Hosanna (chorus variation)

Here's another post applying my 'chords on the first three strings' series, under theory and techniques.

I used three main chord shapes for this. Here are the first two, the E and B chords:


We are left with two chords, C#m and A.

I realised that the two chords used the same note on the high E string.

I hence replaced the E string note for the A chord with this note, so it appears in every chord, and gives a sense of continuity. The idea is something like how you might leave the E and B strings open while playing chords in the key of E.

-7--(used to be 9)-

This converted the A chord to an Asus2, a more complex sounding chord.

We are also left with C#m. The way to keep the note on the E string is to convert the C#m chord to a C#m7. To do this, simply play an E chord, C#m's relative major. This is because a C#m7 chord has the same notes as a E/C# chord (E chord with a C# bass). You can do this for any chord, including power chords, but make sure the bassist is playing a C# note on the bass.

See here for more on relative keys and chord families.

Hence the song goes like this:
E B C#m7 A


Anonymous said...

your 'chords on the first three strings' are actually triad arpeggios ;)

kenny said...

Yep... but I wanted to avoid using any technical terms, so I stuck to 'chords on the first three strings'.

Anonymous said...


Anonymous said...

awesome site!~
thanx for all the great lessons!

Anonymous said...

this website is great
thankyou for uploading those lessons and clips
this helps a lot haha

i practice here almost everyday!

God bless~

Anonymous said...

I was blessed by this lesson. I am a guitarist in a worship team.
God bless you

Anonymous said...

hmm I read through your lessons and I'm wondering is there a certain time when you use 1st or
2nd variation or first 3 strings and first 4 strings. Cause I usually make up lead parts for the songs we play and I'm wondering can I just use one variation.

Skapi said...

Hmm.. in the previous page(song list) this page is called Hosanna (Bridge variation) while it's a Chorus variation.

Anonymous said...

hey ... so E and C#m7 - is the same thing then?

Arbie Samong said...

"hey ... so E and C#m7 - is the same thing then?"
nope, but they can be 'substituted', hence are considered 'chord substitutions'... if you check the three notes of these chords, two are in common (E and G#). As a basic rule, these can make for substitutions for a family chord given a key:
- I, iii, iv
- ii, IV
- V, vii
so you see, in the key of E, Emaj is I and C#m7 is vi. Which means that when the E major chord is being played, you can sneak in a bit of C#m7 and it will sound right, because they have certain notes in common ;-)

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