The Church Pianist: Improvising with Stepping Octaves

This improvised example of: "Like a River"

illustrates the style used for congregational

singing.

Notice the full chords which depict a majestic
mood and provide support to the singers.


Editor notes by measure numbers:


Measure#1: When using the 3rd note of a chord in the
bass, omit the 3rd of the chord from the
right hand. (beats 3 and 4)


Measure#3: Left hand plays stepping octaves on beats
3 and 4 for rhythmic variety.


Measure#4: Stepping octaves in both hands for
special emphasis and also carries the
singers easily to their next note.


Measure#8: Once again...the stepping octaves keep the
the rhythm moving and leads the singers
confidentially to their next note.

Try using stepping octaves in the following hymns:

My Jesus I Love Thee
When I Survey the Wondrous Cross
More Love To Thee

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The Church Pianist: Arranging a Hymn for Offertory

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Just as an author creates an outline for a story;
so must the pianist sketch the layout of a hymn
arrangement.

The text determines the way I arrange the song.
For example, if the verse depicts a prayerful/
devotional mood, I would use rolled chords or
broken chords to produce a peaceful effect.

I will give a sample layout for an arrangement
of the hymn "Great is Thy Faithfulness".

Verse one: (devotional mood)

Arrangement ingredients:

RH: single or two notes for a light texture
(middle range of keyboard)

LH broken chords

Verse two:
(light & airy at first to broader sound near
end of verse)

RH: octave higher (one to two notes for light texture)

LH: octave higher (broken chords)

LH: to normal area (below middle C) with broken chords
for a broadening effect on the following words:
"...there is no shadow of turning with Thee".

RH: remains high but fuller chords for broadening effect

*Style transistion:
Change to solid (blocked) chording on word: "Thee" in the
above mentioned phrase.

The solid (blocked) chords depict a spoken emphasis for the
following words in the song: "Thou changest not, Thy com-
passions, they fail not!"

Verse three: (More upbeat mood)

Speed: somewhat faster
Big chording in either hand to express God's goodness to
all His children!

All choruses: (Grand, majestic!)

Big chording once again

*I would skip the chorus after verse 2 and modulate
higher right into verse 3 to give a brighter tone to
an even more triumphant mood.


Remember, make sure the arrangement (improvised ingredients)
match the text of the hymn.

The main purpose of the offertory is to deliver an important
message through music. Remember...the offertory hymn
must be familiar enoughto relate to the listeners. The
listeners should be able to mentally sing right along with you
as you play.You may even hear some singing aloud, though
softly. That's ok! It means God is using you to minister to
their heart in song. What a blessing!

The Church Pianist: Chord Substitution

How to Substitute the V or V7 chord with a ii7.

This substitution can be used
when a V or V7 chord lasts two
or more beats.

It can be done in only 2 beats.
(see measure #4)

Simply replace the V or V7 chord with a ii7 and
resolve to the V or V7.

The song example is in the key of D Major.

Therefore, the ii7 chord= EGBD. The V7=AC#EG.

It's not necessary to play all 4 notes of a 7 chord.

The bare necessities are the 1st and 7th note of
the 7 chord.

Try this chord substitution on other songs in easier keys

such as: C, F, and G. Look for a V7 lasting 2 or more beats

and substitute with a ii7 in that key.

Helpful tip: Key of C (ii7=DFAC) (V7=GBDF)

This chord substitution adds a nice warmth to invitation

style songs.

Clarification tip: Don't use chord substitutions when playing

for congregation. The chord substitution(s) will conflict with

the written voice parts in the hymnal.

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The Church Pianist: Amazing Grace (chord substitutions)

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This article is a visual reference for my very

first post.

The article dealt with chord substitutions for
"Amazing Grace".


The arrangement is simple in order to focus

on the chord substitutions.


Please refer to the link below to see the names
of the chord substitutions.

http://thechurchpianist.blogspot.com/2008/08/amazing-grace-makeover.html#com#comments

The Church Pianist: Free Piano Congregational Arrangement (Amazing Grace)

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One of my favorite hymns: Amazing Grace!

I have more improvising liberty on this song

because the congregation sings unison and they

are very familiar with the tune.

Congregational style playing tips for :Amazing Grace

1. Remember...don't slow down at the end of

introductions.

2. In 3/4 time, accent first beat of each measure
for controlled tempo and shapely tone.
If you play every beat with the same weight,
you will overwork your hand and produce a
mechanical tone.

For more information on congregational singing:

Refer to the following articles on my blog:

http://thechurchpianist.blogspot.com/2008/09/church-pianist-introduction-tips-for.html

http://thechurchpianist.blogspot.com/2008/09/church-pianist-introduction-tips-for_9455.html

The Church Pianist: Easy Vocal Duets from the Church Hymnal

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I will preface this article by stating: The church

hymnal is basically arranged for four-part harmony.

If a couple wants to sing a duet from the hymnal...

you may have to alter the alto or tenor in order

to have the proper (close) harmony.

Harmony for a duet means (alto or tenor).
Close harmony is generally made up of 3rds or
6ths above or below the melody. (depending on
melody range of the hymn).

If it's a male & female duet: (vocal range is an important factor!)

For a female with a low voice: (she will sing harmony in the
alto range). A baritone or tenor male will sing melody.

If a female has a high voice: (she will sing melody).
The male bartitone or tenor will sing harmony.

Some of the songs in the hymnal are well-suited for duets.
Keep in mind, the vocal range of the singers determines
what key is most comfortable for them.


The following hymnals list "duet" hymns in their topical index:

"Soul Stirring Songs & Hymns" (Sword of the Lord Publishers)
"Living Hymns" (Al Smith Ministries).

The next two hymnals do not supply a list of possible duets but I
will list a few from each:

Great Hymns of the Faith: (Brentwood Benson Pub.)

Away in a Manger
Silent Night
Tell Me the Story of Jesus
The Old Rugged Cross
Blessed Redeemer
Jesus Paid it All
Nor Silver or Gold
Lead Me, Savior
Stepping in the Light

Majesty Hymns: (Majesy Music, Inc.)

Brethren We Have Met to Worship (Key of A flat)
(nice for men on melody and women on alto)

Savior Like a Shepherd Lead Us (E flat)
(beautiful for two part ladies group or duet!)

Under His Wings (D flat)
(great for a tenor on melody and lady on alto
as written).

No One Ever Cared For Me Like Jesus (D flat)
(nice for two part ladies group or duet
with one minor change: look at last measure...)

Altos sing:

F on "much He"
G flat on "cared"
melody on "for me"

Sapranos sing harmony on last two words:

G flat on "cared"
F on "me"


Oops! Getting involved there on the last list of songs.
It helps to have some easy arrangements in mind;
especially for the smaller church with a limited
supply of music.


Special note: Remember that each hymnal differs in
four-part arrangements.

This means that the same duet in one hymnal may
not be geared for a duet in another hymnal.

Just remember...close harmony is the key!

I hope this list will be helpful to the church pianist in
need of some special music resoures for duets.

Time is precious to us all! Make use of these easy
vocal duets already at your fingertips!

The Church Pianist: Free Piano Arrangement

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This song has been on my mind today.
I hope this free arrangement is an
encouragement to all of you.

I wrote in a free style...from my heart.

The lyrics are included to help you stay
in touch with the melody.

Notice the suggested speed at the very
beginning.

This free arrangement can be used as an
offertory.

Hear audio of this free arrangement:



http://www.box.net/shared/ugx873ryn0