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9234064.doc
1
Intermediate Guitar
Training

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Contents
Introduction
1 A Brief Introduction to Music Theory
i. What are Notes?...................................................................
ii. What are Keys? ....................................................................
iii. What are Chords? .................................................................
3
4
4
6
6
2 Reading Guitar Tablature
i. Reading Tabs !ashes..........................................................
ii. Reading Tabs Nu"bers........................................................
7
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3 luc!ing Guitar Chords
i. The Bass Note%%%............................................................
ii. &'u()ing &atterns%%%........................................................
"
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4 Trans#osing Chords
i. ,o- !o We Transpose?........................................................
13
1.
$ %us & 7
th
Chords
i. /us Chords 0 1uashing Notes Together...............................
ii. #
th
Chords 0 &i'ing Notes 2p..................................................
iii. ,o- !o 3 &'ay The"?............................................................
17
1#
1$
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' %tru((ing
i. Bars%%%%%%%%%%%%%%%................................
ii. Beats%%%%%%%%%%%%..........................................
iii. Co""on /tru""ing &atters.................................................
i4. 5istening 6ut%%%%%%%%%.........................................
21
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7 Barre Chords
i. ,o- !o We &'ay Barre Chords?...%%................................
ii. Whi(h Frets !o We &ress?..................................................
32
.7
.4
) *sing Chord rogressions
i. Chord Fa"i'ies%%%%......%%............................................
ii. Free Worship Chord &rogressions .........................................
iii. Finding the Key%%%%%%%%...........................................
i4. For"ing 3ntrodu(tions to /ongs%%%%%%%%%%%%....
4. 8nding a /ong%%%%%%%%%%%%%%%%%%%%.
37
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.*
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" ractice+ ractice+ ractice, 42
1- A##endi./ laying o0er Chords
i. &'aying &o-er Chords 0 6
th
string....%%................................
ii. &'aying &o-er Chords 0 9
th
string....%%................................
11 A##endi./ Chords in 1
i. ,ere 3 a" to Worship%%%%......%%................................
ii. :-eso"e in this &'a(e%%..................................................
12 2orshi# %ongs
13 Chord Charts
43
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Introduction
We -e'(o"e you in the na"e o; <esus to our Basi( =uitar Training> 6ur ai" is to he'p you enhan(e your
-orship e?perien(e in your (e'' group@ and a'so ;or yourse'; as a -orshiper.
This (ourse is designed to ;urther eAuip you -ith "ore s)i''s and )no-'edge -hi(h (an be app'ied
pra(ti(a''y ;or -orship. :'so@ -e hope that the s)i''s you 'earn -i'' enab'e you to ;urther i"pro4e on your
"usi(ianship on your o-n. This is i"portant be(ause being ab'e to 'earn (ontinuous'y and independent
(an go a 'ong -ay in in(reasing your pro;i(ien(y.
The (ourse ai"s to he'p you to understand@ 'earn@ and use "ore ad4an(ed (hords su(h as sustained@ #
th
@
and barre (hords to add "ore (o'our and (o"p'e?ity to your p'aying. Bore (o"p'i(ated stru""ing
patterns -i'' a'so be introdu(ed. 3n addition@ you -i'' be e?posed to so"e theoreti(a' )no-'edge regarding
the re'ationship bet-een the notes@ )eys@ and (hords@ and (hord ;a"i'ies. 5ast'y@ you -i'' 'earn ho- to
transpose songs.
Whi'e this (ourse tea(hes you se4era' s)i''s@ these s)i''s -i'' not de4e'op -ithout pra(ti(e. The "ateria's
(o4ered here "ere'y point you in the right dire(tionC the a(tua' Dourney "ust u'ti"ate'y be ta)en by you
through dedi(ated and (onsistent pra(ti(e. The speed at -hi(h you 'earn@ and ho- -e'' you e4entua''y
p'ay@ is deter"ined by the a"ount o; pra(ti(e on the guitar.
Rise up@ ta)e your guitar@ and 0orshi#>
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A Brief Introduction to Music Theory
:'though theory is not essentia'@ it he'ps to understand ho- the "usi( you p'ay -or)s at an intuiti4e 'e4e'.
Without going into anything too (o"p'e?@ this se(tion out'ines the basi(s on notes@ )eys@ and (hords 0 the
"ain (o"ponents in "usi(.
13 2hat Are 4otes5
Notes are the indi6idual #itches that you hear -hen you p'u() a sing'e guitar string@ and are the s"a''est
units in "usi(. Busi( there;ore (o"prises o; seAuen(es o; notes p'ayed si"u'taneous'y at a (ertain
speed. There are a'together 17 distin(t notes in "usi(. These notes ha4e na"es. Not na"es 'i)e Bi'' and
/a"@ but the ;o''o-ing
C C789b 9 9781b 1 : :78Gb G G78Ab A A78Bb B
Be(ause the abo4e series "ay be (on;using@ it he'ps to 'oo) at the" on a piano
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The 2hite notes ha4e no sy"bo's ne?t to the"@
e.g. C@ !@ 8.
The Blac! notes ha4e these sy"bo's
E F ;sharp3 "eans to p'ay one note higher.
< b ;flat3 "eans Gone note 'o-erH.

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For e?a"p'e@
=b I the b'a() note belo0 = :7 I the b'a() note abo6e :
There is no 8F@ Fb@ BF@ or Cb.
The blac! notes are referred to by the 0hite notes around the(
3nstead o; ha4ing 17 na"es to re"e"ber -e on'y ha4e to re"e"ber the -hite notes 0 # notes. :'' 17
notes repeat o4er and o4er again@ at higher or 'o-er pit(hes@ in the sa"e seAuen(e. There;ore@ a;ter the
'ast B o; the seAuen(e (o"es another C but at a higher pit(h than the pre4ious C. Then (o"es a CF@ !@
!F and so on. The di;;eren(e bet-een a nor"a' C and the ne?t higher C is (a''ed an octave.
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23 2hat Are =eys5
We do not use a'' 17 notes in e4ery song. =enera''y@ s"a''er groups o; # notes (an be ta)en out ;ro" the
entire set o; 17 notes to ;or" a !ey> The )ey o; the song is there;ore the set of notes you use in the
song. The notes are (hosen based on (ertain ;i?ed inter4a's bet-een the"C due to ti"e (onstraints this
-i'' not be (o4ered.
6ne e?a"p'e is a'' the # -hite notes@ -hi(h -e (a'' GC "aDorH
The notes o; a C "aDor )ey are C 9 1 : G A B
33 2hat Are Chords5
When at 'east . notes are p'ayed si"u'taneous'y or in seAuen(e@ -e ha4e a (hord E a "usi(a'
Gba()groundH to sing "e'odies o4er. There are di;;erent 4ariations to a parti(u'ar (hord. For this se(tion@
-eJ'' (o4er on'y "aDor and "inor (hords. 6ther 4ariations are sevenths (hords@ suspended (hords@ major
seventh, and minor seventh@ et(.

We deri4e these (hords by ta)ing a'ternate notes ;ro" the )ey
C BaDor /(a'e
C 9 1 : G A B
Notes o; a C (hord
C 1 G
By starting on di;;erent notes o; the sa"e )ey you obtain both "aDor and "inor (hords. Ma?or chords are
denoted by a sing'e a'phabet@ su(h as C@ and are brighter and 'ighter in "ood. Minor chords are denoted
by an K"J a;;i?@ su(h as C"@ and sound "ore "e'an(ho'i( and sad.
Whi'e a s(a'e is a ;i?ed set o; notes@ 'i)e-ise@ the Key is a ;i?ed set o; (hords. For e?a"p'e@ the )ey o; C
is (o"prised o; the ;o''o-ing 6 (hords Lthe 'ast note@ B@ is not usedM
C 9( 1( : G A(
When p'aying in a (ertain )ey other (hords outside that )ey are o;ten e?('uded. For e?a"p'e you -i''
usua''y not en(ounter a CF" or a =F in a song in )ey o; C.
%u((ary
Music 4otes =eys Chords
3ndi4idua' pit(hes /et o; notes used in a song Ba()ground "usi( ;or "e'odies
17 notes # notes . notes
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Reading Guitar Tablature
=uitar tab'ature LtabM is a (usical notation ;or sharing instru(tions on ho- to p'ay guitar (hords and
so'os. 3nstead o; "usi( sy"bo's@ tab'ature uses dashes and nu(bers.
Tabs are
iM 9I@ E You (an do it yourse'; on -ord pro(essor@ -ithout ha4ing to pur(hase additiona' so;t-are.
iiM 16ery0here < Be(ause it is easy to (reate guitar tabs are a'' o4er the 3nternet 0 you (an do-n'oad and
start 'earning songs -ithin "inutes.
iiiM Aisual 0 the notation is a(tua''y a Kpi(tureJ o; the guitar ;ret board.
i4M Accessible E doesnJt reAuire )no-'edge "usi( theory.
,o-e4er@ tabs donJt te'' you the ti"ing o; the notes it says 0hat to p'ay@ but not 0hen to p'ay the notes.
Reading Tabs/ 9ashes
Tabs use dashes 0 these dashes tell you 0hich string to #ress.
!ashes rese"b'e the guitar ;retboard
eEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE
bEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE
=EEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE
!EEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE
:EEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE
8EEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE
eEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE
BEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE
=EEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE
!EEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE
:EEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE
8EEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE
Na"es o; the strings e@ B@ =@ !@ :@ 8
Thinnest string on the top.
Thi()est string at the botto"
.
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Reading Tabs/ 4u(bers
We add nu"bers to the dashes to indi(ate 0hich fret to #ress>
1.a(#les
eEEEEEEEEEEEEEEEEEEEEEEEEEEEEE
BEE.EEEEEEEEEEEEEEEEEEEEEEEEEE
=EEEEEEEEEEEEEEEEEEEEEEEEEEEEE
!EEEEEEEEEEEEEEEEEEEEEEEEEEEEE
:EEEEEEEEEEEEEEEEEEEEEEEEEEEEE
8EEEEEEEEEEEEEEEEEEEEEEEEEEEEE
&'ay the third ;ret o; the 7
nd
string
eEEEEEEEEEEEEEEEEEEEEEEEEEEEEE
BEEEEEEEEEEEEEEEEEEEEEEEEEEEEE
=EEEEEEEEEEEEEEEEEEEEEEEEEEEEE
!EE+EEEEEEEEEEEEEEEEEEEEEEEEE
:EEEEEEEEEEEEEEEEEEEEEEEEEEEEE
8EEEEEEEEEEEEEEEEEEEEEEEEEEEEE
&'ay an KopenJ !Estring 0 p'u() the string -ithout
pressing any notes.
eEEEEEEEEEEEEEEEEEEEEEEEEEEEEE
BEEEEEEE9EEEEEEEEEEEEEEEEEEEEE
=EE4EEEEEEEEEEEEEEEEEEEEEEEEE
!EEEEEEEEEEEEEEEEEEEEEEEEEEEEE
:EEEEEEEEEEEEEEEEEEEEEEEEEEEEE
8EEEEEEEEEEEEEEEEEEEEEEEEEEEEE
&'ay the t-o notes (onse(uti4e'y.
eEEEEEEEEEEEEEEEEEEEEEEEEEEEEE
BEEE9EEEEEEEEEEEEEEEEEEEEEEEEE
=EE4EEEEEEEEEEEEEEEEEEEEEEEEE
!EEEEEEEEEEEEEEEEEEEEEEEEEEEEE
:EEEEEEEEEEEEEEEEEEEEEEEEEEEEE
8EEEEEEEEEEEEEEEEEEEEEEEEEEEEE
&'ay the t-o notes together.
eEEEE+EEEEEEEEEEEEEEEEEEEEEEEEEE
BEEEE1EEEEEEEEEEEEEEEEEEEEEEEEEE
=EEEE+EEEEEEEEEEEEEEEEEEEEEEEEEE
!EEEE7EEEEEEEEEEEEEEEEEEEEEEEEE
:EEEE.EEEEEEEEEEEEEEEEEEEEEEEEE
8EEEE?EEEEEEEEEEEEEEEEEEEEEEEEE
&'ay the C (hord -ithout stru""ing the
thi()est string.
eEEEEEEEEEEE EEEEEEEEEEEEEEEEEE
BEEEEEEEEEEE EEEEEEEEEEEEEEEEEE
=EEEEEEEEEEE EEEEEEEEEEEEEEEEEE
!EEEEEEEEEEE EEEEEEEEEEEEEEEEEE
:EEEEEEEEEEEE EEEEEEEEEEEEEEEEE
8EEEEEEEEEEE EEEEEEEEEEEEEEEEE
1.ercise -rite do-n the tab ;or
the F (hord
With your ne-;ound )no-'edge o; tab@ try out the on'ine 'essons in these -ebsites
E 000>0holenote>co( 4ery high'y re(o""ended@ e4en has sound ('ips to he'p you.
E 000>ulti(ate<guitar>co(8lessons8 'essons neat'y di4ided into the 4arious sty'es N te(hniAues.
E htt#/88000>guitarnoise>co(8 / "ore ;ree 'essons>
%u((ary
To read tabs@ -e as)
2hich %tring 9o I ress5 2hich :ret 9o I ress5 lay on the %tring B :ret
Re;er to the !ashes Re;er to the Nu"bers
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luc!ing Guitar Chords
/tru""ing (hords gi4es a ;u'' sound@ but -e o;ten need a "ore (onte"p'ati4e and Auiet a((o"pani"ent
to the "usi( 0 -e p'u() the (hords instead.
When -e p'u() (hords -e #lay notes one at a ti(e@ un'i)e in stru""ing -here -e p'ay the" a'' at on(e.
The Bass 4ote
The bass note is the ;irst string -e p'u() -hen -e begin. This note is the lo0est note o; the (hord@ and it
gi6es the chord its character.
Chords are na"ed a;ter their ;irst notes.
8.g. the = (hord has = as its bass note.
8.g. ;or (hords 'i)e FOC LF o4er CM@ -e p'ay the F (hord@ but -e a'ter the bass note ;ro" F to C.
The diagra" be'o- 'o(ates a'' the notes ;or ea(h stringJs ;irst ;our ;rets
:ret

I II III IA
e <<<<:<<<< <<<<:7<<<< <<<<G<<<< <<<<G7<<<<
B <<<<C<<<< <<<<C7<<<< <<<<9<<<< <<<<97<<<<
G <<<<
G7<<<<
<<<<A<<<< <<<<A7<<<< <<<<B<<<<
9 <<<<97<<<< <<<<1<<<< <<<<:<<<< <<<<:7<<<<
A <<<<A7<<<< <<<<B<<<< <<<<C<<<< <<<<C7<<<<
1 <<<<:<<<< <<<<:7<<<< <<<<G<<<< <<<<G7<<<<
The portion high'ighted in grey he'ps us ;ind the bass note ;or ea(h (hord.
1.a(#les
G Chord
We 'o(ate the bass note ;or G=H@ -hi(h ;ro" the diagra" is on the 8 string@ .
rd
;ret.
We start p'u()ing ;ro" 8 0.EE
A Chord
The bass note ;or G:H is the : open string. We start p'u()ing ;ro" : EE+EE
G8B Chord
We ;ret the : string 7
nd
;ret 0 this is -here KBJ is.
We ignore the strings be'o- this note L8 stringM.
98:7 Chord
The FF note (an be 'o(ated at the 8 string@ 7
nd
;ret.
We p'ay a !@ N add in this note.
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G8B/
e EE.EE
B EE+EE
= EE+EE
! EE+EE
: EE7EE
8 EE?EE
98:7/
e EE7EE
B EE.EE
= EE7EE
! EE+EE
: EE+EE
8 EE7EE
x o o o
o o o

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1.ercise/ /tru" the ;o''o-ing (hords. The bass 'ine "o4es do-n-ard E this is (a''ed a 0al!do0n>
C G8B :8A C8G : C81 98:7 G
G8B/
e EE.EE
B EE+EE
= EE+EE
! EE+EE
: EE7EE
8 EE?EEE
:8A/
e EE1EE
B EE1EE
= EE7EE
! EE.EE
: EE+EE
8 EE?EEE
C8G/
e EE+EE
B EE1EE
= EE+EE
! EE7EE
: EE.EE
8 EE.EEE
C81/
e EE+EE
B EE1EE
= EE+EE
! EE7EE
: EE.EE
8 EE+EEE
98:7/
e EE7EE
B EE.EE
= EE7EE
! EE+EE
: EE+EE
8 EE7EE
1.ercise/ The ;o''o-ing progressions are use;u' -ays to end a song. 8a(h pattern is the sa"e@ but in a
di;;erent )ey
C :8C C
9 G89 9
1 A81 1
G C8G G
A 98A A
luc!ing atterns
There are no set ru'es as to ho- to p'u() the (hord a;ter the bass note. ,o-e4er@ the ;o''o-ing pointers
(an he'p
iM ,o- "any notes to use per beat?
iiM Keep ti"ing.
,ere are so"e e?a"p'es
i3 Cetting the chord ring out
1 7 . 4
e <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<
B <<<<<<<<<<<<<<<<<1<<<<<<<<<<<<<<<<<<
G <<<<<<<<<<<<-<<<<<<<<<<<<<<<<<<<<<<<
9 <<<<<<<<2<<<<<<<<<<<<<<<<<<<<<<<<<<<
A <<3<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<
1 <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<
C
ii3 Centered
1 7 . 4
e <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<
B <<<<<<<<<<<<<<<<<<1<<<<<<<<<<<<<<<<<
G <<<<<<<<<<-<<<<<<<<<<<<<<<-<<<<<<<<
9 <<<<<<<2<<<<<2<<<<<<<2<<<<<<<<2<<<
A D3<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<
1 <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<
C
iii3 2 chords in one bar
1 7 . 4
e <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<
B <<<<<<<<<<1<<<<<<<<<<<<<<3<<<<<<<<
G <<<<<-<<<<<<<<<<<<<<2<<<<<<<<<<<<<
9 <<<<<<<<<<<<<<<-<<<<<<<<<<<<<<<<<<<<
A <3<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<
1 <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<
C !
i63 Ar#eggio
1 7 . 4
e <<<<<<<<<<<<<<<<<-<<<<<<<<<<<<<<<<<<
B <<<<<<<<<<<1<<<<<<<<<1<<<<<<<<<<<<<<
G <<<<<<<<-<<<<<<<<<<<<<<<-<<<<<<<<<<
9 <<<<2<<<<<<<<<<<<<<<<<<<<<<2<<<<<<<
A <3<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<
1 <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<
C
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1.ercise
&'ay the ;o''o-ing songs@ ta)ing note o;
i) The bass note to start -ith@
ii) The 4arious #luc!ing #atterns
As The 9eer
9 A8C7 B( B(8A
As the deer #anteth for the 0ater
G A 9
%o (y soul longeth after Thee>
9 A8C7 B( B(8A
@ou alone are (y heartEs desire
G A 9
And I long to 0orshi# Thee>
G G 98:7
@ou alone are (y strength (y shield
G 1( :7
To @ou alone (ay (y s#irit yield
9 A8C7 B( B(8A
@ou alone are (y heartEs desire
G A 9 G89 9
And I long to 0orshi# Thee>
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:7/
e EE7EE
B EE7EE
= EE.EE
! EE4EE
: EE?EE
8 EE?EEE
B/
e EE7EE
B EE.EE
= EE7EE
! EE+EE
: EE7EE
8 EE?EEE

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There Is 4one Ci!e @ou
G 98:7 G81 G89
There is none li!e @ou
C G8B
4o one else can touch
A( 9
My heart li!e @ou do
G 98:7 G81 G89
I could search for all eternity long
C 9 G
And find there is none li!e @ou
C 9 G 1(
@our (ercy flo0s li!e a ri6er 0ide
C 98:7 G
And healing co(es fro( @our hands
C 9 G 1(
%uffering children are safe in @our ar(s
A( C 9
There is none li!e @ou
G 98:7 G81 G89
There is none li!e @ou
C G8B
4o one else can touch
A( 9
My heart li!e @ou do
G 98:7 G81 G89
I could search for all eternity long
C 9 G C8G G
And find there is none li!e @ou
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Trans#osing Chords
The gi4en )ey "ay so"eti"es be di;;i(u't ;or the -orship 'eader to sing. 3n su(h (ases it is ne(essary to
shift the !ey u# or do0n 0 a'' the (hords in the songs -i'' ha4e to be (hanged. You -ou'd then need to
-rite do-n the ne- set o; (hords.
Fo0 9o 2e Trans#ose5
There are t0el6e different notes 0 i"agine these notes put in a (ir('e@ arranged 'i)e a ('o()
3;
iM The )ey is too high ;or the -orship 'eader to sing
Bo4e anti<cloc!0ise to 'o-er the pit(h o; the song.
iiM The )ey is too 'o- ;or the -orship 'eader to sing.
Bo4e cloc!0ise to raise the pit(h o; the song.
%te# 1/
:ntiE('o()-ise Co0ers the pit(h.
C'o()-ise Raises the pit(h.
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FOB
b
B
C
C
#/D
b
D
D
#/E
b
E
F
F
#/G
b
G
G
#/A
b
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/uppose that the ;irst (hord is :. The -orship -ants to "o4e this (hord to 8.
: "o4es 9 steps antiE('o()-ise to 8.
We then "o4e a'' the (hords@ "inor (hords in('uded@ in the song 9 steps antiE('o()-ise.
e.g. ;ro" !" to :".
;ro" =OB to !OFF@
%te# 2/
Bo4e all chords in the sa"e dire(tion@ N the sa"e nu"ber o; steps@ as
-ith the ;irst (hange "ade.
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: :
FOB
b
B
C
C
#/D
b
D
D
#/E
b
E
F
F
#/G
b
G
G
#/A
b
: :
FOB
b
B
C
C
#/D
b
D
D
#/E
b
E
F
F
#/G
b
G
G
#/A
b
: :
FOB
b
B
C
C
#/D
b
D
D
#/E
b
E
F
F
#/G
b
G
G
#/A
b
: :
FOB
b
B
C
C
#/D
b
D
D
#/E
b
E
F
F
#/G
b
G
G
#/A
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1.ercises
Transpose this song 4 ste#s lo0er
My Redee(er Ci6es
1 A
My Redee(er li6es
C7(7 B
My Redee(er li6es
1 A
My Redee(er li6es
C7(7 B
My Redee(er li6es
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My Redee(er li6es
My Redee(er li6es
My Redee(er li6es
My Redee(er li6es
: :
FOB
b
B
C
C
#/D
b
D
D
#/E
b
E
F
F
#/G
b
G
G
#/A
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Transpose this song 4 ste#s higher/
Tell the 2orld
: C
Tell the 0orld that Gesus li6es
9( Bb
Tell the 0orld that Tell the 0orld that
: C
Tell the 0orld that Fe died for the(
9( Bb
Tell the 0orld that Fe li6es again
Ti#/ When (hoosing the nu"ber o; steps to shi;t@ (hoose one that obtains (hords -hi(h are "anageab'e.
8.g. 3; the ;irst (hord is =@ shi;ting 7 or 9 steps up to : or C is pre;erab'e.
:4oid "o4ing . or 4 steps to Bb and B@ re'ati4e'y "ore di;;i(u't (hords to p'ay.
%u((ary/
2sing the ('o()@ -e
iM Bo4e antiE('o()-ise to 'o-er the pit(h@ N ('o()-ise to raise the pit(h o; the ;irst (hord@
iiM Transpose the ;irst (hord to a (hord that is easy to p'ay@
iiiM /hi;t a'' other (hords in the sa"e dire(tion -ith the sa"e nu"ber o; steps.
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Tell the 0orld that Gesus li6es
Tell the 0orld that Tell the 0orld that
Tell the 0orld that Fe died for the(
Tell the 0orld that Fe li6es again
: :
FOB
b
B
C
C
#/D
b
D
D
#/E
b
E
F
F
#/G
b
G
G
#/A
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%us & 7
th
Chords

When -e see "ore (o"p'i(ated (hords 'i)e !sus7 and 8"aD# -e o;ten ignore the"@ (hoosing to p'ay
(hords 'i)e ! and 8 to rep'a(e the".
,o-e4er@ using these K(o"p'i(atedJ (hords (an "a)e the "usi( "ore interesting.
T-o su(h (hords are the /us and K#
th
J (hords.
%us Chords D Huashing 4otes Together
/us (hords substitute the (iddle note in the chord for one ne.t to it.
1M This is a C
7M By "o4ing the "idd'e note u#
-e get C sus4

.M By "o4ing the "idd'e note do0n -e get C
sus7

/us (hords 'oo) and sound Iuashed> Busi(a''y@ they (reate tension.
C 9 1 : G A
sus2
e EE.EE
B EE.EE
= EE+EE
! EE+EE
: EE.EE
8 EE?EEE
e EE+EE
B EE.EE
= EE7EE
! EE+EE
: EE?EE
8 EE?EEE
e EE+EE
B EE+EE
= EE4EE
! EE4EE
: EE7EE
8 EE+EEE
e EE1EE
B EE1EE
= EE+EE
! EE.EE
: EE?EE
8 EE?EEE
e EE.EE
B EE.EE
= EE7EE
! EE+EE
: EE+EE
8 EE.EEE
e EE+EE
B EE+EE
= EE7EE
! EE7EE
: EE+EE
8 EE?EEE
sus4
e EE1EE
B EE1EE
= EE+EE
! EE.EE
: EE.EE
8 EE?EEE
e EE.EE
B EE.EE
= EE7EE
! EE+EE
: EE?EE
8 EE?EEE
e EE+EE
B EE+EE
= EE7EE
! EE7EE
: EE7EE
8 EE+EEE
e EE1EE
B EE1EE
= EE.EE
! EE.EE
: EE?EE
8 EE?EEE
e EE.EE
B EE1EE
= EE+EE
! EE+EE
: EE?EE
8 EE.EEE
e EE+EE
B EE.EE
= EE7EE
! EE7EE
: EE+EE
8 EE?EEE
1.ercise/ By "o4ing in and out o; sus (hords@ you (an (o'our a (hord. This is use;u' ;or introdu(tions@ or
i; you ha4e to ho'd on to a (hord ;or so"e ti"e.
9 9sus2 9sus4 9
A Asus2 Asus4 A
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7
th
Chords D iling 4otes u#
Notes in a nor"a' (hord are sta()ed up ni(e'y o4er one another.
When -e add (ore notes on to# -e get (hords 'i)e C#@ C*@ and so ;orth.
:s be;ore@ so"e diagra"s
Fro" C C# C* C11 C1.
C 9 1 : G A
7
e EE+EE
B EE1EE
= EE.EE
! EE7EE
: EE.EE
8 EE?EEE
e EE7EE
B EE1EE
= EE7EE
! EE+EE
: EE?EE
8 EE?EEE
e EE+EE
B EE+EE
= EE1EE
! EE+EE
: EE7EE
8 EE+EEE
e EE9EE
B EE4EE
= EE9EE
! EE.EE
: EE?EE
8 EE?EEE
e EE1EE
B EE+EE
= EE+EE
! EE+EE
: EE7EE
8 EE.EEE
e EE+EE
B EE7EE
= EE+EE
! EE7EE
: EE+EE
8 EE?EEE
(a?7
e EE+EE
B EE+EE
= EE.EE
! EE7EE
: EE.EE
8 EE?EEE
e EE7EE
B EE7EE
= EE7EE
! EE+EE
: EE?EE
8 EE?EEE
e EE4EE
B EE4EE
= EE4EE
! EE7EE
: EE7EE
8 EE+EEE
e EE+EE
B EE1EE
= EE+EE
! EE.EE
: EE?EE
8 EE?EEE
e EE7EE
B EE+EE
= EE+EE
! EE+EE
: EE7EE
8 EE.EEE
e EE+EE
B EE7EE
= EE1EE
! EE7EE
: EE+EE
8 EE?EE
A( B( C( 9( 1( :7(
7
e EE+EE
B EE1EE
= EE+EE
! EE7EE
: EE+EE
8 EE?EE
e EE7EE
B EE.EE
= EE7EE
! EE+EE
: EE7EE
8 EE?EEE
e 0.EE
B 04EE
= EE.EE
! EE?EE
: EE.EE
8 EE?EE
e EE1EE
B EE1EE
= EE7EE
! EE+EE
: EE?EE
8 EE?EEE
e EE+EE
B EE+EE
= EE+EE
! EE+EE
: EE7EE
8 EE+EEE
e EE+EE
B EE7EE
= EE7EE
! EE7EE
: EE+EE
8 EE7EEE
1.ercise/
#
th
"inor (hords N "aD#th (hords (an "a)e the (hord sound "ore soothing.
C A( 9( G C(a?7 A(7 9(7 G
#
th
"aDor (hords sound sus#ended@ and is use;u' -hen repeating a 'ine@ 4erse@ or (horus.
C(a?7 A(7 9(7 G C(a?7 A(7 9(7 G7
:un stuff/ To p'ay 8"#add4@ Dust stru" the open strings>
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Fo0 9o I lay The(5
There is no Ktri()J to p'aying the". :'' you ha4e to do is to re;er to (hord (harts@ and 'earn the ;ingering.
This ta)es e;;ort@ dis(ip'ine@ and preparation@ so it is i"portant to )no- the songs in ad4an(e@ N prepare
-ith the -orship 'eader.
:s you use these N other (hords "ore and "ore you -i'' ;a"i'iariPe -ith the sound they produ(e@ and in
turn -i'' be ab'e to substitute (hords -ith "ore (o"p'i(ated (hords on your o-n. :s again@ this ta)es
#ractice,
1.ercises
A(aJing Grace
C C7 :(a?7 C81
A(a<Jing grace ho0 s0eet the sound
A(7 9(7 G7
That sa6ed a 0retch li!e (e
1(7 Csus2 :(a?7 1(7
I once 0as lost but no0 a( found
A(7 G7 :8C C
2as blind but no0 I see
Feart of 2orshi#
9sus2 Asus2 1(7
2hen the (usic #lays+ all is stri##ed a0ay>
Asus4 A7
And I si(#ly co(e>
1(7 98:7
IEll bring you (ore than a song+
Asus4 A7
cause a song in itself
1(7 98:7 A7sus2
is not 0hat you ha6e reIuired>
9 A8C7
IE( co(ing bac! to the heart of 0orshi#>
1(7 98:7 G A7
And itEs all about you+ itEs all about you+ Gesus>
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To @ou Alone ;luc! the 6erse3
Csus2 G8B
16ery !nee 0ill bo0
Csus2 G8B
And e6ery tongue confess
B :8A
That Gesus Christ is Cord
9sus2
Cord and =ing
Gsus2 C(a?7
All glory to @our na(e
A(7 9 G 98:7
All honour to @our Ma?esty
1(7 Asus4 A
:ore6er fore < 6er
G89 98C 9sus
All #raise to @ou alone
;lay Csus2 a fe0 ti(es to return to 6erse3
Csus2 G8B
16ery eye 0ill see
Csus2 G8B
And e6ery heart 0ill !no0
Bb :8A
The beauty of the Cord
9sus2
In all the earth
%u((ary
E T-o -ays to add (o'our to your (hords are by app'ying sus and #
th
(hords.
E These (hords (an be ;ound in (hord (harts.
E By app'ying and pra(ti(ing the"@ you -i'' ;a"i'iariPe yourse'; -ith ho- they sound and -i'' be ab'e
to add the" in on your o-n ;or ;uture songs.
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%tru((ing
We ha4e been 'earning -hat (hords to useC ho- to stru" (hords is eAua''y i"portant.
Bars
: song (an be di4ided into bars@ -ith ea(h bar di4ided into ;our (ounts.
Bars are usua''y indi(ated -ith a bar line@ KLM>=enera''y@ ea(h (hord (o"es in at the beginning o; ea(h
bar. For e?a"p'e@
L 9sus2 L Asus2 L 1(7 L Asus4 A7
2hen the (usic #lays+ all is stri##ed a0ay> And I si(#ly co(e>
3t is i"portant that you adhere stri(t'y to the ti"ing o; ea(h (hord e'se the -orship 'eader ;ind it hard to
)eep ti"ing.
Beats
To )eep ti"e -ithin a bar@ -e "ust (ount -hi'e p'aying@ by
E Counting sub(ons(ious'y L(ounting in your "indM
E Counting physi(a''y Ltapping ;oot@ bobbing up and do-nM.
8a(h bar (an be ;urther di4ided into . or 4 beats@ depending on the song
| 1 2 3 4 | 1 2 3 4 |
3; the ti"ing gets di;;i(u't@ then -e (ount the half beats
| 1 + 2 + 3 + 4 + |
3; it gets e4en "ore di;;i(u't@ -e di4ide the bar into 1' beats
Q 1 7 . 4 2 7 . 4 3 7 . 4 4 7 . 4 Q
The o;;i(ia' -ay o; (ounting 16 beats is to use Ge N aH
Q 1 e N a 2 e N a 3 e N a 4 e N a Q
You (an a'so use any . sy''ab'e -ord Le.g. GpoEtaEtoHM
Q 1 po ta to 2 po ta to 3 po ta to 4 po ta to Q
Kno-ing -hat beats and bars are he'p us to thin) o; ti"ing in a stru(tured "anner@ and "ost i"portant'y
to be ab'e to -rite do-n use;u' stru""ing patterns.
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*seful %tru((ing atterns
i3 Fillsong attern
This is a stru""ing pattern (o""on'y used by ,i''song@ N has a (onte"p'ati4e ;ee' to it

R

1 e N a 2 e N a 3 e N a 4 e N a
Fere I a( to 2orshi#
9 A
Cight of the 2orld
1(7 G
@ou ste##ed do0n into dar!<ness
9 A
N#en (y eyes
G
Cet (e see
9
Fere I a( to 0orshi#
A8C7
Fere I a( to bo0 do0n
B(7 G
Fere I a( to say that @ouEre (y God
9
@ouEre altogether lo6ely
A8C7
Altogether 0orthy
B(7 G
Altogether 0onderful to (e
By adding an upstro)e on K1NJ the stru""ing be(o"es stronger@ N (an be used ;or the chorus

R

R

1 e N a 2 e N a 3 e N a 4 e N a
:'so@ by re"o4ing one stro)e at G.aH the stru""ing be(o"es "ore (onte"p'ati4e@ N (an be used ;or the
6erse

1 e N a 2 e N a 3 e N a 4 e N a
Try these "odi;ied patterns ;or the abo4e songJs 4erse and (horus respe(ti4e'y.
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Fro" the origina' pattern@ shi;t ba() the do-nstro)e ;or the .
rd
beat

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1 e N a 2 e N a 3 e N a 4 e N a
To get

R

1 e N a 2 e N a 3 e N a 4 e N a
This "odi;ied pattern is suitab'e ;or ;ast songs 'i)e
=ing of Ma?esty
G
@ou !no0 that I lo6e @ou
1(7
@ou !no0 that I 0ant to
9
=no0 @ou so (uch (ore
C G > 9 > I 1(7 > C > I
More than I ha6e before
9
=ing of Ma < ?esty
1(7
I ha6e one desire
9 1(7 C
Gust to be 0ith @ou (y Cord
9 1(7 C
Gust to be 0ith @ou (y Cord
G 9
Gesus @ou are the
C 9 C > 9 > I 1(7 > C > L
%a6iour of (y soul
G 1(7
And fore6er and e6er
C 9 G > 9 > I 1(7 > C > I G
IEll gi6e (y #raises to @ou
%tru((ing #atterns can & should be (odified to fit 6arious songs & (oods
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ii3 A Generic attern
This pattern is suitab'e ;or both s'o- and ;ast songs.

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1 e N a 2 e N a 3 e N a 4 e N a
To @ou
G C(a?7
Fere I stand fore6er in @our (igh < ty hand
9 C 9
Ci6ing 0ith @our #ro < (ise 0ritten on (y heart
G C(a?7
I a( @ours surrendered 0holly to @ou
9 C 9
@ou set (e in @our fa( < ily calling (e @our o0n
G A(
4o0 I+ I be < long to @ou
9 G
All I need+ @our %#irit+ @our 2ord+ @our truth
C 1(7
Fear (y cry+ (y dee# de < si < re
: 9
To !no0 @ou (ore
G A(
In @our na(e I 0ill lift (y hands
9 G
To the =ing this anthe( of #raise I bring
C 1(7
Fea6en !no0s I long to lo6e @ou
9 G
2ith all I a( I belong to @ou
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Glory
9 G
Great is the Cord God Al<(ighty
9 G
Great is the Cord on high
9 G
The train of Fis robe fills the te(#le
A B(7 G
and 0e cry out highest #raise
G 98:7 B(7 A
Glo<ry to the risen =ing
G 98:7 1
Glo<ry to the %on
G
Glorious %on
9
Cift u# your heads o#en the doors
B(7
let the =ing of glory co(e in
G 98:7 A
and fore6er be our God
9
Cift u# your heads o#en the doors
B(7
let the =ing of glory co(e in
G 98:7 A
and fore6er be our God
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iii3 A %i(#le attern
/tru""ing patterns do not a'-ays ha4e to be so (o"p'i(ated. 6;ten a si"p'e one is "ore appropriate

R

R
1 e N a 2 e N a 3 e N a 4 e N a
@ou Caid Aside @our Ma?esty
C G A(7 1(7 :
@ou laid aside @our (a?esty+ ga6e u# e6erything for (e
C 9(7 G(a?7
%uffered at the hands of those @ou had created
C G A(7 1(7 :
@ou too! all (y guilt and sha(e+ 2hen @ou died and rose again
C 9(7 G(a?7
4o0 today @ou reign+ And hea6en and earth e.alt @ou>
C G A(7
I really 0ant to 0orshi# @ou (y Cord+
1(7 :
@ou ha6e 0on (y heart and I a( @ours>
C 9(7 G(a?7
:ore6er and e6er+ I 0ill lo6e @ou>
C G A(7
@ou are the only one 0ho died for (e+
1(7 :
ga6e @our life to set (e free>
C 9(7 G(a?7 C
%o I lift (y 6oice to @ou in ador < a < tion>
This pattern (an a'so be e?panded upon ;or the chorus

R

R

1 e N a 2 e N a 3 e N a 4 e N a
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i63 Roc! attern
/o"e ;ast songs need a groo4e that is rea''y dri4ing and e?(iting. The ro() groo4e is si"p'e to p'ay and
yet is ab'e to prope' a song ;or-ard.

1 e N a 2 e N a 3 e N a 4 e N a
When using this pattern@ stru" using the 'o-er 4 strings.
I 2al! By :aith
G
I 0al! by faith
:
1ach ste# by faith
C
To li6e by faith
G
I #ut (y trust in you
:t this point o; the song@ the dyna"i(s die do-n 0 the Othat thing you doP #attern is suitab'e here

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1 e N a 2 e N a 3 e N a 4 e N a
A( G8B
16ery ste# I ta!e
C 9
Is a ste# of faith
A( G8B
4o 0ea#on for(ed against (e
C 9
%hall #ros#er
A( G8B
16Ery #rayer I (a!e
C 9
Is a #rayer of faith
A( G8B
If (y god is for (e
: 9
2ho can be against (e
%o(e songs therefore call for a change in the entire stru((ing #attern
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Cistening Nut
Whi'e it is use;u' to 'earn di;;erent stru""ing patterns@ it is "ore i"portant to be ab'e to pi() the" up on
your o-n by 'istening to C!s. To do so one (an ;o''o- the guitar or the dru( groo6e in the re(ording.
i3 :ollo0ing the Guitar
The guitar parts are easy to (at(h in so"e songs.
8?er(ise At the :oot of the Cross ;6erse3
1 e N a 2 e N a 3 e N a 4 e N a
G 1(7
At the foot of the cross
C G
2here grace and suffering (eet
9 1(7
@ou ha6e sho0n (e @our lo6e
C 9
Through the ?udg(ent @ou recei6ed
8?er(ise Than! @ou Cord ;6erse3
1 e N a 2 e N a 3 e N a 4 e N a
G 9
I co(e before @ou today
A(7 1(7
And thereEs ?ust one thing that I 0ant to say
Csus2 9 Csus2 9
Than! @ou+ Cord+ than! @ou+ Cord
G 9
:or all @ouE6e gi6en to (e
A(7 1(7
:or all the blessings that I cannot see
Csus2 9 Csus2 9
Than! @ou+ Cord+ than! @ou+ Cord
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ii3 :ollo0ing the 9ru( Groo6e
The dru" groo4e (o"prises o; t-o parts@ the
i) =ic! dru( Lthe deep sounding dru"M and the
ii) %nare dru( L-hi(h sounds 'i)e a ('apM.
3n (ases -here the guitar parts (annot be heard -e stru( in tande( to these t-o parts o; the dru"s@
-hi(h deter"ine a 'arge part o; the songJs groo4e.
!e"onstration :ree
E 5isten to ho- the guitar ;o''o-s the dru" groo4e.

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1 e N a 2 e N a 3 e N a 4 e N a
8?er(ise To @ou Alone ;chorus3
1 8 N a 2 e N a 3 e N a 4 e N a
To @ou Alone ;Chorus3
Gsus2 C(a?7
All glory to @our na(e
A(7 9 G 98:7
All honour to @our Ma?esty
1(7 Asus4 A
:ore6er fore < 6er
G89 98C 9sus
All #raise to @ou alone
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8?er(ise Cord I Cift @our 4a(e Nn Figh
1 e N a 2 e N a 3 e N a 4 e N a
Cord I Cift @our 4a(e Nn Figh
G C 9 C
Cord+ I lift @our na(e on high>
G C 9 C
Cord+ I lo6e to sing @our #raises>
G C 9 C
IE( so glad @ouEre in (y life>
G C 9 C
IE( so glad @ou ca(e to sa6e us>
G C 9 C
@ou ca(e fro( hea6en to earth to sho0 the 0ay+
G C 9 C
:ro( the earth to the cross+ (y debt to #ay+
G A(7 9 1(
:ro( the cross to the gra6e+ fro( the gra6e to the s!y+
C 9 G
Cord+ I lift @our na(e on high>
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1.ercise
Figure out a suitab'e stru""ing pattern ;or GChange By ,eart 6h =odH. What pattern you is depends on
ho- you interpret the song 0 -hether you Lor the -orship 'eaderM -ants a re;'e(ti4e "ood@ or a "oderate
dyna"i(. Thin) about ho- the di;;erent stru""ing patterns@ "odi;ied or un"odi;ied@ gi4e rise to di;;erent
"oods.
1 8 N a 2 e N a 3 e N a 4 e N a
Change My Feart oh God
9(7
Change (y heart oh God+
G7 C
Ma!e it e6er true>
A(7 9(7
Change (y heart oh God+
G7 C
(ay I be li!e @ou>
1 A(7
@ou are the #otter+
9(7 C
I a( the clay+
1 A(7
Mold (e and (a!e (e+
9 G G7
This is 0hat I #ray
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Co((on atterns @ou ha6e Cearnt
E ,i''song &attern
E =eneri( &attern
E /i"p'e &attern
E Ro() &attern
E That Thing You !o &attern
Fee' ;ree to in4ent other patterns N
"odi;i(ations o; the abo4e>

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Barre Chords
Barre (hords enab'e you to p'ay any chord be(ause -e so"eti"es ha4e to p'ay (hords 'i)e Bb@ 8b@ B.
Fo0 9o 2e lay Barre Chords5
When you K(ut and pasteJ a (hordJs ;ingering onto another position on the ;retboard you trans#ose the
(hord 0 8 be(o"es@ ;or instan(e@ F.
But you need to trans#ose the o#en strings as -e''@ and to do this you use your ;irst ;inger to press
do-n on a'' the strings.
8 F
This (an be done ;or the C+ A+ G+ 1+ 9 (hords.
O1asyP le6el/ 1 & A barre chords>
F (hord using 1<barre
Bb (hord using A<barre 2se one ;inger to ;ret three strings.
1.ercise/
Can you ;igure out the barre (hords ;or the 8" N :" barre (hord group?
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/i"p'i;ied to
&'a(e your ;irst
;inger o4er a'' the
strings on this ;ret.

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OInter(ediateP le6el/ C barre chord
!b (hord using C<barre ,a'4e the nu"ber o; strings the 1
st
;inger ;rets.
OAd6ancedP le6el/ 9 & G barre chords
:b (hord using G<barre Re"o4e the 'ast ;inger.
8b (hord using 9<barre
&ress . strings.
There;ore there are $ !inds of barre chords
1 barre chord A barre chord
. .
C barre chord
.
G barre chord
Q
9 barre chord
. . .
:"ong these the "ost (o""on'y used ones are the 8 and : barre (hords.
Barre (hords reAuire 'itt'e "e"orisationC you (an p'ay the" as 'ong as you )no- ho- to p'ay 8@ :@ C@ =@ !
(hords. :;ter you "aster the si"p'i;ied 4ersions do try the ;u'' 4ersion o; the barre (hords.
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/i"p'i;ied to
/i"p'i;ied to
/i"p'i;ied to

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2hich :rets 9o 2e ress5
The Ktranspose ('o()J (an be used to ;igure out the (hords
By "o4ing up or do-n ea(h ;ret you "o4e up or do-n by one (hord@ in this order.
1.ercise/
2sing the 8 barre (hord@ ;i'' in the 'o(ation o; the 1
st
;inger
Chord 5o(ation o; 1
st
;inger
8 +
th
;ret
= .
rd
;ret
F
:
2sing the C barre (hord@ ;i'' in the 'o(ation o; the 1
st
;inger
Chord 5o(ation o; 1
st
;inger
C +
th
;ret
8 .
rd
;ret
!
=
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FOB
b
B
C
C
#/D
b
D
D
#/E
b
E
F
F
#/G
b
G
G
#/A
b
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Co"p'ete the tab'e Lthe Kstarting pointsJ are shaded in greyM
1 : :78 Gb G G78Ab A A78Bb B C C789b 9 9789b
C<barre 4 9 6 # $ * 1+ 11 + 1 7 .
A<barre # * 1+ 11 + 1 7 4 6
G<barre * 11 + 7 4 6 $
1<barre + 7 4 6 $ 1+
9<barre +
R The nu"bers represent the 'o(ation o; the 1
st
;inger. + re;ers to an open (hord.
Fro" this tab'e@ you (an no- p'ay any chord,
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5o(ate@ using the tab'e abo4e@ the 9 di;;erent -ays o; p'aying a C chord.
Write do-n the type o; barreE(hord N the 'o(ation o; the ;irst ;inger@ ;ro" the 'e;t to the right o; the
;retboard
Ty#e of barre chord Cocation of 1
st
finger
5e;t
Right
5o(ate@ using the tab'e abo4e@ the 9 di;;erent -ays o; p'aying a G chord.
Write do-n the type o; barreE(hord N the 'o(ation o; the ;irst ;inger@ ;ro" the 'e;t to the right o; the
;retboard
Ty#e of barre chord Cocation of 1
st
finger
5e;t
Right
9o you see a #attern5
The chords al0ays follo0 the order C<A<G<1<9>
5ast'y@ barreE(hords are e?tre"e'y di;;i(u't to p'ay. You -i'' need to pra(ti(e ;or a "onth to a ;e- "onths
(onsistent'y to "aster the"@ so donJt be dis(ouraged i; it ta)es ti"e 0 press on>
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*sing Chord rogressions
: (hord progression is a series o; (hords. 3t is i"portant to ;a"i'iariPe -ith a ;e- o; su(h (o""on
progressions used in ;ree -orship@ song introdu(tions@ and song endings. ,o-e4er@ so"e theory on (hord
;a"i'ies are reAuired.
Chord fa(ilies
3n the ;irst 'esson@ you -ere introdu(ed to notes@ s(a'es and (hords. : s(a'e is a series o; # notes ta)en
;ro" the ;u'' set o; 17 notes. These # notes are ta)en by (ounting (ertain ;i?ed inter4a's bet-een the
notes.
Fro" s(a'es -e obtain (hords. To deri4e a (hord@ -e (hoose a note in the s(a'e@ and ta)e the .
rd
N 9
th
note ;ro" that note 0 -e ta)e the ne?t t-o a'ternate notes. For e?a"p'e@ using the C "aDor s(a'e
C BaDor /(a'e
C 9 1 : G A B
Notes o; a C (hord
C 1 G
Notes o; a !" (hord
9 : A
By (ontinua''y app'ying this to a'' the notes in the s(a'e Le?(ept the 'ast note@ BM@ -e obtain the 6 basi(
(hords in the )ey o; C C 9( 1( : G A(
By doing this ;or the (o""on )eys@ -e obtain the ;o''o-ing tab'e
=ey I IIm IIIm IV V Vim
C C 9( 1( : G A(
9 9 1( :7( G A B(
1 1 :7( G7( A B C7(
: : G( A( Bb C 9(
G G A( B( C 9 1(
A A B( C7( 9 1 :7(
The ro"an nu"era's in the top"ost ro- re;er to the note in -hi(h the (hord is deri4ed ;ro". The 7
nd
@ .
rd
@
and 6
th
note gi4es "inor (hords@ and -e there;ore re;er to these (hords as the 33"@ 333"@ and Si" (hords.
1.a(#les
2sing the (hart@ i; -e -ant to obtain the
iM 3 (hord in 8@ -e get the 8 (hord.
iiM 33" (hord in C@ -e get the !" (hord.
iiiM 3S (hord in :@ -e get the ! (hord.
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:ree 2orshi# Chord rogressions
With this (hart@ -e (an no- 'earn a ;e- ;ree -orship (hord progressions.
1> I IA
2> I Ai( IA A
3> I Ai( II( A
4> I III( IA A
We repeat these (hords o4er and o4er@ unti' the -orship 'eader signa's to return to the song@ or (hange
song. ,a4ing short 4 (hord progressions are "ore ad4antageous as (o"pared to p'aying the (hords in
the songJs (horus or 4erse be(ause the -orship 'eader -ou'd be ab'e to enter into the song@ or s-it(h
songs "ore Aui()'y -ithout ha4ing to -ait ;or a 'onger progression to end.
/uppose -e are in the )ey o; !. 2sing the (hord (hart@ -e obtain the ;o''o-ing (hords ;or pattern 7
2> 9 B( G A
1.ercise
Figure out the (hord progression ;or
i3 attern 1+ !ey of A>
ii3 attern 3+ !ey of G>
C'ose your eyes@ i"agine yourse'; to be in a ;ree -orship session@ and p'ay these progressions.
Note that these progressions are not e?hausti4e. Fee' ;ree to "odi;y the". For e?a"p'e@ by s-it(hing the
'ast (hord in pattern 4 to another 3S@ -e obtain 3 333" 3S 3S -hi(h has a "ore
hanging ;ee' to it.
:nother -ay to "a)e your o-n patterns is to 'oo) ;or ni(e 4 (hord progressions -ithin a song. For
e?a"p'e@ using the bridge o; ,ere 3 :" To Worship@
A 98:7 G G
IEll ne6er !no0 ho0 (uch it cost
A 98:7 G G
To see (y sin u<#on that cross
We (an then use A 98:7 G G as a ;ree -orship (hord progression.
/in(e -e are in the )ey o; ! in this song@ -e obtain the ro"an nu"era's A I IA IA by
using the (hord (hart 0 in this -ay you e?pand your (hord progression 'ibrary.
Be;ore "o4ing on to the other parts o; this se(tion@ you "ight as) ho- do -e )no- -hat )ey the song is
in?
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:inding the =ey
Finding out the )ey o; the song is si"p'eC a'' you ha4e to do is to "at(h the (hords in the song -ith the
(hord (hart. For e?a"p'e@ i; the song uses the (hords :@ FF"@ !@ 8 by 'oo)ing at the (hord (hart the )ey
(an be ;ound to be :.
But 'oo)ing at e4ery ro- (an be 4ery tedious. 6ne tip is to 'oo) at the ;irst and 'ast (hords o; the song 0
these (hords are usua''y the G3H (hords o; the song. : song in the )ey o; : -ou'd usually start and end -ith
the : (hord.
1.ercise
Find the )ey o; 5ord 3 5i;t Your Na"e 6n ,igh
G C 9 C
@ou ca(e fro( hea6en to earth to sho0 the 0ay+
G C 9 C
:ro( the earth to the cross+ (y debt to #ay+
G A( 9 1(
:ro( the cross to the gra6e+ fro( the gra6e to the s!y+
C 9 G
Cord+ I lift @our na(e on high
:or(ing Introductions to %ongs
3t is o;ten ne(essary to introdu(e the song by p'aying a ;e- (hords. The ;o''o-ing . "ethods shou'd -or)
;or "ost songs.
1> lay the KIM chord for 2 bars>
8.g.
Intro/ G G
G C 9 C
Cord+ I lift @our na(e on high>
2> lay the last or last t0o lines of the song>
8.g.
Intro/ C 9 G G
G C 9 C
Cord+ I lift @our na(e on high>
3> lay the #rogression I I IA A
8.g.
Intro/ G G C 9
G C 9 C
Cord+ I lift @our na(e on high>
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1nding a %ong
Cutting o;; a song sudden'y (an be 4ery abrupt. The ;o''o-ing . "ethods shou'd -or) ;or "ost songs.
1> lay the KIM chord for 1 < 3 bars
8.g.
C 9 G G G G
Cord+ I lift @our na(e on high
2> lay the last line three ti(es> lay a KAi(M chord in bet0een re#eats/
8.g.
G A( 9 1(
:ro( the cross to the gra6e+ fro( the gra6e to the s!y+
C 9 G 1(
Cord+ I lift @our na(e on high
C 9 G 1(
Cord+ I lift @our na(e on high
C 9 G
Cord+ I lift @our na(e on high
3> As co6ered in the 3
rd
section of the notes+ #lay a I IA8I I #rogression>
8.g.
C 9 G C8G G
Cord+ I lift @our na(e on high
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1.ercise/
Thin) o; a suitab'e introdu(tion and ending to this song.
This is the 9ay
9
This is the day+ this is the day
A7
That the Cord has (ade+ that the Cord has (ade
A
2e 0ill re?oice+ 0e 0ill re?oice
9sus2
And be glad in it+ and be glad in it
G 9
:or this is the day that the Cord has (ade
G 9
2e 0ill re?oice and be glad in it
9
This is the day+ this is the day
A7 9
That the Cord has (ade
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ractice+ ractice+ ractice,
Whi'e this (ourse "ay 'ast on'y 4 -ee)s@ you (an gro- "usi(a''y o4er your 'i;eti"e -ith
(ontinuous pra(ti(e. With (onsistent pra(ti(e you -ou'd be ab'e to ;u''y "aster and appre(iate
the "ateria's in this (ourse@ and a'so sear(h ;or resour(es independent'y through the 3nternet or
boo)s. To start you o;;@ so"e additiona' "ateria' is gi4en in the appendi? at the end o; this
"anua'. Bost i"portant'y@ it is 4ita' to use your s)i''s in ser4i(e to =od@ and it is through this
ser4i(e that =od -i'' b'ess you by gro-ing your ta'ents.
We hope that you ha4e enDoyed this (ourse@ and that you ha4e 'earnt a 'ot ;ro" the 4 sessions.
:s "entioned se4era' ti"es be;ore@ pra(ti(e N ser4e 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.
:retboard Cogic+ Bill 1d0ards
ing to him a new song! play skilfully, and shout for joy.
sal( 33/3
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A##endi./ o0er Chords
&o-er (hords are not rea''y (hords. Chords are . notes or "ore@ -hereas po-er (hords on'y ha4e 7
di;;erent notes. The "issing (hord note in the po-er (hord is the .
rd
note@ -hi(h deter"ines i; the (hord is
a "aDor or a "inor (hord. This (auses po-er (hords pro4ide to 'itt'e har"oni( te?ture to a song. Be(ause
o; this inter4a' po-er (hords ha4e an open ;ee' to the".
3; you ha4e a ;ast (hord (hange@ itTs o;ten easier to use po-er (hords ;or the rea''y ;ast part.
o0er Chord atterns D '
th
%tring
&o-er (hord patterns (an be K(ut and pastedJ to (reate di;;erent po-er (hords 0 one set o; ;ingering (an
gi4e you a doPen (hords. The root note deter"ines -hat po-er (hord it is.
These (hords are deri4ed ;ro" the 8 (hord. 6n'y the botto" three strings are p'ayed.
By shi;ting the 8 ;ingering up a ;ret -e obtain the #o0er chord #attern. The resu't is an F (hord
We )no- it is an F (hord be(ause our ;irst ;inger is ho'ding an F note. 3n other -ords@ the 'o-est note is
an F note. The chord is deter(ined by this lo0est note>
We (an p'ay this pattern a'' o4er the ;retboard to (reate di;;erent po-er (hords 0 gi4e it a try>
The (hart be'o- te''s you -here the (hords are 0 the top ro- te''s you -here your ;irst ;inger is@ and the
(orresponding (hord is in the se(ond ro-. For e?a"p'e@ i; the 'o-est note is at the 1+
th
;ret@ the (hord is a
!.
:ret 1 7 . 4 9 6 # $ * 1+ 11 17
Chord F FFO=b = =FO:b : :FOBb B C CFO!b ! !FO8b 8
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o0er Chord atterns D $
th
%tring
This po-er (hord pattern is si"i'ar to the pre4ious pattern@ on'y itTs root note is no- on the : string instead
o; the 'o- 8 string.
3; -e p'ay the : (hord on the .
rd
@ 4
th
and 9
th
string -e ha4e the ;o''o-ing pattern
Bo4ing this (hord up a ;ret -e obtain a B po-er (hord
:s be;ore@ -hen -e "o4e this pattern a'' o4er the ;retboard -e obtain di;;erent (hords. By 'oo)ing at the
;ret the ;irst ;inger is on -e (an see -hi(h (hord is being p'ayed
:ret 1 7 . 4 9 6 # $ * 1+ 11 17
Chord =FO:b : :FOBb B C CFO!b ! !FO8b 8 F FFO=b =
Co"bining the t-o tab'es -e ha4e
:ret 1 7 . 4 9 6 # $ * 1+ 11 17
Chord
;1 string3
F FFO=b = =FO:b : :FOBb B C CFO!b ! !FO8b 8
Chord
;A string3
=FO:b : :FOBb B C CFO!b ! !FO8b 8 F FFO=b =
Ti#s/
E Be(ause po-er (hords are si"p'i;ied (hords@ -e ignore "inor@ sus@ #
th
@ *
th
@ et(. (hords -hen -e
use po-er (hords.
E &o-er (hords are used "ain'y ;or ;ast songs -here the ;ast stru""ing rather than the har"oni(
te?ture o; the (hord dri4es the (hord ;or-ard.
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1.ercises/ Try the ;o''o-ing songs using po-er (hords
Cord+ I lift @our 4a(e on Figh>
G C 9 C
Cord+ I lift @our na(e on high>
G C 9 C
Cord+ I lo6e to sing @our #raises>
G C 9 C
IE( so glad @ouEre in (y life>
G C 9 C
IE( so glad @ou ca(e to sa6e us>
G C 9 C
@ou ca(e fro( hea6en to earth to sho0 the 0ay+
G C 9 C
:ro( the earth to the cross+ (y debt to #ay+
G A( 9 1(
:ro( the cross to the gra6e+ fro( the gra6e to the s!y+
C 9 G
Cord+ I lift @our na(e on high>
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=ing of Ma?esty
Aerse
B G7(
@ou !no0 that I lo6e @ou+ @ou !no0 that I 0ant to
:7 1
=no0 @ou so (uch (ore+ More than I ha6e before
B > 1 > G7( > 1 >
B G7(
These 0ords are fro( (y heart+ these 0ords are not (ade u#
:7 1
I 0ill li6e for @ou+ I a( de6oted to @ou
B > 1 > G7( > 1 >
:7 G7(7
=ing of Ma<?esty+ I ha6e one desire
:7 G7( 1
Gust to be 0ith @ou (y Cord
:7 G7(7 1
Gust to be 0ith @ou (y Cord
B 1 :7 1 B G7( :7 1
Gesus @ou are the %a6iour of (y soul
B G7(7 :7 1 B 1 :7 1
And fore6er and e6er IPll gi6e (y #raises to @ou
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A##endi./ Chords in 1
6pen strings ha4e a uniAue ringing sound to the"@ as (o"pared to the "ore "u;;'ed sound that barre
(hords produ(e. Be(ause the top strings@ the 8 and B strings@ are ;ound in "ost (hords in the )ey o; 8@
these strings (an be !e#t o#en throughout to produ(e se4era' p'easant (hords.
These (hords -i'' be introdu(ed 4ia the e?er(ises be'o-
Fere I A( To 2orshi#
1
1
Badd4
Cight of the 2orld
:7(7add4
@ou ste##ed do0n into dar!ness
1
1
Badd4 Asus2
N#en (y eyes let (e see
1
1
Badd4
Beauty that (ade
:7(7add4
This heart adore @ou
1
1
Badd4 Aadd2
Fo#e of a life s#ent 0ith @ou
1
2
Fere I a( to 0orshi#
Bsus4
Fere I a( to bo0 do0n
18G7 Asus2
Fere I a( to say that @ouEre (y God
1
2
@ouEre altogether lo6ely
Bsus4
Altogether 0orthy
18G7 Asus2
Altogether 0onderful to (e
B 18G7 Asus2
IEll ne6er !no0 ho0 (uch it cost
B 18G7 Asus2
To see (y sin u<#on that cross ;.23

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8
1
EEEEEE+EEEEEE
EEEEEE+EEEEEE
EEEEEE*EEEEEE
EEEEEE*EEEEEE
EEEEEE#EEEEEE
EEEEEE+EEEEEE
Badd4
EEEEEE+EEEEEE
EEEEEE+EEEEEE
EEEEEE$EEEEEE
EEEEEE*EEEEEE
EEEEEE*EEEEEE
EEEEEE?EEEEEE
FF"#add4
EEEE+EEEE
EEEE+EEEE EEEE
7EEEE EEEE
7EEEE EEEE
+EEEE EEEE
7EEEE
:add7
EEEE+EEEE
EEEE+EEEE EEEE
6EEEE EEEE
#EEEE EEEE
#EEEE EEEE
?EEEE
8
7
EEEE+EEEE
EEEE+EEEE EEEE
1EEEE EEEE
7EEEE EEEE
7EEEE EEEE
+EEEE
Bsus4
EEEE+EEEE
EEEE+EEEE EEEE
4EEEE EEEE
4EEEE EEEE
7EEEE EEEE
?EEEE
8O=F
EEEE+EEEE
EEEE+EEEE EEEE
4EEEE EEEE
7EEEE EEEE
?EEEE EEEE
4EEEE
:sus7
EEEE+EEEE
EEEE+EEEE EEEE
7EEEE EEEE
7EEEE EEEE
+EEEE EEEE
?EEEE

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A0eso(e in this lace
1
1
Fere in this house of the great !ing
C7(7 Asus2
2e co(e together no0 to 0orshi# hi(
1
1

This house is built on Christ our roc!
C7(7
Cannot be sha!en
Asus2
Cannot be sha!en
1
2
Asus2 1
2
Asus2
God is a0eso(e in this #lace
1
2
Asus2 Bsus4
%ense his #resence as 0e sing his #raise
C7(7 Bsus4
There is #o0er here for a (iracle
C7(7 Asus2
%et the ca#ti6es free and the bro!en 0hole
1
2
Asus2
God is a0eso(e
1
2
Asus2
FePs so a0eso(e
1
2
Asus2
God is a0eso(e in this #lace
A(a?7sus2 A'sus2
IP6e found
A(a?7sus2 A'sus2
0here I be<long
A(a?7sus2 A'sus2
IE( a li6ing stone
A(a?7sus2 A'sus2
in this house
1
2
I 0ill gro0
9234064.doc
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CF"#
EEEEE+EEEEE
EEEEE+EEEEE
EEEEE6EEEEE
EEEEE6EEEEE
EEEEE4EEEEE
EEEEE?EEEEE
:"aD#sus7
EEEEE+EEEEE
EEEEE+EEEEE
EEEEE6EEEEE
EEEEE6EEEEE
EEEEE+EEEEE
EEEEE?EEEEE
:6sus7
EEEEE+EEEEE
EEEEE+EEEEE
EEEEE6EEEEE
EEEEE4EEEEE
EEEEE+EEEEE
EEEEE?EEEEE

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Ti#/ 3; the song is not in 8@ you (an sti'' use these (hords by transposing the song i; the pit(h is suitab'e.
%u((ary
The K)ey o; 8J (hords are
8 8
1
@ 8
7
@ 8O=F
FF" FF"#
: :sus7@ :add7
B Bsus7@ Badd7
CF" CF"#
6thers :"aD#sus7@ :6sus7
9234064.doc
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8
1
EEEEEE+EEEEEE
EEEEEE+EEEEEE
EEEEEE*EEEEEE
EEEEEE*EEEEEE
EEEEEE#EEEEEE
EEEEEE+EEEEEE
8
7
EEEE+EEEE
EEEE+EEEE EEEE
1EEEE EEEE
7EEEE EEEE
7EEEE EEEE
+EEEE
8O=F
EEEE+EEEE
EEEE+EEEE EEEE
4EEEE EEEE
7EEEE EEEE
?EEEE EEEE
4EEEE
Badd4
EEEEEE+EEEEEE
EEEEEE+EEEEEE
EEEEEE$EEEEEE
EEEEEE*EEEEEE
EEEEEE*EEEEEE
EEEEEE?EEEEEE
FF"#add4
EEEE+EEEE
EEEE+EEEE EEEE
7EEEE EEEE
7EEEE EEEE
+EEEE EEEE
7EEEE
:add7
EEEE+EEEE
EEEE+EEEE EEEE
6EEEE EEEE
#EEEE EEEE
#EEEE EEEE
?EEEE
Bsus4
EEEE+EEEE
EEEE+EEEE EEEE
4EEEE EEEE
4EEEE EEEE
7EEEE EEEE
?EEEE
:sus7
EEEE+EEEE
EEEE+EEEE EEEE
7EEEE EEEE
7EEEE EEEE
+EEEE EEEE
?EEEE
CF"#
EEEEE+EEEEE
EEEEE+EEEEE
EEEEE6EEEEE
EEEEE6EEEEE
EEEEE4EEEEE
EEEEE?EEEEE
:"aD#sus7
EEEEE+EEEEE
EEEEE+EEEEE
EEEEE6EEEEE
EEEEE6EEEEE
EEEEE+EEEEE
EEEEE?EEEEE
:6sus7
EEEEE+EEEEE
EEEEE+EEEEE
EEEEE6EEEEE
EEEEE4EEEEE
EEEEE+EEEEE
EEEEE?EEEEE

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GThe purpose o; =od in sending his son to die and 'i4e and be
at the right hand o; =od the Father -as that he "ight restore to us the "issing De-e'@
the De-e' o; -orshipC that -e "ight (o"e ba() and 'earn to do again that
-hi(h -e -ere (reated to do in the ;irst p'a(e
U -orship the 5ord in the beauty o; ho'iness.V
A> 2> ToJer S
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Worship Songbook
1asy %ongs/
I Could %ing of @our Co6e :ore6er ;G3
Co(e+ 4o0 is the Ti(e to 2orshi# ;93
Feart of 2orshi# ;93
Inter(ediate %ongs/
Fere I a( to 2orshi# ;93
God of 2onders ;G3
To @ou ;G3
Glory ;13
Glorious Redee(er ;13
:or All @ouE6e 9one ;13
:riend of God ;C3
Abo6e All ;A3 ;use ca#o to #lay in G3
=ing of Ma?esty ;A3
Fo0 Great is Nur God ;A3 use ca#o #lay in G
Al0ays & :ore6er ;C3
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I Could %ing Nf @our Co6e :ore6er ;=ey T G3
Martin %(ith
G
N6er the (ountains and the sea
A(7
@our ri6er runs 0ith lo6e for (e
C
%o I 0ill o#en u# (y heart
9sus
And let the healer set (e free
G
IP( ha##y to be in the truth
A(7
%o I 0ill daily lift (y hands
C
And I 0ill al0ays sing of
9sus
2hen your lo6e ca(e do0n
G
I could sing of your lo6e fore6er
A(7
I could sing of your lo6e fore6er
C
I could sing of your lo6e fore6er
9sus
I could sing of your lo6e fore6erU
A(7 G
Nh I feel li!e dancing
C 9sus
ItPs foolishness I !no0
A(7 G
2hen the 0orld has seen the light
C
They 0ill dance 0ith ?oy
9sus
Ci!e 0ePre dancing no0
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Feart Nf 2orshi# ;=ey T 93
Matt Red(an
9 A8C7 1(7
2hen the (usic fades+ all is stri##ed a0ay
Asus A
And I si(#ly co(e
9 A8C7 1(7
Conging Gust to bring+ so(ething thatPs of 0orth
Asus A
That 0ill bless your heart
1(7 98:7 Asus
IPll bring @ou (ore than a song
A
:or a song in itself
1(7 98:7 Asus
Is not 0hat you ha6e reIuired
1(7 98:7 Asus
@ou search (uch dee#er 0ithin
A
Through the 0ay things a##ear
1(7 98:7 Asus A
@ouPre loo!ing into (y heart
9 A8C7
IP( co(ing bac! to a heart of 0orshi#
1(7 98:7 G A 9
And itPs all about @ou+ ItPs all about @ou+ Gesus
A8C7
IP( sorry+ Cord for the thing IP6e (ade it
1(7 98:7 G A 9
And itPs all about @ou+ ItPs all about @ou+ Gesus
9 A8C7 1(7
=ing of endless 0orth+ no one could e.#ress
Asus
Fo0 (uch @ou deser6e
9 A8C7 1(7
Though IP( 0ea! and #oor+ all I ha6e is @ours
Asus
16ery single breath
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Co(e 4o0 Is The Ti(e To 2 orshi# ;=ey T 93
Brian 9oer!sen
9 9 9sus 9
Co(e no0 is the ti(e to 0orshi#
Asus A 1(7 G
Co(e no0 is the ti(e to gi6e your heart
9 9 9sus 9
Co(e no0 is the ti(e to 0orshi#
Asus A 1(7 G
Co(e ?ust as you are before @our God
9
Co(e
G 9
Nne day e6ery tongue 0ill confess @ou are God
G 9
Nne day e6ery !nee 0ill bo0
G B(
%till the greatest treasure re(ains for those
G Asus A
2ho gladly choose @ou no0
G 9
2illingly 0e choose to surrender our li6es
G 9
2illingly our !nees 0ill bo0
G B(
2ith all our heart soul (ind and strength
G Asus A
2e gladly choose @ou no0

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Fere I A( To 2orshi# ;=ey T 93
Ti( Fughes
9 Asus
Cight of the 0orld
1(
@ou ste##ed do0n into dar!ness
9 Asus G
N#ened (y eyes let (e see
9 Asus
Beauty that (ade
1(
This heart adore you
9 Asus G
Fo#e of a life s#ent 0ith @ou
9 A8C7
%o here I a( to 0orshi#+ Fere I a( to bo0 do0n
98:7 G
Fere I a( to say that @ouPre (y God
9 A8C7
@ouPre altogether lo6ely+ Altogether 0orthy
98:7 G
Altogether 0onderful to (e
9 Asus
=ing of all days
1(
Nh so highly e.alted
9 Asus G
Glorious in hea6en abo6e
9 Asus
Fu(bly @ou ca(e
1(
To the earth @ou created
9 Asus G
All for lo6ePs sa!e beca(e #oor
A8C7 98:7 G
IPll ne < 6er !no0 ho0 (uch it cost
A8C7 98:7 G
To see (y sins u#on that cross
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God Nf 2onders ;=ey T G3
Intro/ 9sus < 1(7 < C
9sus 1(7 C 9sus
Cord of all creation
1(7 C 9sus
Nf 0ater earth and s!y
1(7 C 9sus
The hea6ens are your tabernacle
1(7 C
Glory to the Cord on high
G 98:7
God of 0onders beyond our gala.y
A(7 C
@ou are holy+ holy
G 98:7
The uni6erse declares your (a?esty
A(7 C
@ou are holy+ holy
9sus < 1(7 < C
9sus 1(7 C 9sus
1arly in the (orning
1(7 C 9sus
I 0ill celebrate the light
1(7 C 9sus
2hen I stu(ble in the dar!ness
1(7 C
I 0ill call @our na(e by night
A(7 C 9
Fallelu?ah to the Cord of hea6en and earth
A(7 C 9
Fallelu?ah to the Cord of hea6en and earth
A(7 C 9
Fallelu?ah to the Cord of hea6en and earth
G L 98:7 L A(7 L C2 L ;.23
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To @ou ;=ey T G3
9arlene Vschech
G
Fere I stand
98C C
:ore6er in your (igh < ty hands
9
Ci6ing 0ith your #ro < (ise
C
2ritten in (y heart
9 G
I a( @ours
98C C
%urrendered 0holly to @ou
9
@ou set (e in @our fa < (ily
C L 9sus 9
Calling (e @our o0n
G A(7 9
4o0 I+ I belong to @ou+ all I need
G C
@our s#irit @our 2ord @our truth+ hear (y cry
1(7
My dee# desi < re
: 9
To !no0 you (ore
G A(7 9
In @our na(e+ I 0ill lift (y hands+ To the =ing
G C
This anthe( of #raise I bring+ hea6en !no0s
1(7 9sus 9
I long to lo6e @ou 0ith all I a(
C G
I belong to @ou
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Glory ;=ey T 13
Reuben Morgan
Intro/ 1 L 1 L 1 L 1 L ;.23
1 A
Great is the Cord God Al(ighty
1 A
Great is the Cord on high
1 A
The train of Fis robe fills the te(#le
B C7(7 A
And 0e cry out highest #raise
A 1 C7(7 B
Glo < ry to the risen =ing
A 1 :7 A
Glo < ry to the %on glorious %on
1
Cift u# your heads o#en the doors
C7(7
Cet the =ing of glory co(e in
A C7(7 B
And fore6er be our God
1 A
Foly is the Cord God Al(ighty
1 A
Foly is the Cord on high
1 A
Cet all the earth bo0 before @ou
B C7(7 A
And cro0n @ou Cord of all
Instru(ental/
G7(7 L G7(7 L A L A L C7(7 L C7(7 L B L B L ;.23
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Glorious Redee(er ;=ey T 13
4i!!i :letcher
Intro/ 1 L 1(a?7 L ;re#eat 4 ti(es3
1
I lo6e @ou 0ith all (y heart
A
Trust @ou 0ith all I ha6e
:7(7
:or @ou hold the hea6ens
1 B
And earth in @our hand
C7(
@ou died on the cross for (e
A
Too! all (y sin and sha(e
:7(7
@our na(e is Foly
1 B
1.alted abo6e all else
1 :7(7
Glorious Redee(er+ @ou ha6e #aid for (y life
1 A B
@ou ha6e gone before (e+ 4o0 IPll 0al! by @our side
1 A B
I lift (y hands to @ou Cord+ @ou are 0orthy of (y #raise
C7( B A
Gesus reigns
To go to 6erse/
1 1(a?7
Gesus @ou reign
A B 1 A
Nne thing I as!
A B 1 A
That I (ay d0ell in @our house fore6er
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:or All @ouP6e done ;=ey T 13
Reuben Morgan
Intro/ 1 > 1sus > L 1 > 1sus > L
1 1sus
My sa6iour Redee(er
1 1sus
Cifted (e fro( the (iry clay
1 1sus
Al(ighty fore6er
1 1sus
I 0ill ne6er be the sa(e
C7(7
Cause @ou ca(e near
A
:ro( the e6erlasting
1
To the 0orld 0e li6e
B
The fatherPs only son
1 B
@ou li6ed @ou died
A8C7 B
@ou rose again on high
1 B
@ouP6e o#ened the 0ay
A8C7 B
:or the 0orld to li6e again
A B 1
Fallelu?ah :or all @ouP6e done
To 6erse/ 1 > 1sus > L 1 > 1sus > L
Instru(ental/ C7(7 L C7(7 L A L A L 1 L 1 L B L B L ;.23
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=ing Nf Ma?esty ;=ey T A3
Marty %a(#son
Intro/ A > 9 > L 1 > 9 > L
A > :7(7 > L 1 > 9 > L
A
@ou !no0 that I lo6e @ou
:7(7
@ou !no0 that I 0ant to
1
=no0 @ou so (uch (ore
9 A > 9 > L :7(7 > 9
More that I ha6e before
A
These 0ords are fro( (y heart
:7(7
These 0ords are not (ade u#
1
I 0ill li6e for @ou
9 A > 9 > L :7(7 >
I a( de6oted to @ou
9 1
=ing of Ma < ?esty
:7(7
I ha6e one desire
1 :7(7 9
Gust to be 0ith @ou (y Cord
1 :7(7 9
Gust to be 0ith @ou (y Cord
A 9
Gesus @ou are the
1 9 A :7(7 1
%a6iour of (y soul
9 A :7(7
And fore6er and e6er
1 9 A 9 1 9
IPll gi6e (y #raises to @ou
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Fo0 Great Is Nur God ;=ey T G3
Chris To(lin+ Gesse Ree6es & 1d cash
Ca#o on 2
nd
fret to #lay in A
Intro/ G L Gsus L G L Gsus
G
The s#lendor of a =ing
1(7
Clothed in (a?esty
C
Cet all the earth re?oice
C
All the earth re?oice
G
Fe 0ra#s Fi(self in light
1(7
And dar!ness tries to hide
C
And tre(bles at Fis 6oice
C
Tre(bles at Fis 6oice
G
Fo0 great is our God
1(7
%ing 0ith (e ho0 great is our God
C 9
And all 0ill see ho0 great ho0 great
G
Is our God
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G
Age to age Fe stands
1(7
And ti(e is in Fis hands
C
Beginning and the end
C
Beginning and the end
G
The God D head three in one
1(7
:ather %#irit %on
C
The Cion and the Ca(b
C
Cion and the Ca(b
G
@ouPre the na(e abo6e all na(es
1(7
@ou are 0orthy of all #raise
C(a?7
My heart 0ill sing
9 G
Fo0 great is our God
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Abo6e All ;=ey T G3
Cenny CeBlanc & aul Baloche
Ca#o on 2
nd
fret to #lay in A
C 9 G
Abo6e all #o0ers abo6e all !ings
C 9 G
Abo6e all nature and all created things
1(7 9 C G8B
Abo6e all 0isdo( and all the 0ays of (an
A(7 G 98:7
@ou 0ere here before the 0orld began
C 9 G
Abo6e all !ingdo(s abo6e all thrones
C 9 G
Abo6e all 0onders the 0orld has e6er !no0n
1(7 9 C G8B
Abo6e all 0ealth and treasures of the earth
A(7 G B
ThereEs no 0ay to (easure 0hat youEre 0orth
G A(7 9 G
Crucified+ laid behind a stone
G A(7 9 G
@ou li6ed to die re?ected and alone
98:7 1(7 9 C G8B
Ci!e a rose tra(#led on the ground
A(7 G8B C 9 G
@ou too! the fall and thought of (e abo6e all
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Al0ays and :ore6er ;=ey T C3
Mi!e Gugliel(ucci
Intro/ C L C L G L G L A(7 L A(7 L : L : L ;.23
C
TherePs nothing better
G
Than li6ing for @ou
A(7
Than sa6ing (y 0orld 0ith @ou
:
TherePs nothing better
C
Than #raising @our na(e
G
And lifting (y #raise
A(7
I 0ant to s#end fore6er
:
%tanding in @our #resence
A(7 : G
And I 0anna sho0 @ou
A(7 : G
2hat @ou (ean to (e God
A(7 : G C L G8B
I gi6e @ou (y 0hole life
A(7 : G
And IP6e got to tell @ou
A(7 : G
That I a( @ours fore6er
A(7 : G C L G8B L
Cord I gi6e @ou (y 0hole life
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C G
Gesus I 0ill li6e for @ou
A(7
In e6erything I do
:
IP( holding on to @ou
Al0ays Al0ays and fore6er
C Bb
And 0hen (y 0orld is falling do0n
:
In @ou I 0ill be found
C
IP( staying in @our ar(s today
: G
Al0ays Al0ays and fore6er
Bridge/ ;.3 soft+ .4 (ediu(+ .4 loud3
: C G
Al0ays al0ays and fore6er
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C!"# C$"TS
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Intermediate Guitar Course