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Intermediate Guitar

Training

© Copyright FCBC Youthnet

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Contents
Introduction 3

1 A Brief Introduction to Music Theory 4


i. What are Notes?................................................................... 4
ii. What are Keys? .................................................................... 6
iii. What are Chords? ................................................................. 6

2 Reading Guitar Tablature 7


i. Reading Tabs: Dashes.......................................................... 7
ii. Reading Tabs: Numbers........................................................ 8

3 Plucking Guitar Chords 9


i. The Bass Note………............................................................ 9
ii. Plucking Patterns………........................................................ 10

4 Transposing Chords 13
i. How Do We Transpose?........................................................ 13

5 Sus & 7th Chords 17


i. Sus Chords – Quashing Notes Together............................... 17
ii. 7th Chords – Piling Notes Up.................................................. 18
iii. How Do I Play Them?............................................................ 19

6 Strumming 21
i. Bars………………………………………................................ 21
ii. Beats……………………………….......................................... 21
iii. Common Strumming Patters................................................. 22
iv. Listening Out………………………......................................... 28

7 Barre Chords 32
i. How Do We Play Barre Chords?...……................................ 32
ii. Which Frets Do We Press?.................................................. 34

8 Using Chord Progressions 37


i. Chord Families…………......……............................................ 37
ii. Free Worship Chord Progressions ......................................... 38
iii. Finding the Key……………………........................................... 39
iv. Forming Introductions to Songs……………………………….... 39
v. Ending a Song……………………………………………………. 40

9 Practice, Practice, Practice! 42

10 Appendix: Playing Power Chords 43


i. Playing Power Chords – 6th string....……................................ 43
ii. Playing Power Chords – 5th string....……................................ 44
11 Appendix: Chords in E 47
© Copyright FCBC Youthnet

i. Here I am to Worship…………......……................................ 47
ii. Awesome in this Place…….................................................. 48

12 Worship Songs 51
13 Chord Charts 67

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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!

© Copyright FCBC Youthnet

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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.
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 A B
Notes of a C chord: C E G

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
Music Notes  Keys  Chords
Individual pitches Set of notes used in a song Background music for melodies
12 notes 7 notes 3 notes
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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----------------------------- e-----------------------------
B--3-------------------------- B-----------------------------
G----------------------------- G-----------------------------
D----------------------------- D--0-------------------------
A----------------------------- A-----------------------------
E----------------------------- E-----------------------------

Play the third fret of the 2nd string: Play an ‘open’ D-string – pluck the string without
pressing any notes.

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

Play the two notes consecutively. Play the two notes together.

e----0-------------------------- e----------- ------------------


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

Play the C chord without strumming the Exercise: write down the tab for
thickest string. the F chord:

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
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To read tabs, we ask:

Which String Do I Press?  Which Fret Do I Press?  Play on the String + Fret
Refer to the Dashes Refer to the Numbers

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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 I II III IV

e ----F---- ----F#---- ----G---- ----G#----
B ----C---- ----C#---- ----D---- ----D#----
G ---- ----A---- ----A#---- ----B----
G#----
D ----D#---- ----E---- ----F---- ----F#----
A ----A#---- ----B---- ----C---- ----C#----
E ----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--
x ooo
G/B Chord G/B:
We fret the A string 2nd fret – this is where ‘B’ is. e --3--
We ignore the strings below this note (E string). B --0--
G --0--
D --0--
A --2--
E --x--

ooo
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D/F# Chord D/F#:


The F# note can be located at the E string, 2nd fret. e --2--
We play a D, & add in this note. B --3--
G --2--
D --0--
A --0--
E --2--

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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: F/A: C/G: C/E: D/F#:


e --3-- e --1-- e --0-- e --0-- e --2--
B --0-- B --1-- B --1-- B --1-- B --3--
G --0-- G --2-- G --0-- G --0-- G --2--
D --0-- D --3-- D --2-- D --2-- D --0--
A --2-- A --0-- A --3-- A --3-- A --0--
E --x--- E --x--- E --3--- E --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 F/C C
D G/D D
E A/E E
G C/G G
A D/A 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 ii) Centered

1 2 3 4 1 2 3 4
e ------------------------------------ e -------------------------------------
B -----------------1------------------ B ------------------1-----------------
G ------------0----------------------- G ----------0---------------0--------
D --------2--------------------------- D -------2-----2-------2--------2---
A --3--------------------------------- A –3----------------------------------
E ------------------------------------ E ------------------------------------
C C

iii) 2 chords in one bar iv) Arpeggio

1 2 3 4 1 2 3 4
e ------------------------------------ e -----------------0------------------
B ----------1--------------3-------- B -----------1---------1--------------
G -----0--------------2------------- G --------0---------------0----------
D ---------------0-------------------- D ----2----------------------2-------
A -3---------------------------------- A -3----------------------------------
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E ------------------------------------ E ------------------------------------
C D C

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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 B:
G A D e --2--
So my soul longeth after Thee. B --3--
G --2--
D A/C# Bm Bm/A D --0--
You alone are my heart's desire A --2--
E --x---
G A D
And I long to worship Thee.

G G D/F#
You alone are my strength my shield F#:
e --2--
G Em F# B --2--
To You alone may my spirit yield G --3--
D A/C# Bm Bm/A D --4--
A --x--
You alone are my heart's desire E --x---
G A D G/D D
And I long to worship Thee.

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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

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 C/G G
And find there is none like You
© Copyright FCBC Youthnet

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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 A
#/A #/B
G b B
b

F
C
#/G
b
C
F #/D
b
D
E D
#/E
b
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 A
#/A #/B
G b B
b

F
C
#/G
b
C
F #/D
b
D
E D
#/E
b
We then move all the chords, minor chords included, in the song 5 steps anti-clockwise.

e.g. from Dm to Am. A


G A
#/A #/B
G b B
b

F
C
#/G
b
C
F #/D
b
D
E D
#/E
b
from G/B to D/F#,
G A A G A A
#/A #/B #/A #/B
G b B G b B
b b

F F
C C
#/G #/G
b b
C C
F #/D F #/D
b b
D D
E D E D
#/E #/E
b b
© Copyright FCBC Youthnet

Step 2:
Move all chords in the same direction, & the same number of steps, as
with the first change made.

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Exercises

G A A
Transpose this song 4 steps lower: #/B
#/A
G b B
b

My Redeemer Lives F
C
#/G
b
E A C
My Redeemer lives F #/D
C#m7 B b
D
My Redeemer lives E D
#/E
E A b
My Redeemer lives
C#m7 B
My Redeemer lives

My Redeemer lives

My Redeemer lives

My Redeemer lives

My Redeemer lives © Copyright FCBC Youthnet

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Transpose this song 4 steps higher:
G A A
#/A #/B
Tell the World G b B
b
F C F
Tell the world that Jesus lives C
#/G
Dm Bb b
C
Tell the world that Tell the world that #/D
F
F C b
Tell the world that He died for them D
E D
#/E
Dm Bb b
Tell the world that He lives again

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:
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,


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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.

C D E F G A
sus2
e --3-- e --0-- e --0-- e --1-- e --3-- e --0--
B --3-- B --3-- B --0-- B --1-- B --3-- B --0--
G --0-- G --2-- G --4-- G --0-- G --2-- G --2--
D --0-- D --0-- D --4-- D --3-- D --0-- D --2--
A --3-- A --x-- A --2-- A --x-- A --0-- A --0--
E --x--- E --x--- E --0--- E --x--- E --3--- E --x---

sus4
e --1-- e --3-- e --0-- e --1-- e --3-- e --0--
B --1-- B --3-- B --0-- B --1-- B --1-- B --3--
G --0-- G --2-- G --2-- G --3-- G --0-- G --2--
D --3-- D --0-- D --2-- D --3-- D --0-- D --2--
A --3-- A --x-- A --2-- A --x-- A --x-- A --0--
E --x--- E --x--- E --0--- E --x--- E --3--- E --x---

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.

D Dsus2 Dsus4 D
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A Asus2 Asus4 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
7
e --0-- e --2-- e --0-- e --5-- e --1-- e --0--
B --1-- B --1-- B --0-- B --4-- B --0-- B --2--
G --3-- G --2-- G --1-- G --5-- G --0-- G --0--
D --2-- D --0-- D --0-- D --3-- D --0-- D --2--
A --3-- A --x-- A --2-- A --x-- A --2-- A --0--
E --x--- E --x--- E --0--- E --x--- E --3--- E --x---

maj7
e --0-- e --2-- e --4-- e --0-- e --2-- e --0--
B --0-- B --2-- B --4-- B --1-- B --0-- B --2--
G --3-- G --2-- G --4-- G --0-- G --0-- G --1--
D --2-- D --0-- D --2-- D --3-- D --0-- D --2--
A --3-- A --x-- A --2-- A --x-- A --2-- A --0--
E --x--- E --x--- E --0--- E --x--- E --3--- E --x--

Am Bm Cm Dm Em F#m
7
e --0-- e --2-- e –3-- e --1-- e --0-- e --0--
B --1-- B --3-- B –4-- B --1-- B --0-- B --2--
G --0-- G --2-- G --3-- G --2-- G --0-- G --2--
D --2-- D --0-- D --x-- D --0-- D --0-- D --2--
A --0-- A --2-- A --3-- A --x-- A --2-- A --0--
E --x-- E --x--- E --x-- E --x--- E --0--- E --2---

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

C Am Dm G  Cmaj7 Am7 Dm7 G

7th major chords sound suspended, and is useful when repeating a line, verse, or chorus.
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Cmaj7 Am7 Dm7 G  Cmaj7 Am7 Dm7 G7

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

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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.

D A/C#
© Copyright FCBC Youthnet

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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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

Summary
- Two ways to add colour to your chords are by applying sus and 7th chords.
- These chords can be found in chord charts.
© Copyright FCBC Youthnet

- 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 | Asus4 A7


When the music plays, all is stripped away. And I simply come.

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 4 3 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:

∨ ∨ ∨ Δ ∨ ∨
1 e & a 2 e & a 3 e & 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:
∨ Δ ∨ ∨ Δ ∨ ∨
1 e & a 2 e & a 3 e & a 4 e & a

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

∨ ∨ ∨ Δ ∨ ∨
1 e & a 2 e & a 3 e & a 4 e & a
To get:
∨ ∨ ∨ ∨
Δ ∨
1 e & a 2 e & a 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

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
© Copyright FCBC Youthnet

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

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

∨ Δ ∨ ∨ Δ ∨
1 e & a 2 e & a 3 e & a 4 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

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
© Copyright FCBC Youthnet

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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
© Copyright FCBC Youthnet

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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:

∨ Δ ∨ Δ
1 e & a 2 e & a 3 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:


∨ ∨ Δ ∨ ∨ Δ
1 e & a 2 e & a 3 e & a 4 e & a
© Copyright FCBC Youthnet

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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:
∨ ∨ Δ ∨ Δ
1 e & a 2 e & a 3 e & a 4 e & a

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
© Copyright FCBC Youthnet

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

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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 & a 3 e & a 4 e & a

G 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 & a 2 e & a 3 e & a 4 e & a

G 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
© Copyright FCBC Youthnet

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.

∨ Δ ∨ Δ Δ ∨ Δ Δ
1 e & a 2 e & a 3 e & a 4 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
© Copyright FCBC Youthnet

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Exercise: Lord I Lift Your Name On High

1 e & a 2 e & a 3 e & a 4 e & a

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 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.
© Copyright FCBC Youthnet

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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, Common Patterns You have Learnt:
- Hillsong Pattern
G7 C
- Generic Pattern
Make it ever true. - Simple Pattern
Am7 Dm7 - Rock Pattern
Change my heart oh God, - That Thing You Do Pattern
G7 C
may I be like You. 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
© Copyright FCBC Youthnet

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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

Bb chord using A-barre Use one finger to fret three strings.


© Copyright FCBC Youthnet

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

Db chord using C-barre Halve the number of strings the 1st finger frets.

‘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 C barre chord G barre chord D barre chord
x x x X xx x
© Copyright FCBC Youthnet

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

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

G A A
#/A #/B
G b B
b

F
C
#/G
b
C
F #/D
b
D
E D
#/E
b
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

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

Chord Location of 1st finger

C 0th fret

E 3rd fret

G
© Copyright FCBC Youthnet

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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 2 4 6 8

E-barre 0 2 4 6 8 10

D-barre 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!

© Copyright FCBC Youthnet

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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

Right

Do you see a pattern?


© Copyright FCBC Youthnet

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: C D E F G A B
Notes of a C chord: C E G
Notes of a Dm chord: D F 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.

Examples
© Copyright FCBC Youthnet

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

We can then use A D/F# G G as a free worship chord progression.


© Copyright FCBC Youthnet

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

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

2. Play the last or last two lines of the song.

E.g.
Intro: C D G G
G C D C
Lord, I lift Your name on high.

3. Play the progression I I IV V

E.g.
Intro: G G C D
© Copyright FCBC Youthnet

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

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

2. 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 I IV/I I progression.

E.g.
C D G C/G G
Lord, I lift Your name on high
© Copyright FCBC Youthnet

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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

© Copyright FCBC Youthnet

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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.
Fretboard Logic, Bill Edwards
© Copyright FCBC Youthnet

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.

Fret 1 2 3 4 5 6 7 8 9 10 11 12
© Copyright FCBC Youthnet

Chord F F#/Gb G G#/Ab A A#/Bb B C C#/Db D D#/Eb E

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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
F F#/Gb G G#/Ab A A#/Bb B C C#/Db D D#/Eb E
(E string)

Chord
G#/Ab A A#/Bb B C C#/Db D D#/Eb E F F#/Gb G
(A string)

Tips:
- Because power chords are simplified chords, we ignore minor, sus, 7th, 9th, etc. chords when we
© Copyright FCBC Youthnet

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

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

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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
------0------ ------0------
E1 Badd4 ------0------ ------0------
Light of the World ------9------ ------8------
------9------ ------9------
F#m7add4 ------7------ ------9------
You stepped down into darkness ------0------ ------x------
E1 Badd4 Asus2
Open my eyes let me see F#m7add4 Aadd2
----0---- ----0----
E1 Badd4 ----0---- ---- ----0---- ----
Beauty that made 2---- ---- 6---- ----
F#m7add4 2---- ---- 7---- ----
0---- ---- 7---- ----
This heart adore You 2---- x----
E1 Badd4 Aadd2
Hope of a life spent with You
E2 Bsus4
----0---- ----0----
E2 ----0---- ---- ----0---- ----
1---- ---- 4---- ----
Here I am to worship 2---- ---- 4---- ----
Bsus4 2---- ---- 2---- ----
0---- x----
Here I am to bow down
E/G# Asus2
E/G# Asus2
Here I am to say that You're my God ----0---- ----0----
E2 ----0---- ---- ----0---- ----
4---- ---- 2---- ----
You're altogether lovely 2---- ---- 2---- ----
Bsus4 x---- ---- 0---- ----
Altogether worthy 4---- x----
E/G# Asus2
Altogether wonderful to me

B E/G# Asus2
© Copyright FCBC Youthnet

I'll never know how much it cost


B E/G# Asus2
To see my sin u-pon that cross (x2)

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Awesome in this Place
E1
Here in this house of the great king
C#m7 Asus2 C#m7
We come together now to worship him -----0-----
-----0-----
E1 -----6-----
This house is built on Christ our rock -----6-----
-----4-----
C#m7 -----x-----
Cannot be shaken
Asus2
Cannot be shaken

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

E2 Asus2
God is awesome
E2 Asus2
He’s so awesome
E2 Asus2
God is awesome in this place

Amaj7sus2 A6sus2
Amaj7sus2 A6sus2 -----0----- -----0-----
-----0----- -----0-----
I’ve found -----6----- -----6-----
Amaj7sus2 A6sus2 -----6----- -----4-----
where I be-long -----0----- -----0-----
-----x----- -----x-----
Amaj7sus2 A6sus2
I'm a living stone
Amaj7sus2 A6sus2
© Copyright FCBC Youthnet

in this house
2
E
I will grow

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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 E2 E/G#
------0------ ----0---- ----0----
------0------ ----0---- ---- ----0---- ----
------9------ 1---- ---- 4---- ----
------9------ 2---- ---- 2---- ----
------7------ 2---- ---- x---- ----
------0------ 0---- 4----

Aadd2 Asus2 Amaj7sus2 A6sus2 F#m7add4


----0---- ----0---- -----0----- -----0----- ----0----
----0---- ---- ----0---- ---- -----0----- -----0----- ----0---- ----
6---- ---- 2---- ---- -----6----- -----6----- 2---- ----
7---- ---- 2---- ---- -----6----- -----4----- 2---- ----
7---- ---- 0---- ---- -----0----- -----0----- 0---- ----
x---- x---- -----x----- -----x----- 2----

Bsus4 Badd4 C#m7


----0---- ------0------ -----0-----
----0---- ---- ------0------ -----0-----
4---- ---- ------8------ -----6-----
4---- ---- ------9------ -----6-----
2---- ---- ------9------ -----4-----
x---- -----x-----
© Copyright FCBC Youthnet

------x------

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“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."
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
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
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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

D A/C# Em7
King of endless worth, no one could express
Asus
How much You deserve
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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

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
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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 Dsus
The heavens are your tabernacle
Em7 C
Glory to the Lord on high

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

Dsus 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

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
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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 Am7 D
In Your name, 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 C#m7 B
Glo - ry to the risen King
A E F# A
Glo - ry to the Son glorious 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

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

A B E A
One thing I ask
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A B E A
That I may dwell in Your house forever

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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 . |

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

A D
Jesus You are the
E D A F#m7 E
Saviour of my soul
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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

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

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

Bridge: (x3 soft, x4 medium, x4 loud)


F C G
Always always and forever
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CHORD CHARTS

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