Risen

🎸 Strum Pattern — 1st Chorus

This song opens directly with the chorus before the intro — a powerful choice that declares the message immediately. Start with just a held E chord alone, then move into G#-A-C#m-B. The G# major here is a bold choice — it is the third of E major played as a major chord, giving the opening a triumphant, anthem-like feel. Play it confidently and let it ring.

The intro uses E/G#-A-C#m-B as its base loop. E/G# means an E major chord with G# as the lowest bass note — on guitar, fret the G# on the low E string at the 4th fret while playing a standard E shape. This gives a smooth bass movement rather than a hard root-note jump. The fourth line introduces F#m-E-D#m-C#m, a descending chromatic movement that creates strong forward momentum into the stanza.

The stanza uses A-B-C#-D#-E as a chromatic ascending line — each chord is one semitone higher than the last, creating a relentless upward climb. This figure appears twice per verse with G#-B-C#-G# between them as a grounding moment. Play the ascending line with increasing energy each step, and land the G# firmly to reset the tension.

The 2nd interlude adds movement: after the E and A, a melodic fill runs A-B-C#-B before landing on F#m then back to A. This sets up the return of the chorus. Play the A-B-C#-B fill smoothly as a single flowing phrase, not choppy individual chords. Think of it as a vocal riff played on guitar or keys.

The bridge uses the same A-B-C#-D#-E chromatic climb from the stanza but cuts it short on the second pass, ending at C# then jumping to E. This compressed version feels urgent and conclusive. The first pass builds; the second pass resolves. Make the landing on E in the second line feel final and weighty.

The bridge riff is a chromatic melodic figure. It descends: A-G#-F#-E. Then continues down chromatically: D#-C#-C (note the C natural — this is outside the key and creates strong tension). Then a tight figure: C#-C-C#-D#. Then it climbs: E-F#-G#. Finally it resolves: B-A-B-E. Play the C natural moment with intention — it is the harmonic surprise of the whole arrangement.

🔊 Dynamics — Intro

After the 1st chorus declaration, the intro typically drops back in volume — not all the way to silence, but enough contrast that the congregation can feel the song breathe before building again. Let the intro feel like a runway: you are picking up speed for the full song that follows.

The first interlude (E then A) is a breath — a moment of space. Play it simply and softly. Two chords, let them ring. This contrast between the intensity of the stanza and the openness of the interlude is intentional. Do not fill this space. Silence inside the interlude is acceptable and powerful.

🎵 Band Direction

Electric guitar drives this song. The E/G# voicing in the intro and chorus is better handled on electric with a moderate gain or clean tone. Acoustic guitar can support the stanza and bridge. Keys: hold a pad through the intro, add piano on the stanza chord climbs for rhythmic push. Bass: follow the bass notes of slash chords (G# under E/G#) and the root of every other chord. Drums: the chromatic stanza lines should be accented with a kick on each chord hit.

→ Transitions

The chorus chord loop (E/G#-A-C#m-B then E/G#-A-C#m-D#dim then back) is also the intro loop. This means returning to the chorus from any section feels natural — you are always coming back to the same progression the song started with. The D#dim chord is the signal that a new section is coming — when you see it, know the loop will break next.

🎤 Vocal

Key of E is bright and sits well for male worship leaders with a higher range. If it feels too high, a capo 2 playing D shapes will sound in E. The chromatic stanza lines (A-B-C#-D#-E) follow the melody closely, so the chord changes happen quickly — brief players should practise the stanza transitions slowly before rehearsal speed.