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.

The Church Pianist: Improvising Tips for Accompanying the Choir

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Improvising from the Hymnal

I enjoy improvising! The improvised music
must match the text. They should go hand
in hand like a glove. Usually, there is less
melody support from the pianist when playing
for the church choir versus the congregation.

The tempo dictates what type of accompaniment
will be used. The faster the tempo, the simpler
the accompaniment. A slower tempo allows time
for more frills!

It is not necessary to play for every word of the song.
The pianist is the background, the support for the singers.

Below, are two examples of how I would accompany the choir.
Like a River lends itself to a slower tempo. Standing on the
Promises has the faster tempo.

The Church Pianist: How to Learn Improvising

How Did You Learn to Improvise?

This question has been asked to me a lot over the years.

I'll share what helped me.

At age eleven, I became church pianist because our pianist moved.

At this point, I had just learned to play 5-part congregational style.

Prior to becoming church pianist; it had taken me several months to

learn At Calvary in this style.

(Five-part congregational style means: Double the bass note in the

left hand and add the tenor note to the right hand).

Playing for choir was a tremendous help! I was exposed to a lot of

well-written choral arrangements.

One must expose his or herself to an abundance of ideas in order

to stimulate creativity!

As I progressed, I began purchasing sacred piano arrangement books

for offertories. Over the years, I've collected from various arrangers.

I found myself gleaning improvisational ideas from music I had been

exposed to and implementing them in my own arrangements.

Saturate yourself with well-structured music to properly influence

your own creativity.

Try pulling an idea from an arrangement and apply it to a hymn

from the hymnal. It's amazing what can be accomplished if

you just try. Keep it simple!

Improvising begins by using someone else's idea(s) and eventually

developing your own unique style. New website:

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The Church Pianist: Free Piano Offertory

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Here's a free piano arrangement I gave out

several years ago at a hymnprovising workshop.

It's geared for the smaller church. We can

always use shorter offertories.


I'm excited about the upcoming articles

I'm preparing.

Please visit again when you can.

The Church Pianist: Fill-ins for Fermatas

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How to Handle Fermatas

A well trained music director will

slow down prior to fermatas.

He will hold the fermata (held word)

with one arm while the other arm

keeps moving to dictate the speed

of the pianist's fill-in during the fermata.

I've posted several songs with fermata

fill-in ideas for the church pianists.

Click on the images to view.

Notice the accent signs; which help to guide the

singers and give stability to the director's hand

motions.

I hope you find these fermata examples helpful.

Please excuse the rough format. I'm having

to learn how to add images with text.

The Church Pianist: See Left Hand Pattern for Repetitive Bass Line

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Repetitive bass lines occur frequently in gospel songs.


The example at the right, applies

to gospel songs in 4/4 time.



I give an advanced and an easy version.



Notice the following in the advanced version:


*Playing an octave higher in the

right hand allows more creative

space for the left hand.

The use of chord inversions are then possible.

Description of Left Hand Pattern:

Measure one:




Octave (root of chord)



Chord (Adv. version allows room for chord inversions)


*Special note: The bottom note of the of the left hand
inverted chord, usually matches the melody note of the

right hand.



Octave (alternating bass; the 5th note of the C chord)



Chord


Measure Two:




Octave (alternating bass; the 3rd note of the C chord)




Chord (I added the minor 7th (b flat) of the C chord which leads to an F chord)




Stepping octaves in eight notes (this breaks up the octave - chord pattern for variety)







Hopefully, this visual will clarify previous text articles dealing with left hand patterns.

The Church Pianist: Using a Suspended Chord for a Peaceful Effect

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Suspended chords create such a peaceful sound in tranquil hymns.

Hymns such as: Wonderful Peace, It is Well, etc.

There are several different suspensions but I will share one in this article.

The 2 – 1 suspension. (I will use the Key of C for easy application.)

The numbers 2 and 1 refer to the first two notes in the Key of C: ( C and D )

How to apply the 2 – 1 suspension:


For: Right Hand

Use for a C chord when the melody is a G and the chord lasts for at

least two beats to allow time for the movement.

Hymn example: It is Well With My Soul

Where: second word of song (peace)

Play in right hand all together: D, E, G…….

( keep holding the E and G and resolve the lower note

( D ) to a C for second beat of chord ).

Try applying the same suspension movement in the following hymns:

Under His Wings (Key of C) Use on the word: "wings" in the first sentence

Like a River Glorious (Key of F) verse one: "…fuller every day" (on "day")

( The D and C on "day" will be in half note rhythm since "day" is a whole note ).

There are so many more applications using the 2 – 1 suspended chords!

Keep in mind…the suspended chord acts as a sweetener to music.

Use sparingly to prevent excess richness.

The Church Pianist: More Application of the ii 7 Chord Substitution

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The following two gospel songs apply the chord substitution mentioned in the previous article.

Remember to play the ii 7 chord with the left hand.


*Clarification of using the ii 7: Notice: There are four notes in a ii 7 chord.

To avoid a heavy, clouded sound: Don’t play all 4 notes when a ii 7 chord is lower than Bass C

(the first C under middle C). Instead: play the bottom and top note only. For example: I would

play only A and G together for the ii 7 in the key of G. (because the A is located under Bass C).

Remember, the lower you play close-note chords the cloudier they sound.

(In an earlier article I mentioned not playing three note chords of any kind

lower than Bass C to prevent a muddy tone.)

Application of ii 7 chord substitution:

Hymn: Haven of Rest (Key of G)

ii 7 chord = A C E G (just play A and G)

IV chord = F A C

(2nd measure: out on life’s sea)

Change left hand to: ii 7 (A and G) on the word: life’s

(6th measure: do the same)

Change left hand to: ii 7 on the word: your



Hymn: The Solid Rock ( Key of C)

ii 7 chord = G Bflat D F (just play G and F)

IV chord = B flat D F

(3rd measure: Je-sus’ blood)

Change left hand to: ii 7 on the word: blood

Make the same change on the word: lean (measure 9)



This chord substitution will add more variety to gospel hymns. Challenge yourself and apply this same chord substitution to other gospel songs.

The Church Pianist: Chord Substitution

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(ii 7 can replace a IV chord or vice versa!)

Ok, let’s use Key of C to establish the above mentioned chords.

What’s the 2nd note in the Key of C? D

Therefore the ii 7 chord = DFAC (the C is the 7th note above the note D)

What’s the 4th note in the key of C? F (Correct!)

Therefore the IV chord = FAC

Notice how the ii 7 and IV chord have several notes in common. They both have the notes: FAC.

This is why they can interact and substitute each other!

The result is a richer, warmer sound!

Application:

(The left hand plays the ii 7 )

When to substitute the IV with a ii 7 : When the IV chord lasts for 3 or more beats. Most of the

substitutions will occur on the 3rd beat.

It is Well (last 3 measures) Key of C

Words of these measures: "…well, it is well with my soul."

1st of the last 3 measures:

Beat one and two: as written ( on word: "well" )

Beat three: change to ii 7 ( on the words: "it is" )

Trusting Jesus (2nd sentence) Key of F

The IV chord in the Key of F = Bflat, D, F

The ii 7 chord = G , B flat, D and F

Words of this sentence: "Trusting thru a stormy way;"

Trusting: as written

Thru a: change to ii 7

These chord substitutions will bring the old hymns to life! There are many more chord

substitutions! We will take one at a time to keep things simple.

I will show you a couple more hymns tomorrow with the same chord substitution.

Special Note: Please feel free to leave questions or comments to help me out on

future articles. I need to know your needs! Thanks a bunch!

The Church Pianist: Piano Offertory Book Resource LIst

List #2

Hope you enjoy looking through this list of piano books!
I gave a link for each book in case you’re real interested.

Have Thine Own Way Lord by Mary Lynn Van Geldren (Late intermed.; evangelistic style)

http://www.bjupress.com/product/181750

This is a practical book! The arrangements can be learned fairly quick.


Song list:

Bring Them In

Medley on the Cross

O Worship the King

Pentecostal Power

Revive Us Again

Ding Dong Merrily on High

Wonderful Grace of Jesus

Have Thine Own Way Lord (my favorite!)


Hymns Volume One by Various Arrangers (C & L Enterprises)

http://www.certainsound.com/product_detail.php?product_code=CL2103PK

A book full of challenging but beautiful arrangements!


Song list:

Onward Christian Soldiers (excellent arrangement!)

No Other Plea with My Faith Looks Up To Thee

The Old-Time Religion

Jesus, What a Friend for Sinners

The Banner of the Cross with Am I a Soldier of the Cross? (This is a nice one too!)

Great is Thy Faithfulness


Two by Two (Soundforth) Advanced

http://www.bjupress.com/product/125377


Song list: (I like them all)

A New Name in Glory (Very lively!)

Day by Day

Our Great Savior

Carol of the Bells

These piano offertory books were a great investment. I have used them a lot!

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The Church Pianist: Left Hand Pattern(Marching Bass Octaves)

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Left Hand Pattern #2 (Marching Down Bass Octaves)
Once again, this pattern works well for Hymns with a repetitive bass line.
(Repetitive bass line refers to the same chord lasting for at least 3 beats or more)

Example Hymn: When We All Get to Heaven (Key of C) *First line only

Left Hand Description:


Measure one: (marching down bass)

Beat one: C octave (Middle C and Bass C)

Beat two: B octave

Beat three: A octave

Beat four: G octave


Measure two:

Same as above


Measure three:

Beat one: G octave (1st and 2nd G below Middle C)

Beat two: D octave

Beat three: B octave

Beat four: G octave (2nd and 3rd G below Middle C)



Measure four:

Beats one and two: Running octaves moving up in eighth notes (start 2nd and 3rd G below Middle C)

G octave
G octave (repeat same G octave)
A octave
B octave

Beat three: C octave (2nd and 3rd C below Middle C)

Beat four: C octave (next octave down)


A combination of the left hand patterns I’ve shared since yesterday, make for a nice variety in hymns with a repetitive bass line.

Just remember the following ingredients: alternating bass and marching octaves. There are other patterns as well that I will have to share in another post.

The Church Pianist: Left Hand Accompaniment Pattern (Alternating Bass)

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Key Factors that Determine the type of Left Hand Pattern #1 (Alternating Bass)

*Time Signature

*Tempo

*Mood of Song: Peppy, Slow; meditative; etc.

I will share an easy left hand pattern for Peppy Songs in 4//4 time with repetitive bass lines.


Songs that have the same chord lasting 3 or more beats constitutes a repetitive bass line.


This applies to songs such as: At Calvary, When I See the Blood, When We All Get to Heaven.


The name of the pattern is: Alternating Bass (for repetitive bass)
(uses the 5th of the root chord for the alternating bass)


Example: (first line of…. When We All Get to Heaven in the Key of C)


Measure One:

Beat one: C octave

Beat two: C chord (root posisition)

Beat three: Lower G octave

Beat four: C 6 (1st inversion of C chord) Notes bottom up: E, G, C


Measure Two:

Beat one:C octave

Beat two: C chord (root posistion)

Beat three: G octave (higher one for variety)

Beat four: C chord (root posistion)


Measure Three:

Beat one: G octave (higher one)

Beat two: G7 cluster chord (Notes bottom up: F, G, B )

Beat three: D octave

Beat four: G7 cluster chord


Measure Four:

Beats one and two: Running down octaves in eighth notes: G F E D

Beat three: C octave

Beat four: Lower C octave

The secret to interesting left hand accompaniment is using a variety of left hand patterns for one song.

I will share another left hand pattern later on. Try this pattern with the hymns mentioned above.

The Church Pianist: Piano Hymn Arrangements Book Review for Offertories

Here is the beginning of several posts on: Piano Book Reviews for Offertories

I gave links or company information to ease your search for each book.

1. Christmas Duets for Two Pianos by James Manfield

http://www.lorenz.com/results.aspx?srch=quick&cid=christmas+duets+for+two+pianos&c=christmas+duets+for+two+pianos&pg=1&rpp=30

(Late intermediate; Lots of variety!)

Excellent book for church and piano recitals

Songs in book:

God Rest Ye Merry Gentlemen

What Child is This?

Joy to the World

Hark the Herald Angels Sing, Silent Night,

O Little Town of Bethlehem

2. Draw Me Nearer by Faye Lopez

http://store.wilds.org/index.php?cPath=39_30_40

(Advanced; One of my favorites) Evangelistic style throughout.

Songs in book:

I Am Thine O Lord

Fairest Lord Jesus

Have You Any Room for Jesus?

Immortal Invisible

Does Jesus Care?

It is Well With My Soul

Christ the Lord is Risen Today

At the Cross

Amazing Grace

The Love of God

Trust Medley (Trust and Obey with Trusting Jesus)

And Can it Be?

I Must Tell Jesus

3. Blessed Assurance

(Various arrangers: Judith Rea, Peter Davis,

Nathan Arnold, Duane Ream, Jenifer Cook, Joy Mefford Malone,

Rebecca Bonam McDaniel)

http://www.bjupress.com/product/087601

(Late intermediate to early advanced)

Song List:

Blessed Assurance

Rock of Ages

For the Beauty of the Earth

Nearer Still Nearer

This is my Father's World

Wonderful Words of Life

Leaning on the Everlasting Arms

Give of Your Best to the Master

My Saviour's Love

Carol of the Bells

Hope this list of book reviews for piano hymn arrangements is helpful!

I will share more in the near future.

New website: http://thechurchpianist.com