It’s hard to believe that July 4th is so close!  Since I’ve been so busy…it takes less time for me to write an arrangement as opposed to a strict “teaching” article.  Today’s free piano arrangement of “Battle Hymn of the Republic” is arranged for congregational singing.

The hymnal version (voice parts) contain a lot of repeated notes making it necessary for the church pianist to create a more interesting sound to bring it to life!

In part one of this free arrangement…I added the vocal score above the piano score… so you could see what I’m playing as opposed to the written voice parts from the hymnal. I’ll provide an audio after I share the entire arrangement with you.

Click here for free congregational piano arrangement of: Battle Hymn of the Republic (Part One)

One of my readers recently asked if the chord substitutions of Just As I Am tutorial video was available in sheet music.  I have since created the sheet music for this brief lesson.

Click on the following link to see the video of Just As I Am chord subsitutions for the final line of this soul-stirring invitation hymn. I use the minor chord substitutions in this hymn…to give it a warmer sound.

Just As I Am (video link: chord substitutions)

Click here for free sheet music of Just As I Am chord substitutions

 Free Piano Arrangement of Just As I Am (invitation background style)

I enjoyed improvising the chorus of “Christ Returneth”.  There are fewer chord changes in the chorus, making it easier to add extra movement.  The frequent half notes also provide time for fill-ins. 

This arrangement was written for the  intermediate to late intermediate level church pianist.  The advanced church pianist can just play more four-note chords in the right hand where feasible.

Editor Highlights for Part Two of “Christ Returneth”

1. page two (first measure)  The left hand octave movement is used to create excitement to match the words “Jesus will come in the fullness of glory”. 

2.  page two, measure #20 (where chorus begins)  A simple accompaniment is used for a more “subdued” mood.

3. page three, measure #30, third count, right hand (right hand plays octaver higher for contrast…but still remains soft).

Click here to download free sacred piano arrangement “Christ Returneth” part two

Click here for “Christ Returneth” part one

I’ve had my computer off because of our weather and now back online. Sorry for the late posting.  Since I’m short on time…I only entered the soprano for the vocal score of “Christ Returneth” to help you follow the words while you play the piano accompaniment.

I think “Christ Returneth” is one of the most awkward hymns to play when accompanying the four part harmony from the hymnal.  Due to the frequent chord changes, the church pianist only needs to create a simple, but stately accompaniment to enrich the text. 

Notice the time signature changes during the verse.  The verses are sudued and the chorus is jubilant. The congregation will enter with confidence if they hear how the song starts in the piano introduction. 

To maintain the subdued mood of the verse, the church pianist can just play the beginning phrase of the verse followed by a improvised ending…creating  a smooth transition for the congregation to begin singing.  I did include an introduction in today’s free arrangement of “Christ Returneth” Part One

Click here to download free piano arrangement of: Christ Returneth (Part One)

One of my readers recently asked if I would share some improvising ideas for Victory in Jesus. Since this hymn is copyrighted, I’m limited to how much of the song I can share due to the “fair use” law for copyrighted music.  (Another interesting topic for a future article) 

Editor’s Notes for the free handout of Victory in Jesus (improvising ideas): Click here for free handout. 

For time’s sake, I only entered the melody on the vocal score but the piano score utulizes the basic chord structure of the four voice parts from the hymnal.

Left hand accompaniment description for line one:  I used an alternate bass note (D) on the third beat for variety.  The note (D) fits in a ”G” chord…therefore making it a good choice for an alternate bass note. 

LH accompaniment description for line two: I used the same alternate bass idea. The final measure contains a busy octave stepping pattern to fill-in three counts on the word “me”.   The dotted rhythm on the first two octaves adds an extra spice to the sound; making it more lively.

I know more visual examples of this hymn would be helpful but I’ve reached my limit of “fair use”.   Although, I can tell you in words… that I use the alternate bass idea on the chorus too.  Just look in a hymnal at the chorus.  See the words “Saviour” and “blood” ?  I play stepping octaves for these words with my left hand.

Just a peek at what can be done with this hymn but may provide a springboard to your own creativity!

 Part One of Sunlight

PDF link: Sunlight Part Two

The chorus of Sunlight contains several twists and turns in the melody line making it tricky for the church pianist to manuveur through this peppy hymn. 

Simply play more blocked chords on the main beats (one.two, three, four).  I had to add an occasional  sprinkle of triplets in the right hand for a lively sound. The triplets also allude to rays of sunshine as the congregation happily sings….”…sunlight, sunlight, in my soul today!”

Complete audio for Sunlight Part Two (congregational accompaniment)

Just use your imagination to make the music come to life…causing the congregation to sing with more enthusiasm.

I hope the accompaniment ideas I’ve shared over the past few years have helped to stimulate the  creative thinking of other church pianists…encouraging them to be even more effective for the Lord as they serve Him through the ministry of music.

How about a free piano arrangement for “Sunlight”?  (congregational style)

One of my adult piano students attends a church with several pianists.  The songleader has setup a rotating schedule to give more of the pianists an opporunity to play for the church service.  What a great idea…utulizing the people God has provided a church family

I’ve particularly enjoyed sharing improvising tips with this student. She’s so ready to learn and has shown great progress in being more mobile on the keyboard due to her being able to play at her church.  The next hymn we will work with is “Sunlight”.  The melody is very busy….but….relax!  The pianist doesn’t need to play every single word    Just play on the main beats (1,2,3,4) and let the congregation keep up with the words. 

Editor notes for today’s free piano arrangement for

PDF link: “Sunlight” (Part One)

Overall right hand analysis:  I used chord inversions with a sprinkle of triplet groups here and there for some extra spice. Measure #6: Look at how I play empty octaves (octaves without any notes in the middle) during fast passages in the right hand.  I added middle notes to the 1st beat of the right hand to emphasize the  accented beat in 4/4 time.  (Beats one and three are normally accented in 4/4 time.)

Left hand mainly consists of octaves and chords.  Notice the alternating bass in the piano score…avoiding the overuse of E flat bass in the vocal score. (as in measures #1,2,and 5)

I enjoy playing for congregational singing.  It takes alot of energy too!  It’s important for the church pianist to play loud enough to support the singers…giving them a sense of security to sing out even more.

Today’s tip on congregational singing involves “keeping the tempo alive” between the verses.  In general, most songleaders do not slow down too much between the verses of a hymn when leading congregational singing.   It’s the pianist’s responsibility to keep the rhythm alive and steady when transitioning into another verse. 

In many cases, the last word of a hymn requires very little fill-in movement.  For example, the hymn “Redeemed” needs a bare minumum of fill-in music before plowing into the next verse.  Listen….”Redeemed” audio example.

Other hymns, such as “What a Friend We Have in Jesus” may require more fill-in notes because the last word of this hymn is held up to 4 counts.  Here is where I use one of my favorite transition fill-ins.   In the following audio sample…you will hear the last phrase followed by the transition into the next verse.  “What a Friend” audio example  Special note:  You will see this example when you click the link for the free handout for today’s article.

Remember to maintain a steady tempo during the fill-in between the verses to keep the tempo alive.

Free Handout for Piano Accompaniment Fill-ins for Congregational Singing ( Between Verses)

Some hymns, such as Angels We Have Heard on High, contain busy inner voice movement.

I’m referring to the weaving alto part under the melody of the chorus.

It makes it tough on the piano fingers!  There’s no need to play every note during this kind of passage.

I simply play more blocked chords that include the moving voice parts to support the singers (congregation).

Stepping bass octaves in the left hand add movement needed to maintain a peppy tone.

Just remember to simplify busy inner voice movement by using blocked chords that agree
with the voice parts.

 Angels We Have Heard on High (inner voice movement)

Improving Ideas for Thou Didst Leave Thy Throne (part two)

The improvising ideas in this hymn are simplistic but are meant to add warmth to enhance the beautiful words of this old melody.

Improvising ideas for Thou Didst Leave Thy Throne: part one

*Keep in mind…the chords in the piano score will not match the four parts from the hymnal version.