Using Chord Lines to Chart Songs

In recent years, I’ve become ever more frustrated with charting songs for guitar. For a long time, that’s consisted of simply writing lyrics with the chord changes above them. If I’m familiar with the song, I can usually get by with this method, and I have for many, many years. The band I play with also uses song charts, which consist of listing the basic structure of the song and the chord changes. It’s not bad, but in the past few months, I’ve wanted a little more. When learning new songs, I seemed to miss the big picture, the conceptual whole of the song I was trying to play. One solution I’ve found helpful is using chord lines.

What are chord lines, you ask? Well, several months ago when I started using them with greater earnest, I scoured the internet looking for some kind of guide, but to my surprise found nothing. Turning to paper and print, I scanned my book spines and found an undersized book with its black spiral bound pages. Rise Up Singing. Compiled by Peter Blood and Annie Patterson, the book contains lyrics for over 1200 songs. An indispensable classic, in my opinion. It’s the place where I first learned about chord lines.

Chord lines are a method of charting the chords for a song developed by Peter Blood. Rather than writing the chord changes above the lyrics, which is the typical way we often see charted songs or fake sheets, a song charted using chord lines isolates the chord progression for a verse or chorus, recording the basic pattern of chords and beats for one line of lyrics. The break for a new grouping of chords, as well as another line of lyrics, is marked by a slash. For repetitions of chords, the method uses dashes, and if a whole measure of chords is to be repeated, there will be an empty space between a pair of slashes. Using this method requires much less space when charting a song, and the simple markings and grouping of chords communicate the basic structure of song in a way that can be quickly understood by the musician.

An image of the Wild Rover from Rise Up Singing
from Rise Up Singing by Peter Blood & Annie Peterson, p. 237

I like the method because I struggle with rhythm sometimes. It’s nice, therefore, to have the chords and beat of the song illustrated in a way that’s easy to understand. That helps me get a feel for the song much faster, and more importantly, conceptualize the overall structure of the song. When I’m charting songs for myself, I often use this method because it helps me account for the correct number of beats in each measure or line of lyrics. Granted, it looks a bit strange at first, but once I became familiar with it, I felt quite at ease using the method.

The genius of the method is that of saving space. Whereas traditional songbooks might become quite large with only a few dozen songs, the 1200 songs in the Rise Up Singing take up far fewer pages. In fact, there are usually about four songs on each page of the book. To me, that’s incredible, and as a guitarist, it’s convenient to have such a great number of songs collected in such a small book.

It really bothered me, however, that I couldn’t find anything more about the origin of notating songs in this method, especially something I think so useful. So back to the internet, and instead of coming away disappointed, I found contact information for the authors, Peter Blood and Annie Patterson. After a couple emails, I had some answers.

According to Peter Blood, he invented the method of chord lines. Although he had been working on a version of the system for several years, he dates the method back to Winds of the People, his songbook self-published in 1979 and the predecessor to Rise Up Singing. Blood writes, “I think I had used a modified version in earlier song sheets that had been mimeographed for groups I was part of, but I don’t think I used the consistent system of relating the chords to the downbeats of the rhythm until we created Winds of the People.” Over the years, he says many people have expressed appreciation for the system while others seem a bit mystified by the groups of chords, dashes, and lines that accompany the lyrics.

Despite those who might be a little lost, Peter Blood cites some of the same reasons I did for using the method. He told me the system seemed the best possible way to show where the chords fall without writing the chords above the lyrics, and ultimately, that saves space. He also finds playing and reading chords from these sheets easier. “It pops out more,” he says, when comparing his charts to the traditional method of notating the chords. I agree, too, that the method seems to declutter the page, stripping away the extraneous to create cleaner, simple song sheets.

For me, as well as many others, simplicity makes a world a difference. The irony is that Blood’s chord lines are a simplification that communicates more than the traditional method of charting songs. To make a comparison, his method acts like a snapshot of the song’s deep structure, and as we have so often heard, a picture is worth a thousand words.

4 Replies to “Using Chord Lines to Chart Songs”

  1. Reinventing the wheel is good if it simplifies things. I guess that I’m just so accustomed to the old standard methods employed in most publications that I don’t give it a second thought. Once I start to play along with the song and view the chords it all falls in place for me. So, when I prepare my own song sheets to pass out to others, I automatically create them the same way. I do agree that placement of chord locations is not always perfect but I find I place them more accurately than many publications I’ve come across. My pet peeve is when my ears don’t agree with the chords designated as I find that they are often questionable LOL! But they re certainly better now compared to the ones in the ’60s. I also do my best to keep the song to a single page/sheet of paper–I hate turning pages to read lyrics etc.


    1. Thanks for reading, Kristin. Over the years, I’ve used lots of tablature from Guitar World magazine or Ultimate Guitar or many of the books I’ve bought since high school to learn my favorite songs. It’s a great tool. However, tablature takes up a tremendous amount of space on the page. If my goal is just to outline the chord structure of a song, I don’t want to be flipping through pages and pages, especially if a song is repetitive. And most times, at least when I’m playing with band, I don’t need lyrics either, because I’m not the lead singer. That’s where chord lines fill in the gap for me. They are separate from the lyrics and compact on the page whereas tablature isn’t.

      I believe, too, that using tablature definitely hurt my ability to play by ear. When I’ve learned songs on guitar, I used to go straight for a copy of the tab. Why not? I wish that wasn’t so, because I think I would be a better musician today if I hadn’t relied on tab so much in the past. Instead of learning songs by my ears, tablature taught me to learn them with my eyes. When I get together with other musicians, I can tell my ability to play by ear is weak, and I think that’s because I used tab so much in the past.


  2. I think you make a good case for an instrumentalist using this method. You’re right too that it saves space. When I saw those books using this system I think I surmised too that it may be partly to avoid issues with printing songs in copyright. By separating and somewhat abstracting the chords from the lyrics it may be more like “the song goes sort of like this.” As I recall I’ve seen versions that don’t even put the chords interspersed with the lyrics at all.

    I myself (despite not having a good singing voice) am often singing and playing the chords. I feel that getting the vocal to work as well as it might with my limitations is the primary goal, and since I don’t sing a small repertoire or have anything like a good memory anymore, I prefer to have the chords above the words. And of course, like many a folk musicians, adding, subtracting, or mutating bars and time signatures is something I’ll do–part of what makes a lot of folk musicians hard to fit in a band context.


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