro, is based on the last phrase of the chorus, bars 3 and 4 use C/D and D7 leading into the first verse... which gives it more musical interest than literally playing the last 4 bars! The Transition is then based on the Intro. (with the addition of some different chords and octaves in the R.EL). VERSE INTRO Em? An rs ml Am on 9 br G BG prem RB G_ rio , 1.Mar - vel-ous grace of our lov - ing Q Dsus D s ¢ DE ee oer lel Ba our sin and our sult, 1s Bi Am g Am G D7 Em § Am? g q dD oG c c a & 6 D7 Rmp7(n03) g & G Grace that will par-don and cleanse with - in! c na @ Gam @ REPEAT fas needed] 29 G u Beene acu dD} a “otis, Grace that fs great-er than all ‘Arr. © Copyright 2000 Word Muse Ie. AIL Tights reserved,Seer Tee ee eCeeRE SSeS ee SE Stee Se eSSee eS SOe SESS TeSSESCECSEESS + The RH. uses more octaves. * Several altered chords are used. + The L.H, has more of a broken chord style of accompaniment in the refrain. atonal TRANSITION (last vere) « LAST VERSE* > \ : a» | 5 € oo @ Bsa B cr) pe Bm Epos) Am v9 va p72 oc BD Lyties for last verse omitted due to lack of space,Taliky THe Her ald Angels ong Words by Masi clans Wesley Fiix wees Arranged by Cro! Torq iar carol. The very first The familiar “device” of using the last four bars of the song as an intro, is used in this fami ‘Hark’ sounds more like a “fanfare” by omitting the L-H., and makes musical sense with the ly LINTRO] py Foo) Bh Pf om Gm € ¢ EB moa p ' \ \ 4 = : ae => ae = = ae = 7 o vt Pr r r oe 92 — FE == BE SS -— = ck r & c E ame QE ¢ fp c 4 \ : _ r =e SSS ; Sy Pps a A=? TTR! he her = ald angels sing “Glo-ry tothe new-born Kings Peace on earth, and ay ee ny a ——- sss eae SESS nna tions, ise, Sr k * + 2 2 Fatt pt bie eater - =| 1s Conia E @r Bo w Bow? GP Don | 2S Fas = | bs Oa SaaS Ea Join the tel-umph of the skiess_ With tan gel = ie host pro-claim, fit pip ge op ppp i 2 op u == SS E F Bb blow? $B on SB ER@Er lee Z | ma t Sa = SS Meth = A # Born that men no more may die Born. Born to— give D DI - By ATsus A7_—-Bb Ru amie § E a cr ir see - ond birth, Hark! the her - ald an - gels sing, “Glo =ry— tothe new-born King”Have Thine Own Way, Lord Hon Msc y ADALADE A. pollanp ae ‘Tis following hymn is notated in compound meter, meaning the notes that get the “beat” (quarter notes) are in groups of 3, ‘The time signature (}) tells you that there ate 9 beats/measure and the quarter note gets one beat. INTRO} 4, B Bop Em? BHT sus B Dedgus py 1.Have Thine own 3 a Ro BW Be7 Bir Sp BIT a Have Thine own way! ‘Thou art the Pot - ter; 1am the —,. 6 B Buen, Ab Bb BH EMT Bly Ab Mold me and make REPEAT (as needed) to bar 3, | optional TRANSITION (to last verse) : ' # By SB Bi | Be Eb A°7 Ars © Copyright 2000 Word Masi Ine rights reserved.This RE-HARMONIZED verse sounds different because: ‘The LH. part has more movement. ‘The bass line is more interesting due to the use of chord inversions. ‘The R.H., part has a lot of movement in the inner voices (including several passing tones). The harmonies are less predictable than in the traditional version. LAST VERSE | R cm? Fm? BMT Bsus Bb bis » # or Poole Have Thine own 4. Have Thine own way, Lord! ie Fn? ae Bi m9 Bln) 4a B 0 Fm? B Bln? BH. Almaj7 AMG cu Br Christ on = ly,Words by joseph clluoRe from C Major (bar 1) about to sing! ne Leadeth Me Notice that the Intro, repeats the first 4 melody notes of the verse (“He leadeth me...” fo Am (bar 2) to Fmaj7 (bar 3). This repeated melodic fragment _ Musi WAN 8 BRB Arranged by Carol Tornqui ), but changes the underlying harmon tells the singers which hymn they at Fmaj7 G c i—— == = = SSS 4 eee Sr = — =. ct at oa a =e F c g a — - a : =! == SSS Se SS Meet hm wake Mm Wa : ee === = wy F c Am € are = SS — = - SSS SS ce 1 be, sit vis Gor's tant ee ten eae : * _ ! Na SSeS SS cb a g 3 ° = SSS 7 = 3 rire so a ae ee ey ; ‘ : . af SSS = SS c - 1§ ore SSS == ea SSS by ie md He ead = ch mes t E rt —=— = a ‘Arr, © Copyright 2000 Word Music, In. ‘All rights reserved SSH‘This RE-HARMONIZED VERSE sounds different because: + ‘The LH. uses more notes in the lower register than in the traditional hymn, Instead of there being a fermata (“hold”) at the end of each 4 bar phrase, af bar is included. This feels “natural” and takes the rhythmic “guesswork” out of your job! (NOTE: You'll want to play the previous verses using exactly the same rhythm for congregational singing.) [optional TRANSITION (to last verse) a1 oc Fmaj? Dui? Gsus a c= _ LAST VERSE, c Cgus C7 28 Gc G ae ‘Thy grace, the vie ry’s won, Ben Fmaj7 Dm? pp § Amt bo Glsus G7 when my task on earth _is_done, When, c Cieus G2 maT F D9 | = rsa death's cold wave Twill ZF Be ; se Il not flee, Since e g © pp Sigsein9 c2 cam pb? G9 sus or spas ead - eth me, He lead eth— me; By Hils_ own_hand_ He— faith - ful fol - Pwer42 / His Eye is on the Sparrow Words by Music b civ p. MARTIN CHARLES r= —— = | ia voi + ”* sin had left a crimson stain; He washed it white as_ snow. 2 ‘Arr. © Copyright 2000 Ward Muse, Ie, “Alrghts reserved.‘This RE-HARMONIZED VERSE sounds different because: * More chord inversions are used. i * More movement in the inner voices adds interest. NOTE: Because this hymn has 5 flats in the key signature, it was necessary to use some double flats ( | ) in the notation ofthis verse, (Just remember to make it an extra half step lower!) pina TRARSTTION oT eg) | 1 Db Fat Ghmaj7 Bim 4) % z 5 D2 Db Bim SE Air Dimaj9 Dis ? e-fore the throne stand in Him com - plete, RE Sigg? Aly Db & tr r My— lips shall still re ~ peat, 34 pe pb no a, DE RE Bin? = els? sus paid it ally 38 oO pbb FT F7Ghmaj7 br RE Dimi? Gimai7 aly ky pb oO had left a crim-son stain; He it white as snow: a58 Words by Joy to the World at istic waqys ano Arranged by con ine This familiar Christmas/Advent carol is one of the few songs in the hymnal with a time signature of 2/4, ‘The Intro. begins with a familiar melodic “fragment” from the last phrase (“...heav'n and heav'n”). The Transition is similar to the Intro., but changes harmony in the second measure, Notice that the R.H. ascending major scale in the second ending “signals” the Transition to the final verse eas = VERSE e a Dmaj7 wt 6 Dd ip Ro oa D R . A . ss + = r : Ea ae =| s=j a re * # a = = | LJoy to _ the world! the Lord is come; re - ceive her SSS heay'n and na - ture— sing, ‘And heay’n and na - ture— Ahd_ heav'n, — and = hy : — = SSS . EPEAT are ober a “pon TRANSITION oes ves8) — = SS ture sing. | ‘Are © Cong 1999 Word Masi Ins ‘Aid Fights reservedThis RE-HARMONIZED VERSE sounds different becatise: «The L.H. is playing in a lower register of the keyboard. * The L-H. octaves give strength to the lyrics: “He rules the world...”. +The RH. is much fuller as well, often using 4 note chords. 7 4 Ri G A AP Bm Em? = 2 Asus A LAST VERSE D oe el Gs 2p 5 Bm az Gmaj? G6 ; Ri Em? D pd Bp Dmaj7 ve Em io | e ‘And wonders of His__ love, 7 : Ayalus , A Boma? op 2 Bm? Bm? 7 Em Dua? Em 47D60 vy joyful, joyul, We Adore Thee y Hey YAN DYKE (hyo 70 jo) Luowic ya Bee hoveN Arranged by Carol Tornquist The Intro. to this familiar hymn begins on the upper register of the keyboard, which makes perfect sense with the “joyful” sound of this timeless melody. ‘The Transition, however, (which also borrows from the last phrase of the song) uses L.H. descending octaves to lead into the more dramatic lyrics of the final verse. (Since the last verse is usually sung at a somewhat slower, broader tempo, you should observe the rallentando in bars 24 an 25.) q Gmig B pm Ho RB An? Dew D ai R ie : +4 i yu _ _ : ——— = SSS = = fi_#__» A.Joy - ful, joy - ful, dore Thee, God of glo Hearts un - fold flow'rs be - fore ‘Thee, Open - fos r Loe f— ts e—t Ze SS == ne q pr Gog Db 37 ' te ==. r or = 2 = eee eee »£ - « £ DE at Pa Sat = = [REPEAT (ar needed) to bar 5. | ena TRANSITION, 7 fy cme sw Bom § ime es — = t I [SSS SSS : eaae Fe of im = mor tal gladness, Fil! us with the tight of day! $4 £ | = ‘Avr. © Copyright 2000 Ward Music, Ine, "All rights reserved.‘This RE-HARMONIZED VERSE sounds different because: ‘+The LH, includes several octaves. The LH. often moves in half and whole steps. (Notice that in the traditional harmonization many of the bass notes are repeated instead.) 2 (no) 2 HT) Cys : Gps aged gg SHED Cue pus GF 4m AE § > reall. LAST VERSE, 4.Mor - tals, join the 4 ey’s hand, Bt7 BT C2 AT D7sus_ DT Ev - er sing - ing, - Gino3) 2 17) Cmo co Sag gg cfg’ ge AR aR oreo us) sun = ward = Inthe tri - umph.62 just As | Am Words by Music by chanloyye elioyy Willian B BRADBURY Arranged by Carol Tornquist ‘This familiar “invitation” hymn is the only song in this book with a time signature of §. It is also the only arrangement that includes an Intro. with 3 bars . . . just like the last phrase of the song. Notice that both endings have some added L.H. movement... . otherwise the Db Major chord would be held for 6 beats! INTRO 4 Bln? En? AbTsus AbT bb AT oI 1, Just_ ‘VERSE Ab AW Db Ab De aw Ao ‘Thou bidd’st__ me come 4. REPEAT fas needed oar & 10 Db Ab D> Arr. © Copyright 2000 Word Must, In i ghts reserved.‘This RE-HARMONIZED VERSE sounds different because: + The chords change much more frequently than in the traditional version. ‘he movement in the inner voices adds harmonic interest as well. + Several altered chords have been added, giving the final verse a more contemporary sound. | “optional TRANSITION (to last verse) j o Ds Gimaj? AR Rim? Alsus. ab SE r LAST VERSE Dimaj? DiS Bint avs ab pe Db e 15 a EhnT Bow Bh Al oDh g 0 Dhmaj? D6 Abn DH Ghmaj? ie no SMB |64 Lead On, 0 king Eternal 7 Words by sic by | BB Se ty Arranged by Carol Tornquist ‘This hymn is often used at the end of a worship service as we “go out into the world”. The LH. octaves in the very first bar of this Intro. set a “strong” tone for the entire song. ‘The Transition expands upon the Intro., adding some R.H. 16th notes as a sort of “fanfare” into the final verse, | INTRO Bh bla? BF Glmaj? 5 = e Db RB & Dima? gy ab au day of march has oR ” TEDEAT as neealo bar. ooalTRANTION at goa Raw ab | Db ee ola ee © King E - ter = nal, We lift our bat - tle song, ‘Arr. © Copyright 2000 Word Music, Ine, “Ailrghts reserved.This RE-HARMONIZED VERSE sounds different because: + More contemporary harmonies are used. «The LH. part has much more interest than the traditional version, both rhythmically and harmonically. es LL Ein? Db AlSsus Al7 LAST VERSE 26 Di Db En oe BD ne ch im?) hm? Bat ai not with DoD) Bm? pe BB Bh? Bp? SE Fm? Bhm? BT Al sus A or lad ~ ness” breaks = eer Thy face ap - pears. y sa pe BES ph Gimaj7 co Bink py Bg? & cross ist - edd 2 Bm? BE Ghai? yo Bm Em ay orb 38 ait 7 God of might. crown a= waits the con - quest; Lead on,66 Words by Lit A. HFFA Leaning on the Everlasting Arms Music by ANTHONY j SHOWALTER | Arranged by Carol Tornquist ‘Although this uptempo hymn is notated in { time, it “eels” like § ... o wiplt feel throughout (as indicated by: 13-4 >, ‘That rhythm is well established in the Intro., especially in the L.H, The Transition is a repeat of the Intro. (except for bar 25), REPEAT (as needed) 1 bs ena ~ uo By Ab ET Ab "TRANSITION ast verse) ” Ab Db a | i ; Fy 7 Ee sa b f oe = SS . a te 4 eS a Lean - ing, Jean ing, Lean-ing on the ev-er ~ last - ing arms. |p 99990 SF Bebo a = E == Arn © Cont igh 2000 Word Muse, Ine. gs reserved. J ve a Ds Bin? Bo rm ip ft Br De | = : = | be = = aga Pao ren 1 Sepa a St [ase ee edes ee te 5 “Ab = pis = Db Ab _ Bh —— + ; - —— i = Pas SS3= SSS a LWhat a fellowship, what a Joy. dl-vine, Lean + tng onthe ey-er = last + ing arms, . — cbse == = - He Se = x a4 — 5 Ng — pis D> ET Ab moe SS = Sea i! Se SS eS What a bless» ed-nees, what a peace Ismine, Lean ing on the ey-er = last = ing arms ke ————— gS = 2 =— — ¢ 22 = SE ry > Ab et B48 ce SSS = Ten + ing, Jean ing, Safe and se-eure from alla = larms; ebeat— epee eee Set 5 =: See SS Aor his RE-HARMONIZED VERSE sounds different because: By using several chord inversions the L.H, can move naturally by whole and half steps (rather than by larger intervals as in 1¢ traditional version). "More contemporary chords are used . .. for example, major chords with an added “2” and major and minor 7s. ‘The L.H. definitely helps to keep the triplet feel throughout. , Ab ct Db a ad roo HPs 2: — - m5: — p = == SI SS SSS OUP Ee Pe pe pe Pepe oe == ———— aga 25S Sag f= B ft e a > _ =SSic= ee i what have I tofear, Lean- ing on the ev-er-last - ing arms? b+} _ ote 6 wP | a AAT pis a = \ = a — oe 7 E 7 + z e 1 have bless-ed peace with my Lord sonear, Lean «i = bal ip pot a — a 7 —e Ab 75) Db Bln? B° o ts II wh} =a SS iis Ab 745) Db Bin? B° x ts a = Ss, 2 a SS ° BealesLet Us Break Bread Together | eel This traditional spiritual is probably the most familiar communion hymn of all, Even though the time signature is 4, it is ‘often sung in “cut time” (2 beats/measure).. ag neo Me # Pn? Bi%sus—Bhnis A cs phe 4 B aa B Cm) FT Bb cn? BE Bs OR REPEAT (as needed) to bar 5. || optional TRANSITION | ” wb Eom ‘Ab Abmaj7Blsus BT Bb Bh Bhunis B foltvene) D 3 a e an pT me. (on me.) Are © Coppi 2000 Word Mus, ne itis rervetiis RE-HARMONIZED VERSE sounds different ‘because: The melody of the first phrase is played an octave higher .. . which “fits” because the lyrics have changed from “breaking ead” and “drinking the cup” to “praising God.” The ascending bass line in that first phrase gives a legato (connected) feel to the arrangement. Adding notes tothe triads (like 9s, 11s and 13s) gives the harmony a richer sound, ' ae B Fn? Bi9sus ‘LAST VERSE, Be m7) B ‘Abm6 Ee Dit a Gui? 9 Flws FT Fm7(@) Bid) By BE ei Abmaj9 Gm? cH CT Fm De piei.13)D)9 BR oH Amaj? RB DE pw BRinkl My Jesus, [ Love {hee sy Wiliam, feaensfon ADONIRAM j, GORDON Arranged by Carol Tornquist ‘The familiar melodic fragment in this Intro, is taken from bars 13 and 14 (“. .. my gracious Redeemer ..."). The Transition has a fuller sound (due to L.H. octaves) and a rail. to signal the broader final verse: “In mansions of glory . ..”. INTRO | am 4p B BF Gp £ a ont SR cp oF Cons F > Bh om og cis) om a = me = om 0 i [REPEAT (as needed) to bar CTsus C7 F c Arr, © Copyright 2000 Word Muse, Ine. lights reserved.rhis RE-HARMONIZED VERSE sounds different because: + The tempo is broader to enhance the lyrics. + The LH. is played in a lower (and stronger) register of the keyboard, using several octaves. + The bass line is more “fluid” (often moving by whole or half steps) because more chord inversions are used, optional TRANSITION (o F sens) Be Gn? Gel gy aus LAST VERSE — Fmaj7 Gm? Am? pm AP pe Gm? (Broader) br 4 rt sions of glo cT Be F G B pO 4g Fmaj7 Gm? ATs A7 Dm EE Ga pr BR ° oR Den? RF Gm BP GP crsusc7 F Fmaj? Gm7 with the Fmaj7 Gm? Am? BhmS 4m Gm Am Gm rp Bio‘The familiar chorus: “How mé My daVi0r'S LOVE Words and Nuc i CHARLES H. GABRE Arranged by Carol Tornquist 1arvelous! How wonderfull” clearly “sets the stage” for this well-known hymn about God’s love for us. The harmonization for the Intro. is repeated in the final chorus. [INTRO] Ab Abmaj9 Bim? Bho? Cn? F709) Bln? 4b BVJous EAT Ab Bop aan =: 4 FI Gea le SSS= © # a eo : ee tte. AZ ef tp ee ; =) . + 5 WERSE] ay a AE pi7(003) Ab SS = =—+ = fp a nnd stand /1+ mazed in the pres ese OF Je = say the Nar = g +e And Leys o—_|- 69+» — -t s e — SS Sea 9 bs Ab 4 ps ft BHT Ab t - Os SS rs === 4 =a = won der how He could love me, Asin = ner, con-demned, un - clean. ro $9 —9— pe —z ———- o = $ = $ SSS SSS b B At oree fh A ea = 4 == SS SSF / G —? 2 SSS SS SSS How | mar yel-ous, How | won = der-ful! And my song shall ev - er be: SS | + | [ RERIAT rneedajeobor3. 1 ae Br ab OB SSS love forme! Fy | t= : |is RE-HARMONIZED VERSE sound's dijjerent Decause: ‘he additional movement (L.H, and inner voices) gives energy to this final verse and chorus when the lyrics speak of our rnal hope in Christ. ‘everal chords are real departure from the traditional ones, but don’t seem contrived (or out of place). . . especially since ‘rics are also a departure from previous verses. cprional TRANSITION Go last ver) thr Ab pis Bim? hm? AE AP a» DR me LAST VERSE ry Eieus cmt Fm Fm? BW Rom a AWDsus AMT with the ran-somed in glo - ry His face Tat ast shall see, “Twill D2 Db DP # in Ae Amal? Bil ya Be i Joy thro? the How mar - vel-ous, How won-der-full And my song shall ev ~ er bet cmt Fm? AW ps ois) 4b aR pi Ab mar -vel-ous, How won-der-ful Isie Yocky Near the Cross sy wn | Wiian f. DOANE Arranged by Carol Tornquist Because this hymn is in § meter, a 2 bar Intro. is sufficient to establish the rhythmic feel for the singers. You will notice that several arrangements in this folio repeat part of the Intro. as the Transition. In this one, however, the Transition borrows from the melody of the last phrase of the song, and moves naturally into the final verse. INTRO| F Boor ¢ ag cr Clsus CT D E ? VERSE yo BER ocr Dm Bb r > = om a ing stream, ‘re © Cong 2000 Word Masi Ine rights reserved.s RE-HARMONIZED VERSE sounds different because: there is movement on every beat (in this case, 6/measure) . .. in the inner voices, the LH. or both. .$ in other arrangements, the use of chord inversions makes a legato bass line possible. ‘he LH, sometimes “embellishes” the melody without confusing or distracting the singers. ‘optional TRANSITION (to last verse) ie i we &§ Dnt cn? 2 Gm cp BR | —— Ss == See ee SS 3 or F ec = 5 z Co op BE pnt cos) Sy ts = eae % wo 7 fF 7 WT ‘Near the ers UL watch and wal Hop - ing trust - ing ev Se, fos = = SSS SSS Fmaj7 ATsus AT pe Pelton? op BE pa? on St cr F Be b => = — Sai = a we 8 pees gee Ss er PY Tm reach 0 Tit oo A =a = 7 f= BS rf = : ne in the cross, — E & I Fmaj7 4 pm 22 BE opp BE pm aa Bas cre F - - < f 5 SSS Ss S| cs TF z rs SiS re et fo % Of pore mm rap = tured soul shall ind Ret | be-yon” ther en KL t oF oan T I ih’16 Nothing but the Blood Words and Music by voseny Lonny Arranged by Carol Tornguist ‘The Intro. to this hymn once again utilizes the last phrase of this well-known chorus. Because the traditional harmonization consists only of the three primary chords (I, IV and V or V7... G, C and D or D7), both you and the singers will be ready for something more adventuresome by the final verse! | ae Ro pnt oe Am® Agl bt , oy - 7 4 E ———— —— | sz = Se = f > oa br G St SS =i LeWhat can wash a+ way my: sin? Noth «tng but the blood of Je = su ~ ff ¢ @ pf 7 ef ia — Se Se 5 DG bp OG —— ~}=: =] == SS What can make me whole a gan? Noth - ing but the blood of f=f—5 £—§ $6 ft — = SS 5 dD G j | 3 ‘REPEAT as node 10 Bar {oy * == SS s=5 SSS | : a are f 5 eeaiemniamet — = = + ‘Are © Coppi 200 Word Moss, Ie IU rights reserved.tis RE-HARMONIZED VERSE sounds different because: The chords ate “fuller”... for example, there are several 4 note chords (like maj Many mote chord inversions are used than in the traditional version where every The LH. has more movement, especially in the chorus. jor and minor 7s and 9s), single chord is played in root position! Pp oe An? gl D7 RB pn? LAST VERSE G ‘Amt Bm? maj? @ Amt Amd anl pr G Noth - ing but the blood of Je sus} c cab Bm? En maj? BTsus._ BT Cmaj? Bm Am DTsus D7 Noth-ing but the blood — of oe Bm! Cmaj? Am! D7sus_ D7 Cmaj Noth-ing but the bloods (he ie) Musi by efi jl is ae Latin yn Arranged by Carol Tornquist Here are some new harmonic ideas for # carl you will be playing over and over again this (and every!) Christmas season, Notice that while the Intro. does use the familiar last phrase of the chorus, the chord progression is different from the traditional version. ‘The same chord progression then serves as an interlude (Transition) preceding the final verse with minor changes in bar 29 for dramatic effect. [REO] am G an? > BO ca BSBA 7 VERSE joy-ful and ti - um - phantgO come ye, O come ye to 2 ee a amo R a Him! © come, let us a - dore Him! © come, let us a - > « o [REPLAT sed) bar ‘optional TRANSITION (o lat vere) vp B® € c Si DT G ig | the Lord Lard Ls ‘Are © Copel 200 Word Mose, Ine rights reserved.is RE-HARMONIZED VERSE sounds different because: Viany altered chords are used (indicated by several accidentals). Phe LH. bass line moves smoothly (often by whole or half steps) There is more movement in the L.H., especially in the chorus. .), made possible by the use of chord inversions. Se a 4 7 and 2 g ce G Splat oo OE OH —— + o——— : f == Z = oe oo nna + ~ - = = =Ee === Ss = 6 Gmaj®Am9 An? Ba? AY D DP Bm Bm? Ais AT 5 = = == i Sots tt bon this hap = py morn - ings Je + sus to ——_-d- SSS Sa — T i t 1 Tim 47D § Bm? +769) 87009) Am? BHT BT aT 4 = p= a te xy givin te Fa = ther, 4 == =f —— ot >) oe D Dmaj7 Disws § —-G Gmaj7 J Es ; 6+" SS SSS of Pap tie Fg now in flesh ap ~ pear ing! © come, tet usa 3S I = pea —F f : IF f Bm AP por An? @ AB Qf D DP Bm Ant $—- j—}—- | - : 7= Oo is ==- = = FFT 7 dore Him! © come, let usa - done Him0 Come, 0 Come, Emmanuel bi elo an Tow Arranged by Carol Tornuis This ancient tune is probably the most widely used Advent carol. (Some hymnals include as many as 8 verses, so somi re-harmonization is definitely a welcome change!) Notice that while the verse is in a minor key (E minor), the chorus sound as though it is in the relative major key of G major (same key signature 3 half steps higher), ‘This “major” sound fits the lyrics: “Rejoice! Rejoice!” c INTRO] 2m aT 4 ¢ Em Bm? = Em the Son of ar.) 2000 Word Muse, Ie. Conia se, hts reserve.This RE-HARMONIZED VERSE sounds different “aUse: ‘The first chord is Cmaj7 rather shan the tonic (Em). More contemporary harmonies have been added (e.g. Am7, Am9, C2, Cmaj7 and Cmaj9). ‘The L-H. part is much more interesting, especially in the chorus. ‘The final chord is major rather than minor... since the chotus says: “Rejoice”! ona TRANSETON Co ist vere) A Cc 4 | em En? 4 § po ct c B7 LAST VERSE ‘Cmaj7 Am? Bt+7 BT 2 c Am? Am? Bm! Esus Em A Am Em csustf © D7sus_ D7 Em R c of i7 B EL Am Amt? Small 7 Bm D Bp OBm EE Am QP AE vp Em a Cmaj9 AmT a Bu? Cmaj7 - B282 Only Trust Him tly jl H sfockyon Arranged by Carol Tornquist ‘The open 3 note harmony in the first 2 measures of the Intro, seems to fit the beautiful simplicity of this hymn, Notice that the more “lush” harmony used in the Transition prepares the listeners for the final verse harmonization. INTRO| E F BE RB ow EF om Se cp F BPP acdne F. Fsus$ F i c F ‘oppressed There's mer - cy with the Lord, On = ly trust_Him; on - ly trust Him, On - ly i will save— yous TEPENT armed obaS pron TRANSHTION BP Bor pm & cr |F p Celerves) Bal py will save you. He will saye you ‘Arr. © Copyright 2000 Word Music, Ine. ‘Al ights reserved.his RE-HARMONIZED VERSE sounds different because: ‘The melody of the entire verse is played an octave higher . . fitting the confident lyrics: (“¥es, Jesus is the Truth, the fay. ..”). ‘The L.H. moves smoothly, often by half and whole steps, creating a “flowing” bass line, (By contrast, the verse used sveral repeated bass notes.) ‘The chords are much richer and fuller, including minor 7s, minor 6s, diminished and augmented chords. , Amit Ce 2 2 om ant wy Spe Z canis = - nee rr 9 f ; it ° [EAST VERSE] P tT F Gu7(4) Am? Je = sus is the ‘Truth, the Way, ‘That leads you in - to rest; Be - lieve in Him with - out de-lay And you are ful - ly lest.84 Wkly Pass Me Not = FANNY cosy wil Doane Arranged by Carol Tornguist While this Intro. uses the “predictable” last phrase of the song, the subtle difference in the harmony and RH. rhythm in bar 3 adds a more contemporary sound. Notice that the 2 bar Transition simply repeats the last half of the last phrase (... do not pass me by”). 2 2 INTRO] G7 § oc Bnt an? Smal py Gg ep p7(n03) me not, gen = tle Sav i (no: a : mai? ¢ 6 pr(n0s, br G fon oth - ers Thou art call my hum = ble ery: 5 REPEAT area oar GSB c pias £ pr |G ‘Arr. Copyright 2000 Word Music, ne. TAlLrights reserved.This RE-HARMONIZED VERSE sounds different because: * Several augmented and minor 7 chords are used. +The LH. has a lot more movement, especially in the chorus ... which helps to enhance the intensity of the lyries. plana RANSETION Golwtvews) 2 p Fi G Em? Am D7 S ca G ee = SSS ov Ul 1 i 1 al Me F 4 Eayed : = z z = = SSS = ao =| [LAST VERSE “| cr § G Bm? Am? BY BT Cmaj9 § = =————} = : : Go === i= S55 SSE ee a a 4. Thou, the Spring of all my com _-_ fort, More than life to me, bpa—fiot {a -s poe I= « e - = = + - o By im Em? Ami g oT Bm? Bm Em? Ami? § Ut 7? et Whom have 1 omearth be-side Thee? Whom in heav’n but "Thee? — it ; oo a e- t Ss + t ——— = = Gmaj7 a3 ct 4m Am? BP Bm? Bm? Rm Fmaj7 Agi po 2 + for, Hear my hum - ble * a ae ete moe oe a6 8 am? Bm? ' - eS S—— oy Fe FP 8 on oth - ers Thou art call86 Words FANNY. CROSBY [INTRO Redeemed Music by Willian j ksi Arranged by Carol Tornquist Notice how the meter of this great hymn ({) “fits” the joyful lyrics! (Remember that a moderately fast $ feels like 2 beats/measure!) Once again, the Intro. uses both familiar melodic fragments and rhythms to set the stage” for the singers, ab Fm oe BT Ab EAE Les Eh Ab pAb os aL His child, and for - veer, Tam 7 Arr. © Copyright 2000 Word Music, ne ‘lights reserved. Ba |s RE-HARMONIZED VERSE sounds different because: he fresh hatmonies add interest without straying too far from the t he inner voices moving stepwise help to “drive” the last verse. optional TRANSITION (to lst verse) — Ab ‘i =: = an ia ts F who jose ; s = L Ee: SS : = SE 5 2 s = = a f= = Db Bln? = B°- Cm Pm? Bh? Ht pi a = 4 ast ; == = — ll o ¥ + + _ + : rt > deemed, re ~ deemed,———— His child, and for -ev+er, 1 am, lh tal = - * J Sa ‘. z 5 ote ats88 7 Rock of Ages sey AUGUSTUS M. TopLADy THonas lastines Arranged by Carol Tornquist The first phrase of this familiar hymn becomes the Intro. Even though the entire song is only 12 bars long, it has surely stood the “test of time” to become a classic of the church! Notice that the Transition expands upon the second half of the Intro. INTRO] Bhmej7 Bi7 R Bomaj? Cm? Flus 7B OR u B BE i E — —- ; —s = == FE # : oT = J —— go— sy: = oe in es, cleft forme, Let me hide my - self dou - ble cure, and make me pure. 7 * a =} a 7 aoe —— ‘Aer. © Copyright 2000 Ward Muste, ne “All rghts reserved.This RE-HARMONIZED VERSE sounds different because: The very first chord is augmented (raised 5th). + The use of chord inversions helps to achieve a smoother bass line than in the traditional version (which sometimes jumps om one root position chord to another). + The traditional harmonization uses basically the I, IV and V chords in the key of Bb Major (Bb, Bb and F).. . while the inal verse substitutes Iim7 (Cm7), Vim7 (Gm?) and more! .% mR cm? cd = ee ee Pe ee a ——90 Apnms forthe Joune att to Dorothy A. Thrupp ‘The gentle feel of this hymn is introduced by using the upper register of the keyboard in the first measure, In the Transition, however, the melody remains in the middle register, although it is nearly identical otherwise to the Intro. Savior, like a Shepherd Lead Us _ Masieby Wii, bpAosuny Arranged by Carol Tornguist EmT AT Dsus [INTRO] ih es i Gt Fy Dp ae thE E E = ; = - 5 eel SS 2Sor toy te hep -hed ad — ag Mh Ty andere Lactc-p—p—pae—p—p A gg pp ew , == : 3 a Sas on aR Alp , A Roa D = — + = eS = is =e = re SH Th Thy: pleasant pus-tures ed un Tor our ase Thy fll pre- pre Blessed epg —p— poe pep ee fs fee SS f — , — F t =, ts Poa SSS = a re Bes sed 2 ff : f Fe pp pte pp ef = SS SSS SS SS Ee needed) to bar 5, 4 4 =. oo | a = = : —— 3 SS SS Je vom =. Bewed Je- fay Tu bat belts Thino wo “ae riff tt a - De SS Ee f= = = = = + 3 -Ars.© Copyright 2000 Word Mus, Ine, mi rights reserved.RE-HARMONIZED VERSE sounds different because: t begins with a major 7 chord going to a minor 9, which instantly tells you that the harmonic structure is more contemporary nature. Notice that the first verse is based for the most part on D, G and A (or A7).. . or the tonic, subdominant and. minant (or dominant seventh). The melody is sometimes “embellished” without being confusing or distracting to the singers. “optional TRANSITION (ola verse) D BL D DTG Ri Bm Gf Gm B Bm? AT D & ards) he os 5 == ai = LAST VERSE “Dinaj? Em? Dam? Em A] pnt FD 4 — a 5 S - < os t sania == Akar = ly tet us seek’ Thy fa = vor; Ear = ly let us do hy wil Br c2 cB ry7G9)F4769)Bsusf Bm Am? D1 pz eS Sa. SS ane wee te PRET Gmaj? GP Ce CH? Fim7B7eus$ BT Em === 9 fee = : 2 > ete Bante gl = Je + sus, bless-ed Je - sus, ‘Thou hast loved us, love us = a D Fy g a 8 ap | t loved us, love ws al vy eee a ——<—Svoy = SSSS~S~*CS tt Night! nly Night jsepl NobR asic FRANZ GRE Arranged by Carol Tornquis The Intro, begins with the first notes of the last phrase: “Sleep in. . .”, then repeats them an octave lower in the second bar (which is in the actual vocal range of the singers). Because of the slow tempo, there really are 6 beats/measure in this classic carol. F9 sus i cm) F 4 _ — —— SF 4 F t 7 == a = = = == — —— Fr 4 : ty, SSS ho = yh, al is calm, —— t= IS = -——$—-F a Bs = Ege 3 Round moth = er and Child, =——s i a "7 ° R 4 ; —. : 6 = = = tho ty tm = tant so tem = der and mi, Sep in ee —F — f—"- 2 —¢ Se et 2 Se ? wn Bb - B FT | Bb F9sus F 4: + ——=—=—> “ en aii Steep—. fn heav = en= ly peace = i = 2 =4= == - Ss 7 ‘Arr. © Copyright 2000 Ward Must, Ine. "Atights reserved.his RE-HARMONIZED VERSE sounds different because: The first 2 bars are played an octave higher. (Compare the harmonization in these 2 bars with the first verse. Even though \e “toot” of each chord is B, adding the major 7 and the 6 is much more interesting than simply using the I chord for 2 ntire measures!) The LH. rhythm 4) adds movement to this final verse. optional TRANSITION (jv) | Bb e Rb F9 sus Bb cmg)__FT an oF ; _{_ 4 SS bas ae oe = Sj 2 Bhmaj7 —r a ¢ 4 a] ~e love's pure light diant beams I eet b ies om ab Gn? ee S555 = = = 1 # 1 eh with | the dawn | of re - deem ing grace, a 2 5 Ea ft fe ” Gm e965) c9 Be Gu cm) PTB iy, ~ es - == =| =; SE = j — cand a | * bith, Je sus, Lord, at ‘Thy birth, A — fl E — = += 4 |Soitly and [enderly Nock cy WILL qhonpson ‘The melody notes for “...Calling, ‘O sinner...'” are repeated in the first 3 bars of the Intro. to this familiar hymn of invitation, (The Transition then borrows only the 3rd measure.) Notice how the R-H. ascending major scale in bar 23 gives the singers their vocal cue for the final verse. INTRO] & 2 ¢ by oa ae a G Dsus D @ cf wo SS 3 Ad 5 6 c $6 vee ————— —— Se et = = —4 o * aed + 7 te 1. Soft Je-sus is calling, Calling for you and for You who are wea-ry, come home. === J £ REPEAT (as needed) wbarS. | 6 § yy § i es [= rr = 3 SS = ; sel Ear - nest-ly, ten-der - ly Je-sus is call - ing, Call-ing, “O sin-ner, come home!” 5 === = oe e] a= a re ee ae ei mas RE-HARMONIZED VERSE sounds different because: Many altered chords are used. - The harmonies change more frequently. There is more movement both in the L.H. and the inner voices, pon TRANSETON Go ve) ccf GG EmEm7Em™@ AT Ani? Al pita) : SSS Se 4.0 for the won der-ful love He_has prom ised, Prom-ised for you and for met. 4p — - SS ee a = Gmaj7 Bt c Gant Bt cz § § § v7 o ce a : ae a ia! Though we have sinned, He has mer cy and par don, afte : = =F Re a ' AmB BR An? a —4 +— pf} er pi WE Piaf ay —S— = FE ae 5S SS Se of homes come home. Sp pe”CUF UTD FORF Ear nest -ly, = “hy 5 call ing, Call ing, “O -sin-ner, come home!” ~ a+ eee aqhe Old Rugged Cross Words and Masi GEORGE BENNA Arranged by Carol Torngu Instead of using the last phrase of this hymn classic as an Intro., the first phrase of the chorus is used (“...8o I’ll cherish tf old rugged cross”). Notice that this same melody is used in the Transition, but with different harmonization (Cm = C at F7=Ebm). INTRO Sn a BR Bb i —_ +— § - Si ° = —__| 1.0n a itt = £ SS === 8 = =< f =e a [VERSE] ye py Bb BI Eyer) Bb pacha SSS SS — Ga a2 fl =F nl far away stood an old rugged cross, ae of suf-fring and shamej—_ And z Co ————————— ey = = —— = —-—-- Dl ao = zi —- =i 6 re Be Bb mB ee oR oC OFT Bor7oBh FO Teh love" that old cross, where the dear - est and best ae 7 F7 Booey Feo} BRO BS =, = = a ra Sale SS: ri tle =" a rr ae = + cher = ish the old rug-ged er6s——_ Till my tro- phies at last 1 lay Twi aes cing tthe fT raed OR Anex-change I someday fora xown, — | epee ee aren — oe Spee: EE oh oer = eS SSS z ‘Art © Copsght 200 Word Nas Ie ; ‘lights reservedee 97 his RE-HARMONIZED VERSE sounds different because: ‘+ A lot of movement is added to the inner voices as well as the L.H. + The chords change more frequently. Snoames As B Bi FIs ) 4 oa i —— = pa — = == a yrties for last verse omitted due to lack of space.Webb {here Is a fountain joi ck Willi cowpen Arranged by Carol Torngus ‘This Intro. begins with the familiar melody which is found 3 times within this hymn (bars 11-12, 13-14 and 19-20). The Transition is based on the second half of the Intro. a INTRO. Bb BR om S@ Gm Be col pp op VERSE, ie Bo op Bb B pp F Bb filed with blood Drawn— from Im-man - uel’s—_veins, E a, all their guilt - ins, their guilt - y—— stains; And eee . Book oo mo hope mae [SP sin + ners plunged be = neath that flood Lose— all : stains, Arr. © Coppright 2000 Word Musi, Ine, "i Shtereservedhis RE-HARMONIZED VERSE sounds different because: "Many altered chords are used [in contrast with the first verse, which uses mainly the 3 primary chords: Bb, Eb and F (7).] Some embellishments have been added to the R.H. melody, but are never distracting or confusing to the singers. ‘optional TRANSITION (oiast vee) 1 |B oo e cml po By fe = eo - p ry i f i oS _ te 4d J le __, = 5 — == : — SS : LAST VERSE Bi Bh Bhmaj7 BHT Ponts wr Be id @) SS ? poor lisp - ing, stam - m'ring tongue Lies si - lent in the— grave, ‘Then ————— 5 oo be i — — == ——— = my > = —— + = 7 Fal a Bhmaj? Bs Dm? co Be we Be BR oo 33 S| = = SS 25 a = aa i eo if 2 fee f a in a no = bles, sweet - er song PUL sing "Thy pow'r to save: ri > e Ses TT a BG BS gt Dm? 14 L —— # = == a rf Pr sing Thy pow'r to save I'll sing Thy pow'r_ to saves Then— a bd | Al - \ st OE ! rr a 2 7 — —=EP= = j ve = = BR Bb Bhmaj7 Bi? cm? cp BP Bhai? cal po Sinai? PB ori. save, Al pre D> SS 0Words by FANNY j CROSBY ‘The Intro, of this arrangement melody of the Transition ascends (rather than d To God Be the Glory Mc Willan boa Arranged by Carol Tornqui is quite simple which makes sense with the basic harmonies of the first verse. Notice that the D7sus D7 [vs G descends, as in the Intro.) giving an extra “lift” to the final verse. Dr at = be the glo - ry~ great _. A — ¢ 2 things He hath done! So loved He the a= SS aS pret 7 a G | . cow ce & > ¢ bra Gaus pet ~ tJ t + 7 % + af eG = Sa Se 3 a3 = fone-ment for sin Ando pened the —tife - gate that all may go ralse the 7 - * 7 | Hs t z= tt fe —— = } = = 3 GD G DG DI » Geto FR : D for Bg B@ eT —s Lord! Praivethe Lord! Let the earth Hear is yoice! Praise the Lord! Pralsethe Lard! atthe people ve - joke! : a aoe = SSS E — f = == = o [RereaTe — needed) 1 bar. ‘Arr, © Copyright 2000 Word Music, Ine, “Allrights reserved, g ae: 4p 4 br Dr ==} ' opt 4 2a SS SSS Sag ai 4 sear == repartee “Ff = FI FFWords by To God Be the Glory Nasi FANNY j.CROS8Y Willian Hoa Arranged by Carol Torngui ‘The Intro. of this arrangement is quite simple which makes sense with the basic harmonies of the first verse. Notice that the melody of the Transition ascends (rather than descends, as in the Intro.) giving an extra “lift” to the final verse. [VERSE] [mTRO] Fam Gog Dfsus D7 a) g ft - — = =S==S5s S54 3 oS o—* ; oo tesa 11 God he the wt tone fot 1? ° c ogo : SSS = 6 SS SSS things He hath done! So loved He the world that He 325 eae SSeS Am sD ¢ oc & SS tone-ment for sin sll may go in, Praise the a= - E eS G Gsus$ G 2 2 gree ee ee ; Z| Lord! Praisethe Lord! Let the earth hear His yolee! Praise the Lard! Praicthe Lord! Letthe peo-ple ve - joke! 4 a ! | pate $6 ieee oer! == peered re Het = needed ae 29 foro 6 Dg or ee Bg er |e" Br +5 = see wae = o Pet gg Pa ea ete tothe Fa-thrthro™ Jeosiy the Son, And hve Him the glo-ry-grent thing He hath doe! aa = = 1 AS peep ee =F i t Ff Ft f ‘Arr. Copyright 2000 Word Muse, Ine, ‘All rights reserved.This RE-HARMONIZED VERSE sounds different because: +The chords change more often than in the traditional version, * More chord inversions are used. * The bass line is definitely more interesting! (Note ascending bass line... bar 67 through 71.) [eptionaT TRANSETION (to lst verse) LAST VERSE} 5 G Gmai7 ple amy 9 Gmaj? An? @ ° D2 7 |G Am? FORM Be Am? po Gmaj7 Am? Be Am? B2 p7 3.Great things He hath taught us; great things He hath Gam? Gem? Al py I pur + erand high-er and great-er will t be Our won-der, our trans-port,when Je~sus we see. Praise the Lord! Praise the Lord! Let the : el —?. = “PRE — _ —— > _ * RO ant ret sar His voice! Praise the Lord! Praise the Lord! Let the peo ple re - jolee! re == Ee = ee By § co DOB 6 ° ; ey BP BY Amcm6 = § Bm? Bm? cmaj? toe tomo CT Father thro’ Je-sus, the Son, And give Him the glo ry great things He hath done! 101Were You There? Traditional spit Arranged by Carol Torn ‘This traditional spiritual is widely used during Lent and often as a vocal solo. Even the traditional harmonization is more interesting than many hymns, using several chord inversions. (See measures 9, 12 and 13, for example.) INTRO] Almaj? FnT Bh ag ad Bh € B there when they era - ei = fied — my Lor cru - c= fied — my Lord? 1s € Dom aD aL B Ab Bb oa PEAT (ar neato bar || aional TRANSITION 7 a Fm Fn? $2 By Bh d vel 8. a io, v cru-c-fied — my Lord? ‘when they ‘Arr. © Copyright 2000 Word Musi, Ine. ‘Ai rights reserved.103, is RE-HARMONIZED VERSE sounds different because: More contemporary chords are used . .. for example major 2s, 7s and 9s, minor 7s and augmented chords (+). Phe verse begins with the melody an octave higher and moving 8ths in the L.H. That’s because the text changes from icifixion and burial in verses 1-3 to the resurrection in verse 41 Abmaj Fa? Bh3 ap Ab Gp BE mr) fe 4. Were you LAST VERSE Bot Em ay ps AR Alma m7 there when He rose up from the dead? Were you there when He Almaj7BE Gm? Cm? DZ Db Dimaj? Ht BL 2 BE Almaj7ass Gm ORE on rose up from "the dead?. Gm? Cm? Bhi? Bo op ae me Ee or BE alo ry, alo - ry, slo - ryt Some-times I feel _ like shout - ing BHT AB almé Gm BZ arts) als ER pmo BEL me Bin po 4 rit, 2 — Were you — there when He rose up ie Th. peer inee A104 Words by What cul i Tis Traditional English melo wii iy Arranged by Carol Tornqui Notice that the rhythm of the Intro. is “busier” than the first verse, but creates a strong { meter by the time the singers enter at bar 5. The Transition is played an octave higher using 6ths in the R.H. D { INTRO] Em G RD Bm Bm? cmaj7 CB BT sus Em =e F o DHE = wal ap Child is this, who, Pap | 5 Ro > Dr cere tea Bm | I mee _ = - — = : Foe eee an - gels greet_—with an - thems sweet,While shep herds watch are keep = ing? | : | [5 #2 pg tpg . f a E ? ot oaaeae | p An | Se a a: Fy a This, this. is Christ, the King,_Whom shep - herds guard and an - gels sing. = =f = 2 5 === 7 A Bm G D Df Em Am B Se =] aE S we = f= +106 Chord Symbols The following chord symbols are included for those accompanists whose musical background emphasized “reading what ‘was on the page” more than understanding music theory and harmony. The key of C Major is used as a “model” on the following 2 pages, but the same “rules” apply in any major key. TYPES OF CHORDS* CHORD SYMBOL. MAJOR (letter name only) c MINOR (letter name plus ‘m’) cm AUGMENTED (letter name plus *+") C+ (or C aug.) AUGMENTED SEVEN (letter name plus “+7") C+7 (or C aug.) | DIMINISHED (letter name plus ‘) ©’ (orC dim) DIMINISHED SEVEN (letter name plus “"7") C7 (or Cdim.7) ‘SUSPENDED (letter name plus ‘sus’ Cus SUSPENDED 4,2 (letter name plus ‘sus 3") Cous $ MAJOR WITH ADDED 2 (letter name plus ‘2”) 2 MAJOR WITH ADDED 6 (letter name plus ‘6") 6 DOMINANT SEVEN (letter name plus ‘7°) c7 NINE (letter name plus ‘9") 9 DOMINANT SEVEN SUSPENDED (letter name plus ‘7 sus’) CTsus DOMINANT SEVEN FLAT NINE (letter name plus *769") c7b9 MINOR SIX (letter name plus ‘m6") Cm6 MINOR SEVEN (letter name plus ‘m7") Cm ‘MINOR SEVEN FLAT FIVE (letter name plus ‘m7b5°) €m705 MINOR SEVEN WITH ADDED FOUR (letter name plus ‘m7(4)’) m7) MAJOR SEVEN (letter name plus ‘maj7”) Cinaj7 ‘MAJOR NINE (letter.name plus ‘maj9") a9 NINE SUSPENDED (letter name plus ‘9sus”) C9sus THIRTEEN (letter name plus *13") cB “NOTE: These are most of the standard chords used in church music (and in this folio) ... but there are many others not included here!‘The notation for 22 of the standard chord symbols appears below. Each chord may, of course, be voiced in more than one way. (In fact, all of the RE-HARMONIZED verses in this book include several chord inversions.) c cm ct cH ° cr Css cous} cz ce CT oo CT sus c79) Cm Cm? cm75), cm) ‘Cmaj7 maj? CI sus cia NOTE: Any chord symbol using TWO letter names separated by a horizontal line tells you that the lower letter is not the “root” of the chord, 5 (F Major chord with & a'G" in the bass) For example: s