The Church Pianist: Need Your Thoughts

New website: http://thechurchpianist.com

Your thoughts would be appreciated.

I know these articles are read by a
a varied group of pianists.

Would you like to see more detailed
explanations, or maybe more examples
for the same concept?

My goal is to explain concepts in a
concise manner that the average pianist
can grasp.

It's obvious that I won't be able to meet
every one's needs but would be grateful
for any suggestions/feedback.

If the reaction 'word list' below is not sufficient....
just leave a comment to help me better understand
your response.

Thanks for your time!

Sincerely,

Jenifer

The Church Pianist: Chord Substitutions with Jesus Paid it All

New website: http://thechurchpianist.com

I've mentioned before that I enjoy
accompanying vocalists because I'm
not enslaved to the melody.



Chord substitutions add so much
life and warmth to a song.


I think in chord frames as I pointed out
in previous articles.




Warning:

This type of free-style accompaniment
only works for vocalists that are confi-
dent with the melody.




I find that it throws some vocalists that
depend heavily on the pianist for the
melody.




The pianist can still use chord substitu-
tions but must adhere to the melody for
vocalists needing the extra support.




Editor notes for: Jesus Paid it All
in the Key of C Major




Measure # 2:

The vi chord (a,c,e) substitutes the I chord
*This adds a nice chord variety when the
I chord lasts for 3 or more beats.




Measure#3:

The ii chord subsitutes the V7 and then re-
solves back to the V7 on the 3rd beat.




Measure#5:

The iii chord substitutes the I chord which
progresses nicely into a vi chord in the next
measure.




Measure#6:

The vi chord replaces the I chord.
The ii diminished chord replaced
the I chord on the word: "Find"
and pleasantly resolved back into
the I chord in Measure#7.




Measure#7:

I added an extra measure after this
one (measure#8) to allow time for
several chord substitutions that lead
nicely into the chorus. An extra measure
works well at the end of a verse. (Espec-
ially when the last word of the verse has
the same chord as the first word of the
chorus).




Measure#8:

Just use a IV to a V7 chord which will lead
back to the I chord (in measure#10)



Measure#11:

The IV chord replaces the I chord once again
and resolves back to the I chord on the next
word (which would be measure#12).


Refer to my other articles on chord substitutions
if needing extra help on application.

The Church Pianist: What Child is This? (Vocal accompaniment)

I thoroughly enjoy accompanying

vocal soloists!

What Child is This lends itself to so

many different accompaniment patterns.

The speed dictates what style of accompaniment

can be used. A slower tempo allows for a busier

accompaniment.

Here's What Child is This with some accompaniment

ideas.

I just stay within the chord frame of the melody by

using broken chord patterns for a flowing sound.

Accompaniment tips:

*Keep the same accompaniment pattern for at least

one sentence before changing patterns.

*It's not necessary to play the first word for an

incomplete measure. (The first word of the song).

The vocalist should start the first word without

waiting on the pianist.

Why? Because the vocalist should be the leader

and the accompanist....the follower.

New website: http://thechurchpianist.com

The Church Pianist: Free Piano Christmas Arrangement

Anyone in need of an intermediate

christmas piano arrangement?

I arranged this song for one of my students.

It's well suited for a small church.

The chorus can be repeated if needed.

You can use this free arrangement as

offertory or prelude special.

New website: http://thechurchpianist.com

The Church Pianist: Accompanying the Vocal Soloist

New website: http://thechurchpianist.com

As I was accompanying a vocal soloist
this evening, I was reminded of how important
it is to sing along in my mind while accompanying.

It is so important to feel the ebb and flow (rise and fall
of volume and varied speed) as interpreted by the
singer.

Being a church pianist demands flexibility! Not every
soloist interprets a song the same way.

Over the years, I've played "Birthday of the King" so
many different ways! Some soloists sing it slow while
others may go faster or at various speeds.

The speed of a song determines the style of accompaniment.
I will address this in another article with visual examples.

Remember...you have to give the soloist time to breathe!
It's so easy to rush the singer through the song.

Learn to feel the music as though you were speaking
the same words. Make it conversational.

If the singer is a true musician, you will be following them
as it should be.

I'd rather accompany a singer or instrumentalist any day over
playing a solo. For me, it's more fun to stray from the melody
and be creative :)

Hope you've all had a great Sunday!

The Church Pianist: Forgotten Christmas Songs

New website: http://thechurchpianist.com

As a church pianist, one of the questions I
hear quite often from vocalists is, "What
should I sing?"

Most people think of the obvious Christmas
songs such as: "Away in a Manger", "O Holy
Night" etc.

Why not try some of the forgotten or less used
Christmas songs. The following songs carry the
message of Christ's birth or encompass the
complete story of Jesus.

Down From His Glory

Tell Me the Stories of Jesus

That Beautiful Name

Have You Any Room for Jesus?

There is No Name So Sweet on Earth

The last four songs in the above list can be
found in the "Great Hymns of Faith" church'
hymnal. I'm sure you could locate them in other
hymnals as well.

The Church Pianist: O Little Town of Bethlehem (free arrangement)

New website: http://thechurchpianist.com

The mood of a song determines what

type of accompaniment will be used.

"O Little Town of Bethlehem" is a soft

and peaceful Christmas carol...like a

lullaby.

If I were playing this as a piano solo,

I would use less fullness for a softer

texture. Since I arranged it for the

congregation in mind, it will need the

fuller chords for supporting a large

group of singers.

This particular Christmas carol has

frequent accidental or (altered) chords,

which can create awkward moves for

the pianist.

I tried to make an accompaniment

that was more comfortable for the

hands.

Click here to download "O Little Town of Bethlehem"

Editor notes for: "O Little Town of Bethlehem"

Measure 3 :

I added the 7th note

to the ii chord (g minor) for a warmer

tone on the 3rd beat.

Measure 5:

The right hand plays a

fill-in on beats 3 and 4 for a smooth

transition to the upper range.

Measure 7:

Notice how I'm working

my way back down to the middle
range of the keyboard with my
right hand.

Measure 8:

I'm back to middle range
of keyboard to create a darker tone for
the words. ("....dark street...")

Measure 13:

Bell tones (4th interval on

beats 2 and 3 to convey a "lighter" tone).

Ok...how many of you picked up on that? :)

Please feel free to use this free piano

arrangement for congregation or choir.

You may adapt it to a piano solo with

minor changes.

The Church Pianist: O Come All Ye Faithful

New website: http://thechurchpianist.com

Here are some accompaniment

ideas for the Christmas carol:

"O Come All Ye Faithful".

Editor notes for accompaniment

examples:

Verse one: Simple but full to support

the singers.

Verse two: Used more upper register

notes for right hand to picture

"choirs of angels".

Verse three: The full chords in right

hand support the majestic mood.

The left hand stepping octaves

add life for the grand finale.

"O Come All Ye Faithful" is a stately Christmas carol.

Full chording is necessary to support this mood.

The Church Pianist: While Shepherds Watched Their Flocks by Night

New website: http://thechurchpianist.com

Am I the only one that has difficulty
playing"While Shepherds Watched
Their Flocks by Night"?

The song is beautiful but contains
frequent chord changes and awkward
melody leaps making it a challenge for
the church pianist.

Here's another free Christmas piano
ment.

Maybe you can use this simple arrangment
in your church during the Christmas season.

I used alot of chord substitutions; creating
a more user friendly style for the hands.

Notice the 'sit still' chords on m#3 to depict
the shepherds "seated on the ground".

"I Heard the Bells on Christmas Day" is another
Christmas carol with frequent chord changes.

If you would like to see a similiar arrangment for
"I Heard the Bells"....check the correct reaction
below so I can make plans accordingly.

"While Shepherds Watched..." can be used for prelude,
offertory, or congregational if sung in unison.

Hope you enjoy this free piano arrangement.

Thanks for your visits!

The Church Pianist: The Sounds of Christmas

New website: http://thechurchpianist.com

The Sounds of Christmas are definitely
in the air!

Bell sounds add life to Christmas carols.

Here are several examples of different
bell ingredients I used in my arrangements
on the "Simply Christmas" CD I mentioned
in a previous article.

Explanation for the Examples:

1. Joy to the World (right hand bell tones)
Notice the intervals of the bell tones and try
in several different keys for reinforced learn-
ing and versatile application.

2. Joy to the World (right hand bell clusters)
I simply add a 'D' to a C chord to create
a dissonant sound for the bell effect.

3. I Heard the Bells on Christmas Day
This is one of my favorite chime sounds.
Notice how all the notes in the right hand
chords are a 4th apart. This is how to create
the chime sound!

4. O Little Town of Bethlehem (bell echo)
Bell echos add a sweet; dreamy texture to
lullaby-type melodies.
The bell echo occurs in the right hand (last measure).
It's just a broken octave ending with a nice harmony note
occuring a 3rd under the broken octave.
Remember: 3rd and 6ths create beautiful touches of
harmony.
I just used the 'Alberti bass' pattern in the left hand.

Alberti bass means a broken chord in this order:
"Bottom~top~middle~top"

Hopefully, you can incorporate these Sounds of Christmas

into your own Christmas carols this year.

The Church Pianist: Christmas CD

New website: http://thechurchpianist.com

I made a professional Christmas CD a couple of

years ago and thought I'd share the link to it.

It's actually on the BJU Press website.


http://www.bjupress.com/product/254235


CD Title: Simply Christmas


(Sacred piano by Jenifer Cook)

Song list:

O Come All Ye Faithful (piano)
The First Noel (piano w/ bells)
Hark the Herald Angels Sing (piano)
While Shepherds Watched Their Flocks by Night (harp)
Silent Night (piano)
Angels We Have Heard on High (piano)
What Child is This? (piano)
Joy to the World (piano duo w/ bells)
It Came Upon a Midnight Clear (piano)
Gesu Bambino (piano duo w/ bells)
God Rest Ye Merry Gentlemen (piano duo)
The Coventry Carol, I Wonder as I Wander (harp)
I Heard the Bells on Christmas Day (piano w/ bells)
Angels From the Realms of Glory (piano duo)
O Little Town of Bethlehem (piano)
Come Thou Long Expected Jesus (piano)
Manger Medley (piano)
Sweet Little Jesus Boy (harp)
O Holy Night (piano duo)

The Church Pianist: Chord Substitution ( Using the II 7 and ii 7 )

New Website: http://thechurchpianist.com


Any chord within a major scale
can be altered to create inter-
esting chord progressions in
gospel songs.

For example, in the key of C...

The ii 7 chord (DFAC) could be
changed to a major chord:
This would translate to:
D F# A C

This altered chord ( II 7 )
can substitute a I chord
moving into a V chord.

Example: C chord to a G chord

Wait! That's not all...a ii 7 then
replaces the V chord before re-
solving back to the V chord.

Required conditions for II 7:

Can be used when I chord
is already lasting for three
or more beats. This gives
developing time for the sub-
stitution.

Required conditions for ii 7:

Can be used when V chord
is already lasting for at least
two beats.

See the first example on today's image
for Sweet Hour of Prayer. I labeled the
chord substitutions for clarification.

It always helps to see a concept applied
to several songs in different keys
before it makes sense.

Try these chord subsitutions in other
gospel songs for practice.

Hint: Look for a I chord lasting more
than three beats before moving to a V
chord that lasts at least two beats.

The Church Pianist: Angels We Have Heard on High (busy inner voice movement)

New website: http://thechurchpianist.com


Some hymns, such as Angels We
Have Heard on High, contain busy
inner voice movement.

I'm referring to the moving alto part
in the chorus.

It makes it tough on the piano fingers!
There's no need to play every note in
this kind of passage.

I simply play more blocked chords
that include the moving voice
parts to support the singers (congregation).

Stepping bass octaves in the left hand add
movement needed to maintain a peppy tone.

Just remember to simplify busy inner voice
movement by using blocked chords that agree
with the voice parts.

The Church Pianist: Improvising Ideas for Mundane Bass Line

New website: http://thechurchpianist.com







Mundane bass lines need extra
treatment to create a more
interesting sound.



Here are some improvising ideas for the


church pianist using the gospel song:


Power in the Blood.





We, as church pianists, grow weary of
playing the same way for every verse.


For that reason, I've included improvising
ideas for at least two verses.


Our church sings every stanza of every song
so I really have to be creative!





Editor notes for piano score of:


Power in the Blood:





*Full chords give a bigger sound to encourage


the congregation to sing out.





*It's not necessary to play every word....


just on beats: 1,2,3,4 to give rhythmic stability.





*Verse one: See measure #2 (4th beat of right hand)


I repeated the 3rd beat chord an octave higher for


a smoother transistion to upper register of keyboard.


(I usually play at least a whole phrase in one register


before changing to a new location).





* Verse two: I freed myself of melody and just played


a certain pattern for each new chord.

The Church Pianist: Free Piano Arrangement (part two)

New website: http://thechurchpianist.com


I decided to lengthen the previous

free arrangement of Joy to the World,

by adding Hark the Herald Angels Sing.

This second part uses a key change.

Notice how I repeated the first phrase

of Joy to the World as part of the

transisition into Hark the Herald Angels

Sing.

The ii 7 and V 7 chords of the new key

(F Major) were used in the modulation

process.

Hopefully you'll enjoy this longer
piano arrangment.

The Church Musician: Free Christmas Piano Arrangement

New website: http://thechurchpianist.com


Merry Christmas early! I thought
you all might enjoy a free piano
arrangement of "Joy to the World".


I wrote it with the small church in
mind. You can always repeat it to
make it just right for an offertory.


The arrangement could also be used
for the prelude.


Remember how I've been telling you all
that scales are important?


Well....here's a good example. They add
life to hymn arrangements. I used the C
scale twice in this Christmas song.


You'd better know the correct fingering to
make it sound... ever-so-smooth.


(C scale fingering: 12312345) for right hand


I also used a lot of chord inversions in measures:
five & six (left hand). They add a more open tone.


Remember: frequent use of root chords create a
"plunky" sound.


I'm saving my longer piano arrangments for my
future website. Hope you're able to use this
free arrangement!

Thanks for your visits. Hope I've been a help.

The Church Pianist: Congregational accompaniment (A Shelter in the Time of Storm)

New website: http://thechurchpianist.com


Accompanying congregational singing
demands a lot of creativity when sing-
ing more than one verse of a hymn.


If able, the church pianist should
vary the accompaniment for each
verse.

I always try to use accompaniment
that matches the text of the hymn.

In today's example, I show variations
of accompaniment for three verses of
"A Shelter in the Time of Storm".

Things to note:

Verse one:
on the word "storm"....I use dotted rhythm in the left hand to
depict God'strength as our shelter.

Verse two:
Lighter chords (for variety)
5th measure: The right hand will play
an octave higher for a while starting
on the word: "No"

Verse three:
Heavier, brighter accompaniment for
final message: God is our refuge and strength!

Learn to play with variety to enrich the text
and boost congregational singing.

Piano Introductions (Tempo Changes)

New website: http://thechurchpianist.com

Some songs in the hymnal
have time signature changes.

The verse may start in 3/4

and the chorus in 4/4.

Generally, introductions consist of

the first and last phrase of the song.


Remember, the purpose of the intro-

duction is to establish the initial tempo.


The introductions for songs with tempo

changes must be created from the verse

to establish the initial tempo.


I have given several song examples to

illustrate possible introductions.



Editor notes for Examples:


1. Christ Returneth: the introduction

had to be modified to avoid a lengthy

introduction.



2. The last two songs were easier...

using the first and last phrase of

the verse.



Introduction tip: The last phrase of the verse


must end on a one chord to give the introduction


a closing sound. Otherwise, the church pianist


will need to modify (end on the one chord).



For more information on introductions, please refer to


the following links of my earlier articles.



http://thechurchpianist.blogspot.com/2008/09/church-pianist-introduction-tips-for_9455.html

http://thechurchpianist.blogspot.com/2008/09/church-pianist-introduction-tips-for.html

The Church Pianist: Transposing for Congregational Singing

New website: http://thechurchpianist.com

Transposing (changing keys) is one art

all church pianists should strive to learn.

Congregational singing can be energized

by just transposing the last verse of the

hymn being sung. Of course, you and the

music director will want to have this worked

out in advance.



Our music director is very laid back and doesn't

mind me surprising him with a key change.

Transposing up a whole step is very easy!

Basic chord ingredients needed:

Last measure of the song ends on the I chord.
Next, add the minor 7th of the I chord.
Finally, Play the V 7 of the new key and you're there!



Refer to the examples on today's image and play them.

I will address "how I learned to transpose melodies" in

another article.

Just think one note higher when transposing up a whole

step. Knowing your scales is of upmost importance!

The Church Pianist: Special Music Schedule

New website: http://thechurchpianist.com

Alot of church pianists have the job

of making the special music schedule.

This occurs more often in the smaller church.

Guidelines for Creating the Music Schedule:

*I create 2 months at a time. Scheduling for
more than 2 to 3 months in advance
limits the opportunity for new members
to be worked in right away.

Here are some things I check on before
finalizing the new schedule:

(This allows for us to choose songs that
coorelate with planned meetings.)

*Planned revival, other special meetings, etc.

*Special emphasis Sundays

*Planned vacations (to minimize schedule conflicts)

*Making sure I don't double up on the same person in
one service. Example: Same person having AM service
offertory and vocal special.

To simplify scheduling:

*Schedule only one small vocal ensemble once a month
unless you are blessed with more than two pianists.

(We have found this works well with only two of us to
rehearse all special music throughout the month).

Planning the special music takes time but it helps our
music ministry run alot smoother!

God does command us to do everything decently and in order.

Our musicians enjoy preparing in advance to better
serve the Lord through song.

One final tip:

We always post the special music

schedule in the choir pracitce room.

It acts as a constant reminder for all of us.

The Church Pianist: Adding the Major/minor 7th

New website: http://thechurchpianist.com

The church pianist can rejuvenate
a hymn by just using chord extensions.






A chord extension occurs when
consecutive 3rds are added above
the 5th note of a chord in root
position.









For example, the C chord (CEG)....
add a B to it and you have a richer
chord!









The note 'B'....is a major 7th

above the root note (C).





Lowering the 'B' to a 'B' flat creates
a minor 7th above 'C'.......therefore
creating the Major/minor 7th.






Ingredients of the Major/minor 7th:




(I'll use C chord as example)









Major=CEG
minor 7th=B flat








Together= Major/minor 7th chord







A minor 7th can be added when a I chord
is leading to a IV chord. (Hope you know
your chords by numbers).








Key of C:
C is the I chord
F is the IV chord








Explanation of today's example:






I first showed the added 7th in the vocal
score for easy-to-see example and then
gave the piano score for a more practical
demonstration.








Challenge to the church pianist:








Take a church hymnal and try to find
the Major/minor 7th already used
in the following songs:






At Calvary (chorus)
Victory in Jesus (twice in chorus)
Lily of the Valley (no hint!)

Clarification: The Major/minor 7th is not a chord

substitution. It's simply an extended chord.

The Church Pianist: Chord Substitutions for Repeated Bass Lines

New website: http://thechurchpianist.com

Chord substitutions add spice to

gospel songs with repeated bass

lines!

Some of these substitutions have

been mentioned in my previous

articles.

General information on song sample:

The vocal score is presented to show

the contrast created by the improvised

piano score.

Please remember: chord substitutions
conflict with part singing unless....
everyone is singing unison.

Editor notes by measure number:


#3: I added the minor 7th of the G
chord (the F natural) which gave
a nice pull to the IV chord in m#4

#6: Substituted a I (G) chord with the
vi (e) chord

#7: The substituted vi chord leads nicely
to a II7 (Major-minor 7th) AC#EG

#8: Subsitute a V with the ii7 which
resolves back to the V.
I did use a ii7 crossed with a V on
the first beat for a nice twist!

The I 7 chord illustrated in measure #3
can be used for congregational singing
when correctly applied.
Tomorrow's article will demonstrate this
easy-to-apply chord!

Chord substitutions allow the church pianist to communicate more effectively through music.

The Church Pianist: Improvising with Stepping Octaves

This improvised example of: "Like a River"

illustrates the style used for congregational

singing.

Notice the full chords which depict a majestic
mood and provide support to the singers.


Editor notes by measure numbers:


Measure#1: When using the 3rd note of a chord in the
bass, omit the 3rd of the chord from the
right hand. (beats 3 and 4)


Measure#3: Left hand plays stepping octaves on beats
3 and 4 for rhythmic variety.


Measure#4: Stepping octaves in both hands for
special emphasis and also carries the
singers easily to their next note.


Measure#8: Once again...the stepping octaves keep the
the rhythm moving and leads the singers
confidentially to their next note.

Try using stepping octaves in the following hymns:

My Jesus I Love Thee
When I Survey the Wondrous Cross
More Love To Thee

New website: http://thechurchpianist.com

The Church Pianist: Arranging a Hymn for Offertory

New website: http://thechurchpianist.com

Just as an author creates an outline for a story;
so must the pianist sketch the layout of a hymn
arrangement.

The text determines the way I arrange the song.
For example, if the verse depicts a prayerful/
devotional mood, I would use rolled chords or
broken chords to produce a peaceful effect.

I will give a sample layout for an arrangement
of the hymn "Great is Thy Faithfulness".

Verse one: (devotional mood)

Arrangement ingredients:

RH: single or two notes for a light texture
(middle range of keyboard)

LH broken chords

Verse two:
(light & airy at first to broader sound near
end of verse)

RH: octave higher (one to two notes for light texture)

LH: octave higher (broken chords)

LH: to normal area (below middle C) with broken chords
for a broadening effect on the following words:
"...there is no shadow of turning with Thee".

RH: remains high but fuller chords for broadening effect

*Style transistion:
Change to solid (blocked) chording on word: "Thee" in the
above mentioned phrase.

The solid (blocked) chords depict a spoken emphasis for the
following words in the song: "Thou changest not, Thy com-
passions, they fail not!"

Verse three: (More upbeat mood)

Speed: somewhat faster
Big chording in either hand to express God's goodness to
all His children!

All choruses: (Grand, majestic!)

Big chording once again

*I would skip the chorus after verse 2 and modulate
higher right into verse 3 to give a brighter tone to
an even more triumphant mood.


Remember, make sure the arrangement (improvised ingredients)
match the text of the hymn.

The main purpose of the offertory is to deliver an important
message through music. Remember...the offertory hymn
must be familiar enoughto relate to the listeners. The
listeners should be able to mentally sing right along with you
as you play.You may even hear some singing aloud, though
softly. That's ok! It means God is using you to minister to
their heart in song. What a blessing!

The Church Pianist: Chord Substitution

How to Substitute the V or V7 chord with a ii7.

This substitution can be used
when a V or V7 chord lasts two
or more beats.

It can be done in only 2 beats.
(see measure #4)

Simply replace the V or V7 chord with a ii7 and
resolve to the V or V7.

The song example is in the key of D Major.

Therefore, the ii7 chord= EGBD. The V7=AC#EG.

It's not necessary to play all 4 notes of a 7 chord.

The bare necessities are the 1st and 7th note of
the 7 chord.

Try this chord substitution on other songs in easier keys

such as: C, F, and G. Look for a V7 lasting 2 or more beats

and substitute with a ii7 in that key.

Helpful tip: Key of C (ii7=DFAC) (V7=GBDF)

This chord substitution adds a nice warmth to invitation

style songs.

Clarification tip: Don't use chord substitutions when playing

for congregation. The chord substitution(s) will conflict with

the written voice parts in the hymnal.

New website: http://thechurchpianist.com

The Church Pianist: Amazing Grace (chord substitutions)

New website: http://thechurchpianist.com

This article is a visual reference for my very

first post.

The article dealt with chord substitutions for
"Amazing Grace".


The arrangement is simple in order to focus

on the chord substitutions.


Please refer to the link below to see the names
of the chord substitutions.

http://thechurchpianist.blogspot.com/2008/08/amazing-grace-makeover.html#com#comments

The Church Pianist: Free Piano Congregational Arrangement (Amazing Grace)

New website: http://thechurchpianist.com

One of my favorite hymns: Amazing Grace!

I have more improvising liberty on this song

because the congregation sings unison and they

are very familiar with the tune.

Congregational style playing tips for :Amazing Grace

1. Remember...don't slow down at the end of

introductions.

2. In 3/4 time, accent first beat of each measure
for controlled tempo and shapely tone.
If you play every beat with the same weight,
you will overwork your hand and produce a
mechanical tone.

For more information on congregational singing:

Refer to the following articles on my blog:

http://thechurchpianist.blogspot.com/2008/09/church-pianist-introduction-tips-for.html

http://thechurchpianist.blogspot.com/2008/09/church-pianist-introduction-tips-for_9455.html

The Church Pianist: Easy Vocal Duets from the Church Hymnal

New website: http://thechurchpianist.com

I will preface this article by stating: The church

hymnal is basically arranged for four-part harmony.

If a couple wants to sing a duet from the hymnal...

you may have to alter the alto or tenor in order

to have the proper (close) harmony.

Harmony for a duet means (alto or tenor).
Close harmony is generally made up of 3rds or
6ths above or below the melody. (depending on
melody range of the hymn).

If it's a male & female duet: (vocal range is an important factor!)

For a female with a low voice: (she will sing harmony in the
alto range). A baritone or tenor male will sing melody.

If a female has a high voice: (she will sing melody).
The male bartitone or tenor will sing harmony.

Some of the songs in the hymnal are well-suited for duets.
Keep in mind, the vocal range of the singers determines
what key is most comfortable for them.


The following hymnals list "duet" hymns in their topical index:

"Soul Stirring Songs & Hymns" (Sword of the Lord Publishers)
"Living Hymns" (Al Smith Ministries).

The next two hymnals do not supply a list of possible duets but I
will list a few from each:

Great Hymns of the Faith: (Brentwood Benson Pub.)

Away in a Manger
Silent Night
Tell Me the Story of Jesus
The Old Rugged Cross
Blessed Redeemer
Jesus Paid it All
Nor Silver or Gold
Lead Me, Savior
Stepping in the Light

Majesty Hymns: (Majesy Music, Inc.)

Brethren We Have Met to Worship (Key of A flat)
(nice for men on melody and women on alto)

Savior Like a Shepherd Lead Us (E flat)
(beautiful for two part ladies group or duet!)

Under His Wings (D flat)
(great for a tenor on melody and lady on alto
as written).

No One Ever Cared For Me Like Jesus (D flat)
(nice for two part ladies group or duet
with one minor change: look at last measure...)

Altos sing:

F on "much He"
G flat on "cared"
melody on "for me"

Sapranos sing harmony on last two words:

G flat on "cared"
F on "me"


Oops! Getting involved there on the last list of songs.
It helps to have some easy arrangements in mind;
especially for the smaller church with a limited
supply of music.


Special note: Remember that each hymnal differs in
four-part arrangements.

This means that the same duet in one hymnal may
not be geared for a duet in another hymnal.

Just remember...close harmony is the key!

I hope this list will be helpful to the church pianist in
need of some special music resoures for duets.

Time is precious to us all! Make use of these easy
vocal duets already at your fingertips!

The Church Pianist: Free Piano Arrangement

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This song has been on my mind today.
I hope this free arrangement is an
encouragement to all of you.

I wrote in a free style...from my heart.

The lyrics are included to help you stay
in touch with the melody.

Notice the suggested speed at the very
beginning.

This free arrangement can be used as an
offertory.

Hear audio of this free arrangement:



http://www.box.net/shared/ugx873ryn0

The Church Pianist: Improvising for Vocal Accompaniment

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Improvising Tips for Vocal solo in 6/8


1. 6/8 Timing can be slower for prayerful mood
songs.


2. Busier accompaniments work well for slower tempos.


3. Variety is the key! Break up the busy sixteenth-note


flow with some sit-still chords here and there like in


measures: # 6 (calls) #7 (world) #9 (throne) #10 (all).


4. Contrast in movement is nice. For example:


Measure #6 (the right hand piano accompaniment


moves contrary to the direction of the melody) on


the words: "...from a"


5. Sometimes the piano accompaniment needs to literally


"rest" to allow the soloist time to enter a new phrase after


a breath.


For example: Measures #3, and 9.

The ultimate goal is to bring the text to life with an appropriate

accompaniment;yet being the background support for the vocalist.

Please feel free to leave suggestions of things you would like to see presented.

Thanks!

The Church Pianist: Improvising for Choir & Congregation in 6/8 Time (Advanced Level)

Showers of Blessings (Advanced Version)

I decided it would be helpful to post an advanced
arrangement of "Showers of Blessings" for choir
or congregational singing.


Editor notes for this improvised example:

1. Omit pedal on staccato notes throughout
for clarity and to relieve hand tension.
*Use light staccato!

2. I use empty octaves in right hand on fast
passages for ease of movement.
(measures: 4, 6, 7, 8 )

3. Playing right hand in the higher range adds
brilliance and gives more playing space for left hand.

4. Add most notes on accented beats (1st and 4th in 6/8 time)

5. See the harmony in measure#3 between right and left hand.
The soprano and bass are a 3rd apart, adding a nice variety
for the left hand octave movement.

This music example demonstrates the way I improvise for choir and
congregational singing in 6/8 time.

Hopefully this will be of help to those of you who are at the advanced level.

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The Church Pianist: Improvising for Congregation or Choir in 6/8 Time

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Accompanying the congregation or choir in 6/8 time

can be tricky if you try to play every word.

Playing every word creates a mechanical or

choppy tone and tends to bog down the tempo.

Tips for Playing in 6/8 Timing:

Accent the 1st and 4th beat in every measure.

If you'll notice, the most accompaniment happens

on the accent beats. (1st and 4th)

Don't play every word to avoid dragging the tempo.

Add fill-ins on long words to keep tempo alive!

Remember to maintain a strong volume to support the

congregation or choir.

Above all: Be energetic! We must portray that God is alive!

I've shared some accompaniment ideas for "Showers of Blessings".

The Church Pianist: Song Endings

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Sometimes I get in a rut...ending songs the same way.
I decided to make a page of song endings that I would use
for majestic songs.

Here's a list of several songs that would match the
endings I have shared with you in the image below.

It is Well
A Mighty Fortress
Stand Up For Jesus
Onward Christian Soldiers
Christ Arose
America the Beautiful

I'm sure you can think of many more songs to try!

Please note that the endings are in 4/4 time.

Start using these ideas to create more variety in
your song endings!

The Church Pianist: The Art of Pedalling

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Does your playing sound cloudy? Alot of pianists haven't
had the proper training when it comes to pedalling or....
maybe they have been self taught and just don't know any
better.

I commend anyone who has been willing to serve as church
pianist no matter what training or lack of training you have had.

Here are a few tips for proper use of the pedal:

1. Sit at least elbow's distance from keyboard.
(This also allows your leg to be more at an angle
for better control of pedal).

I tell my students to pretend they are driving a car. (They love this!)

2. Lifting the pedal: Always lift the pedal as you are
playing down on the new chord.
Alot of pianists lift the pedal and their hands at the same time.
A big no-no! This causes choppy playing.
Pedalling should never be heard in the music.

3. Remember to keep your foot in contact with the pedal at all
times. You still lift up all the way but don't let go or you will
cause a tapping sound when restablishing contact.

A video describing the above technique would be most helpful.
Hopefully I have made myself clear.

Test yourself: Record yourself playing a hymn and listen to see how
clear it sounds with the pedal in use.

Just be more aware of producing a clear tone. The pedalling should
blend in and not be a distraction. You can do it!

The Church Pianist: Creating a Waterfall Effect

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Think outside the box! There is more to a chord than meets the eye:)

For example:

The C chord: CEG has other notes between them: D and F

When I implement them, I create a cluster chord:


Such as.....CDEG (one at a time).

The result... a soothing waterfall! *See music example.


Notice the transistion after the waterfall. (measure #5)


I slow down by using 8th notes in the right hand climbing down to

the middle range of the keyboard.

In measure #7, I create a turbulent sound with my left hand

for the words: "...sea billow roll". (using 8th notes)

Finally, in measure #8, I use 8th notes to prepare for a

chorale style (simple chording without much movement).

Use this example to help create your own offertory.

The Church Pianist: Free Piano Arrangement

I wrote this arrangement for one of my intermediate students

during their beginning stages of improvising.

Its' a simple arrangement but one you may use if interested.

The words are included to remind the pianist to focus on the

message.

This arrangment may be used as a piano solo, prelude, simple

offertory or to accompany a small congregation or choir.

Hope you enjoy the arrangement.

Thanks for visiting!

Sincerely,

Jenifer

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The Church Pianist: Encouraging the Younger Generation

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We encourage the young people at our church to sing or play specials.
I'm so thankful that they are so willing and eager to serve in the
music ministry.

They are the next generation. I guess you could
say that we are training our future choir.

It is so much easier to train children than adults. Sorry, but it's true!
I know! I'm talking to one....myself :)

It works best to schedule them on Wednesday or Sunday nights for
a couple of reasons.

1. Shorter offertories are best suited for the smaller attendance at
evening services.

2. A smaller crowd seems less intimidating :)

As they become more comfortable, we move them to the Sunday
morning service.

Our church family enjoys seeing the young people serve the Lord through music.

They are very supportive, with lots of "Amens". The kids in turn are

encouraged and beginning preparing for their next music special.

The Church Pianist: Free Piano Solo with Chord Substitutions

Chord substitutions bring simple hymns to life!

I'll use the Key of C for easy application.

Hopefully you all know your chords by number.

For example, in the key of C: CEG is the one chord,

because it's built on the first note in the key of C.

DFA is the two chord because it's built on the second

note in the key of C, etc.



Simple Chord Substitutions:


1. The one chord (CEG) can be substituted with either

a iii (EGB) chord or a vi (ACE) chord. Why? Because

both chords have 2 notes in common with the C chord.


2. The IV chord (FAC) in the key of C, can be substituted

with a ii (DFA) chord or a vi (ACE) chord for the same reason.

Measure Description for: Just As I Am

(I'll use Roman Numerals for chord numbers)

Measure #2: iii chord replaced the I chord

Measure#4: Surprise! This is the 2 - 1 chord suspension I mentioned in

a previous lesson.

Measure#12: ii chord replacing a IV chord

Measure#14: vi chord replacing a I chord

All other substitutions in this piece will be addressed in future articles.

I want to avoid brain overload:)

Try these chord substitutions on: Near to the Heart of God or It is Well in the Key of C.

The Church Pianist: Free Congregational Arrangement

I enjoy playing for congregational singing!

Several tips for congregational style:


1. Full chords to support many singers
2. Play loud to encourage people to sing out
3. Remember: don't slow down at the end
of the introduction.

Measure descriptions for "When We All..."

Measure #1: Left hand uses stepwise movement
to dress up mundane bass line.

Measure #2: Right hand plays 'empty' octaves
on fast notes to maintain peppy tempo.

Measure #8: I rested on the first two words of
the chorus to give me more comfortable entrance
into chorus with the full chord style.

Notice throughout that it's not necessary to play for
every word.

Playing for congregational singing takes alot of energy!
Learn to play fuller chords to support the singers.

Hopefully, this arrangement will be a springb0ard to your
own creativity!

Try some of the ideas from this song on : "Stepping in the Light."

Thanks to those who have left comments! It helps me on future articles.

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The Church Pianist: When Not to Use Altered Chords

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Notice anything unusual in yesterday's article?
I broke an accompaniment rule of the church pianist.

I used an altered chord in the first measure of the
second verse. ( "Jesus Loves Even Me")
I played a D 7 in place of a G chord on the word: "only".

Altered chords are inappropriate to use when
accompanying choir or congregation, if they are singing parts.

It's ok to use altered chords if everyone is singing melody.
Otherwise, your chord should match the chord of the singers.

For the most part, our congregation sings melody. Several
of our men sing tenor by ear and they just follow my chord
changes.

So, if you have a congregation to play for like me, have fun
using a few altered chords here and there!

The Church Pianist: Playing Congregational 6/8 Timing

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Most church pianists find it challenging to
spice up a 6/8 song with repetitive bass lines.
6/8 songs are usually sung at a fast tempo.

Remember... the faster the tempo, the simpler
the accompaniment.

As in all music, there are accented (stressed)
beats. In 6/8 timing, beats one and four are
accented. It's important for the pianist to
accente these beats to maintain a steady
tempo.

The song below, illustrates a congregational
accompaniment pattern for two different verses.

Please notice that it is not necessary to play every word.

Try the same patterns with other songs in 6/8 time!

The Church Pianist: Accompaniment Tips

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Ever heard: I couldn't hear the lady singing the solo today because the music was too loud.
It's extremely important for the accompanist to play soft enough for the vocalist or instrument to be heard.

Tip: Have someone stand out in the auditorium during practice and listen for balance of piano and vocalist. I still do this when in doubt.

Accompanying Vocal Music

Vocal Soloists:
Some soloists rely heavily on hearing the melody to stay on pitch.
Therefore, I would use more melody to support their voice.

Others have a creative ear and don't mind if the pianist deviates
from the melody.

Church choir:
I attend a small church and most of the choir does not read music.
In this case, I play more melody to guide them. We mainly sing
from our church hymnal with variations here and there.

Accompanying Offertories

Instrumental offertories:

Young or inexperienced instrumentalists: (Such as: violin, trumpet, etc.)

Play more melody to help guide them along.

Piano Duets or Duos:

Keep the melody dominant throughout. In other words, if you don't

have the melody, be a little softer than the other piano.

Accompanying is an art as I've mentioned before. Just remember the accompaniment is the background support of the singer or other instrumental soloist.