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

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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: Free Piano Arrangment for Congregational Singing: Part One

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



Here's part one of a free piano
arrangement for congregational
singing of "Are You Washed
in the Blood?"




The piano arrangment supports
the four parts as written in the
hymnal.


I chose to display just the melody
for time's sake.


Editor's notes for today's free arrangment:


Measure two:


Left hand plays alternating bass octaves for a
more interesting bass line.


Measure four: (4th beat)


For harmonic balance, notice how I left out
note: G in first right hand eighth chord
and note: F in second right hand eighth chord.


Why? I used them in my left hand instead.


Omitting those notes in the right hand
gives a more opentone.


Try adding the omitted notes to the right
hand with left hand included, to hear the difference.


Measure five:


Left hand plays stepping octaves starting out with
a dotted rhythm which adds more life!


Measure 6:


Once again, I add dotted rhythm to left hand for
extra spice. (to be used sparingly for proper balance)


General notes:


Take note of the staccato markings throughout. It's
meant as a light staccato for interpretation.

I lift the damper pedal for every staccato note which
relieves hand tension and adds a more peppy sound
to the music.

See audio for full arrangment on next article.

The Church Pianist: Part One of Congregational Accompaniment for Christ Arose

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

Easter is just a little over a month away!




Here are some improvising ideas to use when
accompanying congregation on the chorus of
"Christ Arose".



"Christ Arose" uses very basic chords. The
church pianist needs to dress up this song to
enhance the message.


Editor's notes for today's music image:


Measure #2


Right triplets on second beat adds a militant tone.


Measures #1 and 2


Left hand plays stepping down octaves for march-style


Measure #5


Right hand plays dotted rhythm on second beat to create
a victorious sound.


Remember it's not necessary for the pianist to play
every word when accompanying.



I'll share the rest of the congregational accompaniment
for "Christ Arose" (chorus only) in the next article.

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.




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