ptab%No One Ever Cared {For Me Like Jesus}Jonathan BurchfieldCharles F. WeigleCharles F. WeigleJonathan BurchfieldCraig Rogers {Tellurian}craigrogers706@hotmail.comÿ¡ No One Ever Cared Charles F. Weigle I would love to tell you what I think of Jesus Since I found in Him a friend so strong and true I would tell you how He changed my life completely He did something no other friend could do. Chorus No one ever cared for me like Jesus There’s no other friend so kind as He No one else could take the sin And darkness from me O how much He cared for me. All my life was full of sin when Jesus found me All my heart was full of misery and woe Jesus placed His strong arms about me And He led me in the way I ought to go. Ev’ry day He comes to me with new assurance; More and more I understand His word of love. But I’ll never know just why He came to save me, Till someday I see His blessed face above.ÿ! This gospel song, like many others written during the great depression, has withstood the test of time. It's a beautiful ballad that seems to evoke the feelings and testimony of Charles Weigle, recalling the time when he poured everything he had into his muscic, but probably couldn't afford a piece of bread. There is no particular tempo to be set; play it freely, with much emotion. The opening, with its cascading harmonics are all played naturally {12th fret}. I'm not sure what the chords are, but someone with great theoretical knowledge can probably come up with a name for them. I chose them because of their dissonant sound with slight harmonic tension. That can be translated into the word melancholy, which is more than likely how most people felt during the depression. In measure 5, the right-hand does most of the work. The left-hand basically holds the chord, with a little movement in the melody. I think of it as being harp-like, in that it's almost a slow flourish. Start softly, and build throughout this section. This pattern will continue to repeat itself as a basic forward roll. In measure 17, the verse starts with an A chord half-barred with the first finger. This frees up the fourth finger to start the descending passing tones. A very smooth feel can be created at measure 20, as well as half of measure 21, by barring at the 2nd fret. Measure 33 provides another chance for smooth technique. Keep your 2nd finger down on the D {3rd note} when changing from the E7 to Bm7 chord. The same applies for the 1st finger on G# in the next measure. Keep it in place for the Amaj7 at measure 35. At measure 49, the 2nd verse is like the first, only one octave higher. Give it a half barre at the 9th, with the 1st finger freeing up the 2nd and 3rd finger for passing tones. The interesting, E7 [sharp 5, flat 9} chord at measure 59 is barred at an angle. The 1st finger holds down the G# on the 1st string {4th fret}, while at the same time holding down the D on the 5th string {5th fret}. It's a very full, gutsy sounding chord, and seems to work well as an arrangement draws to a close. The piece again ends with the soft "harp-like" forward rolls based on the D chord. I plays this arrangement in nearly every concert I do. I hope you find it useful. 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