Marshall’s eclectic approach to composition appealed to me. Despite its troubled affect and a couple of jolting outbursts, it is not histrionic music it always looks inward in its search for associations, allusions and meaning. (Charles Ives, another composer who used that hymn tune, is a clear reference point Marshall and I shared adoration for our fellow New Englander, particularly his ability to combine seemingly disparate elements into a potent emotional salmagundi.) As it gathers momentum, “Kingdom Come” becomes a procession in slow motion, a chorus of mourners gathering. We land in a deep, murky F-major stew, out of which bits of “Nearer, My God, to Thee” emerge. The piece opens with a chain of A-minor chords, spiraling upward (a reference to Marshall’s beloved Sibelius) then slowly, painfully, drifts downward in an aching lament. In “ Kingdom Come” (1997), grieving becomes a kind of ritual, connecting the individual to the universal pool of human grief. Mostly, he was content to leave my music as I’d written it on certain occasions, he’d point out a passage and say, “I like that part, it could last longer.” He encouraged me to take my time, focus on my ideas, and see them through. In a lesson, we were as likely to discuss a Bergman film or the best way to cook wild mushrooms as we were to analyze whatever I was working on. His teaching style was distinctly unrigorous but discursive and all-encompassing. Our conversations broadened during my time learning with Marshall in graduate school. His musical and real-life personalities seemed directly related: unhurried, easygoing, more likely to follow a train of thought than pursue a rigorous argument, but unafraid to let the conversation become serious or philosophical.
I already knew a few of his pieces, and was a bit awe-struck chatting with their creator. Benevolent and slightly spectral, he’d glide into Yale’s music library, where I had a work-study job as an undergraduate student, and I’d help him find scores and recordings. Use this contact form to request or upload chords.I first came to know the composer Ingram Marshall, who died on May 31 at 80, as a campus personality. The chords and strumming pattern are my interpretation and their accuracy is not guaranteed. These lyrics are the property of the respective artist, authors and labels, they are intended solely for educational purposes and private study only. In my (Am) weakness, God, You are my pow (G) erĮasy Chords for beginners.
God of all my days chords ultimate guitar free#
In my (F) bondage, God, You are my free (G) dom In my (F) blindness, God, You are my vi (G) sion In my (F) searching, God, You are my ans (G) wers In my (F) worry, God, You are my still (G) ness I ran from You, I wandered in the shadowsĪnd found the God whose grace still covers meĪnd I've worshiped You and felt You right beside me My seasons change, You (Am) stay the (G) same I looked to (F) You drowning in my (C) questionsĪnd found the (Am) God who holds all (G) wisdomĪnd I trusted (F) You and stepped out on the (C) oceanĬhorus (Am) ‘Cause You're the (F) God of all my (C) daysĮach step I take, You (Am) make a (G) wayĪnd I will (F) give You all my (C) praise
I turned to (F) You, put everything (C) behind meĪnd found the (Am) God who makes all things (G) new Verse 1 (F) I came to You with my heart in (C) piecesĪnd found the (Am) God with healing in His (G) hands God Of All My Days Lyrics & Chords By Casting Crowns
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