The Solid Rock (Gospel Feel)

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This is a harmonization of Bradbury's popular tune
(SOLID ROCK) with a gospel ("black" gospel) feel.


My hope is built on nothing less
Than Jesus' blood and righteousness;
I dare not trust the sweetest frame,
But wholly lean on Jesus' Name.

On Christ, the solid Rock, I stand;
All other ground is sinking sand,
All other ground is sinking sand.

When darkness veils His lovely face,
I rest on His unchanging grace;
In every high and stormy gale,
My anchor holds within the veil.

His oath, His covenant, His blood,
Support me in the whelming flood;
When all around my soul gives way,
He then is all my Hope and Stay.

When He shall come with trumpet sound,
O may I then in Him be found;
Dressed in His righteousness alone,
Faultless to stand before the throne.

Words: Edward Mote, Melody: William Bradbury (SOLID ROCK)
Arrangement by David L. Ward
Harmonization: © 2009


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To anyone who might have downloaded this on May 2nd, the same day I posted this- I inadvertently left all of the suffixes off for the diminished seventh chords. I've updated the file, so please check your version to make sure it has diminished sevenths (the little circle with a seven next to it)
» David Ward on May 2nd, 2009

This is a decent start but the arrangement has several errors. In bar 2, it would not be Bb13 because that implies the dominant 7th (Ab) and there is an A in the melody. The chord should be Bb6. The last line is the most problematic. It can't be B Maj7 because that implies A# and there is an A in the melody. Even if that's a typo for BbMaj7 it's not a very natural resolution from the previous chord Bdim7. Furthermore, over the A7 chord that follows, you would be singing C natural against the C# in the chord. C natural is the #9 of A7. You would at least have to play A7#9 so the singer could find the note. It's not a very natural reharmonization choice for the melody especially since none of the rest of the arrangment uses that #9 sound.
» Ross on September 10th, 2010


Thanks for taking the time to look at the changes. You're right about the Bb13 really being a Bb6. When I opened my copy, the BMaj7 was actually a BbMaj7, so it must have been a typo. Regarding the last issue, the #9 is really just a passing tone and even though it is a strange harmony, it's pretty easy to sing since the fourth up to the root is a repeated interval in the song. I've updated the chart.
» David Ward on September 24th, 2010
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