The chord progression for "What a Beautiful Name"

"What a Beautiful Name" is written in the key of E major and uses a straightforward four-chord loop that repeats throughout most of the song. The main progression is E, B, C#m, and A — played in that order. This progression appears in the verse, pre-chorus, and chorus, which makes the song relatively approachable for intermediate players.

The song was written by Brooke Ligertwood and Hillsong Worship and became widely known through the 2016 film Risen. The chord structure is straightforward enough that you can play the entire song using just these four chords, though the original recording includes some variations in rhythm and strumming that give it texture.

Key Takeaways

  • The main four-chord loop is E, B, C#m, A, played in that order and repeated throughout the song.
  • The song is in the key of E major, so all chords are major or minor triads with no accidentals or suspended chords.
  • Beginners can play the song using basic open position chords, though the B chord requires a barre or a simplified fingering.
  • The strumming pattern in the original is a mix of quarter-note and eighth-note rhythms, with dynamics that build from verse to chorus.
  • The bridge section uses the same four chords but with a different rhythmic feel, so learning the basic progression covers the entire song.

Open position fingerings for the main chords

If you are playing in E major using open position chords, here is how to finger each one. E major uses three fingers: place your index finger on the first fret of the G string, your middle finger on the second fret of the A string, and your ring finger on the second fret of the D string. Strum all six strings.

B major is the chord that trips up many players because it requires either a barre or a workaround. The full barre version places your index finger across the second fret of all six strings, then your middle finger on the third fret of the D string, your ring finger on the fourth fret of the A string, and your pinky on the fourth fret of the high E string. If a barre is uncomfortable, you can play a simplified version using only the D, A, and high E strings — place your index on the second fret of the D string, your middle on the fourth fret of the A string, and your ring on the fourth fret of the high E string.

C#m (C-sharp minor) is played with your index finger on the first fret of the B string, your middle finger on the second fret of the D string, and your ring finger on the second fret of the A string. Strum from the A string down. A major uses your index on the first fret of the B string, your middle on the second fret of the D string, and your ring on the third fret of the high E string. Strum from the A string down.

Strumming patterns that match the recording

The original recording uses a mix of rhythmic feels across different sections. In the verse, the strumming is relatively sparse — often a single downstroke per beat or a quarter-note rhythm with occasional eighth-note fills. This creates space and lets the vocals sit forward in the mix.

As the song moves into the pre-chorus and chorus, the strumming becomes fuller and more rhythmic. A common pattern is to play downstrokes on the beat and add eighth-note strums between beats, building energy. The chorus often uses a steady eighth-note rhythm with emphasis on the downbeats, which gives it a driving feel without being overly fast.

The bridge strips back to a simpler rhythm again, often returning to quarter-note or half-note strums. This dynamic shift — sparse to full to sparse — is part of what makes the song work, so pay attention to when you add and remove strums rather than playing the same pattern throughout.

Capo placement and transposing to other keys

The song is written in E major, and most recordings use that key. If you want to play it in a different key, you can use a capo to shift the entire progression up or down. For example, placing a capo on the first fret and playing the same fingering patterns will put you in F major. A capo on the third fret shifts you to G major.

If you prefer to avoid a barre chord on the B, you could transpose the song to a key where the second chord is easier to play. Moving to the key of A major (using a capo on the fifth fret) would give you A, E, F#m, and D — all of which have straightforward open position fingerings. Experiment with different capo positions to find a key that feels comfortable for your hand size and playing style.

Common mistakes and how to avoid them

The most frequent issue is rushing the chord changes, especially the transition from B to C#m. These two chords share some finger positions, so practice moving between them slowly until your fingers find the shape without looking. Use a metronome set to a slow tempo — around 60 beats per minute — and play one chord per beat until the changes feel smooth.

Another common problem is muting strings unintentionally during the B chord. If you are using the full barre, make sure your index finger is pressing firmly across all six strings and that your other fingers are not accidentally touching adjacent strings. If you are using the simplified three-string version, be deliberate about which strings you are strumming so you do not accidentally hit the muted strings.

Finally, many players play the entire song at the same volume and with the same strumming intensity. The recording builds and releases tension, so vary your dynamics. Play softer in the verse, build through the pre-chorus, and hit harder in the chorus. This musical approach makes the song sound more like the original and keeps listeners engaged.

Adding fingerpicking or embellishments

Once you are comfortable with the basic strumming, you can add fingerpicking patterns to create a more delicate or intricate texture. A straightforward approach is to pick the root note of each chord on the beat, then add the other notes of the chord on the offbeats. For E major, you might pick the low E string, then the G, B, and high E strings in sequence, creating a rolling pattern.

The original recording includes some arpeggiated moments, especially in the intro and verses, where chords are played one note at a time rather than strummed all at once. Practicing a basic arpeggio pattern — playing the root, third, and fifth of each chord in order — gives you a foundation to build on. Once you have that down, you can listen to the recording and add extra notes or vary the pattern to match what you hear.

Frequently Asked Questions

Do I need to use a capo to play this song?

No, you can play it without a capo in the key of E major using open position chords. A capo is only necessary if you want to transpose the song to a different key or if you prefer the sound of a higher key for your voice when singing along.

What is the easiest way to play the B chord?

The simplified three-string version — placing your index on the second fret of the D string, your middle on the fourth fret of the A string, and your ring on the fourth fret of the high E string — is easier than a full barre. Strum only those three strings. Once you are comfortable, you can work toward the full barre version.

How fast should I play this song?

The original recording sits around 80 to 90 beats per minute, which is a moderate tempo. Start slower while you are learning the chords and transitions, then gradually increase the speed as your muscle memory improves. Use a metronome to keep time and avoid rushing.

Can I play this song in a different key?

Yes. Any key works as long as you maintain the same interval relationships between the chords. Using a capo is the easiest method — each fret up shifts the key up by one semitone. Experiment to find a key that suits your vocal range or playing comfort.

What should I practice first if I am new to this song?

Start by learning the E, A, and C#m chords without a capo, since those are the easiest. Once those feel solid, add the B chord. Then practice the four-chord progression slowly, focusing on smooth transitions. Only after the changes feel natural should you add strumming patterns or speed.