Piano Patterns: Do You See Them?

Circle of fifthsImage via Wikipedia
When you are sitting at your keyboard or piano, do you see patterns on those keys? Here's what I mean:
1. Chromatically the notes from C to E are the mirror image of the notes from F# to B flat with F and B natural left out. If you number those notes from 1 to 5 in each pattern, the same number in each pattern is the Tri-tone. C = 1, F# = 1....tri tone.  Use this visual to find  tritone substitutions.
2. Take the first five notes of the major scale. These keys are mirror images of each other:
D flat and D
E flat and E
F and F#
A flat and A
B flat and B
3. Remember the tri-tone(s) B-F and F-B because it is the only tri-tone(s) with two white notes. All the others have one black and one white note as in your first pattern.
4. When you look at the circle of fifths, you notice that all the black notes are consecutive: Bb-Eb-Ab-Db-Gb, which you can use to help remember the circle. Try to think about why all the black notes would be consecutive in this circle. What you see is that the circle of fifths consists of the two whole tone scales alternated:
C - Bb - Ab - Gb - E - D
F - Eb - Db - B - A - G
It seems to be easier for me to always think of the circle of fifths in the counter-clockwise direction. Normally I am thinking of the dominant to tonic direction so that is why it seems more natural in this direction. If you learn the circle in this direction, it also gives you the ii-V-I sequence starting from any position as the ii chord. Or you can start two positions earlier and it gives you a iii-vi-ii-V-I turnaround sequence.
Within the circle of fifths the pattern B-E-A-D-G is repeated, first with all flats, then with all naturals, then you just have to add C & F and you have the whole circle (that's how I remember it). It also helps that the first four letters of that sequence spells a word. Once you know the circle and can picture it like the numbers on a clock as it is most often represented, you can look at the position directly opposite to get the tritone interval e.g. if C is at 12 O'clock, look at 6 O'clock to get its tritone interval.
5. Also, let us take the pentatonic scale 1, b3, 4, 5, b7. These keys are the mirror image as far as black key white key notes.
C and Db
D and Eb (E and A are the same as D)
F and F#
G and Ab
Bb and B natural
All the best,
LadyD
Charlie Parker once said "Learn the changes and then forget them."
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Discover Passing Chords in Your Piano Playing

 Use the Dominant 7th Flat 5 Chord as a passing chord to get to another chord within a progression. This would be an altered chord because we've altered the 5th by flatting it.


Take a look at this chord:


A7b5      LH/RH    A/GBC#Eb


When we breakdown this chord, we have:
LH = the root  and RH = b7, 9, 3, b5


How would you use this chord?


In a major 2-5-1 progression use this chord as a tritone substitute for the 5:


In the Key of Ab, a normal 2-5-1 progression would be:

LH/RH                     NUMBER BREAKDOWN         CHORD NAME
Bb/AbCDbF             1/b7-9-b3-5                                    Bbm7
Eb/GBbDbF             1/3-5-b7-9                                      Eb7
Ab/GBbCEb             1/7-9-3-5                                       Abmaj7


I've added the 9th freely. I'm beginning to learn in jazz that you can add the 9 (no alterations) to any of the 7th chords to add some color.


Here is that same 2-5-1 progression with the dom7b5 added. Again in the Key of Ab, the tritone substitution is going to happen on the 5 chord. Change the Eb7 to A7b5.


LH/RH              NUMBER BREAKDOWN     CHORD NAME


Bb/AbCDbF      1/b7-9-b3-5                              Bbm7
A/GBC#Eb        1/b7-9-3-b5                              A7b5
Ab/GBbCEb      1/7-9-3-5                                  Abmaj7


Play the original chord progression and then play it with the change and hear how smooth the chord progression sounds.


You can use this chord as a passing chord to get to the Imaj7 or Idom7.


Here is the 7b5 chord in every key around the Circle of 4ths/5ths. This is how you should practice every chord to really learn them. This should help with your chord placements/voicings.

C7b5 =  C/EGbBbD  

F7b5 = F/ACbEbG

Bb7b5 = Bb/AbCDE

Eb7b5 = Eb/GADbF

Ab7b5 = Ab/GbBbCD

Db7b5 = Db/FGBEb

Gb7b5 = Gb/BbCEAb

B7b5 = B/ADbEbF

E7b5 = E/AbBbDGb

A7b5 = A/GBDbEb

D7b5 = D/F#AbCE

G7b5 = G/FABDb


I use YouTube and Hear and Play Chords Audio Course for great music resources and music tools when it comes to understanding passing chords. Another great book is the Home Study Course


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The Mixolydian Mode and the Sus Chord

Dominant seventh with added 4th, also written ...Image via Wikipedia
Over the past few days I received emails from readers asking me to talk about  suspended chords. I personally have learned so much from The Jazz Theory Book by Mark Levine. Are you familiar with this great music theory book? Another resource that I have purchased from Hear and Play is their theory book 300 Page Course Book

G Mixolydian is the scale, or mode, that is usually played over a Gsus chord. So you're playing all white notes: G,A,B,C,D,E,F,G. the difference between G7 and Gsus, the two chords that share the same g Mixolydian mode, is as follows: Pianists and guitarists voice sus chords so that the 4th doesn't sound like an 'avoid' note. A good definition of a sus chord is "a V chord in which the 4th doesn't sound like an 'avoid' note.

The "sus" in the chord symbol refers to the suspended 4th of the chord, in this case the note C. In traditional harmony, the 4th of a sus chord usually resolves down a half step to become the 3rd of a dominant 7th chord.

G/CFA = G sus
G/BFA = G7
In contemporary music, the 4th often doesn't resolve, which gives sus chords a floating quality.

On the piano, play the G Mixolydian mode first over the Gsus chord voicing in the left hand and then over a G7 chord and you'll hear the difference. Play the C by itself over each chord and the difference is more pronounced.

GCF/G,A,B,C,D,E,F,G  ... then play GBDF/G,A,B,C,D,E,F,G

Gsus = GCF/C
G7 = GBDF/C

Sus chords have been an everyday sound in jazz only since the 1960's, although Duke Ellington and Art Tatum were playing them in the 1930's and 1940's.

Students are constantly asking me "how do you voice a sus chord?" Here's a common G sus voicing:
G/CFA  Play the root (G) with your left hand while playing the major triad a whole step below the root (in this case F major) with your right hand. Note that the triad is in second inversion, meaning that the 5th of the triad (C) is on the bottom, instead of the root (F). Triads often sound strongest in second inversion. This voicing resolves so smoothly...
G sus = G/CFA  then play C/BEG

Listen to another common Gsus voicing:

G/CEFA   then play C/BDEG

Here's a different inversion:

G/FACE  then play C/GABD

Sus chords create tension and want to be resolved. (released)

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Blues Piano Licks and Riffs from Willie Myette

Willie Myette posted new articles on the BLUES site with licks and mp3 files
that I'm sure you will enjoy. Here is the direct link to those articles:
http://www.playbluespiano.com/articles/blues-piano-riffs-and-licks


For those of you who love the blues, here's his entire article! You will definitely learn lots from his site and his music resources. I myself have learned so much from his gospel online classes.

In this article, I am going to show you two different Blues piano shuffle licks & riffs that are fun and easy to play. Make sure you click on each sound file to hear the lick played.
Do you like the sound of the Blues? So do I. That’s why I created the new Play Blues Piano Series.
Blues Piano Lick #1
Before trying to read this lick, make sure that you listen to the audio file (right below the lick) to hear how it should sound. Even though the lick and left-hand are written out as eighth notes, they are really played with a triplet feel. It is common to write swung eighth notes as “regular” eighth notes rather than triplets. Take a look at example 1.
Ex. 1
blues piano triplet feel
Do you see how much more difficult it is to read example 1 than lick #1?
It’s unnecessary most of the time to write swung eighth notes like this. Instead, just notate that the eighth notes should be swung by using a style marking.
In the case of example 2, the style marking is Medium Shuffle. Well, medium is going to be right around 120bpm and shuffle means that the rhythm is a shuffle, triplet feel. BUT, notice how much easier it is to read lick #1?
I also want you to notice the tiny F# in the beginning of the lick. This is called a grace note. It should be played quickly and usually with the same finger of the note that you are going to. So the next note is G, played with your middle finger, so use your 3rd finger on the grace note.
Lick #1
Medium Shuffle
Blues piano licks #2

Listen to the lick


Blues Piano Lick #2
Lick #2 is a C minor pentatonic scale played in triplets. However, there is something interesting about how this lick is formed (besides just being triplets). Let’s start by just taking a quick peek at lick #2 and listening to it.
Lick #2
Medium Shuffle
Blues piano licks #2


Listen to the lick


Alright, so you hear the triplets right? But did you hear how the triplets were divided into four note groupings? In example 2, I’ve separated the groupings with boxes. This is creates a very cool sound because it’s triplets, but it’s triplets accenting a note other than the first triplet. The “top” note of each four-note grouping will produce a natural accent. Notice how the accent is on the first triplet in beat one, the second triplet in beat two and the third triplet in beat three? This is an example of phrasing a rhythm.
Example #2
Blues piano licks #2

 Listen to the lick


Remember, even though the left hand is written as eighth notes, they are still played with a triplet feel. This means the first eighth note will “line up” with the first triplet and the second eighth note will line up with the THIRD triplet, NOT the second triplet. See example 3.
Example #3
Blues piano licks #2


Listen to the lick


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Chord Chart: The Battle Belongs To The Lord by Jamie Owens-Collins


Church and planets
Originally uploaded by mizaralcor
I love the sound of this intro to The Battle Belongs To The Lord when you vamp from Em to D. You'll see this in the second chord chart posted below. 

Are you familiar with the song? Jamie Owens-Collins wrote it in 1985. Jamie Owens-Collins comes from a musical family, so it’s no surprise that she might also use this medium to tell us her thoughts. Her father Jimmy wrote “Holy, Holy”, and her mother Carol wrote “Freely, Freely”, so we know Jamie observed their lives as musicians and worshipers. 

I'm sure many teams have played this song differently from a slow groove to more upbeat.



Fm Eb Fm
In heavenly armor we'll enter the land
Eb Fm
The battle belongs to the Lord
Eb Fm
No weapon that's fashioned against us will stand
Eb Fm
The battle belongs to the Lord


Eb Fm Eb Db Eb Fm Fm Eb
And we sing glory, ho - nor, power and strength
Fm
to the Lord (2x)


When the power of darkness comes in like a flood
The battle belongs to the Lord
He's raised up a standard, the pow'r of His blood
The battle belongs to the Lord


When your enemy pressed in hard do not fear
The battle belongs to the Lord
Take courage, my friend, your redemption is near
The battle belongs to the Lord
I Will Worship.com




The Battle Belongs To The Lord


Em D Em
In heavenly armor we'll enter the land,
Em D Em D/E
The battle belongs to the Lord.
Em D Em
No weapon that's fashioned against us will stand,
Em D Em
The battle belongs to the Lord.


D/E G D CD G G D Em
And we sing glory, honor, power and strength to the Lord,
D/E G D CD G G D Em
We sing glory, honor, power and strength to the Lord.


When the power of darkness comes in like a flood,
The battle belongs to the Lord.
He'll raise up a standard, the power of His blood,
The battle belongs to the Lord.


When Your enemy presses in hard, do not fear,
The battle belongs to the Lord.
Take courage, my friend, your redemption is near,
The battle belongs to the Lord.


©1985, Fairhill Music
Words and Music by Jamie Owens-Collins


Higher Praise.com








A BRIEF BIOGRAPHY


Recording and traveling internationally as a songwriter/artist since the age of 17, Jamie Owens Collins has gained a long-standing reputation for music of great depth and spiritual integrity.


Jamie has traveled around the world and sung to hundreds of thousands of people. Her popularity grew as God used her music to focus the body of Christ on a deeper awareness of the spiritual battle we face in this life. During the 1990s she was privileged to join her husband, Dan as an original member of the Praise Band and was a featured soloist during the first 7 years of the Harvest Crusades with Greg Laurie and the Franklin Graham Crusades.


Jamie continues to minister with music and teaching at women's seminars, retreats and conferences. Jamie has written commentary for two Bibles; the Women Of Destiny Bible and The Worship Bible. As a songwriter she has written classic songs such as "The Battle Belongs To The Lord," "You Have Broken The Chains," and "The Victor."


The many aspects of Jamie's life as an artist, songwriter, teacher, wife and mother have continued to develop and focus her message into a ministry of encouragement. She has matured as the seasons of her own life have deepened her awareness of God's grace, greatness and compassion. These changes are mirrored in Jamie's newest album, "Seasons."



For more information, visit:


http://jamieowenscollins.com/





Liberty 92 Blog, Deep Thoughts and Daily Musings

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Learn To play: Meet With Me by Lamont Hiebert (Ten Shekel Shirt)


Lamont Hiebert
Originally uploaded by b_salvig
If you're looking for an easy worship song to play, I think I may have found it for you.

All you need to do is recycle the piano chords and play them over and over. If you're not familiar with the band Ten Shekel Shirt, here  is some information from Wikipedia.

"Ten Shekel Shirt is a rock band based in New Haven, CT. The band was founded by Lamont Hiebert, and currently consists of Hiebert along with Jonny Rodgers, Colin Meyer and Tim Sway.

In 2000, Hiebert wrote, recorded and co-produced the album Much. Before releasing the album Hiebert recruited Austin Morrison (drums) and Tommy Lee (bass) to fill out the band. The independent release of that album sparked the attention of Integrity Music who then signed Hiebert. Much sold 130,000 units, was nominated for a Dove Award and featured the #1 hit "Ocean".

While recording the band's second album, Risk, Hiebert co-founded a charity called Love146 [1] to help combat child slavery and exploitation. Soon after Risk was released (2003, INO Records), Hiebert put his music career on pause to focus on the charity.

In 2008 Hiebert re-launched his music career and signed with the Boston-based label Rounder Records.[1] Ten Shekel Shirt's latest album Jubilee was released August 19, 2008.

In December 2008, Lamont Hiebert and Rounder Records agreed to part ways after budget constraints prevented adequate promotion of Jubilee. Lamont was given all the rights back to his recordings and is rumored to be working on a solo project to coincide with a "best of" Ten Shekel Shirt album."

http://en.wikipedia.org/wiki/Ten_Shekel_Shirt



Meet With Me by Ten Shekel Shirt



The whole song is G, C, D, G

G/B C D G G/F#
I'm here to meet with you
G C D G
Come and meet with me
G C D G
I'm here to find you
G C D G
Reveal yourself to me

CHORUS:
G/B C D G G/F#
As I wait, you make me strong
G C D G
As I long, you draw me to your arms
G C D G
As stand, and sing your praise
G C D G
You come, you come and you fill this place.

(Guitar Solo)
Em C G/B D
Em C G/B D
Em C G/B D
Em D Bb2 C

Lyrics only to the whole song just follow chords above:

I'm here to meet with you
come and meet with me
I'm here to find you
reveal yourself to me

As I wait, you make me strong
As I long, draw me to your arms
As I stand and sing your praise
You come, you come and you fill this place
Won't you come, Won't you come and fill this place

I'm here to meet with you
Come and meet with me
I'm here to find you,
reveal yourself to me

As I wait, you make me strong
As I long, draw me to your arms
As I stand and sing your praise
You come, you come and you fill this place
Won't you come, Won't you come and fill this place

I'm here to meet with you
Come and meet with me



Meet With Me by Lamont Hiebert

Lamont Songs



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

A/C# D E A
I'm here, to meet with you,
A/C# D E A
Come and meet with me
A/C# D E A
I'm here, to find you,
A/C# D E A
Reveal yourself to me

Chorus
A/C# D E A
As I wait, you make me strong as I long
A/C# D E A
Draw me to your arms as I stand
A/C# D E A
And sing your praise
A/C# D E A
You come you come and you fill this place


Bridge (Instrumental)


F#m D A/C# E F#m D A/C# E

F#m D A/C# E F#m E C D


* * * * * * * * * * * *


Intro: E A B E

E/G# A B E
I'm here, to meet with you,
E/G# A B E
Come and meet with me
E/G# A B E
I'm here, to find you,
E/G# A B E
Reveal yourself to me

Chorus
E/G# A B E
As I wait, you make me strong as I long
E/G# A B E
Draw me to your arms as I stand
E/G# A B E
And sing your praise
E/G# A B E
You come you come and you fill this place

* * * * * * * * * * * * * *


Intro: D G A D

D/F# G A D
I'm here, to meet with you,
D/F# G A D
Come and meet with me
D/F# G A D
I'm here, to find you,
D/F# G A D
Reveal yourself to me

Chorus
D/F# G A D
As I wait, you make me strong as I long
D/F# G A D
Draw me to your arms as I stand
D/F# G A D
And sing your praise
D/F# G A D
You come you come and you fill this place






Piano Tutorial... very easy for beginners.






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The Diminished Seventh Chord: We Will Worship the Lamb of Glory



The DIMINISHED SEVENTH chord may be formed by lowering each note of the DOMINANT SEVENTH (V7) chord one half step, except the root, which remains the same.

IMPORTANT! The interval between each note of a diminished seventh chord is a minor 3rd (3 half steps)!

Now you'll want to spell each chord correctly! The Gdim7 chord should not be spelled G Bb Db E, even though the notes E and Fb are ENHARMONIC (that is, they represent the same key on the piano). The interval from G to E is a 6th. The interval from G to Fb is a 7th (in this case a diminished 7th).

In forming a Cdim7 chord, it is necessary to flat the note Bb. When a flatted note is flatted again, it becomes a DOUBLE FLAT, indicated by the sign bb. In this case, the note must be called Bbb, not A.

REMEMBER: When diminished 7th chords are properly spelled, one letter of the musical alphabet is skipped between each note.

Play a dim7 chord on each note of the chromatic scale below. Build each chord by adding 3 notes above the root, each 3 half steps apart. Play with RH using 1 2 3 5 fingering on each chord. Repeat one octave lower with LH, using 5 3 2 1.

Cdim7 = C Eb Gb Bbb

C#dim7 = C# E G Bb

Ddim7 = D F Ab Cb

D#dim7 = D# F# A C

Edim7 = E G Bb Db

Fdim7 = F Ab Cb Ebb

There's a worship song that I've done that has a dim7 chord in it in the Key of D. Do you know We Will Worship The Lamb of Glory by Dennis Jernigan?
D                                     A/D
We will worship the Lamb of Glory,
D                   A/D          Bbdim7
We will worship the King of kings,
Bm7                  Esus     E
We will worship the Lamb of Glory,
G        A7sus   A7   D  A  D  A
We will worship the King.
 
                         A
And with our hands lifted high,
         G         D
We will worship and sing.
                           A
And with our hands lifted high,
           G            D
We come before You rejoicing,
                       G           D/F#
With our hands lifted high to the sky,
         Bbdim7            Bm7
And the world wonders why 
            G               A7sus  A7   D
We'll just tell them we're loving our King.
 
We Will Worship in Key of E 

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Which Forever song and What Artist?

Third Day album coverImage via Wikipedia
 There are so many worship songs written with the title Forever! Much to my surprise I found tons of song titles to add to my notebook!

Martin Smith: I Could Sing of Your Love Forever 


Mark Altrogge: Forever Grateful 

Travis Klassen: I Will Praise Your Name Forever

So, the question is... which Forever? Please send song requests with artist name... thanks!


Third Day: Your Love Endures Forever 

Yesterday Today and Forever 

Michael W Smith: Step by Step / Forever We Will Sing

Greg Fadness: Forever I Will Be Yours 

I'm Forever Grateful 

Delirious: The Nails In Your Hands (Forever) 

PlanetShakers: Worship Forevermore 

Forever My Love

As you can see, the song list is endless and I've just listed a few!



  
Can I Stay Here Forever?

Where The Love Lasts Forever

Foreverandever Etc.

Jesus Forever 

Forevermore 

Forever Yours 

Forever My Heart Will Sing

So one popular song that I've played on worship teams  is called Forever by Chris Tomlin from
Psalm 136: 1-26. Here are the chord charts in the Key of D, E and A.

E
Give thanks to the Lord,   our God and King.
His love endures forever.
A
For he is good,   He is above all things.
                    E
His love endures forever.
      B            A/C#                                 
Sing praise, sing praise.

E
With a mighty hand and outstretched arm,
His love endures forever.
A
For the life that’s been reborn,
                    E
His love endures forever.
      B           A/C#                             
Sing praise, sing praise.
      B           A/C#                             
Sing praise, sing praise.

Chorus:
E                          E/C#
Forever God is faithful.   Forever God is strong.
B                            A
Forever God is with us,      forever.



* As preformed by Michel W. Smith
Intro: G  Em  D  C

G
Give thanks to the Lord,   our God and King.
His love endures forever.
C2
For he is good,   He is above all things.
                    G
His love endures forever.
      D2            C2                                
Sing praise, sing praise.

G
With a mighty hand and outstretched arm,
His love endures forever.
C2
For the life that’s been reborn,
                    G
His love endures forever.
      D2            C/E                                 
Sing praise, sing praise.
      D            C/E                                 
Sing praise, sing praise.

Chorus:
      G                       Em7   
Forever God is faithful.   Forever God is strong.
   Dsus  D                    C
Forever God is with us,      forever.
G                            Em7   
Forever God is faithful.   Forever God is strong.
   Dsus  D                    C                G
Forever God is with us,      forever.       Forever.

G
From the rising to the setting sun,
His love endures forever.
C
And by the grace of God we will carry on.
                    G
His love endures forever.
      D            C                                 
Sing praise, sing praise.
      D            C                                 
Sing praise, sing praise.
 (Chorus)

* Forever in Key of A

A
Give thanks to the Lord,   our God and King.
His love endures forever.
D2
For he is good,   He is above all things.
                    A
His love endures forever.
      E            D/F#                                 
Sing praise, sing praise.

A
With a mighty hand and outstretched arm,
His love endures forever.
D2
For the life that’s been reborn,
                    A
His love endures forever.
      E            D/F#                                 
Sing praise, sing praise                                
Sing praise, sing praise.

Chorus:
      A                      F#m7   
Forever God is faithful.   Forever God is strong.
   Esus  E                    D2
Forever God is with us,      forever.
A                            F#m7   
Forever God is faithful.   Forever God is strong.
   Esus  E                    D2                A
Forever God is with us,      forever.       Forever.

A
From the rising to the setting sun,
His love endures forever.
D
And by the grace of God we will carry on.
                    A
His love endures forever.
      E           D                                 
Sing praise, sing praise.
      E            D                                 
Sing praise, sing praise.
 (Chorus)

Do you have a favorite Forever song?


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Arise by Paul Baloche and Don Moen

Arise by Don Moen



(Verse)
C             G 
One thing we ask of you
Bb              F
One thing that we desire
C            G 
That as we worship you
Bb               F
Lord come and change our lives
C       G      Am      F
Arise! Arise! Arise! Arise

(Chorus)
C                G
Arise,Take your place
      Am              F
Be enthroned on our praise
C               G
Arise, King of kings 
      Am         F
Holy God, as we sing  
C    G  Am   F
Arise! Arise!
C    G  Am   F
Arise! Arise!

(Bridge)
C
We lift You up
C
We lift You up
C                      Bb  F
We lift You up on our praises
(Repeat as desired and go back to chorus)

 * Here is Arise in the Key of D


Arise by Don Moen



(Verse)
D             A
One thing we ask of you
 C6            G2
One thing that we desire
 D           A 
That as we worship you
C6               G2
Lord come and change our lives
D       A      Bm7      G2
Arise! Arise! Arise! Arise

(Chorus)
D                A
Arise, Take Your Place 
     Bm7             G2
Be enthroned on our praise
D               A
Arise, King of kings 
      Bm7         G2
Holy God, as we sing  
D    A  Bm7   G2
Arise! Arise!
D   A  Bm7   G2
Arise! Arise!

(Bridge)
D
We lift You up
D
We lift You up
D                      Cb  G
We lift You up on our praises
(Repeat as desired and go back to chorus)





* Here's the original chord chart from I Will Worship.com
  I've added my chords in red instead of the black chords!


[intro - soft]
E    B     D      A
E    B     D      A

[verse - soft]
E             B 
One thing we ask of you
D D6              A A2
One thing that we desire
E            B 
That as we worship you
D D6              A A2
Lord come and change our lives
E        B       C# C#m7     A A2
Arise  Arise   Arise   Arise


[chorus - driving]
E                 B
Arise  Take your place
      C# C#m7             A A2
Be enthroned On our praise
E               B
Arise king of kings 
      C# C#m7       A A2
Holy God as we sing  

E    B     D C#m7    A A2
Arise!
E    B     D C#m7    A A2
Arise!

Artist: Paul Baloche
Copyright Credits: Album: Offering of Worship Written By: Paul Baloche & Don Moen Copyright: © 2003 Integrity's Hosanna! Music


HAPPY EASTER to all my readers and musicians!


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