Praise & Worship Guitar For CG

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Praise & Worship Guitar For CG
Table of Contents
Musical Terms
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, vii 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#
Bb
B C
Semi-tone
C#
Db
D#
Eb
E F
Semi-tone Semi-tone
F#
Gb
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

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
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
Note: There isnt really such a thing as an eighth (8) note. Its 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)
CEG
Minor (Cm)
1 (root)
3b
C Eb G
Augmented (C+)
1 (root)
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 C too.
The triads form the basis of the rest of the other chords to come.
Page 6 of 49

Chords with Major triad base
Chord Type
Notes (in C key)
Second (C2)
CEGD
Sixth (C6)
CEGA
Seventh (C7)
7b
C E G Bb
Major Seventh (Cmaj7)
CEGB
Chords with Minor triad base

Chord Type
Notes (in C key)
Min Second (Cm2)
3b
C Eb G D
Min Sixth (Cm6)
3b
C Eb G A
Min Seventh (Cm7)
3b
7b
C Eb G Bb
Min Major Seventh (Cmmaj7)
3b
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
F#
C#
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

To make things easier, below are all the scales in the major key:
1
F#
C#
F#
G#
C#
D#
Bb
F#
C#
F#
G#
C#
D#
F#
G#
A#
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

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)
CDG
Suspended Fourth (Csus4)
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)
7b
Eleventh (C11)
7b
11
Thirteen (C13)
7b
11
Minor Ninth (Cm9)
3b
7b
Minor Eleventh (Cm11)
3b
7b
11
Minor Thirteen (Cm13)
3b
7b
11
Major Ninth (Cmaj9)
Major Eleventh (Cmaj11)
11
Major Thirteen (Cmaj13)
11
Minor Major Ninth (Cmmaj9)

Minor Major Eleventh
(Cmmaj11)
Minor Major Thirteen
(Cmmaj13)
3b
3b
11
3b
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

Half Diminish
Chord Name
Half Diminish (C)

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 / C
3b
5b
7bb
C D# F# A
Adim7 / A
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

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
Notes
5
||---|---|-G-|
||---|---|-D-|
G||---|---|---|
||---|-E-|---|
||---|---|-C-|
||---|---|---|
Chord Name
C2 (also known as Cadd9)

1
Notes
2
||---|-F#|---|
B||---|---|---|
G||---|---|---|
D||---|---|---|
||---|-B-|---|
E||---|---|---|
Chord Name
Em9

1
3b
7b
Notes
9
F#
Page 11 of 49

||---|-F#|---|---|
||---|---|---|-D#|
||---|---|-A#|---|
||---|---|---|-F#|
||---|-B-|---|---|
||---|---|---|---|
Chord Name
Bmaj7

1
Notes
D#
F#
A#
||-F-|---|---|
||-C-|---|---|
||---|---|-Bb|
||---|---|-F-|
||---|---|-Bb|
||-F-|---|---|
Chord Name
Fsus4
Notes
5
Bb
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
Notes
5
F#
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 youd 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

1
Notes
6
F#
Page 12 of 49

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, its 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

1
7b
Notes
9
C#
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
Dm
Em
Am
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.
2
C#
Db
3
D#
Eb
E F
5
F#
Gb
6
G#
Ab
A#
Bb
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

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.
2m
3m
6m
*5/7
Dm
Em
Am
G/B
Em
F#m
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)
F#
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 dont 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 dont.
This works the same for all the other slash chords.
Page 16 of 49

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
C#
E||---| - - -|---|
||---|- C#|---|
||---|- A -|---|
||---|- E -|---|
||---|- B -|---|
X||---| - - -|---| (dont 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

Celtic Folk Groove Example 1:
Strumming: Type 1 or 2
Verse:
(Video Track 1)
Chorus:
Page 19 of 49


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

Strumming: Type 2
(Video Track 6)
Blessed be the Name of the Lord

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

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:

Type: 2
(Video Track 7)
Page 23 of 49
SECTION B
LESSON 9: Rumba
Legend:
Down stroke
Strum all six strings
Up stoke
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
C
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

JT/Clapton Groove Example 2:
(Video Track 12)
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:
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

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
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

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

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
Example:

better understanding on the chords shown above.
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)
Video Track 17
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:
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

Walk Down Progression (Example 1):
(Walk Down in C)
(Video Track 19)
Plucking Technique: Pluck 1 2 3

Bass note with thumb and 3 strings with fingers
Use a little skin and a little of your fingernail
Page 32 of 49

(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

(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:
Only by grace
Turn Your eyes upon Jesus
We will give You glory and honour
Page 34 of 49

(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 Youre 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

(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 Im 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:
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:
Root note of inversion chords in walk down progression
Can be used as musical riff in-between verse and chorus of a song
Create more layers to a song
--------------------------------------------------------------------------------------------------------------------------------------Example of Finger Picking & Passing Bass:
(Video Track 24)
Page 37 of 49

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
Dm7
F/G
C2
B
Passing bass note
--------------------------------------------------------------------------------------------------------------------------------------Figure 1
Passing Bass (Example 2):
B E
Change My Heart Oh God (Video Track 25)
Dm7
Change my heart oh God
G
I C / / G/B I
Make it ever true
Am7
Dm7
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)
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:
You can play most of the praise and worship songs with them
These voicing create a more modern sound
Key for the Chord Chart below:

root note
X
dead note
left hand index finger
left hand middle finger
left hand ring finger
left hand little finger
Page 39 of 49

Open E Chord Voicing (Example 1):
Sequence: I 2m 3m 4
Finger Plucking: Pluck 1 2 3
(Video Track 28)
Pick strum using chord sequence above - - (Video Track 29)

--------------------------------------------------------------------------------------------------------------------------------------Open E Chord Voicing (Example 2):
(Video Track 30)
Page 40 of 49

(Video Track 31)
Jesus You Are

Paul Baloche God of Wonder Album

Here I Am To Worship With Call
(Hillsong)
(Video Track 32)
Intro:
4 n
4 n
Page 41 of 49

You Are Good
(Israel Houghton)
Intro:
(Video Track 33)

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
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
G
I C / / G/B I
Make it ever true
Am7
Dm7
G
I C / / / I A7 / / / I
May I be like You
New Key:
Modulating Chord
D
Em7
A
I D / / A/C# I
Make it ever true
Bm7
Em7
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:
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

Initial Key:
C
Dm7
G
I C / / G/B I
Make it ever true
Am7
Dm7
G
I C / / / I Em7 / A7 / I
May I be like You
New Key:
Modulating Chord
D
Em7
A
I D / / A/C# I
Make it ever true
Bm7
Em7
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:
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
G
I C / / G/B I
Make it ever true
Am7
Dm7
G
I C / / / I G/A / / / I
May I be like You
New Key:
Modulating Chord
D
Em7
A
I D / / A/C# I
Make it ever true
Bm7
Em7
A
D
May I be like You
Page 44 of 49

Table below shows the Diatonic Chords with Modulating Chords highlighted for each key:
2m
3m
6m
*4/5
Dm7
Em
G7
Am
F/G
Em7
F#m
A7
Bm
C#
G/A
F#m7
G#m
B7
C#m
D#
A/B
Gm7
Am
Bb
C7
Dm
Bb/C
Am7
Bm
D7
Em
F#
C/D
Bm7
C#m
E7
F#m
G#
D/E
C#m7
D#m
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
C#/Db
D#/Eb
F#/Gb
F#/Gb
G#/Ab
A#/Bb
G#/Ab
A#/Bb
C#/Db
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

Conventional Capo Usage (Example):
Key: A I Play: G I Capo: 2
Key: F I Play: E I Capo: 1
G
C
G
D4
G
C
G
D4
G
E
A
E
B4
E
A
E
B4
E
--------------------------------------------------------------------------------------------------------------------------------------2. Cut Capo Type

Cut capo can be used in the following ways:
Fewer fingers are needed for chords, which make guitar playing a lot easier for beginner guitarist
Intermediate / advance guitarist can use it for a specific chord voicing and movements.
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

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
First Voicing: Cut Capo at position 2
For I will always sing

B
Of when Your love came down
E
F#m
A2
B
E
F#m
A2
B
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:
Making the music sound fuller and richer
Allow the guitarist to take turn to participate in exercising spirit gifts during worship
Techniques:
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
F
C/E
Dm7 F/G
C
G/B
Am7
C/G
F
C/E Dm7 F/G
G
D/F#
Em7
G/D
C
G/B
Am7 C/D
G
D/F# Em7
G/D
C
G/B Am7 C/D
F
G
C Am7
Here I am use me
F
G
C Am7
Come into my life
F
G C - G/B - Am7
Dm7
F/G
C2
C
D
G Em7
Here I am use me
C
D
G Em7
Come into my life
C
D G - D/F# - Em7
Am7
C/D
G2
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

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

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 guitars 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

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
C
D
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
C
D
G
G
C
D
C
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
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

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
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
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

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SECTION A (Basic Music Theory)

The Most Basic Music Theory

SECTION B (Rhythm Styles)

6: Celtic Folk Groove

SECTION C (Progression Techniques)

Chord Sequences (Progression)

Appendix 1: Acoustic Guitar Selection Guide