You’re sitting at the piano or holding your guitar, and you want to play that one song. You know the one. It’s a staple. "Jesus, Name Above All Names" has been around since the late 70s, written by Naida Hearn, and it somehow manages to feel timeless even though it’s technically "vintage" worship music now. But here’s the thing: if you search for jesus name above all names chords, you’re going to find a dozen different versions that all claim to be "correct." Some are way too stripped back. Others have these weird jazz substitutions that make a simple worship song sound like a lounge act.
It’s frustrating.
I’ve spent years leading worship in small chapels and large auditoriums. Honestly, the beauty of this specific song is its brevity. It’s a short chorus. Because it’s so short, your chord choices matter more than they would in a sprawling 8-minute epic. If you hit a clunker or a chord that’s just slightly "off" in the progression, everyone notices. It’s like a typo in a one-sentence email.
The Standard Progression: Don't Overthink It
Most people want the version in C Major or D Major. If you’re just starting out, stick to C. It’s cleaner. The basic structure follows a very predictable folk-worship pattern from that era. You start on the Root (C), move to the 3rd (Em), then the 4th (F).
But wait.
A lot of lead sheets will tell you to just play a straight G chord for the "Beautiful Savior" line. Don't do that. It sounds empty. Try a G7 or even a Gsus4 resolving to G. It adds that tiny bit of tension that makes the resolution back to the C chord feel like coming home.
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The progression usually looks something like this:
C - Em - F - C
F - C - G - G7
C - Em - F - C
F - G - C
See? It’s basically a circle. You’re hovering around the tonic. If you’re playing on guitar, use an open C shape. If you’re on piano, keep your right-hand movements small. You don't need to jump all over the keyboard to make this sound "heavenly." In fact, the more you jump, the more you distract from the lyric, which is the whole point of the song anyway.
Why the Key of D is the Secret Weapon
While C is easy, D Major is where this song really breathes. Why? Because of the F# minor chord.
When you play jesus name above all names chords in D, the transition from D to F#m creates a specific "lift" in the melody. It matches the vowel sounds in the name "Jesus." It’s a phonetic trick musicians have used for centuries.
Try this:
D (Jesus...)
F#m (...name above all names)
G (Beautiful...)
D (Savior...)
A (Glorious...)
D (Lord...)
If you’re a guitar player, using a capo on the 2nd fret and playing C shapes will give you that D Major sound with the resonance of open strings. It’s a "pro move" that requires almost zero extra effort. Honestly, most of the "pro" worship sounds you hear on recordings are just people using capos to stay in easy finger shapes while hitting keys that fit the singer's range.
Dealing with the "Bridge" Problem
Technically, this song doesn't have a bridge. It’s a chorus that repeats. But many modern worship leaders like to mash it up with other songs or add a "spontaneous" section. If you do this, you have to be careful. Because the chord structure is so traditional, jumping into a modern bridge with a 6-4-1-5 progression (like a Hillsong or Bethel track) can feel like a total gear grind.
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If you want to extend the song, stay within the family of the key. Use the Am (the 6 minor). It provides a darker, more reflective tone that fits the "Emmanuel" line perfectly.
Common Mistakes People Make with This Song
I’ve seen it a thousand times. A keyboardist wants to show off and starts throwing in diminished chords or Major 7ths where they don't belong. Look, I love a good Maj7. It’s airy. It’s "vibey." But if you put a Cmaj7 on the first word of "Jesus," you’ve just turned a reverent hymn into a bossa nova track.
Keep the triads strong.
Another mistake? Rushing the tempo. This isn't a march. It’s a meditation. If you look at the original recordings from Scripture in Song back in the day, the tempo is slow. Like, really slow. If you’re playing the chords and it feels "boring," your instinct might be to speed up. Resist that. Instead, vary your dynamics. Play the first time through softly (pianissimo) and then build the volume on the second or third repeat.
The Gear Factor: Does it Change the Chords?
If you’re playing an acoustic guitar, your chord voicings should be "thick." Use all six strings. If you’re playing an electric guitar with a lot of ambient delay and reverb (the "shimmer" effect), you should actually play fewer notes.
When you have a lot of reverb, a full 6-string chord becomes a muddy mess. Instead, just play the top three strings (the G, B, and high E). This allows the effect to ring out without clashing with the bass player or the singer’s frequency.
For piano players, keep your left hand simple. One note—the root. Maybe an octave if the room is big. If you start doing "walking" bass lines in your left hand while playing these chords, you’re going to fight with the melody.
Transposing on the Fly
Sometimes you start in C and realize the congregation is struggling to hit the high notes. Or maybe the lead singer's voice is cracking. You need to know how to move these chords quickly.
If you move from C to G:
C becomes G
Em becomes Bm
F becomes C
G becomes D
It’s just basic transposition, but in the heat of a service, it can be terrifying if you haven't practiced it. I always suggest having a "cheat sheet" taped to the back of your guitar or sitting on your keyboard stand. Even experts get brain fog when the lights are on.
The Naida Hearn Legacy
We should probably talk about why we’re even still playing these chords 40+ years later. Naida Hearn wrote this in New Zealand. It wasn't part of some big corporate publishing machine. It was "found" music. That’s why the chords feel so "folk." They weren't written to be a radio hit; they were written for a small group of people to sing together in a room.
When you play it, try to tap into that. It’s not a performance.
Getting the "Emmanuel" Section Right
The transition to "Emmanuel, God is with us" is the emotional peak of the song. Most people stay on the same chords as the first half. That’s fine. It works. But if you want to add a bit of "gravitas," try dropping to the relative minor (Am in the key of C, or Bm in the key of D) right before the word "Emmanuel."
It creates a "dip" in the music that makes the following "God is with us" feel like a massive resolution. It’s a small tweak, but it changes the entire atmosphere of the room.
Step-by-Step Implementation
- Pick your key based on the singer, not your preference. If they have a lower range, go with C. If they have a higher, clearer tone, D or even E is better.
- Master the transition from the Root to the 3-minor. (C to Em or D to F#m). This is the "soul" of the song. If you miss this change, the song loses its identity.
- Control your dynamics. Start with just a light strum or a single-finger press on the keys. Build only when the lyrics move from the name of Jesus to his titles (Savior, Lord).
- Avoid "Over-playing." If you find yourself adding 9ths, 11ths, or 13ths, stop. Ask yourself if it helps the person in the back row sing along or if it’s just for you.
- Practice the "G7 to C" resolution. It sounds old-fashioned because it is, but it’s the most satisfying way to end this specific piece of music.
- Use a Capo if you're on guitar. Don't be a hero and try to play in E-flat barre chords if you don't have to. Keep it simple so you can focus on the worship rather than your fingering.
By focusing on these specific chord movements and respecting the song's folk roots, you'll find that "Jesus, Name Above All Names" carries much more weight than if you tried to modernize it with complex arrangements. The power is in the simplicity.