Page |1

Page |2

NUMBER OF THE STRINGS

6 5 4 3 2 1

1st Fret 1st Fret

2nd Fret

3rd Fret

How to Read Chords

Left Hand/Finger Number

Page |3
 Page |4

Major Chords

Rhythm (Beat)
Right Hand for Rhythm

T- Thumb

I- Index
 Page |5

4 - Number of Beats per measure.

4 - Type of Notes Receiving one Beat.

4 T I I I
4 1 2 3 4

Bar Notation
│%│ Repeat the previous chord/part.

║: :║ Repeat sign/Repeat again.

║ Double bar line indicates the end of the music strain /Song.

T-Thumb finger
I- index

4 T I I I
4 1 2 3 4

1.║:A│%│%│D│%│%│E│%│%:║A│%│%║

2.║:G│%│%│C│%│%│D│%│%:║G│%│%║

3.║:C│%│%│F│%│%│G│%│%:║C│%│%║

4. ║:E│%│%│A│%│%│B│%│%:║E│%│%║
 Page |6

Sharp & Flat

Sharp # - Raises a tone one semitone in pitch.

Flat b - Lowers a tone one semitone in pitch.

+ = and /& (you can Spell it + as and )

Enharmonic Equivalent
 Page |7

4 Beat Variation
4

4 T IV I I
4 1 2+ 3 4

1.║:F│%│%│C│%│%│Bb│%│%:║F│%│%║

4 T I IV I
4 1 2 3+ 4

2. ║:B│%│%│F#│%│%│E│%│%:║B│%│%│%║

4 T IV IV I
4 1 2+ 3+ 4

3. ║:A│%│%│E│%│%│D│%│%:║A│%│%║
 Page |8

Minor Chords
 Page |9

Rhythm exercises including Minor Chords

4 T IV IV IV
4 1 2+ 3+ 4+

1.║:G│%│Em│%│C│%│Am│%│D│%:║G│%║

4 TV IV IV I
4 1 + 2+ 3+ 4

2. ║:C│%│Am│%│F│%│Dm│%│G│%:║C│%║

4 TV I IV I
4 1 + 2 3+ 4

3.║:A│%│F#m│%│D│%│Bm│%│E│%:║A│%║

4 TV IV IV IV
4 1 + 2+ 3+ 4+

║:B│%│G#m│%│E│%│C#m│%│F#│%:║B│%║
 P a g e | 10

Common Open Position

Domonant 7th Chords
Do
 P a g e | 11

Rhythm Construction ( 4 in detail )

4
1).

4 T I I I
4

\/ \/ \/ \/
1 2 3 4

2).

4 T V I V I V I V
4

\/ \/ \/ \/
1+ 2+ 3+ 4+

3).

4 T I T I T I T I
4

\/ \/ \/ \/
1+ 2+ 3+ 4+

4).

4 TV I V TV IV TV IV TV IV
4 1\ /a 2 \ /a 3\ /a 4\ /a
e\ /+ e \ /+ e\ /+ e \ /+
 P a g e | 12

Rhythm Exercises

1). 4 T IVIV TI IVIV

4 1 2e+a 3+ 4e+a

2). 4 TI TVIV TI IVIV

4 1+ 2e+a 3+ 4e+a

3). 4 TVI- TVI- TVI- TVI-

4 1 e+ 2e+ 3 e+ 4 e+

4). 4 TV-V TV-V TV-V TV-V

4 1 e -a 2 e -a 3 e-a 4 e-a

5). 4 TI IVI- TI IVI-

4 1+ 2e+ 3+ 4 e+

6). 4 T-V T-V T-V T-V

4 1-a 2-a 3-a 4–a

7). 4 T I-V TI I-V

4 1 2-a 3+ 4-a

8). 4 T I-V TT I-V

4 1 2-a 3+ 4-a

9). 4 T I-V IVI I

4 1 2-a 3 e+ 4

10). 4 T I-V IVI I-V

4 1 2-a 3 e+ 4-a
 P a g e | 13

Rhythm Including Seventh Chords

1). 4 TI IVI TI IVI

4 1 + 2e+ 3+ 4e+

║:C│%│%│F│%│%│G7│%│%:║C│%│%║

2). 4 TI IVIV TI IVIV

4 1 + 2e+a 3+ 4 e +a

║:D│%│%│G│%│%│A7│%│%:║D│%│%║

3). 4 T IVIV II IVIV

4 1 2e+a 3+ 4e +a

║:E│%│%│A│%│%│B7│%│%:║E│%│%║

4). 4 T I-V II I-V

4 1 2-a 3+ 4-a

║:F│%│%│Bb│%│%│C7│%│%:║F│%│%║

5). 4 T I-V TT I-V

4 1 2-a 3+ 4-a

║:G│%│%│C│%│%│D7│%│%:║G│%│%║

6). 4 T I-V IVI I

4 1 2-a 3e+ 4

║:A│%│%│D│%│%│E7│%│%:║A│%│%║
 P a g e | 14

RHYTHM WITH SONGS

(Two-Four Beat) 2
4
wgojfbL e} sf]/; $! 2 TIV TI
4 1+ a 2 +
|D |G |A |Bm |D |G |A |A7 |
wGojfbL e} pxfFsf] 9f]sf leq k:g]5', cfFug leq k|z+;f;fy eÌ]
|D |G |A |Bm |G |A |D |% |
5' of] ToxL lbg hf] k|e'n] agfpg' ef] v'zL5' pxfFn] v'zL kfg{' ef] .
||:D |G |A |Bm |G |A |D |% :||
v'zL kfg{' ef], v'zL kfg{' ef], v'zL5' pxfFn] v'zL kfg{' ef] -@_
;"of{]bo b]lv -sf]/; !#!_ 2 TV TVI
4 1+ 2 e +

||:E |C#m |G#m |C#m |E |B |% |E A :||E |

;"of]{bo b]lv ;'of{:t;Dd k|e'sf] k|z+;f x'g'k5{— @
|A |% |B |G# |A |B |E A |
k|z+;f u/ pgsf ;a} ;]jsx? xf], pgsf] gfpFsf] k|z+;f
End
|E |A |% |B |G# |A |B |E A ||E ||
pgsf] gfpF wGosf] xf];\ clxn] b]lv ;bf ;j{bf .

lngf];\ tg -sf]/; @)_ 2 TIV TI / 2 TI TVIV

4 1+ a 2 + 4 1 + 4 e + a

||D |Fm |G |Em |D |G |A|A7 |D |% |

lngf];\ tg ck{G5f}F lngf];\ dg r9fpF5f}F lngf];\ wg lktf tkfO{s} xf}F tkfO{ s} xf}F
|D |% |Bm |F#m|D |G |Em |A7 |
tkfO{+ s} z'? b]lv 5fg]sf, tkfO{+ s} lvi6sf] /utn] lsg]sf
|D |% |Bm |F#m |D |A7|%||
tkfO{+ s} cfTdfsf 5fk nfu]sf tkfO{ s} xf}F tkfO{+ s} xf}F
 P a g e | 15

He Sabai Jatika 2 TIV TI

4 1+ a 2+

|D |F#m|D |F#m|D |G |Em|G|A7|%|

x] ;a} hfltsf dflg; xf], x—xfNn] n'ofx x] ;a} hg xf]
|G |A7 |D|%|D |F#m|G |Em|A |G |% |D|
pxfFsf] tfl/km u/, lsgeg] xfdL k|lt pxfFsf] s?0ff ckf/ 5 .
||:D |Bm|G|Em|A |% |DA7|D :||
/ oxj]sf] ;Totf ;Fw}sf] lglDt /—xG5 -@_
|D |F#m|G|Em|A7|% |DA7|D |
xNn]n'ofx, xn'ofx, xNn]n'ofx, xNn]—n'ofx
||:D |Bm|G|Em|A |% |DA7|D :||
/ oxj]sf] ;Totf ;Fw}sf] lglDt /—xG5 -@_

O{Zj/sf] /fh klxn] vf]hL u/ -sf]/; @*_ 2 TIV TI

4 1+ a 2+

|C |Cmaj7 |Am |Em |F |C |G|G7|

O{Zj/sf] /fh klxn] vf]hL u/, pxfFsf] wfld{stf,
|C |Cmaj7 |Am|Em|F |C |G|C|
;a} yf]s ltdLnfO{ ylkg]5 xNn]n' xNn]n'ofx

|C |G |F|C |F |C |G|G7|
x Nn] n'ofx, x Nn] n'ofx,
|C |G |F |C |F |C |G7|C ||
x Nn] n'ofx, x Nn] n'ofx

|C |Cmaj7 |Am |Em |F |C |G|G7|

!= /f]6Ln] dfq dflg; afFRb}g, t/ x/]s jrgn]
7
|C |Cmaj |Am |Em|F |C |G|C ||
hf] k/d]Zj/sf] d'vaf6 lg:sG5 xNn]n' xNn]n'ofx .

@= dfu t ltdLnfO{ lbOg]5, vf]h t e]§fpg]5f}

3r3rfp 9f]sf p3fl/g]5 , xNn]n' xNn]n'ofx .
 P a g e | 16

gtf ann] g zlQmn] -sf]/; !@^_ 2 TIV T I / 2 TI T VI V

4 1+ a 2+ 4 1+ 2 e + a

||:E |Gm |E |Gm |E |Fm |E B7 |E :||

sf]M gtf ann], g zlQmn], k|e' eG5g\ d]/f] cfTdf— n] -@_

|E |A |% |E |% |A |Fm |E A |B7 |A |% |E |
!= of] kxf8 xl6hfg]5, of] kxf8 xl6hfg]5, of] kxf8 xl6hfg]5 .
@= of] cfFlw yfldg]—5, of] cfFlw yfldg]—5, of] cfFlw yfldg]—5 .
#= of] h'jf efFlrg]—5, of] h'jf efFlrg]5, of] h'jf efFlrg]—5 .
|E |B7 |E B7 |E ||
k|e' eG5g\ d]/f] cfTdf— n] .

tkfO{+sf] bfof -sf]/; #)_ 2 TIV TI / 2 TI TVIV

4 1+a 2+ 4 1+ 2 e+a

||:D |F#m|Bm |G |Em |A |A7 |D |

tkfO{+sf] bfof hLjgeGbf >]i7 tkfO{+sf] bof hLjg eGbf >]i7
|D7 |F#m|Bm |G |Em |D |A7 |D :||
wGosf] eG5', :t'ltd u5{' tkfO{+sf] bfof hLjg eGbf >]i7 .

dlxdf dfl/Psf] y'dfnfO{ -ehg %)%_ 2 TI TVI / TI IVIV

4 1+ 2e+ 1+ 2 e +a

|Dm |Bb |Dm |% |% |Bb |C |% |

dlxdf dfl/Psf] y'dfnfO{ k|z+;f k|e'x?sf k|e'nfO{
|Bb |C |Dm | % |Bb |C |Dm ||
hohosf/ /fhfx?sf /fhfnfO{, hohosf/ /fhfx?sf /fhfnfO{

||:Dm |Bb |C |Dm |% |Bb |C |Dm :||

!= wGojfb, :t'lt, cfb/ / elQm dfl/Psf] y'dfnfO{ clt -@_
|Dm |Bb |A7 |Dm :||
OHht, dfg, j}ej / zlQm -@_
|Dm |F |C |Bb|A7 |Dm |Bb |Dm ||
clt kljq, kljq, klj—q O{Zj/ k|lt, O{Zj/ k|lt .

@= xf];Ìf cfd]g uf}/j / uLlt, dfl/Psf] y'dfnfO{ clt -@_

k|0ffd 9f]u b08jt\ b[li6 -@_ NofpF5f}+ ljhoL -#_ O{Zj/ k|lt -@_.
 P a g e | 17

d]/f] hLjgdf gofF sfd ugf{];\ o]z" 2

4

||:E |G#m |C#m |% |

!= d]/f] hLjgdf gofF sfd ugf{];\ o]z",
|E |G#m |F#m |B |
d]/f] hLjgdf gofF sfd ugf{];\ o]z" .
||: A |B |G#m |C#m |
d]/f] hLjgdf gofF sfd, d]/f] hLjgdf gofF sfd,
|A |B |E |% :|| (-Repeat 4 Times )
d]/f] hLjgdf gofF sfd ugf{];\ o]z"

@= kl/jf/df=== #= d08nLdf=== $= of] /fi6«df=== gofF sfd ugf{];\ o]z"====

k|e'sf] cfgGb d]/f] an xf] -sf]/; !#@_ 2 TV MV

4 1+ 2 +

||:E |% |A |% |B |% |C#m E |
!= k|e'sf] cfgGb d]/f] an xf], k|e'sf] cfgGb d]/f] an xf]
|E |% |A |% |E |B |E |% :||
k|e'sf] cfgGb d]/f] an xf], k|e'sf] cfgGb d]/f] an xf] .

@= xfF;f]n] el/G5 d]/f] d'v xf xf xf -#_ k|e'sf] cfgGb d]/f] an xf] .

#= xf xf xf xf xf xf xf xf, xNn]n'ofx -#_ k|e'sf] cfgGb d]/f] an xf] .

cfh v'zL 5' d 2 TV MV

4 1 + 2+

||:E |% |A |% |E |% |B |%|
cfh v'zL 5' d, cfh v'zL 5' d o]z" v|Li6df v'zL 5' d pxfFn]
|E |% |A |% |E |B |E|%:||
d]/f] kfknfO{ w'g' ef] o; sf/0f v'zL 5' d .

cfh ufpF 5' d=== cfh gfR5' d=== cfh pk|mG5' d===
 P a g e | 18

d}n] lgZro u/]sf] 5' -ehg %)$_ 2 TM TI

4 1 + 2+

||:E |B7 |A |E |
sf]M d}n] lgZro u/]sf] 5' /dfpg o]z"df,
|A |B7 |A B |E :||
d}n] lgZro u/]sf] 5' ljZjf; ug{ pg}df -@_

||:E |G#m |A |F#m |

!= rfx] bfvsf] af]6df s'g} k'mn gk'mnf];\
|A |F#m |B7 |E :||
rfx] d]/f] hLjgdf s'g} ;'wf/ gxf];\ -@_

@= rfx] xfF:g k/f];\, rfx] ?g k/f];\

rfx] afFRg k/f];\, rfx] dg{ k/f];\ -@_
#= rfx] vfFrf] k/f];\, rfx] k|z:t xf];\
rfx] d]/f] hLjgdf s'g} ;'wf/ gxf];\ -@_
$= k/dk|e' g} d]/f] ;fxf/f x'g\
k/dk|e' g} d]/f] hLjgsf] Hof]lt x'g\ -@_

cf/fwgf ug{ xfdL sf]/; ^( 4 TV IV TV IV (Swing Beat) or 2/4 Beat

4 1+ 2+ 3+ 4+

|G |% |D7 |
!= cf/fwgf ug{ xfdL ;a} e]nf ePsf 5f}F
|D7 |% |% |G |
cf/fwgf ug{ xfdL ;a} e]nf ePsf 5f}F
|G7 |G |% |C |D7 |
cf/fwgf ug{ xfdL ;a} e]nf ePsf 5f}F cfh,
|G |D7 |G Gsus |G ||
cf/fwgf u/f}F o]z"nfO{ . -la;L{_

|G |% |D7 |
@= la;L{ cfk}m—cfk}mnfO{ Psfu| xf}F k|e' v|Li6df
|D7 |% |% |G |
la;L{ cfk}m—cfk}mnfO{ Psfu| xf}F k|e' v|Li6df
|G7 |G |% |C |D7 |
la;L{ cfk}m—cfk}mnfO{ Psfu| xf}F k|e' v|Li6 o]z"df,
|G |D7 |G Gsus |G ||
cf/fwgf u/f}F o]z"nfO{ . -pgL_
 P a g e | 19

cfsfzeGbf pRr ehg %!) 2 T IVIV

4 1 2e+a

|D |F#m |G |D |% |A |G |D |
cfsfz eGbf pRr pRr 5 gfpF, ;fu/ eGbf ulx/f] ulx/f] 5 k|]d
|D |F#m |G |D |A7 |% |D |% |
cf;dfg eGbf lazfn lazfn cg'u|x 5 xfd|f] k|e' o]z"sf]

||:Bm |% |F#m |% |G |% |A |C |D |% :||

sf]M o;}n] ufpF——5f}F k|z;f, ufpF——5f}F dlxdf pg} o]z"sf] -@_

|D |F#m |G |Em |D |% |
@= jfSon] JoQm gx'g] eÌnfO{ zAb gk'Ug] k|]d
|D |F#m |G |Em |D |% |
cflb b]lv clxn];Dd ;don] ;flIf lbPsf] k|]d
|Bm |F#m |Bm |F#m |Bm |F#m |A |% |D |%|
:ju{ 5f]8L cfpg'ef], s|';}df dg{'ef], d[To'nfO{ lhTg'eof], xfdLnfO{ d'lQm lbgnfO{ .

|D |F#m |G |Em |D |% |
#= ;f/f ;[li6n] 9f]Ug]5, ;a} 3+'8fx? 6]sg]5g\ .
|D |F#m |G |Em |D |% |
lga{n alnof] x'g]5, nf6f]n] k'sfg{]5 Tof] gfpF
|Bm |F#m |Bm |F#m |Bm |F#m |A |% |D |%||
cGwf]n] b]Vf]5, alx/f]n] ;'Ì]5, d'bf{ lapFtg]5 pg}nfO{ dlxdf lbgnfO{ .

cfR5' 5' 5' eof] lg hf8f] -%!!_ -g]kfnL ;dnf aL6_ 2 TV-V IVIV
4 1e- a 2e+a
|Cm |% |% |Cm |% |% |
sf] M cfR5' 5' 5' eof] lg hf8f], :j/ ;a}n] vfnf}+ ;fx|f]
|Cm |% |B |% ||:G |% |Cm |% :||
x'Fb}g s;}nfO{ ufpg ufx|f], -hGd] uf]7}df k|e' xfd|f]— @_

|Cm |% |B |% |Cm |% |B |%|

!= ul/a uf]7fnf bz{df cfP, o]z"nfO{ e]6L cf}lw /dfP -@_
||:Cm|% |B |Cm :|| ||: Cm |B|% |Cm|% :||
kfk Ifdf hLjg kfP -@_, ;a}sf] nflu g} d'lQm bfg NofP -@_

|Cm |% |B |% |Cm |% |B |%|

@= :ju{nfO{ 5f]8L hutdf cfP, ?rfP u/La ufO{sf] uf]7 g} -@_
||:Cm|% |B |Cm :|| ||: Cm |B|% |Cm|% :||
lbPgg\ s;}n] 7fpF tkfO{+nfO{ -@_, cfˆg}n] g} nTofP xh'/nfO{ -@_
 P a g e | 20

Four-Four Beat

cfhsf] lbg -sf]/; @&_ 4 TI TI TI TI

4 1 + 2+ 3+ 4+

||:E |% |B7 |% |
cfhsf] lbg, cfhsf] lbg pgn] ;[h]sf, pgn] ;[h]sf
|B7 F#m|B7 F#m |E |% |
/dfpFb} hfcf}F, vzL dgfcf}F / cfgGb u/f}F, / cfgGb u/f}F
|A |E |A |E |% |E |EB7|E :║
cfhsf] lbg pgn] ;[h]sf, /dfpFb} hfcf}F, vzL dgfcf}F, cfhsf] lbg, cfhsf] lbg pgn] ;[h]sf

wGojfb r9fpF x[bo b]lv -sf]/; &(_ 4 T I-V IVI I

(Give Thanks) 4 1 2-a 3e+ 4
||: G |D |Em |Bm |C |G |F |D7 :||
wGojfb r9fpF x[bo b]lv, wGojfb kljq k/d]Zk/nfO{ wGojfb pxfFn] lbg' eof] o]z" v|Li6 cfˆgf] k'q
||: Bm |Em |C |Am D |G |Em |F |D :|| G ||
eg lgj{nn] d alnof] 5', ul/an] d wlg 5', sf/0f pxfFn] h] ug{'eof] xfd|f] nflu— @ wGojfb

o]z" xfdL prfN5f}+ -sf]/; &&_ 4 T I-V IVI I

4 1 2-a 3e+ 4

|G |Em |C |D |Em |Bm |C Am |D D 7|

o]z" xfdL prfN5f}+ /fhf 3f]if0ff ub{5f}+, tkfO{+nfO{ xfd|f] aLrdf k|z+;f ;fy prfNb5f}+
|G D |Em |C D |G Em |C D |G Em|
xfd|f] :t'ltdf /fh ug{'xf];\, xfd|f] :tltdf /fh ug{'xf];\, xfd|f] :tltdf /fh ug{'xf];\,
|C D |G ||
cfpgf];\ o]z" /fh ug{'xf];\ .

wGo xf];\ k|e' o]z"sf] gfpF ÷ -sf]/; ^#, ^$_ 4 T I-V IVI I
4 1 2-a 3e+ 4

|D F#m |D D7 |D F#m |Em A7|

wGo xf];\ k|e' o]z"sf] gfpF pgL 5g\ k|z+;fsf] elQmsf of]Uo
|D D7 |G Em |D |F#m A7|
o;}n] prfnf}F Ps;fy xfd|f] xft ufpFb}, wGo xf];\ Tof] gfpF, wGo xf];\ Tof] gfpF
|G A7 |D ||
 P a g e | 21

wGo xf];\ k|e' o]z"sf] gfpF -sf]/; ^$_ Beat : 4/4

|D |A7 |G A7 |D D7 |
!= of]Uo, tkfO{ of]Uo ;asf /fhf, ;asf k|e' tkfO{F of]Uo
|D |A7 |G A7 |D ||
of]Uo tkfO{ of]Uo ;asf /fhf, ;asf k|e' u5{' k|0ffd\ .

@= kljq, tkfO+{ kljq===

#= o]z", tkfO+{ o]z" === ;asf /fhf

d'lQm 5 xfd|f] k|e'df -sf]/; *(_ Beat : 4/4

|A E |F#m E |D A |D E |
!= d'lQm 5 xfd|f] k|e'df, hf] l;+xf;gdf lj/fhdfg 5g\
|E A E |F#m E |D A |D E |C D |Esus4 E |
pg} y'dfnfO{ :t'lt, dlxdf, 1fg, wGojfb, cfb/, zlQm / an

||:A E |D F#m E :|| A E |D F#m E |A ||

sf] M -o]z"nfO{ xf];\ ;bf; j{ bf—@ o]z"nfO{ xf];\ ;bf; j{ bf cf— d]g

|A E |F#m E |D A |D E |
@= p4f/ kfPsfx? alnof x'G5g\, Pstfdf
|A E |F#m E |D A |D E |C D |Esus E |
3f]if0ff ub{} :t'lt, dlxdf, 1fg, wGojfb, cfb/, zlQm / an

k|e'df ;Fw} cfgGb u/ -sf]/; @#_ Beat : 4/4

||:G |Em |D7 |G :||

k|e'df ;Fw} cfgGb u/ k]m/L klg eGb5' .
||:G |% |D7 |G :||
cfgGb, cfgGb k]m/L klg eGb5'
||:G |Em |D7 |G :||
k|e'df ;Fw} cfgGb u/ k]m/L klg eGb5' .
 P a g e | 22

n hfcf}+ x} l;of]g;Dd -sf]/; #!_ Beat : 4/4

= ||:G |C |G |D7 |G |C |G D7 |G :||

!= n hfpF x} l;of]g ;Dd, n hfpF x} l;of]g ;Dd, n hfpF x} l;of]g ;Dd, o]z"sf] gu/df .

||:G |C |G |D7 |G |C |G D7 |G :||

sf] M ho xNn]n'ofx, ho xNn]n'ofx, ho xNn]n'ofx, cfgGb dgfpF .

||:G |C |G |D7 |G |C |G D7 |G :||

@= l;of]gsf] /fhf o]z", l;of]gsf] /fhf o]z", l;of]gsf] /fhf o]z", /fh ub{} hfpF .
#= k|]ld 5g\ l;of]gdf, k|]ld 5g\ l;of]gdf, k|]ld 5g\ l;of]gdf, k|]d ub{} hfpF .
$= gfRb} hfpF l;of]gdf, gfRb} hfpF l;of]gdf, gfRb} hfpF l;of]gdf, k|]ld o]z" sxfF .

o]z" hLpFbf] 5g\ -sf]/; &#_ Intro: 4/4

1st 2nd
||:D |G |D |A7 Aaug :||A7 |
o]z" hLpFbf] 5g\ xfd|f] dfem v8f 5g\ -@_
||:Bm |G |A7 |D :||
/ o;}n] cf/fwgf u/f}F k|z+;f hohosf/ pxfFnfO{ r9fpF -@_

k/dk|e' d]/f] uf7fnf] ehg ^@# Beat : 4/4

║:E A |E B:║
k/dk|e' d]/f] uf]7fnf] x'g\—@
║:Cm B |Cm B |E :║
dnfO{ s]lxsf] dnfO{ s]lxsf] vfFrf] 5}g

!= ║:E A |E A |E Fm|B:║
pxfFn] d]/f] kfOnfx?nfO{ lrKng lbg'x'Gg -@_
1 2 34

║:C m A |E B E :║
;'v r}gsf] kfgL 5]p 8f]¥ofpg'x'G5 -@_
║:E A|E A |E Fm |B:║
@= pxfFn] d]/f] lz/nfO{ t]nn] cleif]s ug{'x'G5 -@_
1 2 3 4

║:C m A |E B E :║
d]/f] srf}/ el/P/ kf]lvb5 -@_
 P a g e | 23

b]v]F d}n] Tof] v;]sf] z}tfg 4 T I-V TVT IT

4 1 2 - a 3 e + 4+

||:E |A E |B7 |E :||

!= b]v]F d}n] Tof] v;]sf] z}tfg, dlxdf k|e'sf], dlxdf o]z"nfO{
b]v]F d}n] Tof] v;]sf] z}tfg, dlxdf k|e'sf], cfd]g Û

@= b]v]F d}n] xfd|f] ljho o]z"nfO{ dlxdf k|e'sf], dlxdf o]z"nfO{

b]v]F d}n] xfd|f] ljho o]z"nfO{ dlxdf k|e'sf], cfd]g Û

|A |E |B7 |E |
!= ha d bfofFlt/ x]5{', z}tfg xf/]sf] b]V5', ha d afofFlt/ x]5'{, z}tfg xf/]sf] b]V5'
@= ha d bfofFlt/ x]5{', ljho o]z"nfO{ b]V5', ha d afofFlt/ x]5'{, ljho o]z"nfO{ b]V5'

|A |E |B7 |E |
!= ha d cl3 x]5{' z}tfg xf/]]sf] b]V5', ha kl5 x]5{' z}tfg xf/]sf] b]V5' .
@= ha d cl3 x]5{' ljho o]z"nfO{ b]V5', ha kl5 x]5{' ljho o]z"nfO{ b]V5' .

||: A |E |B7 |E :||

xfNn]n'ofx, xfNn]n'ofx, xfNn]n'ofx, xfNn]n'ofx -@_

:jtGq u/fpg'xf];\ 4 T I-V IVI I or 4 TI IVIV TI IVIV

4 1 2-a 3e+ 4 4 1 + 2e+a 3 + 4e+a

||:G Em |G Em |D D7 :||
:jtGq u/fpg'xf];\ kljq cfTdf xfdLnfO{ -@_
|C D |G ||:G Am |C|Am D |G :||
ufpg lut cf/fwgfsf] o]z"nfO{, -cf/fwgf ug{ x[bon] k|]d ug{ zlQm b]pm—@_

o]z" dfly prflnPsf] sf]/; ($ Beat : 4/4

|G |D |Em |C D |
o]z" dfly prflnPsf], b]Vg rfxfG5f+} of] b]zdf
;a}n] of] ;To hfg]sf], pgL x'g\ af6f] :ju{sf] -@_

||:G |D |Em |C D :||

sf]M rfxG5f}+, b]VgnfO{, b]VgnfO{ o]z" prflnPsf] — -@_

|G |D |Em |C D |
kfOnf, kfOnf 6]sL cl3 a9\5f}+, hUuf cfˆgf] agfpFb},
|G |D |Em |C |D |% ||
k|fy{gf zlQmzfnL xltof/, lsNnfx—? kmf]b}{ eTsfpg], eTsfpg]===
 P a g e | 24

o]z", o]z" d]/f] hLjgsf] :jfdL sf]/; !#$ 4 T I-V IVI I

4 1 2-a 3e+ 4

||:G Em |C G |G Em |C D 7 :||
!= o]z" o]z" d]/f] hLjgsf] :jfdL, o]z" o]z" d]/f] hLjgsf] lsNnf -@_
||:Bm Em |C G |C G |D D7 :||
wGojfbsf] e]6L lnO cfpFb5', tkfO{+sf] Tof] rf]s leq -@_
||:G Em|C Am |D D7 |G :||
tfnL ahfpFb}, tfnL ahfpFb} -@_

||:G Em |C G |G Em |C D7 :||
@= o]z" o]z" d]/f] hLjgsf] /fhf, o]z" o]z" v|Li6 d]/f] d'lQmbftf -@_
||:Bm Em |C G |C G |D D7 :||
xNn]n'ofx ufpFb} d cfpFb5', cg'u|xsf] l;+xf;g cl3 -@_
||:G Em |C Am |D D7 |G :||
kljq xft prfNb}, kljq xft prfNb} -@_

k|e' d cfpF5' -ehg %!!@_ 4 T I-V IVI I

(Lrd I come to you) 4 1 2-a 3e+ 4

|A E |F#m |C#m |F#m7 |D |E |F#m |E |

k|e' d cfpF5', d]/f] x[bo kl/jt{g, ugf{]; tkfO{+sf] Tof] cg'ux| n]
1 2 3 4
# # # 7 #
|A E |F m |C m |F m |D |E |D |A E F m E |
k|e' hfGb5' d]/f sDhf]/Lx?, ;a} x6\g]5g\ Tof] k|]dsf] zlQmn]
1 2 3 4
|D F#m |E |D |A E F#m E |
!= cFufNgf];\ tkfO{+sf] k|d]n] 3]gf{];\,
1 2 3 4
# # 7
|D F m |E |A Bm7 |C m Bm A |
g——hLs NofO{ cfˆgf] 5]pdf /fVgf];\
1 23 4 1 2 3 4
# # #
|D F m |E |D |A A E |F m F m E |D |% ||
kv{G5' d rLn e}+m dfly p8\g dnfO{ p8fpg' xf];\, tkfO{+sf] cfTdfn] Tof] k|]dsf] zlQmdf
|A E |F#m |C#m|F#m7 |D |E |F#m|E |
@= k|e' vf]Ngf];\ cfFvf b]Vg ;s'F k|]dsf] 1fg h;} tkfO{+ d leq af; ug{'x'G5
1 2 3 4
# # # 7 #
|A E |F m |C m |F m |D|E |D |A E F m E|
gofF ugf{;
] \ x[bo cfˆgf] of]hgf cg';f/, x/]s lgb hLpFbf] Tof] k|]dsf] zlQmdf .
 P a g e | 25

xfNn]n'ofx :t'lt dlxdf -sf]/; !_ Beat : 4/4

||:Em D |Em |Em D |Em :|| x 2

xNn]n'Oofx :t'tL dlxdf ;j{bf o]z" k|e'nfO{ lbG5f}+
||:Em |D |C |B7 :||
x xNn]n'ofx, xNn]n'ofx, xNn]n'ofx -@_

||:Em |C |D |Em :||

!= s|';sf] alnbfgdf /ut axfpg'eof] -@_
|Em |D |C |B7 :||
kfknfO{ x6fO{ z'4 u/fO{ xfdLnfO{ arfpg' ef] -@_

||:Em |C |D |Em :||

@= pxfFsf] k'g?Tyfgdf cgGt ljho lnO{ cfpg'ef] -@_
|Em |D |C |B7 :||
cfh ltdL xfdLnfO{ oxL ljho lbgnfO{ o]z" hL cfpg'ef] -@_

s|';sf] 5]pdf -ehg %)#_ 4 T I-V IVI I (IVIV)

4 1 2 - a 3 e + 4 (4 e + a)
song
123+4
|C |F G7 |C |G7 D7 |G |
s|';sf] 5]pdf /fVg'xf];\, hxfF d'lQmsf] wf/f 5

|G7 |C |G7 |C |
hxfF kfksf] k|folZrt 5, hxfF kfksf] cGt 5 .

||:F |C |F Dm | G7 |
tkfO{+sf] wGo dfÌ]—5', ;bf d wGo dfÌ]—5', tkfO+{sf]

|C Am |F Dm |G G7 |C :||
cfudg;Dd ;bf d wGo dfÌ] 5' .

|F |C |G7 D7 |G | G7 |C |G7 |C |
s|';sf] 5]pdf ha x'g]5', s[kf k|e' dnfO{ ug{'xf];\ kfk d]/f] Ifdf lbO{ :juL{o /fHo lbg'xf];\, s|';sf]

|F G7 |C ║
5]pdf ha x'g] 5' =====
 P a g e | 26

o]z" d'lQmbftf 4 T I-V IVI I ( Roll 4 -I II II I )

(Salvation Worship Team) 4 1 2-a 3e+ 4 4 1 + 2+ 3+ 4

||: E |% |B |% |A |% |B | B 7 :||
o]z" d'lQmbftf d]/f] x[bosf] /fhf cfpg'xf];\, /fh ug{'xf];\ -@_
||:C#m |F# |AC#m|B |B7:||
pRrdf lj/fhdfg o]z"========
;j{;lQmdfg /fhf======

|Bm |A |E | % |Bm |A |E |
xf]zGgf cfd]g :ju{df, k|z+;f dlxdf k[YjLdf
|F m G m |A | F m G#m |A |F#m G#m |A
# # #
|E B7 ||
r9fpF5f}+ k|=============z+;f, d========== lxdf k|==============z+;f, /fhfnfO{ .

v'zL v'zL dgfpF -sf]/; @(_ 4 T I-V IVI I

4 1 2-a 3e+ 4
1 2 3 4
||:F |Gm :|| ||:F Dm|F Dm F :||
v'zL—v'zL dgfpF, v'zL—v'zL dgfpF -@_ eg—eg k|e' o]z" v|Li6sf] ho -@_

1 2 3 4
b
||:F |Dm C :|| ||:F B |F Dm F :||
d]/f] nflu cfP d]/f], nflu lhP -@_ d]/f] nflu o]z"n] b'Mv p7fP -@_
||:Bb |F :|| ||:C Bb |F :||
d]/f] nflu dfl/Py], d]/f] nflu ufl8Py] -@_ d]/f] nflu af}/L p7] d]/f x'g\ o]z" -@_
|F |% |
d o]z"sf] x'F, xfdL o]z"sf xf}F . v'zL v'zL dgfpF==== bf]¥ofpg' xf];\ .
 P a g e | 27

d 7"nf] zefdf -sf]/; !(@_ 4 T I-V IVI I

4 1 2 -a 3e+ 4

||:F Dm |Bb C7 |F |Bb C7 |F :||

d 7"nf] ;efdf p4f/sf] ;';dfrf/ ;'gfpg]5' d]/f cf]7x? d aGb ug{]5}gF
d d]/f] x[bodf tkfO{+sf] wfld{stfnfO{ n'sfpFlbgF tkfO{+sf] ljZj:tf d 3f]if0ff ug{]5'

||: Am |Bb Gm |Bb Gm|C7 F :||

tkfO{+sf] k|]d, ;Totf d ;bf ufpg]5', tkfO{+sf] k|]d, s[kfdf d xlif{t x'g]5,'
||:Dm |Bb C7 |F :||
-/ ufpg]5' ;'/lIft 5' of] k|]ddf @_

dxfg k|e'nfO{ dlxdf -ehg %!(_ 4 T I-V IVI I

4 1 2-a 3e+ 4
>
1234
|E E7 ||:A B |G#m C#m |A B |E :||
sf] M dxfg k|e'nfO{ dlxdf, k/dk|e'nfO{ k|z+;f
1st 2nd
||:A B |G# C#m |A B |EE7 :||E ||
-of] d]/f] hLjgsf] rfxgf xfNn]n'ofx xf];Ggf -@_

||:C#m |E |C#mF# |B :||

!= jt{dfg d]/f] tkfO{+sf] xftdf, eljio klg tkfO{+sf] ;fydf
||:A |E |A B |E :||
-cfglGbt 5', zflGtdf 5' k|e'x?sf k|e'df @_

||:C#m |E |C#m F# |B :||

@= ;jf{Ë d]/f] o]z"sf] xftdf ck{0f u5{', wGojfb;fydf
||:A |E |A B |E :||
-lglZrt 5' lgw{Ss 5', /fhfx?sf /fhfdf @_

h;} tkfO{+sf] zlQmsf] 3f]if0ff 4 T I-V IVI I

4 1 2-a 3e+ 4
12 3 4
||:A|D E| A A E|F#m E|D Bm7|E7 :||
|F#m|A|D Bm|E|F#m|D|E|F#m|D E|A|

||:E|F#m|D E|A:||
 P a g e | 28

tkfO{+sf] ;fd' d cfpF5' 4

(In to Thy presence I come) 4

|G |C |D |G |
tkfO{+sf] ;fd' d cfpF5' d]/f] sd{—åf/f xf]Og .
|G |C |D |G |
tkfO{+sf] cg'u|xåf/f, l;xfF;g cl3 e'mSb5' .

| C D | G D Em | C D |G |
sf] M ufpFb} o]—z", y'df o]—z" x'g\, y'df o]z" hf] dfl/Psf] lyof]— @

|G |C | D |G |
tkfO{+sf] ;fd' d cfpF5', d]/f] sd{—åf/f xf]Og .
|G |C |D |G |
tkfO{+sf] cg'u|xåf/f, l;xfF;g cl3 e'mSb5' .

||: C D | G D Em | C D |G :||
sf] M ufpFb} kljq, y'df kljq x'g\, y'df kljq hf] dfl/Psf] lyof]— @
||: C D | G D Em | C D | G :||
ufpFb} o] z", y'df o]z" x'g\, y'df o]z" hf] dfl/Psf] lyof]— @

dlxdf u/f}F cf/fwgf -sf]/; &!_ Beat 4

4

12 3 4 123 4
7
|G |% |C |Am C D |G |Em |D |D Bm Am|
dlxdf u/f}F cf/fwgf, o]—z"—nfO{ ;a} dlxdf k|z+;f cfb/ ———xf]——;\
|G |% |C |Am |G |D |C |
dlxdf, /fHosf] clwsf/, l;+xf;gb]lv aU5 xfdLk|lt ufcf}F pg}sf] ufg .
1234
|G |D |Am |G |% |D |Am 7
|B |B7 C D|
pRr kf/f}F, dfly cUNofcf}F o]z"sf] gfpFnfO{ a9fO{ u/f}F, dlxldt kf/f}F, v|Li6 /fhfnfO{
|G |% |C ||: Am |G |D |C :||G||
dlxdf u/f}F, cf/fwgf o]z" d/] cfh dlxldt ag] /fhfx?sf /fhf .
 P a g e | 29

dlxdf lbg]5' -x]klhaf Aof08_ Beat : 4/4

||:E |Cm |A |B :||

dlxdf lbg]5', k|z+;f ug{]5' , :t'lt r9fpFb5', ;+b} d tkfO{+nfO{ -@_
|E |Cm |A |B |
d]/f oL cf]7n], ;b} d ufpg]5', uLt tkfO+{sf], afr'Gh]n;Dd
|E |Cm |A |B |
l;+xf;gdf lj/fhdfg k|e', d]/f] kfknfO{ p7fOnfg]
|E |Cm |A B |E ||
d]/f] s|';nfO{ cfk}m af]sL d[To'nfO{ lhtL dnfO{ arfP

d]/f] hLjg tkfO+{df 5 -sf]/; !))_ 4 T I IV IV (slow feel for :t'lt u5{'===)
4 1 2 3+ 4+

||:G |% |Em |% |C |% |G |D :||

d]/f] hLjg tkfO{+df 5, d]/f] an tkfO{+df 5, d]/f] cfzf tkfO{+df 5 tkfO{+df tkfO{+df -@_
|C |D |G |% |C |D | G |Em |
:t'lt u5{' ;f/f hLjgn], :t'lt u5{ d]/f] ;f/f ann]

1 2 3 1 2 3 Roll...
7 7
|D A D |G |E B E |Am |F |Am |Dsus4 | D ||
;f—/f hL— jgn] d]/f] ;f—/f an—n] d]/f] ;a} cfzf 5 tkfO{+df .
At the End
||:G |% |Em |% |C |% |G |D :||G ||
d]/f] hLjg tkfO{+df 5, d]/f] an tkfO{+df 5, d]/f] cfzf tkfO{+df 5 tkfO{+df, tkfO{+df -@_ tkfO{+df

k|e' prfN5' tkfO{Fsf] gfp sf]/; !$) 4/4

|G C |D C |G C |D C│
k|e' prfN5' tkfO{+sf] gfpF, :t'lt ufpg rfxG5' tkfO+{sf]
|G C |D C |G C |D |
v'zL 5' tkfO{+ xfd|f] hLjgdf, cfpg'ef] xfdLnfO{ arfpg .

Cho:|G C |D C |G C |D C |G C│
-cfpg'ef] :ju{af6 k[YjL af6f] b]vfpg, k[YjLaf6 s|';df xfd|f] C0f r'sfpg s|';af6
1 2 3 4
|D Bm Am |Em D |G C |D C|| Rpeat from Begining
lrxfgdf, lrxfgaf6 cfsfzdf prfN5' tkfO{+sf] gfpF @_
End...
||:Em D |G C :||G ||
prfN5' tkfO{+sf] gfpF .
 P a g e | 30

As The Deer 4 T I-V TVT I

4 1 2-a 3 e + 4

12 3 4
# 2
|D F m|Bm D |G A|D A G |
|D F#m|Bm D2|G A|D|
|Bm|G D2|Em G|| 2/4|Em||

4/4 |F#m F#|D F#m|Bm D2|G A|D||

:ju{df tkfO{+ afx]s sf] 5 4 TV IV –V - V

4 1+ 2+ 3+ 4+

||:A A2 |% |D D2|% |E E7 |% |D D2 |A A2|% :||

:ju{df tkfO{+ afx]s sf] 5, / d}n] rfxg] k[YjLdf tkfO{+ afx]s c? 5}g -@_
#
||:A |A A E |F m |% |Bm |E7 |A|% :||
d]/f] dg / tg xf5{, d]—/f] dg / tg xf5{ t/ k/d]Zj/ x'g\ d]/f] r§fg -@_

Tapalai Dekhnapaun 4 TV I -V IV
4 1+ 2 3+ 4+
||:G|D|C|D:||Em|D|C|D|
||:G|D|C|D:||Em|D|C|D|
|G|D|C|D||Em|D|G|C|G|D|Em|C|%|
|D|Em|C|G|D|Em|C|%|
||:G|D|Em|C:||G|D|Em|C|
|G|D|C|D|G║

My Jesus My Savior 4 T I-V IVI I

4 1 2-a 3e+ 4
7 # #
||:A|E |F C m|D|
|A D|AF#m|G Bm|E7:||

|A F#m|D E|A F#m|B E|

|A F#m|D B|E F#m|E |
|A F#m|D E|A F#m|B E|
|A F#m|D E|A ||
 P a g e | 31

xfdL k|z+;fsf] anL sf]/; %* 4/4

1St 2nd
||:D |% |G Em |A7 :||D D7 |
xfdL k|z+;fsf] anL NofpF5f} k/d]Zj/sf] 3/df -@_
|G |D |A7 |D G A7 |
xfdL r9fpF5f}F tkfO{+nfO{ alnbfgx? wGojf—b—sf]
|G |D |A7 |D ||
xfdL r9fpF5f}F tkfO{+nfO{ alnx? cfgGbsf] .

;dodf pgsf] ;dodf -sf]/; #^_ Beat : 4/4

|C |Dm G7 |C |Dm G7 |C C7 |
;dodf pgsf] ;dodf, ;ayf]s ;'Gb/ aG5g\ pgsf] ;dodf dfu{
|F Dm |Em Am |F G7 |C |
dnfO{ b]vfpgf];\, lbgjlbg l;sfpg'xf];\ ;bf lx8\gnfO[ tkfO{+sf] ;dodf .
|Dm G7 |C |Dm G7 |C C7 |
;dodf tkfO{+sf] ;dodf, ;ayf]s ;'Gb/ 5g\ tkfO{+sf] ;dodf hLjg
|F Dm |Em Am |F G7 |C ||
d]/f] ;'DkG5', :t'lt ;bf ufpg]5', u|x0fof]Uo xf];\ tkfO{+sf] ;dodf .

e]nf ePsf 5f}+ 4 T I -V IV

4 1 2 3+ 4+

|C |F |G |Am |C |F |G | % |
e]nf ePsf 5f}+ o]z" gfpFdf, ;';dfrf/ 3f]if0ff ug{'5
|C |F |G |Am |F |Dm |G |% |
kfk / d[To'df ljhoL o]z" /fh u5{g\, ca ;a} afFRg ;S5g\
║:C |G |F |% :║
cf===cf===d]g=== xfNn]n'ofx -ufpF5f}===_
|C |G |F |% |
ufpF5f}, k|e'nfO{ wGojfb b]pmF
║:C |G |F |% :║
cf===cf===d]g=== xfNn]n'ofx -k|e' enf] 5g\===_
|C |G |F |% |
k|e' enf] 5g\, pxfFsf] k|]d ;bf /xG5,
║:C |G |F |% :║
cf===cf===d]g=== xfNn]n'ofx .

Scale up ║:D |A |G |% :║ D ||
cf===cf===d]g=== xfNn]n'ofx
 P a g e | 32

o]z"n] lnG5g\ pRr cfbf/ sf]/; &$ 4 T I-V IVI I

4 1 2-a 3e+ 4
12 3 4 123 4
|G Am |Bm F G |C D |Bm Em|Am |G Em |
o]z"n] lnN5g\ pRr cfb/, o]z"n] lnG5g\ k|z+;f, k[YjL, :ju{ Ps pRr kf5{g\,
|C A |D |
c? gfpF eGbf pRr Tof] gfpF,
1 2 3 4 123 4
|G Am |Bm F G |C D |Bm Em|Am |G Em |
3'F8f 6]sf}+ cfb/ / elQmdf, To; gfpFdf 6]Sg]5g\ ;a 3'F8f, ;a lha|f]n] :jLsf/f];\ pgL v|Li6 O{Zj k'q,
|C A |D |
dxf/fhf, lbG5f}+ dlxdf
||:G D |Em G|C G |Am D :||
-;a} cfb/ / elQm / zlQm tkfO{+s} x'g\, tkfO{+s} x'g\—@_
||:B7 Em |Am C D |G :||
-k|e' o]z" v|Li6 hLljt O{Zj/sf k'q—@_

k/d]Zj/sf] rf]vf] j]bLdf sf]/; !!! 4 TV-V IVIV TV-V IVIV

4 1e -a 2e+a 3 e- a 4 e+a

||:D |Em |A7 |D :||

sf]M k/d]Zj/sf] rf]vf] j]bLdf, r9fpF5' of] d]/f] jLhg -@_
1 2 3 4 1 2 3 4
||:D AG |A G D :|| ||:D Em|A7 D :||
d]/f] ;f——/f x[—bo—n] -@_ tkfO{n
+ fO{ dlxdf xf];\ -@_

||:D F#m |Bm G |G Em |A7 D :||

!= d]/f] k/d]Zj/ d]/f] ;xf/f, tkfO{+sf] jrg d]/f] Hof]lt -@_
1 2 3 4 1 2 3 4
||:D A G |A G D :|| ||:D Em |A7 D:||
cGwsf/df klg Hof]lt lbg] -@_ tkfO{+nfO{ dlxdf xf];\ -@_

@= prfN5' d]/f oL b'O xft wGojfbsf] e]6L lbgnfO{ -@_

d]/f] ;f/f x[bon] -@_ tkfO{+nfO{ hohosf/ xf];\ -@_
 P a g e | 33

/f]dL !^M!( n] eG5 4 T I-V IVI I

Roman’s 16:19 Says 4 1 2-a 3e+ 4

||:G F |C G :||
/f]dL !^M!( n] eG5 Ù
||: G |F G |Em |F :||
h] c;n 5 To;df a'l4dfg xf}, h] v/fa 5 bf]if /lxt—@

||:G F |C G |G F |C G :||
zflGtsf k/d]Zj/n] z}tfgnfO{ s'Nrg]5g\ xfd|f] v'§fd'lg s'Nrg'x'g]5—@ repeat from the
intro...

d tkfO{+sf] d'xf/ sf]/; @)) 4 T IVIV TI IVIV

4 1 2e+a 3+ 4e+a
||:D G |D A |D :||
-d tkfO{+sf] d'xf/ x]g{ rxfG5'
d tkfO{+sf] d'xf/ vf]hL u5{' —@_

||:G D |G A7 |F#m :||

cf/fwgf u5'{ kljqtfsf] ;'Gb/tfdf -@_
|G A7 |D :||
x[bo ;a vf]nL cfpF5' -@_

||:D G |A F#m|D G|A D :||

:t'lt ufpg, :t'lt ufpg, :t'lt ufpg, :t'lt ufpg
xfNn]n'oxf===
o]z" dxfg===
ODdfg'Pn===

o]z" h:t} 4 T I IV IV
4 1 2 3+ 4+

||:E |A |E |F#m |E E7 |
o]z" h:t}, o]z" h:t} x'g rxfG5' o]z" h:t} yf]/} gfkdf
|A |E |F#mB7 |E :||
xf]Og, pgsf] k"0f{tfdf x'g rxfG5' o]z" h:t} .
 P a g e | 34

:juL{o lktf xfdL (Father In Heaven) 4 TI IVIV TI IVIV

4 1+ 2e+a 3+ 4e+a
|C Em/B |F Dm|F G |C |
:juL{o lktf xfdL k|]d u5f{}F, pRr kf5f{}F tkfO{sf] gfpF
7
|Em A |Dm |F G7 |C G7 |
xfd|f] :t'ltdf :yflkt xf];\ Tof] /fHo h;} u5f}{F dxfg sfdsf] k|rf/ wGo xf];\===
|C Em/B|F Dm |F G |C G7 |C Em/B|F Dm |
k|e' dxfg O{Zj/ hf] lyP, 5g, / x'g cfpF5g\ wGo xf];\ k|e' dxfg O{Zj/ /fh
||:F G7 |C C7:|| Join next song togethar
u5{g h;n] ;bf -@_

d pRr kfg{]5' Tof] gfpF

|F G |Em |F G |C C7|
d pRr kfg{]5' Tof] gpF, d pRr kfg{]5' Tof] gfpF
|F G |E7 Am |F G |C G7 |
d em08f e}+m pRr k5'{ cfsfzdf, d pRr kfg{]5' Tof] gfpF wGo xf];\ k|e'===

|C Em/B|F Dm |F G |C G7 |C Em/B|F Dm |
k|e' dxfg O{Zj/ hf] lyP, 5g, / x'g cfpF5g\ wGo xf];\ k|e' dxfg O{Zj/ /fh
||:F G7 |C C7:||
u5{g h;n] ;bf -@_

dxfg k|e'nfO{ dlxdf ehg %!( Beat : 4/4

>
1234
|E E7 ||:A B|G#m C#m |A B |E :||
sf] M dxfg k|e'nfO{ dlxdf, k/dk|e'nfO{ k|z+;f
1st 2nd
||:A B |G# C#m |A B |EE7 :||E ||
-of] d]/f] hLjgsf] rfxgf xfNn]n'ofx xf];Ggf -@_

||:C#m |E |C#mF# |B :||

!= jt{dfg d]/f] tkfO{+sf] xftdf, eljio klg tkfO{+sf] ;fydf
||:A |E |A B |E :||
-cfglGbt 5', zflGtdf 5' k|e'x?sf k|e'df @_

||:C#m |E |C#m F# |B :||

@= ;jf{Ë d]/f] o]z"sf] xftdf ck{0f u5{', wGojfb;fydf
||:A |E |A B |E :||
-lglZrt 5' lgw{Ss 5', /fhfx?sf /fhfdf @_
 P a g e | 35

/utn] dnfO{ w'G5 -sf]/; *^_ 4 TI IVIV TI IVIV

4 1+ 2e+a 3+ 4e+a

|C Cmaj7/B | Am | F |G |
/utn] dnfO{ w'G5, /utn] hLjg lbG5,
123 4
|F |G7 |C E7|Am Am7 |F Fm/G|
/ut g} d]/f] ;f6f]df cfof], p4f/sf] alnbfgdf, dnfO{ w'G5,
1 2 3 4
|Fm/GC Em/B |Am7 ||: Dm |G7 FG7 |C :||
lxpF eGbf ;]tf] kf/]/, kf/]/ d]/f] o]z", k|e'sf] pQd aln bfg -@_

dlxdf, dlxdf, dlxdf y"dfnfO{ sf]/; @$(_ Beat 4

4

|D |A |G Em|DA7|
dlxdf, dlxdf, dlxdf y'dfnfO{
|D |A |G A |D D7 |
dlxdf, dlxdf, dlxdf y'dfnfO{ sf/0f
|G A |Bm Fm|G A |G D|
pxfF dlxldt / :t'ltof]Uo 5g\, y'df l;+xf;gdf
|G A |Bm Fm|G A |D ||
:t'lt ub{} of] cf]7n] prfnf}F, y'df l;+xf;gdf .

o]z"sf] kl5 d lx8\g nfu]+ -ehg #&^ _ 4/4

|C Cmaj7 | Am Em | F | Dm G |
!= o]z"sf] kl5 d lx8\g nfu]F b'lgofnfO{ Toflu s|';g} af]sL
@= cfdfn] dnfO{, a'afn] dnfO{, ;a}n] dnfO{ Tofu] tfklg .
#= df6f]sf] d]/f] If0feË'/ z/L/, df6}df k]m/L gldn];Dd .

|C Cmaj7 | Am Em ||: C Em | G C :||

!= o]z"sf] kl5 d lx8\g nfu]F -kms{lbFg, kms{lbFg -@_
@= o]z"sf] kl5 d lx8\g nfu]F kms{lbFg, kms{lbFg -@_
#= o]z"sf] kl5 d lx8\g nfu]F kms{lbFg, kms{lbFg -@_
 P a g e | 36

dxfg O{Zj/ -ehg *_ 4 T I-V IVI I

(How Great thou art) 4 1 2-a 3e+ 4

1 2 3 4

||A |D |F m E |E D A :||
!= dxfg O{Zj/ ljrf5{' sfd tkfO{+sf] crDdsf] hf] ;[li6 ug{' ef] . x]5'{
tf/f, ;'G5' uh{g 8/nfUbf], k|s6 ;fdy{ ;+;f/df tkfO{+sf] .

1st 2nd
2/4 |A || 4/4||:Fm D |A |E D |A :||E |D A ||
sf]M k|z+;f xf]O/xf]; O{Zj/sf], slt dxfg, slt dxfg

2/4|| A ||4/4||:A |D |Fm E D |A :||

@= kxf8———kj{t, hËun d ha 3'D5', kIfLx? d ;'G5' ufP sf] . ;'Gb/
kxf8 b]lv d tn x]5',{ snsn cfjfh vf]—nfsf] ;'Gb 5' -k|z+;f===

2/4|| A ||4/4||:A |D |Fm E D |A :||

#= ha lktf n] Psnf}6] k'qnfO{, k7fP hudf kfk p7fpg nfO{ . d]/f]
abnL s|';}df pgL r9L p4f/ d]/f] u/] /ut axfO{ . -k|z+;f===

2/4|| A ||4/4||:A |D |F m E D |A :||

$= hoWjlg ;fy o]z" ;+;f/df cfpF5g\\, c;Ld cfgGb;fy n}hfG5g\ jxfF . ljgd|
;fy pgnfO{ jxfF k'Hg]5', dxfg O{Zj/sf] u5{' k|z+——;f . -k|z+;f===

pgL g} x'g k|e' -sf]/; #&_ 4

4

|D7 |G |Em |D7 |

pgL g} x'g\ k|e' d[To'af6 af}/g] pgL k|e'
|G G7 |C Am |G D7 |G |
x/]s 3F'8f 6]Sg]5g\, x/ lha|f]n] eÌ]5 o]z" v|Li6 g} x'g\ k|e' .
|D7 |G |Em |D7 |
ltdL g} xf} k|e' d[To'af6 af}/g] pgL k|e'
|G G7 |C Am |G D7 |G ||
d]/f 3F'8f 6]Sg]5g\, / lha|f]n] eÌ]5 o]z" v|Li6 g} x'g\ k|e' .
 P a g e | 37

ha w'g lanfpF5====-cf/fwgfsf] x[bo÷Heart of worship_ Beat 4

4

║:E │B │Fm E │B:║

ha w'g lanfpF5, ;a} zfGt x'G5, vfnL xft lnO{ cpFb5' .
s]xL cd'No lrh Nofpg rfxFb5', tkfO{FnfO{ v'zL x'g] .

║:Fm E │B │Fm E │B :║
uLt eGbf eGbf a9L NofpF5', sf/0f uLt dfq g} xf]Og tkfO{+sf] rfxgf .
tkfO{Fn] x[bo leq x]g{'x'G5, aflx/sf] ?knfO{ xf]Og .

sf] M║:E │B │Fm │A B :║

cfpFb}5' kms]{/ cf/fwgfdf ;a} tkfO{F g} xf], ;a} tkfO{F g} xf] o]z" .
Ifdf rfxG5' ;a} uNtLsf] ca tkfO{F g} xf], ca tkfO{F g} xf] o]z" .

║:E │B │Fm │B :║
cgGtsf] /fhf, cj0f{lgo, tkfO{F slt of]Uo .
sDhf]/ ul/a 5' d, ;a} tkfO{F g}, x/]s ;f; klg .

uLt eGbf====
cfpFb5'======

;a} tkfO{F g} xf]=== ║:E│B│Fm│A B │E :║

d k/d]Zj/nfO{ k'sf5{' sf]/; ^@ 4

4

|D A7 |D |D A7 |D |% |A7 |D |
d k/d]Zj/nfO{ k'sf5{', :t'ltsf] of]Uo pgL d d]/f zq'af6 aRg]5' .
||D |G D |G D |A7 :||D ||
k/d]Zj/ lhpF5g\ wGoxf];\ d]/f] r§fg d]/f] d'lQmbftf pRr ul/of];\—@_
End... cf]—cf]—cf] .
 P a g e | 38

/f]lslbg ug{ tkfO+{nfO{ 4

4

║: G |C | G :║
/f]lslbg ug{ tkfO{+sf] cf/fwgf -@_

║: Am | C | Am D | G :║
cf/fwgf, cf/fwgf, cf/fwgf o]z"nfO{ -@_

║: Bm | C | Am D | G :║x 2
s;/L r'k a;'F d o]z" tkfO{+sf] alnbfgnfO{ ;DemL
s;/L kl5 x6'F d o]z" tkfO{+sf] cg'u|xnfO{ b]lv -@_

glhs, glhs, glhs cfpF5' -sf]/; @!(_ 4

2

||D |A7 |G |A7 |Fm|%||X 3 Times

glhs, glhs, glhs cfpF5' tkfO{+sf]
t[Kt, t[Kt agfpg'xf];\ dnfO{ k|]d—n]
glhs, glhs cËfNg'xf];\ dnfO{ k|]d—n]

|G |A7|Bm |G |A7 |D |%|

x[bo cem t[lift 5, lkpg k|]d tkfO{s
+ f]

|G |A7 |Fm|%|G |A7 |D |%|

xft a9fpg'xf];\ k|]dsf] a9fpgf];\ sf]7f x[bosf]

||:G |A7 |D |%:||

c6fpg k|]d tkfO{s
+ f] -@_

You are my all in all 4 T I-V IVI I

4 1 2-a 3e+ 4
12 3 4
|G D|Em Bm|C G D|G D|
12 3 4
|G D|Em Bm|C G D|G|
1st.
||:G D|Em Bm|C D|Em D :||G ||
 P a g e | 39

oL lbg x'g\ olnofsf] e}+m sf]/; (^ 4 T-V -VI -VI IVIV

4 1 a 2 e+ 3 e+ 4e+a

|A |D |A E |A |
!= oL lbg x'g\ olnofsf] e}Fm jrg k|rf/ ug{]
|A |D |A E |A |
oL lbg x'g\ k\e'sf] bf; df]zfsf] e}+m wfld{stf :yflkt ug{] .
|C#m |F#m|D |Esus4 E |
o:t} oL lbg x'g\ 7"nf kl/Iff, clgsfn n8fOFsf ,
|A |D |A E |A |
xfdL xf}F ohf8 :yfgdf s/fpg] :j/ k|e'sf] af6f] agfpm . -x]/ pgL===

1 2 3 4
||:A |D |A |E A E |
sf]M x]/ pgL cfpF5g\ afbndf, ;"o{e}+m rDsFb} t'/xLsf] cfjfhdf, rsf{] ul/

|A |D |A E |A :|| Bridge : |D |A |E |
s/fpm 5'6\sf/fsf] jiff{, l;of]gaf6 ce}m cfpF5 p4f/ -x]/ pgL===

|A |D |A E |A |
@= oL lbg x'g\ OhlsPnsf e}Fm, ;'Vvf x•L z/L/ aÌ]
|A |D |A E |A |
oL lbg x'g\ k|e'sf] bf; df]zfsf] e}F}m, k|z+;f ug{] dlGb/ aÌ]
|C#m |F#m |D |E |A |D |A E |A |
clg oL lbg x'g\ s6gLsf ;+;f/sf v]tx?, xfdL xf}F k|e'sf v]tsf v]tfnf jrg 3f]if0ff ug{] -x]/ pgL====

||:A |D |A |E :||x2
oxj]e}Fm 5}g O{Zj/, oxj]e}Fm 5}g O{Zj/, oxj]e}Fm 5}g O{Zj/, oxj]e}Fm 5}g O{Zj/ -@_

Open the Eyes 4 T-V -VI -VI IVIV

4 1 a 2e+ 3e+ 4e+a
||:E|%|B|%|A|%|E|%:||B|
|C#m|A|B|%|C#m|A|B|%|
||:E|%|B|%|A|%|E|%:||
|E|B|E|B|E|A|%|E||

God of the City 4 T I-V IVI I

4 1 2-a 3e+ 4
Intro: ||:Bbm|G#|F#:||
Song:
||:C#|G#/C#|Bbm|F#:||
|C# G#|F#|C# G#|F#|G#|
Cho: ||:F#|G#|C# G#|F#:||
 P a g e | 40

Lord’s Prayer 4 T I-V IVI I

-k|e'sf] k|fy{gf_ 4 1 2-a 3e+ 4
|DF#|GA|D|D A|G Em|D A|D|D A|D |
|D A|%|G A|D D7|D A|D |
|D Bm|F#m|G|A|D Bm|G|D A|D |
||:D Bm|G D|G A|D :||D A|%|%|| 2/4|D ||

4/4|G|D|A|G|A|G A|D|
He hamra
#
|D F |G A|D|D A|G Em|D A|D|D A|D |
(Aa men x4)
|D|A|G|F#|G A|%|D|%|%||

Prasansa Garau 4 T I-V IVI I

4 1 2-a 3e+ 4
Song ||:A| AD|A|Bm|%|D|E|AD:||
Slow Feel
Verse |A|D E|C#m F#m|Bm E|A|
|D E|C#m F#|Bm A D| Bm A D|
|Bm A D|A|A D|
||:A| A D|A|Bm|%|D|E|A D:||

Verse |A|D E|C#m F#m|Bm E|A|

|D E|C#m F#|Bm A D| Bm A D|
|Bm A D|A|A D|

||:A| A D|A|Bm|%|D|E|A D:||

 P a g e | 41

Come now is the time to worship 4 T-V -VI -VI IVIV

4 1 a 2e+ 3e+ 4e+a

|D|%|Dsus4|D|Asus4|%|
|Em|G|D|%|Dsus4|D|
|Asus4|%|Em7|G|D|%|

Cho: |G|D|G|D|G|Bm|Em7|Asus4|A||

Scale up to E
|E|%|Esus4|E|B|%|
|F#m7|A2|E|%|Esus4|E|
|B|%|F#m7|A2|E|%|
Cho: ||:A|E|A|E|A|C#m|
|F#m7|Bsus4|%:||

Three-Four Brat 3
4
1). 3 T V I 2). 3 T IV I 3). 3 T I IV
4 1 2 3 4 1 2+ 3 4 1 2 3+

4). 3 T IV IV
4 1 2+ 3+
 P a g e | 42

:t'lt xf];\ k|e' v|Li6sf] -ehg !)@_ 3 T -V IV

4 1 2+ 3+

1 5 6 4 5
Intro |C | G | Am | F | G ||
|Dm |% |G |% |G7 |C ||
sf]M :t'lt xf];\, k|e'sf] hohosf/

|C |% |C |% |G |%|C |%|
!= e'Ng] 5}g d, Tof] b[io k|e' o]z"sf]

|C |%|C |% |G |% |C|%|
sNj/L elgg] 7fpFdf pgL 6fFluPsf]

||:C |G |C |% |G |F |C |% :||
xft / kfp / z/L/ pgsf] rf]6}—rf]6n] k"0f{ y] -@_

||:C |F |C |F |% |G7|% |C|%:||

d}n] hfg]F tL ;a} sf/0f d]/f] cwd{ xf] -@_

|C |% |C |% |G |% |C|%|
@= e'Ng] 5}g d, Tof] jrg eg]sf] v|Li6n],

|C |%|C |% |G |% |C|%|
sNj/L elgg] 7fpFdf uDeL/ k|]dsf] efjn]

||:C |G |C |% |G |F |C |%:||
k'q t]/f] cwd{ ;a} kfksf] C0f ltl/;s]F -@_

||:C |F |C |F |% |G7|% |C|%:||

p4f/ 5 t]/f] nflu oxfF sdfPF hf] d}n] -@_
 P a g e | 43

;f/f ;[li6sf] dflns -ehg $&$_ 3 T -V IV

4 1 2+ 3+

||:A |D |A | % |A |C#7 |F#m |% |

sf]M ;f/f ;[li6sf] dflns tkfO{n+ fO{ ;f/f ;[li6sf] /Ifs tkfO{n+ fO{ xfd|f]

|Bm |Bm7 |E |% |E |% |A |% :||

x[bo ;d]tn] cfb/ k|0ffd ;b}j xf];\ tkfO{+sf] u'0fufg .-@_ -;f/f===_

Cho: |A |D |Bm |E |% |A |C#7 |F#m |% |

xf—xf—xf xf—Nn]—n'—ofx, xf—xf—xf xf—Nn]—n'—ofx, xf—xf—xf

|Bm |Bm7 |E |% |A |C#7 |F#m |% |

xf—— Nn]—n'—ofx, xf—xf—xf xf—— Nn]n'—ofx, xf—xf—xf

|Bm |Bm7 |E |% |A |C#7 |F#m |% |

xf———Nn] n'—ofx, xf—xf—xf xf——Nn]— n'ofx, xf—xf—xf

|Bm | Bm7 |E |% |A |D |A ||
xf——Nn]—n'—ofx, cf— d]g .

!= ||:Bm |E |A |% |A |D |Bm | % |
;a ;+;f/ 6n]/ hfg]5, 6Ng] 5}g tkfO{s
+ f] jrg, la—

|E |% |Bm |% |E |% |A |% :||
t]/ hfg]5 of] hLj— g t/ ljZjf;L db{}g slxNo} . -;a===_

||:Bm |E |A |% |A |D |Bm | % |
@= gofF :ju{ / ;+;f/ x'g]5, ljZjf; ug{] ;a}sf] lgldQ k| —

|E |% |Bm |% |E |% |A |% :||
z+;f cfb/ x'g]5 ToxfF xfd|f k/d k|]dL lktfnfO{ -@_ -gofF===_
 P a g e | 44

cf/fwgf o]z" 3/4

│A ║:D │E│A│% │D │E │Fm │% │

ca d 36\5', o]z" tkfOF{ a9\g'xf];\ d]/f]

│ D │E │A │% │D │E │Fm│%:║
lz/ e'msfpFb5', o]z" tkfOF{ prflng'xf];\ — @

║:Bm7│%│E│%│Fm │E │D│%│
lbg t s]xL 5}g, o]z" d]/f] df

│Bm7│% │E│%│Fm │E │D│% :║

lbg t olx ;S5', cf=========/f==wgf — @

║:A │%│Fm│%│D │E │A│%:║

cf/fwgf, cf/fwgf cf/fwgf o]z" —@

cfh ef]nL -ehg #*&_ 6/8

||:G |D7 |C D7 |G :||
sf] M cfh ef]nL e/] eGb} hLjg oxfF c:tfpF5
||: G | D7 |% | G :||
-v|Li6nfO{ dfof ug{] dfG5] d[To'kfl/ pbfpF5 —@_
|G D7 |D7 G |D7 |G |
!= d]/f] x[bosf] d"lt{x?nfO{ v|Li6 x6fO alS;of];\
|G C |D7 |% |G |
v|Li6 d]/f] /fhf, dflns, oxfF /fh ul/ alS;of];\,
|G D7 | D7 G | D7 |G |
ljut lbgx? Joy{} u'dfPF, jt{dfg r9fpF5'
|G C | D7 |% |G|
o]z"sf] k|]dsf] sxfgL ;anfO{ uLtaf6 ;'gfpF5\ .
|G D7 | D7 G | D7 |G |
@= ljZjdf ;Fw} d a:g] xf]OgF, a6'jf dfq x'F,
|G C | D7 |% |G|
of] af6f] k]ml/ d lx8\g] 5}g Ps lty{—ofqL x'F,
|G D7 | D7 G | D7 |G |
ljhoL v|Li6sf] zlQmn] ;a} st{Jo ;'NemfpF5'
|G C | D7 |% |G|
 P a g e | 45

;Dk"0f{ sfo{ z]if ePkl5 d :jb]z lkmg{]5' .

Silent Night 3 T -V IV
-zfGtdo /ft_ 4 1 2+ 3+

| C | Em | C | Em | G | G7 | C | % |
| F | Fdim | C | % | F | Fdim | C | % |
| G | G7 | C | Am | C | G7 | C | % ||

6 ( Six-Eight Beat )
8

> (Play Loud)

Showers of Blessing 6 TII III
-kg{]5 cflzifsf] em/L_ 8 1 23 2 23
Foot Tap- 1 2
kg{]5 cflzifsf]
| A E7 | A | E E7 | A | D | A | F#m | E E7 |

VS: | A E7 | A | % | E E7 | A E | A | E | A ||

>
Kholakhola Dhoka 6 TIV IIV
8 1 2 3 2 23
Foot Tap- 1 2

||: G | C G | D | % | D | % | % | G D | G :||

VS||:D G | % | % | C | G :||
| G | % | D | G D | G ||
 P a g e | 46

xl/of] vs{df -sf]/; @%@_

||:E |% |%|%:||x2
sf] M nfNnf nf, nf nf nf nf,

||:E |Fm|A |E |% |Fm |A |E :||

xl/of] vs{df dnfO{ r/fpg' ef], d]/f] cfFvfsf] cfF;' k'5\g' eof] -@_
||:A |% |B |% |%|% |E |%:||
x] o]z", tkfO{+ d]/f] klxnf] k|]d -@_

||:E |% |% |%:||
dnfO{ o]z" rflxG5, ltdLnfO{ o]z" rflxG5,
xfdLnfO{ o]z" rflxG5, ;a}nfO{ o]z" rflxG5 .

||:A |% |B |% |%|% |E |% :||

x] o]z", tkfO{+ d]/f] klxnf] k|]d -@_

||:E |% |%|% |B |%:||x2

!= ;+;f/sf] kfgLn] d]l6Fb}g d]/f] lt[i0ff -@_
x] o]z" ===-@_
dnfO{ o]z" rflxG5, ===

@= k/fO{nfO{ cfˆgf] 7fGg'of], k|]dlxgnfO{ k|]d ug{' of] -@_

x] o]z" ===-@_
dnfO{ o]z" rflxG5, ===

>
National Anthem 6 TIV IIV
(;o y'+sf k'mnsf xfdL) 8 1 2 3 2 23
Foot Tap- 1 2

Keyboard Melody
| Gm | % | Gm F | Gm | Bb | Gm | Gm F | Gm |
Song: ||: Gm | % | Gm F | Gm |Bb | Gm | Gm F | Gm :||

| Gm | Dm |Eb | F | Gm F | Eb F | Bb F | Bb |
||: Gm | % | Gm F | Gm |Bb | Gm | Gm F | Gm :||
| Gm | Dm | Eb | F | Gm F | Eb F | Bb F | Bb | F | Bb ||
 P a g e | 47

o]z" x'g\ d]/f] s:tf] ljnf; -ehg @*!_ 9/8

|C |F |C |C G D |G C |
o]z" x'g\ d]/f] s:tf] ljnfz, lb+b5g\ dgdf dlxdfsf] cfz d'lQmsf]
|C F |C |F G7 |C ||
eflu :ju{ d]/f] 3/, pgdf d a:5' ;Fw} lg8/ .

|C F |C |F C D |G G7 |
sf] M of] d]/f] xfn 5, of] d]/f] ufg, u5"{ k|z+;f k|lt lbg} of] d]/f]
|C F |C |F G7 | C ||
xfn 5, of] d]/f] ufg, u5{' k|z+;f k|lt lbg} .

@= k'/f e/f];f, cfgGb / ;'v, ca d]/f] dgdf, g zf]s g b'Mv, v|Li6af6

eof] bofsf] 1fg, b'tu0f ca u5{g\ k|]dsf] avfg .

Inter : |C|%|G|%|Am|%|F|%|G7|%|C|%||

#= ljZjf; d /fV5', v|Li6 d]/f] gfy, pg}df a:5' ;'/Iff;fy, pg}df

k|]dn] kfpF5' lj>fd hfg]5' cGtdf :juL{o wfd .

Common Chord Progressions In Major Scales

Key I ii iii IV V vi vii 0 I

C: C Dm Em F G Am B dim C

D: D Em F#m G A Bm C#dim D

E: E F#m G#m A B C#m D#dim E

F: F Gm Am Bb C Dm E dim F

G: G Am Bm C D Em F#dim G

A: A Bm C#m D E F#m G#dim A

 P a g e | 48

Common Chord Progressions In Minor Scales

Key i ii 0 III iv V VI VII i

Am: Am Bdim C D /Dm Em F G Am

Bm: Bm C#dm D E /Em F#m G A Bm

Cm: Cm Ddim Eb F /Fm Gm Ab Bb Cm

Dm: Dm Edim F G /Gm Am Bb C Dm

Em: Em F#dim G A /Am Bm C D Em

Fm: Fm Gdim Ab Bb/Bbm Cm Db E Fm

Gm Gm Adim Bb C /Cm Dm Eb F Gm

Chord Construction
Major = 1 3 5(Triads: 1, 3 & 5)

Minor chord: 1, 3b, 5 notes in the scale.

Major 7 chord: 1, 3, 5, 7 notes in the scale.

Minor 7 chord: 1, 3b, 5, 7b notes in the scale.

Dominant 7 chord: 1, 3, 5, 7b notes in the scale.

Diminished chord: 1, 3b, 5b, 6 notes in the scale.

Augmented chord: 1, 3, 5# notes in the scale.

6 th chord: 1, 3, 5, 6 notes in the scale.

Suspended chord: 1, 4, 5 notes in the scale.

 P a g e | 49

7th CHORDS
Major 7th = 1 3 5 7 = C∆
Dominant 7th (1, 3, 5 & 7) = 1 3 5 b7 = C7
Minor = 1 3 5 7 = C−
Diminished = 1 b3 b5 bb7 (6th) = C°
Dom. 7th #5 = 1 3 #5 b7 = C7+5
Minor/Major 7th = 1 b3 5 7 = C−∆
Half-diminished = 1 b3 b5 b7 = CØ
 P a g e | 50

Finding key signatures

 P a g e | 51

Major Scale Intervals

The major scale is an important scale. It contains a repeating pattern of seven notes at
specified intervals of whole and half steps. Numbers are often used to designate the degree
of the scale in the repeating pattern. The degrees are given in numbers or roman numerals
(as shown).

Major Scale Intervals (W = Whole Step, H = Half Step)

Each major scale is related to a major key. For example, the key of C (major) corresponds
to the C Major Scale. When indicating a major key, you can omit the word major. It is
assumed. The key of C is the simplest key to learn the scale because it contains no
accidentals (no sharps or flats). You can play the C Major Scale below in open position.

When you first practice scales, I recommend playing from root note to root note ascending
and descending (as shown here). The notes, in order, are C – D – E – F – G – A -B – C – B
-A -G -F – E – D – C.
 P a g e | 52

Two Ways to Form a Major Scale

I want to show you how to form an F Major scale because it uses an accidental. Scales are
always spelled in alphabetic note order. So the F Major scale would be spelled as F-G-A-B-
C-D-E. The problem is that this is not a major scale. It is actually the Lydian Mode. To
make it a major scale, we need to fix the intervals with accidentals. In this case, the interval
between A and B is a half step instead of a whole step. Therefore, we need to flat the B to
make it a half step. Now you have F-G-A-Bb-C-D-E, the F Major Scale.

It is important that you never use the same letter twice. Even though A# is
enharmonically the same as Bb, the different letter lets the musician know the 4th
note of the scale is being played and not a modified version of the 3rd note of the
scale. This convention is helpful when musicians communicate.

Spelling the Major Scale by Key

Another way to form the scale is to learn/memorize the number of sharps and flats in the
key. For example, the Key of F is known to have one flat, Bb. Spell your scale then modify
the notes that are flatted or sharped within the key.

Major Key Signatures (Sharps)

 P a g e | 53

Major Key Signatures (Flats)

Spelling the Major Scale by Whole/Half Steps

To make sure you know how to form the scale, I provided a step-by-step.

1. Start with the root note for the key you are using. In the key of F, your root is F.
2. Follow the interval formula for a major scale (W-W-H-W-W-W-H).
1. A whole step up from F is G.
2. A whole step up from G is A.
3. A half step up from A is Bb. To maintain a half step, we must use
accidentals. In this case it is a flat.
4. A whole step up from Bb is C.
5. A whole step up from C is D.
6. A whole step up from D is E.
7. A half step up from E is F. E to F is naturally a half step.

F Major Scale in Open Position

 P a g e | 54

F Major Scale on the 6th String

You can also play the scale on a string. I think this is one of the best ways to learn the step-
pattern. Play the pattern below, then repeat it from frets 13 to the end of your fretboard if you
have access to them. Play it ascending and descending. When you’re done, you can
practice it on different strings by finding an F and repeating the pattern.

F Major Scale Intervals on the Fretboard (6th String)

Mid-Lesson Practice
I recommend two exercises to help you learn the major scale pattern and sound. It is
important that you hear the sound of the scale. I often recommend playing a Major chord
before playing this scale. It helps you hear the scale. For example, play a C Major chord
then play a C Major scale.

Exercise 1: Write the notes of all the major scales. You can check yourself (or cheat) with
my list of major scale notes.

Exercise 2: For every key, play the major scale on each individual string. Say the notes as
you play them. Sing them if you can. Pay attention to the sound and the steps. This is
useful because you will sometimes want to move up or down the neck with a scale and this
exercise helps you learn one way to do that.

Learning the Major Scale Patterns

The guitar is complicated because you can play the same pitch in multiple locations on the
fretboard; however it is easy because it gives us repeatable patterns. This section will teach
you several major scale patterns.

There are three ways to learn scales on the guitar: Notes, Intervals, and Patterns. You
already learned the major scale in two ways, by notes and intervals. This section will explore
the third, which is probably the most fun.
 P a g e | 55

Three ways to learn the C Major scale:

1. By Note: C, D, E, F, G, A, B, C
2. By Interval: W-W-H-W-W-W-H (The Major Scale Formula)
3. By Pattern: explained below

Single-Octave Patterns
Single-octave patterns are the simplest patterns to learn. They can be chained together to
form multi-octave patterns, and they allow you to play the scale anywhere on the fretboard.
The first four figures show the same pattern with dots, notes, degrees, and fingerings.

Major Scale Pattern in Degrees

Major Scale Pattern Fingerings (least commonly seen)

 P a g e | 56

Major Scale Pattern in Dots

C Major Scale Pattern in Notes

Playing the Pattern

The notation below shows how you can play the single-octave pattern.

C Major Scale – Playing the Single-Octave Pattern

How to Focus Your Practice

Learning the major scale is a big deal. I recommend the following ordered approach to
practicing it.

1. Learn how to form the major scale notes.

2. Learn the single-octave patterns first. Learn them from the root notes of the chords
that you know. This simplifies your effort in finding the scale.
3. After you’re playing single-octave patterns, you’ll want to extend them. Start by
playing an octave higher (12 frets up). Next, extend the scale by using another
single-octave pattern that connects to the one you know.
4. Learn how to play the major scale along a single string. This will help you extend the
scales even more.
5. Next, you’ll want to explore the box patterns. You can find your single-octave
patterns within the box patterns.
 P a g e | 57

Practice Exercises
Please use my order of practice above and apply the following exercises to those
ideas. Remember to say the notes as you play them. Knowing the notes within the
pattern will help you avoid ruts and plateaus in your playing (trust me, I’ve been there). This
is one reason why I associate the chords with the box patterns.

Single-Octave Practice
1. Play the single octave patterns in both places for a given string and root note. Say
the notes as you play them.
2. Form diagonal patterns by playing 6-2 and 4-2, 5-2 and 3-1.
3. Form box patterns by linking the single octave patterns: 6-2 & 4-4, 6-4 & 3-1
4. Practice alternate picking while playing the patterns. This will help you improve your
speed.
5. Use a metronome to play in time properly.

Single-String Practice
1. Play a single octave pattern. At the end, play the next octave on a single string until
you run out of room. Practice ascending and descending.
2. Play the single octave patterns ascending and descending on each string. Start from
a chord’s root note at that location.

Box Pattern Practice

1. Play a chord then play the box pattern associated with that chord form.
2. Play all 5 box patterns in two locations. Ex: 6-2 Box rooted on the 5th and 17th
fret. This is an A major scale pattern.
3. Practice shifting between the box patterns. Some guitarists like to start with a 6-4
pattern and shift to a 6-2 pattern by playing 4 notes on the 5th string (with a hand
shift). Try this with other patterns. Shift the box on the string before or after the root
note. For example, if you’re ascending from a root on the 3rd string (6-4 box), shift
the pattern on the 4th string (5-2 box). If you’re descending from 5-2, shift the
pattern on the 2nd string (6-4).
4. Practice alternate picking while playing the patterns.
5. Try connecting the patterns with the same pattern an octave higher. Use the major
scale on a single string to connect them.

Final Words
You will want to spend a lot of time on the major scale. It takes a while, I’m not going to
lie. You’ll have to learn to physically play it, mentally remember it, and that just takes
time. Learn it in pieces. Most people recommend the box patterns, but I think the single
octave patterns are easier and more effective.

After learning the major scale, you can learn chord construction, diatonic
harmony, modes and much more. As always, you can find all these topics in Guitar Lesson
World The Book.
 P a g e | 58

The scale degrees are:

 1st: Tonic
 2nd: Supertonic
 3rd: Mediant
 4th: Subdominant
 5th: Dominant
 6th: Submediant
 7th: Leading tone
 8th: Tonic

Triad qualities

Seventh chord qualities

The seventh chords built on each scale degree follow a distinct pattern. The roman numeral
analysis is shown in parentheses.

 1st: Major seventh chord (IM7)

 2nd: minor seventh chord (ii7)
 3rd: minor seventh chord (iii7)
 4th: Major seventh chord (IVM7)
 5th: Dominant seventh chord (V7)
 6th: minor seventh chord (vi7)
 7th: half-diminished seventh chord (viiø7)