2 Versions of As The Deer

As The Deer

Martin Nystrom


  D        A/C#         Bm      Dsus/A
  As the  deer panteth  for the water 
 D/A   G            A7sus A7 D G/A A7 
So my soul longeth  after  Thee  
  D     A/C#         Bm       Dsus/A D/A
  You a lone are my  heart's desire  
 D/A    G       Asus     D
And I  long to  worship  You  

  Bm    Bm/A        G             D/F#
  You alone are my  strength, my  shield  
    Bm  Bm/F#         G     F#sus F#
To Y ou alone may my spirit yield  
  D     A/C#         Bm        Dsus/A
  You a lone are my  heart's desire  
D/A     G       A7sus A7  D 
And I  long to  worship  you 

Here's what I am playing:


D = D/DF# or D/F#D


A/C# = C#/EA


Bm = B/D


DsusA = A/DG


D/A = F#/E,D


G = G/DB


A7sus = A/DE


G/A = A/BDG


A7 = G/C#E


Asus = A/DE


Bm/A = A/F#D


D/F# = F#/DEA


Bm/F# = F#/DB


F#sus = F#/BF#


F# = F#/A#

2nd Version:

D        A/C#         Bm      Am7
  As the  deer panteth  for the water 
 D7   G            A7sus A  D G2/B A/C# 
So my soul longeth  after  Thee  
  D     A/C#         Bm       Am7 
  You a lone are my  heart's desire  
 D/C D  G  F#/D  Em   A A7 D
And I  long to  worship  You  

  Bm    Bm/F#        Gmaj7         D2/F# D/F#
  You alone are my  strength, my  shield  
    G  Bm/F#         Em  Em/D  F#7sus/C# F#
To Y ou alone may my spirit yield  
  D     A/C#         Bm      Am7 
  You a lone are my  heart's desire  
D/C   D  G  F#/D Em A  A7 A7 D 
And I  long to  worship  you 

Here's what I'm playing:


A/C# = C#/EA
Bm = B/BD or B/F#BD
Am7 = A/CE
D7 = D/C#DF#
G = G/DG
Asus = A/DEA
B/G2 = B/DA
Am7 = A/CG
D/C = D/GC#E
Bm/A = A/DB 
Gmaj7 = G/DF#B
F#/D2 = F#/EA
F#/D = F#/DA
F#/Bm = F#/DF#B
Em = E/BEG
C#/F#7sus = C#/BEF#


Earlier post on chord chart for song by Martin Nystrom.
How-To-Play-As-Deer.html

I just want to thank all of my readers for their kind comments and support.

Be Blessed,


-- LadyD

Lord I Lift Your Name On High Chords: The Story Behind The Song

Image via WikipediaWhen you are looking for the chords to "Lord I Lift Your Name On High" (I Corinthians 15:3-4) , which version are you looking for? The song was written by Rick Founds in 1989 and has been around for quite sometime. If you are a church musician, get familiar with the Key of G and know this scale to pull out the melody line. I thought I'd post the chord chart and fill in some of the chords for you. I've heard this particular song played so many different ways. Have you? Here's one of my favorite video lessons for this song.

G      C                 D     CDG
 Lord I lift your name on high
        C                 D         CDG
 Lord I love to sing your praises
        C               D    CDG
 I'm so glad your in my life
        C                D        CDG
 I'm so glad you came to save us

                      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
          C            D
 from the cross to the grave
          Bm           C
 from the grave to the sky
        D                 G
 Lord I lift your name on high

Here's How I Play It:

G = GD/GB

C/G = GE/CG

D/G = GF#/AD

D = D/AE, D

Dsus = D/ADG resolving to D = D/ADF#

Em7 = E/EGB

Am7 = A/CEG 

Lord I Lift midi

LIFT NAME.mid

Watch the video and see how Sam pulls out the melody 

and harmonizes it in his r.h.
   

Same Song by Lincoln Brewster

G C D C Lord I lift Your name on High G C D C Lord I love to sing Your praises G C D C I'm so glad You're in my life G C D C I'm so glad You came to save us G C D 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 C D From the cross to the grave Em C From the grave to the sky D G Lord I lift your name on high
Download music

Jeff Deyo and Sonicflood

Lord I Lift Your Name On High
Key of A

Chorus:
A              D         E 
You came from heaven to earth
   D        A
To show the way
         D            E
From the earth to the cross
   D       A
My debt to pay
         D            E
From the cross to the grave
         F#m          D
From the grave to the sky
         E               A
Lord, I lift Your name on high

X2

Bridge
A E D D A

Chorus:
              D         E 
You came from heaven to earth
   D        A
To show the way
         D            E
From the earth to the cross
   D       A
My debt to pay
         D            E
From the cross to the grave
         F#m          D
From the grave to the sky
         E               A
Lord, I lift Your name on high

Verse:
A       D                 E      D A
Lord, I lift Your name on high
        D                 E        D A
Lord, I love to sing Your praises
       D                 E        D A
I'm so glad You're in my life
        D               E
I'm so glad You came to save us

Chorus:
              D         E 
You came from heaven to earth
   D        A
To show the way
         D            E
From the earth to the cross
   D       A
My debt to pay
         D            E
From the cross to the grave
         F#m          D
From the grave to the sky
         E               A
Lord, I lift Your name on high

Verse:
A       D                 E      D A
Lord, I lift Your name on high
        D                 E        D A
Lord, I love to sing Your praises
       D                 E        D A
I'm so glad You're in my life
        D               E
I'm so glad You came to save us

Chorus:
              D         E 
You came from heaven to earth
   D        A
To show the way
         D            E
From the earth to the cross
   D       A
My debt to pay
         D            E
From the cross to the grave
         F#m          D
From the grave to the sky
         E               A
Lord, I lift Your name on high

X2

Repeat bridge over and over again,
also as singer sings:

"For you are Holy (Awesome)
Bring your Freedom"

The Story Behind The Song

Lord, I Lift Your Name On High --Rick Founds

"The rain from the night before had left everything fresh and clean in the morning light. As Rick Founds drove to his job where he was music minister at a church in Southern California, he thought to himself what an exceptionally beautiful morning it was. He especially pondered the clouds and the cycle of water, falling to the ground to replenish the earth and then evaporating back into the clouds.


Rick was still thinking about all this after he arrived at work. As was his habit, he began to read the Bible, strumming chords on his guitar while doing so. He started thinking about God's love and His plan for humankind's redemption. Before he knew it, words started to flow: "You came from heaven to earth to show the way, and from earth to cross my debt to pay, from that cross to grave and from grave to sky, and in response to that I lift Your name on high." The words and simple chord progression he had been playing merged into the song"Lord, I Lift Your Name on High."


Later that week he played the song at midweek Bible study and again for Sunday morning service. The song's legacy has been to travel to churches around the globe where audiences learn it easily and quickly tune into its message."

"The beautiful thing about learning is that no one can take it away from you." B.B.King

How To Accompany a Singer on the Piano

 I wanted to share a great tutorial about backing up a singer on the piano. Whether you're playing for your church or doing a gig, the tips in this video lesson are important to understand. You want to follow the singer and play some beautiful parts on the keys without playing the exact melody line he or she is singing. Plus, no loud chords of banging in the lower register. I especially like PianoFellow's input on adding ninth chords such as C2, F2, and G2. Enjoy hearing his style of worship and blues behind a singer. Visit his website for more information:
http://www.thepianobyear.com

In this video PianoFellow will show you HOW to accompany someone who

is singing.  It's a quick video that's detailed yet simple... good instructional video.

 

All the best,
LadyD

Jazz Piano Chords- Rootless Voicings

You can develop your skills in learning how to play piano without having to use a bass line. This is true, especially if you're playing the keys with a bass player in the band. You certainly do not want a battle going on between the keyboard bass line and the electric bass line.

Have you ever heard a musician use the term "Pocket"? A good "pocket" is achieved when the rhythm is playing together and establishing a groove that is soothing. Each musician is functioning in their roll in a tasteful non-abrasive manner and not competing and playing over each other.

So how do you develop this skill? You have to gain an understanding of left hand chord voicings. These are chords played in the left hand that are rootless. The term "rootless" means that there is no bass note in the chord. Playing this type of chord voicing will allow the bass player to play the bass notes and free the keyboard player to improvise or create more intricate harmony with the right hand.

Contemporary musicians usually play these chords using sevenths, ninths, elevenths, and thirteenth chords. All the chords for the right hand can be played with the left hand. Here is a diatonic chord exercise. For example, in the key of C major there at eight diatonics derived from the C major scale.

C maj7= C/B E G

D min7= D/C F A

E min7= E/D G B

F maj7= F/E A C

G add2= G/G A B D

A min7= A/G C E

G/B= B/G B D

C= C/G C E


Notice that each chord is spelled out with the root. When you practice these chords only play the right hand portion. For example when you play the Cmaj7, only play B E and G. The C is played by the bass player. These chords will also serve as substitutions for your major and minor triads. If you normally play a Dm chord, play a Dm7. The 2-5-1's in both major and minor keys should also be practiced in the left hand.

Jazz piano chords played as rootless chord voicings give that open, airy sound that I love. For further study of rootless voicings visit

http://www.jazzcenter.org

Piano Voicing- What Does It Mean?

What does voicing mean exactly? Simply put, voicing is the way chords are played which gives them their timbre or richness. In other words it’s how many notes are played, the distance between each of the notes and the quantity and quality of extensions.

There are literally thousands of ways to play a single chord. There are also millions of ways to play a chord progression if you consider that each chord can be played a thousand different ways. However, it’s likely a good idea to start off with a few solid possibilities instead of a thousand.

For example, let’s take a Cmaj7 chord. The chord itself is simple enough and is made up of C E G and B. However, depending on how rich you want the chord to sound you can also add D and A to the chord as extensions. Why? Because D and A come from the C major scale and do not clash with the basic chord.

These are what we call extensions. In other words a good pianist will already consider D and A in their chord voicing when they see the chord symbol Cmaj7. It doesn’t have to be written Cmaj7 (9 13) for them to understand this.

So, how would a pianist then voice this chord? Well, for starters, that depends on the melody. Whatever the melody note is will become the highest note of the chord. For example, let’s say D is the melody note of prominence while the chord is being played. That means that for a pianist our 9th is already understood as part of the chord and is the top note.

Next, it’s generally a good idea to play the bass note in the left hand which is C of course. Then the next 2 most important notes are the 3rd and the 7th because these notes give the chord its flavor. Consider playing the 7th in the left hand above the bass note. That would mean playing the C with finger 5 (baby finger) and B with finger 1 (thumb).

Then, play the 3rd, 5th and melody (9th) in the right hand with the 1st, 2nd and 5th fingers respectively. What’s left? The 13th or A which, you can cover with the 3rd finger of the right hand. So, from bottom to top you would have the notes in this order; C B E G A and D. That right there is a very rich sounding chord and you’d have to go a long way to find one richer.

However, this is only one way of voicing the chord. There are literally thousands of ways. My suggestion is this; learn one way at a time until it becomes second nature. Voicing the root and 7th in the left hand and covering the 3rd and the melody in the right hand is a very good system to start with. Then with your left over fingers in the right hand cover the 5th and any other extension that’s available. This works for all chords including major, minor, dominant and diminished chords.

Once you’ve learned this way of voicing chords it becomes much easier to tackle a new formula because this one is already clear and concrete and will help you hear very clearly the difference between the chords.

Have you heard of Quartal Voicings? A new field in harmony is to build chord structures in fourths (quartals). It produces a more open harmony and is a very practical resort for pianists. Left hand plays chord voicing in fourths. Do Quartal Voicings departing from 3. from 13, from 9, from 7
In the upper staff: Take notes of C scale in fourth intervals departing from B.
All are notes of extended C chord: 7, 3, 13, 9, 5, 1. Play in r.h.arpeggiated:
B-E-A-D-G-High C
B-E-A-D-G-High C
B-E-A-D-G-High C
B-E-A-D-G-High C

Practice these four voicings:

C/ D-G-C
C/ E-A-D
C/ A-D-G
C/ B-E-A

Have a great week ahead!
LadyD
Low C-E-A-D, Low C-A-D-G, Low C-D-G-C, Low C-B-E-A