Leaning On The Everlasting Arms (Band and Singer)
Download Includes: PDF’s of Full Score, Vocal Score, and All Parts
When I began my Music Ministry at South Yarmouth United Methodist
Church in 2024, this was one of the first hymns I became familliar with.
We sang it at one of the first services I attended, and from there I couldn't
get it out of my head! At some point, I was playing it enough on my
guitar that I had to put together some arrangement, so here's what I've got.
The tune's intro is an homage to Merle Travis and the way he would sometimes
introduce his songs. The arrangement follows faithfully the structure of the text,
modulating up a half step for the final verse and chorus which are amped up
by the presence of the choir.
Speaking of choruses, as a variation to the traditional presentation of the tune
I have structured it as a "half call and response." Each line starts with the lead
vocalist calling out to the responding choir, before all join and sing the second
half of the line.
The song ends with a tag of the melody and a broadway-esque descending bassline,
a jazzy piano fill, and a final hit from the instrumentalists.
Orchestration
Lead Vox - Baritone (C4-Eb3)
Backing Vox - SATB
Guitar 1 (Electric)
Guitar 2 (Baritone Acoustic)
Synth (E.P., Strings)
Keyboard (Piano)
Electric Bass (opt. Upright)
Percussion (Snaps, Claps, Tambourine)
Drum Set (Brushes, Sticks)
Download Includes: PDF’s of Full Score, Vocal Score, and All Parts
When I began my Music Ministry at South Yarmouth United Methodist
Church in 2024, this was one of the first hymns I became familliar with.
We sang it at one of the first services I attended, and from there I couldn't
get it out of my head! At some point, I was playing it enough on my
guitar that I had to put together some arrangement, so here's what I've got.
The tune's intro is an homage to Merle Travis and the way he would sometimes
introduce his songs. The arrangement follows faithfully the structure of the text,
modulating up a half step for the final verse and chorus which are amped up
by the presence of the choir.
Speaking of choruses, as a variation to the traditional presentation of the tune
I have structured it as a "half call and response." Each line starts with the lead
vocalist calling out to the responding choir, before all join and sing the second
half of the line.
The song ends with a tag of the melody and a broadway-esque descending bassline,
a jazzy piano fill, and a final hit from the instrumentalists.
Orchestration
Lead Vox - Baritone (C4-Eb3)
Backing Vox - SATB
Guitar 1 (Electric)
Guitar 2 (Baritone Acoustic)
Synth (E.P., Strings)
Keyboard (Piano)
Electric Bass (opt. Upright)
Percussion (Snaps, Claps, Tambourine)
Drum Set (Brushes, Sticks)
Download Includes: PDF’s of Full Score, Vocal Score, and All Parts
When I began my Music Ministry at South Yarmouth United Methodist
Church in 2024, this was one of the first hymns I became familliar with.
We sang it at one of the first services I attended, and from there I couldn't
get it out of my head! At some point, I was playing it enough on my
guitar that I had to put together some arrangement, so here's what I've got.
The tune's intro is an homage to Merle Travis and the way he would sometimes
introduce his songs. The arrangement follows faithfully the structure of the text,
modulating up a half step for the final verse and chorus which are amped up
by the presence of the choir.
Speaking of choruses, as a variation to the traditional presentation of the tune
I have structured it as a "half call and response." Each line starts with the lead
vocalist calling out to the responding choir, before all join and sing the second
half of the line.
The song ends with a tag of the melody and a broadway-esque descending bassline,
a jazzy piano fill, and a final hit from the instrumentalists.
Orchestration
Lead Vox - Baritone (C4-Eb3)
Backing Vox - SATB
Guitar 1 (Electric)
Guitar 2 (Baritone Acoustic)
Synth (E.P., Strings)
Keyboard (Piano)
Electric Bass (opt. Upright)
Percussion (Snaps, Claps, Tambourine)
Drum Set (Brushes, Sticks)