The chord progression for "What a Wonderful Name"

"What a Wonderful Name" is a modern hymn written by Brooke Ligertwood and Hillsong Worship. The song uses a straightforward chord progression that repeats throughout most of the song, making it accessible for players at an intermediate beginner level or above. The main progression moves through four chords: E major, B major, C# minor, and A major.

This progression (E–B–C#m–A) appears in the verse, pre-chorus, and chorus sections. The song stays in the key of E major, which means all the chords belong naturally to that key. If you are comfortable with basic major and minor chord shapes, you already have the foundation to play this song.

The rhythm is steady and even throughout. Most players use a straightforward down-up strumming pattern or a fingerpicking pattern that emphasizes the root note of each chord. The tempo sits around 76 to 80 beats per minute, giving you time to change chords cleanly without rushing.

Key Takeaways

  • The main chord progression is E–B–C#m–A, and this four-chord pattern repeats in the verse, pre-chorus, and chorus.
  • All four chords are in the key of E major, so they sit naturally together without accidentals or unusual fingerings.
  • The song works well with either a steady strumming pattern or fingerpicking, depending on your preference and skill level.
  • The bridge section introduces a key change to F# major, which means transposing the main progression up one half-step.
  • Capo placement is optional—playing in E major without a capo works, but some players use a capo to shift the key higher.

Chord shapes and finger placement

E major is one of the first chords most guitarists learn. Place your index finger on the first fret of the G string (third string), your middle finger on the second fret of the A string (fifth string), and your ring finger on the second fret of the D string (fourth string). Strum all six strings. This chord has an open, ringing quality that works well at the start of the progression.

B major requires a barre across the second fret. Lay your index finger flat across all six strings at the second fret, then place 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. This is a fuller, more complex shape, but it sits naturally after E major in this song.

C# minor uses a similar barre shape to B major but one fret higher. Barre your index finger across all six strings at the fourth fret, then place your middle finger on the fifth fret of the D string and your ring finger on the fifth fret of the A string. The high E string stays open at the fourth fret. This chord has a minor, introspective quality that fits the song's emotional arc.

A major is another beginner-friendly shape. Place your index finger on the first fret of the B string (second string), your middle finger on the second fret of the D string, and your ring finger on the second fret of the G string. Strum from the A string down, leaving the low E string unplayed. This chord provides a bright resolution before the progression repeats.

Strumming patterns that work for this song

A straightforward down-up pattern works well for "What a Wonderful Name." Strum down on beat one, up on the "and" of beat one, down on beat two, up on the "and" of beat two, and continue this pattern through beats three and four. This creates a steady, even rhythm that sits well with the song's tempo and does not require complex timing.

If you prefer a fuller sound, try a pattern that emphasizes the downbeat: down, down-up, down, down-up. This gives the song more drive and works especially well in a group or worship setting where the guitar needs to carry more of the rhythmic weight.

For fingerpicking, start with the root note of each chord on the downbeat, then pick the higher strings in a straightforward ascending pattern. For example, on E major, pick the low E string, then the G, B, and high E strings in sequence. This approach takes more practice but creates a more delicate, intimate texture that suits the song's lyrical content.

The bridge section and key change

The bridge of "What a Wonderful Name" moves up one half-step to the key of F# major. This means the chord progression becomes F#–C#–D#m–B. If you are playing without a capo, you will need to shift every chord up one fret from the original progression. If you are using a capo, move it up one fret for the bridge section only, then move it back for the final chorus.

The key change creates a sense of lift and intensity that matches the emotional peak of the song. Many worship songs use this technique to build energy toward the final chorus. Practice the transition smoothly by thinking of it as the same shapes you already know, just played one fret higher.

Using a capo to adjust the key

You do not need a capo to play "What a Wonderful Name" in its original key. However, many players use one to shift the song higher or lower to match a vocalist's range. If you place a capo on the first fret, the progression becomes F#–C#–D#m–B, and the song sounds higher and brighter. A capo on the third fret raises it further to G#–D#–E#m–C#.

Conversely, if the original key feels too high for your voice, you can play the song lower by tuning down a half-step or a full step before playing the open E major shapes. This keeps the same fingerings but lowers the overall pitch. Experiment with different capo positions or tunings to find the key that feels most comfortable for your range.

Common mistakes and how to avoid them

The most common mistake is rushing the chord changes, especially the transition from B major to C# minor. Both chords use a barre, and moving between them requires lifting your index finger slightly while keeping your other fingers in place. Practice this transition slowly, making sure each chord rings clearly before moving to the next one.

Another frequent issue is muting strings accidentally during the B major chord. Because it requires a full barre, any finger that is not perfectly flat will dampen the strings it touches. Press firmly with your index finger and angle your other fingers so they do not touch the strings they should not. If some strings sound dull, adjust your finger position slightly and try again.

Finally, many players struggle with the rhythm during the bridge key change. Because you are moving to new fret positions, it is straightforward to lose the tempo. Practice the bridge section separately at a slow tempo, then gradually increase the speed until it feels natural. Using a metronome or a backing track helps you stay locked into the original tempo.

Frequently Asked Questions

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

No. The song works perfectly well in the key of E major without a capo. However, if you want to shift the key higher or lower to match a vocalist's range, a capo is a quick way to do that. Experiment with different capo positions to find the key that suits your voice.

What if I cannot play a full barre chord yet?

You can simplify B major and C# minor by playing partial shapes. For B major, play only the top four strings instead of all six. For C# minor, do the same. This reduces the finger strength needed and still produces a recognizable chord, though it will sound thinner. As your finger strength improves, work toward the full barre shapes.

How fast should I strum this song?

The original recording sits around 76 to 80 beats per minute. Start slower—around 60 beats per minute—to get the chord changes clean, then gradually increase the tempo. A metronome or backing track helps you stay consistent as you speed up.

What is the difference between the verse and chorus chords?

The verse and chorus use the same four-chord progression (E–B–C#m–A). The main difference is in the rhythm and how long each chord is held. The chorus often stretches certain chords longer for emphasis, but the underlying progression stays the same throughout.

Can I play this song in a different key?

Yes. Transpose the entire progression up or down by the same number of half-steps. For example, if you move everything up two half-steps, the progression becomes F#–C#–D#m–B. Use a capo or tune down to shift the key without changing your fingerings, or learn the new chord shapes in the new key.