This is going to be the last post (for now) on creating chord charts. After getting all your lyrics and chords laid out, with instructions for the band as well as adding some measure indicators, you just need to take a step back and look over the chart. Is there too much information cluttering it up? When you look at it does it just look like a mess of letters and words and slashes? Here’s the biggest question for me (at least right now in chord chart creation): can I glance at the chart and almost immediately pick out where the chorus is (if not a chorus, then separate sections)?

Here’s the reality, while your team will use the chart at first, many musicians memorize at least partially as they learn. So they will be glancing away from the sheet to check on your visual clues, but also just to focus on worshipping (I hope). In any case, when they turn their eyes back to the chart, will it be easy for them to find the section they need? If not, maybe some re-working is in order.

For most songs with a chorus, that chorus is the primary division of the song – if you can find the chorus, the section you need (if not the chorus) is right above or below the chorus. Your musicians must be able to find that chorus at a glance! In using charts that are not quite so clearly laid out, I’ve found myself making brackets or lines or just drawing around the chorus of various songs I’m playing just so I don’t lose my place when I have to look away.

Recently I ran into this issue in creating some chord charts for a service I’ll be leading soon. I resorted to different methods for different songs. On one song, “Hallelujah (All I Need)”, I found the writer’s chord chart on his site, but  the sheet was really minimal and after creating a chord chart I realized it was pretty involved. I resorted to putting a box around each chorus to set them apart from the rest of the chord chart. I think it came out pretty good without making the chart overwhelming.

Another song, “God of All,” had a chord chart on the album website, but (again!) I found the chart to be inadequate – primarily because I was going to tweak the arrangement and I wanted to notate the changes in the chart. After getting everything down, the chart wasn’t too busy, but the divisions were just not sticking out to me. Instead of resorting to boxes, I just added extra blank lines between each section of the song, which turned out rather well.

Here’s one more option for making the chorus of a song stick out from the rest of the song: indent all of the song except for the chorus. It might look something like this:

verse verse verse
verse verse verse

chorus chorus chorus chorus
chorus chorus chorus chorus

verse verse verse
verse verse verse

chorus chorus chorus chorus
chorus chorus chorus chorus

bridge bridge bridge
bridge bridge bridge

chorus chorus chorus chorus
chorus chorus chorus chorus

This method is a little more subtle, but it can be effective. In the end, there are many different ways to make sure the divisions of a song are clearly delineated. The method is less important than its effectiveness: does it help the instrumentalist quickly find where they want to be on the page or does it distract?

After getting the basics down and then adding some instructions for the musicians, now you’re ready to do a little “advanced” chord charting (at least that’s what I consider it!). Why call it “advanced”? Well, anyone can do a chart as I did in my basic setup, but you actually have to understand time signatures and measures to do this. You do not need a degree in music theory, but you do need to understand a few basics of it.

I tried my hand at mapping out an entire chord chart with measure/beat indicators. Here’s how it came out. It looks a little overwhelming, doesn’t it? Yeh, and I’m not too happy with how the rest of the chart came out. Overall, though, any player could take this chord chart and just about play along with the song, even if they had never heard it before. All they would need is the rhythm pattern. Oh, and note at the bottom where there was actually a more syncopated chord progression going. I had to go over that part separately with the band, because to try and notate it within the chart would have made things much more complicated than they already were and more confusing than they really needed to be.

Also note how in the chart shared above how I’ve marked each individual (quater) beat of the measure as with a backslash, like this:

|G  /  /  /  |D  /  /  /  |C  /  /  /  |

But if the changes are just on the first of each measure, then an instrumental section might be better marked this way:

|G         |D       |C      |

That looks much cleaner and is just as easily understood: the chord change obviously happens on the first beat of each measure.

While it might be effective to map/chart out an entire chord chart with these measure markers, I’ve since drifted more towards a minimalist approach to indicating measures in chord charts. Here are my basic guidelines:

1. Instrumental sections should always have measure markings.
2. If the chord changes (for singing sections) are simple and straightforward and can be easily understood without measure markings, then I do not use them.
3. However, if there is any measure(s) which has an atypical chord change for the song which would best be clarified through indicating measures

You could sum up my thoughts thusly: “If you don’t need ‘em, don’t use ‘em!” (or “less is more”)

Okay, we’re almost to the end of this series on chord charting. To finish up, I’m going to go over a few pointers on making chord charts as effective as possible.

So you’ve got a basic chord chart down, with all the chords on it. But a song chords do not make. There must be dynamics! Instruments must enter and exit, they must lead and paint the background of the song. And the vocalists sometimes must sing in unison, sometimes in parts, and sometimes only one or two should sing. (hint, if you’re not doing these things with your team then you really should start!). But how do they know when to do these things?

In short: you tell them!

Actually, you can do better than that. You can notate it in your chord chart. Of course, note that if you begin including notes for the musicians (singers and instrumentalists) in your chord charts, they will more often than not run into the two page range of length. Which is fine, at least in most scenarios (and in my experience).

Here’s an example to check out. As a side note, did you catch the what was not on that chord sheet that was supposed to be? Copyright/License information. Yep, this was a chord sheet emailed to me (I won’t say from who… . Suffice it to say they have since changed their ways – but do not make the same mistake. including that information covers the legality (through your church’s CCLI license) to distribute copies of the music of a song.

Okay, back to the task at hand. Did you note how there were, in blue, notes on when certain instruments entered? This is a song that builds, but you can also include a note such as “no piano”, or “no electric/acoustic guitar” as well. You will have to draw attention to these specific notes on entrances and exits for your band, but as they get used to having the notes they will begin looking for where you have them in and out.

Here’s a short list of “commands” you can use  - you don’t have to use these or just these. As long as your team understands what you intend is the key.

• Full Band – this means all band members in, playing their respective parts at the strongest dynamic
• Break – an instrumental break where all instrumentalists mute their instruments
• Piano only – piano is the only instrument playing
• add Bass – a common phrase to indicate the entrance of the Bass into the song
• Vocals melody – all vocalists on the melody line
• Vocals parts – all vocalists on their respective parts (however they have been divided up for the song)

The key to understand is that you can notate within your chord chart when you want specific instruments and singers. This serves two purposes: first, to help you remember how you decided you wanted the song to be arranged; second, to cut down on questions in practice on entrances and exits. Always be open to suggestions and input from your team, but having a plan already in place for a song cuts down on you having to make a call on the spot about something you should have already figured out.

Next up, indicating measures and providing more specific information on chord changes to your team in the chord chart: Part 3!

So you need to create a chord chart, huh? Well, lets dive in and see what that involves. The first thing to do is to check and see if you can find the chords online. And no, I do not mean to hit guitar tab sites (those should definitely be a last resort). Check the artist or group’s website first to see if they have copies of the tab or chord charts for their music. Here are a few I’ve found:

• Sovereign Grace Music – in their online store they have a section for the sheet music where you can download lyric and lead sheets for all the albums (at least the ones I looked at) and even guitar charts for a few. Note that Lead sheets use a music staff with chords on top to show the lead melody line with chord changes.
• Shane and Shane – Shane Barnard (of Shane & Shane) has a site where he has tabs and lyrics of most of their songs.
• Red Mountain Music – they offer lead and guitar sheets for all their music.

So, last resort, if you can’t find music on the particular group/artist’s site for the specific song you need to create a chart for, you can hit the guitar tab sites. Always – ALWAYS! – check the chords yourself. Make sure they are right and you understand how they work in the song. You are responsible for the chord chart you give your team, so make sure you make it as simple and clear as possible. Some charts list moving or transitional chords along with the primary chords of the song – figure out if/how you want to differentiate these, and if your team will even need them. If you’re not going to use them, then don’t put them on the chord sheet you give your team.

And if you haven’t noticed yet, I definitely believe in creating a specific chart for your team, whether or not you can find an official one or not. A little extra work up front yields a chart created specifically with your team in mind. This is a very good thing.

Alrighty, check out this example of a basic chord chart. Consider this your baseline model – it has been stripped of all extraneous items and is just a chord chart.

So here are the basic elements of a chord chart, top to bottom:

• Song title
• song lyrics and chords
• copyright and CCLI info for legal purposes

Yep, pretty simple. If your church has a CCLI license (and they should, no argument), then you can get all the copyright and license info you need from them – in fact, they have a huge database of song lyrics as well. You can download the lyrics and the copyright/license info (specific for your church) from their site and just paste it in a document file – it saves a lot of work! Then all you have to do is format it.

Note in the main portion of the chart, where the lyrics and chords are, how the chords are written (approximately) over top of the words where the changes happen. This is the most simple way of conveying to the band where the changes are – it syncs them up with the singers. There are fancier ways of conveying chord changes which better indicate meter and timing, but that’s another post.

As far as format goes, the sky is the limit, but simplicity is key. This chart is one I created about five or six years ago. The church I minister in now uses a different format. The song title is still at the top, but the copyright/license info is right under the title. Actually, both the Title and copyright/license info is in the page header, so it shows up on multiple pages if the chart extends past the first page. I would suggest including a “page X of Y” section on any header/footer with information so that players can differentiate easily between first and second pages.

This type of chart means that you either have to teach the team the chord changes and rhythms or have them listen and pick it up themselves – which is perfectly acceptable. The sheet serves more as a reminder of how the song goes than a music sheet which tells them how to play.

Okay, after understanding this very basic format of the chord chart you can begin to add other elements, like vocal direction, instrumental entrances and exits, repetition instruction, chord changes, etc. That’ll be coming in my next post!

A New Song for Your Team

Now that you’ve learned the song for yourself, you’ve gotta teach the team. Hopefully you’ve done all the really tough legwork of figuring the ins and outs of the song out for yourself. The first essential step in teaching your praise team a new song is to create a chord chart for your team. If you have managed to get your hands on someone else’s chord chart (or downloaded it from a website) I still recommend making your own. The reason is so that you can have a pretty standard format for your chord sheets that your team is familiar with, as well as formatting it specifically for how you want the song to be done (in case you’re chaning the structure from the recording) and having specific notes you want on there for your team.

Something I strongly encourage is to have measure markings for any sections of a song where chord progressions are less clear (rhythmically). I have played with doing a full-on rhythm chart for an entire song. This is incredibly helpful for your instrumentalists, but a little tedious to make. You at least want to write out instrumental sections with measure markings so they can know when they are needing to change chords.

Here’s a simple style:

| G   D | C  Em | D    | G  Bm | Am       G/B  C | D

What I’ve called the “simple style” might take a little explaining, but it’s a very effective ‘reminder’ of what they’re supposed to be doing. More of what I think is called a Nashville style chord chart goes something like this:

| G   \   D   \ | C  \  E   \ | D  \  \  \

The big difference is the beat markers in the ‘Nashville style’. I think I’m going to do a separate post later about making chord charts…so that’s all I’ll say here. Mainly, make sure the chord chart you are giving the team is as simple and clear as possible – hopefully they could play their part for the song along with the CD without ever hearing the song before (maybe not well, but at least get their entrances and exits right…).

Another very helpful thing to do for your team, if you’re going to be playing the recorded version of a song, is to try and (legally) get a copy of the song into their hands. Websites such as grooveshark allow you to upload songs and then let people listen to what you’ve uploaded – that’s always an option.

Now, in teaching them the song, I would suggest having them listen to the song during practice, without playing – just to make notes on what they’re supposed to be doing in the song (entrances, exits, rhythmic breaks, etc.). This is also where you can point out specific things you want them to note. Next, play the recording again and have them try and play along. This is always a little weird, but it gives everyone a chance to try it out. Then, finally, dive in and attempt to play through the song without the recording. Sometimes (most of the time!) you’ll have to stop along the way to discuss problem areas, but as best you can, attempt to just ‘force’ your way through the song. It really allows the team to realize what they need to work on in their own time.

Our church is fortunate enough to actually have two teams that rotate from Sunday to Sunday, so each team is able to spend two entire practices only working on the music for their next Sunday. If you do not have that luxury, which I know most churches do not, you will want to plan when you will introduce songs very much in advance, so you can spread the team’s time spent on a particular song over several practices, introducing the song and letting them get comfortable with it.

Here’s the key I have found: clarity. It is essential for each member of the praise team to know specifically what they should be doing at any given moment in a song. Many times they decide this for themselves, usually based on what they are hearing in a recording that they are attempting to duplicate with their instrument. Your job is to make sure that there is no confusion. There are always parts or layers in a recording which cannot practically be reproduced in a live setting. And other times elements left out will be dictated by the instruments you are working with. Always have an idea where you want to go with a song and what you want everyone doing. That way you can be open to all their suggestions, but if they need direction, you can give it to them.

In learning the song beforehand you should be ready to address any questions or concerns any team members might have about different sections. And you can break down the song into its most simplest elements so that they understand it clearly.

Next we’ll discuss introducing the new song to the congregation.