God Loves His Children Arranged by Earl Scruggs Edited by Jack R. BakerTranscribed and TablEdited by michaeljoyce@hotmail.com i@F F F  I @0F0F0@F0F0F0  @ F @ F  I I F0 I0 0F>@F>0I>@ C@  %@   @%%  !   I @ F F @F0F0F00@F>F0F0 @  %@   @ % %  ! # $I# $EI C@$F $F $F %I0 %0@%F0%F0%F0&I3 &EI0C@&F0&F0&F0() ))*@* * *%@+ + + @,%,%, - . 0I`0I0 1I@11I1@2F02I12I03 5F5F6@6 @7 @8%9 9 ;! ; <C<=I>0@>F0>I>I@?F8?F8@FAF@B B B%@C C C D @D%D%D E H@@JF0JF0@KF8KF8LFMF@N N N%@O O O @P%P%P Q S! S T @TF TF TF U UI @U0UF0UF0@VF0VF0VF0@WWWYF@Z Z Z%@[ [ [ @\%\%\ ] _ `F @`F ` `I ` aF0@aF0a0aF0bF0@bF0b0bF>cd@f f f%@g g g @h%h%h i k! k lF @lF lC mF0@mF0mC nF0@nF0nF0nF0oF5p@pp@r r r%@s s s @t%t%t u w x`xIxxIxy yI@y@zF0zF0@{F{F8|F} }F~@~ ~ ~%@   @   @%%   `ID@I  @F0F0@F8FF@  %@   @%%   @I0I0 I0I0I0I3 I0`I0I0 @  %@   @%%  !  I0`I0F0@I0I0 I0I0F3@  %@   @%%   I`IIF I@FF0@F0FF @  %@   @   @%%   I`I I@IF@FF0F@  %@   @%%   F @F  I  F0@F00F0F0@F00F>@  %@   @%%  !  F @F C F0@F0C F0@F0F0F0F5@@  %@   @%%   ؽ`II I@ @ځF0ځF0@FF8FF@  %@   @   @%%   `IFD@I @F0F0@F8FF@  %@   @%%   EF C@F  I I F0@F00I0I0EF0C@F00I0@ @  %@   @%%  !   I @ F F 0@F0F0F00@F>F0 @  %@   @%%   I# EI C@F F F I0 0@ F0 F0 F0 I3 EI0C@ F0 F0 F0   @  %@   @%%   F`IF@IIF@F0I1I0 @FF@ @ @%  !  C !I"0@"F0"I!"I@#F8#F8$F%F@& & &%@' ' ' ( @(%(%( ) ,@.0@.F0.F0@/F8/F80F1F@2 2 2%@3 3 3 @4%4%4 5 7! 7 8c09c0:c0;c=C=Z> ? @ A.C God Loves His ChildrenF0 I0@F0F0ing\earl scruggsking\paul and siEZ,d@J{K|KTT]^@_,{@||F0j@ke bnts\tabledit\1miw\briarpatch breents\tabledit\1m c:\my documentsR3E:I9dE:9d-2U4; yLy,{+@,- 0 I0 I0 I0 I0 4;a=da I0 F0 I0@dh@du@%%I0 %00 1I@1@FAF@BThis project was the most rewarding transcription effort that I have done. These tunes have been with me for 40 years and I love the music and Earl's playing as much now as ever. I've read that the banjo and fiddle were considered to be instruments of the Devil. Therefore, The Foggy Mountain Boys used the guitar for the vast majority of the spirituals that they sang. Earl plays the guitar with thumb and metal finger picks. During the period that these tunes were recorded, his guitar of choice was an old Martin D-18 with an adjustable truss rod and a pickguard that covered the entire top of the guitar from the bridge forward. He also used a Martin D-28 with a white pickguard and a Gibson Dove. Earl sometimes played a full break and sometimes just played a turnaround of several measures. These turnarounds by themselves are not too interesting, but used with a tune, they really punctuate the piece. In the notes below, I tell the key and tempo that each tune was originally recorded. To avoid capo movement in the middle of the medley, I transposed everything to the key of A with the capo on the 5th fret. I tried to select full breaks with turnarounds between them, and sometimes I adjusted the tempo slightly to make a better match. The backup guitar part was was transcribed, but rather was done in Lester Flatt's rhythm style. Lester played with a thumbpick and a plastic finger pick that he used to play the up strokes. Many times during spirituals, Earl's guitar was the only instrument accompanying the group. God Loves His Children: Earl plays this in the Key of A with the capo on the 5th fret. The tempo shown in this medley is the tempo that Earl recorded it as. Measures 6 and 7: Lester Flatt's guitar (capo'd on the second fret and playing as if the tune was in G) drowns out Earl's guitar. I'm Walking With Him: Earl played this originally in the key F with the capo on the 1st fret and played as if in the key of E. The recorded tempo was quarter=180. Earl recorded two guitar breaks on this tune. This one is the second one. As the first one has a lick that is featured on the last tune in this medley, I didn't use it. Who Will Sing For Me?: Earl originally recorded this tune at quarter=170. This tune has always intrigued me due to the style that Earl uses. He plays this more like a banjo than he does a guitar. For the most part, it could have been played on a tenor guitar or baritone uke, as he plays 98% of the tune on the 1st four strings. It's not too difficult to play, but it is somewhat different than his usual guitar style. He also used to play another spiritual with a similar break, but with more bass notes and a little faster. The recording I used was in the key of Bb, with Earl's capo on the 6th fret. The mic'ing for the recording was a little off (at least to my ears) and it was very difficult to pick Earl out of the pack at times. In later years on the TV program, Earl played this in the key of A so I didn't feel too bad about changing the key. In the ending Earl does those brush strokes a la Maybelle Carter, using his index finger (i finger) to brush down and then up. I'm Working On A Road To Glory: Original key was Ab per my recording with the capo on the fourth fret. The original tempo was 200. I've used two of the three guitar breaks from this recording. The second and third breaks are virtually identical. The second break was used first and I slowed it just a bit to match the next tune. The second time a break from this tune is found, it is the first break from the original recording and I've speeded it up just a bit to match the next tune. Let the Church Roll On: This is another great Carter Family original that Lester and Eart adapted. In the recording I have of this, Earl plays this tune in Ab with the capo on the 4th fret. The original tempo was quarter=190. Measures 61 & 62: This is Earl's take on Lester Flatt's only recorded guitar solo that I know of: Six White Horses. Measures 63 until the end are of the 2rd variation which is slightly different than the first time through. In the 1st variation, Earl muffs a note in the bass run at the end. Except for that, the three variations are are the same. It Won't Be Long: This is the original recording's tempo. Original Key = Bb (capo on the 6th fret). The first two measures are identical to how Earl starts his version of the Nine Pound Hammer. I am the first to admit that measure 79 & 80 are a guess. The mono recording had Earl blending in with all of the other instruments and I used more imagination than ear to get these notes. They aren't out of character from his playing and I don't believe that he would mind their use here. Paul and Silas: This is the original key and tempo. When I was a boy and trying to learn to do thumblick guitar, a neighbor told me "if you're gonna learn that style, you ought'na learn "Paul and Silas." Later Earl recorded this tune on the Live at Vanderbilt University album and I wore it out learning it. It's probably the most popular of this type of music that he recorded. There are two guitar breaks and a hounddog (dobro) break. There are a number of differences between the first and second guitar break that I included both. You Can Feel It In Your Soul: This tune was originally recorded in the key of G with the capo on the 3rd fret and the tempo was quarter=215. Lester and Earl recorded this tune twice. The first time Earl played three almost identical guitar breaks very similar to the first break shown here. The second recording Earl only played two guitar breaks, with Uncle Josh playing a hounddog break in between Earl's. I chose this version as the second break uses a hotlick that Earl used in other tunes, like the Nine Pound Hammer and I'll Be Going To Heaven Sometime. The single string hotlick at measure 164 was used in the first break of I'm Walking With Him, among others. Ending: The Ending comes from Paul and Silas. Usually Earl ended a spiritual with a light strum through the chord, but on Paul and Silas, he takes one more blues lick. The speed of the original recording was quarter=244. c0r $).3%).38 Earl Scruggsarc0 #',16Rhythm Guitar001101110000=007:>899<>7F000P042S0/00000000000001EE1/1111010::::H<100001000000000000008V0000000Page &p / &n&c&2&t &c&6&s &r&3&m &r&3&t - &3&s