Praise & Worship Guitar for CG_Notes

!!"# !

Praise & Worship Guitar For CG

Table of Contents Musical Terms

2

SECTION A (Basic Music Theory) LESSON LESSON LESSON LESSON LESSON

1: 2: 3: 4: 5:

The Most Basic Music Theory Musical Notes Chords Construction Theory Diatonic Chords Slash Chords

3 4 6 14 16

SECTION B (Rhythm Styles) LESSON LESSON LESSON LESSON LESSON

6: Celtic Folk Groove 7: R & B Groove 8: Classic Rock Groove 9: Rumba Groove 10: JT/Clapton Groove

18 21 23 24 25

SECTION C (Progression Techniques) LESSON LESSON LESSON LESSON LESSON LESSON LESSON

11: 12: 13: 14: 15: 16: 17:

Chord Sequences (Progression) Walk Down Passing Bass Open E Chord Voicing Modulating Chord Capo Usage Two Guitars Playing

27 31 37 39 43 46 49

Appendix 1: Acoustic Guitar Selection Guide Appendix 2: Additional Songs Example Appendix 3: Instrumental Solo Example Appendix 4: Finger Picking Style Song Example 1 Appendix 5: Finger Picking Style Song Example 2 References Prepared by Kuan Loong (May 2009 Edition) Page 1 of 49


Musical Terms Chord: A combination of 3 or more notes that blend harmoniously when sounded together. Chord Scale: All of the chord combinations that naturally occur in a major key. For instance, in C Major, the chord scale for worship music is C, Dm, Em, F, G, Am, G/B, back to C. These are numbered I, 2m, 3m, 4, 5, 6m, 5 over 7 and back to I. Chromatic: Moving up or down in half steps. Diatonic: The chords belonging to the key, such as C, Dm, Em, F, G, Am, Bdim. Enharmonic: Two identical notes with different names, such as F# = Gb, D# = Eb, etc Function: Describe how a chord works in a progression. For example a 5/7 chord (G/B) in the key of C functions as the vii (“7”) chord, which is normally diminished. Half Step: The closest note above or below any given note. (C to C#) or (C to B) Inversion: An alternate way to spell a chord in which the third or fifth is the bass note. For example C/E (“C over E”) is the first inversion of the chord as the third is in the bass. A C/G chord is the second inversion of the chord as the fifth is in the bass. Key or Tone Center: The home notes and chords that belong together. For example, in the key or tone center called “C Major”, the notes that belong are C-D-E-F-G-A-B. The chords that belong are the chords of the chord scale, which are C, Dm, Em, F, G, Am, G/B (“G over B”) and back to C. Key Signature: The number of sharps or flats indicated in written music notation. Notes or Notes in the Scale: Musical pitches belonging in the key. Numbers are used to refer to the notes in a scale such as C Major C-D-E-F-G-A-B-C is called 1 (also called “root”)-2-3-4-5-6-7-8 (same as 1). Number System or Nashville Number System: A way to express notes (such as Mary Has a Little Lamb as 3-2-1-2-3-3-3) or chords in any key (Happy Birthday to You chords are I – 5 – 5 – I – I – 4 – 5 – I) that has become standard practice for musicians around the world. Chords in C Major would be numbered I = C Major, 2m (Two minor) = Dm, 3m (Three minor) = Em, 4 = F Major, 5 = G Major, 6m (Six minor) = Am, 7 diminished gets changed to 5/7 (Five over Seven) = G/B (G over B) and back to I (C Major). Rhythm: Refer to the beat of the song or the sequence of events played with the right hand on a guitar which gives a piece of music a distinct beat. Roman Numeral System: Prior to Nashville Number System, chords used to be expressed as upper (Major/Augmented) and lower case (Minor/Diminished) Roman numerals such as I, ii, iii, IV, V, vi, viiº and back to I. For whatever reason, the only Roman numeral still used is the I for the “1” chord (the root). Root: The root from which a chord is built, also the lowest note in a triad or chord. (In a C Major chord, C is the root) Scale: A group of notes played in a sequence. A C Major Scale of C-D-E-F-G-A-B-C. Spelling: To construct a chord by putting different notes together. C Major is spelled C-E-G. C Major7 is spelled C-E-G-B. Triad: A chord with three notes. Triads are either Major (Root-3-5), Minor (Root-b3-5), Diminished (Rootb3-b5) or Augmented (Root-3-#5). Whole Step: A series of two half-steps up or down. (C to D) or (C to Bb)

Page 2 of 49


SECTION A LESSON 1: The Most Basic Music Theory

This is the most basic thing you need to know in music. Music note is divided in 7 basic notes, A B C D E F G. After 'G' it goes back to 'A', an octave higher. Out of these 7 notes, there are actually notes in between them. The smallest steps/distant in contemporary music is called a 'semi-tone'. A semi-tone higher than A is a A#. A semi-tone lower than A is a Ab. '#'(sharp) means a semi-tone higher than the note, while a 'b'(flat) means a semitone lower than the note. For example: A semi-tone lower than G is a Gb. A semi-tone higher than F is a F#.

A

A# Bb

B C

Semi-tone

C# Db

D

D# Eb

E F

Semi-tone Semi-tone

F# Gb

G

G# Ab

Semi-tone Semi-tone

From the above, you can see that the semi-tone above or below a particular note is actually overlap, so a C# is also a Db, a F# is also a Gb. The only exception is for notes B - C and E – F, which doesn't have a sharp (#) or a flat (b) note between them. Note: Every music theory starts with this knowledge. You need to know this!

Picture above shows the musical notes on a keyboard

Page 3 of 49


SECTION A LESSON 2: Musical Notes A musical note or tone is a graphical sign to represent the pitch of a sound. Alphabet A to G is used to denote the individual tone of a sound created by musical instruments. For example, Tone of a ‘Do’ is represented by alphabet ‘C”, ‘Re’ by alphabet ‘D’ and so on. In some country, such as Taiwan, a number system is used to denote the tone of a sound. For example, a ‘Do’ is represented by number ‘1”, ‘Re’ by number ‘2’ and so on. In their music score, a ‘dot’ beneath a number denotes a lower octave of a tone, a ‘dot’ above a number denotes a higher octave of a tone. The chart below shows the individual musical notes on a guitar fretboard. It is important to get yourself familiarize with all those notes position in order to understand the formation of chords or scale better. It will also help you to locate the root or bass note of a chord, especially in doing fingerpicking.

Page 4 of 49

Praise & Worship Guitar For CG Exercise: Do the practice below. Play the notes from the lowest bass (Low ‘E’) string all the way to the highest treble (High ‘E’)string.

Low ‘E” string

High ‘E” string

Guitar Tablature Notation: High ‘E” string E B G D A E

E

F

G

A

B

C

D

E

F

G

A

B

C

D

E

F

G

Low ‘E” string

High ‘E” string E B G D A E

Low ‘E” string What is Guitar Tablature? Guitar tablature consists of a series of horizontal lines forming a staff (or stave) similar to standard notation. Each line represents one of the instrument's strings; therefore standard guitar tab has a six-line staff or lines. The top line of the tablature represents the highest pitched string of the guitar, whereas the bottom line represents the lowest pitched string. The numbers that are written on the lines represent the fret used to obtain the desired pitch. For example, the number 3 written on the top line (High ‘E’ string) of the staff indicates that the player should press down at the third fret on the high E (first string). Number 0 denotes the nut; that is, an open string. Page 5 of 49


SECTION A LESSON 3: Chords Construction Theory Part 1: The aim of this lesson is to help you to be able to figure out chords by yourself without always having to depend on the chord chart. Let's start by using the C major scales and giving them numbers accordingly. 1

2

3

4

5

6

7

8

C

D

E

F

G

A

B

C

Note: There isn’t really such a thing as an eighth (8) note. It’s just the first (1) note repeated in the next higher octave. 4 main triads (3 notes chord) Chord Type

Notes (numeric position)

Notes (in C key)

Major (C)

1 (root)

3

5

CEG

Minor (Cm)

1 (root)

3b

5

C Eb G

Augmented (C+)

1 (root)

3

5#

C E G#

Diminished (C-)

1 (root)

3b

5b

C Eb Gb

Looking at the table above, you can tell a C chord is actually made up of 3 notes, that are C, E, G. So when we play on any instrument, as long as only these 3 notes are present, it is a C chord. With C as the root note, that is in the bass note. Of course there are cases when C is not the root note, we call this inversion. We will discuss this on another topic. Note: The chord C+ can be written as Caug too, and the chord C- can be written as Cdim or Cº too. The triads form the basis of the rest of the other chords to come.

Page 6 of 49

Praise & Worship Guitar For CG Chords with Major triad base Chord Type


Notes (in C key)

Second (C2)

1

3

5

2

CEGD

Sixth (C6)

1

3

5

6

CEGA

Seventh (C7)

1

3

5

7b

C E G Bb

Major Seventh (Cmaj7)

1

3

5

7

CEGB

Chords with Minor triad base Chord Type


Notes (in C key)

Min Second (Cm2)

1

3b

5

2

C Eb G D

Min Sixth (Cm6)

1

3b

5

6

C Eb G A

Min Seventh (Cm7)

1

3b

5

7b

C Eb G Bb

Min Major Seventh (Cmmaj7)

1

3b

5

7

C Eb G B

As seen above, all these chords are actually built upon the triad. Now can you see what does the number mean? It actually show you what note to put in by looking at the C major scales. For example, the sixth note of the C major scale is (A), so a C6 will simply be the C major triad (C, E, G) plus the sixth note (A). Of course this is only for the C major scale. With your knowledge of major scale, just number them accordingly starting from the root note to get the additional notes that you need. Another example of major scale: D major scale is shown below: 1

2

3

4

5

6

7

8

D

E

F#

G

A

B

C#

D

Example: D6 = 1, 3, 5, 6 of D major scale (because it is a D6, so use D major scale). So D, F#, A, B will be the notes forming the D6 chord. Below is an exercise for you to do before we continue: Chord Type


Notes (in C key)

Am Gmaj7 Dm7 E+ Fm2 Page 7 of 49

Praise & Worship Guitar For CG To make things easier, below are all the scales in the major key: 1

2

3

4

5

6

7

C

D

E

F

G

A

B

D

E

F#

G

A

B

C#

E

F#

G#

A

B

C#

D#

F

G

A

Bb

C

D

E

G

A

B

C

D

E

F#

A

B

C#

D

E

F#

G#

B

C#

D#

E

F#

G#

A#

8

9

10

11

12

13

From the above table, you will find the following notation: No flat/sharp = C 2 sharps = D 4 sharps = E 1 flat = F 1 sharp = G 3 sharps = A 5 sharps = B

Symbol of key signature used in written music notation

Page 8 of 49

Praise & Worship Guitar For CG Suspended Chords A suspended chord means taking out the 3rd and replacing it with either a 2nd or 4th. Chord Type


Notes (in C key)

Suspended Second (Csus2)

1

2

5

CDG

Suspended Fourth (Csus4)

1

4

5

CFG

Note: Csus = Csus4 Below is an exercise for you to do before we continue: Chord Type


Notes

Dsus2 Dsus4 Gsus2 Gsus4

Chords above 7th Once you go above 7th, for chords like 9, 11 and 13. You are supposed to play all the notes from 7th and up in that chord. Chord Type


Ninth (C9)

1

3

5

7b

9

Eleventh (C11)

1

3

5

7b

9

11

Thirteen (C13)

1

3

5

7b

9

11

Minor Ninth (Cm9)

1

3b

5

7b

9

Minor Eleventh (Cm11)

1

3b

5

7b

9

11

Minor Thirteen (Cm13)

1

3b

5

7b

9

11

Major Ninth (Cmaj9)

1

3

5

7

9

Major Eleventh (Cmaj11)

1

3

5

7

9

11

Major Thirteen (Cmaj13)

1

3

5

7

9

11

Minor Major Ninth (Cmmaj9) Minor Major Eleventh (Cmmaj11) Minor Major Thirteen (Cmmaj13)

1

3b

5

7

9

1

3b

5

7

9

11

1

3b

5

7

9

11

Notes (in C key) C E G Bb D C E G Bb D F 13

C E G Bb D F A C Eb G Bb D C Eb G Bb D F

13

C Eb G Bb D F A CEGBD CEGBDF

13

CEGBDFA C Eb G B D C Eb G B D F

13

C Eb G B D F A

Page 9 of 49

Praise & Worship Guitar For CG Half Diminish Chord Name Half Diminish (CØ)

Notes (numeric position) 1

3b

5b

Notes (in C key) 7b

C Eb Gb Bb

Diminish 7th / Full Diminish Although there are four different chords below, yet actually all of them are the same. However, the root note is changed. Chord Name


Notes

Cdim7 / Cº

1

3b

5b

7bb

C D# F# A

Adim7 / Aº

1

3b

5b

7bb

A C D# F#

Below is another exercise for you to do: Note: A chord with “add” means that you add the number shown only, ignoring the rules for chords above 7th. Chord Name


Notes

B Fm Fsus2 Dm11 E6 G9 Bdim7 C2 Amaj7 Cadd13 G6add9

Page 10 of 49

Praise & Worship Guitar For CG Part 2: In this article, we focus on applying our newfound knowledge on chords construction theory with reference to the guitar fretboard. The notes of the open strings of a guitar in standard tuning: E||---|---|---| B||---|---|---| G||---|---|---| D||---|---|---| A||---|---|---| E||---|---|---| Below are some examples of the common chords that we use for the guitar, so that you can see how chords construction theory applied itself on the guitar fretboard. Note: It doesn't really matter how many times the same note in different octave appear, as long as all the notes of the chord is present, it's that chord.

It doesn't have to be in the correct order also, the only thing to observe is that the root note must always be at the far most bass.

||---|---|-G-| B||---|---|---| G||---|---|---| D||---|---|---| ||---|-B-|---| ||---|---|-G-| Chord Name


G

1

3

Notes 5

G

B

D

||---|---|-G-| ||---|---|-D-| G||---|---|---| ||---|-E-|---| ||---|---|-C-| ||---|---|---| Chord Name C2 (also known as Cadd9)


3

5

Notes 2

C

E

G

D

||---|-F#|---| B||---|---|---| G||---|---|---| D||---|---|---| ||---|-B-|---| E||---|---|---| Chord Name Em9


3b

5

7b

Notes 9

E

G

B

D

F#

Page 11 of 49

Praise & Worship Guitar For CG ||---|-F#|---|---| ||---|---|---|-D#| ||---|---|-A#|---| ||---|---|---|-F#| ||---|-B-|---|---| ||---|---|---|---| Chord Name Bmaj7


3

Notes

5

7

B

D#

F#

A#

||-F-|---|---| ||-C-|---|---| ||---|---|-Bb| ||---|---|-F-| ||---|---|-Bb| ||-F-|---|---| Chord Name


Fsus4

1

4

Notes 5

F

Bb

C

In order to create new chords on your guitar, the best method is really to find the most similar chord that you know and convert it to the chord you want. Below is an example: Write down the numerical position for both the chord you want to find and the chord that is the most similar. In this case I will take the chord ‘D’ to convert to ‘D6’. Write down the actual notes of the 2 chords. Change whichever necessary to obtain the new chord. ||---|-F#|---| ||---|---|-D-| ||---|-A-|---| D||---|---|---| ||---|---|---| ||---|---|---| Chord Name


D

1

3

Notes 5

D

F#

A

You can see in the example that the ‘D’ chord is made out of (D, F#, A). In order to get the chord ‘D6’, you will need an additional 6 (B) which forms (D, F#, A, B). Remember you’d need to keep (D, F#, A). You see that in the diagram that there are two (D). You can then take out the one that is not part of the bass note and convert it to a (B) as shown. (You need to keep the D in the bass for that is the root note) ||---|-F#|---| B||---|---|---| ||---|-A-|---| D||---|---|---| ||---|---|---| ||---|---|---| Chord Name D6


3

5

Notes 6

D

F#

A

B

Page 12 of 49

Praise & Worship Guitar For CG Another example: We want to get the chord A9 now. Closest similar chord is A7. E||---|---|---| ||---|-C#|---| G||---|---|---| ||---|-E-|---| A||---|---|---| ||---|---|---| ||---|---|-G-| ||---|-C#|---| ||---|-A-|---| ||---|-E-|---| A||---|---|---| ||---|---|---| Above 2 chords are both A7 chord. As you can see, it’s quite impossible to form ‘A9’ from the 1st ‘A7’ chord we have. Since we only have one of all the notes except ‘E’, we can only move that note (‘E’). But we will have a very difficult time stretching our fingers if we move that note on the first string all the way to the seven fret just to get a ‘B’. So we look for an alternate A7 chord we are familiar with. In the 2nd ‘A7” chord, note ‘A’ is repeated. Therefore, take the non-root ‘A’ and move down to a ‘B’. We are done! ||---|---|-G-|---| ||---|-C#|---|---| ||---|---|---|-B-| ||---|-E-|---|---| A||---|---|---|---| ||---|---|---|---| Chord Name A9


3

5

7b

Notes 9

A

C#

E

G

B

Below are some exercises for you to try: Find out how to play the chords below: G2 Dsus E6 Am6 B9 Em7add11

Page 13 of 49


SECTION A LESSON 4: Diatonic Chords What are diatonic chords? Well, in simple terms, it is the chords that are usually play within a key. Let's look at the chords that belong to the diatonic of C key. So when you know the diatonic chords, it will also help you to figure out the chords of any particular song, it should fit in most of the time. How do we derive the diatonic chords use in each major key? You will need "chords construction theory" knowledge to understand the below, refer to lesson 3. Let's us use C major Key as an example. You use 1, 3, 5 for the first set, then 2, 4, 6 for the second, and so on...

Scales

Chord

1

2

3

4

5

6

7

C

D

E

F

G

A

B

E

F

G

A

B

C

D

G

A

B

C

D

E

F

C

Dm

Em

F

G

Am

B°

So those will be the chords derive from the C major key that is in the diatonic chords. Let's adjust the diagram we had in the "The Most Basic Music Theory", putting C in front and numbering the notes using roman numerals.

1

C

2 C# Db

D

3 D# Eb

4

E F

5 F# Gb

G

6 G# Ab

A

A# Bb

7

8

B

C

So the numerical pattern of diatonic chords is determined as below:

1 - 2m - 3m - 4 - 5 - 6m - 7° Note: This is an important principle/rule, and it applied for all major keys.

A diminish chord is not a common chord that we usually use. So instead of 7°, we replace with a 5/7 chords, which is a ‘slash chord’ (refer to lesson 5).

Therefore by using the given pattern, the diatonic chords in a C key looks like this:

C - Dm - Em - F - G - Am - B° Or

C - Dm - Em - F - G - Am - G/B

Page 14 of 49

Praise & Worship Guitar For CG Applying the same principle to the D major scale, we get the D diatonic chords:

D - Em7 - F#m - G - A7 - Bm - C#° Diatonic Chords Exercise Complete the table below. Just insert the major scales that you have already learned with the fixed pattern chords.

1

2m

3m

4

5

6m

7°

*5/7

C

Dm

Em

F

G

Am

B°

G/B

D

Em

F#m

G

A

Bm

C#°

A/C#

E F G A B Note: Keys like Ab, Bb, Db, Eb and F# are not listed above, as they can be quite difficult to play. A guitar tool called ‘capo’ is commonly used by guitarist to play those semi-tone keys (cover under Section C, Lesson 16). So with this knowledge, you can minimize the chords you use to figure out the chords of any songs, at most of the time. There are of course other ways that can be use to find chords, but this will be a good start. Page 15 of 49


SECTION A LESSON 5: Slash Chords D/F#, C/E, F/C What are those chords above? How do you play them? These are called the slash chords. The front part are the chords, the part behind the slash is the root/bass note. There are basically 2 different types of slash chords. 1) The first type is an inversion chord For example: D/F# chord The bass note of F# is actually part of the D chord Chord Name

Notes in the chord

Notes (Numeric Position)

1

3

5

D

D

F#

A

D/F# is the 1st inversion, using 3rd note as bass(F#) and D/A is the 2nd inversion, using 5th note as bass(A) *If you don't know what notes make up a chord, refer back to lesson 3 on chord construction theory Note: Form the slash chord by placing the bass note as the far most bass part. It can be either the 6th, 5th or the 4th string. But if using higher strings, make sure the lower strings are muted. For example. Mute the 6th string if bass note after the slash is on the 5th string. Example:

Play this note as the bass note Mute or don’t play this string

C/E : notice that instead of C note on the 5th string, E note on the 6th string becomes the bass note C/E (second diagram) : another alternate voicing of this slash chord. The 5th and 6th strings are both muted. E note on the 4th string now becomes the bass note. C/G : G note on the 6th string is the bass note. C note on the 5th string can be muted or don’t. This works the same for all the other slash chords. Page 16 of 49

Praise & Worship Guitar For CG 2) Second type of slash chord uses a note that is not in the chord itself This type is less often seen. But the theory behind is the same. In order to form it, make sure the note behind is at the far most bass. Just one example: A/B chord

Chord Name A/B

Notes B

A

C#

E

E||---| - - -|---| ||---|- C#|---| ||---|- A -|---| ||---|- E -|---| ||---|- B -|---| X||---| - - -|---| (don’t play this string) A normal A chord with a B note as the bass. You can ignore the bass note behind if you are playing in a band, because the bassist will cover it. However, you can still play it as a slash chord if you want to. If you are playing keyboard, the bass at the back of the slash chord should be played with your left hand and the chord in front of the slash chord with your right hand. For example: A/C# chord

-------------------- ( left hand play C# chord , right hand play A chord )

Just in case you are not into theory. Below are the commonly seen inversion slash chords.

Note: Just like there are many ways to play a normal chord, there are also many other ways to play a slash chord too. So the above are not the only way. Page 17 of 49


SECTION B LESSON 6: Celtic Folk Groove Legend: Down stroke Up stoke

Type: 1

Type: 2

Type: 3

Page 18 of 49

Praise & Worship Guitar For CG Celtic Folk Groove Example 1: Strumming: Type 1 or 2

Verse:

(Video Track 1)

Chorus:

Page 19 of 49

Praise & Worship Guitar For CG Celtic Folk Groove Example 2: Strumming: Type 1 or 2

Celtic Folk Groove Example 3: Strumming: Type 3

(Video Track 2)

(Video Track 3)

Heart of Worship CAPO : 1 D2 Asus4 When the music fades, Em7 Asus4 All is stripped away, and I simply come; D2 Asus4 Em7 Longing just to bring something that's of worth Asus4 A That will bless Your heart. Bridge: Em7 D2 A2 I'll bring You more than a song, D2 Em7 D2 A2 D2 A2 For a song in itself is not what You have required. Em7 D2 A2 D2 Em7 You search much deeper within, through the way things appear, G D Asus4 A You're looking into my heart. Chorus: D2 A/C# I'm coming back to the heart of worship, G D Em7 Asus4 D2 And it's all about You, all about You, Jesus. D2 A/C# I'm sorry, Lord, for the thing I've made it, G D Em7 Asus4 D2 When it's all about You, all about You, Jesus.

Page 20 of 49


SECTION B LESSON 7: R & B Groove Legend: Down stroke

Palm mute Slap

Up stoke

Type: 1

R & B Groove Example 1: Strumming: Type 1

Type: 2 (Video Track 4)

(Video Track 5)

Page 21 of 49

Praise & Worship Guitar For CG R & B Groove Example 2: Strumming: Type 2

(Video Track 6)

Blessed be the Name of the Lord G Blessed be the Name of the Lord C Am D Blessed be the Name of the Lord G C Am D Blessed be the Name of the Lord, most high (2x)

R & B Groove Example 3: Strumming: Type 1 Mighty Is Our God G Mighty is our G Mighty is our G Glory to our G Glory to our

C God Em Lord

C God Em Lord

G C Mighty is our King Am7 C G Ruler of everything G C Glory to our King Am7 C G Ruler of everything

G F C G His name is higher Higher than any other name G F C Cmaj7 D His power is greater For He has created everything Also for songs like: My life is in You Lord, Firm foundation (Jesus You are my firm foundation), Jesus we celebrate Your victory

Page 22 of 49


SECTION B LESSON 8: Classic Rock Groove Legend: Down stroke Type: 1

Classic Rock Groove Example 1: Strumming: Type 1 or 2

Type: 2

(Video Track 7)

Page 23 of 49


SECTION B LESSON 9: Rumba Legend: Down stroke

Strum all six strings

Up stoke Type: 1 (Video Track 8)

Type: 2 (Video Track 9)

Rumba Example: Strumming: Type 1 (Track 10) / Type 2 (Track 11)

(Video Track 10 & 11)

Feliz Navidad G

C Feliz Navidad D7 G Feliz Navidad G C Feliz Navidad D7 G Prospero Ano y Felicidad G

C Feliz Navidad D7 G Feliz Navidad G C Feliz Navidad D7 G Prospero Ano y Felicidad

G7

C D7 I wanna wish you a Merry Christmas G I wanna wish you a Merry Christmas C I wanna wish you a Merry Christmas D7 G G7 From the bottom of my heart Also for songs like: God is good all the time, Jesus You are so good

Page 24 of 49


SECTION B LESSON 10: JT/Clapton Groove Legend: Pluck lower & upper strings

Pluck lower strings

Mute all strings

JT/Clapton Groove Example 1: Number shown below denotes the individual note on guitar fretboard

(Video Track 12)

Guitar Tablature JT/Clapton Groove Exercise 1

Page 25 of 49

Praise & Worship Guitar For CG JT/Clapton Groove Example 2: (Video Track 12)

Number shown below denotes the individual note on guitar fretboard

Guitar Tablature JT/Clapton Groove Exercise 2

Your Steadfast Love

Your steadfast

love

extends

heavens

Your

faith - ful -

to the

ness

hit guitar body

reaches

to

the

clouds

Page 26 of 49


SECTION C LESSON 11: Chord Sequences (Progression) Chord sequences can be used in the following ways: ¾ ¾ ¾ ¾ ¾

To help musicians limber up at the beginning of a rehearsal As a musical interlude in a meeting To undergird the worship At the ends of songs To accompany singing in tongues

--------------------------------------------------------------------------------------------------------------------------------------Sequence Type 1: (For introduction to songs) Nashville Number System: I (one bar) – 4 (half bar) – 5 (half bar) C///F/G/ D///G/A/ E///A/B/ F / / / Bb / C / G///C/D/ A///D/E/ B / / / E / F# / Example: Introduction: I G / / / I C / D / I … repeat as desire (Video Track 13) G C I love to be in Your presence G D With Your people singing praises G C I love to stand and rejoice G D4 G Lift my hands and raise my voice

Chords used in Video Track 13

--------------------------------------------------------------------------------------------------------------------------------------Sequence Type 2: Nashville Number System: I – 6m – 4 – 5 (most commonly used) C – Am – F – G D – Bm – G – A E – C #m – A – B F – Dm – Bb – C G – Em – C – D A – F# m – D – E B – G#m – E – F# Page 27 of 49

Praise & Worship Guitar For CG Example: E

B4 C#m Come Holy Spirit A B4 E Fall afresh on me E B4 C#m Fill me with Your power F#m7 A B4 Satisfy my need G#m C#m Chords used in Video Track 14 Only You can make me whole Note: Refer to Lesson 14 (Open E Chord Voicing) for G#m C#m A B better understanding on the chords shown above. Give me strength and make me grow E B4 C#m Come Holy Spirit A B4 I E / / / I C#m / / / I A / / / I B / / / I … repeat as desire (Video Track 14) Fall afresh on me --------------------------------------------------------------------------------------------------------------------------------------Sequence Type 3: Nashville Number System: I – 5/7 – 4 – 5 C – G/B – F – G D – A/C# – G – A E – B/D# – A – B F – C/E – Bb – C G – D/F# – C – D A – E/G# – D – E B – F#/A# – E – F#

Example: E

Chords used in Video Track 15 Note: Refer to Lesson 14 (Open E Chord Voicing) for better understanding on the chords shown above.

B4 C#m Come Holy Spirit A B4 I E / / / I B/D# / / / I A / / / I B / / / I … repeat as desire (Video Track 15) Fall afresh on me

Page 28 of 49

Praise & Worship Guitar For CG Sequence Type 4: Nashville Number System: I – 2m – 3m – 4 C – Dm – Em – F D – Em – F#m – G E – F#m – G#m – A F – Gm – Am – Bb G – Am – Bm – C A – Bm – C#m – D B – C#m – D#m – E Chords used in Video Track 16

Example:

Note: Refer to Lesson 14 (Open E Chord Voicing) for better understanding on the chords shown above.

E

B4 C#m Come Holy Spirit A B4 I E / / / I F#m / / / I G#m / / / I A / / / I … repeat as desire (Video Track 16) Fall afresh on me

--------------------------------------------------------------------------------------------------------------------------------------Others: Alternative chord progression to end a song and lead to free worship: Nashville Number System: (End of a song ) – 4 – 5 Example: E

B4 C#m Come Holy Spirit A B4 I A / / / I B4 / / / I A / / / I B4 / / / I … repeat as desire (Video Track 17 & 18) Fall afresh on me When quiet down, play the progression below: I E / / / I F#m / / / I G#m / / / I A / / / I … repeat as desire (Video Track 17 & 18)

6

Video Track 17

8

Video Track 18

Note: Refer to Lesson 14 (Open E Chord Voicing) for better understanding on the chords shown above.

Chord chart above shows the same chord but with different voicing: A2 can be replaced by A(add9) B4 can be replaced by B(add11)

Page 29 of 49


Do you know there are songs which can be played with a repetitive chords progression?

Sequence Type: 1 – 6m – 4 – 5 Chords Progression: I G / / / I Em / / / I C / / / I D / / / I Example: I worship You, Almighty God How great is our God

Sequence Type: 1 – 2m – 4 – 5 Chords Progression: I E / / / I F#m / / / I A / / / I B / / / I Example: I could sing of Your love forever

Sequence Type: 1 – 4 – 5 – 4 Chords Progression: I G / / / I C / / / I D / / / I C / / / I Example: Lord I lift Your name on high

(Songs above are attached in Appendix-2)

Page 30 of 49


SECTION C LESSON 12: Walk Down Walk down can be used in the following ways: ¾ ¾ ¾ ¾ ¾

As per how chord sequences to be used in previous lesson An easier way to memorise songs An elementary platform to tab a song / musical solo Help to understand music better Provide a form of musical interlude during worship, chairing, holy communion, testimony

--------------------------------------------------------------------------------------------------------------------------------------Walk Down Chords Progression Chart:

Page 31 of 49

Praise & Worship Guitar For CG Walk Down Progression (Example 1): (Walk Down in ‘C’) (Video Track 19)

Plucking Technique: Pluck – 1 – 2 – 3 ¾ Bass note with thumb and 3 strings with fingers ¾ Use a little skin and a little of your fingernail

Page 32 of 49

Praise & Worship Guitar For CG Walk Down Progression (Example 2): (Walk Down in ‘C’) I Set My Mind (Video Track 20) C G/B Am7 C/G I set my mind on You Lord F C/E Dm7 F/G I choose You every time C G/B Am7 C/G Focus my eyes on You Lord F C/E Dm7 F/G And dedicate my life F G C Am7 Here I am use me F G C Am7 Come into my life F G C - G/B - Am7 I want to be more like Jesus Dm7 F/G C2 Until the end of time

Walk down chords progression

Passing bass / walk down chords progression

--------------------------------------------------------------------------------------------------------------------------------------Walk Down Progression (Example 3): (Walk Down in ‘C’) Seek Ye First (Video Track 21) C G/B Am C/G Seek ye first the kingdom of God F C/E Dm7 F/G And His righteousness C G/B Am C/G And all these things shall be added unto You F C/E Dm7 - F/G C Alle__lu, allelu_______ia C G/B Am C/G F C/E Dm7 F/G A___lle___lu___ia, a___lle___lu___ia, C G/B Am C/G F C/E Dm7 - F/G C A___lle___lu___ia, alle_lu allelu________ia

Page 33 of 49

Praise & Worship Guitar For CG Walk Down Progression (Example 4): (Walk Down in ‘C’) As The Deer C G/B Am C/G As the deer panteth for the water F G C F/G So my soul longeth after Thee C G/B Am C/G You alone are my heart's desire F G I C / / G/B I And I long to worship Thee Am C/G F C/E You alone are my strength, my shield F C/E Dm7 E To You alone may my spirit yield C G/B Am C/G You alone are my heart's desire F G C And I long to worship Thee --------------------------------------------------------------------------------------------------------------------------------------*Other songs that use a walk down in C: ¾ Only by grace ¾ Turn Your eyes upon Jesus ¾ We will give You glory and honour

Page 34 of 49

Praise & Worship Guitar For CG Walk Down Progression (Example 5): (Walk Down in ‘E’) Walk down in ‘E’ can be done in 3 ways: 1. Using the E family chords from the ‘Walk Down Chords Progression Chart’ 2. Use Capo in fret 4, play in ‘C’ walk down 3. Use open ‘E’ chord voicing When I Think About The Lord E B/D# When I think about the Lord C#m7 E/B How He saved me, how He raised me A E/G# How He filled me up with the Holy Ghost F#m7 A/B How He healed me to the uttermost E B/D# When I think about the Lord C#m7 E/B How He picked me up and turned me around A E/G# F#m7 A/B And placed my feet on solid ground E B/D# It makes me wanna shout hallelujah C#m7 Thank you Jesus E/B A Lord You’re worthy of all the glory E/G# All the honor F#m7 A/B E / / / B/D# / / / C#m7 / / / E/B / / / A / / / E/G# / / / F#m7 / / / A/B / / / E And all the praise Open E Chord Voicing Walk Down Chords Chart: (Video Track 22)

--------------------------------------------------------------------------------------------------------------------------------------Page 35 of 49

Praise & Worship Guitar For CG Walk Down Progression (Example 6): (Walk Down in ‘G’) You Laid Aside Your Majesty (Video Track 23) G D/F# Em7 You laid aside Your majesty G/D C Gave up everything for me G/B Am7 Suffered at the hands of those C/D You have created G D/F# Em7 You took all my guilt and shame G/D C When You died and rose and again G/B Now today You reign Am7 C/D In heaven and earth exalted G D/F# Em7 I really want to worship You my Lord G/D C You have won my heart and I’m Yours G/B Am7 C/D Forever and ever I will love You G D/F# Em7 You are the only One who died for me G/D C Gave Your life to set me free G/B Am7 C/D G / / / D/F# / / / Em7 / / / G/D / / / C / / / G/B / / / Am7 / / / C/D / / / G So I lift my voice to You in adoration --------------------------------------------------------------------------------------------------------------------------------------Other songs that use a walk down: Walk down in G: ¾ ¾ ¾ ¾ ¾ ¾

Give thanks God will make a way Make a difference The more I get to know You There is none like You You are why

Page 36 of 49


SECTION C LESSON 13: Passing Bass Passing bass can be used in the following ways: ¾ Root note of inversion chords in walk down progression ¾ Can be used as musical riff in-between verse and chorus of a song ¾ Create more ‘layers’ to a song --------------------------------------------------------------------------------------------------------------------------------------Example of Finger Picking & Passing Bass:

(Video Track 24)

Page 37 of 49

Praise & Worship Guitar For CG Passing Bass (Example 1): A I Set My Mind F G C Am7 Here I am use me F G C Am7 Come into my life F G *C *B *A I want to be more like Jesus Dm7 F/G C2 Until the end of time

B Passing bass note

C

--------------------------------------------------------------------------------------------------------------------------------------Figure 1

Passing Bass (Example 2):

B E Change My Heart Oh God (Video Track 25)

C

C

Dm7 Change my heart oh God G I C / / G/B I Make it ever true Am7 Dm7 Change my heart oh God G I C / / G/B I May I be like You 1 2 n 3 n 4 1 2 3 4 Am7 / / / I G *E*D *C*B / I C / / / I *C *B *A *G I Dm7 / / / I I G *E*D *C*B / I C2 Play eighth note each (Figure 1)

D

Figure 2 A

Play quarter note each (Figure 2)

You can also do a instrumental solo using the chords and passing bass above - - (see Appendix-3 & Video Track 26)

B G C

Apart from just playing chord progression, instrumental solo is a great fill-in during holy communion, testimony or ministering moment in the CG --------------------------------------------------------------------------------------------------------------------------------------Passing Bass (Example 3): Passing bass in G Chord - - (see Video Track 27) Capo : 5

Page 38 of 49


SECTION C LESSON 14: Open E Chord Voicing The open E chord voicing emphasize the bass note, or root note of the chord, plus some nice overtones that create common tones on the B and E strings. The beauty of these voicing is two-fold: ¾ You can play most of the praise and worship songs with them ¾ These voicing create a more modern sound

Key for the Chord Chart below: root note X

dead note

1

left hand index finger

2

left hand middle finger

3

left hand ring finger

4

left hand little finger

Page 39 of 49

Praise & Worship Guitar For CG Open E Chord Voicing (Example 1): Sequence: I – 2m – 3m – 4 Finger Plucking: Pluck 1 2 3 Number shown below denotes the individual note on guitar fretboard

(Video Track 28)

Pick strum using chord sequence above - - (Video Track 29) --------------------------------------------------------------------------------------------------------------------------------------Open E Chord Voicing (Example 2): Number shown below denotes the individual note on guitar fretboard

(Video Track 30)

Page 40 of 49

Praise & Worship Guitar For CG Open E Chord Voicing (Example 3): (Video Track 31)

Jesus You Are Paul Baloche – God of Wonder Album

--------------------------------------------------------------------------------------------------------------------------------------Open E Chord Voicing (Example 4): Here I Am To Worship With Call (Hillsong) (Video Track 32)

Intro:

1

2

3

4 n

1

2

3

4

1

2

3

4 n

1

2

3

4

Page 41 of 49

Praise & Worship Guitar For CG Open E Chord Voicing (Example 5): You Are Good (Israel Houghton) Intro:

(Video Track 33)

--------------------------------------------------------------------------------------------------------------------------------------Open E Chord Voicing (Example 6): Free (Hillsong) Intro:

(Video Track 34)

--------------------------------------------------------------------------------------------------------------------------------------Try using Open E Chord Voicing for the songs below: Amazed (Desperation Band) By Your wondrous love God is good all the time I could sing of Your love forever Let everything that has breath Let the praises ring (Lincoln Brewster) Now that You are near (Hillsong) One thing (Hillsong) Open the eyes of my heart Till I see You (Hillsong) Your are the one (Lincoln Brewster) Page 42 of 49


SECTION C LESSON 15: Modulating Chord This usually involves moving up into a new key. For example, changing a song play in key C to key D. Type 1: One Modulating Chord - 5th note (7th chord) of the scale of the new key. Example: (Scale of new key of D) D 1

E 2

F# 3

G 4

A 5

B 6

C# 7

D 8

Modulating Chord (A7) Initial Key: C Dm7 Change my heart oh God G I C / / G/B I Make it ever true Am7 Dm7 Change my heart oh God G I C / / / I A7 / / / I May I be like You New Key: Modulating Chord D Em7 Change my heart oh God A I D / / A/C# I Make it ever true Bm7 Em7 Change my heart oh God A D May I be like You --------------------------------------------------------------------------------------------------------------------------------------Type 2: Two Modulating Chord – In conjunction with the chord described in Type 1, we can use a minor 7th chord on the 2nd note of the scale of the new key. Example: (Scale of new key of D) D 1

E 2

F# 3

G 4

A 5

B 6

C# 7

D 8

Modulating Chord (Em7, A7) Note: The one-chord modulating (A7) is quite adequate, but the two-chords (Em7, A7) sound richer. Page 43 of 49

Praise & Worship Guitar For CG Initial Key: C Dm7 Change my heart oh God G I C / / G/B I Make it ever true Am7 Dm7 Change my heart oh God G I C / / / I Em7 / A7 / I May I be like You New Key: Modulating Chord D Em7 Change my heart oh God A I D / / A/C# I Make it ever true Bm7 Em7 Change my heart oh God A D May I be like You --------------------------------------------------------------------------------------------------------------------------------------Type 3: 4/5 Chord – 4th note (with 5th note as the root) of the scale of the new key. Example: (Scale of new key of D) D 1

E 2

F# 3

G 4

A 5

B 6

C# 7

D 8

4/5 Chord (G/A) Initial Key: C Dm7 Change my heart oh God G I C / / G/B I Make it ever true Am7 Dm7 Change my heart oh God G I C / / / I G/A / / / I May I be like You New Key: Modulating Chord D Em7 Change my heart oh God A I D / / A/C# I Make it ever true Bm7 Em7 Change my heart oh God A D May I be like You

Page 44 of 49

Praise & Worship Guitar For CG Table below shows the Diatonic Chords with Modulating Chords highlighted for each key:

1

2m

3m

4

5

6m

7°

*4/5

C

Dm7

Em

F

G7

Am

B°

F/G

D

Em7

F#m

G

A7

Bm

C#°

G/A

E

F#m7

G#m

A

B7

C#m

D#°

A/B

F

Gm7

Am

Bb

C7

Dm

E°

Bb/C

G

Am7

Bm

C

D7

Em

F#°

C/D

A

Bm7

C#m

D

E7

F#m

G#°

D/E

B

C#m7

D#m

E

F#7

G#m

A#°

E/F#

Page 45 of 49


SECTION C LESSON 16: Capo Usage 1. Conventional Type A guitar capo can also be described as a "movable nut." The use of a capo is similar to taking the nut and moving it up and down the fretboard. The benefit of using capo: • Change the key of a song almost effortlessly as per worship leader request • Avoid playing bar chords and other challenging chords • Able to focus more on worship rather than looking at the unfamiliar chords • Use it to complement each other when two guitarists are playing • Use it for a different voicing playing, such as the ‘open E chord voicing’

Original Key

Capo Position 0

1

2

3

4

5

6

7

C

C

C#/Db

D

D#/Eb

E

F

F#/Gb

G

E

E

F

F#/Gb

G

G#/Ab

A

A#/Bb

B

G

G

G#/Ab

A

A#/Bb

B

C

C#/Db

D

Nut (Fret = 0) Fret = 1

Capo Position 1

Fret = 2

Capo Position 2

Fret = 3 Fret = 4 Fret = 5 Fret = 6 Fret = 7

Capo Position 3 Capo Position 4 Capo Position 5 Capo Position 6 Capo Position 7

Picture 1: Capo at position 3

Picture 2: Different conventional types of Capo Note: Avoid using the capo at lower than capo position 7. Reason being: • Guitar fretboard (in-between frets) is getting narrower, making it more difficult to play chords • May have guitar intonation problem, especially if the guitar is not in good condition Page 46 of 49

Praise & Worship Guitar For CG Conventional Capo Usage (Example): Key: A I Play: G I Capo: 2

Key: F I Play: E I Capo: 1

G C I love to be in Your presence G D4 With Your people singing praises G C I love to stand and rejoice G D4 G Lift my hands and raise my voice

E A I love to be in Your presence E B4 With Your people singing praises E A I love to stand and rejoice E B4 E Lift my hands and raise my voice

--------------------------------------------------------------------------------------------------------------------------------------2. Cut Capo Type Cut capo can be used in the following ways: ¾ Fewer fingers are needed for chords, which make guitar playing a lot easier for beginner guitarist ¾ Intermediate / advance guitarist can use it for a specific chord voicing and movements. ¾ It is also an exceptional useful tool for two guitars playing Photo of Cut Capo: Cut capo at position 2 (guitar fretboard 2). On standard tuning (EADGBE), it is an ‘Esus4’ chord shape (EBEABE). To drop every strings a whole step, it will turn into a drop ‘D’ tuning (DADGAD).

Photo of Conventional Capo together with Cut Capo: To play a song in key higher than E, you will need to use two different types of capos. Example: in the key of G 1. Put conventional capo at position 3 2. Put cut capo at position 5 3. Play as per cut capo chords shape

Page 47 of 49

Praise & Worship Guitar For CG Cut Capo Usage Example: Example below shows that the song can be played in both cut capo positions in the key of E. I Could Sing of Your Love Forever E F#m Over the mountains and the sea A2 Your river runs with love for me B And I will open up my heart E And let the healer set me free F#m I'm happy to be in the truth A2 And I will daily lift my hands

2

2

2

2

First Voicing: Cut Capo at position 2

For I will always sing B Of when Your love came down E F#m I could sing of Your love forever A2 B I could sing of Your love forever E F#m I could sing of Your love forever A2 B I could sing of Your love forever F#m E Oh I feel like dancing A2 B It's foolishness I know F#m E But when the world has seen the light A2 They will dance with joy B Like we're dancing now

Note: Hollow circles are optional fingering F#m can be replaced by G#m for a different ‘colour’ voicing

Second Voicing: Cut Capo at position 4

Page 48 of 49


SECTION C LESSON 17: Two Guitars Playing Benefits of two guitar playing: ¾ Making the music sound fuller and richer ¾ Allow the guitarist to take turn to participate in exercising spirit gifts during worship Techniques: ¾ ¾ ¾ ¾ ¾ ¾

Main guitarist sets the mood / takes the lead, usually play in the open chords Second guitarist in supporting role, either using the capo or bar chords Main guitarist play the original register (first octave), second guitarist play the higher one Main guitarist play the main frame of the song, either fingerpicking or strumming Second guitarist can either play riff, fill-in with some notes or strum in different pitch Both playing should be in the same musical style or pattern

Two Guitars Playing Example: First Guitar

Second Guitar

Key: C I Play: C I Capo: 0

Key: C I Play: G I Capo: 5

C G/B Am7 C/G I set my mind on You Lord F C/E Dm7 F/G I choose You every time C G/B Am7 C/G Focus my eyes on You Lord F C/E Dm7 F/G And dedicate my life

G D/F# Em7 G/D I set my mind on You Lord C G/B Am7 C/D I choose You every time G D/F# Em7 G/D Focus my eyes on You Lord C G/B Am7 C/D And dedicate my life

F G C Am7 Here I am use me F G C Am7 Come into my life F G C - G/B - Am7 I want to be more like Jesus Dm7 F/G C2 Until the end of time

C D G Em7 Here I am use me C D G Em7 Come into my life C D G - D/F# - Em7 I want to be more like Jesus Am7 C/D G2 Until the end of time

Page 49 of 49


Appendix - 1 Acoustic Guitar Selection Guide Body Style: Acoustic guitars come in a variety of sizes and shapes, from small travel size, to jumbo, to dreadnought. The body style in an acoustic guitar determines sound projection and tonal emphasis. Things to consider are tonal quality vs. playing comfort. Some acoustic guitar bodies come in a single cutaway design which gives access to the higher frets.

Auditorium

Grand Concert

Jumbo

Dreadnought

Tonewood: The choice of wood determines the sound of an acoustic guitar. Different types of wood produce different tones, but most guitar makers believe that the top is the most important for determining tonal quality. Spruce is the standard material for tops with Sitka spruce being the most common. Wood Selection: All solid wood (Top, Back & Sides) Solid Top & Back, Sides Laminated Solid Top, Back & Sides Laminated All Laminated Combination Types: Spruce Top/Rosewood Back & Sides Spruce Top/Mahogany Back & Sides Cedar Top/Mahogany Back & Sides

Recommended Guitar Brands & Models Yamaha LL16, Timothy, Taylor, Takamine Takamine (made in Japan model) Yamaha LL6, Ayers (Dreadnought) Not recommended

Price Range $1200 and above $1600 - $2200 $500 - $900 As cheap as $60

Sounding in general all rounded brighter & woody sounding mellower

Electronics: Some acoustic guitars come with pickups and preamps built in for playing in larger venues where your acoustic sound needs to fill the room. Some instruments have preamps mounted in a hole cut in the side of the instrument, while others mount inside the sound hole. There are systems that combine preamp, microphone, piezo pickups , EQ, and tuners. Appendix-1 / 1

Praise & Worship Guitar For CG Neck Profile and Angle: The size of your hand is key factor to decide which neck profile is suitable for you. Some profile is fatter (such as Takamine), some are thinner (such as Taylor). Choose one that you are comfortable with. Most guitars are constructed in a controlled environment of 40 – 60% humidity level and are mostly not local made. They are made in US, Europe, Japan, China, Taiwan, South Korea, etc, depending on the brands and models. Humidity level in Singapore (around 70 - 95%) is much higher compare to those countries, which may cause the guitar to deform when they are exposed to the climate here. When buying a guitar, do look out for signs of deformed neck and swollen body.

A proper / ideal angle of neck alignment

Appendix-1 / 2

Praise & Worship Guitar For CG Intonation: Intonation determines whether or not the notes play in tune as you move up the neck. If the distance between the frets (usually above the 12th fret) is off, the guitar will be incapable of playing in tune and therefore useless as a recording or performance instrument. One simple way to check for intonation problem is to hit the harmonics at the 12th fret. If the harmonics give you the correct pitch, then the guitar’s intonation should be fine.

Fret = 12, Harmonics = EADGBE

Guitar Action Refer to the height of the strings above the guitar fretboard. Action too high makes it harder to press the chord/note. Action too low may cause a buzzing sound.

Ideal action height at 12th fret: low E = 0.25cm, high E = 0.20cm Ask the guitar shop to do the set-up for you when buying the guitar, if the guitar action is too high/low. Appendix-1 / 3

Praise & Worship Guitar For CG Truss Rod In the neck of a guitar there is a metallic rod called the 'truss rod'. This allows the curvature of the guitar neck to be adjusted, which is necessary when changing the string gauge, or when drastic temperature and/or humidity changes occur. When buying a guitar, try look for one which got truss rod build in. It will definitely be useful for guitar maintenance and playability (action) adjustment. Picture below shows the cross section of a truss rod and the adjustment guide:

*Image taken from Taylor Tech Sheet

Tuning Machines: The type of tuning machine your guitar has is very important. This is what allows you to fine tune and hold pitch. Enclosed machine heads resist rust and airborne corrosives, and therefore don't require as much maintenance or replacement as open tuning machines. Bridge and Fingerboard: The materials used for bridge and fingerboard do have an effect on sound, but this is minimal compared to the body of the guitar. Finish: Different types of finish can affect the way the wood vibrates, but there is nothing you can do about this. These decisions are made by the guitar maker and they usually choose wisely.

Appendix-1 / 4


Appendix - 2 I Worship You Almighty God (Sequence Type: 1 – 6m – 4 – 5)

Lord I Lift Your Name On High (Sequence Type: 1 – 4 – 5 – 4)

G Em I worship You, Almighty God C D There is none like You G Em I worship You, O Prince of peace C D That is what I long to do C G I give You praise Em Am D For You are my righteousness G Em I worship You, Almighty God C D G There is none like You

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

How Great is Our God (Sequence Type: 1 – 6m – 4 – 5) G Em The splendor of a King, clothed in majesty C2 Let all the earth rejoice, all the earth rejoice G Em He wraps himself in Light, and darkness tries to hide C2 And trembles at His voice Trembles at His voice

G C D You came from heaven to earth C G To show the way C D From the earth to the Cross C G My debt to pay Am7 D From the Cross to the grave Em7 Am7 From the grave to the sky D G Lord I lift Your name on high

G D/F# How great is our God, sing with me Em D/F# How great is our God, and all will see C2 D G How great, how great is our God G Em Age to age He stands, and time is in His hands C2 Beginning and the end, beginning and the end G Em The Godhead Three in One, Father Spirit Son C2 The Lion and the Lamb, the Lion and the Lamb G D/F# Em D/F# Name above all names, worthy of all praise C2 D G My heart will sing, How great is our God

Appendix-2 / 1


Appendix - 3 (Video Track 26)

Appendix-3 / 1


Appendix - 4

(Video Track 35)

But For Your Grace Paul Baloche – God of Wonder Album

Appendix-4 / 1

Praise & Worship Guitar For CG Finger picking pattern for ‘But For Your Grace”

Appendix-4 / 2


Appendix - 5 (Video Track 36)

Lord I Lift Your Name on High Capo : 2 G C/G D/A C/G Lord I lift Your name on high G C/G D/A C/G Lord I love to sing Your praises G C/G D/A C/G I'm so glad You're in my life G C/G D/A C/G I'm so glad You came to save us G C/G D/A You came from heaven to earth C/G G To show the way C/G D/A From the earth to the Cross C/G G My debt to pay C/G D/G From the Cross to the grave Em7 Am7 From the grave to the sky *D G Lord I lift Your name on high

Finger picking pattern for “Lord I lift Your Name on High” Capo : 5

(Video Track 37)

Appendix-5 / 1


References Baloche, Paul (1995). Contemporary Praise & Worship Guitar Volume I. Instructional Video Baloche, Paul (1997). Contemporary Praise & Worship Guitar Volume II. Instructional Video Baloche, Paul (2002). God of Wonders: Video Songbook CD-Rom. Instructional Video Baloche, Paul (2005). Modern Worship Series: Music Theory Make Easy. Instructional DVD Companion Workbook, http://www.leadworship.com Guitar4Christ Forum. Article Topics: Guitar / Music Theory. http://www.guitar4christ.com Hoffman, Sandy (2000). Essential Worship Guitar. Instructional Video King, Joe (1999). Playing The Guitar In Worship. Instructional Manual ________________________________________________________________________________ Recommended Guitar Resource:

Baloche, Paul (2005). Modern Worship Series: Acoustic Guitar. Instructional DVD Contents: The open chord concept Finger picking techniques Right and left hand damping Using your capo to play in all keys Walk down in all keys Alternate voicings for common chords Modern chord progressions Improving your timing and feel Progressive barre chord voicings Effective strumming patterns and techniques Live concert footage References / 1

Praise & Worship Guitar for CG_Notes

Recommend Documents