The Church Pianist: Easy Offertory Idea

New website: http://thechurchpianist.com/

I don't know about you but I can always use some
simple offertory ideas!

The following offertory idea would work great for
two pianos or piano and organ.

Some hymns lend themselves to a 'question-answer'
format.

For example, A Shelter in the Time of Storm.....

Piano One plays the first sentence:

"The Lord's our Rock in Him we hide"

Piano Two answers with:

"A Shelter in the time of storm"

Piano One:

"Secure whatever ill betide"

Piano Two:

"A shelter in the time of storm."

Both pianos join together on the chorus!

You'll have to try this....it's a lot of fun and
creates a stereo effect.

Try this offertory idea with other question/answer
hymns such as:

Revive Us Again
Power in the Blood
Throw Out the Lifeline
Jesus Saves
Nothing but the Blood of Jesus

The Church Pianist: Chord Inversions for Fill-Ins in Congregational Accompaniment

New website: http://thechurchpianist.com/

Chord inversions work well for congregational

singing because they add fullness to the accompaniment.


For clarification: a chord inversion is nothing more than a
root chord out of order.


For example:


The 'C' root chord = CEG


There are three notes in the 'C' chord...so....the notes in the
root chord can be scrambled (inverted) three different ways
and add such a variety in sound!


Root (CEG) starting position


First inversion (EGC)


Second inversion (GCE)


Notice: the first note of each chord above....spells out the order
of the root chord.


Inversions create a more open tone compared to the close sound
of the root chord. Excessive use of the root chord produces a
cloudy tone. Learn to use more inversions!


Chord inversion fill-ins work best under the following conditions:


*When the same chord lasts for at least two measures
(allows time for the inversions to fit)


*Militant style hymns such as the examples on today's image


*4/4 time is best


Keep in mind...in 4/4 time...only beats one and three are
accented.


Playing the same weight for each beat will create unnecessary
hand tension and cause you to get bogged down in the mud;
creating a sluggish tempo.


All three examples on today's image are in 4/4 time.

The examples are geared to congregational accompaniment.


All three examples are on this one audio with a pause between
each one.


The audio below would be most beneficial if you view the music
while listening. You will hear how I accent beats one and three
for a more musical flow.


Warning!


The constant movement of the chord inversions
may cause disorientation at first :)


Simply practice the chord inversions over and over before
implementing them in congregational accompaniment.




http://www.box.net/shared/q8ltqay0y5

The Church Pianist: Invitation Tip

New website: http://thechurchpianist.com/

Here's a helpful invitation tip for church pianists.

Make a list of 'most used' invitation songs at your
church on a 3x5 card. Be sure to put the page
number beside each song.

Tape it inside the front cover of your hymnal for
easy reference.

Our previous pastor use to have us just play an
invitation hymn of our choice. Sometimes our
current pastor does so.

In this case, it's best to number the invitation songs
#1 through however many songs you have listed.

During invitation prayer, the one pianist just signals to the
other pianist by showing the number of fingers
that represents the number of the song on the list.

Maybe this invitation tip will give you other ideas that
may work better for your pianists at invitation time.

The Church Pianist: Part Two of Easy Piano Duo Offertory

New website: http://thechurchpianist.com/

I wanted to clarify a few things on this easy piano duo
offertory.

Did you notice how Piano One switched back and forth
from "Amazing Grace" to "Grace Greater"?

Piano One played harmony for the "Grace Greater" sections.

Piano Two played a little harmony during the last two measures.

This is part two of the easy piano duo offertory.

It's nice to have easy offertories on hand for those last minute
notices.

Click on the link below to hear the entire chorus.


http://www.box.net/shared/nymj6a2ln1

The Church Pianist: An Easy Offertory Idea

New website: http://thechurchpianist.com/

I like to have easy offertory ideas on hand
for those last minute..."....oh by the way, so
and so is sick and I need you to cover offertory."


The hymn: "Grace Greater Than All Our Sin"
and "Amazing Grace" fit together nicely during
the chorus of "Grace Greater....".


We use this easy offertory idea for a piano duo.

I'm sure it can be done with piano and organ or
piano and another instrument.


The combination of the songs is used in the final chorus
for a nice ending.


Below... is part one of the final chorus. I will
share the remainder of the chorus in the
next article.


Please note: The sample arrangement is a
piano duo.


Easy offertories are a must have for
church pianists!

Next article will have an audio sample of this
arrangement.

The Church Pianist: No Key Change Necessary!

New website: http://thechurchpianist.com/

It's not always necessary to change keys from one
to the other if you're moving up a 4th from the original
key.

For example: C to F Major or F to B flat Major

A transition is still taking place even though a modulation
(key change) isn't used.

Therefore, a nice ritard before the switching of keys allows
for a smoother transition.

I've found this transition sounds better when the last melody
note of the first key is the same note of the next key.

In the first example of today's image, the last melody note is
C (in the key of C). The first note of the next key is also C.

The same thing occured in the second example.

Notice the time signature change in the second example
does not affect the transition. I just ease in to the new
time signature by starting on the first word of the new
key in the last measure of the first key.

Whoa! That was wordy! Hope that last explanation was clear.

Click on this link to hear today's examples:

http://www.box.net/shared/efjt6urosa

The above key switching works well during a prelude, offertory
or when connecting two hymns for congregational singing.

The Church Pianist: Short offertories Needed?

New website: http://thechurchpianist.com/

I plan to post a regular article tomorrow but
wanted to get some feedback on a very important
matter.

How many of you are in need of shorter offertories?

I'm busy composing offertory arrangements to be
available on my upcoming new website and would
like to write according to the biggest need.

It would be most helpful to hear from you.

Thanks for taking the time.

Jenifer

The Church Pianist: Improvising ideas for "The Light of the World"

New website: http://thechurchpianist.com/

I'd like to share some improvising ideas with you

for the hymn: "The Light of the World is Jesus".



This hymn has beautiful words that can be brought
to life by some simple improvisational ideas.



Editor notes for today's example:



Measures #2 and #4



The left hand eighth note/quarter note pattern
creates a rhythmic drive to portray a sense of
urgency (see the words).



Measure # 3



Contrasting octaves are used on beats one through
three.



Measure # 3



Right hand plays a stepping up pattern (altered melody)
on the sixth beat.



Measure # 4



The right hand plays a broken chord pattern on beats
two and three to break up the repeated note melody.



Measure # 5



Left hand flows with sixteenth notes to create a com-
forting tone for the word "Je-sus".

I also altered the melody on the word "Je-sus" to
enhance the comforting mood on this word.



The right hand plays a climb down pattern for a
smooth transistion into the middle register ot the piano
for the next section of the verse.



Measure # 6



Left hand begins a new rhythm pattern for variety while
the right hand plays a simple one-note melody.



General tips:



I would play this arrangement at about 52 (metronome speed)

Meaning: One tick per dotted quarter note.



Basically, this arrangement should be treated at a medium-slow
speed so as not to sound rushed.



Just feel the music as though you were speaking it in a
conversational style with ebb and flow.



Hope these improvising ideas are a help to you.



Sincerely,



Jenifer

The Church Pianist: Free Vocal Arrangement (Part Two)

New website: http://thechurchpianist.com/

Accompanying for a vocalist allows the pianist

to stray from the melody and play various patterns
within the chord frames.



Exception: This type of accompaniment may not work
well for the singer that needs the extra melody support.



Editor notes for today's music image.......



(Part Two 0f "My Jesus I Love Thee" )



Measure #14.....The right hand accompaniment moved
contrary to the melody for contrast.



Measure #15.....I added syncopation (rhythm)to left hand
for a bit of spice. Syncopation is as pepper to food....just
added as an accent here and there.



Measure #18.....Chord substitution (A major replaced the
F Major chord) The A Major chord is really just the iii chord
in F Major. The only difference....I changed the iii chord (ACE)
to a Major chord.....(AC#E).



Similar songs to try with the accompaniment ideas from


"My Jesus I Love Thee".....



When I Survey the Wondrous Cross
Like a River Glorious



Thanks for your visits!

The Church Pianist: Free Vocal Arrangement

New website: http://thechurchpianist.com/

Here is a basic hymn with piano accompaniment
for a vocal solo.


The hymn: My Jesus I Love Thee lacks a variety
of chords. I have taken the liberty in adding several
chord substitutions to enhance the text.



The piano introduction adds a slight alteration to the
original melody for a twist.



Notice how I maintain the flowing pattern for the first
sentence of the vocal score before transitioning into a
different accompaniment pattern.



Hope this gives you some ideas for your own arranging.



I will provide the rest of this vocal arrangement in the
next article.

The Church Pianist: 6/8 Time (Free Sample)

New website: http://thechurchpianist.com/

We just sang a song in 6/8 time this past

Sunday that gave my hands a big workout!

(As I mature in age, I like to make things as simple

as possible.)

Seriously, it's better to avoid playing every word

when accompanying in 6/8 time.

Why? To create a steadier and more musical flow.

Editor notes for today's example: (Praise Him! Praise Him!)

Measure #5: Right hand changes to a broken chord pattern

for variety.

Measure #7: Using a rest (in this case....for the right hand)

prepares the right hand for a more comfortable

entry of busy octaves in measure #8.

Measure #8: The ascending octaves in right hand creates an

easy transistion for playing higher.

Measure #9: The right hand climbs down the ladder with chords

transistioning to the lower register of keyboard.

Measure #11: Right hand plays in contrary motion to melody on

beats four through six for a nice contrast.

Measure #12: Left hand can play as shown or...double the 'D' and 'B'

on beats two and three for total octave format.

The vocal score is shown with the piano score for you to compare

to see how the accompaniment fits the voice parts.

6/8 timing songs are usually very wordy and require less

accompaniment frills than 4/4 time.

Any questions? Feel free to ask.

The Church Pianist: Free Piano Arrangement

New website: http://thechurchpianist.com/

Here's a free piano arrangment of one of my


favorite hymns: "Jesus Paid It All"

Audio of the arrangement:

http://www.box.net/shared/cfj7uvr9si