The Church Pianist: Foundational Tools for Improvising

Before a pianist can improvise effectively,

one must have a common knowledge of the

major and minor scales.

Of course some pianists play by ear and may
sound wonderful but cannot explain theoretically

what they're doing.

I know...I also can play by ear but read music and

have studied theory. I do not claim to be the theory

expert but did have teachers that required me to

learn theory.

Over the past ten years, I've learned a good bit of

theory through personal study.

It's imperative to have a working knowledge of the

scales and chords in all major and minor keys.

Today's image displays some very important tools

that prepare the church pianist for improvising.

It's really quite simple when learning the scales and

chords with the numbering system.

For example, a scale consists of 8 notes. A chord can

be built on each note of the scale as demonstrated in

today's image.

When numbering the chords in the scale...the upper

case roman numeral refers to a Major chord and the

lower case roman numeral indicates a minor chord.

Notice, the notes in the chords are made up of 3rds.

Meaning....the notes are a third apart from each other.

Anytime a three note chord consists of consecutive

thirds...it is in root position...meaning...the bottom

note of that chord names the chord.

For example...the chord (CEG) is called a C chord

because it's made of consecutive 3rds and the

bottom note is 'C'.

Now you're ready to hear about chord extensions.

To create a richer or fuller chord...add another note

a 3rd from the top note. This is called extending

the chord.

For example: The C chord (CEG).

Add another note a 3rd from the top and you now

have: CEGB

Chord extensions can be used for either hand.

They work best in the left hand.

The scales and chords are the foundational tools

for learning to improvise.

For starters, learn the scales for the easy major

keys with their chords (triads).

Try: C, G, D and F Major

My new website: http://thechurchpianist.com/

The Church Pianist: Hymn Improvising Tip

My new website: http://thechurchpianist.com/


Here's an easy hymn improvising tip that

can create a more open; pleasing tone when
improvising with the left hand.



Any time you play a triad (in consecutive
thirds)...keep it above Bass C.



Actually, any three note chord begins to
sound muddy or heavy when played below
Bass C.

I just play a two note chord when playing
chords lower than Bass C.



I'll give some visual examples to help
clarify this simple improvising tip.



The examples are written at a easy level
for a hopefully, clear presentation.

The Church Pianist: Improvising Hymns with Chord Inversions

My new website: http://thechurchpianist.com/



Chord inversions add variety when improvising hymns.

A root chord such as C E G (consecutive thirds) can be inverted
two different ways for variety in sound.

See the following link for a simple explanation of chord inversions.

http://thechurchpianist.blogspot.com/2009/02/church-piansit-using-chord-inversions.html

The following scenario makes good use of chord inversions.

When one chord lasts for at least 4 beats....the left hand
can invert the chord (same chord...just in a different note
order).

Example #1 (There is a Fountain) *See image below

The first left hand broken chord begins with the note "C"
"C" is the root of the C chord....so this broken chord would
be considered the root chord (even though E and G swapped
places for a more open tone).

The second broken chord of the left hand begins on note "E".
This is still a broken C chord but....considered in first inversion.
The true order of the C (first inversion) is EGC....but G and C
swapped places to create a more open tone.

Basically, the bass note dictates what chord inversion is being used.
But...you have to look at the complete picture for this analysis.
Meaning...notes in both hands must be combined for proper
chord analysis.

Special note:

A chord in 1st inversion is labeled with the number six (6)
Why? Well...remember that the notes in the first inversion
of a C chord are: E G C

The note "G" is the 6th note from the bottom note (E)

The same left hand chord pattern occurs in "Just As I Am".

What a mouthful! Hope this makes sense. Feel free to ask
questions if needed.

Chord inversions add color to improvising!

The Church Pianist: Part Two of Piano Chord Analysis: Free Piano Sample

New website: http://thechurchpianist.com/

I'm sharing part two of the piano solo:

"More About Jesus" with a chord analysis.


In the hymnal, this song only uses three chords:


I , V7 and ii That's it!


In today's free music sample, I'll share some different
chords to add color to the text.


The vocal score is shown with the piano score for chord
comparsion.


Editor notes for today's free piano sample:

Overview:

A simple piano accompaniment was used for a more

(hopefully) clear presentation.

Measures 1 and 2:

To prevent playing the same chord (A flat) for two measures...
play a "climb down bass" pattern; creating a smooth harmonic
flow from one chord to the next. (see chord numbers in music).


Measure 4:


The V7 chord occured in the RH (labled in music)
with both hands finishing on the I chord for the word "me".


Measures 5 through 8:


A different rhythm pattern begins for variety.


Measure 5:


The I - V7 - I chord progression is used to prevent
repetitive A flat chord.


Measure 7:

Chord subsititution: The ii replaced the original V7
and resolved back to the V7.

Chord Tip:

Remember... the bass note does not always
dictate what chord you're using. You have to combine
the notes from both hands putting them in consecutive
3rds to determine the root chord.

Click on following link to see more about the ii chord
substitution from measure #7


http://thechurchpianist.blogspot.com/2008/11/church-pianist-chord-substitution.html


Audio of today's free piano sample:



http://www.box.net/shared/i8de6j5ptn

The Church Pianist: Using Chord Substitutions for..... More About Jesus

New website: http://thechurchpianist.com/

I enjoy using chord substitutions for a hymn

that would normally sound rather plain.

The hymn, More About Jesus, has a rather

mundane bass line. The whole song mainly

consists of the one (I) and five (V) chord.

This particular hymn is written in A flat.

Therefore, the one chord is A flat and the

V chord is E flat (E flat is the fifth note

of the A flat scale).

I will show you the vocal score against the

piano score so you can see what I changed.

Please remember, the piano score will only

work as a piano solo because the chord substitu-

tions would clash with the vocal parts.

Editor's notes for Part One of More About Jesus

Measure One:

I used a IV chord in the left hand on the

syllable..."Je" of the word "Jesus".

A IV chord can be inserted when the I chord

lasts 3 beats or more beats.

The right hand is playing a suspended chord

which I will explain in another lesson.

Measure two:

Left hand plays a stepping down pattern leading

into the vi 7 chord on the word "know".

Alot is happening in this measure to the next

measure.

So....when a I chord lasts for 3 or more beats and

is moving into a V chord....you can substitute the

I chord with the vi chord and....

Measure three:

.....then substitute the V chord with the ii 7 (as long

as the V chord lasts long enough to resolve back to

the V chord...basically three or more beats.

The original chord progression for the vocal score is...

Measure one: I chord

Measure two: I chord

Measure three: V chord

Measure four: I chord

The new chord progression in the piano score is...

Measure one: I to a IV

Measure two: I to a vi 7

Measure three: ii 7 to a V 7

Measure four: I chord

I'm in somewhat of a rush but hope I've made myself

clear.

We leave in the morning for Pigeon Forge and i'm

looking forward to dreaming up more articles on the

trip!

The Church Pianist: Canon in D Chord Progression Part Two with Accompaniment Tips

New website: http://thechurchpianist.com/

Canon in D chord progression works
well for mundane bass lines... as I mentioned
in yesterday's article.

Clarification:

I only used the first three chords of the Canon
in D progression for yesterday's and today's
example.

The melody of a song determines the
the chord progression. Some songs are
suited to use the entire chord progression of
Canon in D, such as: This is My Father's World.

In today's example, notice how I deleted melody
notes in the right hand of the piano score.

Deleting repetitive melody notes prevents an
overworked tone and create a more flowing
accompaniment for the singer.

Try applying the Canon in D chord progression

to other hymns with mundane bass lines.

The Church Pianist: Stately Chord Substitution

New website: http://thechurchpianist.com/

This is a neat sounding chord! It adds a majestic
flair to a stately hymn or gospel song.

The altered vii (diminished) chord can be used
during a V to I chord progression if the V chord
lasts for at least three beats. This allows time
for the chord substitution to resolve back to the
V chord before moving on to the I chord.

Simply alter the vii (diminished) chord by lower-
ing the bottom note one half step.

For example:

In the key of F...the vii (diminished) chord is:
( E G B flat ) Lower the E to an E flat.

This creates an E flat chord to be used within
the key of F.

Use it first in place of the V and then resolve to the
V chord before going on to the I chord.

I've shared two examples of this chord subsit-
tution to help clarify the concept.

Special note: The minor 7th of the altered chord
is also included for a smoother chord progression.
It's used in the left hand for both examples.

In the first example: the minor 7th of the altered
chord is the D flat octave in the left hand.

For the second example: The G flat octave is the
minor 7th of the altered chord.

Remember, this stately chord substitution can be
applied when using a V to I chord progression.
*The V chord must last for at least 3 beats.

Attention: Please don't use chord substitutions for
congregational singing unless they're singing
unison.

Chord substitutions will clash with the written
voice parts in the hymnal.

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: 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: When Not to Use Altered Chords

New website: http://thechurchpianist.com

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: See Left Hand Pattern for Repetitive Bass Line

New website: http://thechurchpianist.com



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

New website: http://thechurchpianist.com

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

New website: http://thechurchpianist.com

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.