Intermediate Guitar

Intermediate Guitar Training

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Contents

1

2

Introduction

3

A Brief Introduction to Music Theory

4

i. ii. iii.

4 6 6

Reading Guitar Tablature i. ii.

3

4 5

6

7

8

Reading Tabs: Dashes.......................................................... Reading Tabs: Numbers........................................................

7 7 8

Plucking Guitar Chords

9

i. ii.

9 10

The Bass Note………............................................................ Plucking Patterns………........................................................

Transposing Chords

13

i.

13

How Do We Transpose?........................................................

Sus & 7th Chords

17

i. ii. iii.

17 18 19

Sus Chords – Quashing Notes Together............................... 7th Chords – Piling Notes Up.................................................. How Do I Play Them?............................................................

Strumming

21

i. ii. iii. iv.

21 21 22 28

Bars………………………………………................................ Beats……………………………….......................................... Common Strumming Patters................................................. Listening Out……………………….........................................

Barre Chords

32

i. ii.

32 34

How Do We Play Barre Chords?...……................................ Which Frets Do We Press?..................................................

Using Chord Progressions

37

i. ii. iii. iv. v.

37 38 39 39 40

Chord Families…………......……............................................ Free Worship Chord Progressions ......................................... Finding the Key……………………........................................... Forming Introductions to Songs……………………………….... Ending a Song…………………………………………………….

9

Practice, Practice, Practice!

42

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Appendix: Playing Power Chords

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i. ii. © Copyright FCBC Youthnet

What are Notes?................................................................... What are Keys? .................................................................... What are Chords? .................................................................

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12 13

Playing Power Chords – 6th string....……................................ Playing Power Chords – 5th string....……................................

43 44

Appendix: Chords in E

47

i. ii.

47 48

Here I am to Worship…………......……................................ Awesome in this Place……..................................................

Worship Songs Chord Charts

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Introduction We welcome you in the name of Jesus to our Basic Guitar Training! Our aim is to help you enhance your worship experience in your cell group, and also for yourself as a worshiper. This course is designed to further equip you with more skills and knowledge which can be applied practically for worship. Also, we hope that the skills you learn will enable you to further improve on your musicianship on your own. This is important because being able to learn continuously and independent can go a long way in increasing your proficiency. The course aims to help you to understand, learn, and use more advanced chords such as sustained, 7th, and barre chords to add more colour and complexity to your playing. More complicated strumming patterns will also be introduced. In addition, you will be exposed to some theoretical knowledge regarding the relationship between the notes, keys, and chords, and chord families. Lastly, you will learn how to transpose songs. While this course teaches you several skills, these skills will not develop without practice. The materials covered here merely point you in the right direction; the actual journey must ultimately be taken by you through dedicated and consistent practice. The speed at which you learn, and how well you eventually play, is determined by the amount of practice on the guitar. Rise up, take your guitar, and worship!

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A Brief Introduction to Music Theory Although theory is not essential, it helps to understand how the music you play works at an intuitive level. Without going into anything too complex, this section outlines the basics on notes, keys, and chords – the main components in music.

1) What Are Notes? Notes are the individual pitches that you hear when you pluck a single guitar string, and are the smallest units in music. Music therefore comprises of sequences of notes played simultaneously at a certain speed. There are altogether 12 distinct notes in music. These notes have names. Not names like Bill and Sam, but the following:

C

C#/Db D

D#/Eb E

F

F#/Gb G

G#/Ab A

A#/Bb B

Because the above series may be confusing, it helps to look at them on a piano:

The White notes have no symbols next to them, e.g. C, D, E.

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The Black notes have these symbols: - # (sharp) means to play one note higher. - b (flat) means “one note lower”.

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For example, Gb = the black note below G

A# = the black note above A

There is no E#, Fb, B#, or Cb.

C B

The black notes are referred to by the white notes around them

Instead of having 12 names to remember we only have to remember the white notes – 7 notes. All 12 notes repeat over and over again, at higher or lower pitches, in the same sequence. Therefore, after the last B of the sequence comes another C but at a higher pitch than the previous C. Then comes a C#, D, D# and so on. The difference between a normal C and the next higher C is called an octave.

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2) What Are Keys? We do not use all 12 notes in every song. Generally, smaller groups of 7 notes can be taken out from the entire set of 12 notes to form a key. The key of the song is therefore the set of notes you use in the song. The notes are chosen based on certain fixed intervals between them; due to time constraints this will not be covered. One example is all the 7 white notes, which we call “C major”:

The notes of a C major key are:

C

D

E

F

G

A

B

3) What Are Chords? When at least 3 notes are played simultaneously or in sequence, we have a chord - a musical “background” to sing melodies over. There are different variations to a particular chord. For this section, we’ll cover only major and minor chords. Other variations are sevenths chords, suspended chords, major seventh, and minor seventh, etc. We derive these chords by taking alternate notes from the key: C Major Scale: C D E F G Notes of a C chord: C E G

A

B

By starting on different notes of the same key you obtain both major and minor chords. Major chords are denoted by a single alphabet, such as C, and are brighter and lighter in mood. Minor chords are denoted by an ‘m’ affix, such as Cm, and sound more melancholic and sad. While a scale is a fixed set of notes, likewise, the Key is a fixed set of chords. For example, the key of C is comprised of the following 6 chords (the last note, B, is not used):

C

Dm

Em

F

G

Am

When playing in a certain key other chords outside that key are often excluded. For example you will usually not encounter a C#m or a G# in a song in key of C.

Summary

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Music Notes Individual pitches 12 notes

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Keys Set of notes used in a song 7 notes



Chords Background music for melodies 3 notes

Reading Guitar Tablature Guitar tablature (tab) is a musical notation for sharing instructions on how to play guitar chords and solos. Instead of music symbols, tablature uses dashes and numbers. Tabs are: i) DIY - You can do it yourself on word processor, without having to purchase additional software. ii) Everywhere - Because it is easy to create guitar tabs are all over the Internet – you can download and start learning songs within minutes. iii) Visual – the notation is actually a ‘picture’ of the guitar fret board. iv) Accessible - doesn’t require knowledge music theory. However, tabs don’t tell you the timing of the notes: it says what to play, but not when to play the notes.

Reading Tabs: Dashes Tabs use dashes – these dashes tell you which string to press. Dashes resemble the guitar fretboard:

e-------------------------------------------b-------------------------------------------G------------------------------------------D------------------------------------------A------------------------------------------E------------------------------------------e-------------------------------------------B-------------------------------------------G------------------------------------------D------------------------------------------A------------------------------------------E------------------------------------------Names of the strings: e, B, G, D, A, E Thinnest string on the top. Thickest string at the bottom

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Reading Tabs: Numbers We add numbers to the dashes to indicate which fret to press. Examples:

e----------------------------B--3-------------------------G----------------------------D----------------------------A----------------------------E-----------------------------

e----------------------------B----------------------------G----------------------------D--0------------------------A----------------------------E-----------------------------

Play the third fret of the 2nd string:

Play an ‘open’ D-string – pluck the string without pressing any notes.

e----------------------------B-------5--------------------G--4------------------------D----------------------------A----------------------------E-----------------------------

e----------------------------B---5------------------------G--4------------------------D----------------------------A----------------------------E-----------------------------

Play the two notes consecutively.

Play the two notes together.

e----0-------------------------B----1-------------------------G----0-------------------------D----2------------------------A----3------------------------E----x------------------------Play the C chord without strumming the thickest string.

o o

e----------B----------G----------D----------A-----------E-----------

-----------------------------------------------------------------------------------------------------

Exercise: write down the tab for the F chord:

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With your newfound knowledge of tab, try out the online lessons in these websites: - www.wholenote.com: very highly recommended, even has sound clips to help you. - www.ultimate-guitar.com/lessons/: lessons neatly divided into the various styles & techniques. - http://www.guitarnoise.com/: more free lessons!

Summary To read tabs, we ask: Which String Do I Press? Refer to the Dashes

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

Which Fret Do I Press? Refer to the Numbers



Play on the String + Fret

Plucking Guitar Chords Strumming chords gives a full sound, but we often need a more contemplative and quiet accompaniment to the music – we pluck the chords instead. When we pluck chords we play notes one at a time, unlike in strumming where we play them all at once.

The Bass Note The bass note is the first string we pluck when we begin. This note is the lowest note of the chord, and it gives the chord its character. Chords are named after their first notes. E.g. the G chord has G as its bass note. E.g. for chords like F/C (F over C), we play the F chord, but we alter the bass note from F to C. The diagram below locates all the notes for each string’s first four frets:

Fret  e B G D A E

I

II

III

IV

----F---- ----F#---- ----G---- ----G#-------C---- ----C#---- ----D---- ----D#----------A---- ----A#---- ----B---G#-------D#---- ----E-------F---- ----F#-------A#---- ----B---- ----C---- ----C#-------F---- ----F#---- ----G---- ----G#----

The portion highlighted in grey helps us find the bass note for each chord. Examples G Chord We locate the bass note for “G”, which from the diagram is on the E string, 3rd fret. We start plucking from: E –3-A Chord The bass note for “A” is the A open string. We start plucking from: A --0-G/B: e --3-B --0-G --0-D --0-A --2-E --x--

D/F# Chord The F# note can be located at the E string, 2nd fret. We play a D, & add in this note.

D/F#: e --2-B --3-G --2-D --0-A --0-E --2--

x

ooo

ooo

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G/B Chord We fret the A string 2nd fret – this is where ‘B’ is. We ignore the strings below this note (E string).

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Exercise: Strum the following chords. The bass line moves downward - this is called a walkdown.

C G/B F/A C/G F C/E D/F# G G/B: e --3-B --0-G --0-D --0-A --2-E --x---

F/A: e --1-B --1-G --2-D --3-A --0-E --x---

C/G: e --0-B --1-G --0-D --2-A --3-E --3---

C/E: e --0-B --1-G --0-D --2-A --3-E --0---

D/F#: e --2-B --3-G --2-D --0-A --0-E --2--

Exercise: The following progressions are useful ways to end a song. Each pattern is the same, but in a different key:

C D E G A

F/C G/D A/E C/G D/A

C D E G A

Plucking Patterns There are no set rules as to how to pluck the chord after the bass note. However, the following pointers can help: i) How many notes to use per beat? ii) Keep timing. Here are some examples:

i) Letting the chord ring out 1

3

4

1

2

3

4

e -----------------------------------B -----------------1-----------------G ------------0----------------------D --------2--------------------------A --3--------------------------------E -----------------------------------C

e ------------------------------------B ------------------1----------------G ----------0---------------0-------D -------2-----2-------2--------2--A –3---------------------------------E -----------------------------------C

iii) 2 chords in one bar

iv) Arpeggio

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ii) Centered

2

3

4

e -----------------------------------B ----------1--------------3-------G -----0--------------2------------D ---------------0-------------------A -3---------------------------------E -----------------------------------C D

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1

2

3

4

e -----------------0-----------------B -----------1---------1-------------G --------0---------------0---------D ----2----------------------2------A -3---------------------------------E -----------------------------------C

Exercise Play the following songs, taking note of: i) The bass note to start with, ii) The various plucking patterns

As The Deer D A/C# Bm Bm/A As the deer panteth for the water G A D So my soul longeth after Thee. D A/C# Bm Bm/A You alone are my heart's desire G A D And I long to worship Thee. G G D/F# You alone are my strength my shield G Em F# To You alone may my spirit yield D A/C# Bm Bm/A You alone are my heart's desire G A D G/D D And I long to worship Thee.

B: e --2-B --3-G --2-D --0-A --2-E --x---

F#: e --2-B --2-G --3-D --4-A --x-E --x---

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There Is None Like You G

D/F# G/E G/D There is none like You C G/B No one else can touch Am D My heart like You do G D/F# G/E G/D I could search for all eternity long C D G And find there is none like You C D G Em Your mercy flows like a river wide C D/F# G And healing comes from Your hands C D G Em Suffering children are safe in Your arms Am C D There is none like You D/F# G/E G/D There is none like You C G/B No one else can touch Am D My heart like You do G D/F# G/E G/D I could search for all eternity long C D G C/G G And find there is none like You

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G

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Transposing Chords The given key may sometimes be difficult for the worship leader to sing. In such cases it is necessary to shift the key up or down – all the chords in the songs will have to be changed. You would then need to write down the new set of chords.

How Do We Transpose? There are twelve different notes – imagine these notes put in a circle, arranged like a clock:

G

A

G #/A b

A #/B b

F #/G b

B

C C #/D b

F D #/E b

E

D

If: i) The key is too high for the worship leader to sing: Move anti-clockwise to lower the pitch of the song. ii) The key is too low for the worship leader to sing. Move clockwise to raise the pitch of the song.

Step 1: Anti-clockwise  Lowers the pitch. Clockwise  Raises the pitch.

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Suppose that the first chord is A. The worship wants to move this chord to E. A moves 5 steps anti-clockwise to E.

G #/A b

G

A

A #/B b

F #/G b

B

C C #/D b

F D #/E b

E

D

We then move all the chords, minor chords included, in the song 5 steps anti-clockwise. e.g. from Dm to Am.

G #/A b

G

A

A #/B b

F #/G b

C C #/D b

F E

from G/B to D/F#,

G

G #/A b

A

A #/B b

F #/G b

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E

D #/E b

C #/D b D

D #/E b

G

B

C

F

B

D

G #/A b

A

F #/G b

C #/D b

F E

D #/E b

Step 2:

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B

C

Move all chords in the same direction, & the same number of steps, as with the first change made.

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A #/B b

D

Exercises Transpose this song 4 steps lower:

G

My Redeemer Lives My My My My

E Redeemer C#m7 Redeemer E Redeemer C#m7 Redeemer

A lives

G #/A b

A

A #/B b

F #/G b

C C #/D b

F

B lives A

B

E

D #/E b

D

lives B lives

My Redeemer lives My Redeemer lives My Redeemer lives My Redeemer lives

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Transpose this song 4 steps higher:

Tell the World F C Tell the world that Jesus lives Dm Bb Tell the world that Tell the world that F C Tell the world that He died for them Dm Bb Tell the world that He lives again

G

G #/A b

A

A #/B b

F #/G b

B

C C #/D b

F E

D #/E b

D

Tell the world that Jesus lives Tell the world that Tell the world that Tell the world that He died for them Tell the world that He lives again

Tip: When choosing the number of steps to shift, choose one that obtains chords which are manageable. E.g. If the first chord is G, shifting 2 or 5 steps up to A or C is preferable. Avoid moving 3 or 4 steps to Bb and B, relatively more difficult chords to play.

Summary:

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Using the clock, we i)

Move anti-clockwise to lower the pitch, & clockwise to raise the pitch of the first chord,

ii)

Transpose the first chord to a chord that is easy to play,

iii)

Shift all other chords in the same direction with the same number of steps.

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Sus & 7th Chords When we see more complicated chords like Dsus2 and Emaj7 we often ignore them, choosing to play chords like D and E to replace them. However, using these ‘complicated’ chords can make the music more interesting. Two such chords are the Sus and ‘7th’ chords.

Sus Chords – Quashing Notes Together Sus chords substitute the middle note in the chord for one next to it.

1) This is a C:

2) By moving the middle note up we get C sus4: 3) By moving the middle note down we get C sus2

Sus chords look and sound quashed. Musically, they create tension.

sus2

C

D

E

F

G

A

e --3-B --3-G --0-D --0-A --3-E --x---

e --0-B --3-G --2-D --0-A --x-E --x---

e --0-B --0-G --4-D --4-A --2-E --0---

e --1-B --1-G --0-D --3-A --x-E --x---

e --3-B --3-G --2-D --0-A --0-E --3---

e --0-B --0-G --2-D --2-A --0-E --x---

e --1-B --1-G --0-D --3-A --3-E --x---

e --3-B --3-G --2-D --0-A --x-E --x---

e --0-B --0-G --2-D --2-A --2-E --0---

e --1-B --1-G --3-D --3-A --x-E --x---

e --3-B --1-G --0-D --0-A --x-E --3---

e --0-B --3-G --2-D --2-A --0-E --x---

sus4

Exercise: By moving in and out of sus chords, you can colour a chord. This is useful for introductions, or if you have to hold on to a chord for some time.

Dsus2 Asus2

Dsus4 Asus4

D A

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D A

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7th Chords – Piling Notes up Notes in a normal chord are stacked up nicely over one another. When we add more notes on top we get chords like C7, C9, and so forth. As before, some diagrams:

From C 

C7

C9

C11

C13

C

D

E

F

G

A

e --0-B --1-G --3-D --2-A --3-E --x---

e --2-B --1-G --2-D --0-A --x-E --x---

e --0-B --0-G --1-D --0-A --2-E --0---

e --5-B --4-G --5-D --3-A --x-E --x---

e --1-B --0-G --0-D --0-A --2-E --3---

e --0-B --2-G --0-D --2-A --0-E --x---

e --0-B --0-G --3-D --2-A --3-E --x---

e --2-B --2-G --2-D --0-A --x-E --x---

e --4-B --4-G --4-D --2-A --2-E --0---

e --0-B --1-G --0-D --3-A --x-E --x---

e --2-B --0-G --0-D --0-A --2-E --3---

e --0-B --2-G --1-D --2-A --0-E --x--

Am

Bm

Cm

Dm

Em

F#m

e --0-B --1-G --0-D --2-A --0-E --x--

e --2-B --3-G --2-D --0-A --2-E --x---

e –3-B –4-G --3-D --x-A --3-E --x--

e --1-B --1-G --2-D --0-A --x-E --x---

e --0-B --0-G --0-D --0-A --2-E --0---

e --0-B --2-G --2-D --2-A --0-E --2---

7

maj7

7

Exercise: 7th minor chords & maj7th chords can make the chord sound more soothing.

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C

Am

Dm

G



Cmaj7 Am7 Dm7

G

7th major chords sound suspended, and is useful when repeating a line, verse, or chorus.

Cmaj7 Am7 Dm7

G



Cmaj7 Am7 Dm7

Fun stuff: To play Em7add4, just strum the open strings!

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G7

How Do I Play Them? There is no ‘trick’ to playing them. All you have to do is to refer to chord charts, and learn the fingering. This takes effort, discipline, and preparation, so it is important to know the songs in advance, & prepare with the worship leader. As you use these & other chords more and more you will familiarize with the sound they produce, and in turn will be able to substitute chords with more complicated chords on your own. As again, this takes practice!

Exercises

Amazing Grace C C7 Fmaj7 C/E Ama-zing grace how sweet the sound Am7 Dm7 G7 That saved a wretch like me Em7 Csus2 Fmaj7 Em7 I once was lost but now am found Am7 G7 F/C C Was blind but now I see

Heart of Worship Dsus2 Asus2 Em7 When the music plays, all is stripped away. Asus4 A7 And I simply come. Em7 D/F# I'll bring you more than a song, Asus4 A7 cause a song in itself Em7 D/F# A7sus2 is not what you have required. A/C# I'm coming back to the heart of worship. Em7 D/F# G A7 And it's all about you, it's all about you, Jesus.

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D

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To You Alone (Pluck the verse) Csus2 G/B Every knee will bow Csus2 G/B And every tongue confess B F/A That Jesus Christ is Lord Dsus2 Lord and King Gsus2 Cmaj7 All glory to Your name Am7 D G D/F# All honour to Your Majesty Em7 Asus4 A Forever fore - ver G/D D/C Dsus All praise to You alone (Play Csus2 a few times to return to verse) Csus2 G/B Every eye will see Csus2 G/B And every heart will know Bb F/A The beauty of the Lord Dsus2 In all the earth

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Summary - Two ways to add colour to your chords are by applying sus and 7th chords. -

These chords can be found in chord charts.

-

By applying and practicing them, you will familiarize yourself with how they sound and will be able to add them in on your own for future songs.

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Strumming We have been learning what chords to use; how to strum chords is equally important.

Bars A song can be divided into bars, with each bar divided into four counts. Bars are usually indicated with a bar line, “|”.Generally, each chord comes in at the beginning of each bar. For example,

| Dsus2 | Asus2 | Em7 When the music plays, all is stripped away.

| Asus4 And I simply come.

A7

It is important that you adhere strictly to the timing of each chord else the worship leader find it hard to keep timing.

Beats To keep time within a bar, we must count while playing, by - Counting subconsciously (counting in your mind) - Counting physically (tapping foot, bobbing up and down). Each bar can be further divided into 3 or 4 beats, depending on the song:

| 1

2

3

4

| 1

2

3

4

|

+

|

If the timing gets difficult, then we count the half beats:

| 1

+

2

+

3

+

4

If it gets even more difficult, we divide the bar into 16 beats:

|1

2

3

4

2

2

3

3

4

2

3

4

4

2

3

4

|

The official way of counting 16 beats is to use “e & a”:

|1 e & a 2 e & a 3 e & a 4 e & a | You can also use any 3 syllable word (e.g. “po-ta-to”):

|1

po

ta

to

2

po

ta

to

3

po

ta

to

4

po

ta

to

|

Knowing what beats and bars are help us to think of timing in a structured manner, and most importantly to be able to write down useful strumming patterns.

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Useful Strumming Patterns i) Hillsong Pattern This is a strumming pattern commonly used by Hillsong, & has a contemplative feel to it:

∨ 1

∨ e & a 2

∨ e & a 3

∨ e & Δ

∨ a 4

e & a

Here I am to Worship D A Light of the World Em7 G You stepped down into dark-ness D A Open my eyes G Let me see D Here I am to worship A/C# Here I am to bow down Bm7 G Here I am to say that You're my God D You're altogether lovely A/C# Altogether worthy Bm7 G Altogether wonderful to me By adding an upstroke on ‘1&’ the strumming becomes stronger, & can be used for the chorus:

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∨ 1

∨ e & a 2 Δ

∨ e & a 3

∨ e & Δ

∨ a 4

e & a

Also, by removing one stroke at “3a” the strumming becomes more contemplative, & can be used for the verse:

∨ 1

∨ e & a 2

∨ e & a 3 e

∧ &

∨ a 4

e & a

Try these modified patterns for the above song’s verse and chorus respectively.

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From the original pattern, shift back the downstroke for the 3rd beat:

∨ 1

∨ e & a 2

To get:

∨ 1

∨ e & a 2

∨ e & a 3

Δ

∨ e &

∨ a 4

e & a

∨ e & a

Δ

∨ 3 e &

∨ a 4

e & a

This modified pattern is suitable for fast songs like:

King of Majesty G You know that I love You Em7 You know that I want to D Know You so much more C G . D . I Em7 . C . I More than I have before D King of Ma - jesty Em7 I have one desire D Em7 C Just to be with You my Lord D Em7 C Just to be with You my Lord

Strumming patterns can & should be modified to fit various songs & moods

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G D Jesus You are the C D C . D . I Em7 . C . | Saviour of my soul G Em7 And forever and ever C D G . D . I Em7 . C . I G I'll give my praises to You

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ii) A Generic Pattern This pattern is suitable for both slow and fast songs.

∨ 1

∨ e & a 2 e & Δ

∨ a 3 e

∨ & a 4 Δ

e & a

To You G Cmaj7 Here I stand forever in Your migh - ty hand D C D Living with Your pro - mise written on my heart G Cmaj7 I am Yours surrendered wholly to You D C D You set me in Your fam - ily calling me Your own G Am Now I, I be - long to You D G All I need, Your Spirit, Your Word, Your truth C Em7 Hear my cry, my deep de - si - re F D To know You more

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G Am In Your name I will lift my hands D G To the King this anthem of praise I bring C Em7 Heaven knows I long to love You D G With all I am I belong to You

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Glory D G Great is the Lord God Al-mighty D G Great is the Lord on high D G The train of His robe fills the temple A Bm7 G and we cry out highest praise G D/F# Bm7 A Glo-ry to the risen King G D/F# E Glo-ry to the Son G Glorious Son D Lift up your heads open the doors Bm7 let the King of glory come in G D/F# A and forever be our God D Lift up your heads open the doors Bm7 let the King of glory come in G D/F# A and forever be our God

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iii) A Simple Pattern Strumming patterns do not always have to be so complicated. Often a simple one is more appropriate:

∨ 1

∨ e & a 2 e & a 3 Δ

Δ

e & a 4 e & a

You Laid Aside Your Majesty C G Am7 Em7 F You laid aside Your majesty, gave up everything for me C Dm7 Gmaj7 Suffered at the hands of those You had created C G Am7 Em7 F You took all my guilt and shame, When You died and rose again C Dm7 Gmaj7 Now today You reign, And heaven and earth exalt You. C

G Am7 I really want to worship You my Lord, Em7 F You have won my heart and I am Yours. C Dm7 Gmaj7 Forever and ever, I will love You. C G Am7 You are the only one who died for me, Em7 F gave Your life to set me free. C Dm7 Gmaj7 C So I lift my voice to You in ador - a - tion.

This pattern can also be expanded upon for the chorus:

∨ e & a 2 Δ

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∨ 1

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∨ e & a 3

∨ e & a 4 Δ

e & a

iv) Rock Pattern Some fast songs need a groove that is really driving and exciting. The rock groove is simple to play and yet is able to propel a song forward.

∨ 1

∨ e &

∨ a 2

∨ e &

∨ a 3

∨ e &

∨ a 4

∨ e &

a

When using this pattern, strum using the lower 4 strings.

I Walk By Faith G I walk by faith F Each step by faith C To live by faith G I put my trust in you At this point of the song, the dynamics die down – the ‘that thing you do’ pattern is suitable here:

∨ 1

∨ e & a 2

∨ e & a 3 e & a 4 Δ

Δ

e & a

Some songs therefore call for a change in the entire strumming pattern

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© Copyright FCBC Youthnet

Am G/B Every step I take C D Is a step of faith Am G/B No weapon formed against me C D Shall prosper Am G/B Ev'ry prayer I make C D Is a prayer of faith Am G/B If my god is for me F D Who can be against me

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Listening Out While it is useful to learn different strumming patterns, it is more important to be able to pick them up on your own by listening to CDs. To do so one can follow the guitar or the drum groove in the recording.

i) Following the Guitar The guitar parts are easy to catch in some songs.

Exercise: At the Foot of the Cross (verse)

1

e

&

a

2

e

G

&

a

3

e

&

a

4

e

&

a

e

&

a

4

e

&

a

Em7

At the foot of the cross C G Where grace and suffering meet D Em7 You have shown me Your love C D Through the judgment You received

Exercise: Thank You Lord (verse)

1

e

&

© Copyright FCBC Youthnet

G

a

2

e

&

a

3

D I come before You today Am7 Em7 And there's just one thing that I want to say Csus2 D Csus2 D Thank You, Lord, thank You, Lord G D For all You've given to me Am7 Em7 For all the blessings that I cannot see Csus2 D Csus2 D Thank You, Lord, thank You, Lord

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ii) Following the Drum Groove The drum groove comprises of two parts, the i) Kick drum (the deep sounding drum) and the ii) Snare drum (which sounds like a clap). In cases where the guitar parts cannot be heard we strum in tandem to these two parts of the drums, which determine a large part of the song’s groove.

Demonstration: Free - Listen to how the guitar follows the drum groove.

∨ 1

∨ e & a 2 Δ

∨ e & a 3 e & a 4

Δ

Δ

Δ

Δ

e & a

Exercise: To You Alone (chorus)

1

E

&

a

2

e

&

a

3

e

&

a

4

e

&

a

To You Alone (Chorus) Gsus2 Cmaj7 All glory to Your name Am7 D G D/F# All honour to Your Majesty Em7 Asus4 A Forever fore - ver G/D D/C Dsus All praise to You alone

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Exercise: Lord I Lift Your Name On High

1

e

&

a

2

e

&

a

3

e

&

a

4

Lord I Lift Your Name On High G C D C Lord, I lift Your name on high. G C D C Lord, I love to sing Your praises. G C D C I'm so glad You're in my life. G C D C I'm so glad You came to save us.

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G C D C You came from heaven to earth to show the way, G C D C From the earth to the cross, my debt to pay, G Am7 D Em From the cross to the grave, from the grave to the sky, C D G Lord, I lift Your name on high.

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e

&

a

Exercise Figure out a suitable strumming pattern for “Change My Heart Oh God”. What pattern you is depends on how you interpret the song – whether you (or the worship leader) wants a reflective mood, or a moderate dynamic. Think about how the different strumming patterns, modified or unmodified, give rise to different moods.

1

E

&

a

2

e

&

a

3

e

&

a

4

e

&

a

Change My Heart oh God Dm7 Change my heart oh God, G7 C Make it ever true. Am7 Dm7 Change my heart oh God, G7 C may I be like You.

Common Patterns You have Learnt: - Hillsong Pattern - Generic Pattern - Simple Pattern - Rock Pattern - That Thing You Do Pattern Feel free to invent other patterns & modifications of the above!

E

Am7 You are the potter, Dm7 C I am the clay, E Am7 Mold me and make me, D G G7 This is what I pray

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Barre Chords Barre chords enable you to play any chord because we sometimes have to play chords like Bb, Eb, B.

How Do We Play Barre Chords? When you ‘cut and paste’ a chord’s fingering onto another position on the fretboard you transpose the chord – E becomes, for instance, F. But you need to transpose the open strings as well, and to do this you use your first finger to press down on all the strings. Place your first finger over all the strings on this fret.

E



F

This can be done for the C, A, G, E, D chords.

‘Easy’ level: E & A barre chords.

F chord using E-barre

Simplified to

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Bb chord using A-barre

Use one finger to fret three strings.

Exercise: Can you figure out the barre chords for the Em & Am barre chord group?

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‘Intermediate’ level: C barre chord

Simplified to Halve the number of strings the 1st finger frets.

Db chord using C-barre

‘Advanced’ level: D & G barre chords

Simplified to Ab chord using G-barre

Remove the last finger.

Simplified to Eb chord using D-barre

Press 3 strings.

Therefore there are 5 kinds of barre chords:

E barre chord

A barre chord x x

C barre chord x

G barre chord X

D barre chord xx x

Barre chords require little memorisation; you can play them as long as you know how to play E, A, C, G, D chords. After you master the simplified versions do try the full version of the barre chords.

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Among these the most commonly used ones are the E and A barre chords.

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Which Frets Do We Press? The ‘transpose clock’ can be used to figure out the chords:

G #/A b

G

A

A #/B b

F #/G b

B

C C #/D b

F E

D #/E b

D

By moving up or down each fret you move up or down by one chord, in this order.

Exercise: Using the E barre chord, fill in the location of the 1st finger: Chord

Location of 1st finger

E

0th fret

G

3rd fret

F A Using the C barre chord, fill in the location of the 1st finger: Chord

Location of 1st finger

C

0th fret

E

3rd fret

D

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G

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Complete the table (the ‘starting points’ are shaded in grey) :

E

F

F#/ Gb

G

G#/Ab

A

A#/Bb

B

C

C#/Db

D

D#/Db

C-barre

4

5

6

7

8

9

10

11

0

1

2

3

A-barre

7

9

10

11

0

1

2

4

6

G-barre

9

11

0

4

6

8

E-barre

0

2

2

4

D-barre

6

8

10

0

* The numbers represent the location of the 1st finger. 0 refers to an open chord. From this table, you can now play any chord!

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Locate, using the table above, the 5 different ways of playing a C chord. Write down the type of barre-chord & the location of the first finger, from the left to the right of the fretboard: Type of barre chord

Location of 1st finger

Left

Right

Locate, using the table above, the 5 different ways of playing a G chord. Write down the type of barre-chord & the location of the first finger, from the left to the right of the fretboard: Type of barre chord

Location of 1st finger

Left

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Right

Do you see a pattern?

The chords always follow the order C-A-G-E-D. Lastly, barre-chords are extremely difficult to play. You will need to practice for a month to a few months consistently to master them, so don’t be discouraged if it takes time – press on!

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Using Chord Progressions A chord progression is a series of chords. It is important to familiarize with a few of such common progressions used in free worship, song introductions, and song endings. However, some theory on chord families are required.

Chord families In the first lesson, you were introduced to notes, scales and chords. A scale is a series of 7 notes taken from the full set of 12 notes. These 7 notes are taken by counting certain fixed intervals between the notes. From scales we obtain chords. To derive a chord, we choose a note in the scale, and take the 3 rd & 5th note from that note – we take the next two alternate notes. For example, using the C major scale: C Major Scale: Notes of a C chord: Notes of a Dm chord:

C C

D

E E

D

F

G G

F

A

B

A

By continually applying this to all the notes in the scale (except the last note, B), we obtain the 6 basic chords in the key of C: C Dm Em F G Am By doing this for the common keys, we obtain the following table:

Key

I

IIm

IIIm

IV

V

Vim

C

C

Dm

Em

F

G

Am

D

D

Em

F#m

G

A

Bm

E

E

F#m

G#m

A

B

C#m

F

F

Gm

Am

Bb

C

Dm

G

G

Am

Bm

C

D

Em

A

A

Bm

C#m

D

E

F#m

The roman numerals in the topmost row refer to the note in which the chord is derived from. The 2 nd, 3rd, and 6th note gives minor chords, and we therefore refer to these chords as the IIm, IIIm, and Vim chords. © Copyright FCBC Youthnet

Examples Using the chart, if we want to obtain the: i) I chord in E, we get the E chord. ii) IIm chord in C, we get the Dm chord. iii) IV chord in A, we get the D chord.

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Free Worship Chord Progressions With this chart, we can now learn a few free worship chord progressions.

1.

I

IV

2.

I

Vim

IV

V

3.

I

Vim

IIm

V

4.

I

IIIm

IV

V

We repeat these chords over and over, until the worship leader signals to return to the song, or change song. Having short 4 chord progressions are more advantageous as compared to playing the chords in the song’s chorus or verse because the worship leader would be able to enter into the song, or switch songs more quickly without having to wait for a longer progression to end. Suppose we are in the key of D. Using the chord chart, we obtain the following chords for pattern 2:

2.

D

Bm

G

A

Exercise Figure out the chord progression for: i) Pattern 1, key of A.

ii)

Pattern 3, key of G.

Close your eyes, imagine yourself to be in a free worship session, and play these progressions. Note that these progressions are not exhaustive. Feel free to modify them. For example, by switching the last chord in pattern 4 to another IV, we obtain I IIIm IV IV which has a more hanging feel to it. Another way to make your own patterns is to look for nice 4 chord progressions within a song. For example, using the bridge of Here I Am To Worship,

A D/F# G I'll never know how much it cost A D/F# G To see my sin u-pon that cross © Copyright FCBC Youthnet

We can then use

A

D/F#

G

G G G

as a free worship chord progression.

Since we are in the key of D in this song, we obtain the roman numerals V using the chord chart – in this way you expand your chord progression library.

I

IV

IV

by

Before moving on to the other parts of this section, you might ask: how do we know what key the song is in?

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Finding the Key Finding out the key of the song is simple; all you have to do is to match the chords in the song with the chord chart. For example, if the song uses the chords A, F#m, D, E by looking at the chord chart the key can be found to be A. But looking at every row can be very tedious. One tip is to look at the first and last chords of the song – these chords are usually the “I” chords of the song. A song in the key of A would usually start and end with the A chord.

Exercise Find the key of Lord I Lift Your Name On High:

G C D C You came from heaven to earth to show the way, G C D C From the earth to the cross, my debt to pay, G Am D Em From the cross to the grave, from the grave to the sky, C D G Lord, I lift Your name on high

Forming Introductions to Songs It is often necessary to introduce the song by playing a few chords. The following 3 methods should work for most songs.

1.

Play the “I” chord for 2 bars. E.g.

Intro:

2.

G G G C D C Lord, I lift Your name on high.

Play the last or last two lines of the song. E.g.

Intro:

3.

C D G G C D Lord, I lift Your name on high.

Play the progression

I

I

G C

IV

V

E.g.

G G C G C D Lord, I lift Your name on high.

D C

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Intro:

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Ending a Song Cutting off a song suddenly can be very abrupt. The following 3 methods should work for most songs.

1.

Play the “I” chord for 1 - 3 bars E.g.

C

2.

D G Lord, I lift Your name on high

G

G

G

Play the last line three times. Play a “Vim” chord in between repeats: E.g.

G

Am D Em From the cross to the grave, from the grave to the sky, C D G Em Lord, I lift Your name on high C D G Em Lord, I lift Your name on high C D G Lord, I lift Your name on high

3.

As covered in the 3rd section of the notes, play a E.g.

D G Lord, I lift Your name on high

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C

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C/G

G

I

IV/I

I

progression.

Exercise: Think of a suitable introduction and ending to this song.

This is the Day D This is the day, this is the day A7 That the Lord has made, that the Lord has made A We will rejoice, we will rejoice Dsus2 And be glad in it, and be glad in it G D For this is the day that the Lord has made G D We will rejoice and be glad in it D This is the day, this is the day A7 D That the Lord has made

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Practice, Practice, Practice! While this course may last only 4 weeks, you can grow musically over your lifetime with continuous practice. With consistent practice you would be able to fully master and appreciate the materials in this course, and also search for resources independently through the Internet or books. To start you off, some additional material is given in the appendix at the end of this manual. Most importantly, it is vital to use your skills in service to God, and it is through this service that God will bless you by growing your talents. We hope that you have enjoyed this course, and that you have learnt a lot from the 4 sessions. As mentioned several times before, practice & serve hard!

As a practicing guitarist, I am of the firm belief that no one else can make you a better player. It is up to each of us as individuals to stand out among others. There is no method, gimmick, book or video which has the ability to make you play better or worse. Being a quality player means continually practicing and playing with the intent of improving, never giving up and often sacrificing much in the process.

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Fretboard Logic, Bill Edwards

Sing to him a new song; play skilfully, and shout for joy. Psalm 33:3

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Appendix: Power Chords Power chords are not really chords. Chords are 3 notes or more, whereas power chords only have 2 different notes. The missing chord note in the power chord is the 3 rd note, which determines if the chord is a major or a minor chord. This causes power chords provide to little harmonic texture to a song. Because of this interval power chords have an open feel to them. If you have a fast chord change, it's often easier to use power chords for the really fast part.

Power Chord Patterns – 6th String Power chord patterns can be ‘cut and pasted’ to create different power chords – one set of fingering can give you a dozen chords. The root note determines what power chord it is. These chords are derived from the E chord. Only the bottom three strings are played.

By shifting the E fingering up a fret we obtain the power chord pattern. The result is an F chord:

We know it is an F chord because our first finger is holding an F note. In other words, the lowest note is an F note. The chord is determined by this lowest note. We can play this pattern all over the fretboard to create different power chords – give it a try! The chart below tells you where the chords are – the top row tells you where your first finger is, and the corresponding chord is in the second row. For example, if the lowest note is at the 10th fret, the chord is a D. 1

2

3

4

5

6

7

8

9

10

11

12

Chord

F

F#/Gb

G

G#/Ab

A

A#/Bb

B

C

C#/Db

D

D#/Eb

E

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© Copyright FCBC Youthnet

Fret

43

Power Chord Patterns – 5th String This power chord pattern is similar to the previous pattern, only it's root note is now on the A string instead of the low E string. If we play the A chord on the 3rd, 4th and 5th string we have the following pattern:

Moving this chord up a fret we obtain a B power chord:

As before, when we move this pattern all over the fretboard we obtain different chords. By looking at the fret the first finger is on we can see which chord is being played: Fret

1

2

3

4

5

6

7

8

9

10

11

12

Chord

G#/Ab

A

A#/Bb

B

C

C#/Db

D

D#/Eb

E

F

F#/Gb

G

Combining the two tables we have: Fret

1

2

3

4

5

6

7

8

9

10

11

12

Chord (E string)

F

F#/Gb

G

G#/Ab

A

A#/Bb

B

C

C#/Db

D

D#/Eb

E

Chord (A string)

G#/Ab

A

A#/Bb

B

C

C#/Db

D

D#/Eb

E

F

F#/Gb

G

© Copyright FCBC Youthnet

Tips:

-

Because power chords are simplified chords, we ignore minor, sus, 7th, 9th, etc. chords when we use power chords. Power chords are used mainly for fast songs where the fast strumming rather than the harmonic texture of the chord drives the chord forward.

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Exercises: Try the following songs using power chords:

Lord, I lift Your Name on High. G C D C Lord, I lift Your name on high. G C D C Lord, I love to sing Your praises. G C D C I'm so glad You're in my life. G C D C I'm so glad You came to save us. G C D C You came from heaven to earth to show the way, G C D C From the earth to the cross, my debt to pay, G Am D Em From the cross to the grave, from the grave to the sky, C D G Lord, I lift Your name on high.

© Copyright FCBC Youthnet

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King of Majesty Verse B

G#m You know that I love You, You know that I want to F# E Know You so much more, More than I have before B . E . G#m . E . B G#m These words are from my heart, these words are not made up F# E I will live for You, I am devoted to You B . E . G#m . E . F# G#m7 King of Ma-jesty, I have one desire F# G#m E Just to be with You my Lord F# G#m7 E Just to be with You my Lord

© Copyright FCBC Youthnet

B E F# E B G#m Jesus You are the Saviour of my soul B G#m7 F# E And forever and ever I’ll give my praises to You

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F# B

E E

F# E

Appendix: Chords in E Open strings have a unique ringing sound to them, as compared to the more muffled sound that barre chords produce. Because the top strings, the E and B strings, are found in most chords in the key of E, these strings can be kept open throughout to produce several pleasant chords. These chords will be introduced via the exercises below:

Here I Am To Worship E1 Badd4 Light of the World F#m7add4 You stepped down into darkness E1 Badd4 Asus2 Open my eyes let me see E1 Badd4 Beauty that made F#m7add4 This heart adore You E1 Badd4 Aadd2 Hope of a life spent with You E2 Here I am to worship Bsus4 Here I am to bow down E/G# Asus2 Here I am to say that You're my God E2 You're altogether lovely Bsus4 Altogether worthy E/G# Asus2 Altogether wonderful to me

Badd4 ------0-----------0-----------8-----------9-----------9-----------x------

F#m7add4 ----0-------0---- ---2---- ---2---- ---0---- ---2----

Aadd2 ----0-------0---- ---6---- ---7---- ---7---- ---x----

E2 ----0-------0---- ---1---- ---2---- ---2---- ---0----

Bsus4 ----0-------0---- ---4---- ---4---- ---2---- ---x----

E/G# ----0-------0---- ---4---- ---2---- ---x---- ---4----

Asus2 ----0-------0---- ---2---- ---2---- ---0---- ---x----

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B E/G# Asus2 I'll never know how much it cost B E/G# Asus2 To see my sin u-pon that cross

E1 ------0-----------0-----------9-----------9-----------7-----------0------

(x2)

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Awesome in this Place E1 Here in this house of the great king C#m7 Asus2 We come together now to worship him E1 This house is built on Christ our rock C#m7 Cannot be shaken Asus2 Cannot be shaken

C#m7 -----0---------0---------6---------6---------4---------x-----

E2 Asus2 E2 Asus2 God is awesome in this place E2 Asus2 Bsus4 Sense his presence as we sing his praise C#m7 Bsus4 There is power here for a miracle C#m7 Asus2 Set the captives free and the broken whole

© Copyright FCBC Youthnet

E2 Asus2 God is awesome E2 Asus2 He’s so awesome E2 Asus2 God is awesome in this place Amaj7sus2 A6sus2 I’ve found Amaj7sus2 A6sus2 where I be-long Amaj7sus2 A6sus2 I'm a living stone Amaj7sus2 A6sus2 in this house 2 E I will grow

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Amaj7sus2 -----0---------0---------6---------6---------0---------x-----

A6sus2 -----0---------0---------6---------4---------0---------x-----

Tip: If the song is not in E, you can still use these chords by transposing the song if the pitch is suitable.

Summary The ‘key of E’ chords are:

E E1, E2, E/G# F#m F#m7 A Asus2, Aadd2 B Bsus2, Badd2 C#m C#m7 Others Amaj7sus2, A6sus2

E1 ------0-----------0-----------9-----------9-----------7-----------0------

E2 ----0-------0---- ---1---- ---2---- ---2---- ---0----

E/G# ----0-------0---- ---4---- ---2---- ---x---- ---4----

Aadd2 ----0-------0---- ---6---- ---7---- ---7---- ---x----

Asus2 ----0-------0---- ---2---- ---2---- ---0---- ---x----

Amaj7sus2 -----0---------0---------6---------6---------0---------x-----

Badd4 ------0-----------0-----------8-----------9-----------9-----------x------

F#m7add4 ----0-------0---- ---2---- ---2---- ---0---- ---2---C#m7 -----0---------0---------6---------6---------4---------x-----

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© Copyright FCBC Youthnet

Bsus4 ----0-------0---- ---4---- ---4---- ---2---- ---x----

A6sus2 -----0---------0---------6---------4---------0---------x-----

49

“The purpose of God in sending his son to die and live and be at the right hand of God the Father was that he might restore to us the missing jewel, the jewel of worship; that we might come back and learn to do again that which we were created to do in the first place ~ worship the Lord in the beauty of holiness."

© Copyright FCBC Youthnet

A. W. Tozer ~

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Worship Songbook Easy Songs: I Could Sing of Your Love Forever (G) Come, Now is the Time to Worship (D) Heart of Worship (D)

Intermediate Songs: Here I am to Worship (D) God of Wonders (G) To You (G) Glory (E) Glorious Redeemer (E) For All You've Done (E) Friend of God (C) Above All (A) (use capo to play in G) King of Majesty (A) How Great is Our God (A) use capo play in G Always & Forever (C)

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I Could Sing Of Your Love Forever (Key = G) Martin Smith G Over the mountains and the sea Am7 Your river runs with love for me C So I will open up my heart Dsus And let the healer set me free G I’m happy to be in the truth Am7 So I will daily lift my hands C And I will always sing of Dsus When your love came down G

© Copyright FCBC Youthnet

I could sing of your love forever Am7 I could sing of your love forever C I could sing of your love forever Dsus I could sing of your love forever] Am7 G Oh I feel like dancing C Dsus It’s foolishness I know Am7 G When the world has seen the light C They will dance with joy Dsus Like we’re dancing now

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Heart Of Worship (Key = D) Matt Redman D A/C# Em7 When the music fades, all is stripped away Asus A And I simply come D A/C# Em7 Longing Just to bring, something that’s of worth Asus A That will bless your heart Em7 D/F# Asus I’ll bring You more than a song A For a song in itself Em7 D/F# Asus Is not what you have required Em7 D/F# Asus You search much deeper within A Through the way things appear Em7 D/F# Asus A You’re looking into my heart D A/C# I’m coming back to a heart of worship Em7 D/F# G A D And it’s all about You, It’s all about You, Jesus A/C# I’m sorry, Lord for the thing I’ve made it Em7 D/F# G A D And it’s all about You, It’s all about You, Jesus

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D A/C# Em7 King of endless worth, no one could express Asus How much You deserve D A/C# Em7 Though I’m weak and poor, all I have is Yours Asus Every single breath

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Come Now Is The Time To Worship (Key = D) Brian Doerksen D D Dsus D Come now is the time to worship Asus A Em7 G Come now is the time to give your heart D D Dsus D Come now is the time to worship Asus A Em7 G Come just as you are before Your God D Come G D One day every tongue will confess You are God G D One day every knee will bow G Bm Still the greatest treasure remains for those G Asus A Who gladly choose You now

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G D Willingly we choose to surrender our lives G D Willingly our knees will bow G Bm With all our heart soul mind and strength G Asus A We gladly choose You now

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Here I Am To Worship (Key = D) Tim Hughes D Asus Light of the world Em You stepped down into darkness D Asus G Opened my eyes let me see D Asus Beauty that made Em This heart adore you D Asus G Hope of a life spent with You D A/C# So here I am to worship, Here I am to bow down D/F# G Here I am to say that You’re my God D A/C# You’re altogether lovely, Altogether worthy D/F# G Altogether wonderful to me D Asus King of all days Em Oh so highly exalted D Asus G Glorious in heaven above D Asus Humbly You came Em To the earth You created D Asus G All for love’s sake became poor © Copyright FCBC Youthnet

A/C# D/F# G I’ll ne - ver know how much it cost A/C# D/F# G To see my sins upon that cross

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God Of Wonders (Key = G) Intro: Dsus - Em7 - C Dsus

Em7 C Dsus Lord of all creation Em7 C Dsus Of water earth and sky Em7 C The heavens are your tabernacle Em7 C Glory to the Lord on high

Dsus

G D/F# God of wonders beyond our galaxy Am7 C You are holy, holy G D/F# The universe declares your majesty Am7 C You are holy, holy Dsus - Em7 - C Em7 C Dsus Early in the morning Em7 C Dsus I will celebrate the light Em7 C Dsus When I stumble in the darkness Em7 C I will call Your name by night

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Dsus

Am7 C D Hallelujah to the Lord of heaven and earth Am7 C D Hallelujah to the Lord of heaven and earth Am7 C D Hallelujah to the Lord of heaven and earth G | D/F# | Am7 | C2 | (x2)

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To You (Key = G) Darlene Zschech G Here I stand D/C C Forever in your migh - ty hands D Living with your pro - mise C Written in my heart D G I am Yours D/C C Surrendered wholly to You D You set me in Your fa - mily C | Dsus D Calling me Your own G

Am7 D Now I, I belong to You, all I need G C Your spirit Your Word Your truth, hear my cry Em7 My deep desi - re F D To know you more G In Your name,

D

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Am7 I will lift my hands, To the King G C This anthem of praise I bring, heaven knows Em7 Dsus D I long to love You with all I am C G I belong to You

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Glory (Key = E) Reuben Morgan Intro: E | E | E | E | (x2) E A Great is the Lord God Almighty E A Great is the Lord on high E A The train of His robe fills the temple B C#m7 A And we cry out highest praise A E Glo - ry A E Glo - ry

C#m7 B to the risen King F# to the Son

glorious

A Son

E Lift up your heads open the doors C#m7 Let the King of glory come in A C#m7 B And forever be our God E A Holy is the Lord God Almighty E A Holy is the Lord on high E A Let all the earth bow before You B C#m7 A And crown You Lord of all

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Instrumental: G#m7 | G#m7 | A | A | C#m7 | C#m7 | B | B | (x2)

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Glorious Redeemer (Key = E) Nikki Fletcher Intro:

E | Emaj7 | (repeat 4 times)

E I love You with all my heart A Trust You with all I have F#m7 For You hold the heavens E B And earth in Your hand C#m You died on the cross for me A Took all my sin and shame F#m7 Your name is Holy E B Exalted above all else E F#m7 Glorious Redeemer, You have paid for my life E A B You have gone before me, Now I’ll walk by Your side E A B I lift my hands to You Lord, You are worthy of my praise C#m B A Jesus reigns To go to verse: E Emaj7 Jesus You reign E A I ask A B E A That I may dwell in Your house forever

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A B One thing

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For All You’ve done (Key = E) Reuben Morgan Intro: E . Esus . | E . Esus . | E Esus My saviour Redeemer E Esus Lifted me from the miry clay E Esus Almighty forever E Esus I will never be the same C#m7 Cause You came near A From the everlasting E To the world we live B The father’s only son E B You lived You died A/C# B You rose again on high E B You’ve opened the way A/C# B For the world to live again A B E Hallelujah For all You’ve done To verse: E . Esus . | E . Esus . |

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Instrumental: C#m7 | C#m7 | A | A | E | E | B | B | (x2)

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King Of Majesty (Key = A) Marty Sampson Intro: A . D . | E . D . | A . F#m7 . | E . D . | A You know that I love You F#m7 You know that I want to E Know You so much more D A . D . | F#m7 . D More that I have before A These words are from my heart F#m7 These words are not made up E I will live for You D A . D . | F#m7 . I am devoted to You D E King of Ma - jesty F#m7 I have one desire E F#m7 D Just to be with You my Lord E F#m7 D Just to be with You my Lord

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A D Jesus You are the E D A F#m7 E Saviour of my soul D A F#m7 And forever and ever E D A D E D I’ll give my praises to You

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How Great Is Our God (Key = G) Chris Tomlin, Jesse Reeves & Ed cash Capo on 2nd fret to play in A Intro: G | Gsus | G | Gsus G The splendor of a King Em7 Clothed in majesty C Let all the earth rejoice C All the earth rejoice G He wraps Himself in light Em7 And darkness tries to hide C And trembles at His voice C Trembles at His voice

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G How great is our God Em7 Sing with me how great is our God C D And all will see how great how great G Is our God

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G Age to age He stands Em7 And time is in His hands C Beginning and the end C Beginning and the end G The God – head three in one Em7 Father Spirit Son C The Lion and the Lamb C Lion and the Lamb G You’re the name above all names Em7 You are worthy of all praise Cmaj7 My heart will sing D G How great is our God

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Above All (Key = G) Lenny LeBlanc & Paul Baloche Capo on 2nd fret to play in A C D G Above all powers above all kings C D G Above all nature and all created things Em7 D C G/B Above all wisdom and all the ways of man Am7 G D/F# You were here before the world began C D G Above all kingdoms above all thrones C D G Above all wonders the world has ever known Em7 D C G/B Above all wealth and treasures of the earth Am7 G B There's no way to measure what you're worth

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G Am7 D G Crucified, laid behind a stone G Am7 D G You lived to die rejected and alone D/F# Em7 D C G/B Like a rose trampled on the ground Am7 G/B C D G You took the fall and thought of me above all

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Always and Forever (Key = C) Mike Guglielmucci Intro: C | C | G | G | Am7 | Am7 | F | F | (x2) C There’s nothing better G Than living for You Am7 Than saving my world with You F There’s nothing better C Than praising Your name G And lifting my praise Am7 I want to spend forever F Standing in Your presence Am7 F G And I wanna show You Am7 F G What You mean to me God Am7 F G C | G/B I give You my whole life Am7 F G And I’ve got to tell You Am7 F G That I am Yours forever Am7 F G C | G/B | Lord I give You my whole life

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C G Jesus I will live for You Am7 In everything I do F I’m holding on to You Always Always and forever C Bb And when my world is falling down F In You I will be found C I’m staying in Your arms today F G Always Always and forever

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Bridge: (x3 soft, x4 medium, x4 loud) F C G Always always and forever

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CHORD CHARTS

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Intermediate Guitar Course