Hi Ed,

I had to laugh when I read your comment about musicians playing through the changes. The lead guitar player I played with for many years used to do that all the time. He would frequently play a phrase eight bars long or more.
That sometimes caused some confusion with other people in the band. To further complicate things, our bass player frequently would not play the root note on the changes.

I guess everyone looks at things differently. When I saw your sheet music, the first thing I recognized was the 1,5,4, chord progression which resolved back to the 1. That probably is the guitar player's perspective. Also, as those were major triads my expectation for the melody line or vocal line would be notes from the chords especially given the context of the music.

The chord progression is the major function that does the resolution at the end and having a note that is a note in the chord at the changes is the only thing that would sound "right" to my ear.

A test of that idea is simple enough. Play any note and then play a c major and listen to how it sounds. Play any note and sustain a C chord with that note. Obviously, any note can be played and may sound right if played as a passing tone. Any note that is not a note in the chord to some degree sounds discordant.

For me in general, the note choice is controlled by the style of music and the note duration or to add discordance.

What you choose to do in Here I Am to Worship is pretty much exactly what I would expect to hear.

Billy

New location, new environment, new music coming soon

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