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

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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

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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)

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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)

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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)

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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

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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

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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

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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

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The Church Pianist: Arranging a Hymn for Offertory

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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)

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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

New website: http://thechurchpianist.com

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