In reality , what is played in that sequence is :
C ( Cadd9 ), C / Bb ( Cadd9 / Bb ), Am , Am / G , Fsus2
The real chords are not at all as complicated as they look , but the difference made is significant . To lose all of these relationships of suspension and tension between the chords is to lose the chord progression entirely . Charts you find online will call the second chord “ Bb ” even though , if it was a Bb voicing , it would have a 2 , a b5 , and a 6 in it . But what you ’ re actually hearing in the track is a guitarist playing a standard C chord and then repositioning his fingers in order to drop the C to a Bb on the A-string . From there , the chord is unchanged .
Incidentally , that ’ s exactly what makes it interesting . These chord changes move what they must while holding onto what they can . They change while remaining tethered to where they just were whenever possible . Great songwriters lean heavily on this technique to establish a dialog between their chords , so that when we arrive at a new change , where we just were is still in view , and where we ’ re going next is implied .
Everyone else plays each chord in a vacuum , which is like leaping from island to island with no bridge between them - no story being told about the journey the chords are taking you on . Each island is as random or interchangeable as the next . There ’ s no context . No consequence .
Without these sorts of links between our intervals , we miss out on the opportunity for chord melody to sing to us . Chord changes can sing beautifully , before we ever open our mouths to add our voices . We need only work with them to do so .
perfectly . The melody repeats the same phrase that was sung over the first chord , so there ’ s no question of an unexpected chord change causing us to stray too far from “ accessibility .” Still , we reap the benefits of that new chord adding mystery , adventure and depth to what we ’ re hearing . It unsettles our ears just enough , leaving room for something to happen .
What happens over the chorus is a progression of descent . Each new change lowers the bass note even when the rest of the chord is unwilling to move . The effect is like something high above being brought down to earth , mirroring the appeal made by the song ’ s lyrics . Chords “ fall ” as the lyrics call for the same . “ Come to me / Rescue me / Fall on me ” is served by the vehicle of the progression , which provides that request with musical gravity and grounding .
VERSE 2 Sanctify — I want to be set apart Right to the very heart Prophesy to the four winds And breathe life to this very place How long will it take How long will I have to wait
AVOIDING “ SECOND VERSE SYNDROME ” Second Verse Syndrome is when a second verse says everything the first verse said , only worse . There ’ s no such problem here , as the songwriters have honored the second verse with depth and richness and scale . We find here that the parameters and ramifications of this prayer are expanding . And not only does verse 2 continue in the sentiment of verse 1 , it develops the ideas of the chorus as well .
The writers accomplish the nifty trick of using a loaded religious word and then unwrapping it for us as the lyric develops . This is a great tool to utilize in congregational writing , and in this case , it ’ s the title of the song . “ Sanctify ” is immediately followed by “ set apart ,” which happens to be what “ sanctify ” means . And that ’ s an excellent way to ensure we all know what we ’ re singing about .
VERSE 3 Lifted up , I ' ve climbed with the strength I have Right to this mountaintop Looking out , the cloud ' s getting bigger now It ' s time to get ready now
From a final set of cacophonous choruses and musical interludes , the song ends with a final verse , lifting out of the descent and looking forward and upward . The arrangement strips down and the tempo slows . The lyrics end with anticipation and waiting , and the chords follow suit in landing on that Fsus2 , as though refusing to resolve to C .
Whether by design or by intuition , there is so much in “ Sanctify ” that is so very much in sync .
We find words and music that are constantly reaching in the same direction , carrying and illuminating each other . The hallmark of a great song .
Featured lyrics and music from “ Sanctify ” by Martin Smith and Stuart Garrard Copyright 1997 Curious ? Music UK ( Admin . by EMI Christian Music Publishing )
That C / Bb , the second chord of the chorus , destabilizes the progression in the best way . A dominant 7th digs down from the tonic C , which is still in view . It ’ s the sort of chord change that ’ s typically ignored or disallowed in congregational music , but here it functions
“ Sanctify ” — studio version from King of Fools
Kevin MacDougall Worship leader , published and recorded songwriter , musician and podcast producer . macdougall . k @ gmail . com