Belmont University

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Composition/Recording Projects School of Music

Fall 11-20-2020

Exploring the Gospel Fusion Arrangements of The Recording

Collective
Tyler Williams
tylerbwilliamsmusic@gmail.com

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Williams, Tyler, "Exploring the Gospel Fusion Arrangements of The Recording Collective" (2020).
Composition/Recording Projects. 2.
https://repository.belmont.edu/music_comp/2

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 EXPLORING THE GOSPEL FUSION ARRANGEMENTS OF
THE RECORDING COLLECTIVE

By
TYLER WILLIAMS

A PRODUCTION PAPER

Submitted in partial fulfillment of the requirements for the degree of

Master of Music in Commercial Music, Media Composition and Arranging
in the School of Music
of the College of Music and Performing Arts
Belmont University

NASHVILLE, TENNESSEE

November 2020
 Acknowledgements

This project would not have been possible without the contributions of numerous

individuals. I first want to thank Dr. Tony Moreira for being such an encouraging

presence during my time here at Belmont. The fruits of his musical instruction can be

seen and heard in the arrangements included in this production. Thank you also to Keith

Mason and Dr. Peter Lamothe, whose seminar classes directly impacted the trajectory

and execution of this project.

I am deeply grateful to the musicians whose incredible talents brought pure magic

to the recording process. These arrangements would merely be notes on a page without

the performances of Danny Marquez, Winner Olmann, Danny Diaz, Hunter Spivey,

Krystal Gutierrez, Justin Barahona, Dwight Hernandez, and Mykeyly Hernandez. Thank

you to my good friend, Eric Uplinger, for going above and beyond, working miracles and

lending your professional ear to the production and mixing of these recordings.

I want thank Dr. Chuck Lewis for encouraging me to begin graduate studies and

for first introducing me to the joys of church music ministry. Christian Ramos, thank you

for allowing my musical and ministerial gifts to grow and flourish during our time in

ministry together, and for introducing me to the magic of secondary dominant

progressions nearly a decade ago! Thank you to my mother, Leslie Howington, for your

unending love and encouragement. And most importantly, I would like to thank God, the

giver of all gifts, who is worthy of every word that is ascribed to Him in the lyrics of the

songs found within this project.

iii
 Contents

Tables................................................................................................................................... v

Examples ............................................................................................................................ vi

Presentation of Material

Introduction ............................................................................................................. 1

Chapter 1: Historical Background ........................................................................... 6

Chapter 2: Gospel Instrumentalists and Their Techniques .................................... 21

Chapter 3: Gospel Vocalists and Their Techniques .............................................. 35

Chapter 4: Analysis of Three Songs by The Recording Collective ....................... 42

Chapter 5: Analysis of Three Original Gospel Fusion Arrangements................... 73

Chapter 6: The Production Process ..................................................................... 100

Conclusion ........................................................................................................... 118

Appendix A: Chapter Four Scores................................................................................... 121

Appendix B: Chapter Five Scores ................................................................................... 178

Appendix C: Additional Gospel Fusion Arrangements ................................................... 226

References ....................................................................................................................... 256

iv
 Tables

1. “Christ Be Magnified” Programming List................................................................... 101

2. “King of Kings” Programming List............................................................................. 102

3. “Lion and the Lamb” Programming List ..................................................................... 102

4. “Who You Say I Am” Programming List ................................................................... 102

5. “Yes I Will” Programming List ................................................................................... 102

6. Drum Set Microphone List .......................................................................................... 104

v
 Examples

2.1 Tritone substitution for V7 to I .................................................................................... 30

2.2 Tritone substitution for V7/IV to IV ............................................................................ 30

2.3 Backcycling found in “Love Theory” by Kirk Franklin.............................................. 31

2.4 Major pentatonic scale ................................................................................................. 32

2.5 Minor pentatonic scale................................................................................................. 32

2.6 Blues scale ................................................................................................................... 32

2.7 “Amazing Grace” gospel waltz version....................................................................... 32

2.8 Walking bass line......................................................................................................... 33

4.1 Phil Wickham verse ..................................................................................................... 46

4.2 The Recording Collective verse .................................................................................. 47

4.3 Secondary dominant chords......................................................................................... 47

4.4 Bass pedal point ........................................................................................................... 48

4.5 Example of background vocal harmonies ................................................................... 48

4.6 Soloist’s melismas atop background vocalists’ melody .............................................. 49

4.7 Sixteenth-note figure ................................................................................................... 50

4.8 Phil Wickham intro ...................................................................................................... 50

4.9 The Recording Collective intro ................................................................................... 51

4.10 Staccato eighth-note pairs begin each measure ......................................................... 52

vi
4.11 Quarter-note chords in the chorus ............................................................................. 52

4.12 Drums-only chorus with light rhodes ........................................................................ 54

4.13 Bridge 3 with three-part harmony and inversions ..................................................... 55

4.14 Bethel’s pushed plagal cadence ................................................................................. 57

4.15 The Recording Collective chorus with added chords ................................................ 58

4.16 The Recording Collective’s “praise break” section ................................................... 59

4.17 Melismas follow blues and pentatonic scales ............................................................ 60

4.18 Bethel Music intro ..................................................................................................... 61

4.19 The Recording Collective intro ................................................................................. 61

4.20 Chris Tomlin intro ..................................................................................................... 64

4.21 The Recording Collective intro ................................................................................. 64

4.22 V7/V in the bridge ...................................................................................................... 65

4.23 Chris Tomlin verse .................................................................................................... 65

4.24 The Recording Collective verse ................................................................................ 66

4.25 Examples of melismas ............................................................................................... 67

4.26 Countermelody sung by background vocalists .......................................................... 67

4.27 Bass guitar riff ........................................................................................................... 68

4.28 Drums-only chorus with rhythmic accents ................................................................ 69

4.29 Chorus with greatest amount of growth .................................................................... 70

5.1 Bethel Music verse ...................................................................................................... 75

5.2 Gospel fusion verse ..................................................................................................... 76

5.3 Bridge reharmonization ............................................................................................... 77

vii
5.4 End of the bridge in Bethel Music version .................................................................. 78

5.5 End of the bridge in gospel fusion version .................................................................. 79

5.6 Bethel Music intro ....................................................................................................... 79

5.7 Gospel fusion intro ...................................................................................................... 79

5.8 Gospel fusion band jam section ................................................................................... 80

5.9 Gospel fusion new verse progression .......................................................................... 84

5.10 Verse 3 reharmonization ............................................................................................ 84

5.11 Multiple deceptive cadences in the gospel fusion version ........................................ 85

5.12 Hillsong Worship intro hook ..................................................................................... 86

5.13 Gospel fusion intro hook ........................................................................................... 86

5.14 Gospel fusion fourth verse ......................................................................................... 88

5.15 Gospel fusion eight-bar build .................................................................................... 90

5.16 Gospel fusion first verse ............................................................................................ 92

5.17 Reharmonization of the instrumental hook ............................................................... 93

5.18 Reharmonization that points toward Gm7 ................................................................. 93

5.19 Busy chord changes in the final chorus ..................................................................... 94

5.20 Praise break section ................................................................................................... 96

5.21 Bridge tags section..................................................................................................... 99

viii
 Introduction

The Recording Collective is a series of gospel-influenced arrangements produced

and published by MultiTracks.com. These arrangements are marketed as resources for

worship leaders and members of multicultural congregations worldwide. The goal of The

Recording Collective “is to bring musicians and singers together spanning across

multiple genres and languages to create highly creative and fresh congregational

arrangements that will breathe new life into timeless songs for the global Church” (The

Recording Collective 2019).

This diverse collection of artists and producers has created three EPs and

numerous singles of urban-gospel and R&B-influenced arrangements of popular

contemporary Christian worship songs, all written to foster cross-cultural connections in

congregational worship settings. This project aims to explore the different musical

techniques used in the gospel fusion style of The Recording Collective and to create and

record new arrangements of current contemporary worship songs that employ those

techniques.

In his book I Hear Music in the Air: Gospel-Style Piano Technique, Thomas W.

Jefferson emphasizes the ways in which black gospel musicians put their own stamp on

sacred music by “altering its rhythmic, harmonic, and melodic components,” creating a

new style of delivery he calls “the gospel sound” (Jefferson 2013, 5). Since 2016, The

Recording Collective has been putting their stamp on popular, contemporary Christian

1
 2

worship songs by crafting new gospel arrangements that can be used in many

churches and cultural contexts. The Recording Collective is one of a handful of emerging

artists in what can best be described as the “gospel fusion” genre, which blurs the line and

bridges the gap between predominantly white contemporary Christian music and black

gospel music.

The first chapter of this document gives an overview of the historical

development of gospel music in the late twentieth and early twenty-first centuries,

providing an important framework and background to the contemporary gospel music we

hear today. Some key highlights include gospel pioneers like Thomas A. Dorsey, the

influence of R&B and soul music, and the inclusion of and greater dependence on drums

and rhythm sections in the genre. Finally, this chapter researches the rise of contemporary

artists such as Kirk Franklin, Hezekiah Walker, and Israel Houghton, and their influence

on the contemporary gospel style found in the music of The Recording Collective. The

mainstream appeal of The Recording Collective is a key factor to their success; the

source material for their gospel arrangements consists of songs found outside the genre of

gospel music. As such, this paper’s historical overview highlights many of the gospel

artists who experienced mainstream success with non-black audiences. Some of these

artists include Mahalia Jackson, Andraé Crouch, and “Professor” Alex Bradford (Shearon

et. al. 2012).

Chapter Two focuses on the various stylistic elements used by gospel

instrumentalists. This includes a list of instruments frequently used in the genre, as well

as the techniques employed on these instruments. Thomas W. Jefferson’s aforementioned

 3

book proves to be a valuable tool in unpacking some of the harmonic and rhythmic

motifs commonly found in gospel music (Jefferson 2013).

Chapter Three highlights the stylistic elements employed by gospel vocalists,

including melodic treatment, improvisation, call and response, three-part harmony, and

the use of blue notes (Shearon et. al. 2012). An exploration into the prominence of gospel

choirs is included.

Chapter Four consists of comprehensive analyses and transcriptions of three songs

arranged by The Recording Collective. This analysis identifies the commonly used

structural and artistic characteristics found in The Recording Collective’s arrangements.

In order to explore an eclectic mix of arranging techniques, three songs from The

Recording Collective’s 2017 album Gospel Vol. 2: Every Praise are examined. Each song

has been previously recorded by other artists and is now presented in a fresh gospel

setting on this album. The first song is the 6/8 ballad arrangement “Good Good Father”

(featuring Onaje Jefferson). This song has been recorded by many non-gospel Christian

artists, most notably Chris Tomlin. The second song, “King of My Heart” (featuring

Crisabel Clack) is a gospel ballad in 4/4 that adds new instrumentation and an extended

praise break to a song originally recorded by Bethel Music. The final song is the up-

tempo arrangement of Phil Wickham’s “This Is Amazing Grace” (featuring Onaje

Jefferson), which turns a standard pop-rock arrangement into a gospel shuffle featuring

swung sixteenth notes and complex syncopations.

Thorough analysis of these three songs demonstrates The Recording Collective’s

ability to arrange in various tempos, styles, and complex rhythm patterns. These new

arrangements are also compared to their original contemporary Christian counterparts,

 4

noting the musical modifications made in the Recording Collective arrangements. Lead

sheet transcriptions are provided in the appendices. These charts give an accurate

notational window into the treasure trove of gospel techniques and arranging prowess

from which a clear “Recording Collective sound” can be identified.

Chapter Five aims to analyze original gospel arrangements created for this

project. I have written five original arrangements of contemporary worship songs in the

gospel style of The Recording Collective. The song list includes “Lion and the Lamb” by

Bethel Music and Leeland Mooring; “Christ Be Magnified” by Cody Carnes; “Worthy of

Your Name” by Passion; “Yes I Will” by Vertical Church; and “King of Kings” by

Hillsong Worship. Each song comes from a different non-gospel artist and provides

opportunities to create fresh gospel arrangements in various tempos, styles, and meters.

The influences of the Recording Collective listed in Chapter Four, as well as gospel

music research found in Chapters Two and Three, has been employed in creating these

new arrangements. As with the Recording Collective transcriptions, lead sheets and

rhythm charts have been created for these arrangements. In order to provide in-depth

analysis, this chapter focuses on only three of these arrangements: “Lion and the Lamb,”

“King of Kings,” and “Yes I Will.” Comparisons have been made to the recordings by

the original artists, demonstrating the similarities and differences between the original

source material and the newly created gospel arrangements.

Chapter Six documents the recording and production process, including all

personnel, equipment, software, and studios used. A key component of the urban gospel

style is one of improvisation and a certain flexibility and freedom given to the

instrumentalists and vocalists. As such, this chapter notes the magical moments in the
 5

studio in which a player or singer deviates from my charts and add their own stylistic

interpretation to the process.

The final chapter concludes and summarizes the paper. One of the most important

implications for this project is its usefulness in corporate worship settings. This project

will benefit other musicians by introducing them to complex musical techniques and

providing them with well-crafted sheet music and recordings. The conclusion emphasizes

the value of creating notated and recorded arrangements in this style and exploring the

ways in which it can give churches of all backgrounds the ability to connect to a wider

audience through the use of urban gospel techniques in congregational worship.

 Chapter One – Historical Background

The music of The Recording Collective belongs to a newly emerging subgenre of

gospel music that I call “gospel fusion,” in which worship songs primarily written by

white songwriters are arranged and performed with contemporary gospel music

techniques. The term fusion is used because in this style, key musical elements of many

non-gospel artists are fused together with the stylistic techniques of gospel artists. The

result is a genre that retains many of the musical components that it has absorbed, while

simultaneously remaining squarely within the gospel music genre. A clear understanding

of the history and development of gospel music is essential before analyzing the music of

The Recording Collective, and certainly before arranging music in this style.

While gospel music has multiple manifestations in white and black communities,

this paper’s use of the term “gospel music” follows the common usage among African

Americans and refers to black gospel music. Don Cusic notes that unlike other forms of

gospel music, black gospel has “a distinctive, identifiable sound making much use of

jazz-derived rhythms and blues singing” (Cusic 2011, 53). Gospel music combines

“religious lyrics, the biblically based storytelling of the spirituals, the close harmonies of

jubilee, the rough-edged testifying voices of African-American preachers, and the beat

and improvisational musical and lyrical characteristics of the blues” (Darden 2014, 90).

James Kinchen considers gospel music to be both a genre and a style (Kinchen

1986, 11). It is a genre because “it is an established and identifiable class of music in

6
 7

which people create” and a style because “it can be—and often is—imposed on

virtually any type of musical material, in much the same way that a jazz musician can

take a show tune, a ballad, a spiritual, etc. and treat it so that it emerges sounding very

much like an original jazz composition” (Kinchen 1986, 11).

Kinchen also lists five major reasons for the popularity of gospel music over the

years. First, there is a cultural connection to the black community. He states that gospel

music “is not only a cultural identifier, but also a cultural unifier. It is a powerful vehicle

for bringing together people who share a common history, common experiences, and

reactions to those experiences” (Kinchin 1986, 12). Secondly, there is a social impact as

gospel music brings communities together. The third reason is the aesthetic impact as

gospel music gives artists a powerful medium of expression. The fourth reason is the

religious connection. The word gospel means “good news” and for many, “the music and

the message are inextricably intertwined. It has profound personal meaning and is

something they feel to be worth sharing” (Kinchin 1986, 12). Lastly, Kinchen considers

gospel’s recreational impact, saying, “it is invigorating and cathartic. Gospel music is

fun!” (Kinchin 1986, 12).

Early Roots

Gospel music emerged as its own distinct genre in the 1930s, drawing from

“spirituals, jubilee singing, the blues, and hymnody from various traditions.” (Shearon et

al. 2012). Early on, the differences between black and white gospel music was “more in

its performance practice than in its content” (Wilhoit 2005b, 293). Additionally, the roots

of gospel music in the black community go back much farther than white evangelists

(Wilson-Dickson 1992, 201). Even contemporary gospel music shares traits with the
 8

African music that slaves brought to the Americas; these include musical elements like

call-and-response, rhythmic dominance, blue notes, frequent improvisation, and the use

of music as a teaching tool (Shearon et al. 2012).

Though gospel music traces its roots back to the early black American experience,

it is notably different than the black spirituals that came before it. Teresa Reed considers

gospel music and spirituals as two different approaches to early hymnody available to

black Americans. She says, “while the slaves welded, reworked, and simplified a good

many of these hymns into what we now call spirituals, postslavery black Pentecostals

enlivened many of the same hymns with upbeat tempos, vocal embellishment, and

instrumental complexity” (Reed 2012, 17).

At the turn of the twentieth century, the “sanctified church” movement began to

grow as an extension of modern Pentecostal revivals. The praise and worship style of the

sanctified church was not constrained by traditional concepts of worship and made use of

secular musical elements such as ragtime, blues, and jazz (Wilhoit 2005b, 293).

Andrew Wilson-Dickson credits Charles Tindley (c. 1851-1933) as the “essential

stepping-stone to the establishment of gospel music” (Wilson-Dickson 1992, 203).

Tindley, a Methodist preacher and songwriter, was the first black American to publish an

original song collection. In 1902, he pastored the Bainbridge Street Methodist Church,

where he once served as sexton. In addition to preaching and growing the church

membership, Tindley wrote gospel music that was “focused on concerns specific to black

Christians” (McNeil 2005a, 400). These songs made use of the pentatonic scale and

allowed for improvisation. In 1927, he formed the Tindley Gospel Singers, one of the

first church singing groups to be accompanied by a piano.

 9

1920s - 1930s

While Charles Tindley’s original songs laid the textual foundation for gospel

music, it was the blues-based music of Thomas Dorsey (1899-1993) that established its

harmonic and rhythmic trajectory. Andrew Wilson-Dickson compares the two, saying,

“Where Tindley’s songs have an immediacy and directness which spring from

straightforward melodies and the simple and slow harmonic rhythms that accompany

them, Dorsey’s songs are linked closely to the harmonic tensions and complexities of the

expressive language of the blues” (Wilson-Dickson 1992, 203). Dorsey, known as the

“Father of Gospel Music,” was a former bluesman who incorporated musical components

and performance practices from his secular music career into both white and black sacred

hymns and songs (Robinson-Martin 2009, 595). At that time, applying jazz and blues

elements to sacred music was a revolutionary idea (Reich 2010, 9) and Dorsey’s music

was initially met with resistance by the more established Protestant churches in Chicago,

but was welcomed by Pentecostal congregations. Eventually, Dorsey’s music made its

way into the youth choir of Pilgrim Baptist Church, where it gained even more

popularity. It wasn’t long before adult choirs were singing his gospel music (Shearon et

al. 2012). Speaking of his music, Dorsey said, “I wanted to get the feeling and the moans

and the blues into the songs. It had that beat, that rhythm. And people were wild about it”

(Reich 2010, 9). Two of Dorsey’s songs were performed at the 1930 National Baptist

Convention meeting in Chicago, and the reaction from those in attendance “charted the

direction for black gospel” (Cusic 2011, 52).

In addition to writing gospel songs, Thomas Dorsey was a “promoter for gospel

music and its most visible champion within the African American community” (Shearon
 10

et al. 2012). In 1932, he established the Dorsey House of Music, a publishing company

for his gospel songs, and “the first business whose sole concern was the commercial

cause of black gospel” (Wilson-Dickson 1992, 204). Before the 1930s, gospel music’s

commercial interests were limited primarily to preachers recording their sermons while

being backed up by a team of vocalists (Houchens 2013, 25). In 1939, Dorsey began

touring with vocalist Mahalia Jackson (1911-1972), and together they kicked off the

Golden Age of gospel music (Shearon et al. 2012).

1940s - 1950s

Known as “The Queen of Gospel,” Mahalia Jackson was one of the most

acclaimed gospel artists of the mid-twentieth century. She recorded numerous albums

with Columbia Records and was the recipient of four Grammy awards. Jackson was

popular among both white and black audiences. According to Thomas Dorsey, Mahalia

“was extremely personable with her audiences and she possessed a way of eliciting

physical responses from them” (Jabir 2009, 651). Her recording career coincided with the

rise of gospel records in the 1940s. By the 1950s, gospel music was being performed

across the country in cities like Chicago, Detroit, New York, and Philadelphia (Houchens

2013, 25). Jackson’s recordings helped create “a conscious sense of self-identity” for

black gospel, further distinguishing itself from the traditional forms of gospel music

(Wilhoit 2005b, 293). Jackson sang spirituals, older hymns, and many of Thomas

Dorsey’s newly written gospel songs. She was often accompanied by piano or organ,

though as her recording career progressed, so did the grandeur of her accompaniment

with the addition of orchestral instruments and chorus (Shearon et al. 2012).
 11

“Professor” Alex Bradford (1927-1978) was another artist who helped push

gospel music into the mainstream (Shearon et al. 2012). Bradford, who earlier in his

career toured with Mahalia Jackson, was known for his multi-octave voice and

prodigious composition and arranging ability. His vocal group, “The Specials,”

introduced many new instruments and sounds to the genre, along with an “outlandish

sense of choreography and costuming,” perhaps giving a glimpse of the soul music genre

to come. Bradford recorded with many gospel labels, and each record featured grander

instrumentation and more complex arrangements (Darden 2005, 49).

1960s / 1970s / 1980s

Alex Bradford’s music was part of a larger trend that saw the expansion of

instruments in gospel music. By the 1960s, Hammond organ, electric guitars, and

percussion were being used regularly by gospel artists. By the 1970s, strings and brass

were being added (Jefferson 2013, 56). Building upon the foundation laid by Thomas

Dorsey, the harmonic language of gospel would also be expanded during this time. The

era of contemporary gospel music arrived as artists like Edwin Hawkins (1943-2018)

began using altered chords with more frequency, coupled with a smoother, rhythm-and-

blues-inflected style (Butler 2005, 140) (Jefferson 2013, 59). In the mid-1970s the Edwin

Hawkins Singers’ “Oh Happy Day” became a mainstream hit (Headlam 2011, 182).

This ongoing expansion of harmony, rhythm, and instrumentation also coincided

with the rise of soul music, a secular genre that combined elements of gospel and rhythm

and blues. Many artists, including Wilson Pickett, Solomon Burke, and Aretha Franklin,

were able to shift from gospel to soul, due in part to the similarities of the two genres

(Shearon et al. 2012).

 12

The 1970s also saw the birth of the early praise and worship movement.

According to Deborah Smith Pollard, “The label ‘praise and worship’ is used within the

Christian Church in reference to a particular musical repertoire and mode of performance

that emerged during the last decades of the twentieth century” (Pollard 2008, 18). This

style of worship music was supported by newly-formed record labels such as Maranatha!

Music, Integrity, Vineyard Music, Hillsong, and Hosanna! (Pollard 2008, 27). Praise and

worship music was emerging in both black and white congregations, as a way to

counteract the lack of engagement among young people (Pollard 2008, 24). In black

churches, this led to the rise of contemporary gospel, which shed some of the “sanctified

church” elements like call-and-response and choral refrains, instead taking cues from

popular music by incorporating “more elaborate uses of harmony and refined vocal

styles” (Boyer and Eskew 2001, 180).

Despite these stylistic changes, traditional gospel artists were still able to wield

influence among listeners and performers of gospel music. One of the most influential

traditional artists of the 1970s was James Cleveland (1931-1991). In addition to his many

gospel records, Cleveland fostered new talent and influenced an entire generation of

gospel artists as founder and president of the Gospel Music Workshop of America. Don

Cusic describes the Workshop’s positive contributions to the genre, saying, “With the

slogan ‘Where Everybody is Somebody’ and the underlying theology that everyone is

someone important in the eyes of God, Cleveland’s convention not only helped singers

and musicians with their music, it also lifted their hearts, minds, and spirits” (Cusic 2011,

58).
 13

Gospel music continued its split into traditional and contemporary camps in the

1980s. Though James Cleveland’s “raw, gutsy, blues-based soul sound” had fallen out of

favor with younger gospel audiences, he was able to inspire the rising generation of

contemporary artists (Cusic 2011, 59). One such artist was Andrae Crouch (1942-2015),

who, in addition to Cleveland, was inspired by artists from many different genres

including blues, jazz, and pop (Gersztyn 2005a, 92). Crouch wrote one of his most

famous songs, “The Blood Will Never Lose Its Power” when he was only fourteen years

old (Gersztyn 2005a, 92). Because of his association with the “Jesus Movement” of the

1960s and 1970s in his native Southern California, Crouch was one the cutting edge of

the contemporary Christian music scene. His music, described as “gospel sung over rock

beats,” resonated with both white and black audiences (Shearon et al. 2012). Like James

Cleveland before him, Andrae Crouch would influence the next generation of gospel

artists. Pastor Marvin Winans (b. 1958) credits Crouch’s music with “having opened the

door for today’s praise and worship explosion” (Pollard 2008, 25).

Marvin Winans is part of the Winans Family, considered to be Detroit’s “first

family of gospel music” (Simmons-Hodo 2005, 428). The son of gospel artists David and

Dolores (Mom and Pop) Winans, Marvin, along with his brothers, Carvin, Ronald, and

Michael, formed a vocal group called “The Winans.” The group’s career took off in the

mid-1980s, when they were discovered by none other than Andrae Crouch. According to

Simmona Simmons-Hodo, Mom and Pop Winans “fine-tuned their children to deliver

unabashedly evangelistic music in a modern style that attracted not only young people

but fans who might not have responded to gospel’s more traditional forms” (Simmons-

Hodo 2005, 427). No strangers to the musical legacy of their hometown Detroit, The
 14

Winans pushed gospel music forward with harder beats and rhythms (Shearon et al.

2012). Their younger siblings, BeBe and CeCe, mixed stylistic elements of pop music

with gospel lyrics and, working with some of the world’s best music producers, raised the

bar for contemporary gospel artists (Shearon et al. 2012).

With an increasing level of polished production and the influence of R&B and

other secular sources, the gospel music industry began to shift its focus from

congregational singing to solo and ensemble performance (Wilhoit 2005, 293-94).

However, some churches, like the West Angeles Church of God in Christ, found ways to

blend these two mediums. In the late 1980s, they began recording a series called “Saints

in Praise,” which opened the door for Fred Hammond, often called the “architect of urban

praise and worship” (Pollard 2008, 26).

1990s

Fred Hammond (b. 1960) got his start singing and playing bass with The Winans

in the 1980s. His solo career began in 1991, in which he released albums that had an “in-

concert feel” (Bush 2020). Inspired by the songwriting of Marvin Winans, Hammond

“developed a sensitivity to vocal line and harmonies that has made him one of the most

successful writers and producers in the gospel industry” (Cox 2005, 172). His music has

an urban style, incorporating elements of R&B, hip-hop, funk grooves, and gospel

vamps. Hammond was inducted into the Gospel Music Hall of Fame in 2001 and

continues to record new music and collaborate with other current gospel artists (Cox

2005, 173).

Another influential gospel artist of the 1990s is Hezekiah Walker (b. 1962).

Known as the “Pastor to Hip-Hop,” Walker led the way in bringing urban hip-hop sounds
 15

into gospel music and the black church (Price 2005, 414). Signed to Benson Records in

1991, Walker’s Love Fellowship Crusade Choir was one of the first choirs to mix

traditional gospel with R&B and hip-hop, innovating the “urban” sound that would define

gospel music in the late twentieth and early twenty-first centuries (Price 2005, 414).

The late 1990s saw the rise of one of gospel music’s best-selling and best-known

artists: Kirk Franklin (b. 1970). Like many other contemporary gospel artists, Franklin’s

music was influenced by Andrae Crouch and James Cleveland (Gersztyn 2005b, 132).

Like James Cleveland before him, Kirk Franklin performed with a variety of singing

groups, writing music to showcase the talent of a full ensemble. Franklin “pushed gospel

music further than it had ever gone, incorporating rap, funk, hip hop, world music, and

even rock into the genre, while still featuring overtly religious lyrics and gospel’s famed

choral style” (Shearon et al. 2012). In 1994, Kirk Franklin and The Family released the

single “Why We Sing,” which received significant airplay from both Christian and R&B

radio stations. The album Kirk Franklin and the Family became the first gospel music

album to go platinum (Gersztyn 2005b, 132).

In 1997, Franklin took over the leadership of God’s Property, “a fifty-voice inner-

city choir and five-piece band composed of at-risk young people of various ages, ranging

from sixteen to twenty-six” (Gersztyn 2005b, 132). That same year, they released God’s

Property from Kirk Franklin’s Nu Nation, which is best known for the hit single

“Stomp.” The music video for “Stomp” was the first gospel video to air on MTV. The

song was a smash hit for both white and black radio audiences and the album went triple

platinum in the United States and won a Grammy Award, two Billboard Music Awards,

and two Dove Awards (Gersztyn 2005b, 132).

 16

2000s and Beyond

Heading into the twenty-first century, world music elements began to influence

gospel music to a greater degree. Caribbean rhythms and accents appear in Kirk

Franklin’s “Speak to Me, Lord Jesus” and the sounds of Jamaican reggae can be found on

Donnie McClurkin’s 2000 album Live in London and More (Butler 2005, 141).

Continuing in this stylistic exploration was Israel Houghton (b. 1972), who burst

onto the scene as one of the most popular and musically eclectic gospel artists of the

2000s. Known for “compositional creativity and musical versatility,” Israel Houghton

and his vocal group, New Breed, are “one of the most respected musical groups in the

contemporary urban gospel world today” (Curry 2015, 15). In 2001, Israel & New Breed

captivated audiences in both white and black congregations with the release of New

Season. This album helped capture the “live worship service” sound and was taken from

a live recording at Cornerstone Church in Toledo, Ohio. One of the best-known songs

from this album is “You Are Good,” which has been programmed heavily in both white

and black churches. The music of Israel & New Breed is described as “vibrant” and

“genre-hopping,” embracing “gospel, urban, funk, salsa, and Afro-pop” (Larkin 2006).

Deborah Smith Pollard describes Israel’s music as “sonic fusion,” crediting it with

broadening the musical tastes of its listeners. She says that Israel’s music “has become

welcoming to fans of various ethnic and racial backgrounds and thus has expanded the

range of musical forms and artists many are willing to accept and enjoy” (Pollard 2008,

32). Due to its eclectic blend of musical influences, Pollard considers Israel’s genre to be

“un-classifiable” (Pollard 2008, 32).

 17

Another current unclassifiable and genre-bending gospel artist is Tye Tribbett (b.

1976). Tired of trying to fit his music into a category, Tribbett coined a new term:

“kingdom music” (Sound Field 2019, at 9:59-10:09). He champions the use of diverse

musical styles as a means of effective evangelism, saying, “We embrace all forms of

music so we can reach all forms of people with one message” (Sound Field 2019, at

10:32-10:37). Tribbett’s first solo album was released in 2010. His 2013 live album,

Greater Than, won two Grammy Awards, including Best Gospel Album (Monger 2020).

Gospel music continues to evolve and adapt to the musical tastes of its broadening

and diversifying twenty-first century audience. Contemporary gospel, aimed at young

audiences both inside and outside the church, continues to blend styles and blur genre

lines, even influencing other commercial music genres (Maultsby 2010, 185-6). Even as

performance practices and stylistic influences shift, gospel music’s “greatest distinctive

element,” its sacred lyric, remains unchanged (Shearon et al. 2012).

Trading Zones

With the expansion of mass media throughout the twentieth century, many long-

standing cultural barriers between white and black audiences were weakened, and gospel

music (along with other black music genres) began to be consumed by a diversifying

audience. During and after World War II, radio created what Susan J. Douglas calls

“trading zones” between black and white cultures (Darden 2014, 108-9). These trading

zones were further developed as monolithic radio networks declined and were replaced

by “numerous independent radio stations that provided the music that many of their

listeners had rarely been able to hear in the past—gospel, rhythm and blues, country and

western” (Darden 2014, 108-9).

 18

Mahalia Jackson was one of the first gospel artists to flourish in these new trading

zones. By 1950, Jackson was performing in Carnegie Hall. In 1953, she toured Europe,

singing to audiences who were already familiar with her music because of radio,

television, and records imported from the United States (Butler 2005, 139). She gained

even greater exposure among white listeners in 1954 with the debut of her Sunday night

CBS radio show and a record deal with Columbia. Instead of Mahalia’s usual piano or

organ accompaniment, her Columbia recordings featured strings, chorus, and orchestra.

Don Cusic discusses the stylistic ramifications to gospel music during its rise as a

commercial music powerhouse, saying, “The economic panacea of selling black music to

white buyers has long been a part of the music industry and now permeates black gospel,

letting black gospel have a larger audience, but watering it down from a raw sound to one

more palatable for commercial tastes (Cusic 2011, 59-60).

Network television, followed years later by its more wide-ranging cable

counterpart, allowed artists to connect with audiences from outside their own racial and

ethnic groups. Networks like BET and TBN featured many black artists in the broadcast

of praise and worship music (Pollard 2008, 26).

Another black artist with a successful career among white audiences is Larnelle

Harris (b. 1947). Harris used this success to promote racial integration within the gospel

music community. According to Mark Allan Powell, he “spoke out in interviews

concerning what he called ‘a legacy of intentional segregation’ in the field, and he sought

to remedy this situation by performing in settings where African Americans had rarely

been featured” (Powell 2005, 177). By the 1980s, the Gospel Music Association, an

organization representing both white and black gospel music, began to diversify its Dove
 19

Award nominees, recognizing Larnelle Harris along with other black singers like Ron

Kenoly and Alvin Slaughter. Today, the Dove Awards include categories for Traditional

and Contemporary Gospel, along with Rap/Hip-Hop/Dance (Headlam 2011, 182-3).

Gospel Fusion and The Recording Collective

As digital technology enables greater cultural exchanges across different cultural

communities, gospel music continues to both absorb and influence other genres of music.

This brings us to the aforementioned subgenre of gospel fusion, a twenty-first century

artform that builds upon the legacy of adapting sacred music from white church contexts

into musical formats popular in black congregations. This legacy can be traced back to

1801, when Richard Allen, who founded the African Methodist Episcopal Church,

published the first hymnal for black congregants. Many of the hymns he chose were

written by white hymnodists like the Wesley brothers and Isaac Watts (Reed 2012, 17).

At the beginning of the twentieth century, black churches were singing the same Fanny

Crosby and Philip Bliss songs as their white counterparts (Wilhoit 2005b, 293). In 1921,

the National Baptist Convention published Gospel Pearls, a songbook that included

traditional Isaac Watts hymns alongside popular gospel songs (Wilson-Dickson 1992,

203).

Israel Houghton’s 2010 cover of the well-known Chris Tomlin song “Our God”

was one of the first mainstream gospel fusion recordings. In the late 2010s,

Multitracks.com formed The Recording Collective and released three EPs: Gospel Vol. 1:

Born is the King (2016), Gospel Vol. 2: Every Praise (2017), and Gospel Vol. 3: Yes and

Amen (2019). These productions showcased new gospel arrangements of worship songs

by artists already popular in primarily white congregations, such as Chris Tomlin, Cory
 20

Asbury, Planetshakers, and Hillsong Worship. In 2017, Hillsong Worship joined the

gospel fusion movement with “What a Beautiful Name - Gospel Version,” a fresh

arrangement that makes extensive use of reharmonization and tight, three-part vocal

harmony. Charlotte, North Carolina-based Elevation Worship created a spin-off musical

group called Elevation Collective in 2018 and released the album Evidence. This album

contains a collection of Elevation Worship songs rearranged and recorded by prominent

gospel recording artists including Israel Houghton, Tasha Cobbs Leonard, and Tye

Tribbett.
 Chapter Two – Gospel Instrumentalists and Their Techniques

A study of gospel music would not be complete without a closer look at the role

of musical instruments and the techniques employed by gospel instrumentalists. The

“gospel sound” is influenced heavily by frequently used instruments and timbres along

with distinctive jazz and blues-based harmonic structures. As the genre has grown and

evolved over the years, there has been a rise in complexity and virtuosity amongst gospel

instrumentalists. According to gospel drummer Devon Curry, “Contemporary urban

gospel is the result of over one hundred years of musical innovation and maturation.

Through this time, the musicality and technical ability of the musicians has increased

exponentially” (Curry 2015, 5). Instrumentalists, especially guitarists and drummers,

were not always at the forefront of black sacred music. The black holiness churches were

among the first to use musical instruments in their services, some of which were

considered to be “of the devil” by other congregations (Cusic 2011, 51). While gospel

music can be notated, it is primarily an aural art form. Consequently, each performer is

given a great deal of expressive freedom when making music, even within ensemble

settings (Kinchin 1986, 11). Instruments play a powerful role in establishing and

reinforcing rhythmic structures in gospel music. These rhythms help to reinforce gospel’s

sacred lyrics at a fundamentally psychological level. According to Gerard van der Leeuw,

“words develop a concentrated power that is feared when they are metrically organized—

21
 22

strengthened by stricter control through repetition, rhyme, alliteration, parallelism, and

refrain” (Leeuw 1963, 117).

Performer and researcher Trineice Robinson-Martin divides gospel music into

four broad styles, each based on unique instrumental techniques: traditional, southern,

inspirational, and contemporary. Traditional gospel consists of “basic through-composed

melodies, simple arrangements (no modulations of key or change in tempi) and modest

accompaniment (piano and/or organ)” along with a sparing use of improvisation based on

diatonic or pentatonic scales (Robinson-Martin 2009, 597).

Southern or “preaching style” gospel adds elements of blues and rural black folk

music to the mix, with elements such as “key changes and spaces in the music for

narration.” This style also makes use of a full rhythm section rather than just piano and

organ. It also features a greater use of improvisation, adding blues scales to the already

established diatonic and pentatonic scales (Robinson-Martin 2009, 597).

The inspirational gospel style includes music from contemporary Christian music

and “white” gospel genres. This style makes use of “through-composed melodies,

moderate to complex forms, and arrangements that include key modulations, tempo

changes, ritards, tags, and orchestrated interludes.” Inspirational gospel adds mixolydian

scales to the already-used diatonic, pentatonic, and blues scales (Robinson-Martin 2009,

598).

The fourth and final style is contemporary gospel, the most stylistically diverse

category blending “musical and performance practices of blues, jazz, R&B, soul, hip-hop,

rap, and rock with the core elements of gospel music performance” (Robinson-Martin

2009, 598). Contemporary gospel pushes the technical boundaries of its players, making
 23

great use of “elaborate introductions, musical transitional passages or bridges, horn runs,

licks, riffs, and countermelodies” along with interludes which feature instrumental solos

(Robinson-Martin 2009, 598). This style also has the most eclectic collection of

instrumental timbres, including “full rhythm section with horns, drum machines, [analog

and digital] synthesizers, and vocal effects” (Robinson-Martin 2009, 598). In addition to

the diatonic, pentatonic, blues, and mixolydian scales, instrumentalists in this style also

use half-diminished and whole-tone scales, along with a greater use of nonharmonic

tones (Robinson-Martin 2009, 598).

As the contemporary gospel style makes use of so many different genres and

techniques, its instrumentalists must demonstrate a certain versatility and flexibility in

their performing. According to Arthur “LA” Buckner, “pioneers like Andrae Crouch and

Kirk Franklin have been mixing gospel with everything from funk, to rock, to hip hop.

It’s this cross pollination of genres that makes gospel music so adaptable to the times, and

why gospel musicians are so versatile: we play it all” (Sound Field 2019, at 9:09-9:31).

While instrumentalists play a powerful role in shaping the sound of gospel music,

they must work in tandem with the vocalists who deliver the sacred lyrics of the genre.

The primary function of a gospel instrumentalist is that of an accompanist. As in most

other forms of sacred music, instruments in the black church play a supportive role,

regarding the human voice as “the primary instrument” (United States Conference of

Catholic Bishops 2007, 86). M. Roger Holland II takes this responsibility a step further,

saying, “the playing of these instruments should inspire the singing” (Holland 2014, 26).
 24

Piano

Music scholar Dave Headlam considers the piano to be “the primary instrumental

signifier of the gospel song” (Headlam 2011, 182). In gospel music, the piano has

remained “the instrument of choice for congregational, ensemble, or solo playing”

throughout much of the twentieth century (Wilhoit 2005c, 301).

Pianist and music educator M. Roger Holland, II describes the pianist’s role as

both supporting accompanist and conversation partner. One of the major functions of the

piano is comping, or accompanying, in which a keyboardist “will play an accompaniment

that is independent of the melody, using harmony (chords), rhythm, and perhaps counter-

melodies to support the main vocal or melodic line” (Holland 2014, 27). The second

function is doubling, in which the keyboardist “‘doubles’ the melodic line with exact

rhythms in the accompaniment” (Holland 2014, 27). In the absence of a full rhythm

section, the pianist, unconstrained by the need to blend with other players, has the ability

to change the harmonic structures of a song through the use of chord substitutions; this is

another way in which the pianist can be a “conversation partner” while maintaining its

accompaniment status.

Around the turn of the twentieth century, the piano was already rising in

popularity in church settings, specifically revival meetings and Sunday school programs.

The piano provided more rhythmic energy in worship services than its keyboard

predecessor, the organ. According to Wilhoit, “by 1900, it had already become evident

that the piano—with its more percussive quality and lilting possibilities—proved a much

better instrument than the organ for accompanying gospel music” (Wilhoit 2005c, 300).
 25

The gospel piano style, along with its blues and boogie-woogie cousins, traces its

roots back to the barrelhouse style of playing (York 2011, 130). Developed in the

“whorehouses, gambling dens, bars and lumber camps of the American South,”

barrelhouse playing was innovative in its use of embellishments including grace notes,

short glissandi, and tremolos (York 2011, 130). Most chords would be major or minor

and would include “sevenths, major sixths, and the occasional passing diminished chord”

(York 2011, 131). Wilhoit describes barrelhouse as “a pianistic approach to blues-based

music” (Wilhoit 2005c, 300). One of the first well-known gospel pianists to play in the

barrelhouse style was “Blind” Arizona Dranes (c. 1905-1963). Dranes played in

Pentecostal and Holiness churches in her native Texas, where she “defined the essential

elements of the gospel piano style” (York 2011, 132). Some of her notable techniques

include left hand bass figures, middle register supporting and harmonizing the melody,

and fills and countermelodies in the upper register. Dranes’ harmonic language was taken

“straight from the Protestant hymnals,” consisting of diatonic and occasional diminished

passing chords. She played both straight and swung rhythms and made much use of

syncopation (York 2011, 132).

In addition to ragtime and blues influences, gospel piano playing was heavily

influenced by rhythm and blues from the 1940s onward. Notable gospel pianists of this

era include Roberta Martin (1907-1969), Clara Ward (1924-1973), James Cleveland, and

Mildred Falls. The gospel vamp, “a repeated phrase or series of chords over which the

singer can improvise” was a technique Falls used while accompanying Mahalia Jackson

(Young 1997, 110).

 26

Known for her light touch, rich tone, and extensive harmonic knowledge, Roberta

Martin was another transformative figure in this era. Though she brought elements of

classical music into her performances, Martin “developed a series of chord substitutions

and harmonic cadences that are still part of the gospel sound today” (York 2011, 138).

She was an innovative pianist who relished playing in compound meters and slow

tempos. Many of her powerful performances would conclude with “dramatic ‘cascading

chords’” (Shearon et al. 2012).

James Cleveland was known for developing another gospel staple: “a rolling bass

contrasted with accented upper notes over a thick middle register” (Wilhoit 2005c, 301).

Cleveland brought a heightened sense of rhythmic energy to the keyboard, an essential

tool to keep his large gospel choirs unified and on beat. His style is described as

“sensational,” and featured “strong, clanking chords, the heavy pedal alternating with the

limp, lyric right hand.” (York 2011, 138).

Hammond Organ

Traditional gospel artists relied heavily on church organists for their

accompaniment. Estelle Allen, another accompanist for Mahalia Jackson, provided a

steady foundation on the organ for songs like “Keep Me Every Day” and “God Shall

Wipe All Tears Away.” Allen kept her accompaniment simple, following standard chord

progressions and avoiding embellishments. In 1939, the combination of piano and

Hammond organ was introduced to gospel music by composer and music publisher

Kenneth Morris (1917-1989). The two instruments were able to work in tandem; the

percussive piano could play rhythmic figures while the organ undergirded the sound with

sustained chords. The Hammond organ added a vocal quality to the lineup of instruments
 27

and its vibrato could match that of a gospel choir (York 2011, 139). The teamwork of

piano and organ became “the foundation of the gospel sound” until the arrival of

synthesizers in the 1970s, along with new and refined production techniques (York 2011,

139).

Guitar

In the 1920s, gospel music, taking cues from blues and popular music, adopted

the guitar into its instrumental roster. Prior to that, the banjo, an instrument with African

origins, was used (Houchens 2013, 26). The guitar came to gospel music through

American folk and popular music (Carlin 2005, 166). By the mid-1920s, gospel records

would often feature blues guitarists, sometimes performing under a different name to

avoid backlash from conservative churchgoers. While their identities may have been

hidden, these guitarists still played with the “typical finger-style blues accompaniment”

on these recordings (Carlin 2005, 166). In the 1930s, electrically amplified lap steel

guitars emerged. Around this time, electric guitars could be found in House of God

churches, due to their ability to cut through the large choirs and heavy congregational

singing with their amplified sound (Carlin 2005, 166-67).

One of the most popular gospel guitarists in the twentieth century was Sister

Rosetta Tharpe (1915-1973). While most gospel recordings in the 1930s and 1940s used

the guitar in subdued, supportive roles, Tharpe took advantage of electric elements like

distortion and incorporated rhythm and blues elements into her gospel sound (Backer

2011, 124). In the 1950s, guitarist Howard Carroll (1924-2017) provided “pop-jazz-

styled” accompaniment for renowned gospel group The Dixie Hummingbirds (Carlin
 28

2005, 167). The Hummingbirds’ use of a guitarist in live performances would go on to

influence future generations of gospel guitarists (Shearon et al. 2012).

Drums & Percussion

Musician and scholar Thomas W. Jefferson argues that “the gospel beat is

probably the first thing that most people respond to when experiencing gospel music at a

church service or when listening to the radio or recordings” (Jefferson 2013, 14). The

drum set has increasingly become the dominant instrument for providing this beat, on top

of which all other instruments and vocalists interact. The use of drums in black religious

music traces its roots back to Africa, where drums were “the musical component most

widely associated with spirit possession” (Reed 2012, 10). In the same way that early

gospel guitarists were also blues musicians, early gospel drummers were well-known jazz

players. Sam Woodyard (1925-1988), who accompanied Mahalia Jackson, was also a

drummer for the Duke Ellington Orchestra. Panama Francis (1918-2001) played for both

Cab Calloway and Sister Rosetta Tharpe (Curry 2015, 5).

Because of their volume relative to other instruments and their ability to establish

defined rhythmic patterns (or “grooves”) for an ensemble, drummers in church music

settings are held to ever higher standards, in terms of both technical ability and sensitivity

to the sacred encounters of parishioners. In the words of Teresa Reed, “it was impossible

to have a truly effective service without the presence of a competent drummer, someone

both mechanically skilled and acutely sensitive to the fluctuation temperature and tempos

of the worship experience” (Reed 2012, 11-12).

In addition to the drum set, auxiliary percussion has played an important part in

establishing the gospel sound. The tambourine has been adopted by instrumentalists as
 29

well as vocalists as a way of keeping time (McNeil 2005c, 394). With the rise of digital

recording technology, as well as the infusion of polished popular music production

techniques, pre-recorded and automated percussion loops have made their way into gospel

recordings. These loops often include shakers, tambourines, triangles, world percussion,

and sound effects.

Techniques of Gospel Instrumentalists

Gospel musicians regularly employ a variety of advanced musical techniques in

the creation of gospel music. The genre is known for its “distinctive rhythms” and “bold

progressions” (Kinchin 1986, 11). The expansion of gospel’s harmonic language began in

the blues-influenced Golden Age but took off in the latter half of the twentieth century.

Curry states, “Since the 1960s, as gospel musicians began to create new songs for records

and religious use, exploration of new harmonic territory took on heightened importance

with the addition of devices such as altered chords, augmented 6th chords, and

modulations.” (Curry 2015, 4).

Harmony

Guitarist Jesse Gress highlights the ways in which harmony can be modified,

saying, “screwing with the harmonic climate behind any melody can have a drastic effect

on how it is perceived. This can be achieved by embellishing existing chords in a

progression with extensions and / or alterations, by replacing them with completely

different chord substitutions, or by employing a combination of both devices” (Gress

2014, 84). Chord extensions, such as sevenths, ninths, elevenths, and thirteenths, can

add layers of depth and complexity to a chord without changing its root. Another

distinctive harmonic element is the diminished seventh chord, one of the most
 30

frequently used chords in gospel music (Jefferson 2013, 41). Also prominent is the use of

secondary dominant chords, which “increase the sense of direction and movement in a

harmonic progression caused by the pull of the tritone to resolve” (Jefferson 2013, 36).

Due to gospel music’s blues influences, simple tonic chords are often played as

dominant seventh chords, which provides additional layers of color and harmonic

density (Jefferson 2013, 19).

Gospel musicians often use reharmonization, or chord substitutions, to add

layers of complexity to well-known hymns and songs. To reharmonize is “to rewrite the

chords to a piece of music for the purpose of creating a richer, sophisticated backdrop or

to bring out the melody and solo” (Hal Leonard 2008). Reharmonization is a helpful way

to breathe life into otherwise repetitive chord progressions often found in congregational

music. One of the most commonly used chord substitutions is the tritone substitution,

which “replaces a dominant or dominant-seventh chord with a seventh or ninth chord on

the lowered supertonic” (Randel 2003, 847). Jefferson points out that tritone substitutions

in gospel music are more often used as a way of resolving to the IV chord, rather than as

a flat-II substitution (Jefferson 2013, 57). In this usage, tritone substitutions replace the

secondary dominant (V/IV) as a way of setting up the subdominant chord (IV).

Example 2.1 Tritone

for V7 to I substitution for V7 to I
b
tritone substitution
G7 C D 7 C

& ˙˙ ˙ b˙ n˙
˙˙ b ˙˙ ˙˙
˙

Example
tritone 2.2 Tritone
substitution for V7/IV tosubstitution
IV for V7/IV to IV
b
˙ b˙ n˙
C7 F G 7 F
˙
& b˙ ˙˙ b b ˙˙ ˙˙
˙
 31

Another frequently used chord is the ii7(b5), a half-diminished chord often used

in ii-V-I progressions (Jefferson 2013, 46). Modal interchange, or borrowed chords, is

another harmonic technique used by gospel musicians. Jefferson states, “In gospel music,

chords are frequently borrowed from the parallel minor key into the major key for

expressive purposes, with the occurrence of the iv chord (including iv with an added 6th

and the iv7) from the natural and harmonic minor mode being the most common”

(Jefferson 2013, 45).

Harmonic rhythm, or the rate at which chord changes occur, can be expanded or

contracted when creating gospel arrangements. Backcycling is a technique that speeds up

the harmonic rhythm of a song by “cycling back” to a subdominant chord via the circle of

fifths (Jefferson 2013, 36).

example of backcycling
Example
(excerpt 2.3 Backcycling
from "Love Theory" by Kirkfound in
Franklin) “Love Theory” by Kirk Franklin
G b maj7 B b m 11 E b 13 b b b
b b
C m 7(b 5) F7 A m9 D 13 G maj7

&b b b | Û Û Û Û Û Û |

Backcycling can appear within turnarounds, which are “chord progressions

inserted at the end of a section or end of a song that serve to take the music back to a

previous point—usually the beginning” (Jefferson 2013, 48).

Scales

Gospel instrumentalists, specifically keyboardists and guitarists, often incorporate

various scales in their improvisatory playing. Jefferson cites the blues scale as the most

widely used for right-hand licks and fills, followed by the pentatonic scale (Jefferson

2013, 32). Due to its lack of half steps, the pentatonic scale “sounds good with a variety

of chord types and can be used for improvisation” (Jefferson 2013, 32).
 32

Example 2.4 Major

major pentatonic scale pentatonic scale

& œ œ œ
œ œ œ

Example 2.5 Minor

minor pentatonic scale pentatonic scale

& œ bœ œ
œ bœ œ

Example
blues scale 2.6 Blues scale

& œ bœ œ
œ bœ œ #œ

Rhythm

There are many rhythmic techniques that appear frequently in gospel music. The

gospel meter is one of the most commonly used styles of playing in which 9/8 and 12/8

are used in place"Amazing

of 3/4 and 4/4, respectively (Jefferson 2013, 16). Gospel meter is often
Grace"

3
& b 4 when singing
used in black churches ˙ œ œ It˙ is not œuncommon
hymns. ˙ to find hymns
œ
œ ˙
traditionally sung in 3/4,Asuch
-
as “Amazing
maz - ing
Grace”
grace,
sung
how
insweet
a lilting
the
9/8sound,
setting in black

& 4 b 3 ˙ gospelœœwaltz
œ ˙˙provides
œ “extra
˙ rhythmic
œ the
congregations. Additionally,
œ ˙ œ œœ ˙energy and drive ˙ ˙
?by 3subdividing
at slower tempos” œ œ beats
primary ˙ into triplets
˙ œ ˙˙ (Jefferson
œ 2013,
˙ 16).
˙ œ
b 4 œ ˙ œ œ œ ˙

Example 2.7 “Amazing

"Amazing Grace" - gospel waltz Grace”
version gospel waltz version

&b
3 3

œ œ œ ˙ œ
œ œ œ ˙
A - maz - ing grace, how

3
j 3 3
j
&b
3 3 3 3

œ œ œ œ œ œ œ œ # œ œœ œ œœ œœ œœ œœ œœ œœ b œœ œœ
œ œ œ œ œn œ œ œ œ œ œ œ œ œ œ
?
3

b œ œ œ
3
œ œ œ œ
œ œ œ œ #œ

&b ˙
3

œ œ œ ˙
sweet the sound,

b j
3 3 3 3 3
 j j
&b
3 3 3 3

œ œ œ œ œ œ œ œ # œ œœ œ œœ œœ œœ œœ œœ œœ b œœ œœ
œ œ œ œ œn œ œ œ œ œ œ œ œ œ œ
?
3

b œ œ œ
3
œ œ œ œ
33
œ œ œ œ #œ
Example 2.7 (continued)

&b ˙
3

œ œ œ ˙
sweet the sound,

& b œœ j
3 3 3 3 3

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ œ n
#œ
?
3

b œ œ œ œ œ
œ œ

Gospel stride is a left-hand keyboard technique that brings energy to upbeat,

jubilee-style songs. Walking bass is another method to provide a foundational rhythmic

drive.

Example
walking bass line2.8 Walking bass line
? .. œ
C7 F7 C7 F7

.
bœ œ œ œ
bœ œ bœ œ œ œ bœ nœ .
œ œ # œ

Drawing from gospel’s jazz and blues roots, gospel musicians regularly play

swing rhythms, often at the eighth-note and sometimes the sixteenth-note level of

subdivision (Jefferson 2013, 21). Sometimes gospel songs opt for a less driving and more

free-flowing level of rhythmic energy. This method is known as freestyle, a type of

playing that is “highly improvisatory, emotionally driven, and Spirit-led” (Jefferson

2013, 27). While tempos and subdivisions may be relaxed, freestyle playing depends on a

competent accompanist “who is sensitive and adaptable to the whims and ad libs of the

performer” (Jefferson 2013, 27).

Using this large palette of musical colors, gospel musicians can breathe life into

the simplest of praise choruses. As Jefferson states, “Energy and excitement must be
 34

sustained for the duration of a song in order to keep the listener actively engaged”

(Jefferson 2013, 51). All of these harmonic, rhythmic, and improvisatory techniques are

valuable tools that gospel musicians use in order to put their own personal stylistic stamp

on a particular song. While being mindful of the primary goal of supporting ensemble

and congregational singing, gospel instrumentalists use these methods to reinforce

emotional connections between the listener and the text being sung.
 Chapter Three – Gospel Vocalists and Their Techniques

Music scholar Dave Headlam says that “if the guitar is the quintessential blues

instrument, the voice is the gospel instrument” (Headlam 2011, 171). Gospel music, with

its religious lyrics, relies heavily on vocalists for musical and textual delivery. Gospel

vocalists use a wide variety of techniques in their vocal production, including

improvisation, melismas, blue notes, grace notes, and even less-musical elements like

growls, shouts, and groans. Multiple vocalists will often harmonize with one other, in

both polyphonic and homophonic settings. Additionally, in more freeform moments of

worship, participants in gospel vocal ensembles may sometimes paraphrase a melody in

an individualistic yet collective manner, creating a heterophonic vocal texture. Headlam

emphasizes the timbral and expressive uniqueness of black voices, stating, “the vocal

style and body rhythms of gospel are difficult to emulate: whereas there have been many

white blues guitarists, there are few white gospel singers of similar stature” (Headlam

2011, 171).

Choirs and Ensembles

The gospel choir is one of the most notable and widely used sounds in the genre

of gospel music. Choirs have been fixtures in black congregations since the early

twentieth century. In the 1900s and 1910s, many northern black churches in the United

States began seeking trained musical directors to establish choirs, and a sense of cultural

refinement represented therein, in their churches. While the Sanctified church embraced

35
 36

expressive and charismatic forms of worship, many Baptist choirs performed “the more

refined, “sophisticated” music from the European classical tradition” by composers like

Handel, Bach, and Mendelssohn (Wilhoit 2005a, 144). As more and more black

churchgoers migrated from the South to northern cities like Chicago, they brought with

them different musical tastes and preferences for worship styles. Thomas Dorsey’s blues-

inspired choral music was controversial in traditional churches and highly appealing in

other more charismatic contexts. (Wilhoit 2005a, 145).

The National Baptist Convention played a large role in the establishment of large

vocal ensembles in churches. By 1916, composer and educator Lucie Campbell was

supervising the music for the annual convention, directing one thousand-member mass

choirs, and writing songs for sacred musicals and pageants (Darden, 2004, 163). Another

Baptist leader, pastor and choir director Glenn Settle (1894-1967) formed Wings Over

Jordan with members from Gethsemane Baptist Church in Cleveland. This group “earned

a reputation as a refined choir capable of singing in a variety of styles ranging from

Negro spirituals to classic hymns” (Wilhoit 2005a, 145). The forty-voice choir gained a

wide audience through their CBS radio program in the 1930s and 1940s.

In the 1960s, the Student Nonviolent Coordinating Committee organized

performances of “freedom choirs” on black college campuses to raise awareness of the

ongoing struggle of the Civil Rights Movement. Some of most influential freedom choirs

include the Selma Freedom Choir and the Gospel Freedom Choir of the Alabama

Christian Movement (Wilhoit 2005a, 146). Around this time, the choir at Newark’s

Abyssinian Baptist Church, under the direction of “Professor” Alex Bradford, recorded

the album Shakin’ the Rafters (Darden, 2004, 267). While Bradford had great influence
 37

on black religious choral music, his protégé James Cleveland, would take the concept of a

gospel choir to new heights of record industry success (Wilhoit 2005a, 146). Cleveland

would go on to found the Southern California Community Choir, winning his first

Grammy with that ensemble in 1975. Another influential figure in the development of

gospel choirs and ensembles was pianist and arranger Richard Smallwood. In the late

1960s, Smallwood established “the first campus-organized college gospel choir in the

United States” at Howard University. In the 1990s, Smallwood and his choir, Vision,

recorded one of the most popular gospel choir songs, “Total Praise” (Wilhoit 2005a,

147).

Many contemporary male gospel artists, balancing recording careers with full-

time ministry positions, often include their church choirs in their musical endeavors.

These choirs are often the headlining acts at their church conferences and seminars. Some

notable pastor-recording artists include Hezekiah Walker and “the Prince of Gospel

Music,” John P. Kee (Shearon et al. 2012). In the latter half of the twentieth century,

smaller gospel ensembles, led by contemporary gospel artists such as Kurt Carr and

Donnie McClurkin, began surpassing larger mass choirs in popularity (Wilhoit 2005a,

147). Though ensembles like the Kurt Carr Singers or Israel Houghton’s New Breed

emerged, gospel choirs still remain a mainstay in the gospel music recording industry,

and a constant, faithful presence in Sunday services across many black congregations.

Soloists

As in other types of music, soloists in gospel music have much more expressive

freedom than ensemble singers. Don Cusic emphasizes this expressiveness as a

distinctive in black gospel music, saying, “the highly individualistic style of the singers
 38

distinguishes black gospel from white” (Cusic 2011, 54). Oftentimes in gospel music, a

soloist will take the form of a praise and worship leader, carrying the responsibility to

lead church members and praise teams in congregational singing. According to Deborah

Smith Pollard, worship leaders, by example and exhortation, “move congregants from

passive observation to active participation in the worship experience so that they might

usher in and experience the presence of God” (Pollard 2008, 17). Trineice Robinson-

Martin, emphasizing the spiritual duties associated with lead vocalists in the church,

states, “the gospel soloist is a spiritual leader, a musical evangelist, and a vessel in which

the word of God is spread through his or her ministry of music” (Robinson-Martin 2009,

596). In church contexts, singing with freedom and passion is often equated with being

“filled” by the Holy Spirit. This results in “performances characterized by high intensity,

conspicuous physical responses, and a sense of improvisation— especially by soloists

interpolating runs or groans” (Wilhoit 2005b, 293). Effective gospel soloists not only

possess strong musicality and vocal virtuosity, they are committed at an emotional level

to their sacred lyrics, and the Divine that these lyrics reference. Musician and songwriter

Barb Jungr points out how gospel singing is more than just the notes, saying,

“contemporary singers must display the same understanding of inner emotional

commitment to the singing of the material, not the collection of ornamentations which

define the singing style.” (Jungr 2011, 115).

Techniques of Gospel Vocalists

Many of the stylistic and technical elements of gospel singing stem from early

gospel’s blues roots. Jungr emphasizes the connection between blues and gospel vocal

production, noting the similar style found in gospel’s secular offshoot, soul music. She
 39

says, “the connection between the vocal deliveries, styles and general performance

aesthetic of blues and gospel is clear, without this singers from Thomas Dorsey, Johnnie

Taylor, Rosetta Tharpe, Sam Cooke, to Aretha Franklin to name the more prominent

could not have moved so effortlessly between the sacred and the secular” (Jungr 2011,

112). In gospel music, melodies are frequently embellished by soloists, and to an extent,

ensembles. These embellishments include glissandi, harmonic and rhythmic

improvisation, and grace note inflections (Jungr 2011, 114). Gospel vocalists often use

growls, shouts, blue notes, and pitch bends as vehicles for soulful expression (Wilson-

Dickson 1992, 202).

Another frequently used technique is the melisma, in which one syllable of a lyric

is sustained across many notes. Melismas may take on different forms and lengths, often

determined by the tempo of a song. Gospel singers use the pentatonic scale extensively

in shaping their melismas (Jefferson 2013, 83). If a choir or ensemble is present, a soloist

will have an even greater freedom to incorporate improvised melismas while the other

vocalists continue singing the original song lyric and melody. Musicologist Ray Allen

equates gospel melismas with the “moans of the spiritual,” and as such, sees their usage

as a “distinctly African-American” musical element (Allen 1987, 9).

Allen also emphasizes the “ecstatic emotionalism of southern preaching” as a

defining characteristic of gospel music. The preaching style of singing can be considered

a sort of sanctified sprechstimme, in which musical integrity and accurate pitches take a

backseat role to exhortation and spiritual declaration. Of the preaching style, Jungr says,

“indeed, the line between preaching in recognizable rhythms and pitch inflections and

singing is often very thin” (Jungr 2011, 104). Another notable vocal quality in gospel
 40

music is the use of chest voice, rather than falsetto singing. Writing about chest voice,

James Kinchen says, “such a use of the voice allows great power, a kind of unaffected

‘naturalness,’ and even a ‘gutsy’ sound” (Kinchen 1986, 13).

Musicologist H.C. Boyer lists the ways in which the format of a particular song

informs the style of vocal participation. In slow tempo songs, a soloist may linger on a

particular word or syllable for multiple measures through melismatic singing. Moderate

tempo songs call for a more percussive style of singing, usually sung in a call-and-

response fashion. Fast tempo songs, or “shouts,” make use of repetitive vamps in which

the soloist improvises while a choir or ensemble repeats a short musical phrase over and

over (Boyer 2001, 181). These refrain-based songs with their “brief and repetitious”

melodies allow for easy participation for congregations and ensembles; their foundational

rhythmic energy provides a strong, rhythmic pulse (Jungr 2011, 104).

In gospel music, the melody and harmonies of the vocalists are informed by the

underlying instrumental accompaniment. However, there are moments of harmonic

disconnect, in which dissonances are formed between the voices and instruments.

Jefferson says, “the chord progressions in the instrumental part do not necessarily have to

agree with what is being sung by the choir; this creates a very dense texture and at times

might produce dissonances that may sound erroneous to the listener unaccustomed to this

practice” (Jefferson 2013, 67).

Professor and choral clinician Raymond Wise lists three major components of

gospel singing: sound, style, and spirit. The sound is determined by the various

techniques, “moans, groans, specific scales and flatted notes, many varieties of melodic

and textual improvisation” that form the timbre of voice (Wise 2002, 283). The style is
 41

“the manner in which core elements are executed in a performance” such as “melismas /

runs, melodic alterations of the melody, or humming / moaning of an improvised melodic

phrase (Wise 2002, 284). Wise considers spirit to be the “most important aspect,”

forming the core of the gospel presentation. Vocal spirit is “the level of emotion and

energy released by gospel performers in their pursuit of evoking the presence of God”

(Wise 2002, 284).

The lyrics and melodies of gospel music can be presented in a variety of ways,

from soloists belting virtuosic, blues-influenced melismas in the heights of their range, to

choirs boldly declaring sacred texts in a wall of harmonized sound. Whether it be loud or

soft, low or high, the emotional connection to these sacred lyrics is what fuels and

informs these powerful vocal performances.

 Chapter Four – Analysis of Three Songs by The Recording Collective

James Kinchen points out the two ways in which a piece of music can be

considered “gospel.” He argues, “a piece can be gospel by virtue of composition (that is,

through the intent of the creator), or by virtue of the interpretation (through the intent of

the performer)” (Kinchen 1986, 11). The Gospel Fusion music of The Recording

Collective falls into the latter category, in which gospel singers and instrumentalists

reinterpret and rearrange music originally composed by white, non-gospel artists and

songwriters. Paul Allen of PAJAM, a Detroit-based music production company

specializing in gospel, R&B, and soul music, elaborates on ways in which gospel

musicians can reinterpret music, saying,

We make it our own by changing a little bit here, making it a little bit more
soulful there, so it's praise and worship with a little Black Church soul….You add
a little extra drums here when they [in the White Church] just have strings and
piano. We add some drums, and we add some bass and some guitar, and we add
some climaxes, some key changes (Pollard 2008, 31).

In addition to basic instrumental and timbral changes, The Recording Collective

incorporates gospel rhythms, harmonies, and song structures into their music. This

chapter studies three songs originally recorded by non-gospel artists along with The

Recording Collective’s corresponding gospel arrangements in order to identify consistent

methods of employing Gospel Fusion techniques. Lead sheet transcriptions of all

recordings analyzed in this chapter can be found in Appendix A, beginning on page 121.

42
 43

SHMRG

A framework of analysis must first be established, through which all major

musical elements will be identified. This project uses Jan La Rue’s SHMRG method,

which breaks up musical analysis into five key components: sound, harmony, melody,

rhythm, and growth (La Rue 1970, 10). The Sound component includes elements like

timbre, dynamics, texture, and audio mixing techniques like equalization, reverb, and

spatial arrangement (La Rue 1970, 23). Harmony, at its most basic level, analyzes the

structure of individual chords. This component is expanded by looking at the

progressions formed by these chords, and ultimately, the tonality expressed by these

progressions (La Rue 1970, 40-41). Chord extensions and cadences also fall into this

category. The Melody component “refers to the profile formed by any collection of

pitches” (La Rue 1970, 69). Both vocal and instrumental melodies fall into this category.

La Rue stresses the importance of melody at a fundamental level, saying, “the average

person probably responds more knowledgeably to melody than to any other musical

element, partly because it reaches us early in the form of cradlesong and continues in

adult singing of bathtub or barroom ditties” (La Rue 1970, 69). La Rue divides the

Rhythm component into two layers: surface rhythm and continuum. Surface rhythm, the

more basic layer, “includes all relationships of durations, assumed to be approximately as

represented by the symbols of notation” (La Rue 1970, 91). Slightly more complex, the

continuum layer “goes beyond meter to represent the whole hierarchy of expectation and

implication in rhythm, the consciousness of a continuing pulse from which we infer a

multidimensional structure of motion that carries through sustained notes or intervals of

silence” (La Rue 1970, 91). In other words, surface rhythms can be viewed as short
 44

rhythmic figures or patterns, whereas continuum can be interpreted as lengthy, extended

grooves formed from surface rhythms. Tempo is another element that falls within the

category of rhythm. The final element of SHMRG is Growth, which ties the other

elements together as “the combining, controlling element, absorbing all contributions into

the simultaneous processes of Movement and Shape” (La Rue 1970, 11). Musical form,

or song roadmap, falls into this category, along with elements like modulations, changes

in tempo and dynamics, and overall song length. La Rue argues that the term “form” is

too static, and prefers using the word “growth,” which better reflects “both the feeling of

expansive continuation so characteristic of music and also a parallel sense of achieving

something permanent” (La Rue 1970, 115).

“This is Amazing Grace”

Originally featured on Phil Wickham’s 2013 album, Ascension, the song “This is

Amazing Grace” is a driving, up-tempo worship anthem that is popular in many

predominantly white congregations. The Recording Collective maintains the high-energy

nature of this song while adding many rhythmic and harmonic twists in their Gospel

Fusion arrangement featured on the 2017 album Gospel Vol. 2: Every Praise.

Sound

The sound of the Wickham recording is loud in volume and full in texture. The

instrumentation consists of drum set, bass guitar, acoustic guitar, two layers of electric

guitars, synthesizers playing sustained pads as well as prominent lead lines, background

vocals, and a tenor worship leader part, sung by Wickham. The synthesizer parts are

featured prominently in this song, covering the main hook in the intro and turnaround
 45

sections. The drums and guitars are treated with a generous amount of reverb, a technique

commonly found in much of modern rock-style worship music. Delay effects are used on

the lead vocal, which adds to the high production value of this recording. The layers of

synth pads and electric guitars create a sound is largely legato and sustained, rather than

staccato or sparse.

Similar to the Wickham version, the sound of The Recording Collective version is

also loud in volume and full in texture. The Recording Collective adds additional layers

of instrumentation, consisting of drum set, percussion loop, bass guitar, four layers of

electric guitars, piano, Rhodes, Hammond organ, synthesized bells, strings, and brass

(often stacked together), prominent three-part background vocals, and a tenor worship

leader part, sung by Onaje Jefferson, a soloist, worship leader, and songwriter for the

award-winning Brooklyn Tabernacle Choir and a former member of Israel Houghton’s

vocal ensemble, New Breed (Jefferson 2020). Reverb is used less in this version

compared to the original, resulting in a more staccato, dry, and punchy sound rather than

a legato and sustained sound. Delay is used on the lead vocal at the bridge, which

hearkens back to the original version.

Harmony

The Phil Wickham recording is in the key of B-flat major, using only diatonic

chords throughout. The harmonic rhythm, or rate of chord changes, is relatively low: one

chord is held for two measures before changing to another chord. The chord progressions

in each section of the song are relatively similar and use mainly the I, IV, V, and vi

chords. The intro, verses, choruses, turnarounds, and bridge all begin with the tonic

chord, which further adds to the harmonic consistency. The chord extensions in this song
 46

are relatively simple, with minor sevenths and major sevenths being used sparingly. The

verses and bridge end in a plagal cadence (IV-I), while the choruses end in a perfect

authentic cadence (V-I).

While The Recording Collective arrangement is in the same key as the original

recording, B-flat major, it features a far more bold and exploratory harmonic language. In

this arrangement, the verses have been completely reharmonized with a syncopated

pattern of descending chords. The melody, remaining largely intact in this arrangement,

interacts with these new harmonies in a fresh way. For example, in the Wickham

recording the D in the melody is the third scale degree relative to the B-flat major chord.

In The Recording Collective version, the D functions as fifth scale degree of the G minor
THIS IS AMAZING GRACE
chord in m. 6, and the ninth scale degree of the VERSION
PHIL WICKHAM C minor chord in m. 7. Music
Jeremy This
Riddle, change
Josh Farro, in
and Lyrics by
& Phil Wickham

harmonic context presents the melody in a fresh new way, an effect that is especially
b b b
œ œ œ œ œ from
B unis. B E maj7

b 4listener, expecting
.. œ œ œ œ ‰ œthe
œ œchord œprogression œ œ ‰ œthe
œ œoriginal
‰ œ œ œ song,
&b 4 | ‰ œ œ œ ..
stirring when the is in
J J J J
for a pleasant and exciting harmonic surprise.
b 4 .. ..
&b 4 ∑ ∑ ∑ ∑ ∑

Example
Phil 4.1 Phil
Wickham version Wickham verse
Bb b
Verse
E maj7

b
6

&b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b
& b ‰ œj œ œ œ
‰ j
œ œ œ œ
‰ j
œ œ œ œ
œ œ. œ œ. œ œ
1. Who breaks the pow - er of sin and dark - ness? Whose love is might - y

Gm F

bb
9

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b
& b ‰ œj œ œ œ
‰ j ‰ j
œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ
and so much strong - er? The King of Glo - ry, the King a - bove all kings.

b
E maj7 B b b
E maj7

b
12

& b ’’’’ ’’’’ ’ ’ ’ ’ ’ ’ ’’ ’ ’ ’’ ’ ’ ’’

b
 b œ œ œ œ œœ œœ œ œ^ œ^
&b ‰ b œœ œ ‰ œ œ
J J

b
&b ∑ ∑ 47

Example
Recording 4.2 version
Collective The Recording Collective verse
Verse
G m9 b
E maj7 D m7 C m7 b
B maj7 A m7 G m7 b
E maj7 D m7

b ‰. Û Û Û ‰. Û Û Û ‰. Û Û Û
6

&b Û Û Œ Û Û Œ Û Û Œ
R R R
b
& b ‰ œj œ œ œ. œ œ
‰ j
œ œ œ œ. œ œ
‰ j
œ œ. œ œ. œ œ
Who breaks the pow - er of sin and dark - ness? Whose love is might - y

b b b b
^ ^
C m7 A maj7 G m7 F m9 B 13 /D E maj7 A 7(#5#9) D 7(#5 9)

b ‰. Û Û Û ‰. Û Û Û
9

&b Û Û Œ Û Û Œ Û Û Œ Û Û
R R
b
& b ‰ œj œ œ œ . ‰ j
œœ œ œ œ œ œ œ. œ œ œ œ œ œ ≈œ œ œ
and so much strong - er? The King of Glo - ry, the King a - bove all kings.

The harmonic rhythm moves at a much faster rate than the original, with roughly

three chords per measure in the verses. Chord extensions, such as major sevenths, minor

sevenths, and minor ninths, are used generously. Secondary dominants also factor heavily

into the harmonic structure of this recording, tonicizing important chords (such as
THIS IS AMAZING GRACE
Music and Lyrics by
Rhythm RECORDING COLLECTIVE VERSION Jeremy Riddle, Josh Farro,
downbeats and beginnings of new phrases) throughout. One of these secondary dominant & Phil Collective
Arr. The Recording Wickham

œ which A7(#5)
chains can be found in m. 5, in Bb ~~~~~~
and D7(#5b9) point the listener to the goal
~~~~~ œ œ œ œ œ œ œ
b b 44 y y y yJ J
& 6. œ ‰ J œ ‰ œ œ œ
of Gm9 in m.
J
f
Example 4.3 Secondary dominant chords
Secondary dominant chords
#
Verse
Eb b
œ^
D 7(#5 b 9)
œ^
/G /G A 7(#5) G m9 E maj7 D m7
b œ œ œ œ ‰ œœ œ œœ ‰ œ œ œ ‰. Û Û Û
4

&b bœ
J œ J
Û Û Œ
R

C m7 B bnotable
Another E b maj7
G m7 harmonic bmaj7G m7Foccurs
C m7 Ashift m9 B b 13 inE bthe Dbridge, bmaj7
9)m9 Ein
7(#5 bG which bmaj7Abass
C m7 Bthe bmaj7D m7 in
G m7 Eremains
b ^^
maj7A m7 D m7 /D A 7(#5#9)
maj7 D m7 m7

& b ÛÛŒ‰ .Û ÛÛ ÛÛŒ‰ .Û ÛÛ ÛÛŒ‰ .Û ÛÛ ÛÛŒ‰ .Û ÛÛ Û Û Œ Û Û ÛÛŒ‰ .Û ÛÛ ÛÛŒ‰ .Û ÛÛ ÛÛŒ‰ .Û ÛÛ

7

R
a pedal point function R
on B-flat R
(following theR chord progression R of theR originalR
recording) while the keyboard synths add A-flat maj7 and B-flat maj7 chords on top,
C m7 b
A maj7 G m7 F m9 B 13 b b
/DE maj7 G m11 b
C 7E maj7/F
b
& b Û Û Œ ‰. Û Û Û Û Û Œ ‰. Û Û Û Û Û Œ ‰. Û Û Û Û Û Û Û Û Û Û Û
15

R R R

N.C. b
B unis. B maj7 b F unis. F m9 b
E unis. E maj9 b C unis. C m11
 b
65

&b | | | Û Û

b 48
&b ∑ Ó Œ
3

œ œ œ œ bœ œ œ œ. œ œ
giving added interest to this portion of the song. OfOh,note, the A-flat maj7/B-flat in m. 68
whoa.

b j
œ
& b ‰ œ œ œ œ .. œ œ œ w ∑
(which containsœthe œB-flat, œ œ and
E-flat, œ A-flat
œ wnormally found in the key of E-flat major)
all that You've done for me.

functions as a dominant chord, foreshadowing the E-flat major chord in m. 70.

Example
Bass pedal point 4.4 Bass pedal point
Bb b b b b b
Bridge
A maj7/B B maj7 E E add2

b
68

&b ’ Û Û ’ ’ ’ Û Û ’ ’ ’ Û Û ’ ’

b
&b Œ
œ COLLECTIVE
œ
‰ jŒ
œ
œ œ GRACE
œ THISœ IS AMAZING œ œ(RECORDING
œ œ - Lead/Rhythm
VERSION)
œ œ8 of œ16
œ œ œ - Page œ
Wor - thy is the Lamb who was slain, yeah, wor - thy is the King who con -

b
79

&b œ œ œ œ œ
Œ Œ Ó
œ œ œ œ œ œ œ œ œ
The background
quered the vocals are featured
grave. Wor - thy more
is prominently
the Lamb who was inslain,
this arrangement, adding

triadic harmonies to the vocal lines. These vocal harmony parts almost always function
b b b b
b
82
B F m9 A maj7/B G m7/B

&b ’ ’ Û ’Œ ’
71
homorhythmically Û œtones.
and tend to avoid leading
’ ’ ’œ ’ Û ’œ
œ œ œ œ œ œ œ’ œ ’
œ œ J
wor - thy is the King who con - quered the grave.

b
&b
Example œof background
œ 4.5
Œ œ œ œ. œ. œ œœ œœ Ó
Example œ Example
œ vocal
œ harmonies œ œ
of background vocal œharmonies
œ œ

bb
- quered the grave. Wor - thy is the Lamb who was slain,

œ œ
84

& œœ œœ œœ œœœ œœœ œœ œœ œœœ œœ Œ Ó

œ œœ œœ œœ œœœ œœœ œœ œœ œœ œœ œœœ œœ œœ œœ Œ
œ œ œ
œ œ œ œ œ œ œ œ œ œ
Wor - thy is the Lamb who was slain, wor - thy is the King who con - quered the grave.

Melody

The melody of the Wickham version follows the notes of the

parts invert up!
j B-flat majorj scale.
b œœ œœ œ œ ‰ œœ œœœ œ ‰ œœœ
œ
88

& b œœœ œœ
œ
œœ
œ œ œ
œœ
œ
œœ
œ
œœ œœ
œœ
The range of the lead vocal part is not very large (B-flat3 to G4). Wickham’s lead vocal
Wor - thy is the Lamb who was slain, wor - thy, wor -

part is fairly structured, not deviating too greatly from the song’s melody. The melody is

syllabic throughout, however after drumstheonlylast chorus,

chorus with lightWickham
rhodes adds energy to close out the
Chorus

j j
b b œœœ œ long œœ œœ œœ
‰ œœœ melismas. œœ œœ œœ œœ .. œ œare played
90

song by&singing œ œ œ ‰ œ œ œ œ . œœ œœ œœœ

Countermelodies œœby theŒ prominent
Ó synth lead
œœ œ
hook during the thy,
chorus,
wor - thy,
and a guitar part that interacts
This is a - maz - ing
with the synth lead in the intro.
grace,

j j
b œ œ œ œœ .. œ œ œ ‰ œœœ œœœ œœ œœ .. œ œ œ
93

& b ‰ œœ œœ œœ œ . œœ œœ œœ œœ œ œ ˙
œ œœ œœ ˙˙
Œ œ œ . œœ œœ œœ
this is un - fail - ing love. That You would take my place,
 49

In contrast, the melody of The Recording Collective arrangement features a more

virtuosic lead vocal part, sung by Onaje Jefferson. The range is almost two octaves wide,

sung in a high tessitura (F3 to D5). Unlike Wickham’s structured style of singing,

Jefferson begins modifying the melody early on in verse one. When the background

vocalists enter at the first chorus, they take over the primary responsibility of singing the

melody, thus freeing Jefferson up to improvise and enabling moments of call and

response. While the background vocal parts follow the original song’s melody in a fairly

structured way, Jefferson’s vocal line incorporates many long melismas, most of which
THIS IS AMAZING GRACE (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 3 of 14

follow the notes of the B-flat pentatonic scale.

Example
soloist 4.6 Soloist’s
singing melismas melismas
while background vocalists atop
sing thebackground
melody vocalists’ melody
C unis. C m11 G unis. G m11

b
23

&b Û Û ’ Û ≈ Û ‰ Û Û Û ’ Û ≈ Û ‰ Û
J J
b
Pitches taken from Bb pentatonic scale

&b Œ Œ ‰ j
œ œ œ œ. œ œ œ œ œ œ œ œ œ. œ
place,

b j
&b ‰ œ œ œ œ. œ œ œ ˙.
Œ
That You would take my place,

G unis. G m11 b
A unis. b
A maj7

b
25

&b Û Û ’ Û ≈ Û ‰ Û Û Û ’ Û ≈ Û ‰ Û
J J
b j
&b ‰ œ œ œ œ. œ œ œ œ. œ œ œ œ œ
œ œ. œ
that You would bear my cross.

b j
&b ‰ œ œ œ œ. œ œ
Œ
œ ˙.
that You would bear my cross.
 THIS IS AMAZING GRACE (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 2 of 14

50
C m7 b
A maj7 G m7 F m9 b
B 13 b
/DE maj7 G m11 C7 b
E maj7/F

b ‰. Û Û Û Û Û Œ ‰. Û Û Û Û Û Œ ‰. Û Û Û
15

&b Û Û Œ ÛÛÛÛÛÛÛÛ
This arrangementR introduces some new
R instrumental melodies
R and motifs, like the
b ≈ jfigure heading into the chorus at m.‰ 19 and later at mm. 51 and 91. This
& bnote
sixteenth œ . œ œ œ. j œœœ
œ œ. œ œ œ œ œ œ œ œ œ œ œ œ ≈ œ œ œ ˙
hook also follows the contour ofThe
in awe and won - der?
theKingB-flat pentatonic
of Glo - ry,
scale.
the King a - bove all kings.

Example 4.7 Sixteenth-note figure

16th note synth figure Chorus
b b
b ^
N.C. B unis. B maj7

œ œ œ
19

&b Û Œ œ œ œ œ œ Û Û ’ Û ≈ Û ‰ Û
J
b j
&b ‰ œ œ œ œ. œ œ œ ˙.
‰ j
œ
This is a - maz - ing grace, yeah,

b j
&b ‰ œ œ œ œ. œ œ œ ˙.
Œ
This is a - maz - ing grace,

The opening synth hook of the Wickham version is retained; however, it is

slightly modified at the end to fit into the newly added secondary dominant chords.

THIS IS AMAZING GRACE

Music and Lyrics by
PHIL WICKHAM VERSION Jeremy Riddle, Josh Farro,
& Phil Wickham
Example 4.8 Phil Wickham intro
Phil Wickham version Intro
b b
œ œ
B unis. B

b 4 .. œ œ œ œ ‰ œ œ œ œ œ œ
&b 4 | J ‰
J
f
b
E maj7

b œ œ œ œ œ œ œ œ œ ..
4

&b ‰ J ‰ œ
J œ œ

Phil Wickham version

Verse
B b b
E maj7 Gm F

bb
6

& ’ ’ ’’ ’ ’ ’’ ’ ’ ’’ ’ ’ ’’ ’ ’ ’ ’ ’ ’ ’ ’

b
& b ‰œj œ œ œ ‰j ‰j ‰j ‰j ‰j
œ œ . œ œ œ œ œ œ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ . œ œœ
1. Who
breaksthepower ofsinanddarkness?Whoseloveismighty andsomuch
stronger? TheKingof Glo-ry, theKingaboveall kings.

b
E maj7 B b b
E maj7

b
12

& b ’’’’ ’’’’ ’ ’ ’ ’ ’ ’ ’’ ’ ’ ’’ ’ ’ ’’

 51
THIS IS AMAZING GRACE
Music and Lyrics by
RECORDING COLLECTIVE VERSION Jeremy Riddle, Josh Farro,
& Phil Wickham
Example 4.9 The Recording Collective intro Arr. The Recording Collective

Recording Collective version Intro

œ ~~~ b
~
J ~~~~~ œ œ
B

b 4 y y y y œ œ œ œ ‰ œ œ œ ‰ œ œ œ
&b 4 J ~ J J
f
b #
œ^
D 7(#5 b 9)

œ^
E /G /G A 7(#5)

bb œ œ œ œ œœ b œœ œœ œ œ
4

& ‰ œ ‰ œ
J J

Verse b b b b b b D 7(#5 b 9)
^ ^
G m9 E maj7
D m7
C m7 B maj7
A m7
G m7 E maj7
D m7
C m7 A maj7
G m7
F m9 B 13 E
/D maj7 A 7(#5#9)

b ‰ .Û ÛÛ ÛÛ Œ ‰ .Û ÛÛ ÛÛ Œ Rhythm
‰ . Û ÛÛ ÛÛ Œ ‰ .Û ÛÛ Û Û Œ ‰ .Û ÛÛ ÛÛ Œ Û Û
6

& b ÛÛ Œ
R R R R R
The original song is a modern pop rock anthem in 4/4 time, recorded by Wickham
b
& b ‰ œj œ œ œ . ‰j ‰j ‰j ‰j
œ œ œ œ .œ œ œ œ .œ œ .œ œ œ œ œ œ .œ œœ œœ œ œ œ .œ œ œ œ œ œ≈œ œ
œ œ
at a steady 98 bpm (beats per minute). There is no swing at either the eighth- or sixteenth- œ
Whobreaksthepow-er ofsinanddarkness?Whoseloveis mighty andsomuchstrong
er? TheKingofGlo - ry, theKinga-bove
all kings.

note level. There are no tempo changes in the entire song. The rhythmic pulse of the song
G m9 b
E maj7 D m7 C m7 b
B maj7 A m7 G m7 b
E maj7 D m7

b ‰ . Û on Û Œ kick‰ .drum ‰ . Ûsnare

12

& b ÛtheÛ driving

comes from Œ “four Û the
Û Ûfloor” Û Û patterns
Û Û asÛ well
Œ as the Û Û hits on
R R R

b b ‰ four.
beats two and
j
Notably, Wickham’s
≈ j drummer adds a layer‰ ofj complexity in verse
& œ œ œ œ. œ œ œ . œ œ œ. œ œ. œ œ. œ œ
œ œœœ œ œ
two with a more syncopated kick
Who shakes the whole earth
and snare
with
pattern, which
ho - ly thun - der?
helps avoid a sense of
And leaves us breath - less

C m7 b
A maj7 G m7 F m9 b
B 13 b
/DE maj7 G m11 C7 b
E maj7/F
rhythmic b
monotony. Overall, there is a great sense of rhythmic consistency that binds the
‰. Û Û Û Û Û Œ ‰. Û Û Û Û Û Œ ‰. Û Û Û
15

&b Û Û Œ ÛÛÛÛÛÛÛÛ
R R R
various song sections together.

& b b ≈ œj . ‰ j œœœ
œ œ œ Collective
The Recording . œ œ . œ œ œarrangement
œ œ œ œ œfeatures œ ˙ syncopations
≈ œ œrhythmic
œ œmore
œ œ far
in awe and won - der? The King of Glo - ry, the King a - bove all kings.
than the original version. The most notable change, however, is the use of swung

sixteenth notes throughout. The swing rhythms sound most prominent in the tambourine

percussion loop and are reinforced by the other instruments and vocalists. The tempo is

105 bpm, noticeably faster than the 98 bpm of the Wickham version. This change in

tempo increases the energy level of the song from the very first measure. This version

builds a new rhythmic scheme from a pair of staccato eighth notes. This eighth-note

pairing is used at the beginning of each measure of the verse and chorus.
 16th note synth figure
G m9 E b maj7 C m7 B b maj7 G m7 E b maj7 C m7 A b maj7 F m9 B b 13 /D
E b maj7G m11CE7b maj7/F 52
^ œ
D m7 A m7 D m7 G m7 N.C.
b
& b ÛÛŒ‰ .Û ÛÛ ÛÛŒ‰ .Û ÛÛ ÛÛŒ‰ .Û ÛÛ ÛÛŒ‰ .Û ÛÛ ÛÛŒ‰ .Û ÛÛ ÛÛŒ‰ .Û ÛÛ ÛÛÛÛÛÛÛÛ ÛŒœœœ œœœœ
12

R R R R R
Example 4.10 Staccato eight-note pairs begin each measure
R
staccato eighth-note pairs begin each measure
Chorus
b b b b
b . . Û. Û. ’ Û. Û. ’
B unis. B maj7 F unis. F m9 E unis. E maj9
20

&b Û Û ’ Û ≈Û‰ Û Û ≈Û‰ Û Û ≈Û‰ Û

J J J

b . THIS. IS AMAZING GRACE (RECORDING

. . COLLECTIVE VERSION) - Lead/Rhythm
. . - Page 4 of 15
C unis. C m11 G unis. G m11 G unis. G m11
23

& b Û Û ’ Û ≈ Û ‰ Û Û Û .’ Û ≈ Û ‰ Û Û Û ’ Û ≈ Û ‰ Û
J J J
b b b b b
b b Û. Û.
G unis. G m11 A unis. A maj7 F unis. E maj7/F B unis. B maj7
25

& Û≈Û ‰ Û Û Û ’ Û ≈ Û ‰ Û ÛÛ ’ Û≈ Û ‰ Û Û Û ’ Û ≈Û‰ Û

There are’a few non-syncopated
J quarterJ note chords that
J highlight the ends
J of
phrases inb bthe jverses and choruses. These moments give∑ a sense of ‰ . rhythmic
& ‰œ œ œ œ. œ œ
unity and
œ . r œ œœ œ
œ œ .œ œ œ œ œ œ œ œ œ œœ œ
help punctuate that the lyrics
You would at these
bear my cross. points. You laid it down for me

b j Œ ‰ œj œ œ . œ .
& b ‰œ œ œ œ. œ œ œ œœ œ œ œ ˙
Œ
œ ˙.
that You would bear my cross. You laid down Your life

Example 4.11 Quarter-note chords in the chorus

quarter note chords in the chorus
b b b b A 7(#9b13) D 7(#5 b 9)

-Û -Û -Û -Û
B unis. F m9 B 7 E unis. E maj9 C unis.

b
29

&b Û Û ’ Û Û ’ Û ≈Û‰ Û Û Û ’
J
b
&b œ œ œ œ œ
Ó œ œ ‰ j
œ œ œ
Œ
œ œ œ œ œ
that I would be set free, (ee)

b j j
&b ‰ œ œ œ œ œ ˙ œ œ j ‰ j
œ ˙ œ œ œ
that I would be set free. Oh,

In contrast to the bright syncopations of the verses and choruses, The Recording

Collective’s bridge opts for a simpler four-on-the-floor pattern from the kick drum. The

synths still play syncopations in this part, but at the eighth-note level rather than the

sixteenth-note level.
 53

Growth

In terms of growth, the original version of the song primarily relies on changes in

texture to add or subtract energy, rather than elements like tempo changes or

modulations. The dynamic range is relatively loud, however, the volume and energy level

reset themselves at the bridge, allowing for a second buildup of sound in the bridge and

final chorus. There are short builds at the ends of song sections, and moments in which

the absence of heavy synths gives the listener a sonic reprieve. The song length is 4’40”

and the roadmap is Intro, Verse, Chorus, Turnaround, Verse, Chorus, Bridge, Bridge,

Chorus, Outro.

The Recording Collective’s arrangement is longer than the Wickham version:

5’03” compared to the original 4’40”. This is due to an additional bridge and repeated

chorus near the end of the song. The roadmap of The Recording Collective version is

Intro, Verse, Chorus, Turnaround, Verse, Chorus, Bridge, Bridge, Bridge, Chorus,

Chorus, Outro.

The dynamic range is of The Recording Collective arrangement is on the loud end

of the spectrum. As in the Wickham version, the volume and energy levels reset

themselves at the bridge. This gives the sound and energy a second opportunity to build

into the final chorus and outro. Another similarity to the Wickham version is the use of

eighth-note builds at the ends of the verses and the bridge. At m. 92, the band drops out,

leaving only the drum set and light interjections from the Rhodes. This helps highlight

the powerful three-part harmony of the vocalists, giving the listener a new way of hearing

the song before the rest of the band re-enters six measures later.
 54

Example 4.12
THIS IS Drums-only
AMAZING chorus
GRACE (RECORDING with light
COLLECTIVE rhodes
VERSION) - Lead/Rhythm - Page 12 of 16

drums only chorus with light rhodes Chorus

j j j b b
b ^ ‰ y ≈ y . y. y‰ y
Û. Û.
N.C. B 7/F B 7

œ œœ
91

&b Û Œ œœœ œ œ œ
J ‰ Œ
‰ j
Ó b œœ. œœ. # n œœ
.
b œ œ œ. œ œ
&b Ó Œ ≈œ œ œ ‰ œ
J
Œ ‰ œ œ œ Œ
y.
j j
Come on and put yo' hands to -geth - er! Hey! Come on!

b œ œ œ œ. ‰ œœœ œœœ œœœ œœ .. œ œ œ

& b ‰ œœ œœ œœ œœ .. œœ œœ
œ œ
œœ
œ
œœ
œ
Œ Ó œ . œœ œœ œœ
This is a - maz - ing grace, this is un - fail - ing love.

b b
b . Û. Û.
E maj9 B /A /D

j
94

&b Û Œ Ó ‰
œœ n œœ b b œœ
∑
. . .
b Œ ‰ œ œ. œ œ œ.
&b J
Œ ‰ œ œ œ œ. Œ Ó Œ ‰ œ
J
j
Ooh, come on! Oh!

b œ œœ œœ œœ œœ .. ˙˙ ..
&b œœ œœœ œœ ˙˙ Œ ‰ œ œ œ œ. œœ œœ
œ œ
œœ
œ ˙.
Œ
œ ˙
That You would take my place,

b
A maj7 b
E maj7/F

bb
97

& ∑ Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û

b ‰ œj œ œ œ . œ œ .
&b ∑ Œ œŒ Ó

j j
Whoa!

b œœ œœ œœ œœ .. œœ œœ b œœ ˙˙ .. ‰ œœœ œœœ œœœ ... œœ .. œ œ œ

&b ‰ œ œ œ œ. œ œ œ ˙.
Œ œ . œœ œœ œœ
that You would bear my cross. You laid down Your life

The Recording Collective uses the soloist and background vocalists to

strategically add growth to the song. The first verse is only sung by the soloist, with the

background vocalists not singing until the first chorus. The growth in vocal parts is most

apparent in the bridge, which is divided into three sections. Bridge 1 is sung by the soloist

only. Bridge 2 is sung by the background vocalists in unison, while the soloist improvises
 55

around them. Finally, Bridge 3 features the background vocalists in three-part harmony;

four measures into this section, they invert their parts to a higher tessitura, adding even

more energy.

THIS IS AMAZING GRACE (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 11 of 16

Example
Bridge 4.13 Bridge
3 with three-part 3 with
harmony and three-part
inversions harmony and inversions
Bb F m9 A b maj7/B b B b maj7 E b b
E add2

b
84

&b ’ Û Û ’ ’ ’ ’ Û ’ ’ ’ ’ Û ’ ’
J J
b
&b œ ‰ œ œ œ . œœ œ œ œ ∑
3 3

œ œ œ œ œ œ œ œ
Wor - thy is the Lamb who was slain, He is wor - thy,

& bb œœ œœ œœ œœœ œœ œœ œœ œœœ œœ Œ Ó œ

œœ œœ œœ œœœ œœœ œœ œœ œœ
œ œ œ œ œ œ œ œ œ œ œ œ
Wor - thy is the Lamb who was slain, wor - thy is the King who con -

G m7

bb
87

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b ‰ œj œ œ
&b Œ œ œ œ œ œ. œ ∑ Ó

j j
ooh, there's no - one like You. Hey,
parts invert up!
b œœ œœ œœœ œœ ‰ œœ œœ ‰ œœ
& b œœœ œœœ œœ œœ œœ Œ œœ œœ œœ œœ œœ
œ œ œ œ œ œ œ œ œ œ œœ œ
œ œ œ œ
- quered the grave. Wor - thy is the Lamb who was slain, wor - thy, wor -

drums only chorus with light rhodes Chorus

E badd2
Inverted harmony parts are also used in the final chorus jof thej song, addingj an
^ ‰ y ≈ y . y . y ‰ y
N.C.

b Û Û Û Û Û Û Û Û œ œ
90

& b ofÛ energy Œ simply

œ œ œ by œplacing œ singers in a higher
œ œ the
J ‰ Œ
extra level to the arrangement Ó

b Recording
j œ Ó versionŒ ends with
& ‰ œ œ œ ‰ . œR œ œ œ œ œ. œ œ
tessitura. bThe Collective ≈ œ œa definitive B-flat major‰ “stinger”
œ
y. J
chord, while thehey, Wickham
wor version ends on a sustained Come on B-flat
and put major
yo' handschord
to-geth-that fades out.
j j
- thy! er! Hey!

b œ œ œ œ œ ‰ œœœ œœœ œœœ œœœ ... œœ œœ œœ

& b œœ œœ ‰ œœ œœ œœ œœ œ œ œ
œœ
œ
Œ Ó
œ
thy, wor - thy, This is a - maz - ing grace,
 56

“King of My Heart”

Featured on Starlight (Live), a 2017 live recording from Bethel Church in

Redding, California, “King of My Heart” is a powerful worship ballad full of

uncomplicated, repetitive phrases. The Recording Collective retains these simple song

sections while adding new material in their version, which is also found on Gospel Vol.

2: Every Praise.

Sound

The Bethel Music version is taken from a live worship service recording, in which

the church congregation can be heard singing and worshipping in a large, reverberant

space. The instrumentation consists of drum set, percussion, bass guitar, two layers of

electric guitar, electric piano, layers of synth pads and computer-programmed effects, and

alto and tenor worship leader parts, led by Steffany Gretzinger and Jeremy Riddle,

respectively. The sound is best described as hypnotic and spacious, due to the heavy use

of unique synth patches, washed-out vocal effects, and liberal amounts of reverb and

delay, especially on the electric guitars and drum set. The guitars and synth pads glue the

song together, filling in any and all empty sonic space. Because of the live nature of this

recording, the sound is less polished than a studio recording.

In contrast, The Recording Collective version of “King of My Heart” has a less

reverberant sound and the tighter, more produced sound of a studio recording. Their

instrumentation consists of drum set, percussion loop, bass guitar, four layers of electric

guitars, Rhodes, Hammond organ, string and lead synth patches, prominent background

vocals, and a soprano worship leader part sung by Cristabel Clack, a former American

Idol contestant and co-pastor of All Nations Worship Assembly in Memphis, Tennessee
 57

(Clack 2020). The Recording Collective uses a rhythm and blues approach in this

arrangement, incorporating tight and restrained cross-stick drum grooves, electric guitars

with minimal effects, and Rhodes and Hammond organ carrying the bulk of the sound

throughout. The absence of large congregational singing and cavernous reverb creates a

more intimate feeling for the listener.

Harmony

The Bethel Music version of “King of My Heart” is in the key of A major and

uses simple chords like I, IV, V, and vi. There aren’t many chord extensions, save for a

few minor sevenths on the vi chords. A droning pad on the tonic (A) binds the various
KING OF MY HEART (BETHEL MUSIC VERSION) - Lead/Rhythm - Page 2 of 8
song sections together. The harmonic rhythm is rather spacious, with only one or two

chords per measure. Each song section ends with a plagal cadence played in a signature

pushed rhythm that anticipates beat three.

Example
Bethel's 4.14cadence
pushed plagal Bethel’s pushed plagal cadence
# #
Chorus

###
Û.
12 F m7 E sus D A F m E sus

& | | Û | ’ ’ ’ ’
J

# #
& # œ. œ œ œ œ œ œ œ œj œ j j ‰ ‰. r Œ
œ œ œ œœ œ œ œ œ
- som for my life. Oh, He is my song. You are good, You're good.

The Recording Collective retains this distinctive pushed plagal cadence

throughout their arrangement. Their version is in B-flat major, a half-step higher than the

Bethel recording. Their chord progressions mirror those of the original, with a few added

passing chords thrown in, creating a more active harmonic progression. Sometimes these

passing chords help to emphasize the lyrics: every time the soloist sings “You are” in the
 58

chorus, the instrumentalists match that rhythm by playing a passing chord (F/A and

Dm7). These passing chords create a busier harmonic rhythm when compared to the

original (two or three chords per measure as opposed to one or two).

KING OF MY HEART (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 2 of 14

Example 4.15 The Recording Collective chorus with added chords

Recording Collective chorus with added chords
Chorus
b b b b b b b
b
G m7

& b Û. Û Û. Û. Û Û.
12 E B B F/A B /F E B B F/A
Û Û ’ ’ ’ ’ Û Û
J P J

b
&b j œ œ.
Œ Œ
œ œ.
œ œ œ œ œ. œ œ œ œ œ œ œ
œ
is my song. 'Cause You are good, good. Oh. You are

b b b b b
bb
G m7 B /D D m7 G m7
Û. Û Û.
15 B /F E B B /F

& ’ ’ ’ ’ Û Û ’ ’ ’ ’
J

b
&b Œ j ‰ j Œ Œ
œ œ. œœœ œ. œ œ œ œ. œ œ
good, good. Oh, You are good, good.

Eb Bb B b F/AG m7 B b/F E b uses

B b more complex
Bb chordE bextensions
B b B b/A like B b/F and
Verse
Theb Recording Collective G m major
. . .
18 maj7

& b Û Û Û Û Û ’’’’ Û Û Û ’ ’ ’’ ’ ’ ’ ’ ’ ’ ’’
J J œœœ œ
minor sevenths and altered dominant chords.P In addition
X stick on 3 to the I, IV, V, and vi chords,

b
&b Œ Œ ‰ j‰ œ andœ œœV/IVœ œœœ œ.along Ó Œ
œ œ œœœœœœœ œ œ . œ œ œ œ œ œ œ œ œ œ .œœ œ œ œ œ œ œœ œ .œ in
this arrangement features secondary dominants like V/vi with chords
2. Letthe Kingof myheartbethewind insidemysails, Oh,He
first and second
Oh.
inversion. This results in
Youaregood,good. Oh.
a thicker and more elaborate harmonic
b
&b ∑ ∑ Ó Œ‰ ‰ œ ‰
œ œ œ œ œj œ œ œ œ œ œœœ œ œ œ œ œœœ œ .œ
œ j‰
approach to the song. One of the +team most œ œ
distinguishable harmonic changes is found in the
vocals
(men 8vb) 2. Letthe King of my heart
bethewind insidemysails, thean - chorinthewaves.
Oh,He

“praise break” in m. 77, in which D-flat is thrown into the fray, giving the song a

definitive blues and “old-school gospel” quality. These blue notes, found in both the

vocal and instrumental parts, turn simple tonic chords into B-flat7(#9) chords. The

interaction of the D-flat against the D natural found in the first inversion B-flat7 chord on
 59

beat three of m. 77 is an example of melodic/harmonic disconnect, in which a melodic

pitch doesn’t belong to the underlying chord (in this case, D-flat against B-flat7). This

entire “churchy” section is set up in m. 76 when the sopranos and worship leader sing a

D-flat and the band builds on a F7(#5#9) chord.

KING OF MY HEART (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 10 of 14

Example 4.16 The Recording Collective’s “praise break” section

The Recording Collective's "Praise Break" section
Praise Break
b b b b
76
b >
E
>
B F 7(#5#9) B 7(#9) B 7/D

&b Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û ’ ’ ’ ’
ƒ
b
&b Ó œ œ bœ œ œ œ bœ œ œ œ ‰ Œ Œ ‰ œ
J
j j
Oh. No,

b b œœ ˙˙ b œœ œœ œœ œ œ œ œœ
& b œœœ ... œ ˙ ‰ œ œ œ b œœ œœ œœ œ
œœ
œ
œœ ‰
œ
Oh. You're nev - er gon - na let me down,

b b b b
bb
78 E 7 A m7( 5) D 7( 9) Gm B /D G m7

& ’ ’ ’ ’ ’ ’ ’ ’

b j œ œ œ. œ ‰
&b œ ‰ Œ Ó ‰ ≈ œ œ œ œ œ
no. No, You won't be - cause You're good.

b bœ œœ œœ œ œ œ n œœ œ œœ
& b ‰ œœ œ œ b œœ œœ œœ œ # œœ œ Œ œ Œ
œ
You're nev - er gon - na let me down, good,

Melody

The melody of the Bethel Music version follows the notes of the A major scale.

The range is A3 to C#5 for the alto worship leader and A2 to E4 for the tenor. The

soloists establish the melodies in a structured fashion but begin to deviate with
 60

improvisation and exhortation of the congregation in between vocal phrases. The opening
KING OF MY HEART (RECORDING COLLECTIVE VERSION) - Lead Sheet - Page 4 of 6
piano hook in the intro suggests the upcoming melody of the verse.
Bridge b b b b b b b b
B B 7/D E D 7( 9)
B /F Gm B /F E B

b œ . œ . œ Œ Œ œ bœ œ œ Ó Œ ‰ œ œ œ œ.œœœ.Œ Œ œ
The Recording Collective vocal melody follows the contours of the original, with
Œ ‰œ œ œ
61

&b œ Ó
only a few two-note slurs, anticipations, and 3slight variations added. Like the Bethel
3
nev - er, No, No, no, no, no, Hey, No, no, no,

Music version, the melody in this recording followsb the major scale of the tonic key (B-
b b b b
B /F D 7( 9) b
b œ œ Œ follow
œ œtheœ B-flatœ pentatonic scale.
B B 7/D E Gm B /F

œ œ œ Œ Œ œ œ When œ œ œtheœ blues-inspired

œ œ œ ‰ ‰ œ œ œ “praise
65

& b melismas
flat). Most Œ œ
3 3 3
break” occurs,
nev -Christabel
er. Clack
Nev - er gonsings
- na let,a B-flat blues
And and D-flat
You nev pentatonic scale,
- er will. Hey, both of

EBbb B bF/A B b/F Eb Bb b b bb b b b b b b

Chorus
which 68
incorporate “blue
G m7 notes.” G m7B /F /D7 G m7 7 /F

œ œ œœ . œ
B F/A EB B
Dm B /F E B B F/A
G mB

b œ œ œ œœ
3
œ œ œœ œ
& b Ó≈ œ œ ‰œœ œœœ‰œ œ œœ≈ œœœœœ œ‰J œ . Œ œœ‰ . R œœœ Ó≈œ œ œ œ ‰œœ œ‰‰œœ œœœœ œœœœœœœ . œ . ŒœŒ œ
3 3 3 3
'Cause
Youare so good,
yesYouare. Oh. You
are faithful,
You're
true, and
You
areso,so, so good,
so good, Oh. You
aregood,
good.

Example 4.17 Melismas follow blues and pentatonic scales

melismas follow blues and pentatonic scales Praise Break
b b b b b
E 7 A m7( 5) D 7( 9)

b œ œ œ œ b œ œœœ ‰
F 7(#5#9) B 7(#9) B 7/D

b j
&b ’ ’ œ œ
76

’ ’ ‰ œ œ ‰ ’ ’ ’
J
Oh. No, no.

Gm B /Db G m7 C m7 F unis.

b œ œ. œ ‰ bœ
’ ’ ‰ œJ œ œ œ
79

&b ‰ œ ≈ œ œ œ œ œ
No, You won't be - cause You're good. Hey.

b b b b b
B 7(#9) B 7/D E 7 A m7( 5) D 7( 9)

b ‰. œ bœ œ œ œ bœ œ œ œ œ bœ œ ‰ œ œ
81

& b œJ ‰ Œ R œ bœ
Œ
You're nev - er gon - na let me down, hey,

Notably, this “praise break” section introduces brand new melodic material not

found in the original recording. This arrangement also showcases Christabel Clack’s wide

vocal range with a lead melody stretching over two octaves (F3 to G5). As in other

arrangements by The Recording Collective, once the background vocalists begin singing

the melody, the soloist is freed up to sing new, improvisatory material.

 61

There are a few new instrumental riffs introduced in this recording, such as the

sixteenth-note pickups before the verse in m. 4. Of note, the opening instrumental hook in

their version is now played by the Hammond organ, and its melody is taken from the

chorus rather than the verse.

KING OF MY HEART
Music and Lyrics by
Lead/Rhythm BETHEL MUSIC VERSION John Mark McMillan & Sarah McMillan

Example 4.18 Bethel Music intro Trans. Tyler B. Williams

Bethel version
#
Intro

# # 4 U
A5 A D A F m7 E sus D A

& # 4 |. ‰ œ œœ˙ œ j
œœ œ œ ˙ œ œ œ
œ. œ ˙
p
KING OF MY HEART
Music and Lyrics by
Lead/Rhythm RECORDING COLLECTIVE VERSION John Mark McMillan & Sarah McMillan
Example 4.19 The Recording Collective intro Arr. The Recording Collective
Trans. Tyler B. Williams
Verse

###
Recording Collective version
6 A D A

& | | E b|
Intro
B bF/A B b/F Eb Bb B b/F b
b 4 œ
G m7 G m7

& b 4 œ. œ œ œ Û.
B

˙ œ œœœ Û Û
. œ œ œ œ. ’ ’ ’ ’ J œ
P œœœ

#
# b# #BFb m7 b b b
Verse

Û.
8 E sus D A A

& b ’| | Û |
’|
5 B /D E maj7 B

& ’ ’ ’ Rhythm
J ’ ’ ’
p keys/swells

The Bethel Music recording is in 4/4 time and recorded at 68 bpm with no tempo

changes. # # #G mD reoccurring
Some Eb
rhythmic Bb
elements
A b
include the four Brepeated B b/D notes
sixteenth
b
11

& | . |
7 D m/F

&b ’ ’ ’ ’ Û Û Û ’ ’ ’ ’
J œ œ œ
on beats 1 and 3 of the chorus and the aforementioned œ anticipations of beat three found in

both the verses and choruses. These sixteenth note figures and anticipations are retained
b b
bb ’
10 E maj7 B F/A Gm D m/F
in The &
Recording ’
Collective ’
version of’the song.’ ’ ’ ’

The tempo of The Recording Collective version is 67 bpm, only slightly slower

than the original version. Another rhythmic difference can be found in the bridge, in
Recording Collective chorus with added chords
which the band playsb whole notes with
Chorus
little to no rhythmic subdivision. Thisb is a very
Eb B b F/A B b/F Eb Bb
b Û.
G m7
. . Û Û.
12 B B F/A

& b Û Û Û Û ’ ’ ’ ’ Û Û Û
J J
P
 62

sparse treatment of the bridge when compared to the Bethel Music version, which

features eighth-note clapping from the congregation, giving their bridge a driving energy.

Growth

The Bethel Music version relies on rhythmic subdivision and changes in

instrumental texture to propel the song forward and add energy growth. Similar to “This

is Amazing Grace,” the energy levels are reset at the bridge (although the congregational

clapping prevents a complete drop in sonic and rhythmic energy). The Bethel Music

recording is 4’59” in length and the song roadmap is Intro, Verse, Chorus, Verse, Verse,

Chorus, Bridge, Bridge, Chorus, Bridge, Chorus.

The Recording Collective version also relies on rhythmic subdivision and

increasingly active instrumental parts to fuel the energy of the song. Similar to the

original version, the growth of the song is reset at the bridge, in which the only sound

comes from the solo worship leader and simple whole notes played by the keyboard.

After the energy level reaches its climax in the “Praise Break” section of the song,

another reset occurs, with a verse and chorus reprise led by the soloist and sparse and

simple accompaniment. The Recording Collective arrangement is longer, clocking in at

6’44”. This is due in part to the addition of the “Praise Break” section and the verse /

chorus reprise at the end. The roadmap is Intro, Verse, Chorus, Verse, Chorus, Chorus,

Bridge, Bridge, Bridge, Chorus, Praise Break, Verse, Chorus.

“Good Good Father”

Contemporary Christian recording artist Chris Tomlin released his recording of

“Good Good Father” (a song originally written by Housefires, an Atlanta-based worship

 63

band) in 2015. This chart-topping recording reached platinum status with the Recording

Industry Association of America and has made its way into many contemporary worship

services. Onaje Jefferson returns to sing the Gospel Fusion version found on The

Recording Collective’s 2017 album, Gospel Vol. 2: Every Praise.

Sound

The Chris Tomlin version opens with a lone acoustic guitar strumming a folky 6/8

pattern. Tomlin sings the first verse accompanied only by the guitar and light shaker. The

rest of the instruments and background vocals enter at the first chorus, transforming the

song with a fuller texture and more produced sound. The instrumentation of the Tomlin

version includes drum set, percussion, bass guitar, two layers of acoustic guitars, three

layers of electric guitars, piano, simple and restrained Hammond organ, synth pads, synth

strings, Tomlin’s tenor lead vocal, and layers of male background vocals. Most of the

song has a large, reverberant sound, with generous amounts of audio effects applied to

the guitars and drums.

In contrast, The Recording Collective version is a little less reverberant, trading in

the folky sound of the original for that of a more traditional gospel ballad. This is due

largely in part to the prominence of the piano and Hammond organ as the primary

instruments, rather than the acoustic guitar. The instrumentation of The Recording

Collective version consists of drum set, percussion loop, bass guitar, acoustic guitar, three

layers of electric guitars, piano, Hammond organ, synth bells, synth strings, a tenor

worship leader part (sung by Jefferson), and The Recording Collective’s signature three-

part background vocalists. This version has more dynamic range than the Tomlin version,

incorporating new and more aggressive musical material.

 64

Harmony

The Chris Tomlin version of “Good Good Father” is in the key of A major, using

simple chords with few chord extensions and no substitutions. The harmonic rhythm is

very drawn out, with only one chord per measure in the choruses and bridge. The verses

use an even simpler harmonic structure, alternating between A major and Asus. Each

song section end on a dominant chord, propelling the song forward into each subsequent

section.

From the opening measures of the intro, it is quite clear that The Recording

Collective version is going to place this song in a new harmonic context. While the Chris

Tomlin intro sets up the tonic drone of verse 1, The Recording Collective intro begins

with a bVII chord, foreshadowing a progression that appears in the final bridge.
GOOD GOOD FATHER
Music and Lyrics
Rhythm CHRIS TOMLIN VERSION by Anthony Brown & Pat Barrett

Example 4.20version
Chris Tomlin Chris Tomlin intro
Intro

### 6
A A sus A A sus A

& 8 Û Û ’. ’. ’. ’. ’. ’. ’. ’.
P
Verse
GOOD GOOD FATHER
# # # . 4.21 The
Music and Lyrics
Rhythm RECORDING COLLECTIVE VERSION by Anthony
A sus Brown & A Pat Barrett
. . ’. ’. ’. ’. ’.
5 A sus A
Example Recording Collective intro
& ’ ’ ’
Arr. The Recording Collective

Recording Collective version Intro

b
C 13 b b b b b
b b
G 2/B E m7(b5)/A D /A

6
&b b b 8 œ œ œ œ œ. œ œ œ œ. . œj œ .
œ Pre-Chorus
# # P
& # ’. ’. ’. ’. b ’. ’. . . ’. ’.
9 A sus A A sus A D

’ ’
b G bdim7 B b7( 9) G b maj7/A b b b b
b b
E 2/G E (#5#9) G maj7/A

Û. Û. Û. Û.
3 + gentle clean held elec. gtr. chords

&b b b œ.
Û̆ ‰ ‰
J
f
# # # C# .
A B m7

’. ’. ’. ’. ’. |.
14 E E sus E

& ’ b
Verse
bb b b
A B m7 bb b b
A B m7 b
Pre-Chorus
G maj7G m7( 5)
b b
D G/Fmaj7 D G/Fmaj7 /C

& b b b Û. Û ‰‰ Û. Û ‰‰ Û. Û ‰‰ Û. Û ‰‰ œ. œ œ
5

∑ ∑ ∑ ∑ œ
J J J J
Chorus
P
### B m7

’. ’. ’. ’. ’. ’. ’. ’. ’. ’.
18 D A E D

& b
D b/Flight band in F 7(#5b 9) B b7( 9) B b m7/E b E b7 A bsus Ab
b bP
14
 GOOD GOOD FATHER (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 6 of 13
65
b b b b
Bridge

bb bb ’ .
B m7 E m7

’ . is in D-flat
’ . major,
’. . ’ . higher ’than
. .
55 G maj7 D /F

Thisb arrangement
& four’semitones the’Tomlin
f
b b Recording∑ Collective
version. The uses chords in root, first,
œ œ.œ œ œ . œ ‰ . œJ .
and second inversion, as well
&b b b œ œ œ.
œœœ
œ œœ œ œ œ œ œ œ œ
as many complex chord extensions and
Per-fect both
in all Your fully- and half-diminished
ways, per - fect chords.
in all Your ways,

b b
& b bdominants
Secondary b œ œ œ œ abound
œ œ œ œ in œthis ‰ œ œlike
. arrangement,
œ œ.
œ œ the
œ œ Vœ 7/V . end‰ of the
œ atœthe œ œ bridge.
.
Per-fect in all of Your ways, You are per-fect in all of Your ways, You are

Example
V/V in the bridge4.22 V7/V in the bridge
b b b b
b b
B m7 E 9

& b b b ’. ’. ’. ’. ’. ’. ’. ’.
59 G maj7 A

b b Œ. ‰ œ. œœ œ œ œ œ œ
& b b b œ. ‰ ‰ ≈
œ
r œ œ œ œ œ œ. ‰ œœ
in all Your ways to us.

b b
&b b b œ œ œ œ œ œ œ œ œ. œ œ œ ˙. œ.
‰
œ œ.
per - fect in all ofYour ways to us. You are
GOOD GOOD FATHER
Music and Lyrics
CHRIS TOMLIN VERSION by Anthony Brown & Pat Barrett

G bmaj7
Bridge
TheChris
frequency of chordB bchanges
Tomlin version E bm7
is much higher D b/F
in this arrangement than in
b b
7

& b b b ’# . A ’ . ’. ’. A ’. ’. ’. .
63 m

A ’
Intro

# # 6 to the tonic
& ƒ 8 Û Û ’. ’. ’. ’. ’. ’. ’. ’.
A sus A sus
Tomlin’s. In contrast drone found in the verses of the original, The Recording

Collectiveb bopts
& b b Œ #. P ‰ . œ . œ .
b for a far more active
œ œ Iœ6-IV-V-vi œ œ ‰ ‰ Œ.
œ œ œ œ œ œ œprogression. ‰‰ œ. œ œ
3

## 6 œ J œ œ œ j
& 8 ‰ You do ∑
all things per-fect.
∑ ∑ Œ . You can do‰ all ‰thingsœ per-

& b b b b b œœœ œœœ œœœ œœœ œœœ œœ œœ œœ œœ .. ‰ œœ œœ œœ œœ œœ œ œ œ

œ œ œ œ œ œœ œœ œœ œœ .. ‰
œ œ œ Tomlin
Oh,

Example
Chris Tomlin version 4.23 Chris œ. verse œ œ . œ. œ œ.
Verse

###
per-fect in all of Your ways, You are per-fect in all of Your ways, You are

’. ’. ’. ’. ’. ’. ’. ’.
5 A A sus A A sus A

&

# #
& # œ. œ œ œ œ. œ. œ œ œ œ œ. œ. œ. œ. œ œ œ
I’ve heard a thous - and sto - ries of what they think You’re like. But I’ve

###
’. ’. ’. ’. ’. ’. ’. ’.
9 A sus A A sus A

&

# # r
& # œ. œ ≈ œ œ. œ. œ œ œ œ œ. œ
≈ r œ.
œ
œ. œ œ œ œ
heard the ten - der whis - per of love in the dead of night. And You tell

Pre-Chorus
#
###
A B m7

’. ’. ’. ’. ’. ’.
13 D C

&
+ gentle clean held elec. gtr. chords
 b b 6 Û. Û. Û. Û. Û ‰ ‰
& b b b 8 œ œ œ œ œ. œ œ œ œ . œ . œj œ . œ. J
P f
b b 6
&b b b 8 ‰ ‰ ∑ ∑ ∑ ∑ 66

Example
Recording 4.24version
Collective The Recording Collective verse
b b b b
Verse

b b
B m7

& b b b Û. Û.
5 D /F G maj7 A
Û ‰ ‰ ∑ Û ‰ ‰ ∑
J J
P
b b j ‰. r . j ‰.
&b b b œ. œ œ œ. œ œ œ œ œ œ
j‰ ‰ j‰ ‰ . œ
œ œ œœ r
œ œ
I’ve heard a thous - and sto - ries of what they think You’re like. But

b b b b
b b
B m7

& b b b Û. Û.
9 D /F G maj7 A
Û ‰ ‰ ∑ Û ‰ ‰ ∑
J J

b b j ‰. r . œ. œ j ‰ ‰ j ‰. r .
& b b b œ. œ œ œ œ œ œ œ œ œ. œ œ œ œ
œ œ
I’ve heard the ten - der whis - pers of love in the dead of night. And You tell

Pre-Chorus
b b b b b b b b b
b b the original
G m7( 5) B 7( 9) E 7

& b b b œ.
Like œ œ each
G maj7

œ version,
/C D /F
song section in The Recording Collective
13 F 7(#5 9) B m7/E

œ. œ œ œ œ. œ.
arrangement ends in a half cadence, with the exception of verse 2, which replaces the V
b b . j ‰. r
& b ba bii-V-I . ‰
œ . œprogression œ. œ . G-flat
œ œmajor œ(mm.
œ œ œ œ œ
œ that œ œ
chord with tonicizes 38-39).
œ
me, tell me that You’re pleased and that I, I'm nev - er a - lone.

Melody

Chris Tomlin’s lead vocal melody follows the notes of the A major scale and falls

within a one octave range (E3 to E4). The melody is very structured, with little

improvisation and no melismas. There is a notable absence of instrumental hooks in the

song, particularly in the intro, in which a lone acoustic guitar strums chords.

Onaje Jefferson’s virtuosic vocal performance returns in The Recording

Collective version; his signature high tenor range soars from Ab3 to F5. As is custom

with The Recording Collective, the entrance of the structured background vocal parts

gives the soloist room to improvise. Jefferson’s nimble melismas follow the pentatonic

scale throughout most of the song, although leading tones also make rare appearances.
 67
GOOD GOOD FATHER (RECORDING COLLECTIVE VERSION) - Lead Sheet - Page 3 of 5

Examples of melismas
Example 4.25 Examples of melismas
b b ‰ . œJ . œ œ œ
57

& b b b œ. œ œ œ œ œ œ œ œ œ œ œ.
‰ ‰ ≈ r œ œ œ œ œ œ. ‰
œ
per - fect in all Your ways, in all Your ways

Bridge
b b œ œ œ œ œœ œ
& b b b Œ. ‰ œ.œœœ œ œœœ œœ Œ. ‰. œ. œ. .
61

œ œ œ œ œ œJ ‰ ‰ Œ
to us. You do all things per - fect.

GOOD GOOD FATHER (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 4 of 14

b b bbackground
b ‰ ‰ œ . œ have ‰ ‰ . œresponsibility
66

‰
3

&
The b vocalists œ a greater
œ melodic œ in The Recording
b
œ œb œ œ . œ . œœ œ œœ.
b
œ œ œ œ bœ
œ7 œ œ œ
B bm
Collectiveb bversion,
b
D /F G maj7 A

& b b Û. .to us, toÛ us.‰with‰

31

Û
functioning independently ∑ lead vocalist Û(compared
of the
You can do all
things per - fect. Oh,

J J
Tomlin’s homophonic background vocal parts
Chorus
singing with him in tandem). In mm. 34-
b
bbb bbbbbb Œ ‰. ‰ œ œœ œ œœ .
70

&Recording ‰ ‰ ≈ r‰ œ œ œ‰.
œ œ œ œ aœlegato
38, The& œ. ≈ œ sing
œ œœ . œ œvocalists
Collectiveœ background œ. œ countermelody
œ œ œ œ. œ
You’re aI good,
knowgood we’re
Fa - all
ther, search - ing
it’s who for
You are, an - swers on You
it’s who - lyare,

underneathb Jefferson’s
b verse.
& b b b œ. ‰ ‰ ∑ ∑
œ œ
b b I
73

& b b b ‰ ‰ ≈ r œ œ œ. œœ œ œ œ œ. œ œ œ œ œ. ‰ ‰ ≈ r œ œ œ
œ‰ ≈œ
know

Example 4.26 Countermelody sung by background vocalists œ

œ
it’s who You are. And I’m loved by You, it’s who I am, it’s who I am,
BGVs countermelody
b
Pre-Chorus
b b G m7( 5)
b b œ
D G /C

& bb bb Œ . Û. œ. œ
34 Chorus
77 b œ
& b b b ‰ ‰ ≈ œr œ œ œ œ . ‰ Œ. œ. œ œŒ. œ . œ œ œj ‰ ‰ œ œ œ Œ .
œœ
b b
&b b b œ œ œ. œ ‰
it’s who I am. Oh, oh, who You are,

œ œ œ œ œ œ œ
You can pro - vide. ’Cause You know just

b b
& bbb bbb bb Œ Œ. . ‰ ‰ œ œ œ ‰‰ ‰ œ œ œ œ œ . œœ ‰. ≈ œ œ œ‰ œ . œœ ‰ ‰ . œœ .
82

bœ œ
& œ œ œ J
I am loved, com - plete
'Cause - lyknow
You loved, e - ter - nal - ly loved,
what weyes,

b b b b
B 7( 9) b b b
E 7 b
A m9 b
b b
D /F F 7(#5 9) B m7/E D /F

’. ’.
36

& b b b œ. œ œ œ œ. œ.

b b j ‰
& b b b ‰. œ œ œ. œ œ œ œ
‰ œ. œ
œ œ
‰ Œ.
what we need be - fore we say a word.

b b j
& b b b œ. ‰ œ œ œ. œ œœ b œœ ‰ œœ œœ œœ œœ œ .
œ œ œ œ œœ ..
need be - fore we say a word. You're a good, good
 68

The gospel instrumentalists shine in The Recording Collective arrangement, with

a piano-led intro, unison melodic hooks in mm. 98 and 102, and a lilting synth bells

countermelody on top of the chorus at m. 71. The bass guitar plays an impressive and

highly syncopated riff in mm. 29 and 30.

GOOD GOOD FATHER (RECORDING COLLECTIVE VERSION) - Rhythm - Page 2 of 4

Example
Bass guitar riff4.27 Bass guitar riff
Ab b b b
B m7
œ ≈ œ œ
D /F G maj7
? b b Û. ≈ œ œ ≈ Û.
29

b b b Û ≈ œ Û ‰ ‰
J œ œ œ œ œ J
œ

BGVs countermelody
Rhythm
b b b b
Pre-Chorus b b b b b
B m7 G m7( 5) F 7(#5 9) B 7( 9)
? œ giving
A D G /C D /F
Theb tempo . . œ . œis œ48 bpm,
. Ûrecording
32

b bbb ∑of the

& Û Û ‰ ‰ Œ
Chris Tomlin œ . the
œ song
œ room
œ
to
J
breathe and ample space for the syncopated vocal melody. While the melody is

B b m7E/Eb7b A bm9D b/FG bmaj7 D b/F bm7 The

A b D b/F
G bmaj7 D b/F bm7 measure
A b D b/FG bmaj7 D b/F
syncopated, the instrumental Chorusparts areEnot. downbeat of Eeach is naturally
Chorus the
bb b . . . . . . . . . . . . . . . . . . . . . .
37

strongest; b b isœ emphasized

& this . œ . ’ ’ ’further
’ ’ ’in ’the’Tomlin
’ ’ ’recording
’ ’ ’ because
’’ ’’ the ’ ’ ’ ’ are
downbeats
F
most often where chord changes occur.
b
E m7 A b b
D /F b
G maj7 b
B m7 E m7b
Theb tempo of The Recording Collective version is 49 bpm, only slightly faster
b
& b b b ’. ’. ’. ’. ’. ’.
49

Û Û Û Û Û Û Û Û Û Û Û Û
than the original version. Both versions of “Good Good Father” are flowing 6/8 ballads
Examples of melismas
with no swung notes to be found. The melody of The Recording Collective version
b Bridge
b b B m7b E m7 b
b b bsame
A D /F G maj7
b Û rhythms Û ’ . patterns
’. ’ . in ’the. Tomlin
’ . version.
’.
54

follows&the b Û Û ÛandÛ syncopation found

f
The Recording Collective sets the verses in a completely new rhythmic context,

featuring D b/F
a measure G bmaj7
of chords followed B bm7 of rest.
by a measure E b9 The percussion
Ab loop
b b
& b b b ’. ’. ’. ’. ’. ’. ’. ’.
58

provides the rhythmic glue that holds this section together, moving things forward and

providing light subdivision in the absence of the keyboards and guitars.

 GOOD GOOD FATHER (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 10 of 14

69
b b B m7b b
E 9 b
b b
D /F G maj9 A

& b b b ’. ’. ’. ’. ’. ’. ’. ’.
90

The instrumental rhythms get more and more complex as the song progresses,

b b the œ . œ œfound
with some b b œ œ busiest
& b of ≈ œ œ œ rhythms œ ‰ in
‰ and œ around
œ ‰ œ œthe Œ.
drums-only
œ œ.
chorus∑ at m. 95.
J
Syncopated figuresandandI amaccented
loved by You,
duples are played
oh,
byoh, the entire band in this section.
b b œ. œ œ r
& b b b œœ .. œœ œœ
œœ œ œ .
œ œœ œœ .. œœ ‰ ≈ œœ œœœ œœœ œœœ ... Œ ≈ œœ œœœ œœœ œœœ ... œœ ≈ r œœ œœ œœ œœ
œ œ œ œ œ œ œœœ
And I’m loved by You, it’s who I am, it’s who I am, it’s who I am.

Example 4.28 Drums-only chorus with rhythmic accents

Drums-only chorus Chorus

A b/C D b D b/F G b
with rhythmic accents

b b > > > >

& b b b ’. Œ.
94

≈Û Û Û Û ‰ ‰ ∑
J
ƒ
b b œ. œ. Œ. œ œ ‰.
& b b b œ. œ‰
œ
œ œ œ ‰
You are good. Yes, You are. It's who You are,

b b œ œ œ œœ œœ .. r œœ œœ ..
& b b b œœœ ‰ œœ œœ œœ œœœ œœœ ... œœ œœ ≈ œœ œœœ œ œ. ‰ ‰ ≈ œœ œœœ œ œ.
œ œ œ œ
-
You're a good, good Fa - ther, it’s who You are, it’s who You are,

b b b b b
b b >Fœ . D>œ . C> A
> E 2/G E m7(b5)/G

œ. ’. ’.
97

&b b b ∑ œ.

b b . œ. œ œ
& b b b ‰ ‰ œJ œ œ œ œ Œ œ œœ ‰ ‰

j
my Fa - ther, I'm loved, say, I'm

b b r œœ ...
& b b b ‰ ‰ ≈ œœœ œœœ œœ œœ œœ œœœ œœ œœ œ œ .
œ œ œœ œœ .. n œœœ ≈ r b ∫ œœœ œœœ œ
œ œ œ œ
it’s who You are. I’m loved by You, it’s who I am,

Growth

The Tomlin version is fairly mellow, even when the song builds. This is due in

part to the subdued lead vocal melody which never goes above E4. The song grows into

each section (from verse to chorus and from chorus to bridge) by means of one-bar

crescendos and eighth-note builds. Tomlin’s recording is 4’53” in length and the song

roadmap is Intro, Verse 1, Pre-Chorus, Verse 2, Pre-Chorus, Chorus, Bridge, Bridge,

Verse 3, Extended Pre-Chorus, Chorus, Chorus, Outro.

 70

The method of resetting energy levels at the bridge (found in both “This Is

Amazing Grace” and “King of My Heart”) is not used in either arrangement of “Good

Good Father.” Tomlin builds into the bridge, keeping volume and instrumental texture at

full capacity, then reduces the intensity heading into Verse 3. The Recording Collective

also maintains growth in the bridge but, choosing to omit Verse 3 altogether, they

decrescendo into a soft chorus at m. 71. It is there that The Recording Collective begins

another long period of growth through a total of four choruses. Growth is sustained

throughout this section by means of changing vocal and instrumental textures. At m. 71,

Jefferson sings with only simple keyboard and percussion loop accompaniment. Eight

measures later (m. 79), the background vocalists sing in unison. The band builds during

this chorus and the singers return to three-part harmony in m. 82. The background

vocalists invert their parts to a higher tessitura in the pickup to m. 87. The fourth and

final chorus in this section starts with vocals and drums only, followed by a new

harmonization for both the band and singers in which the bass descends and a series of

secondary dominants culminate on the V chord in m. 102. This chorus, with its bold

harmonic choices, inverted background vocalist parts, and Onaje Jefferson’s high F, is

where the song’s growth reaches its climax.

GOOD GOOD FATHER (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 11 of 14

Chorus with greatest amount of growth

Example 4.29 Chorus with greatest amount of growth
b b b b b
b b >Fœ . D>œ . C> >
A E 2/G E m7(b5)/G

œ. ’. ’.
97

&b b b ∑ œ.

b b . œ. œ œ
& b b b ‰ ‰ œJ œ œ œ œ Œ œ œœ ‰ ‰

j
my Fa - ther, I'm loved, say, I'm

b b r œœ ...
& b b b ‰ ‰ ≈ œœœ œœœ œœ œœ œœ œœœ œœ œœ œ œ .
œ œ œœ œœ .. n œœœ ≈ r b ∫ œœœ œœœ œ
œ œ œ œ
it’s who You are. I’m loved by You, it’s who I am,

b b b b b b b b b b
b b
D /F E /D A /C E 7/B A D E F G

& b b b ’. ’. ’. ’.
100

Û Û Û Û Û Û Û̆
J œ œ œ œ
 GOOD GOOD FATHER (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 11 of 14 71

Example
Chorus 4.29amount
with greatest (continued)
of growth
b b b b b
b b >Fœ . D>œ . C> >
A E 2/G E m7(b5)/G

œ. ’. ’.
97

&b b b ∑ œ.

b b . œ. œ œ
& b b b ‰ ‰ œJ œ œ œ œ Œ œ œœ ‰ ‰

j
my Fa - ther, I'm loved, say, I'm

b b r œœ ...
& b b b ‰ ‰ ≈ œœœ œœœ œœ œœ œœ œœœ œœ œœ œ œ .
œ œ œœ œœ .. n œœœ ≈ r b ∫ œœœ œœœ œ
œ œ œ œ
it’s who You are. I’m loved by You, it’s who I am,

b b b b b b b b b b
b b
D /F E /D A /C E 7/B A D E F G

& b b b ’. ’. ’. ’.
100

Û Û Û Û Û Û Û̆
J œ œ œ œ

b b œ œ. œ œ œ œ œ. œ.
&b b b œ Œ. Œ. œ œ œ
4
loved by You, oh, good, good,

b b œ œ œ œœ .. œœ ‰ n œœœ ... œœ
& b b b œœ ‰ n œœ œœ œ. œ œ ‰ ‰
œ œ.
who I am, I am! You are

This chain of repeated choruses, along with a reprise of the bridge extends the

song length to 5’21”. The song roadmap for The Recording Collective version is Intro,

Verse 1, Pre-Chorus, Verse 2, Pre-Chorus, Chorus, Bridge, Bridge, Chorus, Chorus,

Chorus, Chorus, Bridge, Chorus, Chorus.

Recurring Techniques of The Recording Collective

This analysis highlights some consistencies in the arranging and recording

techniques of The Recording Collective. Each of their songs begins with a solo vocalist

while the entrance of background vocalists is reserved for later verses and choruses. Once

the background vocalists begin singing, the soloist either sings the melody with them, or

improvises around them, or a combination of both. The Recording Collective uses a great
 72

deal of transformative reharmonization in their arrangements. However, some of their

arrangements (“King of My Heart,” for instance) stick with the chord progressions of the

original song. While the melodies of the original songs are largely preserved in these new

arrangements, they interact with the added gospel reharmonizations in fresh ways. The

song lyrics are also unchanged, although some song sections are omitted, and new lyrical

material sometimes added. The Recording Collective arrangements are typically longer

than their original counterparts, largely due to the repetition of certain song sections. This

repetition (and corresponding song length) is justified and enabled by the strategic use of

sound, harmony, melody, and rhythm, all of which sustain steady growth over long

periods of time.
 Chapter Five – Analysis of Three Original Gospel Fusion Arrangements

Having studied the development of gospel music in the twentieth and twenty-first

centuries, the various musical techniques employed by gospel instrumentalists, vocalists,

and arrangers, and having analyzed the musical style of The Recording Collective, three

new gospel fusion arrangements written and recorded specifically for this project will

now be analyzed.

Using LaRue’s SHMRG method, this chapter analyzes the elements of Sound,

Harmony, Melody, Rhythm, and Growth found in three worship songs from non-gospel

contexts. The newly created gospel fusion arrangements of these songs are also analyzed,

demonstrating the similarities and differences in arranging style. Lead sheet

transcriptions of all recordings analyzed in this chapter can be found in Appendix B,

beginning on page 178.

“Lion and the Lamb”

Fronted by worship leader Leeland Mooring, “Lion and the Lamb” is a high-

energy, moderato tempo worship song from Bethel Music’s 2016 album Have It All

(Live). This project’s arrangement of “Lion and the Lamb” presents the song in a fresh,

new gospel fusion style, inspired by similar Recording Collective arrangements.

73
 74

Sound

Because the Bethel Music recording is taken from a live worship service, one can

hear congregational elements and moments of exhortation from Mooring. The sound of

this recording is loud and active, due to the presence of busy synth programming

throughout. The instrumentation of the Bethel Music version consists of drum set,

percussion loops, bass guitar, acoustic guitar, two layers of electric guitars, synth piano

playing pre-programmed arpeggiated sixteenth notes, multiple layers of synth pads, and

Mooring’s high tenor vocal part. Notably, there are no background vocals in this

recording. The electric guitars play a prominent role in this song, trading off playing

solos in the intro that return in subsequent sections. As in other Bethel Music

productions, there are a generous amount of reverb and effects used in this recording.

When arranging this project’s gospel fusion version of “Lion and the Lamb,” I

drew inspiration from The Recording Collective’s swing version of “This Is Amazing

Grace,” with active chord changes and prominent background vocal parts atop a constant

sixteenth-note swing rhythm. The instrumentation is as dense as the Bethel Music

version, albeit with different, more gospel-based sounds. This includes drum set,

percussion loop, bass guitar, two layers of electric guitars, an FM synthesis keys patch

found in synths like the Yamaha DX7, Hammond organ, synth leads and pads, Wurlitzer,

synth bass, sound effects, three-part background vocals, and a tenor lead vocal part sung

by worship leader Justin Barahona. Sustained pad sounds are used only in the bridge,

giving this arrangement lots of breathing room in between the choppy, syncopated chord

changes played by the band. Delay is used sparingly, notably on the Wurlitzer lick in
 75

mm. 59-60. Other effects include reverb on the guitars and vocals, and pad sweeping

effects, created with preprogrammed control changes in Logic.

Harmony

The Bethel Music version is in the key of B major and uses only diatonic chords

with few extensions (limited to an occasional minor 7th or sus2). Almost all chords are in

root position, save for the I6 found in the bridge progression. The harmonic rhythm moves

at a slow rate, with roughly one chord per measure. Each song section ends in an

authentic cadence, with the exception of the second chorus which moves from the V

chord to the ii of the bridge progression.

The gospel fusion version is in G major, four semitones lower than the original

version. While this change of tonal center places the soloist in a lower tessitura than

Leeland Mooring, the melody’s placement in the soprano counteracts this lower range

and gives the background vocal parts a sense of excitement and brightness. The Dm9
LIONtells
chord at the end of the first measure AND THE LAMB
the listener to expect the unexpected, as by
Music and Lyrics
BETHEL MUSIC VERSION Brenton Brown, Brian Johnson,
& Leeland Mooring

borrowed chords are used all throughout this arrangement.

# # # # progression
The chord
4
in the verse traces the contour of the original song’s verse
B maj7 E maj7/B

& # 4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’yyyyyy
progression, incorporating a more complex series of borrowed chords and secondary

dominants
Intro as it arrives at the I, IV, and vi chords.
#
1.

# ## ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ œ œ œ œ œ œ œ œ œ œ . ..
B C m E

& # # .. œ œ
5

Figure 5.1 Bethel Music verse

# ( ii )
2.
Verse

#### (I)
# œ œ œ œ œ œ œ œ œ œ œ.
B C m
.. ’
9

& ’ ’ ’ ’ ’ ’ ’

# ##
& # # Ó Œ ‰. r .. Œ j
œ
œ œ. œ œ. œ œ ‰ œ œ. œ œ. œ œ
1. He's com - ing on the clouds, kings and king - doms will bow
(2.) o - pen up the gates, make way be - fore the King of

#
####
12 E G m

& # ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

# ##
& # # Ó Ó Œ ‰. r œ œ œ.
˙ œ œ. œ œ. œ
 ####
# œ œ œ œ œ œ œ œ œ œ œ.
B C m
.. ’
9

& ’ ’ ’ ’ ’ ’ ’

# ##
& # # Ó Œ ‰. r .. Œ j 76
œ œ. œ œ. œ œ ‰ œ œ. œ œ. œ œ œ
1. He's com - ing on the clouds, kings and king - doms will bow
Figure 5.1 (continued) (2.) o - pen up the gates, make way be - fore the King of

#
####
12 E ( IV ) G m ( vi )

& # ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

# ##
& # # Ó Ó Œ ‰. r œ œ œ.
˙ œ œ. œ œ. œ
down. And ev - 'ry chain will break, as
kings. The God who comes to save is

# (V) # (V)
####
15 F E ( IV ) F

& # ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
LION AND THE LAMB
####
Music and Lyrics by

‰.
GOSPEL FUSION VERSION
#
Brenton Brown, Brian Johnson,
& œ œ r .
œ. œ œ œ œ œ. œ œ œ
& Leeland Mooring

œ. œ œ œ œ Arr. Tyler B. Williams

œ
bro - ken hearts de - clare His praise. For who can stop the Lord Al - might - y?
here to set the cap - tives

œ .œ œ œ œ >œ w
free. For who can stop the Lord Al - might - y?

# 4 œ .œ œ œ œ >œ
N.C. D m9 N.C. C m9 A m7G F maj9 E m7
D m9 A m7G/B C G/D
F 13

& 4 œ . œ œ œ œ œ .œ w œ.
œ .œ œ œ œ œ w
œ .> œ.
>
Figure 5.2 Gospel fusion verse
Verse

# ˙ >> >>
( V7/IV )
-Û
(I)
Û.
G G G/D F/G

Û.
8

& ÛÛ‰ ÛÛ‰ Û Œ Û Û Û̆ Ó

# r
SOLO

V Ó Œ ‰. œ œ. œ œ. œ œ œ Œ œ. œ œ. œ œ œ
He's com - ing on the clouds, kings and king - doms will bow

( V7sus ) ( vii/º7/vi ) ( vi )
#
( IV ) ( iii ) ( ii )

# -Û
Û.
C maj7 C maj7 B m7 A m7 A m7/D A m7(b5)/D E m9 E m9 E m7/B E m9

Û . Û Û Û̆ Û.
11

& Û Œ Ó Û Œ Û Û Û̆

# j r
V Œ Œ ‰ œ œ. œ Œ Œ ‰. œ œ. œ œ. œ œ œ ‰ œj
œ œ
down. Yeah. And ev - 'ry chain will break, as

(v) ( IV ) ( iii ) ( ii ) ( V7sus )

# -Û
Û.
D m9 C maj7 C maj7 B m7 A m7 A m7/D

Û.
14

& Ó Û Œ Û Û Û ’ ’ ’ ’

#
V œ. œ œ. œ œ œ ‰. r œ. œ œ œ œ œ œ œ œ. œœ œ
œ œ œ œ
bro - ken hearts de - clare His praise. For who can stop the Lord Al - might - y?
 77

Similarly, the bridge of this version starts on the iim7 like its original counterpart,

but ventures off into new harmonic territory, alternating between Am7 to D9, which

suggests A Dorian. The inclusion of planing neo-Soul chords also creates additional

harmonic freshness within the bridge.

LION AND THE LAMB (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 5 of 9

Figure 5.3 Bridge reharmonization (analyzed in A Dorian mode)
Bridge
(i) ( IV7 ) (i) ( IV ) ( bII )
b
61
# A m7 D9 A m7 D maj9 B maj7

& | | | | |

# œ. œ œ œ œ œ œ œ œ. œœœ. Ó œ. œ œ œ œ œ œ œ œ. œœœ.
Ó
SOLO

V
Who can stop the Lord Al - migh - ty? Who can stop the Lord Al - migh - ty?

(i) ( IV7 ) (i) ( VI ) ( IV ) ( bII )

b
65
# A m7 D9 A m7 F maj7 D maj9 B maj7

& | | | | | |

# œ. œ œ œ œ œ œ œ œ. œ œ œ. œ. œ œ œ œ œ œ œ œ. œ œ œ.
V Ó Ó
Who can stop the Lord Al - migh - ty? Who can stop the Lord Al - migh - ty?

Overall, the harmonic rhythm is much faster than the original, with significantly
Bridge

#
A m7
69

& ’used throughout

more chords ’ the song. Chord
’ extensions are also
’ much more common in

#
this arrangement, with the inclusion of sevenths, ninths, thirteenths, and altered chords.
V ∑
Melody

Leeland
A m/G Mooring carries theF #vocal
m7(b5) melody in the Bethel MusicA version,
F maj7 singing in
m(add4)/EE 7(#5#9)

#
70

his high&tenor
’ range
’ of’G#3 to’G#4. All ’ melody
’ ’notes ’fall within
’ the’B major
’ scale, ’ and
#
Ó
V delivery
Mooring’s is ‰very
œ structured,
œ œ œ given that ∑there are no other vocalists
∑ singing with

him. His melody includes

Comeaon,
few yeah.
short (one beat long) melismas. The original version of
 78

the song also relies heavily on instrumental melodies played by the electric guitars. These

melodies are found in the intro and return in the turnaround and outro of the song.

The range of Justin Barahona’s lead vocal in the gospel fusion version is E3 to

G5, only slightly lower than Leeland Mooring’s solo. Barahona’s vocal lines follow the

G major and G pentatonic scales, avoiding leading tones throughout most of the song.
LION AND THE LAMB (BETHEL MUSIC VERSION) - Lead/Rhythm - Page 3 of 4

#
2.
There are quickE neighbor-tone turns to the flat-seventh scale degreeFfound in mm. 42 and
#### œ œ œ œ œ œ œ œ . œ œ œ œ œ œ œ œ . .
34

& # œ œ œ œ œ œ . ’ ’ ’ ’
90. With the exceptions of the first verse and the first bridge, the background vocalists
####
& # ∑ deliveryÓ (one could argue
Œ ‰ . theyr ..
shoulder the weight of melodic that œ moveœ œ from
œ the
œ
2. So bow be - fore Him.
background to the foreground). When the background vocalists sing, the soloist
# # #
# #around
B

#
C m E F

& # # |
37 D
improvises them, in keeping with the techniques of The Recording Collective’s
| | |

# # # # melodies of the Bethel Version are largely kept intact; however, they are
soloists. The
& # ∑ ∑ ∑ ∑
presented in a much more syncopated fashion in this gospel fusion arrangement. The

melodyBridge
is modified
# all throughout the
B#
bridge, culminating in a new melody
# in the form of
#
# # .
C m E F

& # #harmonized ..
41 D

.|
a descending melisma. | | |

# ##
& # # .. Ó œ. œ œ. œ œ œ œ œ
Ó
œ. œ œ. œ œ œ œ œ .
.

Figure 5.4 End of the bridge in Bethel MusicWho

Who can stop the Lord Al - migh - ty?
version
can stop the Lord Al - migh - ty?

Bridge
# # #
####
C m B E F
45 D

& # ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ |

# ##
& # # Ó œ. œ œ. œ
Ó
œ. œ œ. œ w
œ œ œ œ
Who can stop the Lord Al - migh - ty? Who can stop the Lord?

Chorus

# ## œœ œ œ.
N.C. B

& # # .. œ œ œ œœ œ œ .. ’
49

’ ’ ’

# ##
Drums and elec. only

j
& # # .. ∑ .. Œ ‰ œ œ. œ œ œ œ
Our God is the Li -
 # œœ ..
& Œ œœ œœ œœ œœ œœ œœ œœ œœ .. œœ œœ œœ ...
œœ œ. œ œ œ œ œ œ œ œ. œ œ œ
œ
Who can stop the Lord Al - migh - ty?
79

Figure 5.5 End of the bridge in gospel fusion version

# #
Band Jam!

# œ œ≈ œ œ œœœ œ
œœ ≈
A m7 /B /C /C D9 G 13 G 13 Am D7 C 7(#5#9) B 7(#5#9)

œ œœ‰ ‰. Û ≈Û. Û
75

& ’ ’ ’ ’ Û Û Û Û Û̆ Û̆ œ
R J
ƒ
# œ. ˙ œœ œœ œœ œœ œ œœ œ œ j ‰ Ó
& œœ Œ œœ .. œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ ~~~ ~~~~~~ ˙˙ œ œ œ œ œœ œ œœ œœ œœ œœ
œ œ œ
Who can stop the Lord Al - migh - ty?

The Bethel Music intro hook has been completely replaced in this version. This
LION AND THE LAMB
Music and Lyrics by
new intro hook performs the same functions as its original songBrenton
BETHEL MUSIC VERSION
counterpart,
Brown, Brianreappearing
Johnson,
& Leeland Mooring

in the turnaround after the first chorus and at the end of the song.
# ## 4
B maj7 E maj7/B

& # # 4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’yyyyyy
Figure 5.6 Bethel Music intro
Intro
#
1.

# ## ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ œ œ œ œ œ œ œ œ œ . ..
B C m E

& # # .. œ œ
5

œœ œ
LION AND THE LAMB
Music and Lyrics by
Rhythm GOSPEL FUSION VERSION Brenton Brown, Brian Johnson,
& Leeland Mooring
#
2.
Verse Arr. Tyler B. Williams
Figure 5.7 Gospel fusion introB
####
#N.C.œ œ œ œ œ œ œ œ œ œD m9
C m
œ. .. ’
9

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 œ
Bridge

B b maj7A m7 B b maj7A m7
# steady groove # #
#
62 D9 A m7 D maj9 D9 A m7
F maj7
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|| || ’’’’’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ÛÛÛÛÛ̆Û̆

80
& | | || | |

Figure 5.8 Gospel fusion band jam section ƒ

Band Jam!

# œ œ ≈ œ ≈ œ œ œ œ œ œ
Am D7 C 7(#5#9) B 7(#5#9)

œ œ œ œ ‰ ‰. Û ≈ Û.
77

& œ Û
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# œ œ ≈ œ ≈ œ œ œ œ œ œ
Am D7 E m9 F9

œ œ œ œ ‰ ‰. Û ≈ Û.
79

& œ Û
R J
b # b
# œ œ ≈ œ ≈ œ œ œ œ œ œ > >
A m7 A m7 G m9 F m7(b5b9) F m7 E 7(#5) E 7 D7

œ œ œ ‰ ‰. Û ≈ Û.
81

& œ œ Û
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Chorus

# œ œ ≈ œ≈ œ œ œœ œ œ > > >

A m7 E /F B maj7 E 13(#11) D 13 E 13 E m9 F 9 G

œœ œ œ œ ‰ ‰. Û ≈ Û. Û
83 (drums only)

& Û Œ Ó
R J ∆

86
# 3 C maj7
Rhythm
B m7 A m7 A m7/D

& ’ ’ ’ ’ ’ ’ ’ ’
The Bethel Music version of the song is in 4/4 time, played at a moderate 90 bpm.

Most of the song is undergirded by a pulsating sixteenth-note synth arpeggiator, which

gives the song an element of forward motion, and makes 90 bpm feel slightly faster than

it actually is. The drummer uses different grooves: rhythmic kick drum and a steady snare

on beats two and four in the choruses, a half-time groove in the bridge, and syncopated

kick and snare figures in the verses. The vocal melody is also very syncopated in the

choruses. The other instruments don’t have any syncopated figures, with the exception of

the aforementioned guitar melodies.

The gospel fusion version of “Lion and the Lamb” is significantly faster, at a

peppy 105 bpm, which creates more rhythmic energy and forward motion from the very

first measure. In addition to the aforementioned swung sixteenth notes, this version uses a

series of syncopated chords played both staccato and tenuto. These figures unify the verse
 81

into a cohesive musical idea, while also creating pockets of rests throughout the verse.

The staccato and tenuto trope is repeated at the ends of phrases in the choruses.

Growth

The Bethel Music version of “Lion and the Lamb” has a large dynamic range,

with its loud sections (the majority of the song) contrasted by the quiet synth

programming preceding the intro and the often-used energy level reset at the bridge.

There are no tempo changes or modulations in this arrangement. Drum fills are the

primary driver of growth from section to section. Each bridge repetition increases energy:

the bridge begins with no drums, then adds a half time drum groove, followed by a four-

on-the-floor drum groove. Other instruments stagger their entrances in the bridge as a

way of adding energy and motion. The song length of the Bethel Music version is 4’45”

and the song roadmap is Fade In, Intro, Verse, Chorus, Turnaround, Verse, Chorus,

Interlude, Bridge, Bridge, Guitar Solo, Chorus, Outro.

The dynamic range of the gospel fusion arrangement isn’t very wide, as most of

the song is loud. Like the original version, energy levels are reset in the interlude before

the bridge. The introduction of the background vocalists in the first chorus, and their

delivery of the second verse adds additional layers of sonic energy and helps propel the

song forward. A gradual growth sequence is found in the bridge, which is first sung by

the soloist, then by the background vocalists in unison, followed by three-part harmony,

which is then inverted. There are no tempo changes or modulations in this arrangement.

Due to its faster tempo, the gospel fusion version is only 4’03”, shorter than the original

version. The roadmap is Intro, Verse, Chorus, Turnaround, Verse, Chorus, Interlude,

Bridge, Bridge, Band Jam, Chorus, Outro.

 82

“King of Kings”

Released in 2019, “King of Kings” is a popular worship ballad led by Hillsong

Worship’s Brooke Ligertwood. This project’s gospel fusion arrangement of “King of

Kings” maintains the tempo and pacing of the original while introducing new rhythmic

structures, harmonic changes, as well as the inclusion of portions of “Total Praise,” a

choral anthem by gospel legend Richard Smallwood.

Sound

Hillsong Worship’s recording of “King of Kings” features an extensive track list,

consisting of drum set, percussion loop, synth effects, bass guitar, synth bass, acoustic

guitar, four layers of electric guitars, piano, organ, four layers of synthesizers, strings,

harp, brass, three-part background vocals, choir, and the lead alto vocal. The overall

sound evokes the feeling of a live, congregational recording, largely due to the prominent

background vocals and choir tracks. The generous usage of reverb also contributes to this

“large room” sound. Many instruments play long, sustained tones, creating a warm bed of

sound and a legato texture, and the warm, upright piano and synth pads form the core of

the instrumental accompaniment.

This project’s gospel fusion arrangement features fewer instrumental tracks than

the Hillsong version. The instrumentation includes drum set, percussion loop, bass guitar,

two layers of electric guitars, piano, electric piano, a subtle droning synth pad, Hammond

organ, three-part background vocals, and an alto lead vocal part sung by worship leader

Mykeyly Hernandez. The new arrangement maintains the soft, ballad-like quality of the

original, while also building into a powerful and loud climax at the end. While the

Hillsong version uses vocals in three-part harmony, the background vocalists in this
 83

gospel fusion recording take on a more performative, choral role, moving to the

foreground in the tag of “Total Praise.” Audio effects and synthesizers are used

selectively and sparingly in this recording, giving it a more natural, organic, and intimate

sound.

Harmony

The original version of the song is in the key of D major and uses strictly diatonic

chords with intermittent minor sevenths, sus4, and sus2 chord extensions. The harmonic

rhythm is slow, with only two chords per measure in the verses, and one to two chords

per measure in the choruses. The signature piano intro and turnarounds sit atop a tonic

drone, giving the song even more harmonic breathing room. Hillsong Worship uses a

notable reharmonization to highlight the resurrection-themed lyrics of the third verse:

replacing the previously established verse progression (I6-IV-V-I) with a new harmonic

progression beginning on the vi chord. Each song section ends by eliding with the

opening piano hook in an authentic cadence.

The gospel fusion version is in D-flat major, a half step lower than the original.

Like many of The Recording Collective’s arrangements, this rendition of “King of

Kings” features many secondary dominants, tritone substitutions, and extensions and

alterations of chords. Hillsong Worship’s authentic cadences at the ends of song sections

are preserved in this version, eliding into each instrumental turnaround section. One of

this arrangement’s most significant harmonic changes can be found in the second

measure, in which the opening piano hook is reharmonized: the expected tonic chord is

replaced with a iv6/4. This minor iv chord can be found all over this arrangement, and it

foreshadows the harmonic language found in the tag of “Total Praise” at the end.
 b b b b b b b b
b b 2
18 G maj7 A A /G D /F G 2 B m7 G 2

&b b b | Û Û | | | | 4 84

The first verse and chorus of the gospel fusion version is fairly similar to the

original song. Theb second bverse, however, is reimagined with much more harmonic and
G b m/D b Db G b m/D bD b/B E b m7(b5)
E b dim
/A /G b
b b 2 4 ‰ j
22 A D

rhythmic& bmovement
b b 4 | underneath
4 œ œ the ‰ j
œ œ œvery syncopated
œ œ œalready œ œ œ œ
œ œ œ œ œ œmelody.
œœ ∫œ ∫œ
b b 2 4
BGVs

&b b b 4 ∑ 4 ∑ ∑ ∑ Ó Œ ≈
œ œ œ
Figure 5.9 Gospel fusion new verse progression 2. To re - veal

6 6
Verse (I ) ( IV ) (V ) (I)
b b b b
b b > >
47 D /F G maj7 A /C D

Û. Û.
27

&b b b Û Û Ó Û Û Ó

b b
&b b b œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ
≈
œ œ œ
the king - dom com - ing and to rec - on - cile the lost, to re - deem

( ii )
b b b b b b
b b > > . > >
49 D /F G maj7 A /C D D E m7

Û. Û. Û ≈ Û.
29

&b b b Û Û Ó Û Û ‰
R J

b b
&b b b œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ
≈
œ œ œ
the whole cre - a - tion, you did not de - spise the cross For ev -

Like the original version, the third verse begins on the vi chord, highlighting the

powerful resurrection-themed text. Things begin to change during the eighth note build in

m. 73, with the introduction of a new, walk-up harmonization: vi – bVII – V6 – I.

KING OF KINGS (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 5 of 11

Figure 5.10 Verse 3 reharmonization

Build
b b6 b b
b b > > > >
73 B m9 C 9 A sus/C D

&b b b Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û

F
b b j
&b b b œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ
rose from their tombs, and the an - gels stood in awe, for the souls

B b m9 C b9 A b sus/C Db D b/A b E b m/G b D b/F

b b > > > > >
6
75

&b b b Û Û Û Û Û Û Û Û Û Û Û Û Û Û ≈ Û Û Û

b b j
&b b b œœœ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ
≈
œ œ œ
of all who'd come to the Fa - ther are re - stored. 4. And the church
 b b > > > >
73 B m9 C 9 A sus/C D

&b b b Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û

F
85
b b j
&b b b œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ ‰
œ œ œ
Figure 5.10
rose (continued)
from their tombs, and the an - gels stood in awe, for the souls

b b b b b b b b b
b b > > > > >
6
75 B m9 C 9 A sus/C D D /A E m/G D /F

&b b b Û Û Û Û Û Û Û Û Û Û Û Û Û Û ≈ Û Û Û

b b j
&b b b œœœ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ
≈
œ œ œ
of all who'd come to the Fa - ther are re - stored. 4. And the church

Another notable harmonic change in this new arrangement can be found in the

final chorus, in which the last phrase is sung a total of three times, circling back each
Church
time byVerse!
way of deceptive cadences. The second deceptive cadence builds into the final
b b
b b Π>
D /F G maj7

Û.
77

& b b b all
tag, in which instruments dropout exceptÛ the electric
Ó piano.

b b
& b b b œ œ KING OF KINGS œ œ FUSION VERSION)j- Lead/Rhythm
œ (GOSPEL
œ œ
‰ œ
- Page 10 of 14 œ œ
Figure 5.11 Multiple deceptive cadences in the gospel fusion version
b b b b b b b
of Christ was born, then the Spir -

b b
93
73 D /F G 2 A A dim7 B m7 D 13 G maj9 D /F

&b b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b b ‰ œj œ œ œ œ ‰
&b b b œ œ œ œœœ œ œ œ œ œ œ œœœ œ
Praise for - ev - er to the King of kings. Praise for - ev - er to the

b b ‰ œj œ
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œ
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Praise for - ev - er to the King of kings. Praise for - ev - er to the

Dropout!
b b b b b
b b 2 4
96
76 C m7(b5) F 7(#5b9) B m11 F 2/A A m7(13) G maj7 E m7(b5)/A

&b b b ’ ’ Û Û Û Û Û Û | 4 | 4
subito p
b b 2 ‰ œj 4
&b b b œ Œ Ó œ œ. œ œ œ œ œ œ 4 œ 4

j
King, Praise for - ev - er to the King of

b b 2 4
& b b b œœœ ‰ ∫ œœ œ ..
œ œœ .
‰ ∑ 4 ∑ 4
King of kings.

D b G m/D b b b
G m6 D /F b
b b 4
79

&b b b 4 ‰ œ œ œ œ œ œ œ œ
‰
œ œ œ œ œ œ œ
œ œ ∫œ

b b 4
& b b b 4 œ œ œ ˙. Œ œ œœ œœœœ œ Ó Œ ≈œ œ
kings. Oh, Oh, we
 86

Melody

The vocal melody of “King of Kings” follows the notes of the D major scale. The

melodic range is a little over an octave (C#4 to D5). Brooke Ligertwood’s delivery is

fairly structured (as is that of the background vocalists), however she does add a few one-

beat, thirty-second note melismas throughout the song. The highest point of the vocal

melody occurs in the choruses, when the lead vocal leaps up to the leading tone and

resolves up to the first scale degree on the word “majesty.” The piano intro is a signature

reoccurring melody that ties each song section together and bookends the song in both the

intro and outro.

The gospel fusion arrangement preserves the song’s traditional instrumental hook

in the intros and turnarounds, but it should be noted that melody is slightly modified

(using a flat sixth instead of the fifth scale degree) in order to fall within the new

harmonic paradigm created by the underlying G-flat minor chord. This opening

instrumental hook also returns in the form of a countermelody during the “Amen” section

at the conclusion of the piece.

KING OF KINGS
Music and Lyrics by
Rhythm HILLSONG WORSHIP VERSION Brooke Ligertwood, Jason Ingram,
& Scott Ligertwood
Trans. Tyler B. Williams
Figure 5.12 Hillsong Worship intro hook
Intro

# 4
& # 4 ‰ œ œ
D

‰
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
P œ œ œ
KING OF KINGS
Music and Lyrics by
Rhythm GOSPEL FUSION VERSION
# A D Gospel
# # D D/FGhook
#
Verse Brooke Ligertwood, Jason Ingram,
Chorus

##
Figure
D/FG5.13 D/FG A Dfusion
D/FG Aintro
& Scott Ligertwood

2 4
5 A D D G 2 B m7
Arr.ATyler
susA B.DWilliams
G2

& || || || || || G||bm/D b|| 4 | 4 ‰ bj œ œ œ | | b| b || | |

Db Dœœ œœ ˙
Intro

b b 4 œœ P
G m/D

&b b b 4 ‰ œ œ œ œ œ œ œ œ ∫œ
‰
œ œ œ œ œ œ œ œ œ œ ∫œ
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# # # #
Verse Chorus
21
## 2 4 2 4 ‰j
|| 4 |4 ‰œœj œœœ œœœ ’’’’’’’’’’’’’’’’’’’’’’’’’’’’4 ’
B m7
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G A D D/F
G A D D/F
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A D

& ’4 œœ œœœ œœœ ’’’’’’’’’’’’’’’’’’’’

œœ œF œœ œ f
b b b b b b b b b b
Verse

b b
5 D /F G A D D /F G A D D /F G

&b b b | | | | | | | | | |
40
# G2 B m7 G2 A D
 87

Mykeyly Hernandez, the soloist for this arrangement, incorporates the notes of the

D-flat major scale in her solo vocal delivery, however due to reharmonization in m. 86,

she modifies to follow a D-flat Mixolydian b6 scale, outlining the chord tones of G-flat

minor.

The solo vocal range in the gospel fusion version is C4 to Eb5, increasing the

range of the song by one half-step in both directions. The inclusion of the choral elements

further increases the range to include the soprano’s Gb5 in m. 106. As with other gospel

fusion arrangements, the worship leader’s melodic delivery is structured until the

background vocalists enter at the second verse, at which point the soloist begins to

improvise. Hernandez takes a hybrid approach, choosing to sing both small fragments of

the melody and completely new ad lib material.

Rhythm

The Hillsong Worship version of “King of Kings” features highly syncopated

melodic rhythms on top of very simple instrumental rhythms. The song is recorded at a

slow 68 bpm. The only change in tempo is a slight ritardando found in the penultimate

measure. “King of Kings” is in 4/4 time but uses 2/4 bars at the ends of song sections in

order to place the final lyric on a strong downbeat. Hillsong Worship uses the multiple

layers of synth programming to create sixteenth-note pulses that give this ballad a feeling

of forward motion.

The gospel fusion arrangement retains the 2/4 measures at the ends of phrases as

well as the original song’s tempo of 68 bpm. A ritardando in m. 106 pulls the tempo back

to 63 bpm for the “Total Praise” section. The melody is just as syncopated in this version

as in the original, while the instrumental rhythms play more complex figures. In addition
 88

to the new rhythmic structures found in the second verse, the instrumental rhythms

become even more complex in the fourth verse, in which the downbeats of mm. 77, 79,

and 81 are also anticipated. The ascending series of sixteenth notes in m. 80 provides an

exciting instrumental interjection in this verse, while still following the established

pattern of anticipations.

KING OF KINGS (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 6 of 14

Figure 5.14 Gospel fusion fourth verse
b b b b b b b b b
b b > > > >
76 A sus/C D D /A E m/G D /F D /F G maj7

Û.
56

&b b b Û Û Û Û Û Û ≈ Û Û Û Œ Û Ó

b b j j
& b b b œœ ... œœ œœ ≈ œ œœ œœ œœ œ œœœ œœœ œœœ œ œ ‰ œœ œœ œœ
œ œ œ œœ œ œ œ œœ œœ œœ œ œ œ
Ah, 4. And the church of Christ was born, then the Spir -

b b b b b b D b/F b
b b > > >
78 A /C D D /A E m/G G maj7

Û. Û. Û Ó
58

&b b b Û Û Œ ≈ Û Û Û Œ

b b
& b b b œœ œœ œœ œœ œœœ œœ œœ
œ œ
≈ œ
œœ œœ œœ
œ
œœ œ œ œ œœ œœ œœ ≈ œœ œœ œœ œœ
œ œœ œœ œœ œ œ œ œ œ œ œ
œ œ œ œ œ
- it lit the flame. Now this gos - pel truth of old shall not kneel,

A b/C Db Db E b m7 D b/F D b/A b E b m/G b D b/F G b maj7

>
E dim7 F m7(b5)

b b
80

Û. œ Û.
60

&b b b Û Û ≈
œ œ nœ œ œ œ Œ Û Ó
>
b b j
& b b b œœ ≈ œœ œœ œ œœ œœ œœ ≈ œœ œœ œœ œœ œ œ œ œœ œœ œœ ‰ œœ œœœ œœœ
œ œ œ œœ œ œ œ œ œ œ œ œœ œœ œœ œ œ œ œ
shall not faint. By His blood and in His Name in His free -

Growth
b b b b b
b b b bdynamic 2
A /C D D /B G 2/B

Û . ofÛ “King
62

&
The b Û range Û Û ofÛ Kings”
Û is ÛveryÛ wide,
Û ranging
Û Û from
Û Û theÛ intimate
4

piano introduction to a full band jand arsenal of synth programming in the loudest chorus.
b b œ œ œ j 2
& b b b œœœ œœœ œœœ œœœ œœ œœ œœ ‰ ≈ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ 4
While there is no bridge in this song, energy levels are still reset halfway through in the
- dom I am free, for the love of Je - sus Christ who has res -

third verse, in which most instruments drop out, leaving only the soloist accompanied by
 89

piano playing strict half notes in a treble range. This rhythmic change, along with the

aforementioned use of reharmonization, captures the attention of the listener. The song

paces itself by not introducing all instruments right away; the drum set doesn’t enter until

the second verse (1’20” into the song). Hillsong Worship also uses restraint in their vocal

arranging; the background vocalists sing in unison in the first chorus, and then open up to

three-part harmony in the second chorus. After building energy levels in verses three and

four, and the final chorus, the song ends with a soft tag, evoking the restraint of verse 1

with the use of piano and lead vocal only. The Hillsong Worship recording is 4’26” long,

and the song roadmap is Intro, Verse, Chorus, Turnaround, Verse, Chorus, Turnaround,

Verse, Verse, Chorus, Tag, Outro.

The gospel fusion arrangement of “King of Kings” has the widest dynamic range

of this entire recording project. The softest moments are found in the opening piano solo,

an instrumental-only presentation of the verse and chorus of “Total Praise.” The loudest

moments are found when “Total Praise” returns at the end in a bombastic, choral tag.

Similar to the Hillsong Worship version, the third verse sees a reduction in volume, and

in instrumentation to the piano and soloist only.

A newly composed eight-bar build serves as a connection between “King of

Kings” and “Total Praise.” In this section, the piano and electric guitar play the

instrumental hook while the background vocalists sing an ever-inverting series of

sustained triads. The growth in this passage reaches its climax in m. 106 with the

background vocalists arriving at their highest notes, before transitioning into “Total

Praise.”
 b b 2 4 œœ . œ œ œ œ œ j 2 4
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b b 2 œ4 w ∑ ∑ 42 ∑ 44
V b b b 4 Œ ‰ .R 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 90

me.
Figure 5.15 Gospel fusion eight-bar build
Build
b b b b b
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79
99 D G m/D G m6 D /F

&b b b 4 Œ ˙˙ œœ
Œ ˙˙ œœ
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King of kings, Maj - es -

b b b b b b b
b b
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82 G m6 C 9 E m7(b5)/A D /A G m/D

&b b b w Œ ˙˙ œœ ∫ ww
∫ ww ˙ œ w
ty, Fath - er, Son,

b b b b b b b
rit.
b b
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105
85

&b b b ‰ œœ
œ
œœ
œ œ œ œ ∫ œœ œ œ
Ho - ly Spir - it Three in One!

The inclusion of this eight-measure build and the addition of “Total Praise” at the

beginning and end

q = 63
of the arrangement increases the length of the song to 7’49”,
Total Praise

œœ œœthan
b b longer œœ Hillsong
œœ œœ œœWorship’s
œ œœ œœ œœ œœ œœ manyœœ of
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significantly
87

&b b b Œ œ œ œ ‰ œ œ œ œ œ‰ œ œ
J J
measure turnaroundsYou are found in the
the source original version
of my strength, have been
You are extended
the strength tooffour
my life,measures

to give the soloist room to improvise and worship freely. The roadmap of this

arrangement is Piano Solo, Intro, Verse, Chorus, Turnaround, Verse, Chorus,

Turnaround, Verse, Verse, Chorus, Tag, Tag, Build, “Total Praise.”

“Who You Say I Am”

In addition to “King of Kings,” this project looks to Hillsong Worship for another

tune to arrange: “Who You Say I Am,” from the 2018 EP There Is More (Studio

Sessions). This Dove Award-winning worship song also features the vocal talents of

Brooke Ligertwood. This project’s gospel fusion arrangement retains elements like the

6/8 time signature and memorable instrumental hook, while adding elements of swing,

reharmonization, and call and response singing.

 91

Sound

Similar to “King of Kings,” Hillsong Worship uses a large collection of vocal and

instrumental tracks in this highly produced recording. Their track list includes drum set,

digitally sampled percussion loops, sweeping synth effects, bass guitar, synth bass,

acoustic guitar, two layers of electric guitars, digitally affected piano, three layers of

synth pads and pulses, synth strings, three-part background vocals, choir, and

Ligertwood’s alto lead vocal. Audio effects like reverb and delay are used in great

amount on many of the instrumental tracks, specifically on the piano, guitars, and

synthesizers. The dynamic range isn’t very wide, as the song is relatively loud from

beginning to end. The lead vocal is the most prominent track in the array of sound,

supported by the background vocalists singing homophonically with the lead singer.

Similar to “King of Kings,” the presence of gang vocals and large, reverberant sound give

“Who You Say I Am” the feeling of being in a live worship service setting.

The sound of the gospel fusion arrangement of “Who You Say I Am” is less

reverberant than the Hillsong Worship version, using more natural sounding, gospel-

based instrumental timbres like Hammond organ and electric piano instead of layers of

synth leads and pads. Some sections of this new arrangement, like the first verse and

chorus, feature moments of rests built into the instrumental groove, creating textural

space and a choppier, less legato sound. The instrumentation of the gospel fusion version

consists of drum set, percussion loop, bass guitar, two layers of electric guitars, electric

piano, Rhodes, Hammond organ, synth bells, three-part background vocals, and a tenor

worship leader part.

 92

Harmony

The Hillsong Worship version lies squarely in the key of G-flat major, using only

diatonic chords (I, IV, V, vi). Almost all chords are played in root position, with the

exception of the V6 found in the bridge. The only chord extensions in the song are the

minor sevenths atop the vi chords. The harmonic rhythm is relaxed, with one to two

chords per measure in the verses and bridge, and only one chord for every two measures

in the chorus. This creates a harmonic spaciousness that gets out of the way of the lead

vocalist’s melodic delivery. Each song section ends in a plagal cadence (IV-I).

This project’s gospel fusion arrangement places the song in B-flat major. A

modulation in m. 96 raises it to B major for the remainder of the piece. As with the other

arrangements in this project, the harmonic palette is greatly expanded, incorporating

many chord extensions, borrowed, augmented, and altered chords, and playful use of
WHO YOU SAY I AM
reharmonization. The chord progression
GOSPELin the first verse beginsBenbyFielding
following
& Reubenthe I-vi-V-I
Music and Lyrics by
FUSION VERSION Morgan
Arr. Tyler B. Williams

contour of the Hillsong Worship version, with an added V13(b9) in m. 9. By m. 12, the
b b b b b b b b b
b 6 begins to diverge with the introduction of Fm9, and a ii-iii-IV-V
B B 7 G m/B B aug B B 7 G m/B B aug E m6/F

& b 8 y. y y œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
harmonic language

walkup in mm. 14-15.

b 6 Œ.
Vb 8 ∑ ∑ ∑ ∑

Figure 5.16 Gospel fusion first verse

b b b b
Verse

bb
B G m7 F/A B E m/F F 13(b9) B

’. ’. ’. ’. Û ’.
5

& Û ‰ ‰ ∑ Û Û ‰ ‰
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b œ œ œ œ œ œ œ. œ. œ œ œ œ œ œ
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Vb ‰ œ ‰ œJ œ œœœ œœ œ. Œ. ‰
J
1. Who am I that the high - est King would wel - come me. I was lost, but He

b b b
bb
G m7 F m7 E maj7 C m9 D m7 E maj9 E /F

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brought me in. Oh, His love for me. Oh, His love for me. Who the
 b
& b ’. Û ‰ ‰ ∑ ’. ’. ’. Û Û ’. Û ‰ ‰
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b œ œ œ œ œ œ œ. œ. œ œ œ œ œ œ
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Vb ‰ œ ‰ œJ œ œœœ œœ œ. Œ. ‰ 93
J
1. Who am I that the high - est King would wel - come me. I was lost, but He

Figure 5.16 (continued)

b b b
bb
G m7 F m7 E maj7 C m9 D m7 E maj9 E /F

’. ’. ’. ’. ’. ’.
10

& ∑ Û Û Û Û ‰ ‰
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b œ. œ.
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Vb
brought me in. Oh, His love WHO
for YOU
me. SAY I AM
Oh, His love for me. Who the
Music and Lyrics by
Rhythm GOSPEL FUSION VERSION Ben Fielding & Reuben Morgan
Arr. Tyler B. Williams

While the original version places the instrumental hook atop a lone tonic chord,
b b b b b b
b 6 y.
B B 7 G m/B B aug B B 7

& b 8 arrangement
the gospel fusion y y œ finds
œ œ allœ sorts œ
œ œ of newœ harmonic
œ œ
œ œ œ œprogressions
œ œthat œ
œ function
cooperatively with the hook. For those
Verse familiar with the original version, the resulting
b b b b
b
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of. this Ûsignature ’. .

4

& b œ and
reimagination œ reharmonization
œ œ œ œ ’ ‰ ‰ hook creates
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and surprise. Chorus
bb b b b b b b b
bb
B E m/F F 13(b9)
B G m7F m7E maj7 C m9
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Figure 5.17 Reharmonization of the instrumental hook
Turn
b b b b b b
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&b œ œ œ œ œ œ œ œ
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Verse
b WHO YOU SAY I AM (GOSPEL FUSION VERSION) - Rhythm - Page 2 of 4
b
Sometimes these new hook progressions point the listener towardF/A new harmonic
B G m7

. . . .
25

& b BÛb Û
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’
b as. is the. case in. mm. 50-53,
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28

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31Figure E b maj7 Bb A b maj7 A b maj7 A 7(b9)
5.18 Reharmonization thatC points toward Gm7
b
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& b ’. ’. ’. ’. Û Û Û Û Û Û Û Û Û Bridge ‰ Û Û
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|.
49

&b œ œ œ œ œ œ œ œ
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b b b b b b
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b
F/A B B /D E G m7 F/A B B /D E G m7 F/A A m7(b5)
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54

b b #
>
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’. ’. ’. ’. ’. ’. ’. Û Û Û Û.
64

& ‰ Û
 94

The harmonic rhythm increases throughout the arrangement, with chord changes

becoming quite frequent in the final chorus, which includes a rapid series of planning

thirteenth chords (m. 103) and an ascending eighth note progression from B to F# (m.

105-106). This chorus also features another harmonic surprise in m.114, in which the V

chord is replaced with a V7/vi.

WHO YOU SAY I AM (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 10 of 11

Figure 5.19 Busy chord changes in the final chorus

Chorus
# # # # # # #
####
F dim7 F 13 G 13 G 13 A 13 A 13 B /D /D /C B C m7 D dim7 B/D E7 F dim7

’.
102

& # Û Û Û Û Û Û œ #œ nœ œ œ œ
nœ œ n œ œ œ #œ

# ##
& # # Œ. ‰ œœ œœ
œ
œœ ..
œ.
œœ ..
œ.
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œ.
‰ œœ œœ
œ
œ
Who the Son sets free, oh, is

# # # # #
####
F 7 F 7 /F /E D 7(#5) E maj7 F /G

# ’. ’. œ. ’. ’.
105

& œœ œ #œ
#œ n œ œ.

# ## œœ œœ ..
& # # œœœ ... œœ ..
œ.
œœ ..
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œœ ..
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free in - deed. I'm a child of

# # # # #
####
C m7 E/F E maj7/F B A7 G 7 G 7(#5) F 7sus B

# ’. ’. ’.
108

& Û Û œ œ œ
J œ œ œ œ œ œ œ œ œ

# ##
& # # œœœ ‰ œœœ œœ .. œ ˙ .
œ . œœ ˙˙ .. Œ. ‰ œœ œœ œœ .. œœ ..
œ œ. œ.
God, yes I am. In my Fa - ther's

# # #
# ##
D 7 G m7 F m7

& # # ’. ’. ’. ’. ’. ’. ’. ’.
112

# ##
& # # œœœ ... ‰ œœ œœ œ.
‹ œœ ..
œœ ..
œ.
œ.
‹ œœ .. ‰ œœœ œœœ œœœ ... n œœœ ...
œ œ
house there's a place for me. I'm a child of

Cadences are also modified in this new arrangement, with Hillsong’s plagal

resolutions at the ends of song sections being replaced with V-to-I motion throughout
 95

much of the piece. A few exceptions can be found, such as the tritone substitution in m.

25, in which B7 serves as a substitute for F7. Another cadential replacement is found in

the bVII-to-I progression (Abmaj7 to Bb) at the end of the second verse.

Melody

In the Hillsong Worship version, all of the vocal and instrumental melodies

follow the notes of the G-flat major scale. The range of the lead vocal melody uses

Ligertwood’s rich alto voice, extending from Gb3 to Cb5. Her vocal delivery is very

structured, with little deviation or improvisation. Even Ligertwood’s melismas at the ends

of each chorus are consistent. The song has an immediately identifiable instrumental

hook that first appears after the first chorus. This hook, played by a stack of keys, guitars,

and synths, makes frequent appearances in the song, serving as an instrumental connector

of each song section.

Instead of an alto soloist, the gospel fusion version features worship leader

Dwight Hernandez’s powerhouse tenor voice. His performance uses a wide and virtuosic

vocal range (Db3 to B4), not unlike the Onaje Jefferson performances with The

Recording Collective. Once the background vocalists begin carrying the melody in the

second verse, Hernandez begins soaring up and down the staff with all sorts of

improvised melismas and exhortations, all of which follow the Bb major scale, although

the seventh scale degree is hardly ever used.

Blue notes in the form of quick, neighbor tone inflections can be found in mm. 12

and 28 of the soloist’s melody. These notes foreshadow the newly composed “Praise

Break” section that begins in m. 88. Inspired by Cristabel Clack’s dynamic blues riffs

found in The Recording Collective’s arrangement of “King of My Heart,” this new praise
 96

break section features a static, repeated phrase (“Yes, I am!”) sung by the background

vocalists while Hernandez testifies in a completely improvised fashion. In this section,

his melodies follow the D-flat—and after the modulation, D—pentatonic scales. It should

be noted that at the time of recording, none of Hernandez’s melody was notated, and that

each of these runs, and the text being sung, was completely improvised, yet delivered in a

flawless and stylistically appropriate way.

WHO YOU SAY I AM (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 6 of 9

Figure 5.20 Praise break section

Praise Break
b b b b
b
B 13 B 7/D E 7 E dim7 B /F G 7(#5#9)

‰ Û.
87

&b Û ‰ ‰ ‰ ‰ Û Û ‰ ‰ ‰ ‰ Û Û ‰
J J J J J
b œ. œ œ œ bœ œ bœ . œ œ œ bœ œ œ œ œ œ . bœ œ
V b Œ. œ . bœ œ
œ bœ
‰ ‰
Oh, yes I am, Oh,

b
& b œ œ œ Œ. œ œ œ Œ. œ œ œ Œ.
Yes I am! Yes I am! Yes I am!

b b b
j
b
C 7(b9) E 13 F 9 B 13 B 7/D E 7 E dim7
b œ
b b œœ œœœ
& b Û.
90

Û ‰ ‰ ‰ ‰ Û Û ‰ ‰ ‰ ‰ Û
J J J J
b bœ œ œ œ œ bœ œ œ œ œ œb œ bœ œ œ . œ œ bœ œ œ œ œ œ
Vb ‰ ‰ ≈ œ ‰
I'm a child of God, I am cho - sen by You, Lord,

b Œ. œ Œ. Œ.
&b œ œ œ œ œ œ œ œ
Yes I am! Yes I am! Yes I am!

b b # #
b ####
B /F A 9 G 7(#9) F dim7 F 7sus B7 B 7/D

Û. Û.
93

&b Û ‰‰ Û Û # Û ‰ ‰ ‰ ‰ Û
J J J J
nœ . œ #œ nœ œ œ
b œ œœ œ œ bœ œ œ œ . œ œ nœ nœ ##### ‰ ‰ J
œ œ œ nœ œ
V b ‰ ‰ ≈R
3

####
Yeah, some - bod - y sing it with me, say! You thought of me,

b Œ. Œ. Œ.
&b œ œœ œ œ œ # Nœ œ œ
Yes I am! Yes I am! Yes I am!
 97

Rhythm

Similar to “King of Kings,” the Hillsong Worship version of “Who You Say I

Am” uses driving sixteenth-note pulses (introduced in verse 2) to propel the song

forward. This underlying forward motion makes the song feel faster than it actually is

(only 86 bpm). The vocal melody sings syncopated rhythms in the verses and straightens

out in the choruses and bridge. The instrumental parts are not syncopated at all, save for a

few dotted eighth-note patters in the kick drum. This simple, yet powerful

accompaniment allows the vocal delivery to shine.

The tempo of the gospel fusion version is slightly faster, at 86 bpm. The most

noticeable rhythmic change is the use of swung sixteenth notes throughout, which gives

the song a lilting shuffle feel. There are no tempo changes, save for a slight ritardando in

the penultimate measure. Whereas the Hillsong Worship version uses pulsating

synthesizers to generate forward motion, this arrangement relies on the swung percussion

loop to be an ever-present subdividing element.

The instrumentalists have a variety of intricate and specific rhythms to play in this

new version. This includes an accented break in m. 31, syncopated hits like the Em7(b5)

on the fifth beat of m. 45, and a hemiola in m. 102 as the band transitions out of the

“Praise Break” section and into the final chorus.

Growth

The Hillsong Worship version of “Who You Say I Am” relies on changes in

instrumental texture to create and sustain growth. The understated intro of the song

begins with acoustic guitar strums and sustained piano chords. This accompaniment

continues throughout the first verse, until synth pads are introduced in the first chorus.
 98

The signature melodic hook is introduced after the first chorus, along with the pulsing

sixteenth note figures that continue throughout the song. Drum fills are used to propel the

transition from verse 2 to the chorus, and from the bridge to the chorus. The Hillsong

Worship version is not very long, at only 3’19” in length. The song roadmap is Intro,

Verse, Half-Chorus, Verse, Chorus, Bridge, Bridge, Chorus, Tag.

The gospel fusion arrangement is over a minute longer, clocking in at 4’34”. This

is due to the sixteen-measure “Praise Break” section, an addition bridge, and the use of

extended turnarounds which, as with this project’s arrangement of “King of Kings,”

allows the soloist more time to insert improvised moments of worship. The dynamic

range isn’t very wide, with softer sections limited to the end of the song and the first

bridge. Although the Hillsong Worship version begins the bridge at the same loud

dynamic level as the chorus, this version opts instead to bring energy levels down by

using only the soloist and keys and limited the amount of rhythmic subdivision (mm. 54-

61). As with the other arrangements studied, the bridge in this version is used as a means

of building up energy by introducing new elements with each repetition: solo only (m.

54), followed by background vocalists in unison (m. 62), followed by background

vocalists in three-part harmony (m.70). A series of bridge tags is also introduced in this

arrangement, in which the background vocalists repeat the phrase “I am who You say I

am” four times atop a new harmonic scheme before heading into the explosive “Praise

Break” section.
 99
WHO YOU SAY I AM (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 8 of 11

Figure 5.21 Bridge tags section

Bridge Tags
b b
b
B /F G m7 C m9 E m6

& b Û Û Û ’. ’. Û Û Û ’. Û Û Û ’.
79

Û Û Û

b œ œ œ œ œ œ œ œ œ œœœœ œ œ
V b Œ. ‰ œ œ œ œ Œ. ‰ ‰ J ‰
J
You said, I am,
3 yeah, You said,

b œ œ œ j j
& b œœ œœ œœ œœœ œœœ œœœ œœ .. ‰ ‰ œœ œœœ œœœ œœœ œœ œœ b œœ œœ ... ‰ ‰ œœ
œ. œ œ œ œ œ œ
am who You say I am. I am who You say I am. I

b b b
b
B /F G m7 Cm D m7 E m6 A 13A 13

& b Û Û Û ’. Û Û Û ’.
83

Û Û Û Û Û Û Û Û Û Û Û
J
b œ œ œ œ œ œœœ œ œ œ œ œ œ œ
V b Œ. ‰ œ ∑ ‰
3
'cause I am, come on say it, Yes I am!

b œ œ œ j
& b œœ œœ œœ œœœ œœœ œœœ œœ .. ‰ ‰ œœ œœœ œœœ œœœ œœ œœ b œœ œœ ... Œ.
œ. œ œ œ œ œ
am who You say I am. I am who You say I am.

One of the biggest contributors to growth in the gospel fusion version is the half-

step modulation in m. 96. This proves to be an effective method of sustaining growth and

helps prevent the piece from becoming stale. The roadmap of the gospel fusion version is

Intro, Verse, Half-Chorus, Turnaround, Verse, Chorus, Turnaround, Bridge, Bridge,

Bridge, Bridge Tags, Praise Break, Chorus, Turnaround, Chorus Tag.

 Chapter Six – The Production Process

Arranging

The first step in the production process was selecting well-known worship songs

in order to create gospel fusion arrangements in the style of The Recording Collective. In

addition to the three chosen songs analyzed in Chapter Five, this recording project also

includes the song “Christ Be Magnified” by CCM recording artist Cody Carnes and “Yes

I Will” by Chicago-based Vertical Worship.

Once selected, I began playing through these songs, becoming intimately familiar

with the original lyrics and chord progressions in order to explore the musical elements

that could be modified and rearranged. Ideas for reharmonization, changes in rhythms

and grooves, changes in instrumental textures, and newly added melodies and lyrics were

all sketched out at the piano. In this exploratory process, I found ways to incorporate

popular gospel staples into some of my arrangements. For instance, Shekinah Glory

Ministry’s lengthy 2007 worship ballad “Yes” paired well with Vertical Worship’s “Yes I

Will” from both a textual and musical perspective. Similarly, gospel legend Richard

Smallwood’s choral anthem “Total Praise” proved to be a perfect candidate for a

powerful “gospel coda” to my arrangement of “King of Kings.”

With simple sketches of the songs written out, rough draft recordings were then

created and recorded in Logic Pro X, a Mac-based digital audio workstation. Piano, bass,

and drum machine tracks were created by using an M-Audio Keystation 88 II keyboard

100
 101

connected via USB to Logic’s built-in virtual instruments (software-based synthesizers).

These “scratch recordings” were helpful in getting a sense of the pacing of these new

gospel fusion arrangements.

Pre-Production and Programming

With the arrangements and demo recordings created, my attention turned to pre-

production. The appropriate tempo for each song was determined, along with tempo

changes and ritardandi in songs like “King of Kings” and “Who You Say I Am.” It was

essential to lock these tempi in place before recording began, in order to sync up the

various vocal and instrumental tracks (recorded separately) under one master tempo.

Each Logic session was set to a bit depth of 24 and a sample rate of 48kHz; this would be

the bit depth and sample rate used in all subsequent recording and mixing sessions.

The initial “scratch recording” keyboard parts were replaced by more refined

keyboard parts. Additional virtual instrument textures were programmed, including synth

basses, woodwinds, pads, percussion loops, synth lead patches, and guitars. A complete

list of all MIDI-programmed instrumental tracks and their corresponding virtual

instrument plug-ins (peripheral software programs) is shown below.

Table 1. “Christ Be Magnified” Programming List

Instrument DAW Plug-in Sample
Keys 1 Logic Sampler Grand Piano
Keys 2 Logic Vintage Electric Piano Chorused Electric Piano
Keys 3 Logic Vintage Electric Piano Funk Piano
Guitar Logic Legacy Guitar 12 String Acoustic
Hook Synth Logic ES2 Synthesizer 2 Analog Moog Lead
Bass Guitar Logic Sampler Fingerstyle Electric Bass
Flute Logic Sampler Flute Solo+
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Table 2. “King of Kings” Programming List

Instrument DAW Plug-in Sample
Keys 1 Pro Tools Kontakt 6 Westwood Alt Piano
Keys 2 Logic Vintage Electric Piano Suitcase Bright
Pad Drone Logic ES2 Synthesizer 2 Dark Pad 01
Loop Logic Legacy Drum Kits R&B Kit
Shaker Logic Sampler Studio Percussion

Table 3. “Lion and the Lamb” Programming List

Instrument DAW Plug-in Sample
Keys 1 Pro Tools Xpand Pretty FM + Chorus
Keys 2 Pro Tools Hybrid Direct Wurlitzer
B3 Organ Pro Tools DB33 Fast 008856038
Synth 1 Pro Tools Hybrid Power Stabs
Synth 2 Pro Tools Hybrid Sineish Lead
Orchestra Hit Pro Tools Xpand Orchestra Hit 1
Loop Pro Tools Boom Say It Simple
Synth Bass 1 Pro Tools Hybrid Phatsonic Bass
Synth Bass 2 Pro Tools Hybrid Fat MKS80 Bass

Table 4. “Who You Say I Am” Programming List

Instrument DAW Plug-in Sample
Keys 1 Logic E-Piano Classic Suitcase Mk I
Keys 2 Logic E-Piano Wide Suitcase
Keys 3 Logic ES2 Synthesizer 2 80s FM Piano
Loop Logic Sampler Studio Percussion
B3 Organ Logic Vintage B3 Organ Rich Gospel Organ
Hook Synth Pro Tools Omnisphere D50 – Classic Staccato Heaven

Table 5. “Yes I Will” Programming List

Instrument DAW Plug-in Sample
Keys 1 Logic E-Piano Classic Suitcase Mk I
Keys 2 Pro Tools Omnisphere CS-80 Sine Bells
Keys 3 Pro Tools Omnisphere JP Vibrasine Bells
Pulsing Synth Pro Tools Omnisphere Sweet Sixteenths
Hook Synth 1 Pro Tools Omnisphere Purewave Bells
Hook Synth 2 Pro Tools Omnisphere D50 – Classic Staccato Heaven
Synth Bass 1 Pro Tools Omnisphere BASS – Billie Bad Bass
Synth Bass 2 Pro Tools Omnisphere BASS – Taylor Blank Bass
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Lead sheets and rhythm charts were created in Finale (a music notation software).

These charts included chord symbols, rhythmic figures, and notated versions of the three-

part background vocalist harmonies, all of which would be crucial for the various

vocalists and instrumentalists who would be recording this material. In addition to sheet

music, the different personnel involved were also given mp3 recordings to listen to as

they learned their parts. A demonstration, or “mock-up,” bass guitar part was played into

Logic via my MIDI keyboard in order to give the bass player an idea of his entrances and

rhythmic figures. Additionally, rough demos of the soprano, alto, and tenor background

vocal parts were recorded by me to assist the singers in learning their parts.

Drums

Because of its central role in gospel music, the drum set was the first instrument

that needed to be recorded once pre-production was complete. The performances of all

other instrumentalists and singers would certainly be informed by the dynamic intensity,

rhythmic patterns, and at times, swing rhythms played by the drummer, so it was critical

to record this first.

Drums were recorded on July 6, 2020 at Family Church in West Palm Beach,

Florida. Danny Marquez, a professional musician and a featured drummer with Family

Church Worship, recorded three of the songs for this project. Danny has years of

experience playing gospel music, and we played many songs by The Recording

Collective together when I was on staff at Family Church. Weeks before the recording

session, practice tracks of these songs were sent to Danny, complete with demo vocals, to

give him time to internalize these new arrangements and prepare to record. The drum set

at Family Church was outfitted with the following microphones:

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Table 6. Drum Set Microphone List

Kick Drum Shure Beta 52
Snare Drum Top Shure SM57
Snare Drum Bottom Rode M8
Hi-Hat Neumann KM184
Rack-mounted Tom 1 Sennheiser E604
Rack-mounted Tom 2 Sennheiser E604
Floor Tom Sennheiser MD421
Overhead Left AKG C414B
Overhead Right AKG C414B

Matt Vaughan, a technical associate on staff at Family Church, served as the

recording engineer for this session. In addition to setting up the microphones, he was able

to monitor the microphone levels and the audio capturing process, freeing me up to focus

on directing Danny in the more musical elements of the session. Both Danny and I used

Allen and Heath ME-1 units for personal in-ear monitoring. Using Logic, click tracks and

scratch audio tracks were played from my computer, connected into the Allen and Heath

system via a stereo 1/8” headphone cable.

The first song we recorded was “Lion and the Lamb.” Due to the high-energy

nature of this arrangement, the drums play almost the entire duration of the song, leaving

few places to start and stop recording. We recorded three takes from start to finish. At

first, it took a second for Danny to lock in the swing rhythms in the verses, especially in

the hi-hat, but this was quickly resolved. The second take ended up being the best take.

The second song we recorded was “Who You Say I Am.” This song also features

swing rhythms but was not as challenging for Danny as the first song. Because the drums

rest for eight measures at the bridge, this song was recorded in two sections, allowing

Danny to focus on half of the song instead of the entire arrangement. Two takes of

measures 1 through 54 were recorded back to back. Then, after practicing the remaining
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measures, two takes of the back half of the song (measures 61 through 128) were

recorded back to back.

The third and final song we recorded was “King of Kings.” This song also

features a segment with no drums, allowing us to divide the recording process into two

parts. In this arrangement, the drums do not enter until the second verse, which also saved

some time. We practiced then recorded two takes of measures 24 through 48. Then, after

practicing the back half of the song, we recorded two takes of measures 53 through 111.

Danny’s performances were nearly flawless and needed only minimal coaching in

places featuring unique and highly specific rhythmic figures. His fluency with the gospel

music vernacular helped bring these gospel fusion arrangements to life.

The microphones were connected to an Allen and Heath Avantis audio console.

The console was connected to an iMac computer via a Dante ethernet system, a low-

latency method of transferring multiple channels of digital audio. Using Reaper, another

digital audio workstation, the tracks were captured and stored on this iMac in WAV

(Waveform Audio) file format. After the session had concluded, these WAV files were

transferred onto an external hard drive to be edited in Nashville at a later date.

While these three songs were being recorded with a live drummer, my friend Eric

Uplinger, a Nashville-based producer and mix engineer, was creating sample-based drum

tracks for the two remaining songs: “Yes I Will” and “Christ Be Magnified.” These two

songs featured a more synth-driven sound, and Eric’s programming skills and impressive

sample library provided a unique drum beat for these arrangements.

To give Eric a conceptual reference for “Yes I Will,” I created a simple, four-bar

drumbeat using the Classic Electro Kit setting within Logic’s Ultrabeat drum machine
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virtual instrument plug-in. I sent him this sample drum idea in a Logic session that

included markers, indicating locations for fills, rests, and breaks. From there, Eric

recreated and expanded my initial drum idea, using a variety of both sampler-based

synthesizers and audio files. Some of the sampler-based sounds came from Logic’s

Roland Tr 909and Ultrabeat drum machines, and Omnisphere. Many of the audio tracks

came from the Cinematic Pop Deluxe and Future Drums sample libraries produced by a

company called That Sound. Eric’s layered and nuanced drum programming elevated the

sound of this song, providing unique timbres and points of interest throughout the

recording.

The drums for “Christ Be Magnified” were programmed using the Roland Tr 808

vintage drum machine in Logic’s Drum Machine Designer. All drum elements (kick,

snare, cymbals, toms, percussion) were created by inputting MIDI notes into Logic’s

piano roll region. Using these 808 drum machine timbres helped to reinforce the 1990s

R&B sound of this particular arrangement.

Eric Uplinger also helped in the drum editing process for the songs recorded in

Florida. After I selected and assembled the best takes (a process known as comping) and

trimmed measures of rests in order to avoid unnecessary noise, updated drum WAVs

were sent to Eric. Using the Beat Detective feature in Pro Tools, Eric worked in eight-

measure segments, resolving any noticeable timing issues in the drums.

Bass Guitar

With the drum tracks recorded, programmed, and edited, other instrumentalists

could now be recorded. Winner Olmann, a talented multi-instrumentalist, music

producer, and worship pastor at Family Church recorded bass guitar for three of the
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songs: “Lion and the Lamb,” “Who You Say I Am,” and “King of Kings.” Winner

brought his virtuosic yet tasteful gospel chops to this project; his skills have been honed

and polished from years spent playing in Haitian American and African American church

settings. Rhythm charts were emailed to Winner, along with a folder containing WAV

audio stems of click track, accompaniment track (including the newly recorded drums),

and a rough demo of a bass part I recorded in Logic via MIDI keyboard. I encouraged

Winner to follow the charts and use the “scratch bass” recordings as a guide, but gave

express permission and encouraged him to improvise and take liberties with his parts.

Winner played a five-string Fender Jazz Bass, routed through an Apollo Twin

audio interface. For a DAW, he used Logic on his MacBook Pro. After recording bass

parts for the three songs, Winner edited his tracks using the iZotope RX-7 timing and

pitch correction plug-in, correcting any noticeable performance issues. Upon receiving

the edited bass tracks, I was delighted by some of the improvisatory surprises that Winner

recorded, especially given the fact that he was only equipped with chord charts and

minimal direction. Some of these surprise moments include simple inversion changes,

like playing the D-flat major chord in first inversion in m. 106 of “King of Kings.” There

were also more virtuosic moments, like an impressive fill in m. 28 of “Who You Say I

Am” and a playful lick in the penultimate measure of “Lion and the Lamb.”

I recorded the bass parts using virtual instruments for the remaining two songs. In

“Christ Be Magnified,” I used the Fingerstyle Electric Bass sample within Logic’s built-

in Sampler instrument plug-in. I doubled the bass guitar track with the Funk Piano

sample found in Logic’s Vintage Electric Piano patch. This helped create a slightly

detuned, 1990s R&B sound to the bass in this song. Because “Yes I Will” features a more
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synth-driven sound, I used two layers of synth basses from the “ILIO – The Fame

Modern Pop” sample library. “Billie Bad Bass,” with its muted tone and quick release,

functioned as the primary synth bass sound throughout the song while “Taylor Blank

Bass,” a crunchier and more sustained sample, was added in the final chorus as a way of

boosting intensity.

Electric Guitar

The electric guitar parts were recorded remotely by Danny Diaz, a Nashville-

based musician and educator. Similar to the bass guitar sessions, rhythm charts and WAV

audio stems of click tracks and instrumental tracks were sent to Danny. Lead guitar lines

were notated to avoid any confusion in the recording process. Electric guitar parts were

recorded for “Lion and the Lamb,” “Who You Say I Am,” and “King of Kings” over the

span of three weeks in late August and early September 2020. Danny used a Fender

American Standard Telecaster solid body electric guitar. The guitar was connected to a

Focusrite Saffire Pro 40 audio interface via a 1/4” cable. Danny recorded all tracks in Pro

Tools 2020, and used Amplitube 4, a digital amp simulator plugin, along with Pulse, a

digital impulse response loader, in lieu of miking a physical amp. In keeping with the

style of The Recording Collective, the electric guitar parts did not use heavy amounts of

reverb, delay, or other effects found in modern worship music. I encouraged Danny to

keep things fairly dry and to aim for a bluesy tone. The only effects used on these guitar

tracks were overdrive, via Amplitube 4, and D-Verb, the built-in Pro Tools reverb plugin.

Danny recorded multiple layers of electric guitars in each song. These included

lead guitar hooks, like the notable turnaround hook featured in “Who You Say I Am,” a

simple pass of sustained chords, and a more rhythmically active pass of energetic
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picking. Danny sent back WAV files of his guitar parts, which were then loaded into

Logic and edited. The guitar editing process included using Logic’s built-in Flex Time

feature, allowing me to manipulate his audio in order to help things line up more tightly

with the drums and other tracks. Logic’s Flex Pitch feature was used to help the guitar

intonation in a few places.

Hammond Organ

Hunter Spivey, a Nashville-based musician and Belmont University alum,

recorded B3 organ parts for “Who You Say I Am” and “King of Kings.” As with the

other instrumentalists, Hunter was equipped with demo recordings and rhythm charts,

and given liberty to interpret and improvise his parts as he saw fit. The organ tracks were

created using Logic’s Vintage B3 Organ virtual instrument plug-in. Hunter played a

Novation Launchkey 49 keyboard which features programmable faders and switches that

were used to control the organ drawbar and rotary cabinet settings. Hunter used

stylistically appropriate organ techniques like glissandi, improvisatory fills and licks, and

strategic use of the volume pedal and the signature rotary spin. These organ tracks were

vital in creating the classic gospel music sound for these two songs.

Vocals

The vocal parts were one of the most essential components of this project. In

addition to bringing the notated three-part harmonies to life, it was paramount that the

vocalists for this gospel fusion project be familiar with gospel styles, inflections, and

vocal delivery. Even more important was to have soloists who could improvise and sing

on top of and around the background vocal parts.

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I returned to West Palm Beach in the first week of September for a series of vocal

recording sessions with some of the featured singers from Family Church Worship.

Angel Arce, a music producer and technical associate at Family Church, assisted in

setting up a small, isolated space in which to record. A Neumann TLM 103 condenser

microphone was run through a Focusrite Scarlett 2i2 audio interface. This interface was

then connected to my MacBook Pro via a USB cable. All vocal parts were recorded into

Logic. A Kaotica Eyeball, a portable foam isolation apparatus, was placed over the

microphone to ensure a dry, isolated sound. Phantom power was supplied to the

Neumann via the audio interface. Headphone extension cables were run from the Scartell

2i2 to both the singer and me, and in-ear monitors were used to avoid having any click or

track picked up in the microphone.

Each vocal part was recorded individually to ensure clean, dry audio tracks

without bleed from other vocalists. For background vocalists, two takes of each section

were recorded in order to create a blended, chorus sound. For soloists, three takes of each

section were recorded, giving me a safe number of options from which to choose in the

editing process. The technique of “flying,” or copying one section of a track and pasting

it elsewhere in a song, was used to save time and avoid vocal fatigue. This technique was

helpful in songs with repetitive choruses like “Lion and the Lamb” and “Christ Be

Magnified.” In addition to engineering the session, monitoring input levels, and ensuring

audio capture, I also conducted entrances and cutoffs for the vocalists. Each song was

broken up into small, manageable segments, allowing me to teach and rehearse a section

of music with the singer before recording. The vocalist and I would go back and record

over any mistakes in a process known as “punching in.” Logic’s built-in system of
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recording multiple takes of audio automatically creates cross-fades, allowing for a

seamless blend between existing and “punched in” audio tracks.

The first vocal session was with Krystal Gutierrez, a classically trained soprano

and worship leader fluent in both gospel and pop styles. Krystal recorded the soprano

background vocal parts for all five songs in the project. Because of her sight-reading

abilities and overall preparedness, Krystal did not need much coaching and was able to

record long sections of music with little to no errors. One notable moment of inspiration

occurred during Krystal’s recording session, in which she sang one of my notated vocal

lines incorrectly. As it turns out, the line Krystal sang went a whole step higher and felt

even more energetic than what I had initially written. Because she was the first vocalist to

record, I decided to keep her “wrong note” and made sure that the subsequent vocalists

matched her phrase.

The next vocal session featured Mykeyly Hernandez, a worship leader and soloist

with Family Church Worship who recorded all of this project’s alto background vocal

parts as well as the solo for “King of Kings.” Mykeyly brought a soothing and mellow

sound as well as moments of improvisation and stylistically appropriate melismas to this

project. She is a former member of LU Praise, Liberty University’s multi-ethnic gospel

choir. Because Krystal’s soprano parts had already been recorded earlier in the week,

Mykeyly was able to sing along with Krystal in her in-ear mix. This was helpful in

creating as unified a sound as possible, considering the background vocalists were not

being recorded simultaneously. Due to the tricky nature of some of the alto parts, and a

greater dependence on singing by ear rather than by sight reading, Mykeyly’s background

vocal takes required more punch-ins and corrections. Once the alto parts for all five songs
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had been tracked, we turned our attention to the solo for “King of Kings.” This solo was

much easier to record as Mykeyly was already quite familiar with the Hillsong Worship

version of this song and was given free rein to improvise without having to worry about

things like harmonies and cutoffs.

Mykeyly’s husband, Dwight Hernandez, recorded all of the tenor parts as well as

the high energy solo for “Who You Say I Am.” Dwight is another powerhouse vocalist

with Family Church Worship as well as a former member of LU Praise. As he was the

third vocalist to record, Dwight’s in-ear monitor mix included both Krystal and

Mykeyly’s vocal parts which, giving him a full “praise team” sound over which to record.

The same method of teaching, practicing, then recording small sections at a time was also

used in recording these tenor parts. Once all of Dwight’s background vocal parts were

recorded, we focused on the solo part for “Who You Say I Am.” The notated and more

structured parts of the solo were recorded first; these included the first verse and chorus,

the solo-only bridge, and the tag at the end of the song. Once these sections were

recorded, I then asked Dwight to record multiple takes of Spirit-led, gospel-infused

improvisation throughout the remaining sections of the song. This included the Praise

Break section of the song, where Dwight’s fast melismas, shouts, and call and response

figures interacted with the background vocalists’ repetitions of the phrase “Yes, I am!”

All of the background vocal sessions required the singers to accurately follow the

notated vocal parts on the page, with one exception: the eight bar “Praise” interlude

before the bridge of “Yes I Will.” In this section, each of the vocalists was asked to

improvise and worship freely while the instrumental track continued the song’s repetitive
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chord progression underneath. The result was a wave of “pandiatonic praise,” as each

vocalist’s improvisations followed the C major scale while overlapping one another.

The fourth and final vocal recording session was with Justin Barahona, another

worship leader and featured artist with Family Church Worship. Justin’s strong tenor

voice, gospel inflections, and musical instincts were most helpful in capturing both the

structed and improvisatory solo moments for “Lion and the Lamb,” “Yes I Will,” and

“Christ Be Magnified.” As with Dwight’s solo, we recorded the simple, solo-only

passages first, before recording the more improvisatory elements. In keeping with the

techniques of The Recording Collective’s soloists, I encouraged Justin to sing around the

background vocalists, essentially inserting his ad lib moments in between the already-

recorded background vocal parts. At times, I would sing some suggested runs or phrases

whenever Justin was at a loss for improvisatory ideas. We recorded three takes of every

solo part in each song, giving me a great selection of performance options in the comping

and editing process.

With all vocal tracks recorded, I returned to Nashville and began the process of

comping, or compiling, the best takes; elements like pitch, rhythmic accuracy, and clarity

of vocal delivery were factors used in evaluating the best take of any given section.

Sections of silence were deleted to remove unnecessary noise and cross fades were added

to smooth over entrances and transitions between takes. All of the vocals were tuned

using Logic’s built-in Flex Pitch tool. Because the soloists’ tracks were to be more

present in the mix, I was careful to not go overboard in the tuning process, allowing these

audio tracks to remain as natural sounding as possible. The background vocal tracks
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received a more generous amount of finessing and manipulation of pitch and at times,

vibrato amounts.

Mixing

Once all audio tracks had been recorded and edited, they were then sent off to

Eric Uplinger for mixing. He used Pro Tools 2020, along with an Apollo Twin MkII

audio interface connected to two PMC twotwo.6 studio speakers.

Eric began by setting initial volume levels, spatial placement (panning), and

balancing all the tracks in each song before adding any plug-ins. From there, he moved

on to the drums, using both additive and subtractive equalization (EQ) techniques with

plug-ins like Fabfilter’s Pro-Q3 and Waves Scheps 73. Eric also imported drum samples

from That Sound’s Nir & Jeff collection to reinforce the kick, snare, and toms. A stereo

auxiliary channel (aux) was created for drum effects, which included ValhallaRoom for

reverb and Soundtoys’ Decapitator, an analog saturation modeler that added light, tasteful

distortion to give the drums body, grit, and character. After the drums had been dialed in,

Eric blended in the percussion loop tracks, ensuring that the two instruments

complemented each other.

Bass guitar came next, for which Eric used two stages of compression plug-ins: a

Universal Audio (UAD) LA-2A for gentle and constant compression throughout, as well

as the UAD 1176, set to a more aggressive setting to catch audio peaks. The bass guitar

was also sent to an aux effects channel equipped with Softube’s Tube-Tech CL-1B

compression (used in parallel with the compressors on the bass track) and Avid’s

SansAmp PSA-1 amp simulator. From there, Eric dialed in all of the electric piano,

organ, and synth programming tracks with minimal audio effect processing, using
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Fabfilter’s Pro-Q3 for subtractive EQ and sending each keys/programming track to a

stereo aux effect channel equipped with ValhallaVintageVerb’s Bright Hall reverb

algorithm. Electric guitar tracks were cleaned up next, using EQ to avoid piercing

frequencies and hums, and a boost around 200Hz to give the guitars greater body and

thickness. The guitar tracks Danny Diaz sent were already had a light amount of reverb

included, so no further effects processing was needed.

The lead vocal tracks received a lot of attention, as they are the most prominent

and exposed tracks in each of these mixes. Eric began by using subtractive EQ tailored to

each unique singer’s voice. Eksound’s soothe2 plug-in was used as a de-esser, providing

frequency-dependent compression in the high-mid area of the spectrum to reduce

sibilance. UAD’s LA-2A and 1176 compressors, along with the Waves R-Vox

compressor were used to catch peaks and provide gentle and constant compression. Two

hardware emulators were used to saturate the lead vocal tracks: Kazrog’s True Iron

transformer emulator provided subtle, full bodied saturation and Slate Digital’s Virtual

Console Collection (VCC) emulated an SSL 4000E analog console. The lead vocal

channel was also sent to an aux effects channel, equipped with UAD’s 1176 Rev A for

parallel compression, ValhallaRoom, ValhallaShimmer and UAD’s EMT 140 for reverb,

Soundtoys’ EchoBoy and EchoBoy Jr. for slap delay and eighth-note tape delay,

respectively, and Avid’s Pitch II and Soundtoys’ Microshift plug-ins for stereo intonation

effects that beefed up the vocal sound.

Eric focused next on the background vocalist tracks, using Fabfilter’s Pro-Q3

plug-in to remove low and mid-range frequencies and UAD’s 1176 compressor to level

the dynamic range on each individual track. All of the background vocal tracks were sent
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to a stereo aux effects track equipped with ValhallaRoom for reverb. The background

vocal tracks were also bussed to an aux track equipped with audio effects to be applied to

the entire blended group of singers. This included the Pro-Q3 equalizer to remove

frequency buildup that occurs when all vocals are blended together, Kush Audio’s

Clariphonic Parallel Equalizer to add clarity in higher frequencies without adding

harshness, a series of de-essers, plug-ins that attenuate or reduce sibilance, targeting

different frequencies (Waves R-DeEsser, UAD Precision, and soothe2), and UAD’s

Shadow Hills Mastering Compressor, used as a transformer emulator to give body to the

background vocalists.

One final stereo auxiliary “Mix Bus” track was created, through which all audio

and aux effects tracks were routed. This final round of audio effects plug-ins included an

analog console emulator (Slate Digital VCC), a transformer emulator (Kazrog’s True

Iron), and a tube emulator (Plugin Alliance’s Black Box Analog Design HG-2) to provide

saturation. Both the API 2500 and SSL 4000G compressors were used lightly on this

final bus, along with Soundtheory’s Gullfoss dynamic equalizer, which analyzed the

frequency spectrum in real-time and added clarity to the overall mix. Kush Audio’s

Clariphonic Parallel Equalizer and the Waves Scheps 73 were used as mid-side EQ,

adding top end to the left and right sides of the mix to enhance width. Finally, this effects

channel included a soothe2 Master De-esser, used very gently, and Fabfilter’s Pro-L2

Mastering Limiter, set to the “punchy” setting.

In terms of stereo placement, Eric arranged the drums from the drummer’s

perspective, panning the hi-hat to the left, and the three toms from left to right. To

balance out the leftward placement of the hi-hat, shakers and percussion loops were
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panned to the right. Bass guitar, synth bass, and lead vocal tracks remained center, while

electric guitar tracks were partially panned to provide separation. All of the keys and

programming tracks were stereo to begin with and did not warrant further panning. As

the background vocalist tracks were double-tracked (two takes of each vocal part), they

were panned left and right, creating a wide, stereo sound.

Eric then applied automation, or pre-programmable adjustments, to the volume

levels of individual tracks as needed, then sent me WAV files of rough mixes for each

song. I then sent him a list of mix revisions: minor tweaks mainly related to volume and

balance. After reviewing these notes, Eric made the necessary adjustments and sent a

revised mix of each song.

Finalization

With the recordings finalized, all lead sheet and rhythm charts were updated to

reflect the solo parts as they were sung on the record, including transcriptions of all

improvised material.
 Conclusion

The Recording Collective and other artists within the emerging gospel fusion

subgenre continue to transform the sounds, sources, and potential audiences for gospel

music. The musical endeavors of these artists, plus the arrangements and recordings put

forth in this project, build upon the great legacies of both gospel music and the modern

worship movement in America. Andrew Wilson-Dickson, recognizing the impact that

gospel music has had outside the walls of black churches says, “the black community in

America has proffered a great gift to the legacy of Christian music” (Wilson-Dickson

1992, 193).

This project places a high value on the use of musical notation as a means of

instruction, analysis, and transmission. The use of accurate lead sheets and rhythm charts

can be a helpful tool for musicians from non-gospel backgrounds, or for those who lack

the aural skills needed to decipher the advanced harmonic and rhythmic elements found

in these arrangements. While these transcriptions are helpful, one must remember that

gospel music has typically been transmitted and absorbed aurally. Citing these aural

traditions, M. Roger Holland II says, “the music is communicated in the doing of it, not

in the reading of it” (Holland 2014, 27). Holland views live performances and recordings

as “aural scores” to be studied and that these “should be the true source of understanding

when interpreting gospel music” (Holland 2014, 27). Another distinction should be made

in the context of a live worship service, in which—depending on the congregation and

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stylistic appropriateness—elements like song length, roadmap, and even the notes on the

page are all fair game to be rearranged and/or deconstructed to follow the whims of the

worship leader and the spiritual promptings that may come about in a charismatic

worship setting. Holland argues for this spirit of flexibility in gospel music performance,

saying,

It is soul music. It must be felt. It cannot be rigid or restrictive in its expression.

One cannot be slave to the written score, to the printed page. One must flow with
the life source, with the feeling that exists in the living moment (Holland 2014,
29).

While the musical analyses of the gospel fusion arrangements presented in

Chapters Four and Five of this paper provide a helpful understanding of the mechanical

and technical aspects of this genre, they should not be untethered from the church

contexts for which they were written. The cultural and spiritual aspects of this music

should be taken into account, and the reader is encouraged to explore more of the gospel

artists and culturally significant events referenced in Chapter One in order to gain a

greater fluency in both the musical and non-musical aspects of this impactful genre.

Trineice Robinson-Martin reinforces the need for curious musicians to dig deep into

gospel music, emphasizing that it is learned “through listening, imitation, immersion in

the culture / community of its performers and audiences, and, more recently, through

instruction by pedagogues” (Robinson-Martin 2009, 598).

The most significant impact of the gospel fusion movement is the diversification

of the musical experience in congregational worship settings. This project aims to

continue this trend of cross pollination between various cultural groups in order to create

powerful, unifying, and Kingdom-minded worship experiences. The technological

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revolution of the early twenty-first century has certainly accelerated this cross pollination.

As Deborah Smith Pollard points out,

Not only are today’s praise and worship artists crossing the boundaries to
perform, but audiences are crossing boundaries to experience this music together,
sometimes in performance settings, sometimes in church settings and arenas, but
more frequently in virtual togetherness as they buy the same music and the listen
to it in their individual cars, homes, or on their desktops and iPods (Pollard 2008,
34-35).

One of the most essential elements in all of the worship songs studied in this

paper has been the vocal melody, the unifying factor that, regardless of changes in

harmony and rhythm, remains largely unchanged. While these gospel fusion

arrangements transform songs in myriad ways, the preservation of the melody is a critical

component to ensure congregational participation, which after all, is one of the primary

goals for any worship leader.

Placing songs from artists like Hillsong Worship and Bethel Music into gospel

music settings creates opportunities to bridge musical and cultural gaps; some listeners

may be familiar with these songs but not with the gospel style, while others may be well-

versed in gospel music yet unfamiliar with these non-gospel songs. Indeed, the use of

gospel fusion music in corporate worship may prove to be a highly effective means of

bridging cultural divides and uniting the Church in a new and fresh style of worship.

By creating new gospel fusion arrangements, recordings, and sheet music, this

project seeks to be another resource for worship leaders, instrumentalists, music

educators, and congregants of all sorts of musical and cultural backgrounds. By fusing

together the lyrics and melodies of one worship tradition with the harmonic, timbral, and

rhythmic elements of another, this emerging genre has the potential to reach a large and

diverse audience with the gospel message of Jesus Christ.

 Appendix A: Chapter Four Scores

This Is Amazing Grace (Phil Wickham version)............................................................. 122

This Is Amazing Grace (The Recording Collective version) .......................................... 128

King of My Heart (Bethel Music version)....................................................................... 142

King of My Heart (The Recording Collective version) ................................................... 148

Good Good Father (Chris Tomlin version) ..................................................................... 160

Good Good Father (The Recording Collective version) ................................................. 165

121
 122

THIS IS AMAZING GRACE

Music and Lyrics by
PHIL WICKHAM VERSION Jeremy Riddle, Josh Farro,
& Phil Wickham

q = 98
Intro

B bunis. b b
œ
b 4 .. œ œ œ œ ‰ œ œ œ ‰ œ œ œ œ œœœœ‰ œœœ ‰ œ œ œ
B E maj7

&b 4 | J J J J œ œ ..
f

Verse
b b
bb
6 B E maj7

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b
& b ‰ œj œ œ œ œ œ.
‰ j
œ œ œ œ œ œ.
‰ j
œ œ œ œ œ œ
‰ j
œ œ œ œ œ œ
1. Who breaks the pow - er of sin and dark - ness? Whose love is might - y and so much strong - er?

b
bb
10 Gm F E maj7

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b
&b ‰ j ‰ j
œ
Œ Ó ∑
œ œ œ œ œ œ œ œ œ. œ œ œ œ
The King of Glo - ry, the King a - bove all kings.

b b
bb
14 B E maj7

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b
& b ‰ œj œ œ œ
‰ j
œ œ œ œ œ œ.
‰ j
œ œ œ œ
‰ j
œ œ œ œ œ œ
œ œ. œ œ.
Who shakes the whole earth with ho - ly thun - der and leaves us breath - less in awe and won - der?
 123

THIS IS AMAZING GRACE (PHIL WICKHAM VERSION) - Lead/Rhythm - Page 2 of 6

b
bb
Gm F E maj7

’ ’ ’ ’ |.
18

& ’ ’ ’ ’ ’ ’ ’ ’ Œ

b ‰ œj œ œ œ .
&b ‰ j ‰ j Œ Ó
œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ
The King of Glo - ry, the King a - bove all kings. This is a - maz - ing grace,

Chorus
b b
b
B E maj7

& b œ œ œ. œ œ œ ’ œ œ. œ œ ’
22

’ ’ ’ œ ’ ’ ’
œ

b ‰ œj œ œ œ . ‰ œj œ
&b œ
Œ Ó
œ œ œ œœœ œ
Ó œ œ. œ œ œ
this is un - fail - ing love. That You would take my place,

b
Gm F

& b œ œ œ. œ œ œ ’ œ œ œ. œ œ œ ’
26

’ ’ ’ ’ ’ ’

b ‰ œj œ ‰ œj œ œ . œ .
&b œ
Œ Ó œ œ. œ Œ
œœ œ
œ œ ˙.
that You would bear my cross. You laid down Your life

b b
b
B E

œ. œ œ œ. œ œ
30

&b œ œ
œ ’ ’ ’ ’ œ œ
œ ’ ’ ’ ’

b ‰ œj œ œ œ
&b œœ œ œ
Ó
œ œ.
j
œ œ
Œ Œ
œ œ œ œ
that I would be set free. Oh,

b
bb œ œ œ œ ‰ œ œ œ ‰ œ œ œ œ œ
34 Gm F unis. B

& ’ ’ ’ ’ Û Œ Ó J J

b
&b ‰ j ‰ j
œ
Ó ∑
œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
Je - sus I sing for all that You've done for me,
 124

THIS IS AMAZING GRACE (PHIL WICKHAM VERSION) - Lead/Rhythm - Page 3 of 6

Verse

E b maj7 b
b œ œ œ œ ‰ œ œ œ ‰ œ œ œ
38 B

&b J J œ œ ’ ’ ’ ’ ’ ’ ’ ’

b
&b ∑ ∑ ‰ j
œ œ œ œ
‰ j
œ œ œ œ
œ œ. œ
Who brings our cha - os back in - to or - der?

b
bb
42 E maj7 Gm F

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b
& b ‰ œj œ œ œ
‰ j
œ œ œ œ
‰ j ‰ j
œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ
Who makes the or - phan a son and daugh - ter? The King of Glo - ry, the King of Glo - ry.

b b
bb
46 B E maj7

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b
& b ‰ œj œ œ œ ‰ j
œ œ œ œ
‰ j
œ œ œ œ
‰ j œ
œ œ œ œ œ
œ œ. œ œ œ
Who rules the na - tions with truth and jus - tice, shines like the sun in all of its bril - liance?

b
bb
50 Gm F E maj7

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b ‰ œj
&b ‰ j ‰ j œ œ œ œ œ. œ œ œ
œ œ œ œ œ œ œ œ œ œ. œ œ œ ˙.
The King of Glo - ry, the King a - bove all kings. Yeah! This is a - maz - ing grace,

Chorus
b b
b
B E maj7

& b œ œ œ. œ œ œ ’ œ œ. œ œ ’
54

’ ’ ’ œ ’ ’ ’
œ

b ‰ œj œ œ œ . ‰ œj œ
&b ˙
Ó
œ œ œ œœœ œ
Ó œ œ. œ œ œ
this is un - fail - ing love. That You would take my place,
 125

THIS IS AMAZING GRACE (PHIL WICKHAM VERSION) - Lead/Rhythm - Page 4 of 6

b
Gm F

œ œ. œ œ œ ’ œ œ œ. œ œ œ ’
58

&b œ ’ ’ ’ ’ ’ ’

b ‰ œj œ ‰ œj œ œ . œ .
&b œœ
Œ Ó œ œ. œ Œ
œœ œ
œ œ ˙.
that You would bear my cross. You laid down Your life

b b
b
B E

œ. œ. œ œ
62

&b œ œ œ œ œ ’ ’ ’ ’ œ œ
œ ’ ’ ’ ’

b ‰ œj œ œ œ
&b œœ œ œ
Ó
œ ˙. œ œ
Œ
˙ œ œ
that I would be set free. Oh,

b
bb
66 Gm F B

& ’ ’ ’ ’ ’ ’ ’ ’ | |

b
&b ‰ j ‰ j
œ
Ó ∑
œ œ œ œ œ œ œ œ œ œ œ œ ˙
Je - sus I sing for all that You've done for me,

Bridge
b b
bb
70 B E 2

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
P
b
&b Œ Ó Œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Wor - thy is the Lamb who was slain wor - thy is the King who con - quered the grave.

b b
bb
74 B E 2

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b
&b œœœ œ
Ó Œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Wor - thy is the Lamb who was slain wor - thy is the King who con - quered the grave.
 126

THIS IS AMAZING GRACE (PHIL WICKHAM VERSION) - Lead/Rhythm - Page 5 of 6

Bridge
b b
bb
78 B E 2

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
F
b
&b œ œ œ œ Œ Ó Œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Wor - thy is the Lamb who was slain wor - thy is the King who con - quered the grave.

G m7 b b
bb
82 B E 2

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b ‰ œj œ ‰ œj œ ‰ œj œ œ œ œ
&b œ œ œ œ œ œ œ œ œ
œ œ
Wor - thy is the Lamb who was slain. Wor - thy! Wor - thy! Wor - thy! Oh!

Chorus B b b
bb
E maj7

œ œ œ. œ œ œ œ. œ œ
85

& | œ
œ ’ ’ ’ ’ œ
f
b ‰ œj œ œ œ .
&b œ œ œ œ œ. œ œ œ œ
Œ Ó
œ œ œ œœœ œ
Ó
This is a - maz - ing grace this is un - fail - ing love.

b
Gm F

œ œ œ. œ œ œ ’ œ œ œ. œ œ œ
89

&b ’ ’ ’ ’ ’ ’ ’

b j ‰ œj œ
&b ‰ œ œ œ œ. œ œ œ œ
Œ Ó œ œ. œ
œ œ w
That You would take my place, that You would bear my cross.

b b
bb
B E

œ œ. œ œ œ. œ œ
93

& ’ ’ ’ ’ œ œ œ
œ ’ ’ ’ ’ œ

b j ‰ œj œ œ œ
& b ‰ œ œ œ. œ. œ œ œ œœœ œ
Ó
œ œ.
j
œ œ œ
You laid down Your life that I would be set free.
 127

THIS IS AMAZING GRACE (PHIL WICKHAM VERSION) - Lead/Rhythm - Page 6 of 6

b
bb œ œ œ œ ‰ œ œ œ
97 Gm F B

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ J

b ‰ œj œ
&b Œ Œ ‰ j œ œ. œ œ œ w
œ œ œ œ œ œ œ œ œ
Oh, Je - sus I sing for all that You've done for me.

b b
b œ œ œ œ œ œ œ ‰ œ œ œ ‰ œ œ œ œ œ œ œ ‰ œ œ œ
E maj7 B

& b ‰ œJ œ
101

J J œ œ J

b ‰ œj œ
&b w ˙ œ œ Œ œ œ. œ œ œ œ. j
œ œ. œ œ œ
All that You've done for me!

b b
b œ œ œ œ œ œ œ ‰ œ œ œ ‰ œ œ œ œ
E maj7 B

& b ‰ œJ œ
105

J J œ |

b j
&b œ. œ œ.
Ó ∑ ∑
œ œ œ ˙
 128

THIS IS AMAZING GRACE

Music and Lyrics by
RECORDING COLLECTIVE VERSION Jeremy Riddle, Josh Farro,
& Phil Wickham
Arr. The Recording Collective

q = 105 (swung 16ths)

Intro
œ ~~~ b
~
J ~~~~~~ œ œ
B

b 4 y y y y œ œ œ œ ‰ œ œ œ ‰ œ œ œ
&b 4 J ~ J J
f

b #
œ^
D 7(#5 b 9)

œ^
E /G /G A 7(#5)

bb œ œ œ œ œœ b œœ œœ œ œ
4

& ‰ œ ‰ œ
J J

Verse
G m9 b
E maj7 D m7 C m7 b
B maj7 A m7 G m7 b
E maj7 D m7

b ‰. ‰. Û Û Û ‰.
6

&b Û Û Œ Û Û Û Û Û Œ Û Û Œ Û Û Û
R R R
b
&b ‰ j
œ œ œ œ.
‰ j
œ œ œ œ. œ œ
‰ j
œ œ. œ œ. œ œ
œ œ
Who breaks the pow - er of sin and dark - ness? Whose love is might - y

b b b D 7(#5 b 9)
^ ^
C m7 A maj7 G m7 F m9 B 13 /D E maj7 A 7(#5#9)

b ‰. ‰.
9

&b Û Û Œ Û Û Û Û Û Œ Û Û Û Û Û Œ Û Û
R R
b
& b ‰ œj œ œ œ . ‰ j
œœ œ œ œ œ œ œ. œ œ œ œ œ œ ≈ œ œ œ
and so much strong - er? The King of Glo - ry, the King a - bove all kings.

G m9 b
E maj7 D m7 C m7 b
B maj7 A m7 G m7 b
E maj7 D m7

b ‰. ‰. Û Û ‰. Û Û Û
12

&b Û Û Œ Û Û Û Û Û Œ Û Û Û Œ
R R R
b ≈ œj .
& b ‰ œj œ œ œ. œ œ œ œ œ. œ œ œ œ œ
‰ j
œ œ. œ œ. œ
œ œ
Who shakes the whole earth with ho - ly thun - der? And leaves us breath - less
 129

THIS IS AMAZING GRACE (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 2 of 14

C m7 b
A maj7 G m7 F m9 B 13b b
/D E maj7 G m11 C7

b ‰. ‰. ‰.
15

&b Û Û Œ Û Û Û Û Û Œ Û Û Û Û Û Œ Û Û Û
R R R
b j
& b ≈ œ . œ œ œ. ‰ j
œ œ. œ œ œ œ œ œ œ œ œ œ œ œ ≈ œ œ œ
in awe and won - der? The King of Glo - ry, the King a - bove all kings.

Chorus
b b b
^
Û. Û. ’
E maj7/F N.C. B unis. B maj7

b Û Û Û Û Û Û Û Û œ œ œ
18

&b Û Œ œ œ œ œ œ Û ≈Û‰ Û
J
b j
&b ˙ œ œ œ ‰ œ œ œ œ. œ œ œ ˙.
‰ j
œ
This is a - maz - ing grace, yeah,

& bb ∑ ‰ j
œ œ œ œ. Œ
œ œ œ ˙.
This is a - maz - ing grace,

b b
b . . Û. Û. Û. Û.
F unis. F m9 E unis. E maj9 C unis. C m11
21

&b Û Û ’ Û ≈Û ‰ Û ’ Û ≈Û ‰ Û ’ Û ≈ Û ‰ Û
J J J
b j ‰.
& b ‰ œ œ œ œ. œ œ
j ‰ Ó r
œ œœ œ
Œ Œ ‰ j
œ œ œ
this is un - fail - ing, yes it is, place,

b j ‰ œj œ
& b ‰ œ œ œ œ. œ œ œ œœ œ ˙
Œ œ œ. œ œ œ
this is un - fail - ing love. That You would take my place,
 130

THIS IS AMAZING GRACE (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 3 of 14

b b
b Û. Û. Û. Û.
G unis. G m11 G unis. G m11 A unis. A maj7
24

&b .’
Û ≈Û‰ Û ’ Û ≈ Û ‰ Û Û Û ’ Û ≈Û‰ Û
J J J
b j
&b œ. œ œ œ œ œ œ œ œ œ. œ
‰ œ œ œ œ. œ œ œ œ. œ œ. œ œ œ œ œ œ
that You would bear my cross.

& bb Œ ‰ j
œ œ œ œ. Œ
˙. œ œ œ ˙.
that You would bear my cross.

b b b b b
-Û -Û
F unis. E maj7/F B unis. B maj7 B unis. F m9 B 7

b
27

&b Û Û ’ Û ≈ Û ‰ Û Û Û ’ Û ≈ Û ‰ Û Û Û ’
J J
b ‰.
&b ∑ r œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ
You laid it down for me that I would be set

b j ‰ œj œ œ œ
&b ‰ œ œ œ. œ. œ œ œ œ œ œ
Œ
œ
˙
You laid down Your life that I would be set

b b A 7(#9b13) D 7(#5 b 9)

-Û -Û
E unis. E maj9 C unis. G unis. G m7

b
30

&b Û Û ’ Û ≈ Û ‰ Û Û Û ’ Û Û ’ Û ≈ Û ‰ Û
J J
b j
&b Ó œ œ ‰ j
œ œ œ
Œ ‰ œ œ œ œ
œ œ œ œ œ œ. œ
free, (ee) Je - sus I sing for

b j
&b ˙ œ œ j ‰ j ‰ j
œ ˙ œ œ œ œ œ œ œ œ œ
free. Oh, Je - sus I sing for
 131

THIS IS AMAZING GRACE (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 4 of 14

b b
œ œ
E maj7/F B

b œ œ œ œ ‰ œ œ œ ‰ œ œ œ
33

&b Û Œ Ó J J
f
b ‰ œj
&b ∑ ∑
œ œ œ. œ œ
Oh,

b
&b ‰ j
œ
Œ ∑
œ œ œ. œ œ œ ˙.
all that You've done for me.

b #
œ^
D 7(#5 b 9)

œ^
E /G /G A 7(#5#9)

bb œ œ œ œ œœ b œœ œœ œ œ
36

& ‰ œ ‰ œ
J J

b j
&b Ó ‰ œ œ œ œ
Œ ‰ j
œ œ œ œ œ
ooh, mmm,

b
&b ∑ ∑

Verse
G m9 b
E maj7 D m7 C m7 b
B maj7 A maj7 b G m7 b
E maj7 D m7

b ‰. Û Û Û ‰. Û Û Û ‰. Û Û Û
38

&b Û Û Œ Û Û Œ Û Û Œ
R R R
b
& b ‰ œj œ œ œ. œ œ. œ ≈œ Œ ‰ œ œ œ œ œ œ. Ó
œ œ œœ œ
Who brings our cha - os back in - to or - der? Who makes the or - phan

b
& b ‰ œj œ œ œ. œ œ
‰ j
œ œ œ œ. œ œ œ
‰ j
œ œ œ œ. œ œ
Who brings our cha - os back in - to or - der? Who makes the or - phan
 132

THIS IS AMAZING GRACE (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 5 of 14

b b b b D 7(#5 b 9)
^ ^
C m7 A maj7 B /C F m9 B 13 /D E maj7 A 7(#5#9)

b ‰. Û Û Û ‰.
41

&b Û Û Œ Û Û Œ Û Û Û Û Û Œ Û Û
R R
b
&b ∑ ‰ œ œ
J œ œ œ œœœ
Ó œœœœœœœ
œ œ
The King of Glo - ry, Glo - ry.

b
&b ‰ j
œ œ œ œ
‰ j
œ œ œ
œ œ œ œ œ œ œ. œœ œ œ œ œ
a son and daugh - ter? The King of Glo - ry, the King of Glo - ry.

G m9 B b b
D m7 E maj7 F/G C m11 b
B maj7 A m7 G m7 b
E maj7 D m7

b ‰. ‰. ‰.
44

&b Û Û Û≈Û≈Û Û Û Û Û Œ Û Û Û Û Û Œ Û Û Û
R R R
b ‰ œ œ. œ œ
&b ΠJ
Ó Œ ≈œ
œ œ œ œ œ. œ œ. œ œ œ
Œ
œ
The na - tions, shines like the sun

b
& b ‰ œj œ œœ œœ œ œœ œ ‰ œj œ œ œ œ ‰
œ
j
œ œ œ
œ œ œ œ œ
J
Who rules the na - tions with truth and jus - tice, shines like the sun in

C m7 b
A maj7 b
B /C F m9 B 13 b /D b
E maj7 G m11 C7

b ‰. Û Û Û ‰. ‰.
47

&b Û Û Œ Û Û Œ Û Û Û Û Û Œ Û Û Û
R R R
b j ‰ œ œ œ. œ
&b ‰ œ œ œ œ œ œ œ ‰ Œ ∑
3

J
all of its bril - liance? It's the King,

b
& b ‰ œj œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ‰ j œ
b œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ
all of its bril - liance? The King of Glo - ry, the King a - bove all kings.
 133

THIS IS AMAZING GRACE (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 6 of 14

Chorus
b b b
^
E maj7/F N.C. B unis. B maj7

b Û Û Û Û Û Û Û Û œ œ œ
50

&b Û Œ œ œ œ œ œ Û Û ’ Û ≈Û‰ Û
J
b Œ œ œ ‰ œ œ œ œ. œ
&b œ œ ∑ Œ
J

j
oh, yeah, yeah! Oh, ooh,

& bb w ‰ œœ œœ œœ œœ .. œœ œœ œœ ˙˙ .. Œ
œ œ œ œ. œ œ œ ˙.
This is a - maz - ing grace,

F unis. F m9 b
E unis. b
E maj9 C unis. C m11

b
53

&b Û Û ’ Û ≈Û ‰ Û Û Û ’ Û ≈Û‰ Û Û Û ’ Û ≈ Û ‰ Û
J J J
b j 3
&b ∑ Œ ‰ œ œœœœ œ. œ
œ œ œ œ
Ó
œ

j j
ooh, un - fail - ing love,

b
& b ‰ œœœ œœœ œœœ œœœ ... œœ œœ œœ œœ œœ œ ˙ Œ ‰ œœ
œ
œœ
œ
œœ
œ
œœ ..
œ. œœ œœ œœ
œ œ œ œ œ œœ ˙˙ œ œ œ
J
this is un - fail - ing love. That You would take my place,

G unis. G m11 G unis. G m11 b

A unis. b
A maj7

b Û Û
56

&b ’ Û ≈Û‰ Û Û Û ’ Û ≈ Û ‰ Û Û Û ’ Û ≈Û ‰ Û
J J J
b Œ j œ œ y œ œ œ
&b ≈œ œ œ œ œ
J œ ∑ Œ

j
that You would take my place, Je - sus, bear

b œœ ..
&b ˙œ . œ œœ œœ
Œ ‰ œœ œœ
œ œ
œœ
œ œ. œœ œœ b œœœ ˙˙ .. Œ
œ œ œ œ ˙.
that You would bear my cross.
 134

THIS IS AMAZING GRACE (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 7 of 14

b b b b b
-Û -Û
F unis. E maj7/F B unis. B maj7 B unis. F m9 B 7

b
59

&b Û Û ’ Û ≈ Û ‰ Û Û Û ’ Û ≈ Û ‰ Û Û Û ’
J J
b
& b œ. y Œ Ó ‰ œ œ œ œ œ
J œ œ œ œ œ Ó

j j
my cross. You laid it down for me that I would be,

b ‰ œœ œœ œœ œœ
& b ‰ œœœ œœœ œœœ ... œœ ..
œ. œœ œœ œœ œœ œœ œ ˙ Œ
œ œ œ œ œœ
œ œ œ œ œ œœ ˙˙ œ
You laid down Your life that I would be set

b b D 7(#5 b 9)

-Û -Û
E unis. E maj9 C unis. A 7(#5#9) G unis. G m7

b
62

&b Û Û ’ Û ≈ Û ‰ Û Û Û ’ Û Û ’ Û ≈Û‰ Û
J J
b
&b Ó œ œ œ. œ œ œ ‰ ‰. œ œ œ.
R œ Ó Œ ‰ œ
J

j j
free my soul for - ev - er. Yes, You did. Oh!

b œ œ œ ‰ œ œ œ œ œ
& b ˙˙ .. œœ œœœ ˙˙
˙
‰ œ
˙. œ œ œ œ œ œ œ œ œ œ
free. Oh, Je - sus I sing for

b
E maj7/F B b E m7(b5)/B b b
E m6/B b
b
65

&b | | | Û Û

b
&b ∑ Ó Œ
3

œ. œ œ œ œ œ œ bœ œ œ
j
Oh, whoa.

b œ œ œ œ.
&b ‰ œ
œ œ œ w ∑
œ œ œ. œ œ œ w
all that You've done for me.
 135

THIS IS AMAZING GRACE (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 8 of 14

Bridge
B b b
A maj7/B b b
B maj7 E b b
E add2

b
68

&b ’ Û Û ’ ’ ’ Û Û ’ ’ ’ Û Û ’ ’
P
b
&b Œ ‰ jŒ
œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ
Wor - thy is the Lamb who was slain, yeah, wor - thy is the King who con -

B b F m9 b
A maj7/B b G m7/B b
b
71

&b ’ ’ ’ ’ ’ Û Û ’ ’ ’ ’ Û ’ ’
J
b
&b œ œ
Œ œ œ œ. œ œœ œœ Ó
œ œ œ œ œ œ. œ œ œ
- quered the grave. Wor - thy is the Lamb who was slain,

Bridge
b b b b b
bb
74 E E add2 B A maj7/B

& ’ ’ Û ’ ’ ’ ’ ’ ’ ’ Û Û ’ ’
J
b ‰ œj
&b Œ Ó
œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ
wor - thy is the King who con - quered the grave. You say:

b
&b ∑ ∑
œ
œ œ œ œ œ œ œ
Wor - thy is the Lamb who was slain,

b
B maj7 E b b
E add2

b
77

&b ’ ’Û ’ ’ ’ ’ Û ’ ’ ’ ’ ’ ’
J J
b Œ
&b Œ ∑ Ó Œ
3

œ œ œ œ œ œ œ
Hey, hey, call You

& bb Œ Ó Œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
wor - thy is the King who con quered the grave.
 136

THIS IS AMAZING GRACE (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 9 of 14

B b F m9 b
A maj7/B b G m7/B b E b b
E add2

b
80

&b ’ Û Û ’ ’ ’ ’Û ’ ’ ’ ’ Û ’ ’
J J
b
&b œ œ Œ Ó Œ ‰ jÓ ∑
œ
wor - thy, yeah,

& bb Œ Ó
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Wor - thy is the Lamb who was slain, wor - thy is the King who con -

Bridge
B b F m9 b
A maj7/B b b
B maj7

bb
83

& ’ ’ ’ ’ ’ Û Û ’ ’ ’ ’ Û ’ ’
F J
b Ó
&b ‰ œ œ œ . œœ œ œ œ
3 3

œ œ
œ œ œ œ œ œ œ œ œ œ
whoa, Wor - thy is the Lamb who was slain, He is wor - thy,

b
&b œ œ
Œ œœ œœ œœ œœ œœ œœ œœ œœ
œ
œœ
œ
Œ Ó
œ œ œ œ œ œ œ œ œ œ
- quered the grave. Wor - thy is the Lamb who was slain,

E b b
E add2 G m7

bb
86

& ’ ’Û ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
J
b
&b ∑ Œ œ œ œ œ œ. œ ∑
ooh, there's no -one like You.

b œœ œœ œœœ
& b œœ œœ œœ œœ œœ œœ œœ œœœ œœ œ
œ œœ œœ œœ œœ Œ œœ œœ œœ œœ
œ œ œ œ
œœ
œ œ œ
œ œ œ œ œ œ œ œ œ œ
wor - thy is the King who con - quered the grave. Wor - thy is the Lamb who was slain,
 137

THIS IS AMAZING GRACE (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 10 of 14

b
^
E add2 N.C.

bb œ œ œ
89

& ’ ’ ’ ’ Û Û Û Û Û Û Û Û Û Œ œ œ œ œ œ
f
b ‰ œj œ œ ‰ œj œ œ ‰ . œ œ œ
&b Ó R
Ó Œ ≈ œ œ œ
Hey, hey, wor - thy! Comeon and

j j j j
b œœ ‰ œœœ œœœ œ ‰ œœœ œœœ œ ‰ œœœ œœœ œœœ œœ œœ œœ œœ œœ ..
&b œ œœ œœ œ ‰ œ œ œ œ. œœ œœ
œ œ
œœ
œ
wor - thy, wor - thy, wor - thy, This is a - maz - ing grace,

b b b
drums only!
j j j
Chorus

‰ y ≈ y. y. y ‰ y
Û. Û. Û.
B 7/F B 7 E maj9

b
92

& b œJ ‰ j Œ Ó
‰ Œ Ó b œœ. œœ. # n œœ
.
b œ œ œ. ‰ œ œ. œ œ œ.
&b œ œ ‰ œ
J
Œ ‰ œ œ œ Œ Œ
J
y.
j
put yo' hands to-geth-er! Hey! Come on! Ooh,

b œ ‰ œœœ œœœ œœ œœ .. œ œ œ
&b œœ Œ Ó œ œ . œœ œœ œœ œœ œ œ ˙
œ œœ œœ ˙˙
Œ
this is un - fail - ing love.

Û. Û.
B /A /D

b j
95

&b ‰ œœ n œœ b b œœ
∑ ∑
. . .
b
&b Œ ‰ œ œ œ œ. Œ Ó Œ ‰ œ
J
∑
come on! Oh!

j j
b œœ œœ œœ œœ .. ˙˙ .. œœœ œœœ œœ œœ .. œœ œœ b œœ
&b ‰ œ œ œ œ. œœ œœ
œ œ
œœ
œ ˙.
Œ ‰ œ œ. œ œ œ
That You would take my place, that You would bear my cross.
 138

THIS IS AMAZING GRACE (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 11 of 14

b
A maj7 b
E maj7/F b
B unis. b
B maj7

b Û Û Û Û Û Û Û Û
98

&b Û Û Û Û Û Û Û Û Û Û ’ Û ≈ Û ‰ Û
J
b Œ ‰ œj œ œ œ . œ œ . ‰. œ œ œ.
&b œ Œ Ó Ó
R
j
Whoa! Laid it

b œœ œœ œœ .. œœ ..
& b ˙˙˙ ... Œ ‰ œ œ œ. œ. œœ œœ
œ œ
œœ
œ
œœ œ œ ˙
œ œœ œœ ˙˙
Œ
You laid down Your life

b b b b D 7(#5 b 9)

-Û -Û -Û -Û
B unis. F m9 B 7 E unis. E maj9 C unis. A 7(#5#9)

b
101

&b Û Û ’ Û Û ’ Û ≈Û‰ Û Û Û ’
J
b
&b œ Œ Ó Œ œ œ œ œ. ≈
œ œ œ œ œ œ œ œœ
œ œ œ œ œ
j
down, set me free, and who the Son sets free is free in - deed, oh!

b ‰ œœ œœ œœ œœ œœ ˙˙ j
& b œœ ˙˙ ... œœ ‰ œ œ œ
œ œ œ œ œ ˙ œ œ ˙
œ œ
œ
that I would be set free. Oh,

G unis. G m7 F unis. b
E maj7/F B b B 2/Db C 7/G C7

b
104

&b Û Û ’ Û ≈Û‰ Û Û Û ’ Û ≈ Û ‰ Û Û Û Û Û Û Û Û Û
J J
b ‰. œ œ œ œ
&b ‰ Œ Œ ‰ œ œ
J
Œ Ó Œ
R
œ œ
œœ
j j
For all, one more time, say:

b œ
&b ‰ œ œ œ œ œ œ ‰ œ œ
œ
œ. œ œ œ ˙. Œ
œ œ œ œ œ œ œ œ œ. œ œ œ ˙.
Je - sus I sing for all that You've done for me.
 139

THIS IS AMAZING GRACE (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 12 of 14

Chorus
b
E maj7/F N.C. B b /D b
G m9 B maj7/F /C B 7 b /F

b œ
&b Û Û Û Û œ œ œ œ œ œ œ Û Û ’
107

Û ≈Û‰ Û Û Û ’ Û ≈ Û ‰ Û
J J
b ‰ œ œ œ œ œ œœ‰
&b ∑
J
∑

j j
A - maz - ing grace,

b œœ œœ œœ œœ .. ˙˙ .. ‰ œœœ œœœ œœœ œœœ ...

&b ‰ œ œ œ œ. œœ œœ
œ œ
œœ
œ ˙.
Œ œœ œœ œœ
œ œ œ
This is a - maz - ing grace, this is un - fail - ing love.

E b b
E maj7 C m11 /D /F G m7 G m9

b
110

&b Û Û ’ Û ≈Û‰ Û Û Û ’ Û ≈ Û ‰ Û Û Û ’ Û ≈Û‰ Û

J J J
b Œ œ œ œ. ‰. œ œ œ œ ‰. œ
&b Œ ∑ Œ
R R
y
j
so un - fail - ing, took my place, took

b œ œœ œœ œœ œœ .. ˙˙ ..
&b œœ œœœ œœ ˙˙ Œ ‰ œ œ œ œ. œœ œœ œœ
œ œ œ ˙.
Œ
œ ˙
That You would take my place,

G unis. G m11 b
A unis. b
A maj7 F unis. b
E maj7/F

b Û Û
113

&b ’ Û ≈ Û ‰ Û Û Û ’ Û ≈ Û ‰ Û Û Û ’ Û ≈Û‰ Û
J J J
b œ œ. ‰ œ œ œ œ œ œ. œ œ
&b œ œ Ó Œ Œ Ó
3 3

j j
my place, said He bled and died for me,

b œœ œœ œœ œœ .. œœ œœ b œœ ˙˙ .. ‰ œœœ œœœ œœœ ... œœœ ...

&b ‰ œ œ œ œ. œ œ œ ˙.
Œ œœ œœ œœ
œœ œ
that You would bear my cross. You laid down Your life
 140

THIS IS AMAZING GRACE (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 13 of 14

b b b b b b
-Û -Û
B unis. B maj7 B unis. F m9 B 7 E unis. E maj9

b Û
116

&b Û ’ Û ≈ Û ‰ Û Û Û ’ Û Û ’ Û ≈Û‰ Û
J J
b Ó ‰. œ.
&b œ œ œ œ œ
R
∑ Ó œ œ œ

j
yes You did, free my soul for -

b œ ‰ œœœ œœœ œœœ œœœ ˙˙ ... œœ œœœ

&b œœ œœœ œœ ˙˙ Œ œœ
œ ˙ œ
œ ˙
that I would be set free.

A 7(#5#9) D 7(#5 b 9)

-Û -Û
C unis. G unis. G m7 F unis.

b
119

&b Û Û ’ Û Û ’ Û ≈Û ‰ Û Û Û Û Û Û Û Û
J
b ‰ œ œ œ œ œ.
& b œ œ ‰ ‰ . œR œ œ œ J
œ ∑

j j
ev - er, yes, You did. Je - sus I sing for

b ˙ j
& b ˙˙ ‰ œ œ œ ‰ œ œ œ œ œ œ ‰ œ œ œ œ. œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ
Oh, Je - sus I sing for all that You've done for me.

b b
œ œ œ œ œ œ ‰ œ œ œ ‰ œ œ œ œ^ œ^
B E

b œ œ œ œ ‰ œ œ œ ‰ œ œ œ
122

&b J J J J
f
& bb ∑ ‰ j œ œ ∑ ‰ œj œ
œ œ œ œ œ œ
Oh, Oh,

b w
&b œ Œ Ó ∑ ∑
w œ
 141

THIS IS AMAZING GRACE (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 14 of 14

b b b b b
œ œ
B E m7(b5)/F E m6 B /D B E

b œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ ‰ œJ œ œ
126

&b ‰ J J

b ‰ œj œ œ
&b Ó ‰ ∑
3

j œ œ œ œ
œ œ
Oh, Je - sus I sing for

b b
œ^
œ
œ^
C m9 E maj7/F B
129
b œ œ
œ œ
w >
&b ‰ œ
J | Û Œ Ó

b j
&b ‰ œ œ œ œ.
∑ ∑
œ œ w
all that You've done for me.
 142

KING OF MY HEART
Music and Lyrics by
BETHEL MUSIC VERSION John Mark McMillan & Sarah McMillan

q = 68
Intro
#
# # 4 U
A5 A D A F m7 E sus

& # 4 |. ‰ œ œ œ ˙ œ
œœ œ œ ˙ œ œ œ
p

Verse

# #
& #
5 D A A D A

j | | |
œ. œ ˙
# #
& # Ó Œ ‰
œ œ œ. œ œ œ œ
‰
œ œ
œ œ œ œ œ œ œ
Let the King of my heart be the moun - tain where I run, the foun -

#
# # F m7
& # | Û.
8 E sus D A A

| Û | |
J
# #
& # œ. œ œ œ œ œ œ œj œ j Œ ‰
œ œ
œ œ œ œ œ œ œ œ œ
- tain I drink from. Oh, He is my song. Let the King of my heart be the sha -

#
###
Û.
11 D A F m7 E sus D A

& | | | | Û |
J
# #
& # œ. œ œ œ œ
‰
œ œ œ. œ œ œ œ œ œ œ œ œj œ j j ‰
œ œ œ œ œ
- dow where I hide, the ran - som for my life. Oh, He is my song. You are
 143

KING OF MY HEART (BETHEL MUSIC VERSION) - Lead/Rhythm - Page 2 of 6

Chorus
# #
###
Û.
14 F m E sus D A F m E sus

& ’ ’ ’ ’ Û ’ ’ ’ ’ ’ ’
J
# #
& # ‰. r Œ j ‰ ‰. r Œ
œ œ œ ˙ œ œ œ œ œ œ œ
good, You're good. Oh. You are good, You're good.

#
###
Û. Û.
17 D A F m E sus D A

& Û ’ ’ ’ ’ ’ ’ Û ’ ’
J J
# #
& # j ‰ ‰. r Œ j ‰
˙ œ œ œ. œ œ œ œ. œ œ œ œ œ œ œ œ
Oh, You are good, You're good. Oh. You are

#
Verse

### F m
Û.
20 E sus D A A

& ’ ’ ’ ’ Û | ’ ’ ’ ’
J P
# #
& # ‰. r Œ ‰
œ œ
œ œ œ ˙. œ œ œ œ œ œ œ
good, You're good. Oh. Let the King of my heart be the wind

#
###
Û.
23 D A F m7 E sus D A

& ’ ’ ’ ’ ’ ’ ’ ’ Û ’ ’
J
# #
& # œ. œ œ œ ‰
œ œ œ. œ œ œ œ œ œ œ œ j j Œ ‰
œ œ œ œ œ œ
in - side my sails, the an - chor in the waves. Oh, He is my song. Let the

#
26
### A D A F m7 E sus

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

# #
& # œ. œ œ ‰ œ. œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œœ œ
King of my heart be the fire in - side my veins, the ech - o of my days. Oh, He
 144

KING OF MY HEART (BETHEL MUSIC VERSION) - Lead/Rhythm - Page 3 of 6

Verse

###
Û.
29 D A A D A

& Û ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
J F
# #
& # j j Œ ‰
œ œ œ. œ œ œ œ
‰
œ œ
œ œ œ œ œ œ œ œ œ œ
is my song. Let the King of my heart be the wind in - side my sails, the an -

#
# # # F m7
Û.
32 E sus D A A

& ’ ’ ’ ’ Û ’ ’ ’ ’ ’ ’
J
# #
& # œ. œ œ œ j j Œ ‰
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
- chor in the waves. Oh, He is my song. Let the King of my heart be the fire

#
### >y
Û.
35 D A F m7 E sus D A

& ’ ’ ’ ’ ’ ’ ’ ’ Û ’
J
# # j j
& # œ. œ œ œ œ œ œ. œ. œ œ œ œ œ ‰. r œ œ œ
3
œ œ œ œ. œ œ œ œ
in - side my veins, the ech - o of my days. Oh, He is my song. 'Cause You are

# #
Chorus

### F m
Û.
38 E sus D A F m E sus

& Û ÛÛ Û’ ÛÛ ÛÛ ’ Û ’ ’ Û ÛÛ Û’ Û ÛÛ Û’
J
f
### r j r
& œ ‰. œ œ Œ ˙ œ ‰ œ œ œ œ ‰. œ œ Œ
good, You're good. Oh. You are good, You're good.

#
###
Û. Û.
41 D A F m E sus D A

& Û ’ ’ Û Û Û Û ’ Û Û Û Û ’ Û ’ ’
J J
# # j r j
& # ˙ œ ‰ œ œ œ œ ‰. œ œ Œ ˙ œ ‰ œ œ œ
Oh, You are good, You're good. Oh. You are
 145

KING OF MY HEART (BETHEL MUSIC VERSION) - Lead/Rhythm - Page 4 of 6

#
Bridge

### F m
Û.
44 E sus D A

& Û Û Û Û ’ Û Û Û Û ’ Û | |
J P
# # r
& # œ ‰. œ œ Œ ˙. Œ V Œ
œ œ œ œ œ . œ
œ
good, You're good. Oh. You're nev - er gon - na let, You're

# #
& # |
47

| |

# #
V # œ œ Œ
œ œ œ œ œ . œ œ œ œ œ
œ œ œ œ œ œ œ. œ œ œ œ œ œ.
nev - er gon - na let me down. You're nev - er gon - na let, You're nev - er gon - na let me down.

50
### A A sus A A

& | | | |

# #
V # Œ œ œ œ œ œ . œ œ œ œ œ
Œ
œ œ œ œ œ . œ
œ œ œ œ œ œ. œ
You're nev - er gon - na let, You're nev - er gon - na let me down. You're nev - er gon - na let, You're

Bridge

# # # A sus A A A sus A
53

& | | ’ ’ ’ ’ ’ ’ ’ ’
f
# # œ œ œ œ œ œ œ œ œ œ
V # œ œ Œ œ. œ œ œ œ œ.
œ œ œ œ œ œ œ.
nev - er gon - na let me down. You're nev - er gon - na let, You're nev - er gon - na let me down.

56
### A A sus A A

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

# # œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ
V # Œ œ. œ œ œ. œ œ œ œ.
You're nev - er gon - na let, You're nev - er gon - na let me down. You're nev - er gon - na let, You're
 146

KING OF MY HEART (BETHEL MUSIC VERSION) - Lead/Rhythm - Page 5 of 6

#
59
### D E F m E D A

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

# # œ œ œ œ œ œ œ œ œ œ œ œ œ
V # œ œ œ œ œ œ. Œ œ. œ œ œ. &œ
œ œ œ

nev - er gon - na let me down. You're nev - er gon - na let, You're nev - er gon - na let me down, 'cause You are

Chorus
# #
### F m
Û.
62 E sus D A F m E sus

& Û ÛÛ Û’ ÛÛ ÛÛ ’ Û ’ ’ Û ÛÛ Û’ Û ÛÛ Û’
J
ƒ
### r j r
& œ ‰. œ œ Œ ˙ œ ‰ œ œ œ œ ‰. œ œ Œ
good, You're good. Oh. You are good, You're good.

#
###
Û. Û.
65 D A F m E sus D A

& Û ’ ’ Û Û Û Û ’ Û Û Û Û ’ Û ’ ’
J J
# # j r j
& # ˙ œ ‰ œ œ œ œ ‰. œ œ Œ ˙ œ ‰ œ œ œ
Oh, You are good, You're good. Oh. You are

Bridge
# #
### F m E sus D A F m E sus
68

& Û ÛÛ Û Û Û ÛÛÛÛ ÛÛÛÛÛÛÛÛÛÛÛÛ Û Û Û Û ÛÛÛÛ’ Û Û Û Û ’

# # r œ œ œ œ œ œ
& # œ ‰. œ œ Œ ˙ œ. œ œ œ œ Œ œ.
good, You're good. Oh. I know that, You're nev - er gon - na let, You're

#
###
Û. Û.
71 D A F m E sus D A

& Û ’ ’ ÛÛÛÛ’ Û Û Û Û ’ Û ’ ’
J J
# # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ.
& # œ œ œ œ œ œ. Œ œ. œ œ œ
nev - er gon - na let me down. You're nev - er gon - na let, You're nev - er gon - na let me down.
 147

KING OF MY HEART (BETHEL MUSIC VERSION) - Lead/Rhythm - Page 6 of 6

# #
### F m
Û.
74 E sus D A F m E sus

& ÛÛÛÛ’ Û Û Û Û ’ Û ’ ’ ÛÛÛÛ’ Û Û Û Û ’

J
# # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& # Œ œ. œ œ œ œ œ. Œ œ.
You're nev - er gon - na let, You're nev - er gon - na let me down. You're nev - er gon - na let, You're

Chorus
#
###
Û. Û.
77 D A F m E sus D A

& Û | | | Û |
J J
p
# # œ œ œ
& # œ œ œ œ. ‰. r Œ j ‰
œ œ œ œ œ œ œ ˙ œ œ œ œ
nev - er gon - na let me down, 'cause You are good, You're good. Oh. You are

#
# # Fm
repeat and fade

& # .. | Û. ..
80 E sus D A

| Û |
J
# #
& # .. ‰. r Œ j ‰ ..
œ œ œ ˙ œ œ œ œ
good, You're good. Oh, You are
 148

KING OF MY HEART
Music and Lyrics by
RECORDING COLLECTIVE VERSION John Mark McMillan & Sarah McMillan
Arr. The Recording Collective

q = 67
Intro

Bb b b b b
b 4 œ
G m7 G m7

& b 4 œ. œ œ
F/A B /F E B B /F

˙ œ œ œ œ œ. œ œ ’ ’ ’ ’
œ œ.
P

Verse
b b b b b b
b
& b Û.
4 E B B B /D E maj7 B
Û Û ’ ’ ’ ’ ’ ’ ’ ’
J œ
œ œ œ p
b
&b Ó Œ ‰
œ j ‰ œ œ œ œ œ œ œ œ ‰ œ œ
œ œ œ œ œ œ
1. Let the King of my heart be the moun - tain where I run, thefoun-

b b b b
b Û.
7 Gm D m/F E B B B /D

&b ’ ’ ’ ’ Û Û ’ ’ ’ ’
J œ
œ œ œ
b
&b œ œ œ œ œj ‰ œ . j ‰ j ‰ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ
œ
- tain I drink from. Oh, He is my song. Let the King of my heart be the sha -

b b b b b
b Û. Û Û.
10 E maj7 B F/A Gm D m/F E B B F/A

&b ’ ’ ’ ’ ’ ’ ’ ’ Û Û
J
b œ.
&b œ œ œœ
‰ œ œ œ œ œ œ ‰
œ œœœ œ œ œ œ œ œ j œ œ.
œ œ. œ
- dow where I hide, the ran - som for my life. Oh, He is my song. 'Cause You are
 149

KING OF MY HEART (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 2 of 12

Chorus
b b b b b
bb
G m7 G m7
Û. Û Û.
13 B /F E B B F/A B /F

& ’ ’ ’ ’ Û Û ’ ’ ’ ’
P J
b
&b Œ Œ
œ œ.
Œ j ‰
œ œ œ œ œ œ œ œ œ. œœœ
good, good. Oh. You are good, good.

b b b b b b b
b
B /D D m7 G m7

& b Û. Û Û. Û. Û Û.
16 E B B /F E B B F/A

Û Û ’ ’ ’ ’ Û Û
J J
b
&b j Œ Œ
œ. œ œ œ œ. œ œ œ œ œ œ œ œ œœœ œ œ.
Oh, You are good, good. Oh. You are

b b b Verse b
bb
G m7
Û.
19 B /F E B B

& ’ ’ ’ ’ Û Û ’ ’ ’ ’
J œ
œ œ œ P
b
&b Œ Œ ‰ j ‰ œ œ œ
œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ
œ
King of my heart be the wind

j œ œ
good, good. Oh. 2. Let the

b œ œ œ œ œ œ œ ‰ œ
&b V ∑ Ó Œ ‰
œ œ œ œ
œ œ œ œ œ œ
2. Let the King of my heart be the wind

b b b b b b
b
22 E maj7 B B /A Gm B /F E B

&b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b
&b œ œ œ œ œ œ. œœ Ó Œ
œ. œ œ œ œ œ
‰
œ œ œ œ œ
œ

b œ œ œ œœœ œ œ œ œ œ œ œ œj œ . j
in - side my sails, Oh, He is my Let the King of my

Vb œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ ‰ œ. œ œ œ œ œ œ ‰ œ œ
œ œ œ œ œ œ œ œ
in - side my sails, the an - chor in the waves. Oh, He is my song. Let the
 150

KING OF MY HEART (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 3 of 12

b b b b b
bb
25 B B /D E maj7 B D 7( 9) Gm D m/F

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b
&b Œ Œ
œ œ œ œ œ œ œ œ œ. œ j ‰ Ó Œ œ. œ
œ œ. œ œ

œ œ œ œ œ œ œ œ œ œ œ œj œ . œ
be the fire in - side my veins, Oh, He

j œ œ œ
heart,

b œ
Vb œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ ‰ œ. œ
œ œ œ œ œ œ
King of my heart be the fire in - side my veins, the ech - o of my days. Oh, He

Chorus
b b b b b b b
b
G m7

Û Û. Û. Û Û.
28 E B B F/A B /F E B B F/A

&b Û Û Û Û Û Û ’ ’ ’ ’ Û Û
F J
b œ œ œ bœ œ œ ‰ nœ œ . œ. œ œ œ œ.
&b œ œ
J
œ Œ Ó œ œ œ

œ œ. œ œ.
is my song. You are good, good. Yes you are, You are

œ œ œ œ œ œ. œ œ
b œ œ œ. œ. œ œ.
Vb œ œ œ
J
œ
J
‰ œ Œ œ Œ œ
J
œ
J
is my song. You are good, good. Oh. You are

b b b b b
b
G m7 B /D D m7 G m7

Û. Û Û.
31 B /F E B B /F

&b ’ ’ ’ ’ Û Û ’ ’ ’ ’
J
b œ œ œ œ ‰. r œ
&b Œ œ j
œ œ œ œ œ œ ‰ Œ œ œ œ œ œ œ ∑

œ œ œ. œ œ œ œ. œ œ
so good, You're good to me. So good.

b b œ Œ œ Œ œ. œ œ œ œ. œ Œ œ Œ
V J
good, good. Oh. You are good, good.
 151

KING OF MY HEART (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 4 of 12

b b b b b b b
b
G m7

& b Û. Û Û. Û. Û Û.
34 E B B F/A B /F E B B F/A
Û Û ’ ’ ’ ’ Û Û
J J
b ‰. r œ œ. œ œ œ œ
&b Ó œ Œ Œ œ Ó Œ

œ. œ œ œ œ. œ œ œ. œ œ
And You are good, hey, You are

b œ œ. œ. œœ œœ ..
V b œ. œ
J
œ œ Œ œ Œ œ
J
œ & œ œ.
Oh. You are good, good. Oh. You are

b b b b b
Chorus

b
G m7 F/A G m7
Û. Û Û. Û Û Û Û Œ
37 B /F E B B B /F

&b ÛÛÛÛŒ ÛÛÛÛŒ Û Û ÛÛÛÛ Œ

J
f
b œ œ œ œ. œŒ œ œ œ ≈œ œŒ ‰. œ œ œ. œ. œ œ
&b Œ Ó Ó

j
so good, yes You are. Hey, And I'm grate - ful, Lord,

b œœ ... œœ œœ .. œ
& b œœœ Œ œœ
œ
Œ
œ
œœ œœ
œ œ œ œ . œœ Œ œœ
œ
Œ

good, good. Oh. You are good, good.

b b b b b b b
b
B /D D m7 G m7

& b Û. Û Û. Û. Û Û.
40 E B B /F E B B F/A

Û Û ÛÛÛ ÛŒ ÛÛÛÛ Œ Û Û
J J
b j œ œ œ œœ ‰ . œr œ œ .
& b œ ‰ ‰ . œR œ œ ‰ œ
J
œ œ œ ‰.
œ r œœœ Ó
œ œ
j
You nev - er let me down. You're good, You're good, Yes, You are

b œœ œœ œœ œœ .. j œœ œœ ..
& b œœœ ... œ œ œ œ. œœ
œ
Œ œœ
œ
Œ œœ ...
œ
œœ œœ
œ œ œ œ.
Oh. You are good, good. Oh. You are
 152

KING OF MY HEART (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 5 of 12

Bridge
b b b b
b
G m7
Û.
43 B /F E B B

&b ÛÛÛÛŒ ÛÛÛÛ Œ Û | |

J p
b œœœœ œ ‰ œ .bœ œ œ œ œ œ œ .
&b œ Œ
J œœœœœ ‰ Œ œ œ œ œ œ ≈ œ
œ
j
good, good. Oh. You're nev - er gon - na let, You're

b œ.
& b œœœ Œ œœ
œ
Œ œ ˙ ∑
œ. œ ˙
good, good. Oh.

b b b
bb |. Û.
46 F/A Gm B /F E B

& Û | | Û |
J
b
&b œ œ œ Œ œ
3

œ œ œ œ œ œ. œ œ œ œ ≈ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
nev - er gon - na let me down. You're nev - er gon - na let, You're nev - er gon - na let me down. No, no, no, no.

b b b # b
b
49 B E B /F D 7(#5#9)/F Gm B /F

&b | | Û Û | |

b
&b Œ œ œ œ œ œ œ ≈ œ œ œ œ œ Œ œ œ œ œ œ œ ‰
œ œ œ . œ œ œ. œ œœ
You're nev - er gon - na let, You're nev - er gon - na let me down. You're nev - er gon - na let,

b
Bridge
b b b b b b
b
D 7( 9)

& b Û.
52 E B B B 7/D E B /F

Û Û ’ ’ ’ ’ ’ ’ ’ ’
J œ œ œ
œ P
b
&b œ œ œ Ó Œ ‰ j Œ Œ ≈
œ œ œ œ œ.œ œ œ œ œ œ œ œ œ œ
nev - er gon - na let me down.Help me sing: Hey, And You nev -

& bb ∑ Œ œ œ œ œ œ j‰ œ œ œ œ œ œ
œ œ œ
You're nev - er gon - na let, nev - er gon - na let me down.
 153

KING OF MY HEART (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 6 of 12

b b b b b
bb ’ Û.
55 Gm B /F E B B B 7/D

& ’ ’ ’ Û Û ’ ’ ’ ’
J œ
œœœ
b
&b Œ Ó Ó Œ ‰ Œ Œ
3

œ œœ œ œ œ œ
œ œ œ œœœ œœ
er will. No, no, no, no. nev - er gon - na

b
&b Œ œ œ œ œ œ j‰ œ œ œ œ œ Œ Œ œ œ œ œ œ j ‰
œ œ œ œ œ
You're nev - er gon - na let, nev - er gon - na let me down. You're nev - er gon - na let,

b b b b b b
bb
D 7( 9)
Û.
58 E B /F Gm B /F E B

& ’ ’ ’ ’ ’ ’ ’ ’ Û Û
J œ
œœœ
b j ‰ œj Ó
&b œ ‰ Œ Œ ‰ œ œ œœ ‰ Œ
œ
Œ Œ ‰ œ
J
let, Hey, No, You're

& bb œ œ œ œ Œ œ œ œ œ œ j‰ œ œ œ œ œ œ ˙
œ œ œ œ œ
nev - er gon - na let me down. You're nev - er gon - na let, nev-er gon-na let me down.

Bridge
b b b b b b
bb
61 B B 7/D E B /F D 7( 9) Gm B /F

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
F
b œ. œ.œŒ œ bœ œ œ œ Ó ‰ œ œ œ œ.œœœ.Œ
&b Œ Œ Œ œ
3

j
nev - er, No, No, no, no, no, Hey,

b
&b Œ œœ
œ
œœ œ œ
œ œœ œœ œœ œœ
j ‰ œœ œ œ
œ œœ œœ œœ œœ œœœ œœœ # œœœ œœ ‰
œ
œœ
œ
œœ œ œ
œ œœ œœ œœ œœ
j‰
œ œ œ œ œ œ
You're nev - er gon - na let, nev - er gon - na let me down. You're nev - er gon - na let,
 154

KING OF MY HEART (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 7 of 12

b b b b b b b
b
64 E B B B 7/D E B /F D 7( 9)

&b Û Û Û ’’ ’ ’ ’ ’ ’ ’ ’ ’

b œ œ œ œ
&b Ó Œ ‰œ œ œ œ Œ Œ œ œœœ Œ Œ œ œ œ
3 3
3
No, no, no, nev - er. Nev - er gon - na let, And You nev -

b
& b œœœ œœ œœ œ œ œœ œ œœ Œ Œ œœ
œ
œœ œ œ
œ œœ œœ œœ œœ
j ‰ œœ œ œ
œ œœ œœ œœ œœ œœœ œœœ # œœœ
œ œ œœ œ œ œœ œ œ œ œ œ
œ
nev - er gon - na let me down. You're nev - er gon - na let, nev - er gon - na let me down.

b b b b
b Û Û.
67 Gm B /F E B B F/A

&b Û Û Û Û Û Û Û Û Û Û Û Û Û Û

b œ œ œ œœ ‰ œ œ œ ≈ œ œ œ œ œ
&b œ ‰ œ Ó
3

b j
er will. Hey, 'Cause You are

œœ œœ ..
& b œœœ ‰ œœ
œ
œœ œ œ
œ œœ œœ œœ œœ
j ‰ œ œ œ œ œ œ œ œ œ.
œ œ œ œ œ œ œ œ œ
You're nev - er gon - na let, nev - er gon - na let me down. You are

b b b b b
Chorus

b
G m7 F/A G m7

Û. Û Û. Û Û Û Û Œ
69 B /F E B B B /F

&b ÛÛÛ Û Œ ÛÛÛ Û Œ Û Û ÛÛÛÛ Œ

J
f
b œœœœ œœœ ‰ œ œ œ œ≈ œ œ œ œ œ œ ‰ œ œ. Œ œ œ œ ‰. œ œ œœ
&b ‰ J R œ
3 3

j
so good, yes You are. Oh. You are faith - ful, You're true,

b œœ ... œœ œœ .. œ
& b œœœ Œ œœ
œ
Œ
œ
œœ
œ
œœ
œ œ œ . œœ Œ œœ
œ
Œ

good, good. Oh. You are good, good.

 155

KING OF MY HEART (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 8 of 12

b b b b b b b
b
B /D D m7 G m7

& b Û. Û Û. Û. Û Û.
72 E B B /F E B B F/A
Û Û ÛÛÛ Û Œ ÛÛÛ Û Œ Û Û
J J
b œ
œ œ œ œ. œ‰ ‰
3

≈œ œ œ œœ ‰ œœœœœœ œ œ œ œ œ œ. œ œ.
&b Ó œ œ
3 3

j
and You are so, so, so good, so good, Oh. You are

b œœ œœ œœ œœ .. j œœ œœ ..
& b œœœ ... œ œ œ œ. œœ
œ
Œ œœ
œ
Œ œœ ...
œ
œœ œœ
œ œ œ œ.
Oh. You are good, good. Oh. You are

Praise Break
b b b b b
75
b
G m7 B /F
>
E
>
B F 7(#5#9) B 7(#9) B 7/D

&b ’ ’ ’ ’ ÛÛÛÛÛÛÛÛÛÛÛ Û ÛÛÛ Û ’ ’ ’ ’

ƒ
b bœ œ œ
&b Œ œ Œ œ Ó œ œ bœ œ œ œ œ ‰ Œ Œ ‰ œ
J
j
good, good. Oh. No,

b b œœ ˙˙ b œœ œœ œœ œ œ œ œœ œ j
& b œœœ Œ œœ Œ œœ .. ‰ œœ ‰
œ œ. œ ˙ œ œ œ b œœ œœ œœ œ œœ œ
good, good. Oh. You're nev - er gon - na let me down,

b b b b
bb
78 E 7 A m7( 5) D 7( 9) Gm B /D G m7

& ’ ’ ’ ’ ’ ’ ’ ’

b j œ œ. œ ‰
&b œ ‰ Œ Ó ‰ œ ≈ œ œ œ œ œ
no. No, You won't be - cause You're good.

b bœ œœ œœ œ œ œ n œœ œ œœ
& b ‰ œœ œ œ b œœ œœ œœ œ # œœ œ Œ œ Œ
œ
You're nev - er gon - na let me down, good,
 156

KING OF MY HEART (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 9 of 12

b b
bb
80 C m7 F unis. B 7(#9) B 7/D

& ’ ’ ’ ’ ’ ’ ’
œ
œ œ œ
b œ bœ œ œ œ œ ‰. œ bœ œ œ œ
&b Ó ‰
J J
‰ Œ
R
Hey. You're nev - er gon - na

b j b œœ b œœ œœ œœ œ œ œ œœ j
&b œ œ ‰ œœ œœ ‰
œ œ œ œ œ œ œ b œœ œœ œœ œ œ œ
You are good! You're nev - er gon - na let me down,

b b b b
bb
82 E 7 A m7( 5) D 7( 9) Gm B /D G m7

& ’ ’ ’ ’ ’ ’ ’ ’

b bœ œ œ œ œ œ. œ œ œ ‰
&b œ œ bœ œ
œ bœ
Œ ‰ ≈ œ œ œ œ œ
let me down, hey, no. be - cause You're good.

b ‰ b œœ œœ œœ œ œœ œ n œœœ œ œœ
&b œ œ œ b œœ œ œœ # œœ œ Œ Ó

You're nev - er gon - na let me down,

b b
bb
84 C m7 F 7(#5#9) B 7(#9) B 7/D

& ’ ’ ’ ’ ’ ’ ’ ’

b
&b ‰ œ œ bœ œ œ œ œ œ ≈ œ œ œ œ œ œ œ ‰ Œ ‰. œ œ œ bœ œ
3
J R
3 3 3

j
You're so good to me, ooh, yeah. You're nev - er gon - na

b b œœ œœ œ œœ ‰ b œœœ œœ œœ œ œ œ œœ œœ
&b Ó œ œ b œœ œ œ œ b œœ œœ œœ œ œ
œœ
œ
‰

You are good! You're nev - er gon - na let me down,

 157

KING OF MY HEART (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 10 of 12

b b b b
bb
86 E 7 A m7( 5) D 7( 9) Gm B /D G m7

& ’ ’ ’ ’ ’ ’ ’ ’

b œ bœ œ œ œ œ nœ œ œ. œ œ. œ
&b J
‰ Œ ‰ ‰ œ
J
œ
3
let me down. No, no, no, no, no. Good, good, yeah,

b b œœ œœ œœ œ œ œ n œœ œ œœ
&b ‰ œ œ œ b œœ œœ œœ œ # œœ œ Œ œ Œ
œ
You're nev - er gon - na let me down, good,

b b
b
88 C m7 F 7(#5#9) B 7(#9) B 7/D

&b ’ ’ ’ ’ ’ ’ ’ ’

b ‰. œ œ œ bœ œ œ œ œ b œ œ œb œ Œ ‰. œ œ œ œ œ
&b Œ R œ R

j
You'll nev - er see the right - eous for - sak - en. You'll nev - er see them

b j b œœ b œœ œœ œœ œ œ œ œœ œœ
&b œ œ œ ‰ œ œ œ b œœ œœ œœ œ œ
œœ
œ
‰
œ œ œ
You are good! You're nev - er gon - na let me down,

b b b b
bb
90 E 7 A m7( 5) D 7( 9) Gm B /D G m7

& ’ ’ ’ ’ ’ ’ ’ ’

b bœ œ œ œ œœ
&b Œ ‰. œ œ œ nœ œœ œ ‰ œ œ œ œœœ
R
3
beg - ging bread. Be - cause You are good, yes You are,

b b œœ œœ œœ œ œ œ n œœ œ œœ œœ
&b ‰ œ œ œ b œœ œœ œœ œ # œœ œ œ Œ œ Œ
œ
You're nev - er gon - na let me down, good,
 158

KING OF MY HEART (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 11 of 12

b
bb
92 C m7 C m/F B

& Û Û Û | | |

b ‰. r
&b Ó œ œ œœœ œ œœœ œ
Ó Ó Œ ‰
œ œ
j j
Ooh, Ooh, Let the

b N œœ œ
&b œ œœ œœ
Nœ
˙˙
˙
˙˙
˙
Ó ∑

You are good.

b b b
Verse

b
95 B E maj7 B F/A G m7 D m/F

&b | | Û Û | |
p
b
&b œ j ‰ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ ‰
œœœœ œ.
œ œ œ œ œ
King of my heart be the moun - tain where I run, the foun - tain I drink from. Oh, He

b b b b b
b
& b Û.
98 E B B E maj7 B F/A
Û | | | Û Û
J
b
&b j ‰ j ‰ œ œ œ œ œ œ œ œ ‰ œ œ
œ œ œ œ œ œ œ œ. œ œ œ œ œ œ
is my song. Let the King of my heart be the sha - dow where I hide, the ran -

Chorus
b b b b
b
G m7

Û. Û Û.
101 G m7 D m/F E B B F/A B /F

&b | | Û Û ’ ’ ’ ’
J
b
& b œ œ œ œ œ œj ‰ œ. j ‰ Œ Œ
œ œ œ œ œœœ œ œ œ œ. œ œ
- som for my life. Oh, He is my song. You are good, good.
 159

KING OF MY HEART (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 12 of 12

b b b b b b b
b
G m7

& b Û. Û Û. Û. Û Û.
104 E B B F/A B /F E B B F/A
Û Û ’ ’ ’ ’ Û Û
J J
b
&b œ œ.
Œ j ‰ œ ≈
œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ.
Oh. You are good, good. Oh. You are

b b b b b b
U
bb
G m7 G m7
Û. Û.
107 B /F E B D 7(#5#9) B /F E B

& ’ ’ ’ ’ Û Û Û ’ ’ ’ ’ Û |
J J
b U
&b ‰
œ œ œ. œ
Œ œ œœœ œ œ œ.
Œ Œ
œ œ œ œ œ œœœ ˙
good, so good. Oh. You are good, good. Oh,
 160

GOOD GOOD FATHER

Music and Lyrics
CHRIS TOMLIN VERSION by Anthony Brown & Pat Barrett

q. = 48
Intro

# # 6
& # 8 Û Û ’. ’. ’. ’. ’. ’. ’. ’.
A A sus A A sus A

P
Strummed acoustic guitar

# # 6 j
& # 8 ‰ ∑ ∑ ∑ Œ. ‰ ‰ œ
Oh,

Verse

###
’. ’. ’. ’. ’. ’. ’. ’.
5 A sus A A sus A

&

# #
& # œ. œ œ œ œ. œ. œ œ œ œ œ. œ. œ. œ. œ œ œ
I’ve heard a thous - and sto - ries of what they think You’re like. But I’ve

Pre-Chorus

###
’. ’. ’. ’. ’. ’. ’. ’. ’. ’.
9 A sus A A sus A D

&

# # r j
& # œ. œ ≈ œ œ. œ. œ œ œ œ œ. œ
≈ r œ.
œ
œ. œ œ œ œ œ. œ ‰ ‰
heard the ten - der whis - per of love in the dead of night. And You tell me

# # # C# .
A B m7

’. ’. ’. ’. ’. |.
14 E E sus E

& ’

# #
& # œ. œ. œ œ œ œ œ. œ œ œ œ ˙. ‰ œ œ œ œ œ œ œ
that You’re pleased and that I’m nev - er a - lone. You’re a good, good Fa -
 161

GOOD GOOD FATHER (CHRIS TOMLIN VERSION) - Lead/Rhythm - Page 2 of 5

Chorus

### B m7

’. ’. ’. ’. ’. ’. ’. ’.
18 D A E

&
P light band in

# # r r
& # œ œ. œ œ œ œ. ‰ ‰ ≈œ œ œ œ. ‰ ‰ ≈œ œ œ œ œ œ œ œ. œ œ œ.
- ther, it’s who You are, it’s who You are, it’s who You are. And I’m loved by

#
###
A

’. ’. ’. ’. ’. ’. ’. ’.
22 D C E E sus

&

# # r r r
& # œ ≈ œ œ œ œ. ‰ ‰ ≈ œ œ œ œ. ‰ ‰ ≈ œ œ œ œ œ œ. Œ.
You, it’s who I am, it’s who I am, it’s who I am.

Verse

### E .
’. ’. ’. ’. ’. ’. ’. ’. ’.
26 A A sus A A sus A

& ’
F
# #
& # Œ. ‰ œ œ œ œ. œ. œ. œ. œ œ œ œ œ. œ.
œ. œ. œ ‰ œ œ
Oh and I’ve seen man - y search - ing for an - swers far and wide. But I’ve

###
’. ’. ’. ’. ’. ’. ’. ’.
31 A sus A A sus A

&

# # r
& # œ. œ
≈ œ œ. œ. œ œ œ œ œ. œ œ œ
œ. œ. œ œ œ œ
known that we’re all search - ing for an - swers on - ly You pro - vide. ’Cause You know

Pre-Chorus
#
###
A B m7

’. ’. ’. ’. ’. ’.
35 D E

Û Û Û Û Û Û
C

&

# #
& # œ. œ. œ. œ. œ œ œ. œ. œ œ œ. œ œ œ œ œ œ œ œ
just what we need be - fore we say a word. You’re a good, good Fa
 162

GOOD GOOD FATHER (CHRIS TOMLIN VERSION) - Lead/Rhythm - Page 3 of 5

Chorus

### B m7

’. ’. ’. ’. ’. ’. ’. ’.
39 D A E

&
f full band

# # r r
& # œ œ. œ œ œ œ. ‰ ‰ ≈œ œ œ œ. ‰ ‰ ≈œ œ œ œ œ œ œ œ. œ œ œ.
ther, it’s who You are, it’s who You are, it’s who You are. And I’m loved by

#
###
A

’. ’. ’. ’. ’. ’.
43 D E
Û Û Û Û Û Û
C

&

# # r r r
& # œ ≈ œ œ œ œ. ‰ ‰ ≈ œ œ œ œ. ‰ ‰ ≈œ œ œ œ œ œ œœ œ œ œ.
You, it’s who I am, it’s who I am, it’s who I am. Be - cause You are

#
Bridge

### . D . F m7 B m7

’. ’. ’. ’. ’. ’. ’.
47 A

& .’
ƒ driving

# # œ œ œ œ œ œ
& # .. œ œ œ. ‰ œ œ. œ œ œ œ œ œ œ œ œ. ‰ œ œ.
per - fect in all of Your ways, You are per - fect in all of Your ways, You are

#
1.

### D . F m7
..
’. ’. ’. ’. ’. ’. ’.
51 E

& ’

# # œ œ œ œ œ œ
& # œ œ œ ‰ œ. ˙. Œ. ‰ œ œ. ..
per - fect in all of Your ways to us. You are

2. Verse

###
|. ’. ’. ’. ’. ’. ’. ’. ’.
55 A A sus A A sus A

&
p ac. gtr.

# # j
& # Œ. ‰ œ œ œ. œ. œ. œ. œ œ œ. œ ‰ œ œ œ. œ. œ ‰
Oh, it's love so un - de - ni - a - ble, I, I can hard - ly speak.
 163

GOOD GOOD FATHER (CHRIS TOMLIN VERSION) - Lead/Rhythm - Page 4 of 5

###
’. ’. ’. ’. |. |.
60 A sus A

&

# # j
& # œ. œ. œ. œ. œ œ œ. œ ‰ œ œ œ. œ. œ œ œ œ
Peace so un - ex - plain - a - ble, I, I can hard - ly think. As you call

Extended Pre-Chorus
# #
###
A B m7 A

’. ’. ’. ’. ’. ’. ’. ’.
64 D C C A

&
P Band in lightly, building to chorus

# #
& # œ. œ. œ. œ. œ œ œ œ œ. œ. œ. œ. œ œ œ œ
me deep - er still, as You call me deep - er still, as You call

#
### D A B m7 E

Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û
C

&
68

F
###
cresc. poco a poco

& œ. œ. œ. œ. œ œ œ œ œ. œ. œ œ œ œ œ œ œ œ œ œ
me deep - er still in - to love, love, love. You’re a good, good Fa -

Chorus

### B m7

’. ’. ’. ’. ’. ’. ’. ’.
72 D A E

&
f driving

# # r r
& # œ œ. œ œ œ œ. ‰ ‰ ≈œ œ œ œ. ‰ ‰ ≈œ œ œ œ œ œ œ œ. œ œ œ.
- ther, it’s who You are, it’s who You are, it’s who You are. And I’m loved by

### B m7

’. ’. ’. ’. ’. ’.
76 D A E

& Û Û Û Û Û Û
-

# # r r r
& # œ ≈ œ œ œ œ. ‰ ‰ ≈ œ œ œ œ. ‰ ‰ ≈œ œ œ œ œ œ œ œ œ œ œ œ œ
You, it’s who I am, it’s who I am, it’s who I am. You’re a good, good Fa 
 164

GOOD GOOD FATHER (CHRIS TOMLIN VERSION) - Lead/Rhythm - Page 5 of 5

Chorus

### B m7

’. ’. ’. ’. ’. ’. ’. ’.
80 D A E

&

# # r r
& # œ œ. œ œ œ œ. ‰ ‰ ≈œ œ œ œ. ‰ ‰ ≈œ œ œ œ œ œ œ œ. œ œ œ.
ther, it’s who You are, it’s who You are, it’s who You are. And I’m loved by

### B m7

’. ’. ’. ’. ’. ’. ’. ’.
84 D A E

&

# # r r r
& # œ ≈ œ œ œ œ. ‰ ‰ ≈ œ œ œ œ. ‰ ‰ ≈œ œ œ œ œ œ œ œ œ œ œ œ œ
You, it’s who I am, it’s who I am, it’s who I am. You’re a good, good Fa -

Chorus

### . D . B m7

’. ’. ’. ’. ’. ’. ’.
A E

& .’
88

p acoustic picking

# # r r
piano diamonds

& # .. œ œ . œ œ œ œ. ‰ ‰ ≈ œ œ œ œ. ‰ ‰ ≈œ œ œ œ œ œ œ œ œ œœ œ
- ther, it’s who Youare, it’s who You are, it’s who You are. And I’m loved by You,

#
1.

### D . B m7
..
’. ’. ’. ’. ’. ’. ’.
92 A/C E

& ’

# # r r r
& # œ ≈ œ œ œ œ. ‰ ‰ ≈ œ œ œ œ. ‰ ‰ ≈œ œ œ œ œ œ œ œ œ œ œ œ œ ..
it’s who I am, it’s who I am, it’s who I am. You’re a good, good Fa

2.

### B m7

’. ’. ’. ’. ’. ’. ’. ’. ’. ’. |.
96 E D A E D

&

# #
& # œ. Œ. ∑ ∑ ∑ ∑ ∑
 165

GOOD GOOD FATHER

Music and Lyrics
RECORDING COLLECTIVE VERSION by Anthony Brown & Pat Barrett
Arr. The Recording Collective

q. = 49
Intro
b b b b b b
b b 6
C 13 G 2/B E m7(b5)/A D /A

&b b b 8 œ œ œ œ œ. œ œ œ œ. œ. œ
j œ.
P

b b b b b b b b b
b b
G dim7 B 7( 9)

Û. Û. Û. Û.
3 E 2/G G maj7/A E (#5#9) G maj7/A

& b b b œ. Û ‰ ‰
J

b b b b
Verse

b b
B m7

& b b b Û. Û.
5 D /F G maj7 A
Û ‰ ‰ ∑ Û ‰ ‰ ∑
J J
P
b b j ‰. j .
&b b b œ. œ r œ. œ. œ œ œ œ œ œ
j‰ ‰ j‰ ‰
œ œ. œ œ œ ‰ r
œ œ
I’ve heard a thous - and sto - ries of what they think You’re like. But

b b b b
b b
B m7

& b b b Û. Û.
9 D /F G maj7 A

Û ‰ ‰ ∑ Û ‰ ‰ ∑
J J
b b j ‰. r . j ‰ ‰ j ‰. r .
& b b b œ. œ œ œ. œ œ œ œ œ œ œ œ. œ œ œ œ
œ œ
I’ve heard the ten - der whis - pers of love in the dead of night. And You tell

b b b b b b b b b
Pre-Chorus

b b
G m7( 5) B 7( 9) E 7

& b b b œ. œ
13 G maj7 /C D /F F 7(#5 9) B m7/E

œ œ œ. œ œ œ œ. œ.

b b ‰. j ‰. r
& b b b œ. œ. œ. œ. œ œ œ œ œ œ œ œ
œ œ œ œ
me, tell me that You’re pleased and that I, I'm nev - er a - lone.
 166

GOOD GOOD FATHER (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 2 of 13

Chorus
b b b
b b
& b b b |. |. ’. ’.
16 A sus A G maj7

b b ‰.
&b b b œ œ œœ . œ
‰ œ œ œ œ œ. œ
‰ ‰ ‰ ≈ r
œ œ œ œ
'Cause You're a good, good Fa - ther, it’s

b b
&b b b ∑ ‰ ‰ œ œ œ œ œ. œ œ ≈ œ œ œ.
œ
You're a good, good Fa - ther, it’s who You are,

b b b b
b b
E m7

& b b b ’. ’. ’. ’. ’. ’.
19 D /F A D /F

b b Œ. j
&b b b œ œ œ. œ œ œ bœ œ œ œ. œ
‰ ‰ ‰ œ œ œ œ
œ
who You are, Oh, I’m loved by

b b
&b b b ‰ ‰ ≈ r œ œ œ. ‰ ‰ ≈ rœ œ œ. œ. œ œ œ œ œ.
œ œ
it’s who You are, it’s who You are. And I’m loved by

b b b
b b
E m7

& b b b ’. ’. ’. ’. ’. ’.
22 G maj7 D /F

b b Œ.
& b b b œj ‰ ≈ r œ œ œ. ‰ j ‰ ‰ ‰ ≈ r œ.
œ œ œ œ œ œ
You, it’s who I am, yeah, it's who I am.

b b
& b b b œj ‰ ≈ r œ œ œ. ‰ ‰ ≈ r œ œ œ. ‰ ‰ ≈ r œ œ œ.
œ œ œ
You, it’s who I am, it’s who I am, it’s who I am.
 167

GOOD GOOD FATHER (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 3 of 13

Verse
b b b b
b b
& b b b |. |. Û.
25 A sus A D /F G maj7
Û ‰ ‰ ∑
J
b b
& b b b Œ. œ œ œ . bœ œ œ .
‰ ‰ ≈ r j ‰ ‰
œ. œ. œ œ
œ œ. œ œ œ
Oh, And I've seen man - y search - ing for an -

b b Œ.
& b b b ˙. œ. œ. œ
j ‰ ‰ ∑
I've seen

b b œ ≈ œ
bass gtr.
b b
b b
B m7
œ œ
& b b b Û. Û.
29 A D /F G maj7

Û ?≈ ≈ œ ≈ œ Û ‰ ‰
J œ œ œ œ œ &
J
œ
b b Œ.
&b b b ‰ ‰ ‰
3

œ. œ œ œ. œ. œ œ œ œ œ œ.
œ
- - swers far and wide. I know

b b Œ.
&b b b ∑ ‰ ‰ ≈
œ
r
œ.
‰ ‰
œ œ
But I know

b b b
b b
B m7
Û. Œ. Û.
32 A D

&b b b ∑ Û ‰ ‰
J
b b
& b b b œ. œ. œ œ œ œ œ œ
‰
œ. œ
‰
œ œ œ œ œ. œ œ
we’re all search - ing for an - swers on - ly You can pro - vide. ’Cause You

b b Œ.
&b b b ∑ ∑ ‰
œ œ
œ
'Cause You know
 168

GOOD GOOD FATHER (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 4 of 13

Pre-Chorus
b b b b b b b b b
b b œ
G m7( 5) /C B 7( 9) E 7

& b b b œ. œ
35 G D /F F 7(#5 9) B m7/E
œ œ. œ œ œ œ. œ.

b b ‰. ‰ œ. œ
&b b b œ œ œ œ
‰ œ œ œ. œ œ œ œ
œ
know just what we need be - fore we say a

b b œ j
& b b b œ. ‰ œ œ. ‰ œ œ œ. œ œœ
what we need be - fore we say a

Chorus
b b b b
b b
A m9

& b b b ’. ’. ’. ’. ’. ’.
38 D /F G maj7 D /F

F
b b
& b b b œj ‰ ‰ Œ. ‰. œ œ œ œ. œ ‰ ‰
œ œ œ
‰ ‰ ≈ r
œ
word. Good, good Fa - ther, oh, it's

b b
&b b b œ ‰ œœ œœ œœ œœ œ .
œ œ œ œ œœ .. œœ œœ ≈ œ
œœ œœ
œœ œœ ..
œ œ.
‰ ‰ ≈ r œœ
œœ œ
œœ œœ ..
œ œ.
bœ œ œ
word. You're a good, good Fa - ther, it’s who You are, it’s who You are,

b b b b
b b
E m7

& b b b ’. ’. ’. ’. ’. ’.
41 A D /F G maj7

b b ‰. ‰.
&b b b œ œ œ j
œ. œ œ œ œ. j ‰ ‰ ‰ ‰ ≈ r
œ œ œ
who You are, yeah, And I’m loved by You. It's

b b
&b b b ‰ ‰ ≈ r œ
œœ œœ
œœ œœ ..
œ œ.
œœ .. œ œœ œœ œœ œ . œœ ‰ ≈ œ œ
œœ œœ œœ
œœ ..
œ . œœ œ œ œ œœ .. œ œ.
it’s who You are. And I’m loved by You, it’s who I am,
 169

GOOD GOOD FATHER (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 5 of 13

b b b b
b b
E m7

& b b b ’. ’. ’. ’. ’. ’.
44 D /F A D /F

b b ‰. ‰.
&b b b œ œ œ ‰ r œ œ.
3

œ. œ œ œ œ œ œ œ
œ œ œ. œ œ œ œ œ.
who I am. Oh, 'cause You are a good, good

b b
&b b b ‰ ‰ ≈ r œœ œœ œœ ..
œœ œ œ œ .
‰ ‰ ≈ r œœ œœ œœ ..
œœ œ œ œ .
œœ œœ
œ
œœ
œ
œœ œœ œ .
œ œ œœ ..
œ
it’s who I am, it’s who I am. am, You're a good, good

b b b
Chorus

b b
E m7

& b b b ’. ’. ’. ’. ’. ’.
47 G maj7 D /F

b b ‰.
&b b b œ œ œ œ œ œ œ bœ œ œ œ.
‰ ‰ ≈ r œ
œ œ œ œ œ œ
Fa - ther, yeah, yeah, it's who You are.

b b
& b b b œœ œœ ≈ œ
œœ œœ
œœ œœ ..
œ œ.
‰ ‰ ≈ r œœ
œœ œ
œœ œœ ..
œ œ.
‰ ‰ ≈ r œœ
œœ œ
œœ œœ ..
œ œ.
œ œ
Fa - ther, it’s who You are, it’s who You are, it’s who You are.

b b b b
b b
B m7

& b b b ’. ’. ’. ’.
50 A D /F G maj7
Û Û Û Û Û Û

b b Œ.
& b b b œ œ. œœ œ
‰ œ. œ œ ‰ ‰ œ œ œ œ œœœ
‰
I am loved, com - plete - ly loved.

b b
& b b b œœ ... œœ œœœ œœœ œœ œœ .. œœ ‰ ≈ œ œœœ œœœ œœœ ... ‰ ‰ ≈ r œ œ
œœ œœ œœ
œœ ..
œ.
œ œ œ œ. œ œ
And I’m loved by You, it’s who I am, it’s who I am,
 170

GOOD GOOD FATHER (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 6 of 13

Bridge
b b b b b
b b
E m7 B m7
Û Û Û Û Û Û ’. ’. ’. ’.
53 A D /F G maj7

&b b b Û Û Û Û Û Û
f
b b œ. œ œ œ .
&b b b ∑ œ œœœ. œ‰ ∑ œ
œ œœ

Yeah! Per - fect in all Your ways,

b b
& b b b ‰ ‰ ≈ œr œœœ œœœ œœœ ... œœ .. Œ. œ œ œ œ œ œ œ œ œ. ‰
œ œ.
œ œ.
it’s who I am. Per - fect in all of Your ways, You are

b b b
b b
E m7

& b b b ’. ’. ’. ’. ’. ’.
57 D /F G maj7

b b ‰. œ.
& b b b œ. J œœœ
œ œ œ œ œ œ œ œ œ œ œ.
‰ ‰ ≈
œ
r
per - fect in all Your ways, in

b b
&b b b œ œ œ œ œ œ œ œ œ. ‰
œ œ.
œ œ œ œ œ œ œ œ
per - fect in all of Your ways, You are per - fect in all of Your ways

b b b
b b
B m7 E 9

& b b b ’. ’. ’. ’. ’. ’.
60 A

b b Œ. œ. œ œ œ œ
&b b b œ œ œ œ œ œ. ‰ ‰ œ œ œ œ œ
all Your ways to us.

b b
& b b b œ. œ œ œ ˙. œ.
‰
œ œ.
to us. You are
 171

GOOD GOOD FATHER (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 7 of 13

b b b
Bridge

b b
B m7 E m7

& b b b ’. ’. ’. ’. ’. ’.
63 G maj7

ƒ
b b œ œ œ œ œ œ
& b b b Œ. ‰. œ. œ. œ œœœœœ œ
J
‰ ‰ Œ.
You do all things per - fect.

b b œ œœ œœ œœ œœ œ œœ œœ œœ œœ œœ œ œ œ
& b b b œœ œ œ œ œ œœ œœ œœ
œ œ
œœ ..
œ.
‰
œ œ. œ œ œ œ œ œœ œœ œœ
per - fect in all of Your ways, You are per - fect in all of Your ways,

b b b b
b b
B m7 E 9

& b b b ’. ’. ’. ’. ’. ’.
66 D /F G maj7

b b œ. ‰. œ œ œ . ‰
&b b b ‰ ‰ œ ‰
3
œ œ. œ œ. œ œ
œ œ œ œ œ
You can do all things per - fect. Oh,

b b œœ œœ œœ œœ œœ
& b b b œœœ ... ‰
œ œ. œ œ œ œ œ œœ
œ œœ œœ
œ œ
œœ ..
œ.
œœ
œ
œœ œ
œ œœ
You are per - fect in all of Your ways to

b
Chorus
b b
b b œ
G m7( 5)

& b b b |. |. œ. œ
69 A G maj7 /C
œ

F p
b b
&b b b œ œ œ œ œ œ bœ œ œ
‰ ‰ œ œ œ œ œ œ œ ≈ œ œ œ.
œ œ
to us, to us. You’re a good, good Fa - ther, it’s who You are,

b b
& b b b ˙˙ ... ∑ ∑
˙
us.
 172

GOOD GOOD FATHER (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 8 of 13

b b b b b b b b b b
b b
B 7( 9) E 7 A m7
Û. Û. Û.
72 D /F F 7(#5 9) B m7/E D 2/F D

& b b b œ. œ œ œ œ. œ.

b b
&b b b ‰ ‰ ≈ r œ œ œ. ‰ ‰ ≈ r œ œ œ. œœ œ œ œ œ. œ œ
œ œ
it’s who You are, it’s who You are. And I’m loved by

b b b b b b b b b
b b œ œ
G m7( 5) /C B 7( 9) E 7

& b b b œ.
75 G maj7 D /F F 7(#5 9) B m7/E
œ œ. œ œ œ œ. œ.

b b
&b b b œ œ œ. ‰ ‰ ≈ r œ œ
‰ ‰ ≈ r œ œ
œ œ.
œ ‰ ≈ œ œ œ œ
You, it’s who I am, it’s who I am, it’s who I am.

b b b
Chorus
b b b b b b
b b œ
A m7 G m7( 5) B 7( 9)

& b b b Û. Û. Û. œ. œ
78 D 2/F D G maj7 /C D 2/F F 7(#5 9)
œ œ. œ œ œ
P
b b Œ. Œ.
&b b b œ œ ‰ œ. œ œ œ. œ œ œ
j ‰ ‰
Oh, oh,

b b
& b b b ‰ ‰ œ œ œ œ œ. œ œ ≈ œ œ œ œ. ‰ ‰ ≈ r œ
œ œ œ.
-
You're a good, good Fa - ther, it’s who You are, it’s who You are,

b b b b b b b b
b b œ
E 7 A m7 G m7( 5)

Û. Û. Û. œ. œ
81 B m7/E D 2/F D G maj7 /C

& b b b œ. œ.
œ
F
b b Œ. Œ.
&b b b œ œ œ
‰ ‰ œ œ œ ‰ ‰ œ œ œ
who You are, I am loved, com - plete - ly

b b
&b b b ‰ ‰ ≈ r œ
œ œ œ. œ . œ œœœ œœœ œœœ œœ ... œœ ‰ ≈ œ œ
œœ œœ œœ
œœ ..
œ.
œ œ
it’s who You are. And I’m loved by You, it’s who I am,
 173

GOOD GOOD FATHER (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 9 of 13

b b b b b b b b b b
b b
B 7( 9) E 7 A m7
Û. Û.
84 D 2/F F 7(#5 9) B m7/E D 2/F D

& b b b œ. œ œ œ Û Û Û Û Û Û Û Û Û

b b .
& b b b œ. œ ‰ ≈ œ œ œ œ. œ ‰ ‰. œ. bœ œ œ œ œ œ œ.
œ J
loved, e - ter - nal - ly loved, yes, You're a good, good

b b
&b b b ‰ ‰ ≈ r œœ œœ œœ .. ‰ ‰ ≈ r œœ œœ œœ .. œœ ‰ œœœ œœœ œœœ œœœ œœ ..
œœ œ œ œ. œœ œ œ œ. œ œ.
-
it’s who I am, it’s who I am. You're a good, good

b b b
Chorus

b b
B m9 E m7

& b b b ’. ’. ’. ’. ’. ’.
87 G maj9

f
b b œ. r
&b b b œ ‰ ‰ ‰ ≈ œ œ œ. œ Œ. œ œ œ œ œœ
3

œ œ œ œœœœ
3
Fa - ther, it's who You are, yes,

b b œœ œœ .. r œœ œœ .. r
& b b b œœœ œœ ≈ œœ œœœ œ œ. ‰ ‰ ≈ œœ œœœ œ œ. ‰ ‰ ≈ œœ œœ œœ œœ œœ
œ œ œ œ œ œ œ œ
Fa - ther, it’s who You are, it’s who You are, it’s who You are.

b b b b b
b b
B m7 E 9

& b b b ’. ’. ’. ’. ’. ’. ’. ’.
90 D /F G maj9 A

b b œ œ œ. Œ.
&b b b œ≈œ œ œ œ œ ‰ ‰
J
œ œ ‰ œœ
œ œ.
∑
and I am loved by You, oh, oh,

b b œ. r
& b b b œœ ..
œ œœ
œœ œ
œœ œ œ .
œ œœ œœ .. œœ ‰ ≈ œœ œœœ œœœ œœœ ... Œ ≈ œœ œœœ œœœ œœœ ... œœ ≈ r œœ œœ œœ œ
œ œ œ œ œ œ œ œ œœ
And I’m loved by You, it’s who I am, it’s who I am, it’s who I am.
 174

GOOD GOOD FATHER (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 10 of 13

Chorus
A b/C Db D b/F G b
b b > > > > drums only!

& b b b ’. Œ.
94

≈ Û Û Û Û ‰ ‰ ∑
J
ƒ
b b œ. œ. Œ. œ œ ‰.
& b b b œ. œ ‰
œ
œ œ œ ‰
You are good. Yes, You are. It's who You are,

b b œœ œœ œœ œ œ . œœ œœ .. r œœ œœ ..
& b b b œœœ ‰ œ œ œ œœ œœ .. œœ œœ ≈ œœ œœœ œ œ. ‰ ‰ ≈ œœ œœœ œ œ.
œ œ œ œ
-
You're a good, good Fa - ther, it’s who You are, it’s who You are,

b b b b b
b b >Fœ . D>œ . >œ .
C A
> E 2/G E m7(b5)/G

’. ’.
97

&b b b ∑ œ.

b b . œ. œ œ
&b b b ‰ ‰ œ
J
œ œ œ œ Œ œ œ œ ‰ ‰

j
my Fa - ther, I'm loved, say, I'm

b b r œœ ...
&b b b ‰ ‰ ≈ œœ œœ œœ œœ œœ œœœ œœ œœ œ œ .
œ œ œœ œœ .. n œœœ ≈ r ∫ œœ œœ
œ œ œ œ œ œb œ œ œ
it’s who You are. I’m loved by You, it’s who I am,

b b b b b b b b b b
b b
& b b b ’. ’. ’. ’.
100 D /F E /D A /C E 7/B A D E F G
Û Û Û Û Û Û Û̆
J œ œ œ œ

b b œ œ. œ œ œ œ œ. œ.
&b b b œ Œ. Œ. œ œ œ
4
loved by You, oh, good, good,

b b œ œ œ œœ .. œœ ‰ n œœœ ... œœ
& b b b œœ ‰ n œœ œœ œ. œ œ ‰ ‰
œ œ.
who I am, I am! You are
 175

GOOD GOOD FATHER (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 11 of 13

b b b b
Bridge

b b
C 13

& b b b ’. ’. ’. ’. ’. ’.
103 G maj7/B E m7(b5)/A

b b œ œ œ œ œ
&b b b ∑ ‰ œ ‰ ∑
in all, in all Your ways,

b b œ œœ œœ œœ œœ œ œœ œœ œœ œœ œœ œ
& b b b œœ œ œ œ œ œœ œœ œœ
œ œ
œœ ..
œ.
‰
œ œ. œ œ œ œ œ œœ œœ œœ
œ œ
per - fect in all of Your ways, Youare per - fect in all of Your ways,

b b b b b b b b b
>. >. >. >.
G dim7 C m7( 5) F 7( 9) B m7 E 9
b b
D maj7/A E 2/G D /F

& b b b ’. Û. ’. ’.
106

Û Û Û Û

b b Œ. œ. œ œ œ. œ œ
&b b b ‰ œ œ œ œ œ œ ‰ œœœ
œœœ
‰ œ. œ.
œ
yeah, ooh, to us,

b b œœ œœ œœ œœ œœ
& b b b œœœ ... ‰
œ œ. œ œ œ œ œ œœ
œ œœ œœ
œ œ
œœ ..
œ.
œœ
œ
œœ œ
œ œœ
You are per - fect in all of Your ways to

b
Chorus
b b
b b œ
G m7( 5)

& b b b |. |. œ. œ
109 A G maj7 /C
œ
p
b b
&b b b œ ‰ œ œ œ bœ œ œ
‰ œ œ œ œ œ œ œ ≈ œ œ œ œ.
œ
to us. You’re a good, good Fa - ther, it’s who You are,

b b
& b b b ˙˙ ... ∑ ∑
˙
us.
 176

GOOD GOOD FATHER (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 12 of 13

b b b b
B 7( 9) b b b
E 7 b
A m7 b b
b b
D 2/F F 7(#5 9) B m7/E D 2/F D

Û. Û. Û.
112

& b b b œ. œ œ œ œ. œ.

b b
&b b b ‰ ‰ ≈ r
œ œ œ œ œ. ‰ ‰ ≈ r œ œ
œ œ œ œ œ. œ œ œ œ. œ œ
it’s who You are, it’s who You are. And I’m loved by

b b
&b b b ∑ ∑ ∑

b b b b b b b b b
b b
G m7( 5) /C B 7( 9) E 7
œ œ
G maj7 D 2/F F 7(#5 9) B m7/E

& b b b œ.
115

œ œ. œ œ œ œ. œ.

b b
&b b b ‰ ‰ ≈ r œ œ œ œ œ œ œ ‰ œ œœœ ‰ œ œ
3 3

œ ‰ ≈ œ œ œ œ. œ
You, it’s who I am, it’s who I am, said it is who I

b b
&b b b ∑ ∑ ∑

b b b
Chorus
A b m9 D b9 b b b
b b
G m7( 5) B 7( 9)
œ
G maj7 /C D 2/F F 7(#5 9)

& b b b ’. ’. œ. œ
118

œ œ. œ œ œ

b b Œ.
&b b b j ‰ ‰ ‰ ‰
3

œ œ œ œœ œ œ œ œ œ œ œ œ œ œ
am. Yeah, I can de - pend on You,

b b
&b b b ‰ ‰ œ œ œ œ œ. œ œ ≈ œ œ œ œ. ‰ ‰ ≈ r
œ œ œ œ.
You’re a good, good Fa - ther, it’s who You are, it’s who You are,
 177

GOOD GOOD FATHER (RECORDING COLLECTIVE VERSION) - Lead/Rhythm - Page 13 of 13

b b b b b b b b
b b œ
E 7 A m7 G m7( 5) /C
Û. Û. Û. œ. œ
121 B m7/E D 2/F D G maj7

& b b b œ. œ.
œ

b b ‰.
&b b b ‰ ‰ ‰ ‰ ‰ ≈ r
3

œ œ œ œ œ œ œ œ œ œ œ. œ. œ. œ œ
I can trust in You, and I am loved by You. It's

b b
&b b b ‰ ‰ ≈
œ
r œ œ œ. œ. œ œ œ œ œ. œ ‰ ≈ œ œ œ œ.
it’s who You are. And I’m loved by You, it’s who I am,

b b b b b b b b b
b b
B 7( 9) E 7

’. ’.
124 D 2/F F 7(#5 9) B m7/E A m9 D 9

& b b b œ. œ œ œ œ. œ.

b b ‰. ≈ r
&b b b œ œ ‰ ‰
3 4
œ.
œ œ œ œ œ œ œ œ œ œ œ œ œ œ.
who I am, a child, we say, You are a good, good, good, good,

b b
&b b b ‰ ‰ ≈ r œ œ
œ œ. ∑ ∑
it’s who I am,

œ œ U̇
b œ œ .
b b œ. œ. œ. œ.
& b b b œ.
127 G maj7

‰
3

b b Œ.
& b b b œ. ‰ ∑
3

œ œ œ œ œ œ œ œ
Fa - ther. You are my Fa - ther.

b b
&b b b ∑ ∑ ∑
 Appendix B: Chapter Five Scores

Lion and the Lamb (Bethel Music version) ..................................................................... 179

Lion and the Lamb (Gospel fusion version) .................................................................... 183

King of Kings (Hillsong Worship version) ..................................................................... 192

King of Kings (Gospel fusion version)............................................................................ 197

Who You Say I Am (Hillsong Worship version) ............................................................ 212

Who You Say I Am (Gospel fusion version) .................................................................. 216

178
 179

LION AND THE LAMB

Music and Lyrics by
BETHEL MUSIC VERSION Brenton Brown, Brian Johnson,
& Leeland Mooring

q = 90

# ## 4
B maj7 E maj7/B

& # # 4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’yyyyyy
π f

Intro
#
1.

# ## ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ . ..
B C m E

& # # .. œ œ
5

œœ œœ

#
2.
Verse

####
# œ œ œ œ œ œ œ œ œ œ œ.
B C m
.. ’
9

& ’ ’ ’ ’ ’ ’ ’
F
# ##
& # # Ó Œ ‰. r .. Œ j
œ
œ œ. œ œ. œ œ ‰ œ œ. œ œ. œ œ
1. He's com - ing on the clouds, kings and king - doms will bow
(2.) o - pen up the gates, make way be - fore the King of

#
####
12 E G m

& # ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

# ##
& # # Ó Ó Œ ‰. r œ œ œ.
˙ œ œ. œ œ. œ
down. And ev - 'ry chain will break, as
kings. The God who comes to save is

# #
####
15 F E F

& # ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

# ##
& # # œ œ
‰. r .
œ. œ œ. œ
œ œ œ œ œ. œ œ œ œ œ œ
bro - ken hearts de - clare His praise. For who can stop the Lord Al - might - y?
here to set the cap - tives free. For who can stop the Lord Al - might - y?
 180

LION AND THE LAMB (BETHEL MUSIC VERSION) - Lead/Rhythm - Page 2 of 4

Chorus
# #
####
18 B F G m7

& # ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
F-f
# ##
& # # Œ ‰ œj œ . œœ œœ œ ‰ œj œ . œ œ ‰ j
œ œ. œ œ œ œ
œ œ œ œ œ
Our God is the Li - on, the Li - on of Ju - dah He's roar - ing with pow-

# #
####
21 F E F B

& # ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

# ## j
& # # œ ‰ œ œ. œ œ œ œ œ ‰. r œ. œ œ. Œ ‰ œj œ . œ œ
œ œ œ œ œ œ œ œ œ œ
- er, and fight - ing our bat - tles. And ev - 'ry knee will bow be - fore Him. Our God is the Lamb,

# # #
####
25 F G m7 F

& # ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

# ## j
& # # œ ‰ œ œ. œ œ œ œ ‰ ‰ œj œ . œ œ
œ œ œ œ. œ œ œ œ œœœ œ œ
the Lamb that was slain. For the sins of the world, His blood breaks the chains.

# #
1.

####
28 E F F

& # ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ |

# ##
& # # ‰ j .
œ œ œ œ. œ œ. œ œ. œ œ. œ œ. œ œ
Π.
œ œ œ. œ œ œ œ œ
œ
And ev - 'ry knee will bow be - fore the Li - on and the Lamb. ev - 'ry knee will bow be - fore Him.

#
####
# œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ.
B C m E
..
32

& œœ œœ
f
####
& # ∑ ∑ ∑ Ó Œ ‰. r ..
œ
2. So
 181

LION AND THE LAMB (BETHEL MUSIC VERSION) - Lead/Rhythm - Page 3 of 4

# # # #
2.

####
F C m B E F
36 D

& # ’ ’ ’ ’ | | | |
P
# ##
& # # œ
∑ ∑ ∑ ∑
œ œ œ
bow be - fore Him.

Bridge
# # #
# ##
C m B E F

& # # .. | ..
41 D

| | |
P
# ##
& # # .. Ó œ. œ œ. œ œ
Ó
œ. œ œ. œ œ
..
œ œ œ œ œ œ
Who can stop the Lord Al - migh - ty? Who can stop the Lord Al - migh - ty?

Bridge
# # #
1.

# ##
C m B E F

& # # .. ’ ’ ’ ’ ’ ’ ’ ..
45 D

’ ’ ’ ’ ’ ’ ’ ’ ’
F
# ##
& # # .. Ó œ. œ œ. œ
Ó
œ. œ œ. œ
..
œ œ œ œ œ œ œ œ
Who can stop the Lord Al - migh - ty? Who can stop the Lord Al - migh - ty?

#
2.

#### .. œ œ œ œ œ œ œ œ œ œ .
E F N.C.
..
49

& # ’ ’ ’ ’ | œ
f
####
drums / gtr. only

& # Ó .. ∑ ..
œ. œ œ. œ w
Who can stop the Lord?

# #
Chorus

####
52 B F G m7

& # ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

# ##
& # # Œ ‰ œj œ . œœ œ œ œ ‰ œj œ . œ œ ‰ j
œ œ. œ œ œ œ
œ œ œ œ œ
Our God is the Li - on, the Li - on of Ju - dah He's roar - ing with pow-
 182

LION AND THE LAMB (BETHEL MUSIC VERSION) - Lead/Rhythm - Page 4 of 4

# #
####
55 F E F

& # ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

# ## j
& # # œ ‰ œ œ. œ œ œ ‰. r .
œ œ œ œ œ œ œ œ. œ œ œ œ œ
- er, and fight - ing our bat - tles. And ev - 'ry knee will bow be - fore Him.

# #
####
58 B F G m7

& # ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

# ##
& # # Œ ‰ œj œ . œ œ ‰ œj œ . œ œ ‰
œ œ œ œ œ œ œ œ œ. œ œ œ œ
Our God is the Lamb, the Lamb that was slain. For the sins of the world,

# #
####
61 F E F

& # ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

# ##
& # # œ ‰ œj œ . œ œœ ‰ j .
œ œ œ œ œ œ œ œ. œ œ. œ œ. œ œ. œ œ. œ
His blood breaks the chains. And ev - 'ry knee will bow be - fore the Li - on and the

#
Outro

#### œ œ œ œ œ œ œ œ œ.
64 F B

& # ’ ’ ’ ’ ’ ’ ’ ’ œ œ
# ##
& # # Œ
œ. œ œ. œ
∑
œ œ œ œ œ
Lamb. ev - 'ry knee will bow be - fore Him.

# ## œ œ œ œ.
& # # œ œ œ œ œ
67

‘ ‘ œ œ ¿ ¿ ¿ ¿
####
sn.

& # ∑ ∑ ∑
 183

LION AND THE LAMB

Music and Lyrics by
GOSPEL FUSION VERSION Brenton Brown, Brian Johnson,
& Leeland Mooring
Arr. Tyler B. Williams

q = 105

# 4 œ . œ œ œ œ >œ
N.C. D m9 N.C. C m9
y yyy y y y y y œ. œ œ
& 4 ‰ yJ y y y œ œ œ. œ w
œ.
>
drum fill f

# w œ . œ œ œ œ >œ >> >>

A m7 G F maj9 E m7 D m9 A m7 G/B C G/D F 13

œ. œ œ œ œ ˙
5

& œ w ÛÛ‰ ÛÛ‰

œ. > œ.

# r
SOLO

V ∑ ∑ ∑ ∑ Ó Œ ‰. œ
He's

Verse (swing 16ths)

# -Û
Û.
G G G/D F/G C maj7 C maj7 B m7 A m7

Û. Û . Û Û Û̆
10

& Û Œ Û Û Û̆ Ó Û Œ

# j
V œ. œ œ. œ œ œ Œ œ. œ œ. œ œ œ Œ Œ ‰ œ
œ œ
com - ing on the clouds, kings and king - doms will bow down. Yeah.

#
# -Û -Û
Û. Û.
A m7/D A m7(b5)/D E m9 E m9 E m7/B E m9 D m9

Û.
13

& Ó Û Œ Û Û Û̆ Ó

# r
V œ. œ Œ Œ ‰. œ œ. œ œ. œ œ œ ‰ œj œ. œ œ. œ œ œ
And ev - 'ry chain will break, as bro - ken hearts de - clare His
 184

LION AND THE LAMB (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 2 of 9

Chorus

#
C maj7 C maj7 B m7 A m7 A m7/D G

Û.
16

& Û Œ Û Û Û ’ ’ ’ ’ ’ ’ ’ ’

# r œ.
V ‰. œ œ œ œ œ œ œ œ. œœ œ ∑
œ œ œ œ
praise. For who can stop the Lord Al - might - y?

# œœ ...
BGVs & SOLO

∑ ∑ Œ ‰ œœ œœ œœ œœ œœ
& œ œ œ œ œ œ
J
Our God is the Li -

#
G7 C maj7 F9
19

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

# j œ.
& œœ œ œ ‰ œœœ œœœ ... œœœ œœœ œœ œœ œœ œ œ ‰ œœ œœ ..
œœ œœ œ œ œ œ ‰ œœ œœ ..
œ œ œœ œœ œœ œ œœ œ œ .
œœ œœ œ œ
œ œ œœ œœ
œ œœ œœ J œ œ œ œœ œœ œ œ œ J
- on, the Li - on of Ju - dah He's roar - ing with pow - er, and fight - ing our bat -

# -Û
Û.
E m9 A m7 A m7/D G
22

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

# œœ ...
& œœ œ œ Œ œœ .. œœ œœ .. œœ œœ œœ œ œ .. œœ œ œ Œ ‰ œœœ œ
œœ œœ
œ œ œœ œœ
œ œœ œœ œ. œ œ. œ œ œ œœ œœ . œ œœ œœ J œ œ
- tles. Ev - 'ry knee will bow be - fore Him. Our God is the Lamb,

#
#
G 7(#5) C maj7 F9 F m7(b5) B 7(b9)
25

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

# œœ ... œœ œœ œ œ œœ œœ œ
& œœ ‰ œœœ œ œ œ œœ œœ œœ ‰ œ œ œœœ ... œœœ œœœ œœ œœ œœ ‰ œœœ œœ ...
œ œ œ œ œœ
œ J œ œœ œœ œ œ œ J œ œ
the Lamb that was slain. For the sins of the world, His blood breaks the chains.
 185

LION AND THE LAMB (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 3 of 9

b
#
E m7 D m9 G 7(#5)/D C maj7
28

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

# œœ .. œœ œœ .. œœ .. œœ œœ ..
& œœ Œ
œ. œ œ. œœ œœ .. œœ œœ .. œœ œœ .. œœ œœ .. œœ œœ Œ
œ. œ œ. œœ
œ œ œ. œ œ. œ œ. œ œ. œ œ œ œ
Ev - 'ry knee will bow be - fore the Li - on and the Lamb. ev - 'ry knee will

Turn (straight 16ths)

#
A m7/D A m7 G F maj9 E m7 D m9

œ.
31

& ’ ’ ’ Û̆ ‰ œ œ œ œ œ. œ w
J >
#
‰ œj
SOLO

& œœ œœ œœ œœ .. œœ œœ œœ ∑ Ó
œ œ œ œ. œ œ œ œ œ
bow be - fore Him. Oh!

Verse (swing 16ths)

# >œ >œ >œ >œ >œ

A m7 G/B C G/D F 13 G G G/D F/G

˙
& œ. œ œ œ œ œ. Û.
34

‰ ‰ Û Œ Û Û Û̆

#
V Ó Œ ‰. œ œ. œ œ. œ œ Œ ∑
R
So o - pen up the gates.

# r j
BGVs

& ∑ Ó Œ ‰. œœ œœ .. œœ œœ .. œœ œœ ‰ œœ
œ œ. œ œ. œ œ œ
So o - pen up the gates, make

#
œ. . œ œ œ œ. œ œ
C maj7 C maj7 B m7 A m7 A m7/D A m7(b5)/D
r
# -Û œ ˙
Û. œ. œ œ ‰
37
œ
& Ó ‰ ‰ J
J
synth lick

# r
& œœ .. œœ œœ .. œœ œœ œœ Œ Ó Ó Œ ‰. œœ
œ. œ œ. œ œ œ œœ œ
way be - fore the King of kings. The
 186

LION AND THE LAMB (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 4 of 9

E m9
# œ œ -Û
Û.
E m9 E m7/B E m9 D m9 C maj7 C maj7 B m7 A m7
r r
œ Û . Û Û Û̆ Û. Û Û
40

&
œ œ
Ó Û Œ Û

# r
& œœ .. œœ œœ .. œœ œœ
œ œ
‰. œœ œœ .. œœ œœ ... œœœ œœœ œœ
œ œœ
‰. r œ. œ œ œ
œœ œœ .. œœ œœ œœ œœ
œ. œ œ. œ œ. œ œ œ
God who comes to save is here to set the cap - tives free. For who can stop the

Chorus

#
A m7/D G G7
43

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

# œ œ . nœ œ œ œ œ œ œ
V Ó ‰ J Œ Ó Œ ‰ œ œ.
J
Our God! Our God is the Li -

# œœ œœ ... œœ œœ œ œ œ œ ‰ œœ œœ ... œœ œœ œ œ
& œœ œœ œ œ .. œœ œ œ Œ ‰ œ œ œ œ œœ œœ œœ œ œœ œ œ œ œ œœ œœ
œ œ œœ œœ . œ œœ œœ J œ œ J
Lord Al - might - y? Our God is the Li - on, the Li - on of Ju -

#
C maj7 F9 E m9
46

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

# œ œ r œ. œ œ. œ
V Œ Ó ∑ Œ ‰.
œ
- on! And ev - 'ry knee will

# j œ. œœ œœ œ œ œ œ ‰ œœ œœ .. œœ œœ œ œ œ œ Œ œœ .. œœ œœ .. œ
& œœ œ œ ‰
œ œœ œœ œœ œœ .. œ œ œœ œœ œœ œ œœ œ œ . œ œ œœ œœ œœ œ œœ œ . œ œ . œœ
œ œ œ J œ œ
- dah He's roar - ing with pow - er, and fight - ing our bat - tles. Ev - 'ry knee will

œ.
#
Û. -Û œ. œ. œ œ œ.
œ.
A m7 A m7/D G G 7(#5)

œœ œ
49
?
& ’ ’ œ. œ. œ. œ. œ. œ œ œ &
bass gtr. lick
#
V œ œ œ œ œ œ ∑ ∑
bow be - fore Him.

# œœ ... œœ ...
& œœ œœ œ œ .. œœ œ œ Œ ‰ œœœ œ
œœ œœ
œ œ œœ œœ œœ ‰ œœœ œ
œœ œœ œ œ
œ œ œœ œœ
œ œ œœ œœ . œ œœ œœ J œ œ œ J
bow be - fore Him. Our God is the Lamb, the Lamb that was slain.
 187

LION AND THE LAMB (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 5 of 9

#
#
C maj7 F9 F m7(b5) B 7(b9) E m7
52

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

# œ
V ∑ ∑ ‰ J œ œœÓ
Ev - 'ry,

# œœ œœ œ
& œœ ‰ œ œ œœœ ... œœœ œœœ œœ œœ œœ ‰ œœœ œœ ...
œ œ œ œ œœ œœ Œ œœ .. œœ œœ .. œ
œ œœ œœ œ œ œ J œ œ œ œ . œ œ . œœ
For the sins of the world, His blood breaks the chains. Ev - 'ry knee will

b
Inst.

#
D m9 G 7(#5)/D C maj7 A m7/D A m7
55

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ |
P
# œœ .. œœ œœ .. œ œ
& œœ .. œ œ . œœ œœ .. œœ œœ .. œ œœ Œ œ . œ œ . œœ œœ
œœ œ œ .. œœ œ œ ~~~~~ w
œ . œœ œœ .. œ œ . œ œ . œœ œ œ œ œœ œœ . œ œœ œœ ~~~~~~ ww
~~~~
bow be - fore the Li - on and the Lamb. ev - 'ry knee will bow be - fore Him.

œ œ œ œ œ
D9 A m7 D9

# œ œ œ œ
œ œ œ
59

& | œ œ œ œ
œ œ œ œ
keys lick œ œ œ œ

Bridge

#
A m7 D9 A m7
62

& | | |
P
# œ. œ.
Ó œ œ œ œ œ œ. œ œ œ. Ó œ œ œ
SOLO

V œ œ œ
Who can stop the Lord Al - migh - ty? Who can stop the
 188

LION AND THE LAMB (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 6 of 9

b
#
D maj9 B maj7 A m7 D9
65

& | | | |

# œ.
V œ œ œ œ. œ œ œ. Ó œ œ œ œ œ œ œ œ. œ œ œ.
Lord Al - migh - ty? Who can stop the Lord Al - migh - ty?

#
∑ Ó
BGVs

&
œ. œ œ œ œ œ œ œ œ. œ œ œ.
Who can stop the Lord Al - migh - ty?

b
Bridge

#
A m7 F maj7 D maj9 B maj7 A m7
68

≈ ≈
& | | | |
œ œ œ œ œ œ œ œ œ œ
œ œ
F
#
keys lick

V Ó œ. œ œ œ œ œ œ œ œ. œ œ œ. ∑
Who can stop the Lord Al - migh - ty?

#
& Œ Œ œœ .. œœ œœ œœ
œ. œ œ œ œ œ œ. œ œ œ. œ. œ œ œ œœ
œ œ œ œ œ
Who can stop the Lord Al - migh - ty? Who can stop the

#
#
A m/G F m7(b5) F maj7 A m(add4)/EE 7(#5#9)
71

& ‰ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
œ œ
keys lick continues

#
V Ó ‰ œ œ œ œ ∑ ∑
Come on, yeah.

#
& œœ œ œ .. Œ œœ .. œœ œœ œœ œœ œ œ ..
œœ
œ œ œœ œœ . œœ œœ œœœ ... œœ
œ œ. œ œ œ œœ
œ
œœ
œ œ œœ œœ . œœ œœ œœœ ...
œ œ œœ
Lord Al - migh - ty? Who can stop the Lord Al - migh - ty?
 189

LION AND THE LAMB (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 7 of 9

#
#
A m7 D9 A m7 /B /C /C
74

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
f
# œ œ œœœ
V Ó œ œ œ œ Œ Ó ∑
Who can stop the Lord?

# œœ .. œœ .. œœ œœ œœ œœ
& Œ œœ œœ œœ œœ œœ œœ œ œ .. œ œ œ .. œœ Œ œ. œ œ œ
œœ œ. œ œ œ œ œ œ œœ œœ . œœ œœ œœ . œ œ
œ
Who can stop the Lord Al - migh - ty? Who can stop the

#
Band Jam!

# œ œ ≈ œ ≈ œ œ œ œ œ œ
D9 G 13 G 13 Am D7 C 7(#5#9) B 7(#5#9)

œ œ œœ‰ ‰. Û ≈ Û.
77

& Û Û Û Û Û̆ Û̆ œ Û
R J
ƒ
# j œ œœ ~~~~~ ˙ œœ œœ œœ œœ œ œœ œ j
& œœœ ‰ œœ œœœ œœœ ~~~~~~~~~ ˙˙
œ ~~ œ œ œ œ œœ œ œœ œœ œœœ œœ ‰
œ œ
Ó
Lord Al - migh - ty?

b #
# œ œ ≈ œ ≈ œ œ œ œ œ œ œ œ ‰ ‰. Û ≈ Û. Û œœ≈œ≈œ œ œœœ œ
Am D7 E m9 F 9 A m7 A m7 G m9 F m7(b5b9)

œ œ
80

& œ œ œ œ
R J

# œ œ œ œœ
∑ Ó Œ Œ Ó
&
œ œ œ œœ œ
œ
Who can stop the Lord?

b b b b b
# œ > > œ œ ≈ œ ≈ œ œ œ œ œ œ > >
F m7 E 7(#5) E 7 D7 A m7 E /F B maj7 E 13(#11) D 13 E 13 E m9 F 9

œ
& œ ‰ ‰. Û ≈ Û. Û œ œ ‰. Û ≈ Û.
83

œ œ ‰ Û
R J R J
# œ œ œ
V ∑ ∑ Ó ‰. R
Say, "Our
 190

LION AND THE LAMB (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 8 of 9

Chorus

# >
G
86

& Û ∆
Œ Ó ∑ ∑
drums only

# ϛ
V Œ Ó ∑ ∑
God!"

# j œ.
& Œ ‰ œœœ œœœ ... œœ œœ œ œ œ œ ‰ œœ œœ ... œœ œœ œ œ œ œ ‰
œ œ œœ œœ œœ œ œœ œ œ œ œ œœ œœ œœ œ œœ œœ œœ ..
œœ œœ œ œ
œ œ œœ œœ
J œ œ J œ œ œ
Our God is the Li - on, the Li - on of Ju - dah He's roar - ing with pow-

#
C maj7 B m7 A m7 A m7/D
89

& ∑ ’ ’ ’ ’ ’ ’ ’ ’
f band back in

# œ nœ
V ∑ ∑ Ó ‰ J œ. œ
Our God!

# œœ œœ .. œœ œœ œ œœ .. œœ œœ ..
& œœ œœ œ ‰ œ œ . œ œ œœ œœ œœ œ œ Œ œœ œœ œœ œ œ œœ œœ œœ
œ œ œœ J œ œ œœ œœ œ. œ œ. œ œ œ œœ œœ œ œœ
- er, and fight - ing our bat - tles. Ev - 'ry knee will bow be - fore Him.

#
G G/F C maj7/E
92

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

# œ
V Œ Ó ∑ ∑

# œœ ... œœ œœ œ œ œœ ... œœ œœ œ œ
& œœ ‰ œœœ œ œ œ œœ œœ œœ ‰ œœœ œ œ œ œœ œœ œœ ‰ œ œ œœœ ... œœœ œœœ œœ œœ
œ J œ J œ œœ œœ œ œ
Our God is the Lamb, the Lamb that was slain. For the sins of the world,
 191

LION AND THE LAMB (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 9 of 9

b # #
# > > > >
C m/E G/D A/C C G/B A m G F m7(b5) B 7(b9)
95

& ’ ’ ’ ’ ’ ’ Û Û Û Û ’ ’ ’ ’

# œ œ œœ
V ∑ ∑ Ó ‰ J œ
3
The Li -

# œœ ...
& œœ ‰ œœœ œ œœ œœ œœœ # œœ œœ Œ nœ œ œ œ œœ .. œœ œœ .. œœ œœ .. œœ œœ .. œœ
œ J œ œ œ œ œ œ œ œ œ. œ œ. œ œ. œ œ. œ
His blood breaks the chains. Ev - 'ry knee will bow be - fore the Li - on and the

Outro

#
E m9 A m7 A m7/D A m7 G F maj9 E m7 D m9

œ.
98

& ’ ’ ’ ’ ’ ’ ’ Û̆ ‰ œ œ œ œ œ
J œ. >

# œ
V œ. Œ Ó Ó Œ ∑
œ
on, Hey!

# œœ ..
& œœ Œ œœ œœ .. œœ œœ œœ œ œ .. œœ œ œ ∑
œ œ. œ œ. œ œ œ œœ œœ . œ œœ œœ
œ
Lamb. ev - 'ry knee will bow be - fore Him.

# >œ Uw >. >

A m7 G/B C G/D F 13 G7

œ.
101

w œ œ œ œ Û Û Û Ó
& œ. æ ∆
bass gtr. ad lib.

# œ œ
V Ó ‰ J œ ∑ ∑ ∑
Our God!
 192

KING OF KINGS
Music and Lyrics by
HILLSONG WORSHIP VERSION Brooke Ligertwood, Jason Ingram,
& Scott Ligertwood

Intro q = 68

# 4
D

& # 4 ‰ œ œ œ œ œ œ œ œ
‰
œ œ œ œ œ œ œ
P œ œ œ

Verse
#
##
4 D/F G A D

& œ œ ˙ | | | |

#
& # Ó Œ
œ œ œ œ œ. œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ
≈
œ œ œ
1. In the dark - ness, we were wait - ing with - out hope, with - out light. 'Till from heav -

# #
##
7 D/F G A D D/F G

& | | | | | |

#
& # œ œ œ œ œ œ œœ‰ œ œ œ œœœ œ œ œ œ
≈
œ œ œ œ œ œ œ œ œ œ œ. œ œ œ
- en you came run - ing, there was mer - cy in your eyes. To ful - fill the law and pro - phets to a vir -

#
## 2 4
10 A D D/F G A

& | | | | 4 | 4

# 2 4
& # œ œ œ œ œ œ œ ≈
œ œœ œ œ œ œ œ œ œ œ. œ œ œ 4 œ œ œ œ œ œ 4
- gin came the Word. From a throne of end - less glo - ry, to a cra - dle in the dirt.
 193

KING OF KINGS (HILLSONG WORSHIP VERSION) - Lead/Rhythm - Page 2 of 5

Chorus

# 4
D D G2

& # 4 ‰ œj œ
13

œ œ œ œ œ ˙ | |
œ œ P
# 4
& # 4 ˙ Ó ∑ œ œ œ œ
œ œ œ Œ
Praise the Fa - ther, praise the Son,

##
17 B m7 A sus A D G2

& | | | | |

# œ
& # œ œ œ œ œ œ œ
Œ œ œ œ œ
œ œ Œ
praise the Spir - it, three in one. God of Glo - ry, Maj - es - ty.

## 2 4 ‰ j
21 B m7 G2 A D

& | | 4 | 4 œ œ œ œ œ œ œ œ
œ œ œ
# 2
& # œ 4 œ ‰ j 4 Œ Ó Œ ≈
œ œ œ œ œ œ 4 ˙. œ œ œ
Praise for - ev - er to the King of Kings. 2. To re - veal

Verse
# #
##
25 D/F G A D D/F G

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
F
#
& # œ œ œ œ œ œ œœ‰ œ œ œ œ œ œ œ œ œ œ ≈œ œ œ œ œ œ œ œ œ œ œ. œ œ œ
the king - dom com - ing and to rec - on - cile the lost, to re - deem the whole cre - a - tion, you did not

#
##
28 A D D/F G A D

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

#
& # œ œ œ œ œ œ ≈ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œœ œ œœ œ œ
≈
œ œ œ
œ
de - spise the cross For ev - en in your suf - f'ring, you saw to the oth - er side. Know - ing this
 194

KING OF KINGS (HILLSONG WORSHIP VERSION) - Lead/Rhythm - Page 3 of 5

#
## 2 4 ‰ j
31 D/F G A D

& ’ ’ ’ ’ 4 ’ ’ 4 œœ œœœ œ œ œ
œ œ œ
# 2 4
& # œœ œ œ œ œ œœ‰ œ œ œ 4 œœ œ œ 4 ˙. Œ ∑
œ œ
was our sal - va - tion, Je - sus for our sake You died.

Chorus

##
35 D G2 B m7 A sus A

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
f
#
& # œœœ œœ œœ œœ
œœ
œ œœ œœ Œ œœ
œ œœ œœ œœ œœ œœ œœ
Œ
œ œ œ œ œ œ œ œ œ œ œ
Praise the Fa - ther, praise the Son, praise the Spir - it, three in one.

## 2 4
39 D G2 B m7 G2 A

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ 4 ’ ’ 4

# 2
& # œœœ œ œ Œ 4 œ ‰ j 4
œœ
œ
œœ
œ œœ œœ œœ œœ œœ
œ
œœ
œ
œœ
œ
œœ œœ œœ
œ œœ œœ 4
œ œ œ œ œ
God of Glo - ry, Maj - es - ty. Praise for - ev - er to the King of

Verse

# 4
D Bm G

& # 4 ‰ œj œ
43

œ œ œ œ œ œ | |
œ œ œ
p
# 4 j
& # 4 ˙. Œ Ó Œ ≈
œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ
˙˙ ..
Kings. 3. And the morn - ing that You rose, all of heav -

##
46 A D Bm G A D

& | | | | | |

# j j‰
& # œœ œ œ œ œ œ ‰≈ œ œ œ œœ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ
j‰≈
œ œ œ
- en held it's breath 'Till that stone was moved for good, for the Lamb had con - quered death. And the dead
 195

KING OF KINGS (HILLSONG WORSHIP VERSION) - Lead/Rhythm - Page 4 of 5

##
49 Bm G A D Bm G

& Û Û Û Û Û Û Û Û ÛÛ Û Û Û ÛÛ Û ÛÛÛ Û Û Û Û Û ÛÛÛÛÛÛÛ Û

F
## j j j
& œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œœ œ œ ‰ œ œ œ œ œœ œ œ œ œ ‰ œ œ œ
rose from their tombs, and the an - gels stood in awe, for the souls of all who'd come to the Fa -

#
##
A D Verse D/F G

& Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û ’ ’ ’ ’
52

f
# œœ œœ œœ j
& # œ œ œ œ œ œ œ
≈ œ
œœ œœ œœ
œ
œœ œ
œ œœ œ œ œ œœ œœ ‰ œœ
œ œœ œœ
œ œ
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- ther are re - stored. 4. And the church of Christ was born, then the Spir -

#
##
54 A D D/F G

& ’ ’ ’ ’ ’ ’ ’ ’

# j
& # œœ œœ œœ œœ œœœ œœ œœ
œ œ
‰ œœ œœ œœ
œ
œœ œ
œ œœ œœ œœ œœœ œœ œœ
œ œ
≈ œœ œœ œœ
œ œ œ œœ
œ œ œ œ œ œ œ œ œ
- it lit the flame. Now this gos - pel truth of old shall not kneel,

#
##
56 A D D/F G

& ’ ’ ’ ’ ’ ’ ’ ’

# j j
& # œœ ≈ œ œ œœ œœ ‰ œœ œœ œœ œœ œœ œœ œœ œœœ œœ œœ ‰ œœ œœœ œœ
œ
œ œœ œœ œœœ œ œ œ œ œ œ œ œ œ
œ œ œ
shall not faint. By His blood and in His Name in His free -

#
## 2 4
58 A D D/F G A

& ’ ’ ’ ’ ’ ’ ’ ’ 4 ’ ’ 4

# œ j
j
& # œœ œœœ œœœ œœœ œœœ œœ œœ ‰ œœ œœ œœœ œœœ œœ œ œ œ œœœ œœœ œœœ ‰ œœ œœ œœ 42 œœ œ œ œ œ œ 4
4
œ œ œ œ œ œœ œœ œœ œ œ œ œ œœ œœ œœ œœ œœ
- dom I am free, for the love of Je - sus Christ who has res - ur - rect - ed me.
 196

KING OF KINGS (HILLSONG WORSHIP VERSION) - Lead/Rhythm - Page 5 of 5

Chorus

# 4
D D G2

& # 4 ‰ œj œ
61

œ œ œ œ œ œ ’ ’ ’ ’ ’ ’ ’ ’
œ œ œ
ƒ
# 4
& # 4 ww ∑ œœ
œ œœ œœ œœ
œœ
œ œœ œœ Œ
w œ œ œ œ œ
Praise the Fa - ther, praise the Son,

##
65 B m7 A sus A D G2

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

# œ
& # œœœ œœ œœ œœ œœ œœ œœ
Œ œœ
œ œœ œœ œœ
œ
œœ œœ œœ Œ
œ œ œ œ œ œ œ œ œ œ
praise the Spir - it, three in one. God of Glo - ry, Maj - es - ty.

Tag
#
## 2 4
69 B m7 G2 A D D/F G A

& ’ ’ ’ ’ ’ ’ ’ ’ | | 4 | 4
P
## 2
‰ j Œ 4 œ ‰ j 4
& œœ
œ
œœ
œ
œœ œ œ œœ
œ œœ œœ œ
œœ
œ œœ œœ œ œ œ œ œ œ œ 4
œ œ
Praise for - ev - er to the King of Kings. Praise for - ev - er to the King of

# 4
D rit.
U
& # 4 ‰
73

j œ œ œ
œ œ œ œ œ
p œ œ œ w
# 4
& # 4 ˙ Ó ∑ ∑
Kings.
 197

KING OF KINGS
Music and Lyrics by
GOSPEL FUSION VERSION Brooke Ligertwood, Jason Ingram,
& Scott Ligertwood
Arr. Tyler B. Williams

Piano Solo Freely

b b b b b b b b b
˙˙ .. œœ œ œ œ œ œ
D B m A D D sus/E D /F G D /F
b b 4 œ œœ .. œ œœ œœ œœ œœ œ œ œœ œœ
& b b b 4 œœ œ. œ œœ ˙˙ .. œ
p
˙ ˙ œ ˙ œ œ
? b b 4 œ œ œ
b b b 4 œ
œ
œ

b b b b b b b b
b œœ ... œ œ
b œœœ
D dim7 F dim7 E m C B 7 E m C B 7 E m D /F

b n œœ .. œœœ
4

& b b b n œ ˙˙ .. œœ
J b œœœ n œœ œœ œœ œ œ b œœ n œœœ ˙˙ .. œ œ
œ œ œ œ œœ œ
nœ . œ œ P
‰ j .
? b b J œ nœ œ b œœ
b b b bœ œ œ œ bœ œ œ œ
œ. bœ œ ˙.

b b b b b b b
j
G maj7 G 6 D /F G m7(b5) A A /G

b b œ. œ œ
& b b b œœœ . n œ œ nœ œ œ œ œ œ œ
7

œ œ
œ œ œ bœ œœ . œ œœœ œ œ
œ n œœ
œ œ
? b b g œœ n œ œ b œœ œ œ œ œ œ
b b b gg ˙ œ nœ œ˙ œ˙

D /Fb b
D (#5)/F b
G (#4) G b B 7 b E b b
D /F E /G b
b b œ œœ œ œ œœ ˙˙ œ. œ œœ œœ
n œœœ ...
9

& b b b œœ œ œ œ n œœœ œ ˙
œœ
œ
œ œ
n œœœ œ œ œœ œ
F
œœ n œœ œ. œ œ.
? b b
b b b œ˙ œ
œ œ œ œ œ œ œ
nœ œœ œœ
œ œ nœ œ nœ œ˙ œÓ nœ
 198

KING OF KINGS (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 2 of 15

b b b b b
∫ œ b œ œ œ n œ œœ
D /A

œ œ œ œ œ œ b œ œ œ n œ œœ œœ .. œ œ œ n œ œ
C 7 E m7/D C m7(b5) F 13(b9)
12
b b œ œœ œœ œ œ bœ œ œ œ œ
& b b b ∫ œœœ œ œ œ œ œ œœœ
œœ
œœœ
œœ
œœœ.. œ
œœ ..
œœ # œ .
n n œœ .. n œœ
> . ‰ p nœ
f ˙˙
3

œœœœ ˙˙
3

b œœœ
3

? b b ∫ œœ j œœ
b b b b œœ œ ∫œ ˙. œ ‰ œ œ
bœ œ
∫œ ˙. œ
b >œ
b b b b b b b b b b
b b œ b œœ
j
B m7 E 13 A m11 D 7 G maj7 C 7 D /A A m7 D 7
œœ
15
3

& b b b œœ
3
œ
œœ œ œœ . œœ œ œ œ œ œ œ œœ
œ n œœ b b œœ .. œ œœ ˙˙˙
œ bœ œ œ œ ∫ œœ
œ œœ œ œ œ.
P
? b b œ œ œ œ ˙ ˙˙ œœ b œœœœ
b b b œ œ œ ˙ b˙ ˙ œ
œ œ

b b b b b b
b b œœ˙
G (#4) G D dim7 F dim7 E m7(b5) /A D /A A 7sus

& b b b œœœ
18

œœ œœ œœ œœ œœ œ
œ n n œœ- œœ œ œ œœ œœ
œ-œ ∫ œ- œ- œ œ œœ œ œœ .. œ œ œ p
? b b œ œ œ œ- œ- œœ- œ- œ œ ˙.
b b b œ œ nœ ∫œ w w

Intro q = 68
b b b b b b
b b
21 D G m/D D G m/D

&b b b ‰ œ œ œ œ œ œ œ œ ∫œ
‰
œ œ œ œ œ œ œ œ œ œ ∫œ
P œ œ
b b
&b b b ∑ ∑ ∑ Ó Œ
SOLO

œ œ œ
1. In the dark -

Verse
b b b b
b b
25 D /F G A D

&b b b | | | |

b b j ‰
&b b b œ œ ‰ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ ≈
œ œ œ
- ness, we were wait - ing with - out hope, with - out light. 'Till from heav -
 199

KING OF KINGS (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 3 of 15

b b b b
b b
27 D /F G A D

&b b b | | | |

b b
&b b b œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ
≈
œ œ œ
- en you came run - ing, there was mer - cy in your eyes. To ful - fill

b b b b
b b
29 D /F G A D

&b b b | | | |

b b
&b b b œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ
≈ œ ≈ œ œ ‰
œ
≈
œ œ œ
the law and pro - phets to a vir - gin came the Word. From a throne

b b b
b b 2 4
31 D /F G A

&b b b | | 4 | 4

b b 2 4
&b b b œ œ œ œ œ œ œ œ œ ‰ œ œ œ 4 œ œ œ œ œ œ 4
of end - less glo - ry, to a cra - dle in the dirt.

Chorus

Db G b m/D b b b
b b 4
33 D G 2

& b b b 4 ‰ œj œ œ œ œ œ œ œ ∫œ | |
œ œ
b b 4
&b b b 4 ˙ Ó ∑ œ. œ œ. œ œ. œ j ‰
œ
œ. œ œ œ Œ
Praise the Fa - ther, praise the Son,

b b b b b b
b b
37 B m7 G maj7 A A /G D /F

&b b b | | Û Û |

b b
& b b b œ. œ œ œ œ œ œj ‰ œ œ. œœ œ Œ œ. œ œ œ. œœœ
j ‰
praise the Spir - it, three in one. God of Glo - ry,
 200

KING OF KINGS (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 4 of 15

b b b b b
b b 2 4 ‰ j
40 G 2 B m7 G 2 A D

&b b b | | | 4 | 4 œ œ œ œ œ
œ œ
b b œ 2 j 4
&b b b œ œ Œ œ œ œ œ œ œ œ 4 œ ‰
œ 4 ˙.
Œ
Maj - es - ty. Praise for - ev - er to the King of kings.

b b b b b b b b b b
b b
44 G m/D D G m/D D /C E m7(b5)/A E dim/G

&b b b œ œ œ
‰ j
œ œ œ œ œ œ œ œ œ œ
∫œ ∫œ
b b r
&b b b Œ ‰. Ó ‰ œ Œ
3 3
œ œ œ œ œ ˙ œ œ œ œ œ
For - ev - er, Lord. Oh.

b b
BGVs

&b b b ∑ ∑ Ó Œ ≈
œ œ œ
2. To re - veal

Verse
b b b b
b b > >
D /F G maj7 A /C D

Û. Û.
47

&b b b Û Û Ó Û Û Ó

b b
&b b b ∑ Ó ‰ œ œ œ
To re - deem,

b b
&b b b œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ ≈
œ œ œ
the king - dom com - ing and to rec - on - cile the lost, to re - deem
 201

KING OF KINGS (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 5 of 15

b b b b b b
b b > > . > >
D /F G maj7 A /C D D E m7

Û. Û. Û ≈ Û.
49

&b b b Û Û Ó Û Û ‰
R J
b b
&b b b ∑ Ó ≈ œ œ œ œ œ.
for ev - en,

b b
&b b b œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ
≈
œ œ œ
the whole cre - a - tion, you did not de - spise the cross For ev -

b b b b
b b >? . œ ≈ œ œ >
D /F G maj7 A /C D

Û. Û.
51

&b b b Û Û ‰ R œ & Û Û Ó
bass gtr.

b b
&b b b ∑ ‰ œ œ œ œ œ œœœ œ œ
œ
the oth - er side.

b b
&b b b œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ
≈
œ œ œ
- en in your suf - f'ring, you saw to the oth - er side. Know - ing this

b b b b b
b b > 2 4 ‰ j
D /F G maj7 E m7(b5)/A /A D

Û.
53

&b b b Û Û Ó 4 Û Û 4 œ œ œ œ œ œ œ

b b 2 4
&b b b Ó Œ œ œ œ 4 œ œ œ œ œ œ 4 œœœ . ˙ Œ
Je - sus for our sake You died.

b b 2 4
&b b b œ œ œ œ œ œ œ œ ‰ œ œ œ 4 œ œ œ œ œ œ 4 ˙. Œ
was our sal - va - tion, Je - sus for our sake You died.
 202

KING OF KINGS (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 6 of 15

Chorus
b b b b b b
b b
56 G m/D E dim/A D G 2

&b b b œ œ œ ’ ’ ’ ’ ’ ’ ’ ’
∫œ f
b b
& b b b œ . œ œ œœœ œ œ œ œ œ ‰ œ. œ œ. œ œ. œ
œ œ
j ‰ œ œ ‰ œ œ œ œ
Oh, Praise the Fa - ther, praise the, praise the Spir - it,

b b
&b b b ∑ œœ
œ œœ œœ .. œœ œœ
œœ
œ œœ œœ Œ
œ œ. œ œ œ œ
Praise the Fa - ther, praise the Son,

b b b b b b
b b
59 B m7 G maj7 A A /G D /F

&b b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b b œ œœœ œ
&b b b ˙ Ó œ Œ œ. œ œ œ. œ œ
j ‰
three in one. God of Glo - ry,

b b
& b b b œœœ œœ œœ .. œœ œœ œœ œœ .. œœ œœ
Œ œœ
œ œœ œœ .. œœ œœ
œ œ. œ œ œ œ. œ œ œ œ. œ œ
praise the Spir - it, three in one. God of Glo - ry,

G 2 b b
B m7 b
G 2 A b
b b 2 4
62

&b b b ’ ’ ’ ’ ’ ’ ’ ’ 4 ’ ’ 4

b b œ j 2 4
&b b b œ œ ‰ œ œ Œ œ œ œ œ œ. 4 ‰ œ œ œ œ œ œ 4
Maj - es - ty. Oh praise, praise for - ev - er, to You a - lone.

b b œ 2 4
&b b b œ œ œ Œ œœ œœ œœ œœ œœ œœ 4 œ ‰
œœ
j 4
œ œ œ œ œ œ œ œœ
œ œ
Maj - es - ty. Praise for - ev - er to the King of
 203

KING OF KINGS (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 7 of 15

D b b
G m/D b b
G dim

b b 4
65

&b b b 4 ‰ j
œ œ œ œ œ œ œ œ
œ œ ∫œ
b b 4
& b b b 4 œ œ œ. ˙
Œ Œ ≈ œ œ œ œ œ œ. œ œ œ
Oh, the King of kings,

b b 4
&b b b 4 w ∑
ww
kings.

b b b b b
b b œ œ œ œ œ > >
D /F E m7(b5) D /F G m6 /A /A
œ œ œ œ
67

&b b b ‰ J Û Û Û̆ Œ

b b r
SOLO

& b b b œ. œœ œ Œ ‰. œ œ œ œ Œ ≈
œ œ œ œ
we praise You. 3. And the morn -

Down Verse
b b b b
b b
69 B m11 G 2 A /C D

&b b b | | | |
p keys only

b b j j
&b b b œ œ œ œ
œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ ‰ ≈
œ œ œ
- ing that You rose, all of heav - en held it's breath 'Till that stone

b b b b
b b
71 B m11 G 2 A /C D

&b b b | | | |

b b j
&b b b œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ
j ‰ ≈
œ œ œ
was moved for good, for the Lamb had con - quered death. And the dead
 204

KING OF KINGS (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 8 of 15

Build
b b6 b b
b b > > > >
73 B m9 C 9 A sus/C D

&b b b Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û

F
b b j
&b b b œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ
œ œ œ œ ‰ œ œ œ
rose from their tombs, and the an - gels stood in awe, for the souls

b b j j
& b b b œœ .. ‰ ‰
BGVs

œœ œœ .. œœ ... œœ œœ ..
œ. œ œ. œ œ œ.
Ooh, Ooh,

b b6 b b b b E bm/G b D b/F
b b > > > > >
75 B m9 C 9 A sus/C D D /A

&b b b Û Û Û Û Û Û Û Û Û Û Û Û Û Û ≈ Û Û Û

b b j
&b b b œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ
≈
œ œ œ
of all who'd come to the Fa - ther are re - stored. 4. And the church

b b j j
& b b b œœ .. œœ œœ .. ‰ œœ .. œœœ œœ
œ
≈ œ
œœ œœ œœ
œ
œ. œ œ. œ. œ
j
Ah, Ah, 4. And the church

b b j j œœ œœ œœ
&b b b ‰ j œ œ
j
œœ . œ
œœ œœ
œ œ œ œ Œ
œ œ œ
J J
Ah,

Church
b b b b b b b b b
Verse!

b b > > >

D /F G maj7 A /C D D /A E m/G D /F

Û. Û.
77

&b b b Œ Û Ó Û Û Œ ≈ Û Û Û

b b
&b b b œ œ œ œ œ œ œ
j ‰ œ œ œ œ œ œ œ œ œ œ œ ‰ ≈
œ œ œ
of Christ was born, then the Spir - it lit the flame. Now this gos -

b b œ œ œ j
& b b b œœœ œœ œœ œœ œœ œœ œœ ‰ œœœ œœ œœ
œ œ
œœ œœ œœ œœ œœœ œœ œœ
œ œ
≈ œ
œœ œœ œœ
œ
œ œ œ œ œ œ œ œ
of Christ was born, then the Spir - it lit the flame. Now this gos -
 205

KING OF KINGS (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 9 of 15

b b b b b b b b b b b
>
G maj7 A /C D D E m7 E dim7 D /F D /A E m/G D /F

b b Û . Û ? ‰ . œR ≈ œ œ œ Û.
79

&b b b Œ Û Û ≈
œœ œœ n n œœ œœ œ b œœ
œ &
>œ
b b j
& b b b œ œ œ œ œ œ œ ≈œ œ œœœ œ
≈œ œ œ œ œ ‰ ≈
œ œ œ
- pel truth of old shall not kneel, shall not faint. By His blood

b b
& b b b œœœ œœ œœ œœ œœœ œœœ œœœ ≈ œœœ œœœ œœœ œœ œœ ≈ œ œ œ œ œ œ ≈ œœ œœ œœ
œ œ œ œ œ œœ œœ œœ œœ œœ œœ œ œ œ
- pel truth of old shall not kneel, shall not faint. By His blood

b b b b b
>
F m7(b5) G maj7 E m D A /C D

b b Û. Û.
81

&b b b Œ Û ‰ Û̆ Û Û Û Û Û Û Û
J
b b j
&b b b œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ
j ‰ ≈
œ œ œ
j
and in His Name in His free - dom I am free, for the love

b b j
& b b b œœœ œœ œœ œœ œœœ œœ œœ ‰ œœ œœœ œœ œœ œœ œœ œœ œœ
œ œ œ œ
œœ œœ ‰
œ œ ≈
œ œ œ œ œ œ œ œ œ œ œ
and in His Name in His free - dom I am free, for the love

b b b b b b
b b 2 4
83 D /C G 2/B E m7(b5)/A /A

&b b b Û Û Û Û Û Û Û Û 4 Û Û Û Û 4

b b j 2 4
&b b b œ œ œ œ œ œ œ œ ‰ œ œ œ 4 œ œ œ œ œ œ 4
of Je - sus Christ who has res - ur - rect - ed me.

b b j 2 4
&b b b œ œ œ œ œ œ œ œ ‰ œ œ œ 4 œ œ œ œ œ œ œ 4
of Je - sus Christ who has res - ur - rect - ed me.
 206

KING OF KINGS (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 10 of 15

b b b b b b
b b 4 >
D G m/D G m /A /A C 9

&b b b 4 ‰ j œ œ ∫œ œ bœ .
85

œ œ œ œ œ œ œ
œ œ
b b 4 œ œ œ œ œ
& b b b 4 œj ‰ ˙. œ ∫œ œ œ bœ J ‰
Oh, res - ur - rect - ed me!

b b 4 .
&b b b 4 œ ≈ œ. ∫ œœ œœ œœ œœ b œœ ∫ œœ œœœ .. ‰
œ œ œ œ œœ œœ œœ œ .
For the love of Christ has res - ur - rect - ed me!

b b 4 w œ œ œ œ œ œ œ.
Vb b b 4 ‰
(me.) Res - ur - rect - ed me!

Chorus
b b b
b b
87 D G maj7 B m7

&b b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
ƒ
b b j j
&b b b ∑ Ó ‰ œ œ. œ Ó ‰ œ œ œ œ
Oh, praise the Spir - it,

b b œ œœ œœ
& b b b œœ œœ
œ œœ ..
œ. œœ œœ œ œœ
œ
œœ
œ
Œ œ œœ
œ œœ ..
œ. œœ œœ
œ œ œ œ
Praise the Fa - ther, praise the Son, praise the Spir - it,

b b b b b b b b b b b
b b
90 G m7(b5) G m6 /E /F /G D /A G 2 G /B D /A G

&b b b ’ ’ œ œ œ œ ’ ’ ’ ’ ’ ’ œ œ œ œ

b b
& b b b œ. œ œ œ œ œ ∫œ Œ ∑ ∑
three in one.

b b œœ .. œœ œ œ
& b b b œœœ œ.
∫ œœ œœ
œ œ
Œ œ œœ
œ œœ .. œ œ
œ . œœ œœ œ œ Œ
œ œ
three in one. God of Glo - ry, Maj - es - ty.
 207

KING OF KINGS (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 11 of 15

b b b b b b b
b b
93 D /F G 2 A A dim7 B m7 D 13 G maj9 D /F

&b b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b b ‰ œj œ œ œ œ ‰
&b b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Praise for - ev - er to the King of kings. Praise for - ev - er to the

b b ‰ œj œ
& b b b œœœ œœ
œ
œœ œœ
œ œ œœ œœœ œœ
œœ œœ
Œ œœ
œ
œœ
œ
œœ œœ
œ œ œœ œœœ
œ œ œ
Praise for - ev - er to the King of kings. Praise for - ev - er to the

Dropout!

B b m11 b b b b
b b 2 4
96 C m7(b5) F 7(#5b9) F 2/A A m7(13) G maj7 E m7(b5)/A

&b b b ’ ’ Û Û Û Û Û Û | 4 | 4
p
b b 2 4
subito
j
&b b b œ Œ Ó œ œ. œ œ œ œ œ œ 4 œ ‰ œ 4

j
King, Praise for - ev - er to the King of

b b 2 4
& b b b œœœ ‰ ∫ œœ œ ..
œ œœ .
‰ ∑ 4 ∑ 4
King of kings.

b b b b
b b 4
99 D G m/D G m6

&b b b 4 ‰ œ œ œ œ œ œ œ œ
œ œ ∫œ
P
b b 4
&b b b 4 œ œ œ ˙.
Œ œ œ œ œ œ œ œ œ
kings. Oh,

b b 4
&b b b 4 Œ ˙˙ œœ
˙ œ ∫ www
King of kings,
 208

KING OF KINGS (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 12 of 15

b b b b
b b
101 D /F G m6 C 9 E m7(b5)/A

&b b b ‰ œ œ œ œ œ œ œ œ
œ œ ∫œ
b b
&b b b Ó Œ ≈ œ œ ∫œ . œ œ œ œ œ œ œ œ œ
Oh, we praise You, Lord,

b b
&b b b Œ ˙˙ œœ w
˙ œ ∫ ww
Maj - es - ty,

b b b b b b b b
œ bœ ∫œ
D /A G m/D

œ œ œ
B A A G F E D B A

b b œ œ œ œ œ œ œ œ œ œ œ
103

&b b b ‰
?
bœ ∫œ &
F bass gtr.

b b œ ˙
&b b b ∑ Œ ∫œ
Ho - ly Ghost!

b b
&b b b Œ ˙˙
˙
œœ
œ
∫ ww
w
Fath - er, Son,

rit.
b b b b b b b b b b b b
œ > > > >
D /A D /C A dim7 D /A G m6 D /F E m7(b5) D /F G m6 E m7(b5)

b b œ œ œ œ œ œ
105

&b b b œ œ Û Û Û Û

b b œ œ
&b b b ∑ Ó Œ

œ- œ- ˙-
You are!

b b j œœ
&b b b ‰ œœ œœ œœ
œ
œœ
œ
œœ
œ ∫ œœ œ
œœ ∫ ˙˙
œ œ
Ho - ly Spir - it Three in One!
 209

KING OF KINGS (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 13 of 15

Total Praise q = 63
b b b b b b b
b b
107 D /A E m9 F 7(#5#9) B m7 E 9 A m9 D 9

&b b b ’ ’ ’ ’ ’ ’ ’ Û ’ ’ ’ ’
f
b b œœ œœ œœ œ œ œœ œ œ œœ Ó œœ œœ œœ œ œ
&b b b Œ œ œ œ ‰ œœ œœ œ œœ œœ œ Œ œ œ œ ‰ œœ œœ
J J
You are the source of my strength, You are the strength

b b b b b b b b b b
b b
110 G maj9 C 7 D /A A m7 D A /G G D dim7 E m7(b5)

&b b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b b œœ œœ œœ ∫ œœ œœ b œœœ œœ œœ
&b b b œ œ œ œ Ó Œ œ œ œœ œ œ
œ œ b œœ ∫ œœ
of my life, I lift my hands in to - tal

b b b b b b b b b b
b b
113 D /A A 7sus A 7 D E m7(b5) D /F G m6 E m7(b5) D /A

&b b b ’ ’ ’ ’ Û Û Û Û Û Û Û Û ’ ’ ’ ’
f
b b œœ œœ œœœ œœ œœ œœ
& b b b ˙˙ ˙œ ˙˙
Ó Œ œ œ œ ‰ œ œ
œ nœ b˙ œ J
˙
praise to You. You are the source

b b b b b
b b
116 E m9 C m7(b5) F 13(b9) B m7 A 7(#9b13) A m9 G 7(#9b13) G maj9 C 7 E m7(b5)/A

&b b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Û Û

b b œœ œ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ
& b b b œ œœ œ œ Ó Œ œ œ œ ‰ œ œ œ œœ œœ ∫ œœ Ó
J
of my strength, You are the strength of my life,
 210

KING OF KINGS (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 14 of 15

b b b b b b b b b b b b
b b
119 D /A A m7 D A /G G D dim7 E m7(b5) D /A A 7sus A 7

&b b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b b œœ b œœœ œœ œœ
&b b b Œ œ œ œœ œ œ
œ œ b œœ ∫ œœ
˙˙
œ nœ
˙œ
b˙ œ
I lift my hands in to - tal praise to

Amen
b b b b b b b G bm b b b b b b
b b
122 D C 2 D /C G m/A D /A D 7/F G m D C 2 D /C

&b b b ’ ’ ’ ’ ’ Û Û ’ ’ ’ ’ ’ ’

b b
Soprano

& b b b œj ‰ œ ˙ w œ
j ‰
œ œ œ
You. A - men, A -

b b
&b b b j ‰ j ‰ j ‰
Alto

œ œ ∫œ œ œ bœ œ œ œ ˙
œ œ
You. A - men, A - - - men, A - men,

b b j j j
Vb b b œ ‰ œ ‰ œ œ ‰
Tenor

œ œ œ œ œ œ œ œ
œ
You. A - men, A - - - men, A -

b b b b b b b b b b b
b b
125 G m/A D /A G m D 7/F G m D /F D C 2 D /C

&b b b ’ Û Û ’ ’ ’ ’ ’ ’

b b j j
&b b b œ ‰ œ œ œ œ œ ‰ œ œ œ
men, A - - - - men, A - - -

b b
&b b b w œ
j ‰
œ œ œ
A - - -

b b bœ j œ ˙
V b b b ∫ œJ ‰ œ œ œ œ ‰
men, A - - - - men, A - men,
 211

KING OF KINGS (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 15 of 15

b b b b b b b b b b
b b
127 G m/A D /A G m D 7/F G m D C 2 D /C

&b b b ’ Û Û ’ ’ ’ ’ ’ ’

b b bœ j œ ˙
& b b b ∫ œJ ‰ œ œ œ œ ‰
men, A - - - - men, A - men!

b b j j
&b b b œ ‰ œ œ œ œ œ ‰ œ œ œ
men, A - - - - men, A - - -

b b w œ œ œ œ
Vb b b J ‰
A - - -

rit.
b b b b b b b
b b > >
129 G m/A D /A G m D 7/F G m D

&b b b ’ Û Û ’ ’ Ó | | Û Œ

b b ˙.. w ˙
&b b b ‰ Ó
(men!)

b b bœ
& b b b ∫ œJ ‰ œ œ œ
J
‰ w ˙ Ó

œ
men, A - - - men!

b b œ œ œ œ w ˙
Vb b b J ‰ J ‰ Ó
men, A - - - men!
 212

WHO YOU SAY I AM

Music and Lyrics by
HILLSONG WORSHIP VERSION Ben Fielding & Reuben Morgan

Intro
q = 86
b
b b 6
& b b bb 8 | . ’. ’. ’. ’. ’. ’. ’. ’.
G

b b b b
Verse

b b
& b b bb ’ . ’. ’. ’. ’. ’. ’. ’.
6 G E m D G

b b
& b b bb ‰ œ œ œ œ œ œ. œ. j ‰ j Œ.
œ œ œ œ. œ. œ.
1. Who am I that the high - est King would wel - come me.

b b b b
b b
& b b bb ’ . ’. ’. ’. ’. ’. ’. ’.
10 G E m D C

b b
& b b bb ‰ œ œ œ œ œ œ. œ.
‰
œ œ œ œ œ. œ. œ. œ œ
I was lost, but He brought me in. Oh, His love for me. Oh, His

Chorus
b b b b
b b
& b b bb ’ . ’. ’. ’. |. |.
14 E m D C G

P
b b
& b b bb ‰
œ œ œ. œ. œ. ‰
œ œ
œ. œ. œ.
love for me. Who the Son sets free, oh, is

b b b b
b b
& b b bb | . |. Û. Û. |.
18 D E m D C

b b
& b b bb œ . œ. œ. ‰ œ œ œ. œ. œ ‰ œ
J
œ
free in - deed. I'm a child of God, yes I
 213

WHO YOU SAY I AM (HILLSONG WORSHIP VERSION) - Lead/Rhythm - Page 2 of 4

Verse
b b
b b œ œ œ œ œ
œ œ œ œ
& b b bb œ œ ’. ’.
22 G G

œ
F
b b
& b b bb œ œ œ Œ. ∑ ‰
œ œ œ œ œ
œ
am. 2. Free at last, He has

b b b
b b
& b b bb ’ . ’. ’. ’. ’. ’. ’. ’.
25 E m D G

b b
& b b bb œ . œ. j ‰ j Œ. ‰. j
œ. œ œ
œ œ œ. œ. œ. œ
ran - somed me. His grace runs deep. While I was a

b b b b b b
b b
& b b bb ’ . ’. ’. ’. ’. ’. ’. ’.
29 G E m D C E m D

b b
& b b bb œ . œ.
‰ œ œ œ. œ.
œ œ œ œ. œ. œ.
slave to sin, Je - sus died for me. Yes, He died for

Chorus
b b b
b b
& b b bb Û ’. ’. ’. ’. ’. ’.
C G D

Û Û Û Û Û
33

f
b b
& b b bb œ . ‰
œ œ œ. œ. œ. ‰
œ œ œ. œ.
me. Who the Son sets free, oh, is free in -

b b b b
b b œ œ œ
& b b bb ’ . ’. ’. ’. ’. ’. œ œ
37 E m D C G

b b
& b b bb œ . ‰ œ œ œ. œ. œ ‰ œ
J
œ œ œ œ Œ.
deed. I'm a child of God, yes I am.
 214

WHO YOU SAY I AM (HILLSONG WORSHIP VERSION) - Lead/Rhythm - Page 3 of 4

b b
b b œ œ œ œ œ œ
& b b bb ’. ’. ’. ’. ’. ’. ’. ’.
41 G D

b b
& b b bb Œ . ‰
œ œ œ. œ. œ. ‰
œ œ œ. œ. œ. ‰ œ œ
In my Fa - ther's house is a place for me. I'm a

b b b
b b œ œ œ œ œ œ œ œ
& b b bb ’ . ’. ’. ’. œ œ œ œ
46 E m D G

b b
& b b bb œ . œ. œ ‰ œ œ
J
œ œ œ Œ. Œ. ‰ œ œ
child of God, yes I am. I am

b b b b
Bridge

b b
& b b b b .. Û Û Û Û Û Û
50 E m D /F G C

Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û

b b j
& b b b b .. œ œ œ ‰ œ œ œ œ œ ‰ ‰ œ œ œ œ œ œ œ œ. ‰ œ œ
cho - sen, not for - sak - en. I am who You say I am. You are

b b b
1.
b
b b
& b b bb Û Û Û Û Û Û Û Û Û Û Û Û ..
54 E m D /F G

Û Û Û Û Û Û Û Û Û Û Û Û
C

b b j j
& b b bb œ œ œ ‰ œ œ œ œ ‰ ‰ œ œ œ œ œ œ œ œ. ‰ œ œ ..
for me, not a - gainst me. I am who You say I am. I am

b b
2.
b
b b
& b b bb Û Û Û Û Û Û
58 E m D /F

Û Û Û Û Û Û Û Û Û Û Û Û
C

b b j
& b b bb œ . ‰ ‰ œ œ œ œ œ œ œ œ. ‰
œ œ
I am who You say I am. Who the
 215

WHO YOU SAY I AM (HILLSONG WORSHIP VERSION) - Lead/Rhythm - Page 4 of 4

b b b b
Chorus

b b
& b b bb ’ . ’. ’. ’. ’. ’. ’. ’. ’. ’.
61 G D E m D

ƒ
b b
& b b bb œ . œ. œ. ‰
œ œ œ. œ. œ. ‰ œ œ œ. œ.
Son sets free, oh, is free in - deed. I'm a child of

b b b
b b œ œ œ œ œ œ œ œ œ
& b b bb ’ . ’. œ œ ’. ’.
66 C G G

b b
& b b bb œ ‰ œ œ
J
œ œ œ Œ. Œ. ‰
œ œ œ. œ.
God, yes I am. In my Fa - ther's

b b b b
b b
& b b bb ’ . ’. ’. ’. ’. ’. ’. ’. ’. ’.
70 D E m D C

b b
& b b bb œ . ‰
œ œ œ. œ. œ. ‰ œ œ œ. œ. œ ‰ œ œ
J
house is a place for me. I'm a child of God, yes I

Tag
b b
b b œ œ œ œ œ œ œ œ œ
& b b bb œ œ |. |.
75 G G

b b
& b b bb œ œ œ Œ. Œ. ‰
œ œ œ. œ. œ. ‰
œ œ
am. In my Fa - ther's house is a

b b b b b
b b
& b b bb | . |. Û. Û. |. |.
79 D E m D C G

p
b b
& b b bb œ . œ. œ. ‰ œ œ œ. œ. œ ‰ œ œ
J
œœœ Œ.
place for me. I'm a child of God, yes I am.
 216

WHO YOU SAY I AM

Music and Lyrics by
GOSPEL FUSION VERSION Ben Fielding & Reuben Morgan
Arr. Tyler B. Williams

B b B 7b G m/B b b
B aug B b b
B 7 G m/B b b
B aug E m6/F b
b 6
& b 8 y. y y œ œ
œ œ œ œ
œ œ
œ œ œ œ
œ œ
œ œ œ œ
œ œ
œ œ œ œ
drum fill F

b b b
Verse
B G m7 F/A B E m/F F 13(b9)

b
& b ’. ’. ’. ’.
5

Û ‰ ‰ ∑ Û Û
J J
b œ œ œ œ œ œ œ. œ. œ œ œœœ
SOLO

Vb ‰ œ ‰ œ œ œ. Œ.
J J
1. Who am I that the high - est King would wel - come me.

B b G m7 F m7 b
E maj7 C m9 D m7

bb ’. ’. ’. ’. ’. ’. ’.
9

& Û ‰ ‰ ∑
J
b œ œ œ œ œ œ œ. œ. œ . œ ‰ œ . bœ œ . œ œ .
Vb ‰ œ œ œ ‰ œ œ œ. œ‰ œ œœ
I was lost, but He brought me in. Oh, His love for me. Oh, His love for

Chorus
b
E maj9 E /Fb B b F D m7

b
’. ’. ’. ’. ’. ’. ’. ’.
14

&b Û Û Û Û ‰ ‰
J
b œ. œœ ‰ bœ œ œ œ œ. œ. œ. œ. œ œ œ œ. ‰ œ œ
Vb ‰ œ œ
me. Who the Son sets free, oh, is free in - deed. I'm a
 217

WHO YOU SAY I AM (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 2 of 10

b b b b b b
Turn
G m7 F E C m7/F E maj7/F B B 7 G m/B B aug

b
& b ’. ’. ’.
19

Û Û œ œ œ œ
J œ œ œ œ œ œ œ œ

b œ œ œ œ. œ œœ. œ. œ œ œ œ ˙.
Vb œ ‰ ∑
child of God, yes I am.

Verse
B b b
D 7(b9) C7 B 7(b9) B b
b Œ.
23

&b œ œ œ œ œ œ œ œ œ œ œ œ
Û Û Û

b ≈ œr œ œ œ œ œ œ œ œœœœ œ
Vb ‰ ‰ œ œ ∑
3
Some - bod - y help me say,

b
BGVs

&b ∑ ∑ ‰ œ œ œ œ œ œ
2. Free at last, He has

b
œ
G m7 F/A B

b Œ. œ b b œœ œœœ n œœ n # œœ œœ œ
’. ’.
26

&b Û Û Û œ n œ œ œœ # œœœ b œœœ

keys lick

V bb ∑ ∑ Œ. ≈ œ œ œ œ œ

Oh,

b Œ.
& b œ. œ. j ‰ œ
j
œ.
œ œ . bœ œ œ.
ran - somed me. His grace runs deep.

b b # b
> > >
B B C 7(#5#9) C 7(#5#9) D 7(#5#9) G m7 F m7 E maj7

b
& b Û Û Û Œ. ’. ’. ’. ’.
29

Û Û Û Û̆ ‰ ‰
J
b œ œ œ œ œœ œ
V b œ. Œ. ∑ ∑ ≈
Oh, He died for me,

b j
& b ‰. œ . œ œ œ œ. œ. œ œ.
‰
œœ œœœ
œ œ œ . bœ œ œ.
While I was a slave to sin, Je - sus died for me.
œ
Yes, He
 218

WHO YOU SAY I AM (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 3 of 10

b b b b
Chorus
C m9 B A maj7 A maj7 A 7(b9)
œ.
B

b
’. ’. ’.
33

&b Û Û Û Û Û Û Û Û Û ‰ Û Û
f
œ œ. œ œ œõ
b œ.
Vb œ J ‰ ∑ ∑
yeah,

b œœ .. œœ .. œœ .. œœ .. œœ ..
& b œœ .. œ. œ.
‰ œœ œœ
œ œ. œ. œ.
‰ œœ œœœ
œ. œ
died for me. Who the Son sets free, oh, is

b b b b b
. œ. œ. œ œ
b œ œ. œ œ œ œ
F D 7(#5) E maj7 D m7 C m7 E /F E maj7/F B B 7/D

’. ’. ’.
37

&b Û Û
J
b œ œ. œ œ. œ œ. œ œ œ œ œœœ
Vb ∑ ‰ œ œ œ œ œ. Œ. Œ.
3
I'm a child, yes I am.

b ‰ œœ œœœ œœ .. ‰ œœœ œœœ ... œœ ˙˙ ..

& b œœœ ... œœ ..
œ.
œœ ..
œ. œ œ.
œœ ..
œ. œœ
œ œ ˙.
free in - deed. I'm a child of God, yes I am.

b b b
œ œ E m7(b5) E /F œ
E 7 B E m7(b5) C 7

b œ œ œ œ. ’. ’.
42

&b ‰ Û Û

b œ œ œ œ œ œ œ œ œ. œ œ
V b œ. Œ. ‰ ‰
J
‰ ‰
In my Fa - ther's house, yeah,

b
& b Œ. ‰ œœ œœœ œœ ..
œ.
œœ ..
œ.
œœ ..
œ.
‰ œœ œœ
œ
œ
In my Fa - ther's house there's a
 219

WHO YOU SAY I AM (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 4 of 10

b b b
. œ. œ.
b œ œ.
F D 7(#5) E maj7 F/G C m7 E /F E maj7/F

’. ’. ’.
45

& b Û Û
J
œ œ œ œ œ. œ œ.
b
Vb ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ Œ. Œ. œ

there's a place for me, yeah, Yes I

b œœ œœ .. ‰ œœœ œœ ..
& b œœœ ... œœ ..
œ.
œœ ..
œ. ‰ œœ
œ œ œ.
œœ ..
œ. œœ
œ œ.
œœ
œ
place for me. I'm a child of God, yes I

b b b b b
œ œ œ œ œ œ œ œ œ œ D 7(#5#9) œ
œ œ œ œ œ œ œ
B
A 13 G7 G 7 B /F G7 E 9

b œ œ œ œ œ œ
49

&b

bb œ . œ œ œ œ œ œ œ. œ œ.
SOLO

V œ. œ ‰ ‰ Œ. Œ. ‰ œ œ
J
am. Oh. I am

b
& b ˙˙˙ ... ∑ ∑ ∑
am.

Bridge
G m7 F/A B b B /D b E b
b
& b ˙. |. Û. Û. |.
53

p keys / loop only

b œ œ œ
V b œ. œ œ ‰ œ œ œ œ œ œ ‰ œ œ œ œ œ œ. ‰ œ œ
cho - sen, not for - sak - en. I am who You say I am. You are

G m7 F/A B b b
B /D E b
b
& b |. |. Û. Û. |.
57

b œ œ œ œ œ. œœ.
Vb œ œ œ ‰ œ œ œ œ œ ‰ œ
J
œ œ œ œ œ œ J œ
for me, not a - gainst me. I am who You say I am. You say,

bb ∑ ∑ ∑ Œ. ‰
BGVs

&
œ œ
I am
 220

WHO YOU SAY I AM (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 5 of 10

Bridge

>
G m7 F/A A m7(b5) D 7(b9) G m7 F m9

bb ’. ’. ’. ’. ’. ’. ’.
61

& ‰ Û
P band in, lightly

b j œ. œ. œ œ
V b œ ‰ ‰ Œ. ‰ ‰ œJ œ . œ œ Œ. ‰ œ œ œ œ œ œ œ. ‰
I am, oh,

b
&b ‰ ‰ ‰ j ‰
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ
cho - sen, not for - sak - en. I am who You say I am. You are

b
E maj9 D 7(#5#9) G 7(#5#9) C m9 D m7 b
E maj7 /E /F D 7/F B
# b
b
A

& b ’. ’. ’. ’. ’. ’.
65

Û Û Û Û Û Û

b œ œ œ. œ œ œ œ œ. œ œ
Vb ∑ ‰ ‰ œ ∑ J
I am, Sing it a - gain, say,

b ‰ œœ œœ
&b ‰ ‰ ‰ j œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ.
for me, not a - gainst me. I am who You say I am. I am

Bridge # b b
œ.
G m7 D 7(#5#9)/F B /F D 7(#5#9) G m7 B /F

b œ. œ.
& b œ. ’. ’. œ.
69

‰ Û
F
œ œ œ. œ œ œ œœ
V bb ∑ ‰ ‰ œ ∑ ‰ œœ œ œ
I am, yeah, 3

b j
& b œœœ œœœ œœœ ‰ œœœ œœœ œœ œ œ ‰ ‰ œ œœ œœ œœ œœ œœ œœ œœ .. ‰ œœ œœ
œ œ
œ œ œ œ
œ œ œ œ œ œ œ œ. œ œ
cho - sen, not for - sak - en. I am who You say I am. You are
 221

WHO YOU SAY I AM (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 6 of 10

b b b
b œ. bœ . œ.
C 7/E E m6 B /D E m6

œ.
’. ’. œ. ’.
73

&b

b œ œ œ œ œ œ œ. œ œ
Vb œ œ ‰ Œ. ‰ ‰ J J Œ. ‰ œ œ J
I am, said, I am,

b j j
& b n œœœ œ œœœ ‰ œœœ œœœ œ œ œœ ‰ ‰ œ œœ œœ œœ œœ œœ b œœ œœ ... ‰ ‰ œœ
A b œœ œ œœ œ œ œ œ œ œ œ œ
J J
for me, not a - gainst me. I am who You say I am. I

"I Am Who You Say"

b b b6 b
B /F
œ.
A maj7
œ.
E 9 B /F G m7

bb œ . ’. Û Û Û ’. ’.
77

& Û Û Û

f
œ œ œ œ. œ œ œ œ œ œ œ œ œ œœœœ
V bb œ . œ œ Œ. ‰ Œ. ‰ œ œ
oh, I am. You said, I am, 3

b œ œ œ j j
& b œœ œœ œœ œœœ œœœ œœœ œœ .. ‰ ‰ œœ œœœ œœœ œœœ œœ œœ œœ œœ .. ‰ ‰ œœ
œ. œ œ œ œ œ. œ
am who You say I am. I am who You say I am. I

C m9 b
E m6 B /F b G m7

b
’. Û Û Û ’. ’. Û Û Û ’.
81

&b Û Û Û Û Û Û

b œ œ œ œ œ œ œ œ œ œœœ
Vb Œ. ‰ ‰ J ‰ Œ. ‰ œ
J
3
yeah, You said, 'cause I am,

b œœ œœ œœ j j
&b œ œ œ
œœ œœ b œœ œœ ... ‰ ‰ œœ œœœ œœ
œ
œœ
œ
œœ œœ œœ œœ .. ‰ ‰ œœ
œ œ œ œ œ œ œ œ œ. œ
am who You say I am. I am who You say I am. I
 222

WHO YOU SAY I AM (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 7 of 10

"Yes I Am!"
b b b b b
b >
85 Cm D m7 E m6 A 13 A 13 B 13 B 7/D E 7 E dim7

&b Û Û Û Û Û Û Û Û Û Û̆ Û Û̆ ‰ ‰ ‰ ‰ Û Û ‰ ‰ ‰ ‰ Û
J J J J J
ƒ
œ œ œ œ œ œ œ œ . œ œ œ bœ bœ . œ œ œ bœ œ œ œ .
V bb ∑ ‰ Œ. œ œœ
come on say it, Yes I am! Oh, yes I am,

b œ œ œ
& b œœ œœ œœ œœœ œœœ b œœœ œœ ...
œ
Œ. œ œ œ Œ. œ œ œ Œ.
am who You say I am. Yes I am! Yes I am!

b b b b
>
B /F G 7(#5#9) C 7(b9) E 13 F 9 B 13 B 7/D E 7 E dim7

b Û ‰ Û. Û.
89

&b ‰ Û̆ Û Û̆ ‰ ‰ ‰ ‰ Û Û ‰ ‰ ‰ ‰ Û
J J J J J J
b œ. bœ œ bœ œ œ œ œ bœ œ œ œ œ œbœ bœ œ œ . œ œ bœ œ œ œ œ œ
Vb bœ œ œ bœ
‰ ‰ ‰ ‰ ≈ œ ‰
Oh, I'm a child of God, I am cho - sen by You, Lord,

b œ œ Œ. œ œ œ Œ. œ Œ. Œ.
&b œ œ œ œ œ œ
Yes I am! Yes I am! Yes I am! Yes I am!

b b # #
> ####
B /F A 9 G 7(#9) F dim7 F 7sus B7 B 7/D

b Û. Û.
93

&b Û ‰ ‰ Û̆ Û # Û̆ ‰ ‰ ‰ ‰ Û
J J J J
nœ . œ #œ nœ œ œ
b œ œœ œ œ bœ œ œ œ . œ œ nœ nœ ##### ‰ ‰ J
œ œ œ nœ œ
Vb ‰ ‰ ≈R
3
Yeah, some - bod - y sing it with me, say! You thought of me,

b ####
&b œ œ œ Œ. œ œ œ Œ. # Nœ œ œ Œ.
Yes I am! Yes I am! Yes I am!
 223

WHO YOU SAY I AM (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 8 of 10

# # # #
####
E7 F dim7 B/F G 7(b9) C 7(b9) E m/F

Û. Û. Û.
96

& # Û ‰ ‰ ‰ ‰ Û Û ‰ ‰
J J J
#### œ œ ‰ œ œ œ œ . œ œ œ œ. œ œn œ œn œ
œ. nœ #œ œ
V # ‰ nœ . œ œ œ œ
3 3
on Cal - va - ry, You bled and You died for me, oh,

# ##
& # # œ œ œ Œ. œ œ œ Œ. œ œ œ Œ.
Yes I am! Yes I am! Yes I am!

# # #
#### > > >
B dim7 B7 D7 D 7 E7 C m7 D m7 E maj7

Œ.
99

& # ‰ Û Û̆ ‰ Û Û Û̆ ‰ ‰ Û Û Û Û
J J J
# ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ
œn œ œn œ œ #œ œ œ
V # # ‰
3 3
hey! Sing it out with me, yeah!

# ##
& # # œ œ œ Œ. œ œ œ Œ. œ œ œ Œ.
Yes I am! Yes I am! Yes I am!

# # # # # # #
Chorus

102
####
F dim7 F 13 G 13 G 13 A 13 A 13
œ.
B /D B dim/D C dim7 B C m7 D dim7 B/D E7 F dim7

& # Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û

# ## œ œ œ œ nœ œ œ œ y œ
V # # ‰ Œ. ‰ J ‰ Œ. ‰ œ
Hey! Oh, is

####
& # Œ. ‰ œœ œœ
œ
œœ .. œœ .. œœ .. ‰ œœ œœ
œ. œ. œ. œ œ
Who the Son sets free, oh, is
 224

WHO YOU SAY I AM (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 9 of 10

# # # # # # # #
#### œ.
F 7 F 7 /F /E D 7(#5)
œ.
E maj7
œ.
F /G
œ.
C m7 E/F E maj7/F

’. œ.
105

& # œœ # œœ n # œœ Û Û
œ. J
# ## œ œœœ œ œ œ œœ œ œ œ œ œ. œœ œ œœœœ Œ. œ
V # # J œ ‰ ‰ J œ. œœ. œ
3 3
free, in - deed. I am. Hey!

# ##
& # # œœœ ... œœ ..
œ.
œœ ..
œ. ‰ œœ œœ
œ
œœ ..
œ.
œœ ..
œ. œœ ‰ œœœ œœ .. œ
œ . œœ
œ œ
free in - deed. I'm a child of God, yes I

# #
#### œ œ œ œ œ œ œ œ œ œ.
B A7 G 7 G 7(#5) F 7sus B

œ œ œ
’. ’. ’.
109

& #

# ## j œ œ œ. œ œ œ œ. œ œ œ œ œ
V # # œ ‰ ‰ ‰. œ. œ. œ ‰ œ. ‰ ‰ . œR œ œ . œ œ . œ
In my Fa - ther's house, oh, there's a place,

####
& # ˙˙ .. Œ. ‰ œœ œœ
œ
œœ .. œœ .. œœ .. ‰ œœ œœ
˙. œ. œ. œ. œ œ
am. In my Fa - ther's house there's a

# # # # # C #m9
# ## œ .
D 7 G m7
œ. nœ .
F m7
œ.
E maj7 C m7/F

& # # ’. ’. ’.
113

Û Û
J
# ## œ . ‹œ œ œ œ œ œ. œ œœœœ œ œ.
œ œœœ ‰ œ œ. œœ œ œ
V # # œ œœ ‰ ‰ œœ
3
3
I'm a child, hey, yes I

# ##
& # # ‹ œœœ ... œœ ..
œ.
œ.
‹ œœ .. ‰ œœœ œœœ œœ ...
œ n œœœ ... œœ ‰ œœœ œœ ..
œ.
œœ
œ œ
place for me. I'm a child of God, yes I
 225

WHO YOU SAY I AM (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 10 of 10

# # #
#### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ D 7(#5#9) œ
B B7 G m/B B aug B G 7 E9

œ œ œ œ œ œ
117

& #

# ## œ œœ œ œ. œœ. œœ. œœ. œœ j

V # # ˙. Œ. œ œ ‰ œ œ
am. Yes I am, Lord. In my

# ##
& # # ˙˙˙ ... ˙˙ ..
˙.
∑ ∑
am.

# # #
Tag

# ##
G m7 F m9 F m7/B B aug/F

& # # |. |. |. Û. Û.
121

p
####
V # œ. œ. œ. ‰ œ œ œ. œ. œ œ œ œ œ œ. ‰ œ œ

Fa - ther's house there's a place for me. I'm a

rit.
# # # # œ
#### U œœ
œ.
E maj7 D m7 C m7 E/F F 13 B

# Û. Û. Û. Û.
125

& Û Û
J
# ## œ œ œ œ. œ œœœœœ U
V # # œ œ œ œ ‰ œ œ œ.
J
child of God, yes I am.
 Appendix C: Additional Gospel Fusion Arrangements

Christ Be Magnified (Cody Carnes version) ................................................................... 227

Christ Be Magnified (Gospel fusion version).................................................................. 233

Yes I Will (Vertical Worship version) ............................................................................ 243

Yes I Will (Gospel fusion version) .................................................................................. 246

226
 227

CHRIST BE MAGNIFIED
Music and Lyrics by
CODY CARNES VERSION Cody Carnes, Ethan Hulse,
& Cory Asbury

q = 72
Intro

# # 4 œ œ
A2 A D A D

& # 4 | œ œ œ w
œ œ œ w
p
# # 4
& # 4 ∑ ∑ ∑ ∑ Ó Œ œ œ
Were cre -

Verse

###
6 A5 D2 A5 D2

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

# # œ œ œ œ œ œ œ œ. Œ Œ œ œ œ œ. œ œ œ œ
& # œ œ œ œ
œ. Œ Œ œ
a - tion sud - den - ly ar - tic - u - late, with a thou - sand tongues to lift one cry, then from

#
### œ
A/C D2 A/E E (add4) A

œ
10

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ œ œ

# # œ. j j j œ œ
& # œ œ. œ
J
œ.
œ œ ‰ œ œ
œ.
J œ œ ˙ Ó
north to south and east to west, we’d hear "Christ be mag - ni - fied."

#
Verse

###
14 D A D2 A A/C

& w ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
P
# # œ œ œ œ œ œ œœ. Œ Œ ‰ œ œ œ. œ œ œ
& # Ó Œ œ œ œ œ
J
œ

Were the whole earth ech - o - ing His em - i - nence, His name would burst from sea and
 228

CHRIST BE MAGNIFIED (CODY CARNES VERSION) - Lead/Rhythm - Page 2 of 6

#
###
18 D2 A/C D2 A/E E (add4)

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

# # j
& # œ œ. Œ Œ ‰ œJ œ.
œ œ. œ œ. j j
œ œ ‰ œ œ
œ. œ œ
J œ œ
J
sky. From riv - ers to the moun - tain - tops, we’d hear "Christ be mag - ni - fied."

###
A Chorus A A sus/B
22

& œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ ’ ’ ’ ’

F
# # œ
& # ˙ Ó ∑ ‰ . œR œ œ œ œ œ
O, Christ be mag - ni - fied,

#
###
25 D2 E sus F m7 E sus D2 A A sus/B

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

# # œ . œ œ œ œ œœ œ ‰. œ œ œ œ œ œ ‰. œ œ œ œ œ œ
& # ‰ R R œ œ œ. œ œ Œ R
let His praise a - rise, Christ be mag - ni - fied in me. O, Christ be mag - ni - fied,

#
###
29 D2 E sus F m7 E sus D2

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

# # œ
& # ≈ œ œ œ œ œ œ œ œ œ œ ‰ . œR œ œ œ œ œ œ œ. œ œ Œ
from the al - tar of my life, Christ be mag - ni - fied in me.

Verse

# # œ
A E D A5 D2

& # œ
32

œ œ w ’ ’ ’ ’ ’ ’ ’ ’
F
# # j œ œ œ. Œ r
& # ∑ Ó ‰ œ œ œ œ œ œ œ œ œ œ ‰. œ œ œ
When eve - ry crea - ture finds its in - most mel - o - dy, and eve - ry
 229

CHRIST BE MAGNIFIED (CODY CARNES VERSION) - Lead/Rhythm - Page 3 of 6

# #
###
36 A5 A/C D2 A/C D2

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

# # œ. œ œ. œ j j
& # œ œ
œ Œ ‰ œ œ œ œ. œ œ. œ œ. j j
œ œ ‰ œ œ
J
hu - man heart its na - tive cry, O then in one en - rap - tured hymn of praise, we’ll sing

Chorus

###
40 A/E E (add4) D2 A A sus/B

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
f
# #
& # œ.
œ œ.
J œœ ˙ ≈œ œ œ œ œ œ ≈œ. œ Œ
J
œ ‰ . œR œ œ œ œ œ
"Christ be mag - ni - fied." O, be lift - ed high, Je - sus! O, Christ be mag - ni - fied,

#
###
44 D2 E sus F m7 E sus D2 A A sus/B

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

# # œ . œ œ œ œ œœ œ ‰. œ œ œ œ œ œ ‰. œ œ œ œ œ œ
& # ‰ R R œ œ œ. œ œ Œ R
let His praise a - rise, Christ be mag - ni - fied in me. O, Christ be mag - ni - fied,

#
###
48 D2 E sus F m7 E sus D2

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

# # œ
& # ≈ œ œ œ œ œ œ œ œ œ œ ‰ . œR œ œ œ œ œ œ œ. œ œ Œ
from the al - tar of my life, Christ be mag - ni - fied in me.

# #
Inst. Bridge

###
51 D E (add4) F m7 A/C D

& | | | | |
P
###
& ∑ ∑ ∑ Ó Œ ‰. œ œ œ œ œ œ œ œ œ. œ œ
R œ
I won’t bow to i - dols, I’ll stand strong
 230

CHRIST BE MAGNIFIED (CODY CARNES VERSION) - Lead/Rhythm - Page 4 of 6

#
###
56 E (add4) F m7

& | |

# # œ œ
& # œ œ œ œ œ œ œ
J
‰ œ œ œ œ œ œ œ œ œ œ œ ‰
œ
and wor - ship You. If it puts me in the fi - re, I’ll re - joice

#
###
58 A/C D

& | ’ ’ ’ ’

# # œ œ œ œ œ
& # œ œ
J
‰ ≈ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ

‘cause You’re there too. I won’t be formed by feel - ings, I hold fast

#
###
60 E (add4) F m7

& ’ ’ ’ ’ ’ ’ ’ ’

# # œ œ
& # œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ ≈
œ œ
to what is true. If the cross brings trans - for - ma - tion, then I’ll be cru -

# Bridge

# #
A/C D

& # ’
62

’ ’ ’ ’ ’ ’ ’
F
# # œ œ œ œ
& # œ œ œ ≈ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ

- ci - fied with You. 'Cause death is just the door - way in - to res -

#
###
64 E (add4) F m7

& ’ ’ ’ ’ ’ ’ ’ ’

# # œ œ œ œ
& # œ œ œ œ œ œ œ
J
‰
œ
œ œ œ œ œ œ œ œ ‰ œ
- ur - rec - tion life. If I join You in Your suf - f'rings, then I’ll join
 231

CHRIST BE MAGNIFIED (CODY CARNES VERSION) - Lead/Rhythm - Page 5 of 6

#
###
66 A/C D

& ’ ’ ’ ’ ’ ’ ’ ’

# # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& # œ œ
J
‰ œ œ œ œ

You when You rise. And when You re - turn in glo - ry, with all the an -

#
###
68 E (add4) F m7

& ’ ’ ’ ’ ’ ’ ’ ’

# # œ œ œ œ œ œ œ
& # ≈ œ œ œ œ œ œ œ œ œ
œ. ≈ œ œ

- gels and the saints, my heart will still be sing - ing, my song

Chorus

###
70 E sus A A sus/B D2 E sus

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
f
# # œ œ œ œœ œ œ œ œ
& # Œ ‰ . œR œ œ œ œ œ œ ‰ . œR œ œ œ œ œ

will be the same. O, Christ be mag - ni - fied, let His praise a - rise,

#
###
73 F m7 E sus D2 A A sus/B

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

# # œ œ œ œ œ œ œ œ œ œ
& # ‰. R œ œ œ œ œ. œ œ Œ ‰. R œ

Christ be mag - ni - fied in me. O, Christ be mag - ni - fied,

#
###
76 D2 E sus F m7 E sus D2

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

# # œ œ œ œ œ œ œ œ œ œ
& # ≈ œ ‰ . œR œ œ œ œ œ œ œ. œ œ Œ
from the al - tar of my life, Christ be mag - ni - fied in me.
 232

CHRIST BE MAGNIFIED (CODY CARNES VERSION) - Lead/Rhythm - Page 6 of 6

Chorus
#
###
79 A A sus/B D2 E sus F m7 E sus

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

# # œ
& # ‰ . œR œ œ œ œ œ œ ‰ . œR œ œ œ œ œ œ ‰ . œR œ œ œ œ œ
O, Christ be mag - ni - fied, let His praise a - rise, Christ be mag - ni - fied

#
###
82 D2 A/E F m7

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

# # œ
& # œ œ. œ œ Œ ‰ . œR œ œ œ œ œ œ ≈ œ œ œ œ œ œ œ œ œ

in me. O, Christ be mag - ni - fied, from the al - tar of my life,

#
### U
85 A/C E sus D2 A

& ’ ’ ’ ’ ’ ’ ’ ’ |

# # œ œ œ œ
& # ‰. R œ œ œ œ œ. œ œ Œ ∑
Christ be mag - ni - fied in me.
 233

CHRIST BE MAGNIFIED
Music and Lyrics by
GOSPEL FUSION VERSION Cody Carnes, Ethan Hulse,
& Cory Asbury
Arr. Tyler B. Williams

q = 77 Intro
#
? ### 4 œ œ œ œ œœœ œ œ œ œ œ œ œ œœœ œ œ
A C m7 D F maj7(#5)

4
œ œ œ
œ & ’ œ œ œ œ
f

# # #
Verse

### œ œ œ œ œ œœœ œ
3 F m7 C m7 D D/E A C m7

& œ œ œ Û Û Û Û Û̆ Œ ’ ’ ’ ’
F
###
∑ Ó Œ œ œ œ œ œ ‰ œ œ œ œ œ œ
SOLO

V
Were cre - a - tion sud - den - ly ar - tic -

# #
###
6 D A C m7 D A/C

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

# # j œ. œ œ œ œ œ. j
V # œ œ. œ ‰ Œ œ œ œ œ
œ œ Œ Œ œ œ œ ‰ œ
J
u - late, with a thou - sand tongues to lift one cry, then from north to south and

#
###
≈ œ œ œ œ œœœ œ œ
10 D maj7 A/E D maj7/E B m/E A C m7

& ’ ’ ’ ’ ’ ’ ’ ’ ’ œ
f
# # j j
V # œ. œ œ ‰ œ œ œ ‰ œ œ œ œœœ
J ˙ Ó
east to west, we’d hear "Christ be mag - ni - fied."
 234

CHRIST BE MAGNIFIED (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 2 of 10

#
Verse

###
13 D D/E A C m7 D

& Û Û Û Û Û̆ Œ ’ ’ ’ ’ ’ ’ ’ ’
F keys staccato 8ths

# # œ œœ œ œ
V # Ó Œ œ œ œ œ œ ‰ œ œ œ œ œ œ Œ ‰ œ
J
Were the whole earth ech - o - ing His em - i - nence, His

# #
###
16 A C m7 D A/C D maj7

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

# # œ. j
V # œ œ œ œ œ œ
œ. Œ Œ ‰ œJ œ.
œ œ ‰ œJ œ . j j
œ œ ‰ œ œ
name would burst from sea and sky. From riv - ers to the moun - tain - tops, we’d hear

# #
œ
A/E D maj7/E B m/E A C m7 D A/C B m7 D/E

###
nœ œ
œ œ œ œ œ nœ œ œ
20

≈ œœ
œ œ œ
& ’ ’ ’ ’ ’ œ œ

# #
V # œ ‰ œ œ.
J
œ œ œ œ ˙ Ó ∑
"Christ be mag - ni - fied."

Chorus
# #
### œ
23 A A/C D maj9 F maj7(#5) F m7 E

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
f
### œ
V ‰ . œR œ œ œ œ œ œ œ ‰ . œR œ œ œ œ œ œ œ ‰ . œR œ œ œ œ œ œ
O, Christ be mag - ni - fied, let His praise a - rise, Christ be mag - ni - fied

# # # #
###
26 D A/C B m7 D/E A A/C D maj9 G m7(b5) C 7(#5#9)

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

# # j œ œ œ œ œ œ œ œ œ œ
V # œ ‰ œ. œ œ Œ ‰ . œR œ œ œ œ œ œ œ ≈ œ
in me. O, Christ be mag - ni - fied, from the al - tar of my life,
 235

CHRIST BE MAGNIFIED (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 3 of 10

# # #
###
œ œ œ œ œœœ œ œ
29 F m7 E D A/C B m7 D/E A C m7

& ’ ’ ’ ’ ’ ’ ’ ’ ’ œ œ

# # œ œ œ œ œ œ œ œ œ œ œ œ
V # œ ‰. R œ œ œ œ. œ œ Œ Ó ‰ J
Christ be mag - ni - fied in me. Oh,

# #
### œ œ œ œ œ œ œœ œ œ œ œ œœœœ œ Û
32 D F maj7(#5) F m7 C m7 D D/E
œœ
Û Û Û Û̆ Œ
& œœ œœ œ

# # œ œ œ j
V # œ œ Œ ‰. R
œ œ Œ ‰ œJ œ œ œœœœ œ œ ‰ œ œ œ
3
Oh, Yeah, When eve - ry

Verse
# #
###
35 A C m7 D A C m7

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
F keys staccato 8ths

# # œ œ œ œ œ œ ‰ ‰ . œr œ œ œ ‰ œ. œ œ œ œ
V # œ œ œ ‰ œ œ œ œ œ œ
J
crea - ture finds its in - most mel - o - dy, and eve - ry hu - man heart its na - tive

# # #
###
38 D maj7 C 7(#5#9) F m7 E m9 G/A D maj7 D m7(b5) B9 A/E D maj7/E B m/E

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

# # j œ œ. j j
V # œ œ . œ . œœ ‰ œ œ œ œ. œ
J
œ.
œœ œ ‰ œ œ
œ ‰ œ œ. œ œ œ œ
J
cry, O then in one en - rap - tured hymn of praise, we’ll sing "Christ be mag - ni - fied."
 236

CHRIST BE MAGNIFIED (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 4 of 10

#
### œ œ œ œ œœœœœ œ œ œ
œ œ œ œ œ œ œ
œ
D D A/C B m7 D/E

œ
œ œ œ œ œ œ œ œ œ œ œ œ
42

& ≈
œ œ

# #
V # œ Œ Ó ≈ œ œ œ œ œ œ œ œ œ
O, be lift - ed high,

# # Œ ‰.
r
Mag - ni - fied, mag - ni - fied!

& # œ œœ œœ œ œ œœ .. œœ œœ œœœ œœœ ˙˙˙. ..

‰ œ œ œ
BGVs

###
Be mag - ni - fied, mag - ni - fied!

œ œœ ˙˙ ..
V œ œ. œ œ œ. œ œ œ
Mag - ni - fied, mag - ni - fied!

œ # #
Chorus A

# #
A/C D maj9 F maj7(#5) F m7 E

& #
44

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
f
### œ œ
V Œ Ó Œ Ó Œ ‰ . œR œ œ œ œ œ œ

# # r r r
O, yeah, Christ be mag - ni - fied

& # œœœ ‰ . œœ œœ œœ œ œœ œœ
œ œ œ œœ œ œ
œœ
œ
‰ . œœ œœ œœ
œ œ œ œœ œœ œœ
œ œ
œœ
œ
‰ . œœ œœ œœ
œ œ œ œœ œœ œ
œ œ œ œœ
O, Christ be mag - ni - fied, let His praise a - rise, Christ be mag - ni - fied

# # # #
###
47 D A/C B m7 D/E A A/C D maj9 G m7(b5) C 7(#5#9)

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

# # j œ
V # œ ‰ œ. œ œ Œ ‰ . œR œ œ œ œ œ œ Œ Ó

# # r
in me. O, Christ be mag - ni - fied,

& # œœ œœ .. œœ œœ Œ œœ ‰ . œœ œœ œœ œ œœ œœ œœ ≈ œœ œœœ œœ œœ œœ œ œ œœ œœ
œ. œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œœ œœ œ œ
œ
in me. O, Christ be mag - ni - fied, from the al - tar of my life,
 237

CHRIST BE MAGNIFIED (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 5 of 10

# #
Inst.

# # œ. œ œ œ œ ˙
F m7 E D A/C B m7 D/E D maj7

& # ’
50

’ ’ ’ ’ ’ ’ ’
P
### œ . nœ œ
V ‰ œ œ œ œ Ó Œ œ. œ œ œ œ œ œ
œ. Œ Ó

# # r
Come on! Ooh,

& # œœœ ‰. œœ œœ œ
œ œ œœ œœ œœ œœ œœ œœ .. œœ œœ Œ ∑
œ œ œ œ œ. œ œ
Christ be mag - ni - fied in me.

# #
# # œ œ. œ œ œ.
œ œœ œ ˙
C 7(#5#9) F m9 E m7 G/A

& # œ. œ œ œ ˙ œ. œ
53

# # r œ œ œ œ œ œ . nœ
V # Ó ‰. œ œ œ œ œ œœ‰ Œ Ó œ œœ œ
Oh, ooh, ooh, oh,

# #
###
56 D maj7 C 7(#5#9) F m9

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

# # j r
V # Ó ‰ œ œ œ. œ œ œ œ œ Ó Œ ‰. œ œ œ œ œ œ ‰

Be mag - ni - fied, Mmm,

#
###
59 E m7 G/A D maj7 C 7(#5#9)

& ’ ’ ’ ’ | |
P drums continue lightly

# #
V # œ . œ œ . œ Œ ‰ . œR œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ ‰ œœœœ
J
Mmm, I won’t bow to i - dols, I’ll stand strong and wor - ship You. If it puts
 238

CHRIST BE MAGNIFIED (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 6 of 10

#
###
62 F m9 E m7 G/A A7

& | | Û Û

# # œœœ œ œ œ œ œ œ œ œ œ œ
V # œ œ œ œ œ œ ‰ œ
J
‰ ‰ œ œ

me in the fi - re, I’ll re - joice ‘cause You’re there too. I won’t

#
###
64 D maj7 C 7(#5#9)

& | |

# # œ œ œ œ
V # œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ Œ ≈ œ œ œ
be formed by feel - ings, I hold fast to what is true. If the cross

# #
###
66 F m9 E m7 B 2/D

& | | |

# #
V # œ œ œœœ œ œ œ œ ≈ œ œ œ œ œ œ œ œ œ œ œ œ œœœ ≈ œ œ

brings trans - for - ma - tion, then I’ll be cru - ci - fied with You. 'Cause death

# #
###
D maj7 C 7(#5#9) F m9

Û. Û.
68

& ’ ’ ’ Û ’ ’ ’ Û
F
# #
V # œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ
J
‰ œ œ œ œ

# #
is just the door - way in - to res - ur - rec - tion life. If I join

& # Œ ˙ œ œ œ ˙ œ
j ‰ œ œ œ œ
Ooh, Ooh,
 239

CHRIST BE MAGNIFIED (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 7 of 10

#
###
E m7 G/A F /A D maj7

Û. Û.
70

& ’ ’ ’ Û ’ ’ ’ Û

# # œ œ œ œ œ œ œ œ œ œ œ œ
V # œ œ œ œ œ œ œ œ ‰ œ
J
‰ œ

###
You in Your suf - f'ring, then I’ll join You when You rise. And when You

& ≈ j ‰
˙. œ nœ œ œ œ
œ œ a œœ n œœ œœ # œœœ ... n œœœ
Ooh, Ooh,

# #
###
D m(maj7) C m7 F m7 G maj7

Û.
72

& ’ ’ ’ ’ ’ ’ ’ Û

# # œ œ œ œ œ œ œ œ ≈ œ œ œ œ œ œ œ œ œ
V # œ œ J ‰ ≈ œ œ

###
re - turn in glo - ry, with all the an - gels and the saints, my heart

&
œœ œœ ... œœ œœ œœ .. œœ œœ ≈ œœ œœ œœœœ œœœœ
œ œ n œœœ œœœ œœœ ... œ œ œ. œ œ œ œ
then my heart,

# #
Chorus

###
74 D A/C B m7 D/E A A/C

& | ’ ’ ’ ’ ’ ’ ’ ’
f
# # œœ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ Œ
V # y. ≈ Ó

# # r
will still be sing - ing, my song will be the same. O,

& # ˙˙˙ ... Œ œœ œœ œœ œœœ œœ

œ
‰ . œœ œœ œœ œ œœ œœ
œ œ œ œœ œ œ
˙ . œ œ œ
O, Christ be mag - ni - fied,
 240

CHRIST BE MAGNIFIED (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 8 of 10

# #
###
77 D maj9 F maj7(#5) F m7 E D A/C B m7 D/E

& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

# # œ œ œ œ
V # ‰ Ó Œ ‰ . œR œ œ œ œ œ œ œ Œ Œ œ
œ œ œ

r r
Come on! Christ be mag - ni - fied, help me sing,

# #
& # œœœ ‰. œœ œœ œ
œ œ œœ œœ œœ œœœ œœ
œ
‰ . œœ œœ œœ œ œ œ
œ œ œ œœ œœ œ œœ œœ .. œœ œœ Œ
œ œ œ œ œ. œ œ
let His praise a - rise, Christ be mag - ni - fied in me.

# # #
###
80 A A/C D maj9 G m7(b5) C 7(#5#9)

& ’ ’ ’ ’ ’ ’ ’ ’

# # œ œ. œ . nœ œ œ œ
V # œ Œ Œ œ Ó
O, yeah, Oh,

# # r
& # œœœ ‰. œœœ œœœ œœ œœ œœ œœ œœ ≈ œœ œœœ œœ œœ œœ œœ œœ œœœ œœ
œ œ œ œ œ œ œ œ œ œ œ œ
O, Christ be mag - ni - fied, from the al - tar of my life,

# #
### >
F m7 E D A/C B m7 D/E A maj7

Û.
82

& ’ ’ ’ ’ ’ ’ ’ Û

# # œ . nœ œ œ œ
V # ‰ œ œ œ. œ œ œ œ ∑
Oh,

# # r j
& # œœœ ‰. œœ œœ
œ œ
œœ
œ
œœ œœ œœ œœ œœ .. œœ œœ ‰ œœ ..
œ.
œœ
œ
œ œ œ œ œ. œ œ
Christ be mag - ni - fied in me. And O,
 241

CHRIST BE MAGNIFIED (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 9 of 10

Chorus
#
### > œ œ
(bass gtr.)
A 13 D maj9 F maj7(#5) F m7 E D

Û. œ Û.
84

& Û Û Û̆ Œ Û ’ ’ ’ ’
?
œ & Û
œ

### œ œ œ œ œ œ. œ œ œ œ œ
V Œ ‰ . œR œ œ œ œ œ œ Œ Œ ‰. R ‰ Œ

# # r r r
Christ be mag - ni - fied, Oh!

& # œœœ õ ‰ . œœœ œœœ œœœ œœ œœœ œœœ œœ

œ
‰ . œœ œœ œœ
œ œ œ œœ œœ œœœ œœ
œ
‰. œœ œœ œ œ œ
œ œ œœ œœ œœ œœ
œ œ œ œ
Christ be mag - ni - fied, let His praise a - rise, Christ be mag - ni - fied

b b
>œ >œ >œ .
F maj7 C maj7 B maj7 A maj7 E 7

# # nœ œ nœ œ >
& # Û
87

‰ Û Û Û Û Û Û̆ ‰ Œ Û
J J
# # œ œõ œ œ œ œ œ œ œ
V # Œ nœ œ œ. ‰. R

### r
in me, and O, Christ be mag - ni - fied,

j œ.
& œœ ‰ œ. n œœ œœ n œœ .. # œœœ œœ ‰. œœ œœ œœ œœ œœ œœ
œ n œœ .. œ œ œ œ œ œ œ œ œ
in me, and O, Christ be mag - ni - fied,

# #
###
89 D maj9 D dim7 F dim7 F m7 E

& ’ ’ ’ ’ ’ ’ ’ ’

# # œ œ œ œ œ œ œ œ œõ
V # ≈ œ œ ‰. œ œ
R
œ œ œ œ œ

# # r
from the al - tar of my life, Christ be mag - ni - fied

& # œœœ Œ œ
# œœ
œ ..
n n œœœ .. # œœœœ œœœ ‰. œœ œœ
œ œ
œœ
œ
œœ œœ œœ
œ œ œ œ
Ooh, my life, Christ be mag - ni - fied
 242

CHRIST BE MAGNIFIED (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 10 of 10

# #
Outro

### œ. œ œ œ œ œ œ œ œ œ œ œœœ œ œ
D A/C B m7 D/E A C m7 D F maj7(#5)

œ
91
œœ
& ’ ’ ’ ’ œ œ œ

# #
V # œ œ. œ œ œ œ. Ó ‰. œ œ œ œ œ œ œ œ
R
‰ Œ œ œ œ œ
J

###
in me. Oh, Oh,

& œœ œœ .. œœ œœ Œ ∑ ∑
œ œ. œ œ
in me.

# # #
### œ U
F m7 C m7 D A/C B m7 D/E A

œ œ œ œ œ œ
94
œœ
œ œ œ. œ
œ œ
œœ
& œ œ nœ œ w

# # œ œ œ œ œ œ œ . nœ œ
V # œ œn œ œ œ œ Ó ≈ œ œ œ ‰ ∑

# #
ooh, ooh.

& # ∑ ∑ ∑
 243

YES I WILL
Music and Lyrics by
VERTICAL WORSHIP VERSION Eddie Hoagland, Jonathan Smith,
& Mia Fieldes

q = 75
Intro

4
F C G Am F C G Am

&4
œ. œ œ œ ˙ œ. œ œ œ ˙ œ. œ œ œ ˙ œ. œ œ œ ˙
P
4 j
&4 ∑ ∑ ∑ Ó ‰ œ œ œ œ
I count on one

Verse
F C G Am F C G Am

& .. ’ Û Û ’ ’
5

’ Û Û ’’ ’ Û Û ’’ ’ ÛÛ ’’

& .. œ œ Œ Œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ
œ J J
thing, the same God that nev - er fails will not fail me now, You won't fail me now. In the wait -

9 F C G Am F C G Am

& ’ ÛÛ ’’ ’ Û Û ’ ’ ’ Û Û ’ ’ ’ ÛÛ ’’

& œœŒ Œ œ œ œ œ . œ œ œ œ œ . œ œ œ œ œ œ œ œ ‰ . œr œ œ œ œ œ œ œ Œ
œ J J
- ing, the same God who's nev - er late is work - ing all things out, is work - ing all things out.

Chorus
13 F C G Am F C C/G G

&’ Û Û ’ ’ ’ Û Û ’ ’ ’ Û Û ’ ’ ’ ÛÛ ’ ’
F
&œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ. œ œ œ œ œ. œ œ ‰ œœ
J
Yes, I will lift You high in the low - est val - ley. Yes, I will bless Your name. Oh,
 244

YES I WILL (VERTICAL WORSHIP VERSION) - Lead/Rhythm - Page 2 of 3

17 F C G Am F C

&’ Û Û ’ ’ ’ Û Û ’ ’ ’ Û Û ’ ’

œ œ œ œ œ. œ œ œ œ œ œ œ œ. ‰ œœ
&œ œ œ œ œ œ

yes, I will sing for joy when my heart is heav - y. All my days, oh

1.

j
G Am F C G Am F C G Am

œ ˙ ..
20

&’ Û Û ’ ’ œ œ œ ˙ œ
J œ J
œ œ œ ˙ œ
J œ
œ Ó

œ œ œ Œ j
& ∑ ∑ ∑ Ó ‰ œ œ œ œ ..
yes, I will. I count on one

2.
Bridge
G Am F C G Am F C

.. ’ Û Û ’ ’
25

&’ Û Û ’ ’ Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û
f
&
œ œ œ ‰ œœ œ œ œ ‰ œœ œ œ œ œ œ œ .. ˙ . ‰ œ œ
3
yes, I will. For all my days, oh yes, I will. I choose to praise, to glo -

G Am F C C/G G

..
29

& ’ Û Û ’ ’ ’ Û Û Û ’ ’ Û Û ’ ’

œ œœ œ œ œ œ œ œ œ ˙ ‰. œ œ œ œ œ œ œ œ. œ œ œ œ ..
& œ œ œ R
3 3
- ri - fy, glo - ri - fy the name of all names that noth - ing can stand a - gainst. And I choose to

32 N.C.

& ∑ ∑ ∑
drums only

˙. ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
& œ œ ‰. œ
R
3
praise, to glo - ri - fy, glo - ri - fy the name of all names that
 245

YES I WILL (VERTICAL WORSHIP VERSION) - Lead/Rhythm - Page 3 of 3

35 F/C C G/B Am

& ∑ Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û

F
œ œ œ œ œ œ œ. œ œ œ œ ˙. ‰ œ œ œ œœ œ œ œ œ
œ œ œ
œ
&
3 3
noth - ing can stand a - gainst. And I choose to praise, to glo - ri - fy, glo - ri - fy the name of all

Chorus
38 F C C/G G F C

&Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û ’ Û Û ’ ’
f
œ œ ˙ ‰. œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ
& R J
names that noth - ing can stand a - gainst. And yes, I will lift You high

41 G Am F C C/G G

&’ Û Û ’ ’ ’ Û Û ’ ’ ’ Û Û Û ’

œ œ œ œ œ œ œ œ œ. œ œ œ. œ œ œ œ œ. œ œ ‰ œœ
& J
in the low - est val - ley. Yes, I will bless Your name. Oh,

44 F C G Am F C G Am

&’ Û Û ’ ’ ’ Û Û ’ ’ ’ Û Û ’ ’ ’ Û Û ’ ’

œ œ œ œ œ. œ œ œ œ œ œ œ œ. ‰ œœ œ œ
&œ œ œ œ œ œ œ ‰ œœ
yes, I will sing for joy when my heart is heav - y. All my days, oh yes, I will. For

U
F C G Am F C G C

Û.
48

&’ Û Û ’ ’ ’ Û Û ’ ’ Û | | |
J

&œ œ œ ‰ œœ œ œ œ ‰ œœ œ œ œ œ. Œ œ œ œ Œ
all my days, oh yes, I will. For all my days, yes, I will.
 246

YES I WILL
Music and Lyrics by
GOSPEL FUSION VERSION Eddie Hoagland, Jonathan Smith,
& Mia Fieldes
Arr. Tyler B. Williams

q = 75

œœ .. œœ œœ œœ œœ œ œ œ œ œ œ œ œ
Intro
œ œ œ œœ .. œœ œœ œœ
? 4 œœ œ œ œ œ
F C G A m7 F C G A m7

4 œ. œ œ œ œ œ œ œ œ. œ œ œ Ó &
P
4 j
SOLO

V4 ∑ ∑ ∑ Ó ‰ œ œ œ œ
I count on one

Verse
5 F C G A m7 F C

& ’ Û Û ’ ’ ’ Û Û ’ ’ ’ Û Û ’ ’

j
V œœœ œ Œ œ œ œ œ. œ œ œ œ œ ‰ œ œ œ œœœ œ œ Œ œ œ œ
thing, the same God who nev - er fails will not fail me now, You won't fail

G A m7 F C G A m7

œ œ œ ’ ’
8

& ’ Û Û ’ ’ ’ Û Û ’ ’
œ

V œœœ œ œ ‰ œ œ œ œœœ œ Œ œ œ œ œ. œ œ œ œ œ ≈ œ œ œ œ
J J
me now. In the wait - ing, the same God who's nev - er late is work - ing all

Chorus
F C G A m7 F C

œ œ œ ’
11

& ’ Û Û ’ ’ ’ Û Û Û Û Û̆ ‰ ’
J œ
F
V œ œ œ œ œ œ ≈ œ œ œ œ œœ œ œ œ œ. Œ œ œ œœ‰ œ œ œ
J
things out, You're work - ing all things out. Yes, I will lift You high
 247

YES I WILL (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 2 of 10

14 G A m7 F C A m7 G

& ’ Û Û ’ ’ ’ Û Û ’ ’ ’ Û Û ’ ’

œ œ ‰ œ œ œ œ œ œ œ œ œ. œ œ œ œ ≈ œ œ œ œ œ œ œœœ œ ‰ œœ
V
in the low - est val - ley. Yes, I will bless Your name. Oh,

F C G A m7 F C

œ œ œ
17

& ’ ’ ’ Û Û ’ ’ ’ Û Û ’ ’
œ

œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ
V œ œ. œ œJ ‰ œ œ œ œ œœ‰ ‰ œœ

yes, I will sing for joy when my heart is heav - y. All my days, oh

œ
G A m7 E A m7 F C G A m7 F C

’ œ œ œ ’ ’
20

& Û Û Û Û Û Û̆ ‰ ’ ’ ’Û Û ’ ’ ’
J
j œ œ œ œ œ œ œ œ œ œ œ. œ œ
V
œ œ. œœ œ ‰ Œ ‰ œJ œ . œ ‰ . R œ
œ œ ‰ . œR œ œ œ œ
yes, I will. Yeah, Yes, I will, yes, I will. Oh, ooh.

Verse
G A m7 F C G A m7

& Û . Û Û Û̆ Ó
24

’ Û Û ’ ’ ’ Û Û ’ ’
P
œ œœ œ œ Ó r
V Œ ‰ œ œ œœŒ ‰ . œ œ œ œ œr œ œ Œ
J
Mmm, Who nev - er fails,

j j j
BGVs

& Ó ‰ œ œ œ œ œœœ œ œ ‰ œ œ œ œ. œ œ œ œ œ ‰ œ œ œ
I count on one thing, the same God who nev - er fails will not fail
 248

YES I WILL (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 3 of 10

F C G A m7 F œ œ Cœ
œ
27

& ’ Û Û ’ ’ ’ Û Û ’ ’ ’ ’

œ œ œ œ œ
V ∑ Œ ‰ œ œ œ ‰ Œ Ó
J J
You're nev - er fail - ing me.

j œ œ œ œ œ œ ‰ j
& œœœ œ œ œ ‰ œ œ œ J œ œ œ œœœ œ œ ‰ œ œ œ
me now, You won't fail me now. In the wait - ing, the same God

œ
G A m7 F C G A m7
œ œ
30

& ’ Û Û ’ ’ œ ’ ’ Û Û Û Û Û̆

œ œ
V Œ ‰ œ œ œ œ œ ∑ Œ ‰ J œ œ œ. œœ
J
Mmm, Yes, I will!

œ
& œ. œ œ œ œ œ ≈ œ œ œ œ œœœ œ œ œ ≈ œ œœ œœœ œœœ œœ œœœ œœœ œœ œœœ Œ
œœ œ œ
who's nev - er late is work - ing all things out, You're work - ing all things out!

Chorus
F œ œ Cœ G A m7 F C

& œ
33

’ ’ ’ Û Û ’ ’ ’ Û Û ’ ’
f
V œ. œ Œ Ó Ó Œ œ œœ œ œœœœœ œ œÓ

j
In the low - est val - ley,

j œ œ œœ ‰ œ œœ œœ œœ œ œ œ œ . œ œ
& œœ
œ œœœ ... œœœ œœœ ‰ œœœ œœ œœ œ œœ œ œ œ œœ œœ œœ œœ .. œœ
œ œœœ œœœ œœœ ≈ œœœ œœœ œœ œœ
Yes, I will lift You high in the low - est val - ley. Yes, I will bless Your name.
 249

YES I WILL (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 4 of 10

A m7 G F œ œ œ
C G A m7

œ
36

& ’ Û Û ’ ’ ’ ’ ’ Û Û ’ ’

œ. œ œœ œ œ ‰ œ œ œ œ œ
V Ó Œ œ Ó Ó ‰
J

j j
Yeah, oh, Oh, whoa, ooh,

j
& œœœ ... œœ œœ
œ œ
Œ œœ œœ .. œœ œœ ‰ œœœ œœœ œœœ œœ ‰ œ œœ œœ œœ œ œ œ œ .
œ œœ œ œ œ œœ œœ œœ œœ ..
œ œ. œ œ
yes, I will sing for joy when my heart is heav - y.

39 F C G A m7 F C

& ’ Û Û ’ ’ ’ Û Û ’ ’ Û Û Û Û Û Û Û Û

œœœ œ œ œ œ œ œ. œœ œ Ó
V Œ Ó Ó ‰. R
For all my days,

Œ œœ œœ .. ‰ j Œ
& œœ œœœ œœ œœ œœ œœ œœœ œœœ œœ
œ œ œ œ. œ œ œ œ
All my days, yes, I will. For all my days,

G A m7 F œ œ œ
C G A m7

œ
42

& Û Û Û Û Û Û Û Û ’ ’ ’ Û Û ’ ’

œ. œ œ œ . bœ œ œ œœ œ œ œ œ .
œ œ Œ œ œ œ œ œ bœ œ œ
V Ó ≈J ‰. R œ
3

j
Oh, oh,
BGVs ad lib.

& œœœ œœ œœ .. œœ wœ œ œœ œ ˙˙ ∑
œ œ. œ œ œ œ
J
yes, I will.
 250

YES I WILL (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 5 of 10

œ œ œ
œ œ
F C G A m7 N.C. F C

&œ œ œ
45

’ ’ ’ Û Û ’ œ œ œ œ ’ ’

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ Œ
VŒ ‰ œ œ Œ ‰ œ
J
oh, for all my days, for all my days, I am Yours.

48 G A m7 F C G

& ’ Û Û ’ ’ ’ Û Û ’ ’ |

œ œ œ œ
SOLO

V ‰ œJ œ œ ‰ ‰ œ œ œ ‰ Œ ‰ œ œ œ œ œ . œœ œ œ œ œ œ œ œ ‰ Œ
J œ
3
Yeah, come on, yeah, I choose to

Bridge
F C G A m7 F C

& Û. Û. Û.
51

Û | Û | Û |
J J J
p
œ œ. ˙ œ œ œ œ œ œ œ œ œ œ œ œ œr ˙
œ œ œ
r
V
œ ‰ ‰. œ
R
3
praise, to glo - ri - fy, glo - ri - fy the name of all names that

Bridge
A m7 G C/E F C G Am

& Û.
54

Û Û Û ’ÛÛ ’ ’ ’ Û Û ’ ’
J
P
œ œ œ œ œ œ œ. œ œ œ œ œ Ó œ.œ œœœœ. œœœ. œœœœœœ œ œ
V Œ
noth - ing can stand a - gainst, oh, help me sing, I choose to praise,

& Ó Œ ‰
BGVs 3 3

œ œ œ ˙. œ œ œ œœ œ œ œœ œ œ œœ
I choose to praise, to glo - ri - fy, glo - ri - fy the name of all
 251

YES I WILL (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 6 of 10

Bridge

57 F C A m7 G C/E F C/E D C

& ’ Û Û ’ ’ ’ Û Û ’ ’ Û Û Û Û Û Û Û Û Û

F
V Œ ‰ œ œœ‰ ‰ œ œ œ œ ‰ Œ Ó ‰. œ œ œ œ œ œ œ Œ
J R
Yeah, come on, oh, ooh,

‰. r j ‰ ‰ œ œ
3

& œ œ ˙ œ ˙˙ ...
œ œ œ œ œ œ œ œ œœœ œœœ œœ ˙ œœ œœ
names that noth - ing can stand a - gainst. I choose to praise, to glo -

> > >

Û Û œ œ œ
60 G/B A m7 G F C A m7 G C/G D m/F C/E

& ÛÛ Û Û Û Û Û Û Û Û ÛÛ Û Û Û Û Û Û Û Û
3

œ œ œ œ œ œ
V ∑ ‰. R œ œ œœœ œ œ œ œ ‰ Ó ‰ J
3
oh, oh, I choose to

‰ . œr œ œ œ j
3

œœ œ œ œ ‰ œœ œœ œœœ
3

& œœ œœ œ œ œœ œœ œ œ œ œœ œœ œœ œœ ˙˙ œœ œœ œœ œœ
œ œ œœ œœ œ œ œœ œœ œœ œ œ œœ ˙ œ œœ œ œ œ
œ œ œ
- ri - fy, glo - ri - fy the name of all names that noth - ing can stand a - gainst. I choose to

Bridge
b
œ œ
œ œœœ œ
D m9 A m11 C/A C/G C/E F maj7 C
œ
63

& ’ Û Û ’ ’ ’ Û Û ’ ’
f
œ . bœ œ œ œ œœœœ œœ œ œ œœ œ œ
Ó ‰ J œœ‰ Œ Œ ‰. œ
V R

j r
praise! oh, that
3

& œœœ œœ œœ œœ œœ ‰ œœ œœ œœ œœ œ œ œœ œœ œ œ œ œœ œœ ‰ œœœ œœœ œœ œœ œ œ ‰ . œœ

œœœ œ œ œ œ œ œœ œœ œ œ œœ œœ œœ œ œ œ œ œœ œœ œ
praise, to glo - ri - fy, glo - ri - fy the name of all names that
 252

YES I WILL (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 7 of 10

Chorus
A m7 G F œ œ Cœ G A m7

œ
66

& ’ Û Û Û Û Û Û Û̆ ‰ ’ ’ ’ Û Û ’ ’
J
ƒ
œ œ œ
œ œ œ œ œœ œ œ Œ Ó ‰. œ œ œ Ó Œ
V R

j
noth - ing can stand a - gainst. Yeah, in the low -

j
& œœœ œœœ œœœ œœ œœ œœ œœ
œ œœ œ
Œ œœœ œœœ ... œœœ œœœ ‰ œœ œœœ œœœ
œ
œœ ‰ œ œœ œœ œœ œ œ œ œ .
œ œœ œ œ œ œœ œœ œœ œœ ..
noth - ing can stand a - gainst. Yes, I will lift You high in the low - est val - ley.

#
œ œ œ
F C A m7 G F 7(b5) F E7

œ œ œ œ
69

& œ ’ ’ ’ Û Û Û Û ’ ’

œ œ œ œ œœœ œ. œ œ œ œ ‰ œ œ œ
V œ œ Œ ∑ œ
J

r
- est val - ley, Yes, I will sing for joy

j
& œœ œœœ œœ œœ ≈ œœœ œœœ œœœ œœ
œ
œœ
œ
œœ œœ œœ œœ
œœœ œ
Œ œœ œœ # œœ
œ œ
œœ
œ
œœ œœ œœ
œ œ œ
œ œ œ œ
Yes, I will bless Your name. Yes, I will sing for joy

b
œ
A m7 G m9 B maj7/C F C/E G/B A m7

œ œ œ œ œ
& œ
72

Û Û ’ ’ ’ Û Û ’ ’

œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ
V J ‰ œ Œ ‰ œ
when my heart is heav - y. All my days, oh, yes I will!

& œœœ œœ œœ œœ œœ œ
œ œ œœ œœ œœ œœ .. œœœ œœœ œœ Œ œœ œœ .. œœ œœ ‰ œj
œ œ œ œ œ. œ œ œ. œ œ œœ
when my heart is heav - y. All my days, yes, I will. For
 253

YES I WILL (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 8 of 10

Dropout

œ œ œ
F C G A m7 F C G (add4)

Û. y̆
|.
75

& œ ’ ’ ’ Û Û ’ ’ Û |
J
p
œ œœ œ œ œ œ
subito

‰ œœ œ œ œ œ. ‰ œ œ œ œ .bœ œ œ œ
V Ó ≈ Œ Œ Œ
For all my days! For all my days, oh, yes, I will.

& œœ œœœ œœ Œ œœ œœ .. œœ œœœ ... ‰ ∑ ∑

œ œ œ œ . œœ œœ ..
all my days, yes, I will.

œ œ œ œ œ œ œ œ
Yes F C G sus G Am F

J J
79

& Û Û ‰ ’ Û Û ’ ’ Û Û ‰
ƒ
œ œ œ œ œ. œ
V ∑ Œ œ ∑
3
My mind says, "Yes!"

‰ j ‰
yes,

j j
Yes, yes, yes,

j
& ˙˙˙ . œœ œ œœ œ˙ . œ œ œ Œ ˙˙ . œœ œ œœ
œ œœ œ ˙. ˙ œ œœ œ
Yes, yes,

G E m7
œ
F2 F
œ œ œ C 2/E A m11 Am

Û Û ‰ J Û Û Û Û.
82

& ’ Û Û ’ ’ Û
J
œ œ œ œ œ . bœ œ œ. œ
V Œ œ Œ Ó Ó ‰ œ œ œ œ œ
J
3
My heart says, "Yes!" Oh,

j j
& œ˙ . œ œ œ Œ ˙ œ œ œ œ ˙. Œ
˙. ˙ œ œ œ œ ˙.
yes,
 254

YES I WILL (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 9 of 10

b œ œ Cœ œ
>. > > œ
B maj7 F maj7 G 7sus C/E F

œ œ œ œ œ
85

& Û Û Û Û Û Û Û Û Û Û
J

œ œ œ œ. œ œ œ. œ œ œ
V Œ Ó Œ ‰ J Œ Ó
Yes, I will.

j j ‰
œ.
Yes, yes,

& œœ .. œœ œœ œœ ˙˙ .. Œ ˙˙ . œœ œ œœ
œ œ œ ˙. ˙ œ œœ œ
yes. Yes,

# #
œ œ œ œ œ œ œ œ
G sus G G dim7 Am F E sus E A/C
88

& ’ Û Û ’ ’ ’ Û Û ’ ’

‰ œ œ œ œ œ œ œr œ œ œ . œ
V Ó Œ ∑
3
In my pain, I will praise.

j j j ‰ j j
yes, yes,

& œ˙˙ .. œ œ œ Œ ˙˙ . œœ œ œœ œ˙ # œ #œ œ Œ
˙ œ œœ œ ˙ ..
yes,

# b
œ œ œ œ œ 3 >Û . >
D m7 D dim7 C 2/E A m11 Am B maj7 F maj7

œ Û. 4
91

& œ œ Û Û Û Û 4 Û Û 4
J J

∑ ∑ 3 ∑ 4
V 4 4

j
œ œ Œ 3 œ. œœ œœ 4
& ˙ œ œ ˙. 4 œœ .. œ œ 4
˙ œ œ œ œ ˙.
yes.
yes,
 255

YES I WILL (GOSPEL FUSION VERSION) - Lead/Rhythm - Page 10 of 10

Verse Tag

4 j
94 G 7sus F C G A m7

&4 | | œ. œ œ œ ˙ œ. œ ˙
œ. œ ˙ œ. œ ˙
p
4 ∑ Ó Œ œ œ œ œœœ œ Œ œ œ œ œ. œ œ œ œ œ ≈ œ œ œ œ
V4
In the wait - ing, the same God who's nev - er late is work - ing all

4
& 4 www ∑ ∑ ∑

rit.

U
F C G A m7

& Û. Û.
98

Û | Û |
J J

œ
U̇
V œ œ œ œ œ œ ≈ œ œ œ œ œ œ
J J
things out, is work - ing all things out.
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