The Church Pianist: The Haven of Rest (part one)

"The Haven of Rest" is one of my favorite hymns.
I usually hear this hymn performed as a vocal solo.

As a pianist, we must learn to make the text come to life
by animated accompaniment...making the message even
more real and meaningful.

The first verse begins with a troubled scene of a lost soul
but ends with a rescue by the Saviour!

So...we begin with a mood of turmoil. I use an up and down
pattern in the right hand to depict the boistrous waves of the
sea.

Then...the waves suddenly grow calm...when the lost soul hears
the sweet voice of the Saviour. (Notice the movement lessens
in the accompaniment for a calm affect).

I just want to keep going and explain the next part of the accomp-
animent because the mood of happiness increases...creating a
cascading wave of crescendo as Jesus floods the 'saved' soul with
unexplainable peace!

Please go to the following link to see part one and two of this
free vocal arrangement of "The Haven of Rest".

http://thechurchpianist.com/accompaniment/the-church-pianist-haven-of-rest-part-two/

The Church Pianist: Nothing but the Blood (Free Accompaniment Ideas)

New website located at: http://thechurchpianist.com/

I just played this song for the congregation yesterday.

Nothing but the blood of Jesus has a wonderful

message and I try to bring the text to life by

improvising with a lively accompaniment.

Do you realize that this hymn uses only two chords?

The I and V....meaning....G and D chord.

If the congregation sings parts...I have to use the

written chords to agree with the voice parts.

Editor notes for "Nothing but the Blood"

Verse One:

Right hand: Plays three to four notes for fullness

Left hand: Uses stepping down octaves for a march-like tone

Verse Two:

Right hand: Adds an eighth note rhythm for livelier sound

Left hand: Consists of alternating bass note movement

to avoid a montone effect.

Verse Four:

Right hand: Adds a little change; especially in the last measure

Left hand: Same pattern as verse one but in eighth note pattern.

Try applying these same accompaniment ideas

to the hymn: A Shelter in the Time of Storm

The Church Pianist: Accompanying the Vocalist (Youtube Video)

New website: http://thechurchpianist.com/

Accompanying the vocalist is one of my
favorite things to play for in a church service.

I'm able to stray from the melody and just play
within the chord frame of each measure.

Chesney, is one of my voice students. The Lord
has blessed her with the ability to sing and play
the piano.

I appreciate her sweet and willing spirit to
serve the Lord through music.

I had Chesney sing this song to allow me to share
with you all...accompaniment ideas for the vocalist.

The song, "Come Thou Fount" has a busy melody
line! This means less movement for the pianist;
using more of a chording style.

Notice the introduction has a hint of the melody
but doesn't use the typical introduction.
(Meaning....the first and last phrase of the song.)

The interlude before the last verse allows the singer
a chance to get his or her breath. :)

Youtube video link:

http://www.youtube.com/watch?v=EzYr30HYfc0

The Church Pianist: Accompanying the Vocalist (Youtube Video)

New website: http://thechurchpianist.com/

Today, I'll share a video of me accompanying
one of my voice students... Chesney... singing
"Trust and Obey".

Hopefully, you will be able to observe some of
what I've discussed in other articles regarding...
accompanying the vocalist. Please excuse the loud
piano:(

Related links:

http://thechurchpianist.blogspot.com/2008/12/church-pianist-accompanying-vocal.html

http://thechurchpianist.blogspot.com/2008/10/church-pianist-improvising-tips-for.html


I do use some melody here and there in the
accompaniment.

Listen for the altered vii diminished chord in
the last verse. What word did it occur on? :)


Related article discussing the altered vii diminished chord:

http://thechurchpianist.blogspot.com/2009/01/church-pianist-stately-chord.html

Youtube link for video of Trust and Obey:

http://www.youtube.com/watch?v=vNfKYhQJe-A

The Church Pianist: Piano Accompaniment for When the Roll is Called Up Yonder

New website: http://thechurchpianist.com/

When the Roll is Called Up Yonder is a nice upbeat
hymn but contains alot of repeated chords.

This song needs a facelift when it comes to piano
accompaniment.

For this type of hymn, I like to use alternating
bass notes in octave format for the left hand.

Example: This particular hymn is in A flat. Therefore,
the one chord is A flat. The notes of the A flat chord are:
A flat, C and E flat.

Look in measure three:

The main chord for this measure is A flat. I played an
A flat octave in the left hand on beat one. On beat three,
I changed (alternated) the bass note to an E flat which
belongs in the A flat chord. (the 5th of the chord).
Makes a big difference!

Notice how I inserted some rests here and there for the
right hand. It's just another way of adding variey to the
piano accompaniment.

Several triplets are sprinkled throughout to add extra zest.
(See measures: three and eight).

In the next article, I will provide the rest of the piano
accompaniment for When the Roll is Called Up Yonder.
(chorus section).

Audio sample:

http://www.box.net/shared/hkf832ek5u

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: 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: 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: Accompaniment Tips

New website: http://thechurchpianist.com

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.