The Church Musician: Free Christmas Piano Arrangement

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Merry Christmas early! I thought
you all might enjoy a free piano
arrangement of "Joy to the World".


I wrote it with the small church in
mind. You can always repeat it to
make it just right for an offertory.


The arrangement could also be used
for the prelude.


Remember how I've been telling you all
that scales are important?


Well....here's a good example. They add
life to hymn arrangements. I used the C
scale twice in this Christmas song.


You'd better know the correct fingering to
make it sound... ever-so-smooth.


(C scale fingering: 12312345) for right hand


I also used a lot of chord inversions in measures:
five & six (left hand). They add a more open tone.


Remember: frequent use of root chords create a
"plunky" sound.


I'm saving my longer piano arrangments for my
future website. Hope you're able to use this
free arrangement!

Thanks for your visits. Hope I've been a help.

The Church Pianist: Congregational accompaniment (A Shelter in the Time of Storm)

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Accompanying congregational singing
demands a lot of creativity when sing-
ing more than one verse of a hymn.


If able, the church pianist should
vary the accompaniment for each
verse.

I always try to use accompaniment
that matches the text of the hymn.

In today's example, I show variations
of accompaniment for three verses of
"A Shelter in the Time of Storm".

Things to note:

Verse one:
on the word "storm"....I use dotted rhythm in the left hand to
depict God'strength as our shelter.

Verse two:
Lighter chords (for variety)
5th measure: The right hand will play
an octave higher for a while starting
on the word: "No"

Verse three:
Heavier, brighter accompaniment for
final message: God is our refuge and strength!

Learn to play with variety to enrich the text
and boost congregational singing.

Piano Introductions (Tempo Changes)

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Some songs in the hymnal
have time signature changes.

The verse may start in 3/4

and the chorus in 4/4.

Generally, introductions consist of

the first and last phrase of the song.


Remember, the purpose of the intro-

duction is to establish the initial tempo.


The introductions for songs with tempo

changes must be created from the verse

to establish the initial tempo.


I have given several song examples to

illustrate possible introductions.



Editor notes for Examples:


1. Christ Returneth: the introduction

had to be modified to avoid a lengthy

introduction.



2. The last two songs were easier...

using the first and last phrase of

the verse.



Introduction tip: The last phrase of the verse


must end on a one chord to give the introduction


a closing sound. Otherwise, the church pianist


will need to modify (end on the one chord).



For more information on introductions, please refer to


the following links of my earlier articles.



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

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

The Church Pianist: Transposing for Congregational Singing

New website: http://thechurchpianist.com

Transposing (changing keys) is one art

all church pianists should strive to learn.

Congregational singing can be energized

by just transposing the last verse of the

hymn being sung. Of course, you and the

music director will want to have this worked

out in advance.



Our music director is very laid back and doesn't

mind me surprising him with a key change.

Transposing up a whole step is very easy!

Basic chord ingredients needed:

Last measure of the song ends on the I chord.
Next, add the minor 7th of the I chord.
Finally, Play the V 7 of the new key and you're there!



Refer to the examples on today's image and play them.

I will address "how I learned to transpose melodies" in

another article.

Just think one note higher when transposing up a whole

step. Knowing your scales is of upmost importance!

The Church Pianist: Special Music Schedule

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Alot of church pianists have the job

of making the special music schedule.

This occurs more often in the smaller church.

Guidelines for Creating the Music Schedule:

*I create 2 months at a time. Scheduling for
more than 2 to 3 months in advance
limits the opportunity for new members
to be worked in right away.

Here are some things I check on before
finalizing the new schedule:

(This allows for us to choose songs that
coorelate with planned meetings.)

*Planned revival, other special meetings, etc.

*Special emphasis Sundays

*Planned vacations (to minimize schedule conflicts)

*Making sure I don't double up on the same person in
one service. Example: Same person having AM service
offertory and vocal special.

To simplify scheduling:

*Schedule only one small vocal ensemble once a month
unless you are blessed with more than two pianists.

(We have found this works well with only two of us to
rehearse all special music throughout the month).

Planning the special music takes time but it helps our
music ministry run alot smoother!

God does command us to do everything decently and in order.

Our musicians enjoy preparing in advance to better
serve the Lord through song.

One final tip:

We always post the special music

schedule in the choir pracitce room.

It acts as a constant reminder for all of us.

The Church Pianist: Adding the Major/minor 7th

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The church pianist can rejuvenate
a hymn by just using chord extensions.






A chord extension occurs when
consecutive 3rds are added above
the 5th note of a chord in root
position.









For example, the C chord (CEG)....
add a B to it and you have a richer
chord!









The note 'B'....is a major 7th

above the root note (C).





Lowering the 'B' to a 'B' flat creates
a minor 7th above 'C'.......therefore
creating the Major/minor 7th.






Ingredients of the Major/minor 7th:




(I'll use C chord as example)









Major=CEG
minor 7th=B flat








Together= Major/minor 7th chord







A minor 7th can be added when a I chord
is leading to a IV chord. (Hope you know
your chords by numbers).








Key of C:
C is the I chord
F is the IV chord








Explanation of today's example:






I first showed the added 7th in the vocal
score for easy-to-see example and then
gave the piano score for a more practical
demonstration.








Challenge to the church pianist:








Take a church hymnal and try to find
the Major/minor 7th already used
in the following songs:






At Calvary (chorus)
Victory in Jesus (twice in chorus)
Lily of the Valley (no hint!)

Clarification: The Major/minor 7th is not a chord

substitution. It's simply an extended chord.

The Church Pianist: Chord Substitutions for Repeated Bass Lines

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Chord substitutions add spice to

gospel songs with repeated bass

lines!

Some of these substitutions have

been mentioned in my previous

articles.

General information on song sample:

The vocal score is presented to show

the contrast created by the improvised

piano score.

Please remember: chord substitutions
conflict with part singing unless....
everyone is singing unison.

Editor notes by measure number:


#3: I added the minor 7th of the G
chord (the F natural) which gave
a nice pull to the IV chord in m#4

#6: Substituted a I (G) chord with the
vi (e) chord

#7: The substituted vi chord leads nicely
to a II7 (Major-minor 7th) AC#EG

#8: Subsitute a V with the ii7 which
resolves back to the V.
I did use a ii7 crossed with a V on
the first beat for a nice twist!

The I 7 chord illustrated in measure #3
can be used for congregational singing
when correctly applied.
Tomorrow's article will demonstrate this
easy-to-apply chord!

Chord substitutions allow the church pianist to communicate more effectively through music.