The SATB parts we considered more important to the identity of the hymnal, so we were not willing to modify them just for the sake of guitar chords. Like I said, I do expect folks will write in their own chord changes. Sometimes the SATB and the chords were just not reconcilable. Not saying every chord decision was the best one possible though.

I understand the goal to simplify the chords. What I don’t understand is why there are often wrong chords. It’s written SATB. If the vocalists sing the 4-part harmony, it’s a problem every time the guitar player strums a clashing chord. If simplifying chords was the goal, the SATB notes should have been modified to match as closely as possible.

Consider the first full measure of “O Father, You Are Sovereign” (92), and let’s say the guitar is going to strum on beats one and three of that measure. The guitar is given a B-flat chord. The melody note is an F, so the alto and tenor should have harmonized it with a B-flat and a D and the bass could have doubled one of those notes. Instead, the SATB parts spell out an F chord in first inversion; the basses are singing an A which is a clashing half-step under the B-flat being played by the guitar on the downbeat.

On the third beat of that same measure, the guitar is still playing a B-flat chord while the voices sing an E in both the alto and the bass. If the alto and bass were singing B-flat and D notes, the G note in the melody would have been fine despite not being in the chord. Singing what is technically a G-minor chord over a B-flat would sound kind of nice, in fact, as it’s a G-minor seventh chord in first inversion. A diminished E triad against a B-flat chord as written, though, is an ugly sound.

I know it’s not everyone’s preference. I do expect that those who want to use it for education (or who are playing solely on piano) will write in their own changes.