The song is an up-tempo in which the central character addresses a
former lover named Sam who has cheated on her, telling him that he
"should've said no" to the female who has taken her place in his life
("You should've said no/You should've gone home/You should've thought
twice before you let it all go/You should've known that word 'bout what
you did with her would get back to me"). Swift wrote the song when she
was sixteen years old. For more information, visit wikipedia.org
Song Chord Chart
Em C D G D/F# Em C D x2
G D/F# Em
It’s strange to think the songs we used to sing
C G D/F# Em C
The smiles, the flowers, everything... is gone
G D
Yesterday I found out about you
Em C G D/F# Em C
Even now just looking at you... feels wrong
Em C G
You say that you’d take it all back, given one chance
D C D
It was a moment of weakness and you said yes
Em C
You should’ve said no, you should’ve gone home
D G
You should’ve thought twice before you let it all go
D/F# Em C
You should’ve know that word, bout what you did with her
D
Would get back to me...
Em C
And I should’ve been there, in the back of your mind
D G
I shouldn’t be asking myself why
D/F# Em C A
You shouldn’t be begging for forgiveness at my feet...
C D
You should’ve said no, baby and you might still have me
Em C D G Em C D
G D/F#
You can see that I’ve been crying
Em C G D/F# Em C
And baby you know all the right things... to say
G D/F# Em C
But do you honestly expect me to believe
G D/F# Em C
We could ever be the same
Em C G
You say that the past is the past, you need one chance
D C D
It was a moment of weakness and you said yes
Em C
You should’ve said no, you should’ve gone home
D G
You should’ve thought twice before you let it all go
D/F# Em C
You should’ve know that word, bout what you did with her
D
Would get back to me...
Em C
And I should’ve been there, in the back of your mind
D G
I shouldn’t be asking myself why
D/F# Em C A
You shouldn’t be begging for forgiveness at my feet...
C D
You should’ve said no, baby and you might still have me
Em C G D
Em C A
I can’t resist… before you go, tell me this
C D
Was it worth it…
C
Was she worth this…
Em C D G D/F# Em C D
Nooooo no... no, no, no, no...
Em C
You should’ve said no, you should’ve gone home
D G
You should’ve thought twice before you let it all go
Em C
You should’ve know that word, bout what you did with her
D
Would get back to me...
Em C
And I should’ve been there, in the back of your mind
D/F# G
I shouldn’t be asking myself why
D/F# Em C A
You shouldn’t be begging for forgiveness at my feet...
C D
You should’ve said no, baby and you might still have me
Song Breakdown 4/4 Time Signature, Moderately Fast L.H. / R.H. Intro (2xs)
You've probably heard of lots of references to chord progressions like the 2-5-1 and 6-2-5-1 turnarounds. A chord progression is a series of chords played one after the other. And chord progressions make up songs.
So, what are the 2-5-1 progressions? First, the numbers come straight from the major scales. The 2-5-1 is three chords because each number of the scale represents a chord.
A 2 - 5 - 1 from this scale is a chord based on "D" moving to a chord based on "G" moving to a chord based on "C". This is called the number system.
Let's take a look at Dmin9 Chord (D minor ninth chord)
L.H. / R.H.
D/FACE
To make the sound stronger, play D and C with your left hand. You'll want to play the D and C far apart to create a nice sound.
If you desire a fuller sound, try playing DAC in your left hand.
With the G13 chord ( G thirteenth chord), play:
G/FACE
You can see that this is the same chord as the one above but the bass is different so it's not a Dmin9 but rather, G13. If you want to make the bass full, play GF or GDF in place of a single G bass note.
If you'd like, play CB in the left hand for a fuller, richer sound.
Combining all three chords, you'll hear these changes in all music styles, especially jazz.
Practice:
Dmin9 to G13 to Cmaj9
This progression, the 2-5-1 is common when a song is either about to end or at a point where it needs to return back to the beginning to repeat another verse. The 2 prepares for the 5 and the 5 creates this tension that is only calmed by resolving to a point of rest - the 1 chord... that is probably the chord that opened the song.
The Major Modes and II-V-I
The basic chords played in jazz harmony come from the major scale and all of its modes. Each mode starts on a different note of the major scale. The Greek names for these modes, in use for over 2,000 years are written below. The Roman numerals I-VII are on the left and correspond to the modal names on the right. In other words, Ionian is always the I mode, Dorian is always II, Phrygian is always III...
the same in every key.
C Major Scale and Its Modes I C D E F G A B C C Ionian II D E F G A B C D D Dorian III E F G A b C D E E Phrygian IV F G A B C D E F F Lydian V G A B C D E F G G Mixolydian VI A B C D E F G A A Aeolian VII B C D E F G a B B Locrian
From these modes come seventh chords. Seventh chords are constructed by playing every other note of each mode.
C D E F G A B C (CEGB)
root 2nd 3rd 4th 5th 6th 7th octave
This particular chord is the C major seventh chord because of the interval relationship between the root of the chord and its other notes. A major seventh chord has a major third, a perfect fifth and a major seventh. Because this chord is built off of the first mode, it is called a I chord.
CE = major 3rd
CG = perfect 5th
CB = major 7th
The second, or Dorian Mode, of the C major scale runs from D to D. The root, third, fifth and seventh of this mode - again form a chord, the D minor seventh chord because of the interval relationship between the root of the chord and its other notes. A minor seventh chord has a minor third, a perfect fifth and a minor seventh. Because this chord is built off of the second mode, it is called a II chord.
D E F G A B C D (DFAC)
root 2nd 3rd 4th 5th 6th 7th octave
G A B C D E F G (GBDF)
root 2nd 3rd 4th 5th 6th 7th octave
This is called a "G seventh" chord, or G dominant seventh and is notated G7.
This chord is a dominant seventh chord because of the interval relationship between the root and its other notes. A dominant seventh chord has a major third, a perfect fifth and a minor seventh. Because this chord is built off of the fifth mode, it is called a V chord.
G7 = GBDF
GB = major 3rd
GD = perfect 5th
GF = minor 7th
These three chord, I, II, and V-major seventh, minor seventh and dominant seventh-are the three most commonly played chords in jazz. Since each one has a perfect fifth (there is an exception though), the third and seventh are the variables. They determine whether the chord is major, minor, or dominant, or what's called the quality of the chord. The following rules sum up the differences between the three chords:
A major seventh chord has a major 3rd and a major 7th.
A minor seventh chord has a minor 3rd and a minor 7th.
A dominant seventh chord has a major 3rd and a minor 7th.
These three chords often occur as a II-V-I chord progression and is the most common chord progression in jazz. The II-V-I in the key of F is Gm7, C7 and F.
Imagine if you were at a Chris Tomlin concert... What songs would you'd be anxious to hear? I've posted many of his songs her on my site. Here's another popular one to add to your library.
In 2004, Unfailing Love was written for keyboard and guitar by Chris Tomlin. Cary Pierce and Ed Cash. With a 4/4 time signature, the verses have a walk-down... C to B to Am. It's an easy-going moderate tempo beat and very worshipful.
UNFAILING LOVE
VERSE 1
G
You have my heart
C G/B Am7
And I am Yours forever
G
You are my strength
C G/B Am7
God of grace and power
PRE CHORUS
G/B C G D
And everything You hold in Your hand
G/B C
Still You make time for me
Dsus
I can't understand
CHORUS
G G/F#
Praise You God of Earth and sky
Em7 G/B C
How beautiful is Your unfailing love
Dsus
Unfailing love
G G/F#
And You never change God You remain
Em7 G/B C
The Holy One, My unfailing love
Dsus
Unfailing love
VERSE 2
G
You are my rock
C G/B Am7
The one I hold on to
G
You are my song
C G/B Am7
And I sing for You
PRE CHORUS
CHORUS
PRE CHORUS
CHORUS (X2)
UNFAILING LOVE
VERSE 1
Ab
You have my heart
Db Ab/C Bbm7
And I am Yours forever
Ab
You are my strength
Db Ab/C Bbm7
God of grace and power
PRE CHORUS
Ab/C Db Ab Eb
And everything You hold in Your hand
Ab/C Db
Still You make time for me
Ebsus
I can't understand
CHORUS
Ab Ab/G
Praise You God of Earth and sky
Fm7 Ab/C Db
How beautiful is Your unfailing love
Ebsus
Unfailing love
Ab Ab/G
And You never change God You remain
Fm7 Ab/C Db
The Holy One, My unfailing love
Ebsus Ab
Unfailing love
Chord Breakdown
L.H./ R.H.
Ab/EbAbC
Db/FAbDb
C/EbAbC
Bb/DbFBb
Ab/EbAbC
Db/FAbDb
C/EbAbC
Bb/DbFBb
C/EbAbC
Db/AbDbF
Ab/CEbAb
Eb/BbEbAb
C/EbAbC
Db/AbDbF
Eb/EbAbC
Ab/EbAbC
G/EbAbC
F/EbAbC
C/AbCF
Db/DbFBb
Eb/EbAbC
Ab/EbAbC
G/EbAbC
F/EbAbC
C/AbCF
Db/DbFBb
Eb/EbAbC
Ab/CEbAb
All the best,
"The beautiful thing about learning is that no one can take it away from you." B.B.King
we must bring salvation back
Bb C7sus
where there is love....
F
I'll be there.
F C/E
I'll reach out my hand to you;
Dm7 F/C Am
I'll have faith in all you do.
Bb C7sus
just call my name and
F Gm F/A
I'll be there.
chorus:
Ab Eb
And oh - I'll be there to comfort you
Bb
build my world of dreams around ...
F
I'm so glad that I found you
Ab Eb
I'll be there with a love that's strong
Bb F Fsus
I'll be your strength, I'll keep holding on.
F C/E
Let me fill your heart with joy
Dm7 F/C Am
Togetherness, well, it's all I'm after
Bb C7sus
Whenever you need me,
F C/E
I'll be there to protect you
Dm7 F/C Am
with an unselfish love that respects you.
Bb C7sus F
Just call my name and I'll be there.
(chorus)
F C/E
If you should ever find someone new,
Dm7 F/C Am
I know he'd better be good to you,
Bb C7sus
cause if he doesn't....
F
I'll be there.
Don't you know, baby
F C/E Dm7 F/C Am7
I'll be there, I'll be there,....
Bb C7sus Fmaj9
Just call my name, I'll be there
Chord Breakdown
L.H. / R.H.
F/FA You and I must
E/GC make a pact
D/CF we must
C/ACF bring sal-
A/ACE vation back.
Bb/FBbD Where there is
C/BbDFA love
F/CFA I'll be there. I'll reach out my
E/CEG hand to you
D/ACF I'll have
C/ACF faith in
A/ACE all you do.
Bb/FBbD just call my
C/BbDFA name and I'll be
F/ACF there.
Gm
F/A
Ab/EbAbC I'll be there to
C/BbG comfort you, build my
Bb/BbDF world of dreams around you; I'm
F/AF so glad that I found you.
Ab/AbCEb I'll be there with a
Eb/BbEb love that's strong. I'll be your
Bb/BbDF strength.
F/AG I'll keep holding on.
F/CFBb
F/ACF If you should ever find
E/GC someone new,
Bb/FBbD 'cause if he
C/BbDG doesn't, I'll
F/AF be there. Don't you know, baby
F/CFA I'll be
E/EGAC there
D/FAC
C/FACE I'll be
A/EGAC there
Bb/FBb just call my
C/BbDF name, I'll be
F/GACF there.
Key of C
C G Am Em
You and I must make a pact, ...
F G C
where there is love....
C G Am Em
I'll reach out my hand to ...
F G C
just call my name and ....
chorus:
Eb Bb
And oh - I'll be ....
F C
build my world of dreams around ...
Eb Bb
I'll be there with a ....
F C
I'll be your strength, I'll ....
C G
Let me fill you ...
Am Em
Togetherness, ...
F G C
Whenever you need ....
C G Am Em
I'll be there to protect ....
F G C
Just call my name and...
(chorus)
C G Am Em
If you should ever find ....
F G C
cause if he doesn't....
C
Don't you know, ....
G Am Em F G C
I'll be there, I'll be there,....
C G Am Em F G C
I'll be there, I'll be there....
Don't you ....
C G Am Em F G C
I'll be there, I'll be there, ....
Key of A
A E F#m C#m
You and I must make a pact, we must bring salvation back
Riff 1:
D E A
Where there is love, I'll be there
A E F#m C#m
I'll reach out my hand to you, I'll have faith in all you do
Riff 1:
D E A
Just call my name and I'll be there
C5 G
I'll be there to comfort you,
D A
Build my world of dreams around you, I'm so glad that I found you
C5 G
I'll be there with a love that's strong
D A
I'll be your strength, I'll keep holding on
Hope you enjoy playing the song. Do you have a favorite Michael Jackson tune?
Best,
"The beautiful thing about learning is that no one can take it away from you." B.B.King
Words: Edward H. Bickersteth, Jr
Music: "Pax Tecum," George Thomas Caldbeck
Peace, Perfect Peace
C G7 C F G7 C
Peace, perfect peace, in this dark world of sin?
C7 F D7 C G C F C G7 D
The blood of Jesus whispers peace within.
Peace, perfect peace, by thronging duties pressed?
To do the will of Jesus, this is rest.
Peace, perfect peace, with sorrows surging round?
On Jesus' bosom naught but calm is found.
Peace, perfect peace, with loved ones far away?
In Jesus' keeping we are safe, and they.
Peace, perfect peace, our future all unknown?
Jesus we know, and He is on the throne.
Peace, perfect peace, death shadowing us and ours?
Jesus has vanquished death and all its powers.
It is enough: earth's struggles soon shall cease,
And Jesus call us to heaven's perfect peace.
C Dm F G
Peace I leave with you, my friends:
Em Dm F
Shalom my peace, in all you do.
C Dm F G
Peace I leave with you, my friends,
Am Dm F C
I give to you, so you can give to others, too.
C Dm F C
To share God's love is why I came,
Em Dm F
To show God's kindness to the world
C Dm F C
Go now my friends and do the same,
Em Dm-G
Until I come again...
Take my hand and be at peace,
The spirit of our love I send;
And with this love you will be free,
Until I come again...
With this love you all will know,
That loneliness is at an end,
Rejoice my people though I go
For I will come again...
Red Foley- Peace in the Valley
G G7
Well I'm so tired and so weary
C G
But I must go alone
Till the lord comes and calls
D
Calls me away, Oh yeah
G G7
Well the mornings so bright
C G
And the lamp is a light
D G
And the night, night is as black as the sea
G C G
And there will be peace in the valley for me someday
D
There will be peace in the valley for me, Oh lord I pray
G G7 C
There"ll be no sadness, no sorrow, no trouble I see
G D G
There will be peace in the valley for me
G G7
Well the bear will be gentle
C G
And the wolves will be tame
D
And the lion shall lay down, with the lamb, Oh yeah
G G7
And the beast from the wild
C G
Will be led by a child
D G
And I'll be saved, saved from this creature, that I am
Chorus:
Peace Like a River
G
I've got peace like a river,
G7 C G
I've got peace like a river,
Em7 A7 D A7 D
I've got peace like a river in my soul.
(repeat)
D7 G
I've got love like an ocean,
G7 C
I've got love like an ocean,
A7 D7 G C G
I've got love like an ocean in my soul.
(repeat)
I've got joy like a fountain,
I've got joy like a fountain,
I've got joy like a fountain in my soul.
(repeat)
So, I've written two music articles for you regarding chord study...
How do you go about harmonizing a melody?
It helps to know that in any key there are three chords that are
especially important. Those are the chords built on the first, fourth,
and fifth notes of the scale.
Another way to say it is that Primary and Major Triads are the most
important triads of a key built on the 1st, 4th and 5th scale degrees of
the major scale. They are called the Primary Triads or Primary Chords of
the key and are identified by the Roman Numerals I, IV, and V.
These three triads contain every tone in the major scale. For example, the
C Major Scale is: C-D-E-F-G-A-B-C. Out of these 8 notes (ex-cluding the
perfect octave; C), 3 of them are Primary or Major Triads. In the scale of
C Major the roots of the three primary chords are I, IV, and V, which are C
(CEG), F (FAC) and G (GBD). As you will learn later, the other notes of the
scale are associated with other types of chords, like minor and diminished.
The Primary chords are Major chords because they consist of the root, a major
3rd, and a perfect 5th.
So, here is a formula to remember:
Why are major scales important in understanding primary Chords? If we had
not known the C Major scale, how would we have known that E is the major
third and G is the perfect 5th of C major?
Well there are two ways of forming a major triad:
First select the 1st, 3rd, and 5th notes of a major scale. This is the
easiest way if you know your major scales. In the Key of F Major, F is the
1st note, A is the 3rd note and C is the 5th note. F, A, C make up the F Major
chord. The same rule applies to all 12 keys.
Secondly,another way of forming a major chord (triad) is to add the interval
of a minor 3rd on top of a major third. If you know that a minor 3rd equals 3 half steps and a major third equals 4 half steps (or 2 whole steps), you are
on your way to applying music theory.For example, from C to Eb (minor third) is 3half steps. C to C# = 1 half step. C to D = 2 half steps and C to Eb = 3 half
steps. So to make a major chord, just put a minor 3rd on top of a major third.
Here is the secret:
Let us say you want to build a G Major chord. Start at G (the root) and
add a major third (4 half steps), G + B then add a minor third (3 half steps)
on top of that (from B), G+B+D. From G to B is a major triad and from B to D
is a minor third. This makes a G Major Chord.
Songs that start with major chords are Mary Had a Little Lamb, Are You Sleeping?,and Go tell It on The Mountain. In major keys the chords built on I and IV are
major chords. The chord on V can be either major or a dominant seventh. So, the
three primary chords in C major: C major (CEG), F major (FAC) and G7 (GBDF).
Those three chords will be enough for the harmonization of many simple tunes.
In many others they serve as the backbone of the harmony. It is not possible
to lay down hard and fast rules for harmonizing a melody. Many times your ear
must be your guide. But ordinarily the main notes of the tune are present in
the chords that accompany them. What I do is play the chords in my left hand
and put chord tones in my right hand, underneath the melody.
Because the I, IV, and V7 chords are so important, it is very worthwhile to
become familiar with their positions on the keyboard. If you practice this
exercise in all major keys you will be taking an important first step in
developing the ability to harmonize melodies at the keyboard.
If you read chord charts, you would harmonize the melody like this:
C/ EGC
F/ FAC
G/DFGB
C/EGC
C/GCE
F/ACF
G/DFGB
C/GCE
C/CEG
F/CFA
G/BDFG
C/CEG
Constructing Simple Chords
A chord is a group of notes played or sung simultaneously. In popular music the chords are usually represented by symbols that appear over the vocal line like C,Am, Dm, and G7. The letters refer to the chord "roots", the notes on which the
chords will be constructed. The C Chord is formed from three of the keys in the Cposition: C E G. The bottom note names the chord in the left hand as well as the right hand. When you play all three notes of the chord at the same time it is
called a solid or block chord. A broken chord or arpeggiated chord is where the
notes are played one at a time.
Now the three notes in the chord are root, 3rd, and 5th.
Measure the intervals from the bottom note to the middle note (3rd), then from
the bottom note to the topnote (5th).
So above those roots the chords are built up in "thirds." A third is an interval that spans three letter names. For example, the interval C-E is a third because it includes the letter names C, D, and E. There are two kinds of thirds: major
and minor. They can be defined in terms of the "half-step"-the distance between
two adjacent notes on the piano. The major third consists of four half steps and the minor third consists of three. C-E is a major third, since it includes the
half steps C-C#, C#-D, D-D#, and D#-E. The minor third D-F consists of the half
steps D-D#, D#-E, and E-F.
When a chord symbol consists only of a letter name, a "major" chord is indicted. The major chord is made up of a major third and, above that, a minor third; so
the C Chord includes the intervals C-E (major third, four half steps)and E-G
(minor third, three half steps). The abbreviation "min", after a chord, root or
simply a lower case "m", stands for a "minor" chord. Here the lower interval is a minor third, and the upper is a major third, so an A minor chord includes the intervals A-C (minor third) and C-E(major third).
The numeral "7" after a chord root stands for a "dominant seventh" chord. This is a four-note structure, consisting of a major third, a minor third, and then another minor third. The G7 chord is made up of the intervals G-B (major third), B-D (minor third) and D-F (minor third).
Try building major and minor thirds on all twelve tones of the chromatic scale. Then go on to construct major, minor and dominant seventh chords on each tone.
Soon you will become so familiar with these intervals and you will be able to
pick them out right away. Eventually the chords themselves will become second
nature to you.
An additional music resource to add to your library may include the Hear and Play300pg Home Study Course. It's a great music theory book you'll refer to often in learning how to construct chords.
Wishing you all the best in your chord studies. These 3 primary chords played in any key is a good start for putting together progressions that make familiar
songs for you to play for your enjoyment.
P.S. My apologies on the text format. Something has gone kooky in blogger!
I'll look into it...
Blessings,
"The beautiful thing about learning is that no one can take it away from you." B.B.King
There have been so many times when I read an email addressed to me that asks pretty much the same question... "How do I teach myself the piano?" Many of my former high school students learn so much from watching YouTube videos and I think that's a wonderful arena to sharpen your skills and learn from one another.
Yes, there's oodles of information on the internet, as well as tons of piano blogs like mine here. You can purchase very valuable music resources which you have noticed that I place in my posts, since I am an affiliate with Hear and Play, plus Piano Tips and Amazon. If you have been benefitted from dvd courses, I hope you'll share with us here what sources you use.
For many of you, the big question is one that addresses the issue, "I can't afford piano lessons. Will you help me?" "Yes," is my answer and I'd like to list a few basic steps here, so if you're an advanced player... well, you'll recognize the information here is not for you at this time.
Maybe you'll begin with an approach to teaching yourself and probably find it quite interesting and exciting. Making good results will probably move you in the direction to continue your progress with a music teacher. So, let's get started.
MIDDLE C and how to find it
The piano keyboard has 88 black and white keys. The black keys are in groups of twos and threes. C is located at the immediate left of two black keys. Middle C is above the piano pedals and below the usual location of the piano name.
the piano PEDALS
Thepedal on the right is the damper pedal, sometimes called the "loud pedal." This pedal raises the dampers and allows the strings to vibrate until the pedal is raised. The left pedal (soft pedal) allows fewer strings to be struck by the hammers. The middle pedal raises the dampers from individual keys when they are depressed. This means a single tone can be sustained while the hand is free to play other notes.
CHORDS 1. Learn chords in their basic positions near the middle of the piano. All chords may be played one octave or two octaves higher with the right with the right hand and one octave or two octaves lower with the left hand. The same fingering should be used when the chords are moved an octave or more.
2. Four and five note chords (7ths and 9ths). Very often the fingering may change and sometimes one note is omitted to simplify the fingering and the omitted note may be played with the left hand to complete the full harmony desired.
3. Augmented seventh chords are formed by raising the fifth of the dominant seventh by one half step. C, E, G, Bb... would become C, E, G#, Bb. This chord may be indicated by C7+5 or C7#5.
4. The fifth of the dominant seventh may be lowered by one half step. This would become C, E, Gb, Bb. This chord may be indicated by C7-5 or C7b5
CHORD CONSTRUCTION
It's crucial to know the chord names, note names, intervals of the scale and how they're written and played. It would take awhile for me to write out all the Major, Minor, Augmented, Dominant Seventh, Major Seventh, Diminished Seventh, Major Ninth, Dominant Ninth, Sixth, Minor Sixth and Augmented Seventh..., etc. This subject can be covered in many future posts, as well as purchasing a chord book for your musical studies.
Yes, I am an affiliate of Hear and Play and recommend products that I highly believe in. Jermaine Griggs offers 2 listening CDs on chords and their structure. You can learn so much from his teaching.
Check out the sales page, Chords 101 and 102
To continue in learning the piano by yourself, you'll definitely want to know:
Musical Notation Clefs The Staff The Grand Staff Leger Lines Measures Incomplete Measures Time Signatures Beginning Hand Position and Extensions Notes Double Notes Rests Sharp Flat Key and Time Signature Tied Notes Slur Intervals Bar Line, Double Bar Lines Repeat sign Octave Scales Legato Dynamic Signs Enharmonic Tones Bass Patterns Natural Accidentals
You might want to do a search on my site to see if I've covered some of these topics and if you have the time, do stop by and see if you're interested in this music resource.
All the best,
"The beautiful thing about learning is that no one can take it away from you." B.B.King
I love this song and have enjoyed playing it through the years with many worship teams. Usually we were backing up a worship leader who had a golden tenor voice. So, we played this song in the Key of G and also the Key of E.
Verse 1
G A D/F#
Wonderful, so wonderful is Your unfailing love
G A Bm7
Your cross has spoken mercy over me
G A
No eye has seen, no ear has heard
D/F#
no heart could fully know
G A D
how glorious, how beautiful You are
Chorus
G A G A
Beautiful One I love, beautiful One I adore
G A D
beautiful One my soul must sing
Verse 2
G A D/F#
Powerful, so powerful, Your glory fills the skies
G A Bm7
Your mighty works displayed for all to see
G A
The beauty of Your majesty
D/F#
awakes my heart to sing
G A D
How marvelous, how wonderful You are
(Repeat Chorus)
Bridge
G A
You opened my eyes to Your wonders anew
G A
You captured my heart with this love
G A D
’cause nothing on earth is as beautiful as You
Ending
D A
My soul, my soul must sing
Bm A
My soul, my soul must sing
G A
My soul, my soul must sing
D
Beautiful One
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Verse 1
E F# B
Wonderful, so wonderful is Your unfailing love
E F# G#m
Your cross has spoken mercy over me
E F#
No eye has seen, no ear has heard
B
no heart could fully know
E F# B
how glorious, how beautiful You are
Chorus
E F# E F#
Beautiful One I love, beautiful One I adore
E F# B
beautiful One my soul must sing
Verse 2
E F# B
Powerful, so powerful, Your glory fills the skies
E F# G#m
Your mighty works displayed for all to see
E F#
The beauty of Your majesty
B
awakes my heart to sing
E F# B
How marvelous, how wonderful You are
(Repeat Chorus)
Bridge
E F#
You opened my eyes to Your wonders anew
E F#
You captured my heart with this love
E F# B
’cause nothing on earth is as beautiful as You
Ending
C#m7 F#7
My soul, my soul must sing
C#m7 F#7
My soul, my soul must sing
C#m7 F#m7
My soul, my soul must sing
B
Beautiful One
Do you have a favorite Jeremy Camp song?
You may want to check out this software to help your practice time, Backpocket Band
Blessings,
"The beautiful thing about learning is that no one can take it away from you." B.B.King
be
