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Biblical references of Every Grain of Sand include: Cain's "chain of events" - Genesis 4: 1-16 Abraham's seed as sand on the seashore - Genesis 22: 15-18 God's thoughts "more in number than the sand" - Psalm 139: 17-18 The Parable of the Sower - (newborn seed, flowers of indulgence, weeds of yesterday, choked) Mark 4: 13-20 Be of Good Cheer -Mark 6: 47-51 Sparrows/hairs numbered - Matthew 10: ...
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Dear Friends and Gentle Hearts is the fifth studio album by Oakland punk band American Steel, released on Fat Wreck Chords on July 21, 2009. [3] The title references a phrase found written on a scrap of paper found in Stephen Foster's pocket after his death.
Footprints in the sand "Footprints," also known as "Footprints in the Sand," is a popular modern allegorical Christian poem. It describes a person who sees two pairs of footprints in the sand, one of which belonged to God and another to themselves. At some points the two pairs of footprints dwindle to one; it is explained that this is where God ...
"How Great Thou Art" is a Christian hymn based on an original Swedish hymn entitled "O Store Gud" written in 1885 by Carl Boberg (1859–1940). The English version of the hymn and its title are a loose translation by the English missionary Stuart K. Hine from 1949.
Among alternative tunings for the guitar, an open G tuning is an open tuning that features the G-major chord; its open notes are selected from the notes of a G-major chord, such as the G-major triad (G,B,D). For example, a popular open-G tuning is D–G–D–G–B–D (low to high).
Sacred Steel is a musical style and African-American gospel tradition that features the steel guitar as part of religious services. The style developed in a group of related Pentecostal churches in the 1930s, and is associated in particular with some branches of the Church of the Living God.
The vi chord before the IV chord in this progression (creating I–vi–IV–V–I) is used as a means to prolong the tonic chord, as the vi or submediant chord is commonly used as a substitute for the tonic chord, and to ease the voice leading of the bass line: in a I–vi–IV–V–I progression (without any chordal inversions) the bass ...