On August 17, I was excited to see a new EP from Chris Tomlin drop. As a worship leader, I lead in much the same style as Chris and I’m always anxious to see what he will put out next. I met Chris at Worship Together 2000 in San Jose, California. In fact, for me, that’s where the story of the cut capo began. Chris had just released his The Noise We Make record, on much of which he played with a homemade cut capo. At that time, he called it a ‘Foote Capo’ because he had learned the technique from Billy Foote.
Chris and his band were flying home from San Jose on the same flight to Houston that I was on, so we had a good visit in the airport and I got to begin picking his brain about the cut capo. He was playing mostly by ear, which is what I would encourage you to begin doing as well as you will find new fingerings and movements just by exploring. Though I had been playing guitar for 20 years, I had never been exposed to playing in alternate tunings. Through visiting with Chris, I was able to understand that playing with the cut capo would take a new way of thinking. As I studied and diagramed chord shapes, I quickly found that this new way of thinking was actually extremely simple! For those of you who have never tried it, I sure hope you will, as I believe there is much more to be learned and explored with the cut capo.
“Satisfied” is the song that grabbed my attention first from his new five-song EP, Nobody Loves Me Like You. It’s got a great groove from the start; it’s something that the congregation can sing and shout loud with phrasing that takes this old Baptist-boy back to the hymn, “Count Your Many Blessings.”
The chart is written in the key of ‘A’ so you can capo up and sing it where it’s comfortable. To play with the original recording, place a full capo on fret 4 and the cut capo on fret 6. In that position, you’ll be playing in the key of ‘C#.’
Playing this song with the cut capo is a lot of fun with a straight, full-on strum in the chorus. With the cut capo, you can strum all six strings for all chords. The verses are best with a Tomlin-esque palm-muted rhythm. Bridge one is full-on, like the chorus, and bridge two is best with diamonds (whole note strums). Find your style and have fun with it!