ptabSweet Hour Of Prayer Craig Dobbins William B. Bradbury {1816-1868}William W. Walford {1772-1850} Craig DobbinsCraig Rogers {Tellurian}craigrogers706@hotmail.comÿ~ Sweet Hour of Prayer William W. Walford Sweet hour of prayer! Sweet hour of prayer! That calls me from a world of care And bids me at my Father’s throne Make all my wants and wishes known In seasons of distress and grief My soul has often found relief And oft escaped the tempter’s snare By thy return, sweet hour of prayer! Sweet hour of prayer! Sweet hour of prayer! The joys I feel, this bliss I share Of those whose anxious spirits burn With strong desires for Thy return! With such I hasten to the place Where God my saviour shows His face And gladly take my station there And wait for Thee, sweet hour of prayer! Sweet hour of prayer! Sweet hour of prayer! Thy wings shall my petition bear To Him whose truth and faithfulness Engage the waiting soul to bless And since He bids me seek His face Believe His Word and trust His grace I’ll cast on Him my every care And wait for Thee, sweet hour of prayer! Sweet hour of prayer! Sweet hour of prayer! May I thy consolation share ‘Til from Mount Pisgah’s lofty height I view my home, and take my flight This robe of flesh I’ll drop and rise To seize the everlasting prize And shout while passing through the air Farewell, farewell, sweet hour of prayer!ÿ When I play this song, I picture Floyd Cramer at the piano, playing that great signature lick {remember "Last Date"?}. I try to approximate the sound with quick hammers {see the grace notes in measures 2, 8,9,10, and elsewhere}. I get lots of arranging ideas from piano players. For example, great keyboard players create interest and emotion by varying the tempo and dynamics. And always, the melody 'sings' above the accompaniment. When arranging songs in general, and hymns in particular, I try to stay close to the melody. There's no point in creating a complex arrangement that no one will recognize. I will reharmonize a bit with passing chords and such, but I try to stay within the key. Also I feel that it's very important to familiarize yourself with the lyrics - you can't communicate the message if you don't know what you're talking about. Most 'standard' arrangrments of hymns use a mimimum of chords. In the first phrase {measures {1 to 9}, that would be A - D - A - E. In this arrangement, I use 'passing' chords to fill out the harmony. For example. the same eight measures reharmonized: A - D - C#m7 - Bm7 - D#dim7 - A/E - A - Bm7 - E7sus4 - E7. My goal is not to see how many changes I can squeeze into a few measures, but rather to create harmonic interest in an otherwise simple chord progression. These chords also provide a moving bass line, which is always welcome. Here are some additional tips to get you performing this piece in short order. 1} I 'anticipate' the Bm7 chord in measure 5 by playing the B note {5th string, 2nd fret} on the 'and' of the last beat of measure 3. 2} Sometimes I like to 'linger' on a note or chord for emphasis. For example, the Bm7 chord in measure 5; the E7 in measure 9; and the Bm7 in measure 13. 3] In measure 15, there's a nice chromatic bass line in the F#m - Dm/F - A/E progression. 4] The chorus begins at measure 18. Here I anticipate the bass note of each chord; the A note before the A chord; the D note before the E/D chord; the C# note before the A/C# chord; and the D before the D chord. 5} The arrangement is a bit short, so I play the chorus twice. 6} At the second ending {measure 34}, the music slips {seamlessly I hope} into 4/4 time. I slide into the C# {3rd string, 6th fret} with my 2nd finger. I keep my 2nd finger on the 3rd string for the remainder of the song. 7} In measure 36, that's a hammer/pull-off combination. I use my 4th finger. 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