Lovely acoustic version. Thanks for posting. Do you know the artist?
Feeling that. Thank you for the post.
Also the scooping of the words is also a very worldly voice style that does not transition smoothly from one note to another precisely predictable, landing dead center on the note expected, whilst then maintaining that pitch throughout its note value. The chords should ring without off-pitch dissonance, without adding some kind of body english and personal fickleness to it.
As performed, were I a ruling elder, this style of performance would not be accepted as part of a worship gathering in my church house, actually. The reason is that the way the piece is performed commits to a worldly style that is exactly opposite to the theme expressed by the story's words; and in fact, effectively mutes them cognitively.
I regret having to say this, but I've been doing all kinds of vocal and instrumental secular and religious work for over seventy years, and have studied both hymnology, and part-writing. I do not feel this is the kind of rendition the composer and arranger would think consistent with that song story.
On the positive side, the instrument has a mellow resonant tone, and the performer is gifted with a voice with a certain fullness. The combination could be used very successfully in a style consistent with the intention conveyed by the words rather than contrary to it. The words should predominate. Moreover, the arrangement should not force a driving worldly beat on an other-worldly spiritual song to draw the audience towards holiness.
The proper way to present this poem is to make sure the words are clearly and understood, while being augmented and borne along by the pleasantly lilting, very singable melody line and supporting compatible chord progression, which is that of the major chords resolving on the circle of fifths.
Proof that when a voice has such perfect pitch, simple acoustic strumming on the guitar is all that is needed to make wonderful music.