Congregational Playing

Some church pianists have been taught that it's necessary to play every melody note during congregational singing.  If you're one of these pianists....you're missing out on all the fun!

The more well-known the melody is to the audience...the more I deviate from the melody.  How to do so without getting lost?  I think in chord frames while singing the melody in my head.

Learning the chords by number system will enable the church pianist to manuever through a hymn without
getting lost.  Much to learn!  

Visit my site for improvising tips for congregational singing at:

The Church Pianist

The Church Pianist:Congregational Singing

Here's an easy tip for church pianists.


When playing for congregational singing...


Keep the music moving between verses to create an
easy entry for singers.


Slowing down at the end of each verse will disrupt the
flow of music; causing confusion for the congregation as
far as when to start the next verse.


Piano Hymn Fill-ins Part Three addresses this issue and
provides a couple of music examples.


It is important for the church pianist to maintain a steady
tempo throughout congregational singing. If available,
the song leader will take care of this concern.

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The Church Pianist: Free Piano Sample (Congregational)

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Do you ever have a hard time feeling the
beat when the songleader wants to slow
down a section of a song?


The following applies to accompanying:


*congregational singing

*vocal specials

*instrumental special


For example, the song: "Count Your Blessings"


A lot of songleaders like to slow down the section
of the chorus:


"count your blessings........name....them...one..by....one"


You get the idea.


What should the pianist play? more fill-in notes!


The songleader (if trained) will subdivide the beats
on slow words.


For example:


If the words have quarter notes, the
songleader will lead in an eighth note pattern.


The extra movement keeps the tempo alive during
slow sections.


The pianist should also mimic this eighth note pattern.


Today's free piano sample should clarify the above
explanation.

The Church Pianist: Improvising for Congregational in 9/8

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Songs in 6/8 or 9/8 usually move fast.



It's not necessary for the pianist to play
every word. I usually play melody on the
first couple of words to support a confident
entry and then I start my accompaniment.



Editor notes for today's example:



"Heavenly Sunlight"



In general:



I try to vary my rhythmic patterns
throughout for variety.



I use full chords on accented beats:
(one, four and seven) to enhance the
accented beats' therefore producing
a steadier flow.



Empty octaves (octaves without notes
in the middle) are used on fast words.



Why? Easier for hand to move quickly



Notice the staccato notes here and there.
A light staccato relieves hand tension.


I also release pedal on these staccato notes.



On first two words: Walking in....



(I start with contrary octaves for contrast.



Special note: Playing the same octaves in
both hands would create parallel octaves
which is a big no-no in improvising.)



Why? Because it sounds too plain.



Words: all of my.....



(The melody is transfered to the left hand



The right hand played the harmony in
octave format.)



Word: journey



(Left hand plays broken C chord tones.)



Words: Over the...



Notice the chord changes to an F. I'm already
in the C chord prior to that and don't want to
disrupt my accompaniment pattern....so.....
I just play a C in unison with both hands.

(Neat trick!)



Word: mountains



Just decided to improvise with a new fill-in idea
to break the monotony of previous patterns.


I just simply used a stepping note method that
leads me into the next chord.



Try these improvisational ideas out on similar songs
in 9/8 time.

"We're Marching to Zion" is a good start.


Adding more notes gives stability to the congre-
gational singing!

The Church Pianist: Congregational Singing in the Fast Lane

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Ever experience difficulty playing fast songs
in church?

Do you try to play every word? It's hard to keep
up isn't it?

Simply play the chord structure and let the congre-
gation do the work :)

I like to make the song easier on the hand as much
as possible to keep the tempo flowing.

In todays' example (I Will Sing of My Redeemer),
you can see how I would play for the congregation.

Editor notes for :

(I Will Sing of My Redeemer or
entitled: My Redeemer)

Words:

" ...my Re-..." and once again on: "love to"

(I transfer the melody rhythm to the left hand
for variety and easier hand movement.)

It's fine to sit still on a chord here and there while
the singers do the work :)

Just add a few sprinkles of eight notes to break up
the sit-still chords.

I'll share some more examples on these time signatures
in upcoming articles.

Just remember: the pianist's role is to maintain a steady
tempo to support the congregational singing.

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

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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: 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.

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: Free Piano Congregational Arrangement (Amazing Grace)

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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: 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: 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: 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: Introduction Tips for Congregational Singing (Part Two)

(Question & Answer Format)

1. What part of the song should be the introduction?

Normally, the first and last phrase of the song. (Beginning the introduction with the first
phrase allows the congregation to hear how the song starts.)

2. What about introductions for a song with more than one time signature?

It is very important to play the first and last phrase of the verse. (as long as the verse ends on a one chord.)

The congregation needs to hear the initial time signature. I prefer to play the first line of the song with chord modifications near the end of the sentence.

For example: "Sweeter As the Years Go By"

(3/4 time on verse & 4/4 time on chorus)

I would play: “Of Jesus’ love that sought me When I was lost in sin. (first line)

The words: “…lost in sin” would have to be altered to make the intro sound complete.

Here are the alterations; one word at a time:

“lost” change melody to a “G” above middle C (use an E flat 7 chord in left hand)

“in” change melody to a “B flat” above middle C (hold the previous LH chord)

“sin” change melody to an “A flat” above middle C (use A flat chord in LH)

It is up to the church pianist to give a clear introduction.

The above pointers will help to create a stable introduction for congregational singing.

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The Church Pianist: Introduction Tips for Congregational Singing: Part One

"And whatsoever ye do, do it heartily, as to the Lord, and not unto men." Colossian 3:23

The introduction plays a vital role in congregational singing!

We serve a living God! Therefore, the church pianist's introduction should reflect this message.
Remember; we express emotion through music. Be excited about each song you introduce!
If you are tired, don't allow it to show in your playing. The congregation will pick up on it.

1. Give a rousing, loud introduction...encouraging the congregation to join in song.
2. Keep the introduction moving to the very end. Slowing down destroys the singing tempo and causes confusion for intial entry of singers.

These few tips for the church pianist will make a huge difference in the congregational singing!

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