The Church Pianist: Part One: My Very First Hymn Improvsing Piano Lesson

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I was in fifth grade when I received my first improvising lesson
from the hymnal.

The hymn I improvised was At Calvary. It took me at least two
months to learn the improvised style in a flowing rhythm.

Here are the first two improvising steps I learned to create a
fuller sound in hymnplaying.

First, open a hymnal to the hymn: "Like a River Glorious".
I chose this hymn because it is in an easy key and contains
a simple rhythm.

Let me preface the lesson with the following clarification:
The hymnal is written for voice parts only...not for an
instrument. Therefore, the pianist must adapt by improvising.

The saprano is the top note on the treble staff; while the
alto is under the saprano note.

The tenor note is the top note on the bass staff and the
bass note is under the tenor.

Step#1: Add the tenor note to the right hand when feasible.
(right thumb plays this note.)

You should be playing a total of three notes for the right hand.
(tenor, alto and saprano)

Exception: Sometimes the tenor note fits better between the
alto and the saprano note. This usually occurs when the alto
and saprano have a greater distance between them; allowing
room for the tenor note to fit between them.

It is best to practice the right hand alone (with added tenor note)
until a steady flow is maintained.

Expect to feel disoriented at first; having to add the tenor note to
the right hand without it written that way.

Step#2: Double the bass note for the left hand. (left thumb is placed
on the written bass note and duplicated an octave below the pinky).

Doubling the bass note is basically playing in octaves. This second
step really adds a deep, rich sound to the hymn.

Be prepared to slow down when adding the left hand to the right hand.

The following two step improvising lesson can be described as playing
in five-part style: three notes in the right hand and two in the left hand.

Keep in mind, it took me two months to play one hymn with this two
step improvising lesson. (At Calvary wasn't the easiest hymn to start
with; due to a busy rhythm).

Once you play one hymn this way, you can apply the same two step
process to other hymns.

Choose hymns in easy keys with simple rhythms at first.
Once you've gained confidence, you can move on to hymns in harder keys
with more complex rhythms.

This two step improvising method will allow a pianist to sound full
enough to support congregational singing.

Over time, more improvising skills can be obtained; adding life and fullness
to hymnplaying.

Part two will contain a video demonstration of this two step improvising
piano lesson along with a free pdf arrangement of Like a River Glorious in
five-part style.

Part two can be found at the following link:

http://thechurchpianist.com/improvise/the-church-pianist-part-two-video-demo-of-my-first-hymn-improvising-piano-lesson/

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

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The Church Pianist: Hymn Improvising Tip

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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 tip

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Here's a simple improvising tip for
left hand when playing chords in an
accompaniment pattern.

Avoid playing a close-knit chord
(consisiting of consecutive thirds)
lower than bass C (which is the next
C under Middle C)

Example of close-knit chord: CEG

Why? To avoid a muddy; heavy tone.

Lighten up the sound of the left hand
accompaniment by playing only two
note chords when it involves the area
of bass C or lower.

The next article will contain visual examples
of today's improvising tip.

The Church Pianist: Improvising Hymns with Chord Inversions

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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: Improvising ideas for "The Light of the World"

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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: Improvising Ideas for Mundane Bass Line

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Mundane bass lines need extra
treatment to create a more
interesting sound.



Here are some improvising ideas for the


church pianist using the gospel song:


Power in the Blood.





We, as church pianists, grow weary of
playing the same way for every verse.


For that reason, I've included improvising
ideas for at least two verses.


Our church sings every stanza of every song
so I really have to be creative!





Editor notes for piano score of:


Power in the Blood:





*Full chords give a bigger sound to encourage


the congregation to sing out.





*It's not necessary to play every word....


just on beats: 1,2,3,4 to give rhythmic stability.





*Verse one: See measure #2 (4th beat of right hand)


I repeated the 3rd beat chord an octave higher for


a smoother transistion to upper register of keyboard.


(I usually play at least a whole phrase in one register


before changing to a new location).





* Verse two: I freed myself of melody and just played


a certain pattern for each new chord.

The Church Pianist: Improvising for Vocal Accompaniment

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Improvising Tips for Vocal solo in 6/8


1. 6/8 Timing can be slower for prayerful mood
songs.


2. Busier accompaniments work well for slower tempos.


3. Variety is the key! Break up the busy sixteenth-note


flow with some sit-still chords here and there like in


measures: # 6 (calls) #7 (world) #9 (throne) #10 (all).


4. Contrast in movement is nice. For example:


Measure #6 (the right hand piano accompaniment


moves contrary to the direction of the melody) on


the words: "...from a"


5. Sometimes the piano accompaniment needs to literally


"rest" to allow the soloist time to enter a new phrase after


a breath.


For example: Measures #3, and 9.

The ultimate goal is to bring the text to life with an appropriate

accompaniment;yet being the background support for the vocalist.

Please feel free to leave suggestions of things you would like to see presented.

Thanks!

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 Tips for Accompanying the Choir

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Improvising from the Hymnal

I enjoy improvising! The improvised music
must match the text. They should go hand
in hand like a glove. Usually, there is less
melody support from the pianist when playing
for the church choir versus the congregation.

The tempo dictates what type of accompaniment
will be used. The faster the tempo, the simpler
the accompaniment. A slower tempo allows time
for more frills!

It is not necessary to play for every word of the song.
The pianist is the background, the support for the singers.

Below, are two examples of how I would accompany the choir.
Like a River lends itself to a slower tempo. Standing on the
Promises has the faster tempo.

The Church Pianist: How to Learn Improvising

How Did You Learn to Improvise?

This question has been asked to me a lot over the years.

I'll share what helped me.

At age eleven, I became church pianist because our pianist moved.

At this point, I had just learned to play 5-part congregational style.

Prior to becoming church pianist; it had taken me several months to

learn At Calvary in this style.

(Five-part congregational style means: Double the bass note in the

left hand and add the tenor note to the right hand).

Playing for choir was a tremendous help! I was exposed to a lot of

well-written choral arrangements.

One must expose his or herself to an abundance of ideas in order

to stimulate creativity!

As I progressed, I began purchasing sacred piano arrangement books

for offertories. Over the years, I've collected from various arrangers.

I found myself gleaning improvisational ideas from music I had been

exposed to and implementing them in my own arrangements.

Saturate yourself with well-structured music to properly influence

your own creativity.

Try pulling an idea from an arrangement and apply it to a hymn

from the hymnal. It's amazing what can be accomplished if

you just try. Keep it simple!

Improvising begins by using someone else's idea(s) and eventually

developing your own unique style. New website:

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