Window to His Love

by Julie DeAzvedo Arranged by Don Fallick

Metronome: 72

Play double-ligados (such as --0_1_0--) and count as “5-and-6 ”

Intro:
r t i r r m m i t i m m m i m t i r r m m m t i m r i
C FI C G III
|-0-----0-0_1_0-----|-------------------|-------0-0_1_0-----|---------3-------|
|---------------3-1-|-------1-1_3_1-0---|---------------3-1-|-3-----3---------|
8 |-----0-------------|-2---------------2-|-0-----------------|-----4---------0-|
8 |—--2---------------|-----3-------------|-----2-------------|-----------------|
|-------------------|-------------------|---3---------------|-----------------|
|-------------------|---1---------------|-------------------|---3-------------|
1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8
I
[1] [2] [3] [4]

Verses 1,2,3, including choruses:

C F G III C FI

|---0------0--1--0--------|--3------------------|--0---------0---1----0---------|
|---1---------1-----3--1--|--3-----3-3_5_3---0--|--1-------------1-------3---1--|
|o--0----0----3-----------|--4---4---------5----|--0------0------2--------------|
|o-----2------------------|---------------------|------2------------------------|
|-------------------------|---------------------|-------------------------------|
|-------------------------|----3----------------|-------------------------------|
1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8
1. want to be a win-dow to His love, So when you look at me you will see
2. want to be a door-way to the truth, So when you walk be-yond you will find
3. want to be a win-dow to His love, So when you look at me you will see
[5] [6] [7]

DmV GIII Am FI GIII

|--------5\--3--------|--/0--0---\0--\0--/1----/1--/1---0---|--/3----------------
|--6---------3-----3--|--\1------/1--/1--\1----\1--\1-------|--\3--3----3--------
|--7---7-----4---4----|--/2------\2--\2--/2----/2--/2-------|--/4-----------5----
|----7----------------|--\2--------------\3----\3--\3-------|--\5----------------
|---------------------|--/0--------------/3----/3--/3-------|--/5----------------
|--------------3------|------------------\1----\1--\1-------|--\3----------------
1 2 3 4 5 6 7 8 1 2 & 3 4 5 6 7 8 1 2 3 4
Him. I want to be so pure and clear that you won’t ev - en
Him. I want to stand so straight and tall that you won’t not - ice
Him. And some-day shin-ing through my face you’ll see His lov - ing
[8] [9] [10]
 __________________________
|1.
EmVII AV Dm V | GIII
|-----------/5--|--------0--|----------------------------------|--/3------------|
|-------8---\5--|-----------|--/6---5----------/6---5----------|--\3------------|
|--\9-------/6--|-----------|--\7------7---5---\7-------7---5--|--/4--------0--o|
|--/9-------\7--|-----------|--/7--------------/7--------------|--\5-----------o|
|--\7-------/7--|-----------|--\5--------------\5--------------|--/5------------|
|-----------\5--|-----------|----------------------------------|--\3------------|
5 6 7 8 1234567 8 1 2 3 4 5 6 7 8 1234567 8
know I’m here, ‘cause His love will shine bright-ly thru’ me. I
me at all, but thru my o - pen door he will be
coun - ten - ance, ‘cause I will have be - come like He
[11] [12] [13a]
________________________________
| 2, 3
| GIII trem. Dm7V GIII C III
|-/3-3--3--3--3--8-|-/5-----5-------5-|-/3-----3--7--7--5--3-|-\3-----3---------|
|-\3---------------|-\6-------6---6---|-\3-------------------|-/5---5---5-----5-|
|-/4---------------|-/5---5-----5-----|-/4---4---------------|-\5-----------5---|
|-\5---------------|-\7-7-------------|-\5-------------------|-/5-5-------5-----|
|-/5---------------|------------------|-/5-------------------|-\3---------------|
|-\3---------------|------------------|-\3-3-----------------|------------------|
123 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8
seen. A win-dow to His love, a door-way to the truth,
is. A win-dow to His love, a door-way to the truth,
[13b] [14] [15] [16]

AV Dm V G III C III GIII

|-/5-----5----------|---------------5---|-/3-----3---------|--3---3-------------|
|-\5-------5-----5--|-/6-----6--6-------|-\3-------3-----3-|--3---3---3----3----|
|-/6---6-------6----|-\7---7------7---7-|-/4---4-------4---|--5---5---3----3----|
|-\7-7-------7------|-/7-7--------------|-\5---------5-----|----------4----4----|
|-/7----------------|-\5----------------|-/5-5-------------|----5---5-----------|
|-\5----------------|-------------------|-\3---------------|------------3----3--|
1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8
a bear - er of the mes - sage He’d have me bring to
a bear - er of the mes - sage He’d have me bring to
[17] [18] [19] [20]

AV Dm V G III
|--/5---------------5---5----10-|-/5------5-------5\-|-\3------3--7---7--5---3--|
|--\5-------5--5----------------|-\6--------6--------|-/3-----------------------|
|--/5----5----------------------|-/7----7-------7----|-\4---4-------------------|
|--\7---------------------------|-\7--7-------7------|--------------------------|
|--/7---------------------------|--------------------|--------------------------|
|--\5--5------------------------|--------------------|----3---------------------|
1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8
you. And with each pass - ing day, I want to fade a -
you. And with each pass - ing year, I want to dis - ap -
[21] [22] [23]
 CIII AV Dm V GIII
|-\3-----3-------3-|-/5-----5---------|-\5-----------------|-/3-----------------|
|-/5---5---5-------|-\5-------5-----5-|-/6-----6---6-----6-|-\3-----3---3-----5-|
|-\5-----------5---|-/6---6-------6---|-\7---7---------7---|-/4---4---------4---|
|-/5-5-------5-----|-\7-7-------7-----|-/7-----------------|-\5-----------------|
|-\3---------------|-/7---------------|-\5-5---------5-----|-/5-----------------|
|------------------|-\5---------------|--------------------|-\3-3---------3-----|
1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8
-way, ‘til on - ly He can be seen, and
-pear, ‘til He’s be- come ev’ - ry- thing, and
[24] [25] [26] [27]

DmV G III CIII FI

|-5-----------------|-----------------|--------------------|-/1-----------------|
|-6-----6---6-----6-|-5---3-----------|-/5-----5-5/6\5-3---|-\1-----1-1_3_1-0---|
|-7---7---------7---|---------5---4---|-\5---------------5-|-/2---2-----------2-|
|-------------------|-----------------|-/5---5-------------|-\3-----------------|
|---5---------5-----|-----------------|-\3-3---------------|-/3-----------------|
|-------------------|---3---3---3---3-|--------------------|-\1-1---------------|
1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8
I’ve be - come A Win-dow to His Love.
I’ve be - come A Win-dow to His Love.
[28] [29] [30] [31]

_______________________________________________
|2
| C G III
|-----------0--0_1_0--------|--3-----------3------------|
|--1------------------3--1--|--3--------3---------------|
|--0------------------------|--4-----4--------------0--o|
|--------2------------------|--------------------------o|
|-----3---------------------|---------------------------|
|---------------------------|-----3---------------------|
1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8
I
[32a] [33a]

____________________________
| 3 slow gradually to final chord h old
| C G III C
|-----------0--0_1_0--------|---------------------------|-/0---------------||
|--1------------------3--1--|--3--------3--3_5_3-----0--|-\1---------------||
|--0------------------------|--4------------------5-----|-/0---------------||
|--------2------------------|--------5------------------|-\2---------------||
|-----3---------------------|---------------------------|-/3---------------||
|---------------------------|-----3---------------------|------------------||
1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8
[32b] [33b] [34]
 CHORDS

C F GIII FI DmV
X----- XX---- ------ ------ X-----
||||0| ||||00 3 000000 000000 5 |00000
||0||| |||0|| |||0|| |||0|| ||||0|
|0|||| ||0||| |00||| |00||| ||00||

Am EmVII Dm7V AV CIII

X----- X----- X----- ------ X-----
||||0| 7 |00000 5 |00000 5 000000 3 |00000
||00|| ||||0| ||||0| |||0|| ||||||
|||||| ||00|| ||0||| |00||| ||000|

Commentary
This song is an excellent example of how barre chords can actually make a song easier to play. Six
of the ten chords used are actually just two barre chords, played at different frets. Even that doesn’t
tell the whole story, as the barred E-shape, barred Am-shape, and barred Am7-shape are so
similar that they might as well all be one chord, thus cutting the number of chords used in half.
Even the barred A-shape found in the CIII chord, while more difficult than the other barre chords
in this song, actually makes the transition from GIII easier and faster than it would be if you used a
normal C chord. You can substitute the four-string F-shape played in the III and V spaces some of
the time, which I admit is easier, but it doesn’t work all the time. If you’re going to have to play the
full-barre versions anyway, why not play all six strings all the time?

Unlike most of my other tabs, this one is meant to be played as an accompaniment to a singer. If
the singer wants a break after the chorus following Verse 2, just reprise the Intro an instrumental
bridge, instead of going directly to Verse 3. You may even decide to insert the extra Intro yourself,
just to show off. It sounds really cool with all the ligados, but is not especially hard to do. Just be
sure to warn the vocalist!

INTRO:

Played right, the Intro sounds lovely and delicate. To avoid confusion, I’m going to refer to the
fingers of the RIGHT hand as T, I, M, and R (for Thumb, Index, Middle, and Ring), and the
fingers of the LEFT hand as numbers 1, 2, 3, and 4 (for Index, Middle, Ring, and Pinkie,
respectively). If you play left-handed, just reverse that. If you are a classical guitarist, and think I
should stick to the Spanish p, i, m, a -- Sorry! Most of my readers don’t speak Spanish, and are not
classically trained. That’s why the song is in tabulature.

The lead finger in the first measure (and in most others) is the R finger. This begins a pattern-pick
that continues throughout the Intro, and the brief reprises throughout the song. The first four notes
of the measure are played normally, followed by a double-ligado: a hammer-on and immediate
pull-off, counted as, “5-&-6”, using the #1 finger. The last two notes of the measure are counted
and played normally, using the fingers specified in the tab.

The M finger leads in the second measure, and the double-ligado is done with the #2 or #3 finger,
whichever is easiest for you. To do this, hold the barre with the #1 finger after the third note, but
release the rest of the chord, to free the other fingers of the left hand. Release the barre after the
double-ligado to play the open B string at the end of the measure. This kind of left hand finger-
dancing only needs to be done when playing the full-barre F chord. If it seems excessive to you,
you may find it easier to play the normal, (four-string) F chord, and fret the bass E string with the
#4 finger briefly when specified in the tab..

The third measure of the Intro is exactly like the first, and the final measure is played straight,
holding the fifth note for three counts (5-6-7). Lead this final measure with the R finger again.

Measure [5] is also played straight. If you are not accompanying a singer, and you want a more
delicate effect, just play the treble string of each chord, using an R finger lead, instead of the three-
string pinches. These single notes will get lost if the vocalist has a strong voice, hence the pinches.
Measure [6] is fingered like measure [2], releasing the fingers first, then the barre at the end, for
the note on the open string. Play measure [7] straight.

Measure [8] is not difficult, but watch out for the slur, or brief slide, on the treble e-string. It’s just
there for a bit of expression, and is not part of the count. You don’t even have to slide all the way
down to the next note. In measure [9], hold the Am chord for 1-1/2 counts (one-and-two), then
pick up the note on the open e-string with an upward picking motion, followed immediately by two
downward strums of the whole chord, to the beat of “DUM, da-DUM, DUM”, like the word,
“pumpernickle”.

Measure [10] is split between lines. Sorry, there just was no better way to print it, for various
obscure, technical reasons. The last half of the measure has a downward T strum that stops at the
3rd string. Play the next note on the B string with the thumb. It’s much easier that way. Play
measures [11], [12], and [13a] straight, then go back to begin the second verse with measure [5].
contine to measure [12] again, but this second time, continue with [13b] through [33a], while the
singer sings the second verse and the chorus.

CHORUS:

Starting in measure [13b] through [31], the guitar will be the same for verses 2 and 3. Play the
tremolo at the end of [13b] with the #3 finger, to ease the transition to the full barre in the V space.
You can substitute a DmV chord for the Dm7V called out in measure [14] if it’s easier for you, but
the Dm7V chord has a softer sound, which I find especially appropriate to underscore the word,
“Love.” It’s actually slightly easier to play, too, as you are fretting one fewer string.

Through measure [28] the tab is straightforward, but in [29] you don’t actually play the full GIII
chord. You only need to barre all the strings with the #1 finger, in the III space. Fret the notes in
the V space with the #4 finger, and those in the IV space with the #3 finger. This may seem like
doing it the hard way, but if you’re already able to play barre chords, you’ll probably find it easier
than trying to hit all the notes rapidly by finger dancing.

The double-ligado in [30] is made by sliding the #4 finger up and down the neck one fret, in a
move that is technically called a mordant. It doesn’t actually sound any better than the hammer-
on/pull-off used in the rest of the song, but if you’ve been playing along with the tab, you’ll have
run out of fingers, so the mordant is the only option.

Measures [31] through [33a] are played pretty much like the last three measures of the Intro, with
only slight variation in the initial pinches of each measure. You can play them identical to the
Intro, if you like, and most likely no one will know or care. Then go back and play the whole verse
and chorus over again, while the singer sings the third verse and chorus, ending with measures
[32b] through [34]. Measure [32b] is actually played the same as [32a] on the guitar, but the singer
does not end the measure by singing the word “I.” The next measure is nearly identical to [6], and
can be played that way if you like, but the pace is different. You begin slowing in [32b], but in
[33], you want to slow to half-speed by the end of the measure, then hold the final C chord in [34]
as long as you can, and bask in the applause.

Actually, the song works perfectly well as a guitar solo, but unfortunately is not well-known, so
most of your audience is likely to be unaware of the gorgeous lyrics. Besides, the vocal melody is
so beautiful, it would be a shame not to sing it. I did not include it with the tab for legal reasons.

LEGAL STUFF:

This song is NOT in public domain! I’ve tried to contact Julie deAzvedo repeatedly to ask about
copyrights and permissions, but she has never answered me. I’ve had the song tabbed for years, but
couldn’t include it here, without permission. Recently, I learned that the LDS Church owns the
copyright, and since I have their permission to publish their copyrighted songs, for non-
commercial, home and church use, and since the guitar arrangement is my own, I list it here. Please
honor the Church’s standards, and refrain from circulating this piece or using it for commercial
purposes of any kind, without written permission from the copyright holder.