“Thou Didst Leave Thy Throne” is a beautiful hymn to use at Christmas time.  This particular hymn contains a lot of accidentals…creating awkward moves for the church pianist.  I will attempt to create smoother harmonic changes making it more user-friendly for the average church pianist.

Editor notes for Part One of “Thou Didst Leave Thy Throne”

Download the free pdf  example here to view as you read the information below.

1. I like to use a ‘G’ natural in place of the ‘G’ sharp on the last word of line one. I just think it sounds better.

2. Notice the chord number labels in line two. Whenever a I chord is lasting more than one beat and moving to a V chord…you can substitute a vi chord in place of the I chord before moving into the V chord.   The vi chord creates a warmer tone.

In plain English…a I chord in the key of D = DF#A and the V chord in the key of D = AC#E

I look forward to sharing more improvising ideas with the rest of “Thou Didst Leave Thy Throne” in part two.

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

Alot of times, our choir will sing a special from the church hymnal.  Sometimes I just want an introduction other than the regular last phrase of the song. 

 Congregational introductions do require introductions that are self-explanatory.  But…for the choir and other specials, it’s nice for the church pianist  to have a creative introduction as long as it fits the song. 

I”m sharing an introduction idea today that would work for offertory, choir or other vocal special. 

For example, if you’re giving an introduction for a song in C Major…start the introduction with an F chord…then to a C chord and finally end with a G (7) chord right before the first word of the song.  

Sound clear?   Check out the example below that illustrates this type of introduction.  In this particular case, I used the introduction idea in an offertory special entitled  “We Gather Together”.

Click on image to enlarge for clearer view.

*(You may want to print the “Runs in Hymns example three” page below to have on hand as you read the following information)

I enjoy using what I call “cluster runs” in hymnplaying. It’s just a cluster of notes (close together) played in a rapid broken-chord pattern. I just repeat the same four notes up the piano.  Runs can be added almost anywhere as long as they fit the flow of the hymn.  The run needs to sound like it belongs in the arrangement…not just thrown in as an afterthought.

The following example illustrates  the use of the “cluster run” in the hymn “Throw Out the Lifeline”.  The cluster run begins on the word “someone”.  Just use your right thumb to start each set of four notes.  For each group of 4 notes…I use the 1st, 2nd, 3rd and 4th finger.

Emphasize (stress) the first note of each 4 notes to create a more shapely tone…making the run blend into the piece. 

Runs- in- Hymns- example -three

Audio of Runs in Hymns (example three)

One of my latest arrangements uses this cluster run in most of the chorus of “The Light of the World is Jesus”.  The sample audio on this link contains the chorus with the cluster runs.

Example #2 for Adding Runs in Hymns 

Explanation of example #2 in adding runs to hymns:

(Click on image for a clearer view)

This run created a nice fill-in where normally a dotted half note occured on the word: “Thee”.  In the original version, the G chord lasted for the entire last measure of the verse for the words: “Thee….Draw me”  I added a D (7) chord on the 3rd beat of that measure for chord variety.

 Audio Sample of Example #2

*Upcoming article: Longer example with run in middle of a sentence with user friendly fingering!  I call them cluster runs

I hope the first example of adding runs to hymns was helpful for some of you.

The second example of adding runs to hymns is fairly simple. I chose a hymn in G Major and 4/4 time.  The run is nothing more than a one note ascending scale used as a fill-in.  This particular run makes a nice transition from the verse to chorus.

These articles discussing runs will be broken down into even smaller segments due to my limited time this semester. I will share more explanation on this example along with an audio in the next article.

At least you can view the example and print it in advance of hearing the audio and seeing more details soon.

Runs_ in _Hymn_ example_ 2

 For years….church piano friends have been after me to produce a hymn improvising curriculum.

I would seriously like to begin working towards  such a project.  The outline of this curriculum has been in the works for quite some time… but I lack one vital ingredient…the input of other pianists!

What area of improvising do you need help with?  Transposing?  Transitions? More illustrations backing up improvising concepts?  Simple left hand patterns?  You name it!   I really want to know what your needs are.

Your comments will be kept private so feel free to share any questions.  Special note:  Sufficient feedback does motivate me to produce

Thanks for your visits and comments!

I enjoy adding runs to hymns.  A lot of pianists have asked me the following questions about runs over the years:

1. Where can I add a run?

2. What notes do I use?

3. Do I start the run on the word or after the word?

4. How do I make the run sound like it fits?

5. What fingering do I use?

6. Do I use one or two hands for this run?

Excellent questions!  I will attempt to answer these questions as I go through this series of articles on adding runs to hymns. 

Runs consist of either arpeggios (broken chords)  or scales.  Ew….got to know your theory!   (Another lesson) 

1. Arpeggios look like this… (notes on treble staff below) 

*Special note: Did you notice this particular arpeggio is the second inversion of a C chord with a passing tone sprinkled in?  Hmm…I feel more theory lessons coming. That’s ok… a little  at a time, right?!

*I’ll show an example of a scale used as a run in upcoming articles.

Some pianists find “adding their own runs” to hymns or playing runs in hymn arrangements to be rather difficult.  Let me give you a helpful suggestion…isolate the run…turn it into a technical exercise and learn it well. 

When playing runs or anything else for that matter, it is extremely important to use correct fingering.  Many church pianists never had the proper training in this area…making it difficult for them to play in a smooth style. It’s ok..not your fault. I’ll provide  fingering suggestions on today’s example of a run…to help you produce a flowing style. This first example will use a right hand arpeggio in an octave format (spread).

Editor notes for today’s example:

The example contains the final phrase of Trust and Obey, written in congregational style.

The run occurs on the second syllable of the word “Je-sus”  

 Notice the ritarando marking  (rit.) starting ahead of the run… so the run won’t sound rushed as though it was just carelessly thrown in. I’ll provide an audio link for this example.

The measure containing the run has an extra beat to allow time for the run. (This isn’t always necessary)

 Click on the following…Runs in Hymns (Example #1)

Audio for Trust and Obey Run

Link: Adding runs to hymns Example Two

How many church pianists are interested in learning how to add runs to hymns?  Do you ever wonder where the best place is to insert a run?

I consider this a fun topic!  I’ve been wanting to share ideas on adding runs to hymns for quite some time.  This will probably be a series of articles. Each article will contain at least one written example of a run in a hymn.

Scales add life to hymns! 

I’ll show you one way to insert a scale in the first measure of a hymn or in some cases…adding an extra measure to make the scale fit at the beginning.

Editor notes for today’s… Scale Examples in Hymns

1. The  scale in each example  equals two counts.

2. This type of scale entry works well when the first note of the song begins on the 5th note of the present key.

     It is Well is in the key of C and the first note is “G” which is the 5th note of the C scale

3. Notice…the scale in each example begins one octave (8 notes) lower than the first note of the song.

4. When the first word of the song occurs in an incomplete measure…(as in “It is Well” and “He Hideth My Soul”)…the first word will be understood during the scale.  Reminds me of English…when “you” is understood in the sentence even though it may not be written

 Application:

Try this scale idea in other hymns of similar design!

I plan to post part three of scales in hymns by the end of this week.

Some church pianists may not understand where to insert a scale in a hymn.

Scales can be placed in several different places in a hymn.  The upcoming article will show the church pianist how to add a scale to the very first measure of a hymn!

Looking forward to sharing the examples with you!