(Em7)Great is the Lord, He is (D)ho ly and just, by His (A)pow er we trust in His (D)love.
(Em7)Great is the Lord, He is (D)faith ful and true, by His (A)mer cy He proves He is (D)love.
(C)Great is the Lord, and (D)wor thy of glo ry.
(C)Great is the Lord, and (D)wor thy of praise.
(C)Great is the Lord, now (A)lift up your voice, now (Bm)lift up your voice.
(Em7)Great
is the (Bm)Lord.
(Em7)Great
is the (D)Lord.
(Em7)Great is the Lord, He is (D)ho ly and just, by His (A)pow er we trust in His (D)love.
(Em7)Great is the Lord, He is (D)faith ful and true, by His (A)mer cy He proves He is (D)love.
(C)Great are You, Lord, and (D)wor thy of glo ry.
(C)Great are You, Lord, and (D)wor thy of praise.
(C)Great are You, Lord, I (A)lift up my voice, I (Bm)lift up my voice.
(Em7)Great
are You, (Bm)Lord.
(Em7)Great
are You (D)Lord.
(D)Lord.
(D)Lord.
Great are you, (Bb)Lord.
Great are you, (G)Lord.
Great are you, Lord.
This page shows “Great Is The Lord” by Michael W. Smith in our color-coded kid songbook view — every note is colored by pitch (red C, orange D, yellow E, green F, blue G, purple A, pink B) and the lyrics sit directly under each note, so children can sing along while they play. The song is in the key of D at 93 BPM, a slightly more challenging arrangement — practice each phrase slowly first.
This arrangement sits in the key of D at a gentle 93 BPM, which gives you plenty of breathing room to focus on clean chord changes rather than rushing through them. Your left hand follows a walking bass pattern, so practice that independently first — keep it smooth and steady, almost like a calm heartbeat underneath the melody. The chord set includes eleven chords, and the ones to watch are the Bb and C, which briefly pull you outside the key of D; let your hand shift early and stay relaxed through those transitions so they don't catch you off guard. The Asus4 resolving to A is a shape worth drilling on its own because you'll feel it click once your fourth finger learns to lift cleanly. I'd suggest looping the sections where those out-of-key chords appear at about half tempo until the movement feels automatic, then bring the whole piece up to speed. The F# chord can also sneak up on you, so map out the fingering before you play through. Overall, this peaceful, vocal-style melody is a fantastic way to build confidence moving between related and borrowed chords — once these transitions feel natural here, you'll handle them anywhere.