hornales chord construction guide

Chord Construction GuideChord Construction GuideChord Construction GuideChord Construction Guide

Special Songs Included with Chords

• Empower Me• My Life is in your Hands• When Answers Aren’t Enough• In the Name of the Lord• His Strength Is Perfect• Seekers of Your Heart• Shepherd of My Heart• Stubborn Love

Make your own guitar chords to accompany singers in the church.

• Stubborn Love• Via Dolorosa• More Than You’ll Ever Know• The Mission• Broken and Spilled Out• Beyond the Open Door• Make Me A Servant• God Will Make A Way

‘Special Song’ Guitar Accompaniment made Easy

Table of Content

Preface

I. 1. Introduction and Acknowledgment

II. 1. Fret Board Chart Orientation

2. Chord Chart Orientation

3. The Notes of the Open Guitar Strings

4. The Notes of the Guitar Fret Board

5. Minimum Movement Principle

6. Music Notation of Notes and the Guitar Fretboard

III. 1. Basic Chord Construction

I. Constructing Chord C

II. Constructing Chord B

2. Chord Construction Table

I. Constructing Chord DmI. Constructing Chord Dm

IV. 1. Song Example 1: “Make Me a Servant”

I. Constructing Chord C/G

II. Constructing Chord G/D

III. Constructing Chord A9/C#

IV. Constructing Chord Cm6

2. Song Example 2: “God Will Make a Way”

I. Constructing Chord D2/F#

II. Constructing Chord CM7/D

III. Constructing Chord G/F

IV. Constructing Chord Eb/Bb

V 1. Special Songs with Special Chords

Appendix A: Chord Charts

Appendix B: General Forms of Chords

Appendix C: Technical Paper on How Guitar Frets are Designed

Appendix D: One Point Lesson in Guitar Chord Construction

2

I. 1. Introduction

A book on constructing pleasing chords for accompanying church special songs is what I

have been needing for many years. Most guitar enthusiasts resign from playing when faced

with chord names such as “Am7(b5)/G”, “C2(#4)”, “Bb9(13)” or just plain Cadd2 or G(no3).

For most songs, this chords can be simplified to their ‘generic’ forms or similar chords e.g.

“Am7(b5)/G” to “Am7” and most of the time it is acceptable, but what i want you to experience

is the harmony and subtle contribution of these seemingly complicated chords to your singing

and listening experience.

The purpose of this book is to improve your skill in accompanying a singer using your guitar.

If a singer asks me for guitar accompaniment to his song, what I do is find the music sheet of

that song with chords in it. The chords printed on the music sheets are applicable to piano

and guitar players. But the problem is – some chords are exotic to most guitar players. For

example, the song chord requires you to use a chord that is named “Ab(4,2)”. That is most

likely not found in the guitar chord chart anywhere. So you decide to just use Ab neglecting

the (4,2) part, and that is fine, but you may lose the subtle harmony brought by the (4,2)

notes. You can use truncated chords just to get by, but it will not improve your playing if you

do not learn how to decode these alien chord names and get the most of the harmony of the

chord progression in the song. That is the aim of this book, to get you constructing your own

chords based on its name alone.

There is no prerequisite knowledge for this course other than your interest to learn making

your own guitar chords. This book is for the guitarist who have music sheets of songs heyour own guitar chords. This book is for the guitarist who have music sheets of songs he

needs to play to accompany a singer but does not know how to construct the chords printed

with it.

I also include as bonus items – a free chord construction and guitar chords database

computer programs. You can directly download the computer programs from the download

section of my website www.benjie.potograpi.com.

Get that guitar and start singing. God bless.

3

Acknowledgment

My greatest gratitude goes to our God Almighty for the gift of Life and talent to share. Special

thanks to my guitar teacher - my Dad Ruben, and to my ever loving and caring mother –

Virginia “virgie” to whom this book is lovingly dedicated, and to my supportive and beautiful

singing sisters Benjie Lyn (which all the songs and chords in this book are made for) and

Grace, my brother in law David and my cute niece Caitlyn Nicole Hornales Hemphill.

Special thanks to my friends and singers whom I have given guitar accompaniment in the

past ten years or more.

Benjie Hornales 7:09 PM 061509 Villa Del Rio, Babag II, Lapu-lapu, Cebu, Philippines 6015

II. 1. Fret Board Chart Orientation and Notes

EB

G

D

A

E

E

B

F G A B C D E

A

EB

GD

C D E F G

F G A B C

A B C D E F

AC D E F G

F G A B C D

0 121 3 5 7 8 10

6

5

1

2

3

4Strings

Frets

It is required to know or familiarize/memorize the notes of the guitar fretboard. Figure 1

shows the notes on the guitar fret board but not showing the sharps and flats of each note.

The note in between two notes can be either a flat or sharp.

The orientation of the fret board diagram is such that you are looking down at the guitar

resting flat on your lap.

The first string or string 1 is the thinnest string and its note when plucked as open string is E.

You will notice that there is one fret in between two consecutive notes except E-F and B-C.

If you move one fret to the next adjacent fret, that is called a half step movement (in the

major scale). E and F have only half step interval. When you move to the right from E to the

next fret, you get F and not E#. The same with notes B and C.

All the other notes have 1 full step interval between them; equivalent to 2 frets movement in

the guitar fret board or having 1 fret in between them. F and G have 1 full step interval or you

move 2 frets upward to the next note G. the note in between them can technically be called

either Gb or F#.

Head stock

Fret Board

Body

Hole

Figure 1. Guitar and fretboard chart

4

EB

G

D

A

E

E

B

F G A B C D E

A

EB

GD

C D E F G

F G A B C

A B C D E F

AC D E F G

F G A B C D

0 121 3 5 7 8 10

6

5

1

2

3

4Strings

Frets

The two diagrams below show the same guitar fingerboard showing the notes of all the 12

frets of the guitar. The first diagram shows the notes of the guitar fingerboard in a more

intuitive form showing 6 strings and the notes on top of the strings at different frets. And

shows only the natural notes with no accidental notes (or sharps/flats)

While the second diagram Figure 3 shows the notes of the fretboard in table rows and

columns with natural and accidental notes or shows the complete notes of the 12 frets of the

guitar fingerboard.

These two diagrams are used throughout the book interchangeably whichever diagram is

appropriate.

II. 1.1 Guitar Fret Board and Table of Notes

E F G A B C D E6

Figure 2. Guitar Fretboard showing the natural notes.

Figure 3. Complete guitar notes shown in rows and column corresponding to strings and frets.

5

II. 2. Chord Chart Orientation

Chord charts are oriented such that you are looking at your guitar head stock upwards and

the guitar is facing you.

Left hand fingering:

1 = index

2 = middle

3 = ring

4 = pinky

X = dead string

0 = open string

Figure 4. Guitar Chord Chart Diagram sample: A9/C#

The number on the right side of the chart signifies the fret number (9th fret in the example)

and the numbers directly on top of each string designates the fingers used to press the

strings (refer to the left hand fingering assignment).

Many 1’s means the chord is barred or you use the index finger to press two or more strings.

‘0’ means the string is plucked open and x means the string is not plucked or not included

when strumming.

A9/C# is read as chord A9 over bass C#.

6

II. 3. Guitar Fretboard and its Relation to Piano Keyboard and

Musical Notation on Staff

The lower, middle and higher C of guitar, piano and musical notation on staff are shown as a

guide to the relative pitch between guitar and piano notes.

The guitar is tuned to keyboard such that the three C notes have the same pitch for guitar and

piano. In this tuning, the guitar is in the concert pitch of C or standard pitch for guitar and piano.

EB

G

D

A

E

E

B

F G A B C D E

A

EB

GD

C D E F G

F G A B C

A B C D E F

AC D E F G

F G A B C D

0 121 3 5 7 8 10

6

5

1

2

3

4Strings

Frets

Middle C

Lower C

Higher C

Middle CLower C Higher C

Figure 7. Musical Notation on Staff corresponding to the lower, middle and higher C.

Lower C

Figure 5. Guitar Fretboard showing the lower, middle and higher C.

Middle C Higher CLower C

Figure 6. Piano Keyboard showing the lower, middle and higher C.

7

II. 5. Minimum Movement Principle

One of the basic principles in guitar playing is the minimum movement principle. When you

move from one chord to the next, minimizing hand and finger movement can help prevent

error. One way to achieve this is to group your chords into a position in the fretboard where

adjacent chords are as near as possible.

Another way to achieve this is to use guide fingers. As you move to the next chord, do not

pull your fingers completely off from the fingerboard but find a finger or two to remain in

contact with the string while you slide it to form the next chord form.

More importantly, make the adjacent chords as close as possible to each other. If you have a

chord G7 and the next chord is C, these two chords must be in close proximity to avoid error

caused by moving a lot in the fingerboard. If your chord C is in the first fret, use the G7 also in

the first fret. One chord has a lot of forms in different frets, the principle is to use a particular

form of the chord in the immediate vicinity of the previous chord.

Since guitar chord jingles only show one position for every chord, there is a need to construct

your own chord shape or form so that you can select the chord form near to the next chord

and make your own fingerings to make the chord transitions very smooth that require only

minimum movement of the hand and fingers.

8

II. 6. Music Notation of Notes and the Guitar Fretboard

The first diagram below shows the different notes of the guitar fingerboard from open

string to the 12th fret while the second diagram shows the corresponding letters of the

pitch denoted by the musical notations on the former diagram.

This is for those who are familiar with piano keyboard so that they will know the pitch of

the guitar relative to piano and the musical scale that is applicable to guitar.

Figure 8. Guitar strings and frets in rows and columns and the corresponding musical

notation of the notes on staff

Figure 9. Guitar strings and frets in rows and columns with corresponding notes.

9

III. 1. Basic Chord Construction: Constructing Chord C

Chords are constructed in a very simple manner. Take for example a C major chord or simply

called C. The notes that make up this chord are taken from the C major scale.

The C major scale is: C D E F G A B.

Let us assign 1 to the first note (also called a root) of the scale, so C has a numeric

assignment of 1 in the scale, while D is 2, E is 3 and so on such that note B is number 7. And

if we continue the cycle, C again takes the number 8 and D is 9 and A is 13 as shown below:

C D E F G A B C D E F G A

1 2 3 4 5 6 7 8 9 10 11 12 13

Based on the numbered items above, every major chord consists of the notes 1, 3 and 5 –

that is the rule for all major chords . So for the C Major chord, the notes are C, E and G. C is

1, E is 3 and G is 5. That is all we need to construct the chord C, only 3 notes.

Where can we find that in the guitar fret board? It is simple to apply it in our guitar fret board

since guitars are standardized such that the 3rd fret of the 5th string is the note C (strings are

numbered 1 to 6 from the thinnest to the thickest string). Let us look at again the guitar

fretboard and its notes. If you look at the chord chart for the chord C, you will find that there

are only 3 basic notes; C, E and G. Please refer to the chord chart below. The note G is the

open of the 3rd string

.

I did not include the G on the 6th string (marked by x) because the lowest pitch of the chord

should be the C note since it is a C major chord. The note 1 ()or the root) should be the

lowest note.

This is only one way of making a chord C. There are numerous ways to make a chord C

since there are many duplicate notes of C,E and G up in the fret board.

As long as the 3 notes are present, you can duplicate as many notes as long as it sounds

good and the lowest note is the name of the chord (also called the root note).

Figure 10. Notes of Chord C encircled.

Figure 11. Major C Chord chart.

10

Each chord is taken from their own scale. For example, C is taken from C major scale, D from

D major scale, E from E major scale and so on. The following table shows the different Major

scales. The number assignment will also change according to the scale used. The number 1 is

always assigned to the first note of the scale (also known as the root). The major scale table

below is your dictionary in making guitar chords.

The 2nd table in Table 1 shows the keys with b’s and #’s. C# and Db are technically the same

notes. Let us take another example. How do we construct the B major chord or simply chord

B? We use the B major scale in this case. Find the notes 1, 3 and 5. So we have notes B(1),

D#(3) and F#(5). How do one locate that in the guitar fingerboard? Refer to the fret board

and chord charts.

Table 1. The Different Major Scales.

Constructing Chord B

1 2 3 4 5 6 7

C D E F G A B

D E F# G A B C#

E F# G# A B C# D#

F G A Bb C D E

G A B C D E F#

A B C# D E F# G#

B C# D# E F# G# A#

Major Scales

1 2 3 4 5 6 7

C# D# E# F# G# A# B#

Db Eb F Gb Ab Bb C

Eb F G Ab Bb C D

D# E# F# G A# C D

F# G# A# B C# D# E#

Gb Ab Bb B Db Eb F

Ab Bb C Db Eb F G

G# A# B# C# D# F G

Bb C D Eb F G A

A# B# C## D# E# F## G##

Major Scales (with #'s and b's)

and chord charts.

The encircled letters in the fret board are the notes of chord B. If you look at the chord chart,

you will notice that some notes are duplicated like the notes B and F#. If you look at the fret

board diagram, there are a lot of the same note in different octaves.

Therefore, a chord can have many forms; it depends on what particular position of the

fretboard you want to form the chord as long as the bass of your chord is the note B, the rest

of the notes must be higher in pitch than the note B and you must have the rest of the notes in

the immediate vicinity or within reach of your fingers in the location where you selected your

bass note to be.

B

F#F#

B

D#

Figure 12. Notes of B Chord encircled.Figure 13. Chord chart for B chord.

11

Chord spelling Notation Notes on the Scale

Major 1, 3, 5

Minor m 1, b3, 5

Diminished dim, o , mb5 1, b3, b5

Diminished 7th dim7, o 7, dim 1, b3, b5, bb7

Half diminished m7b5, ø 1, b3, b5, b7

Augmented aug 1, 3, #5

5th 5 1, 5

7th 7 1, 3, 5, b7

Minor 7th m7 1, b3, 5, b7

Major 7th maj7 1, 3, 5, 7

Minor/major 7th m/maj7 1, b3, 5, 7

Suspended 4th sus4 1, 4, 5

Suspended 2nd sus2 1, 2, 5

7th suspended 4th 7sus4 1, 4, 5, b7

7th suspended 2nd 7sus2 1, 2, 5, b7

III. 2. Chord Construction Table

The table below shows the formula for constructing different kinds of chords. The numbers

denotes the numbered notes on the particular scale used. This formula is also true for

constructing chords on piano.


Added 2nd add2 1, 2, 3, 5

Added 9th add9 1, 3, 5, 9


6th 6 1, 3, 5, 6

Minor 6th m6 1, b3, 5, 6

6/9 6/9 1, 3, 5, 6, 9

9th 9 1, 3, 5, b7, 9

Minor 9th m9 1, b3, 5, b7, 9

Major 9th maj9 1, 3, 5, 7, 9

11th 11 1, 3, 5, b7, 9, 11

Minor 11th m11 1, b3, 5, b7, 9, 11

Major 11th maj11 1, 3, 5, 7, 9, 11

13th 13 1, 3, 5, b7, 9, 11, 13

Minor 13th m13 1, b3, 5, b7, 9, 11, 13

Major 13th maj13 1, 3, 5, 7, 9, 11, 13

7th sharp 9th 7#9, 7+9 1, 3, 5, b7, #9

7th flat 9th 7b9, 7-9 1, 3, 5, b7, b9

7th sharp 5th 7#5, 7+5 1, 3, #5, b7

7th flat 5th 7b5, 7-5 1, 3, b5, b7

Table 2. Formula for Constructing Different Kinds of Chords.

12

Let us show how to make a chord from each chord formula. We have already shown how to

make major chords for C and B. We used the formula 1,3 and 5.

Now, let us make a minor chord. Take for example the chord Dm. Based on table 2 (Chord

formula), the formula for a minor chord is 1,b3 and 5. the 3rd note is flat. This is what makes

the chord flat - the b3.

First step: Determine the scale to use. From table 1, the scale for D is D, E, F#, G, A, B, C#.

Second step: Identify the notes to use. The formula for a minor chord is given in Table 2. A

minor chord uses notes 1, b3 and 5. D is 1, F# is 3 and F is b3 and 5 is A.. The flat of F# is

F, so b3 is F. So now we have the 3 basic notes for D minor or Dm chord; D, F and A notes.

Third step: Locate the notes of the chord on the fretboard. Encircle all the notes D,F and A in

the fretboard diagram to identify it.

Fourth step: Select the most appropriate Chord form. The bass for Dm is D note. D should

be the lowest sounding note of the chord. We have D in the 4th string.. F and A are within

reach of the finger so we have found an easy form of the chord Dm shown in the chord chart

of Figure 15.

Constructing Chord Dm

Figure 15. Chord chart for Dm chord.Figure 14. Notes for the Dm chord.

We do not include the notes A and F on the 5th and 6th string because it will change the

chord from Dm to Dm/A (Dm over bass A) or Dm/F (Dm over bass F) depending on what

bass note are we going to include. The lowest note of the chord is the bass. Bass notes are

taken from the 4th, 5th and 6th strings. So if the chord is only Dm, the lowest note should be

the root of the chord or the number 1 note in the scale which is note D in our case for Dm

chord.

13

Constructing Another Form of Chord Dm

Figure 16. Notes for the Dm chord. Figure 17. Dm (Form 2)

We can also get the notes of Dm in the 5th fret and take advantage of the open 4th string

bass as the root or bass. Alternately, we can also use the bass D of the 5th string. The

choice of the chord form is greatly affected by the neighboring chords in the chord

progression of a song. The important thing is you can adapt the shape and location of the

chord into a form that facilitates easy and smooth transition between chords.

Figure 19. Dm (Form 3)

Figure 18. Notes for the Dm chord.

The notes of Dm, namely: D,A and F are also found in the 10th fret if you want that location.

For example the previous chord in the song is in the 10th fret and the next chord is Dm, it

would be cumbersome if you go back to the Form 1 and 2 of Dm; the best move is to use

the chord form that requires only minimum movement of hand and fingers for easy and

smooth transition. Of course you also consider the succeeding chords.

14

Assignment 1: Make other forms of chord C.

The 3 given chord charts above are the common forms of chord C. Understand how these

different chord forms are constructed and identify the name of the notes in each form and

the corresponding number in the scale.

Assignment 2: Construct the major chords D, E F G and A.

Figure 20. Several Forms of Chord C.

To construct the chord D, use the D scale and then find the notes 1, 3 and 5. Locate the

notes in the guitar fingerboard and chose a form other than given here.

Figure 21. D, E, F, G and A Chord Forms.

15

IV. 1. Exercise 1

Let us get our feet into the water, we learn to swim by swimming and we learn to construct

chords by learning the chords of a song. Let us take the song entitled “Make Me a Servant”.

We will construct the chords of the encircled ones in the song. The rest of the chords will be

easy after this exercise.

Figure 22. The encircled chords of the song “Make Me a Servant” will be used as an

example in constructing chords.

16

Constructing Chord C/G

The first chord to construct is the slash chord named C/G. This is read as chord C using

bass note G. It is an ordinary C chord but the lowest note used is the G instead of the root

of the chord which is note C.

First step: Determine the scale to use. From table 1, the scale for C is C, D, E, F, G, A, B.

Second step: Identify the notes to use. The formula for a major chord given in Table 2 is 1,

3 and 5. or the C(1), E(3) and G(5). See Fig 23.

Third step: Locate the notes of the chord on the fretboard. Encircle all the notes C, E and G

in the fretboard diagram to identify it. The bass note to use is the note G.

Figure 23. Make Me a Servant

1 2 3 4 5 6 7

C D E F G A B

Major Scales

Fourth step: Select the most appropriate Chord form. Fig. 25 shows the different forms of

C/G chord. We will use the form 2 for our song since it is the easiest and perhaps simplest

form.

Figure 24. Encircled notes of chord C

Figure 25. Different forms for C/G chord

Form 1 Form 2 Form 3 Form 4 Form 5

17

This is the same type of chord in the previous example. First step is look at the G major scale

to locate the 1,3,5 notes and then add the bass note D.

From the table above, the notes are G (1), B (3), D (5) and the bass to use is note D. So

there are only 3 unique notes. G,B and bass D. Let us locate that in the fret board.

Constructing Chord G/D

Figure 26. G Major Scale

1 2 3 4 5 6 7

G A B C D E F#

Major Scales

I encircled all the notes G, B and D in the fret board. It is for you to decide which group of

notes you would like to form as long as you have the 3 basic notes. You can duplicate the

notes as long as the bass or the lowest pitch is the note D.

I would normally find first the appropriate location for my bass note D, which can be in the

open 4th string, 5th fret, 10th fret or 12th fret (can you find it?). So there are many possible forms

of the chord. The different forms are shown below in the chord charts below on Fig 28 . The

fret number on the right side is either in Arabic or Roman numeral.

Form 4 is a simplified version of form 2. You can actually omit other duplicate notes as long

as you still have at least 1 unique note left. So with the different forms of the same chord, you

now have the flexibility to choose which one is well suited to the chord progression of the

song. You decide to use the form that ensures smooth transition from the previous chord and

into the next chord in the progression. We will use the form 1 for its simplicity.

Form 1 Form 2 Form 3 Form 4 Form 5 Form 6

Figure 27. Encircled notes of chord G

Figure 28. Encircled notes of chord C

18

Now let us construct the chord A9/C# of this song. Chord A9/C# is chord A9 with bass C#.

Constructing Chord A9/C#

The formula for a 9th chord is shown by Fig. 30 taken from Table 2.

So what we need are the notes, 1, 3, 5, b7 and 9. Look again at the major scales table below.

Minor 6th m6 1, b3, 5, 6

6/9 6/9 1, 3, 5, 6, 9

9th 9 1, 3, 5, b7, 9

Minor 9th m9 1, b3, 5, b7, 9

Figure 30. Chord Formula for a 9th chord.

Figure 29. Scale Table

1 2 3 4 5 6 7

A B C# D E F# G#

Major Scales

1 2 3 4 5 6 7

A B C# D E F# G#

Major Scales

Figure 26. Scale of Chord A.

Number 8 note is back to A and so on. So the 7 note is G#, but we need b7, the flat of G# is

G. so b7 is G. The 9 note is B. So we have A (1), C# (3), E (5), G (b7) and B (9).

Do not forget that our bass is C# (should be the lowest pitch) not A. Let us take these notes

into the guitar fret board. One form of the chord A9/C# is shown below.

Figure 28. Encircled notes of A9 in the fret board. A (1), C# (3), E (5), G (b7) and B (9).

8 9 10

19

How did I come up with this fingering or form in the particular position of the fret board? First, I

chose where to get my bass C#, it is better to get it at the 4th fret since I know the rest of the

notes that I need are just close by and the second reason I want that location is because I am

also considering the next transition, that is, the chord Cm6 in the song which is convenient to

form in the 3rd fret. So if I position my chord in the 4th fret, I only need to move 1 fret back to

have my transition to Cm6.

Take note that I can also position A9/C# in the 9th fret, but it would take a lot of movement to

get to the next chord Cm6. Try to form these chords below and practice smooth transition and

choose which one of the three forms presented for A9/C# is more convenient to use for

smooth transition to the next chord Cm6. The left hand fingering here is just a suggestion, you

may make your own.

Figure 29. Encircled notes of A9 in the fret board

Form 1 Form 2 Form 3

B

Constructing Chord A9/C# Continuation…

You can drop the number 5 note of A9/C# chord notes: A (1), C# (3), E (5), G (b7) and B (9). In

this case I dropped the note 5 of the scale which is note E. Try to experiment dropping some

notes like note 5 and then next try omitting note b7 and listen if it still sounds good from chord

to the next (use your musical judgment). I also dropped the note A due to its unavailability in

the vicinity.

Your objective in dropping some notes is to simplify the form because perhaps there is no way

you can reach all the notes with your finger in that fret board position or you want a simpler

form for convenient and smoother transition.

It is important that you need to listen to the modified chord forms and select the best sounding

chords.

G

B

G

C#

Figure 30. Form 3 of Chord A9/C#

20

Constructing Chord Cm6

To construct the Cm6 chord, we need to know the formula of a minor 6th chord.

Based on Table 2, the formula is 1, b3, 5 and 6. The note b3 means that it is a

minor and the note 6 makes it a minor 6th.

Then we look at the C scale to identify the notes corresponding the formula numbers. The

note 1 is C, b3 is Eb, 5 is G and 6 is A.

And we locate those notes in our guitar fretboard. Locate the bass note C, the minor Eb,

the 5th G and sixth A. I encircled all the notes for the Cm6 chord.

Figure 31. C Scale.

Figure 30. Formula for Minor 6th chord.

1 2 3 4 5 6 7

C D E F G A B

Major Scales

Select the form that is easy and convenient for you taking into consideration the chords

that will be before and after it. The chord charts below shows the possible chords forms

that we can select from.

Figure 33. Different Forms for Cm6.

Figure 32. Chord Progression from A9/C# (2 Forms) to Cm6.

Form 1 Form 2 Form 3

21

Here is the final song with complete chords.

22

IV. 2. Exercise 2

Let us try take another exercise on the song entitled “God Will Make a Way”.

The song is in the key of G. If it were in the key of Ab, I will transpose the key to A or G

depending on the pitch of my singer. I prefer a key that is not a bar chord such as the keys

of C, D, E, G, A. If the key of the song is different from these, I transpose the key to the

nearest key of C, D, E, G or A.

I then rewrite the music sheet with only the lyrics, chords above it and the chord charts.

23

I. God will make a way where there seems to be no way.G D2/F# D/F# C/E G/D

The chord D2/F is chord Dadd2 over bass F. D2 is the same with Dadd2 which has the

formula of 1, 2, 3 and 5. It is a major chord with an additional 2nd note of the scale.

The notes for D2 is D(1), E(2), F#(3), A(5). The F#(3) is used as the bass. I just encircled

The first line of the song has 5 chords. We use the common form of the chord G. I will show

how to construct the chords for the 4 slash chords.

Construction of Chord D2/F#

Figure 35. Scale for D Major.

Figure 34. First Line of the song and the firs 5 chords.

1 2 3 4 5 6 7

D E F# G A B C#

Major Scales

The notes for D2 is D(1), E(2), F#(3), A(5). The F#(3) is used as the bass. I just encircled

the notes of the chord form that I have chosen to use.

We just use the common forms of the chords D, C and G. And then just add the bass note to

use.

Figure 37. D2/F#

Figure 36. Encircled Notes for the Chord D2/F# in the fretboard.

Figure 38. Slash Chords. The bass is denoted by the arrow and the chord is encircled.

Chord C/EChord D/F#

F#

E

Chord G/D

D

24

He works in ways we can not see, C G/B

He will make a way for me.Am7 CM7/D D

Construction of Chord CM7/D

The second line of the song has the familiar chords like C, Am7 and D. I will only show how

to construct the chord CM7/D. Chord G/B is just a simple chord G with a bass B.

The chord formula for CM7 is 1,3, 5 and 7 based on Table 2. The scale for C has no Flats or

sharps: C, D, E, F, G, A, B. Therefore the notes of the chord CM7 are: C(1), E(3), G(5), and

B(7). Locating these notes in the fret board will give you opportunity to chose the easiest

and most convenient chord form for the chord progression.

Figure 39. 2nd Line of the Song.

The bass note that we need to use is note D. It should be the lowest sounding note of the

chord. We can use the open 4th string to be our bass D. That means we drop the notes E

and C. There is an E in the 1st string so no problem. We are faced with dropping the note C

of the chord which is the root. Since the bass note is not the root note, we can drop the root

if we have no choice and if the chord still sounds good or else we need to find another

location in the fretboard to accommodate all the notes of the chord.

So what we are left are the first four all open string notes. E, B, G and D notes.

Figure 40. Encircled Notes for CM7 in the fretboard.

Figure 41. Chord CM7

Figure 42. Chord CM7/D

25

II. __ By a road way in the wilderness He’ll lead me.

G G/F Eb F Eb/Bb Bb

Construction of Chord G/F

The first line of the 2nd stanza of the song has the not-so-common slash chords G/F and

Eb/Bb.

For the chord G/F. Just add the F note to the common form of the chord G. I have encircled

the notes of G in the fretboard – showing the common chord form for the chord G. The notes

are based on the 1, 3, and 5 notes of the scale shown below.

Figure 43. 1st Line of the 2nd Stanza of the Song.

Figure 44. First step in Constructing Chords is to know the chord formula, second is to identify the notes in

the scale. I encircled the notes 1, 3 and 5 in the scale – chord formula for Major Chords.

1 2 3 4 5 6 7

G A B C D E F#

Major Scales

Figure 46. My Chosen Chord Forms for G/F.

the scale. I encircled the notes 1, 3 and 5 in the scale – chord formula for Major Chords.

Figure 45. Third step in Chord Construction: Locate the Notes in the Fret Board. I Only Encircled the Notes

That I Will Use to Construct the Chord G. There are Other Forms in Other Locations of the Fret Board.

This slash chord uses the 5th note as the bass. It is also called a second inversion of the

chord. When the 3rd or b3rd (for minor chords) is used as the bass, it is called first inversion

of the chord.

26

Construction of Chord Eb/Bb

Like in the previous examples in constructing slash chords, first step is to get the chord

formula for Eb. The formula for major chords is 1, 3 and 5. Second, identify the notes in the

scale that will be used to form the chord.

1 2 3 4 5 6 7

Eb F G Ab Bb C D

Major Scales

I encircled the notes in the fretboard which I will use to form the chord Eb/Bb. You can make

another form of the chord using the duplicate notes in the fretboard.

Figure 47. Eb/Bb Chord.



The chord charts shown in Fig 49 show two chord forms that can be used in the song

depending on the forms of the previous and the next chord in the progression. I would pick

form 1 since the previous chord is F formed at the 1st fret and the next chord is Bb formed also

at the 1st fret so it is best to use form 1 which also has its bass note in the first fret so that you

do not need to move your first finger. Talk about minimum movement principle.

27

God Will Make a Way

I. God will make a way where there seems to be no way.G D2/F# D/F# C/E G/D

He works in ways we can not see, C G/B

He will make a way for me.Am7 CM7/D D

He will be my guide, hold me closely to His side __

G D2/F# D/F# C/E G/D G/B

He will be my guide, hold me closely to His side __

With love and strength for each new dayC G/B Em7

He will make a way __ __

Am7 D/A Am7 D/A

He will make a way. __ __ __ __ (repeat from the beginning)

CM7/D G Am D/A C/D D

28

II. __ By a road way in the wilderness He’ll lead me.

G G/F Eb F Eb/Bb Bb

__ And rivers in the desert will I see. __ __ __F/G Gm7 Eb F Gsus4 G Gsus4 G

Heaven and earth will fadeC D/C

But his word will still re - mainBm B/D# Em

He will do some thing new to day. __ __ (repeat I).C D Bsus4/E E B7sus4/F#

29

V. 1. Special Songs with Special Chords

The next part of this book are the special songs that I compiled in the last 8 years or more.

Most of these songs have been sung by my sister Benjie Lyn. The chords that are used in

these songs are usually not simplified but are displayed including all notes if possible. You

may find the chord forms to be difficult for you to execute since the chords here are for

advance guitarists. One can choose to simplify the chords using the methods outlined in this

book.

I sometimes drop the whole chord if I do not like its sound or it gets too much crowded in a

particular passage of the song, sometimes you encounter a song with so many chords such

that you do not have time for smooth execution of the transitions between them, I normally

drop few chords but making sure the harmony of the chord progression is not affected.

There are also times I have to change the chord to my liking or substitute a better sounding

chord. Just remember that making music is an art and it comes from within, every art is

intentional. The sounds you will hear is only the manifestation of the art inside you. The real

art is you!

All the chords in these songs are used every time I play these songs. I hope you find the

instructions clear and get the most of your guitar playing in accompanying singers in the

church.church.

So, look for music sheets of the songs you have been wanting to sing and accompany with

your guitar and make the most of the chords printed together with it. And you will be amazed

at the nice sounding harmonics and pleasant mix of excellent chord forms that you can

create.

30

Special Song Titles

1. Empower Me

2. My Life is in your Hands

3. When Answers Aren’t Enough

4. In the Name of the Lord

5. His Strength Is Perfect

6. Seekers of Your Heart

7. Shepherd of My Heart

8. Stubborn Love

9. Via Dolorosa

10. More Than You’ll Ever Know

11. The Mission

12. Broken and Spilled Out

13. Beyond the Open Door

31

Nobody knows how weak I am better than you Nobody sees all of my needs better than you;

Nobody's eyes see through my soul better than yours and nobody's love can make me whole no love but yours.

And nobody has the power to change me to what I was born to be __ Jesus be strong

and nobody has the power to lift me to reach for eternity __ Jesus break through

Empower Me (1 of 2)

in my weak ness em power me!

all my defen ses em power me!

Empower me __ like a rushing river flow ing to the sea

Chord Construction by Benjie B Hornales. 2009. 32

Lord send your Holy Spirit flow ing now through me _ Til im liv ing as your child __

vic to ri ous and free Send the power of your love empower me

Send the po wer of your love em pow er me! __ Send the power of your love __

em power em power me em power me Send your love and Lord em po wer me!

(1st time) (Back to beginning)

(2nd time)

Empower Me (2 of 2)


Life can be so good Life can be so hard Never knowing what each day will bring to where you are __

My Life Is In Your Hands (1 of 2)

Nothing is for sure nothing is for keeps All I know is that your love will live eternally __

Sometimes I forget and sometimes I cant see That whatever comes my way you'll be with me. __ __

So i will find my rest and I will find my peace Knowing that you'll meet my every need. __ __

My Life is in your hands My heart is in your keep _ing I’m never without hope

34

Not when my future is with you. __ __

Chord Construction by Benjie B Hornales. 2009.

(Chorus) My Life is in your hands_ and though I may not see clearly I will lift my voice_ and sing

cause your love does amaz_ing things Lord I know my life is in your (Go to 1st, 2nd, then 3rd time)

(2nd time) hands __ When I'm at my weakest oh you carry me

(1st time) hands. __ __ __ __ (back to beginning)

My Life Is In Your Hands (2 of 2)

Then I become my strongest Lord in your hands __ __ __ (Back to chorus)

(3rd time) hands.


When Answers Aren't Enough (1 of 2)

You have faced the mountain of desperation __ you have climbed you have fought you have won.

But this valley that lies coldly before you __ is a shadow you cannot overcome, __ __ __

And just when you thought you had it all together __ you knew every verse to get you through

But this time all the sorrow broke more than just your heart and reciting all those verses just wont do __

When answers aren't enough, there is Je - sus He is more than just an answer to your prayer __

36

And your heart will find a safe and _ peaceful _ refuge _ When answers aren't enough He is there.


Instead of asking why did it happen think of where it could lead from here __

And as your pain is slowly easin’ you can find a greater reason to live your life triumphant the tears. __

When answers aren't enough, there is Je - sus He is more than just an answer to your prayer __

When Answers Aren't Enough (2 of 2)

And your heart will find a safe and peaceful refuge __ When answers aren't enough He is there. __

__ When answers aren't enough, there is Je - sus He is more than just an answer to your prayer

And your heart will find a safe and peace ful re fuge__ When answers aren't enough He is there.

__ ___ When answers aren't enough He is there.


In The Name Of The Lord (1 of 3)

Crowds have lined the narrow street to see this man from Galilee __

_ Just a carpenter some say leading fools astray _ __yet many kneel to give Him praise _ _

__ __ and in his eyes they glimpse the pow’r _ that sees the hearts of all men ___ __ and in his eyes they glimpse the pow’r _ that sees the hearts of all men _

And He knows His Father’s mind He speaks His fa _ ther’s words for He comes in the name of the Lord. __

There is strength in the name of the Lord - There is pow’r in the name of the Lord

38Chord Construction by Benjie B Hornales. 2009.

There is hope in the name of the Lord __ __

Blessed is He who comes in the name of the Lord

When my Plans have fallen through and when my strength is nearly gone __


And when we call upon your name, __ Your strength thru weak - ness to show

__ We can know the Master’s plan extend the Master's hand When we come in the name of the Lord

When there’s nothing left to do but just depend on you __ __ and the power of your name __ __


__ There is Lord His name will be worshipped forever, __ Cre - ator Redeemer and King

(D.S. al Coda)

__ There is strength in the name of the Lord There is pow’r in the name of the Lord

There is hope in the name of the Lord __ __ Blessed is He who comes __ __


Blessed is He who comes __ __ Blessed is He

__ __ The name of the Lord

who comes __ in the name of the Lord


His Strength Is Perfect (1 of 2)

I can do all things _ through Christ who gives me strength But sometimes I wonder whats

We can on_ly know _ the power that_ He holds When we truly see _ how deep

He can do_ through me __ __ __ No great success to show _ _no Glory on _my own_

_ our weak _ness goes __ __ __ His strength in us begins_ _when ours come to_ an end_

yet in my weakness He is there to let me know

our strength is gone _He’ll car - ry us when we cant car - ry on

_ He hears our humble _cry and proves again

41

His strength is perfect when


__ His strength is per - fect; _ his strength is per - fect

Coda:__ His strength is per – fect __

His Strength Is Perfect (2 of 2)

(2nd time to Coda)_ Raised in His po - wer the weak be - come strong _

Back to Beginning

His strength is per - fect; _ Raised in His pow - wer the weak _

His strength is per - fect; _ his strength is per - fectbe - come strong _


Seekers of Your Heart (1 of 2)

_Until we give you first place , _ Until we let you begin, __ __

_Because your heart was bro - ken, _ because you saw the need __ __

to fill us with your spi - rit, renew us from within.

Because you gave so fre ely __because of Cal va - ry

__ No - thing mat - ters, __ noth -ings gained. With - out your holy pres - sence our lives are lived

__We can now be __ called your own Com - ple - ted cre - a - tions filled with you

Lord we want to know you, live our lives to show you

43

in vain

a lone


all the love we owe you, we’re seekers of __ your heart

heart __ __ Lord we want to know , you, live our lives to show you

__ all the love we owe, you, were seek - ers of __ your heart __ __

(2nd time)

Seekers of Your Heart (2 of 2)

back to beginning

(1st time)

Seek - ers of your heart


Mak - er of this heart of mine You know me ver - y well __

Keep –er of this heart of mine Your patience knows no end __

Giv – er of this heart of mine you’re what im liv - ing for __

You un - der – stand my deep est part more than I know my – self

Shepherd of My Heart (1 of 3)

You’ve loved me back in – to your arms time and time againYou’ve loved me back in – to your arms time and time again

For all my deep –est grat - i - tude you love me even more

So when I face the dark - ness , when I need to find my way __ __ I’ll trust in you

So if I start to wander like a lamb that’s gone astray __ __ I’ll trust in you

So if I walk through val-leys listening for the master’s call __ __ I’ll trust in you


Shep - herd of my heart __ __ Shep - herd of my heart __

__ You’re the bea – con of my nights You’re the sun light of my days __

I can rest - within your arms I can know - Your loving ways __

Shepherd of My Heart (2 of 3)

(1st and 2nd times) (3rd time)

Shep - herd of my heart __

Rage all a - round I’ll trust in you

46

So let the cold winds blow and let the storms


Shep - herd of my heart __ You’re the bea – con of my nights You’re the sun light of my days __

I can rest - within your arms I can know - Your loving ways __

So as I walk through valleys lis-t’ning for my Master’s call __ __ I trust in you

Sheperd of My Heart (3 of 3)

I’ ll trust in you Shep - herd of my heart __

Ooo Shep - herd of my heart.

Shep - herd of my heart __ __


Stubborn Love (1 of 2)

Caught a-gain your faith-less friend; Don’t you e-ver tire of hear - ing what a fool I’ve been?

Guess I should pray but what can I say? Oh it hurts to know the hun - dred times I’ve caused you pain;

The for - give me sound so emp - ty when I ne - ver change

Funny me just couldn’t see Even long before I knew you, you were lov - ing me.

Some times I cry; you must cry too, When you see the broken prom – is - es I’ve made to you.

I keep say - ing that I’ll trust you, though I sel - dom do,

It’s your stub - born love that never lets go of me; I don’t under - stand how you can stay;

Yet you stay and say I love you still for giv - ing me time and time a – gain


Yet you stay and say you love me still, know - ing some day I’ll be like you.

Per - fect love, em brac ing the worst in me, how I long for your __ stub - born love.

how I long for your __ stub - born love.

(2nd time)

It’s your stub - born love, __ that never lets go of me; I don’t un - der - stand how you can stay;

(1st time)

Stubborn Love (2 of 2)

Instrumental

Per - fect love, em – brac - ing the worst in me, And you’ll ne - ver let me go __,

I be - lieve __ I fin’lly know, (I can’t live with – out your stub - born love.)2x

It’s your stub - born love, __ that never lets go of me; I don’t un - der - stand how you can stay;

1st time 2nd time

love


Via Dolorosa (1 of 2)

__ Down the Via Dolo - ro - sa in Jeru - sa - lem that day the sol - diers tried to clear the narrow streets

but the crowd pressed in to see the man __ condemned to die on Calva - ry

__ He was bleed - ing from a beat - ing there were stripes upon His back and He wore a crown of thorns upon His head

And He bore with every step the scorn of those who cried out for His death

__ Down the Via- Dolo – ro – sa called the way of suffering __ like a lamb came the Mes - siah Christ the King

($)

50

__ But He chose to walk that road out of His love for you and me,

(2nd time Go to Coda)


The blood that would cleanse the souls of all men made its way through the heart of Je – ru – sa – lem ___

(Back to $)

Down the Via Dolo – ro - sa all the way to Cal - va - ry.

Down the Via Dolo – ro - sa all the way to Calva - ry. __ __

Via Dolorosa (2 of 2)

(Coda)


More Than You’ll Ever Know

If I could find __ the right words to say to tell you just what Christ means to me __ __

I’d say He’s more than I could show and more than you’ll ev - er know! __

You’d know why He’s more than I could show and more than you’ll ev - er know! __

If you could have seen me __ just yes - ter - day You’d know why He’s life and He’s breath to me. __ __

Christ means more to me than you’ll ev - er know, __ Christ means more to me than I could possibly show! __

More, more, so much more, More than you’ll ev - er know __

More, more, so much more, More than you’ll ev - er know! __


The Mission (1 of 2)

__ There’s a call going out across the land in ev - ery na - tion, __ __

a call to all who swear allegiance to the cross of Christ __

A call to true hu – mi - lity to live our lives res – pon - si – bly to deep - en our de – vo - tion to the cross at any price.

Let us then be sober moving on - ly in the spi – rit __ __

The mes - sage we’re pro – claim - ing is re – pent - ance and forgive - ness,

as a - liens and strangers in a hos - tile for - eign land; _

spill - ing light unsparingly through - out a dark - ened room; __


As a can - dle is consumed by the pas - sion of the flame, __ __

Let us burn to know Him deep - er; then our ser - vice flaming bright __

To love the Lord our God is the heart - beat of our mis - sion, the spring from which __ our ser - vice overflows __

__ A-cross the street or around the world the mis - sion’s still the same,

The Mission (2 of 2)

The of - fer of sal – va - tion to the dy - ing race of man __

Will ra - diate His pas - sions and blaze with holy light __

__ __ __ __Pro - claim and live the truth in

(D.S.) (2nd)

__ Pro - claim and live the truth in Jesus’ name

Pro - claim and live the truth in Je - sus’ name,

Je – sus’ name. __ __ __ __ __


Broken and Spilled Out (1 of 3)

One day a plain village wo - man __ Driven by love for her Lord, __ Reck - lessly poured out a valuable essence

dis – re – gard - ing the scorn, _ And once it was broken and spilled out, __ a frag - rance filled all the room

Bro - ken and spilled out, and poured at your feet, in sweet a – ban - don,

Like a prisoner re - leased from his shackles, __ __ like a spi - rit set free from the tomb __

Bro - ken and spilled out, just for love of you Je - sus, __

My most pre - cious trea - sure la - vished on thee. __ __


Lord You were God’s precious trea - sure, __ __ His loved and his own perfect son __

Sent here to show me, the love of the father, __ yes just for love it was done, __

let me be spilled out and used up for thee. __ __ __ __


You gave up your - self will – ing - ly, __ __ you spared no ex - pense for my par – don __ __

God’s most pre – cious trea - sure la vished on me. __ __

you were used up and wasted for me. Bro - ken and spilled out, __ just for love

of me Je - sus,

__ and though you were perfect and Holy __ ____


Bro - ken and spilled out, __ and poured at my feet, __ __ in sweet a – ban - don,

in sweet a – ban - don, Lord you were spilled out and used up for me. __

Lord you were spilled out and used up for me. __ __ __



Beyond the Open Door (1 of 2)

In the things familiar you find security Re – sis - ting all the changes the days and years can bring __

Hear the spirit calling to wake the living dead, to reach the huddled masses who cry out for living bread. __

When God decides to lead you, through an open door, In – vi - ting you to walk in realms you’ve never known before. __

A - rise O mighty Army, take up thy shield and sword, For the Fa - ther lifts His golden lamp beside the open door. __

Be - yond the open door __ is a new and fresh anoint - ing, Hear the spirit call -__ ing you to go __

Walk on through the door for the Lord will go before you,

In - to a great – er po - wer you’ve ne - ver known be - fore ___ ___

58

(1st time) go to II


be - fore. Be - yond the open door is a new and fresh

Walk on through the door __ for the Lord will go before __ you,

anoint - ing, Hear the spirit call - ing you to go __

Beyond the Open Door (2 of 2)

(2nd time)

In - to a grea – ter po - wer you’ve ne – ver known. __

Where He leads me I will fol - low, where He leads me

__ Into a great - er power, you’ve ne - ver __ known before __

I __ will fol - low, Where He leads me I will fol - low


Appendix A: Guitar Chord Charts


Appendix B: Chords Complete Note Display

64


65


66


67


68


69


70


71


72


73


74


75


76


77


78


79


80


81

Appendix C: Fret Placement Calculation

82


83


84

Appendix D: One Point Lesson in Guitar Chord Construction

1 2 3 4 5 6 7 8 9 10 11 12 13

C# D# E# F# G# A# B# C# D# E# F# G# A#

Db Eb F Gb Ab Bb C Db Eb F Gb Ab Bb

Eb F G Ab Bb C D Eb F G Ab Bb C

D# E# F# G A# C D D# E# F# G A# C

F# G# A# B C# D# E# F# G# A# B C# D#

Gb Ab Bb B Db Eb F Gb Ab Bb B Db Eb

Ab Bb C Db Eb F G Ab Bb C Db Eb F

G# A# B# C# D# F G G# A# B# C# D# F

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

A# B# C## D# E# F## G## A# B# C## D# E# F##

Major Scales

1 2 3 4 5 6 7 8 9 10 11 12 13

C D E F G A B C D E F G A

D E F# G A B C# D E F# G A B

E F# G# A B C# D# E F# G# A B C#

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

G A B C D E F# G A B C D E

A B C# D E F# G# A B C# D E F#

B C# D# E F# G# A# B C# D# E F# G#

Major ScalesChord spelling Notation Notes on the Scale

Major 1, 3, 5

Minor m 1, b3, 5

Diminished dim, o , mb5 1, b3, b5

Diminished 7th dim7, o 7, dim 1, b3, b5, bb7

Half diminished m7b5, ø 1, b3, b5, b7

Augmented aug 1, 3, #5

5th 5 1, 5

7th 7 1, 3, 5, b7

Minor 7th m7 1, b3, 5, b7

Major 7th maj7 1, 3, 5, 7

Minor/major 7th m/maj7 1, b3, 5, 7

Suspended 4th sus4 1, 4, 5

Suspended 2nd sus2 1, 2, 5

7th suspended 4th 7sus4 1, 4, 5, b7


Added 2nd add2 1, 2, 3, 5



6th 6 1, 3, 5, 6

Minor 6th m6 1, b3, 5, 6

6/9 6/9 1, 3, 5, 6, 9

9th 9 1, 3, 5, b7, 9

Minor 9th m9 1, b3, 5, b7, 9

Major 9th maj9 1, 3, 5, 7, 9

11th 11 1, 3, 5, b7, 9, 1111th 11 1, 3, 5, b7, 9, 11

Minor 11th m11 1, b3, 5, b7, 9, 11

Major 11th maj11 1, 3, 5, 7, 9, 11

13th 13 1, 3, 5, b7, 9, 11, 13

Minor 13th m13 1, b3, 5, b7, 9, 11, 13

Major 13th maj13 1, 3, 5, 7, 9, 11, 13

7th sharp 9th 7#9, 7+9 1, 3, 5, b7, #9

7th flat 9th 7b9, 7-9 1, 3, 5, b7, b9

7th sharp 5th 7#5, 7+5 1, 3, #5, b7

7th flat 5th 7b5, 7-5 1, 3, b5, b7

First step: From the name of the chord, determine the scale to use.

Second step: Identify the notes to use based on the chord formula.

Third step: Locate the notes of the chord on the fretboard.

Fourth step: Select the most appropriate Chord form.

85

hornales chord construction guide

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