One of the trickiest technical moves in my How Great Thou Art  piano arrangement is the glissando found on page four.   (Shown below)

Glissando Tips

1.  Notice the  three tenuto (line marks) under the left hand in measure 29.  These marks are pointing out the melody for the words “…then sings my…”.  Emphasize the melody and keep the glissando volume in the background (little softer than left hand).

2. The right hand begins the glissando with the index finger immediately after the left hand plays the G octave with the first tenuto (line) mark.  (It happens to be the same G as the left thumb just finished playing in the G octave).

3. Start the glissando with your right hand index finger…flipping the right hand over after the index finger starts.  The index finger and 3rd finger will glide across the keys in an upside down, horizontal position.  Once the index finger begins…the third finger will carry the brunt of the notes as you glide upward.  The index finger will act more as a support and guide for the third finger.  Just remember….the third finger is longer so it naturally has better contact of the keys.

4.  Word of caution to church pianists:  Glide across keys in a lightweight; relaxed fashion to avoid sore fingers

Visual Tips for the Glissando in How Great Thou Art

Share/Bookmark

Two sisters, Laurie Iskat and Christie Funchess, began this website in the fall of 2010.  Their desire was to provide a resource for God-honoring  Christian music.

The arrangements range from beginner to advanced. At this time, they are offering three free arrangements (listed below). The rest of the arrangements are available for sale at a very reasonable price.

“I Will Sing of the Mercies of the Lord” peppy piano duet (late intermediate to early adv)

“Tis So Sweet to Trust in Jesus”  piano solo (late intermediate to early adv)

“How Sweet it Is“  uplifting chorus (for church use, ladies’ meetings or children’s choir)

I look forward to shopping at this resourceful site for church pianists.

Share/Bookmark

 His Way is Perfect by Betsy Kistler

Be Not Afraid by Craig Courtney

Click here to see PDF sample of

Here’s the only youtube recording I could find.

Share/Bookmark

This has been a very difficult week.  One of my piano students I’ve been mentoring to be a church pianist passed away this week…very unexpectedly.  Please pray for the family.

I’ve managed to prepare a “free accompaniment” idea for Heaven Came Down.  This particular hymn contains a mundane bass line..making it a challenge for the average church pianist to create an interesting accompaniment.  What to do?  You have to play what’s not there   Easy said…but a challenge to do right?  For that reason, I’m sharing a free accompaniment idea that can be used for the verse of this hymn.

I”m limited on what I can share because this hymn is still under copyright. Therefore, I can only share a small portion for educational purposes only…(called the “fair use” law). Just use the same accompaniment idea to finish out the verse.  I would tend to use this accompaniment idea ONLY if the congregation is secure with their voice parts…whatever that may be.  Most of our congregation sings melody.

Click here to download Heaven-Came-Down-congregational-idea

Share/Bookmark

Scenario: A pianist sees a chord with three or more notes…(brain computes)…HEAVY touch!  Your brain thinks….I can’t possibly mash all those notes down at once without attacking them    Word of caution:  Relax and apply gentle even pressure as though you’re lightly kneading dough… to avoid a “chunky” or “weighted” sound…especially when the full chords occur on the weak beats.

For example, in 4/4 time, the 1st and 3rd beats are naturally accented. Therefore the 2nd and 4th beats are weaker. In 3/4 time…only the first beat of each measure receives the accent. Why? To produce a more shapely rhythm and to avoid a mechanical/laboured sound.

The following excerpt is from an arrangement that will be included in a “Funeral Collection” which I hope to finish within the next several months. Notice the full chords in the left hand. I will give a brief demonstration of a suggested way to interpret these chords…fighting against the natural tendency of “heavy hand” treatment.

Click here for: video clip of following example

Share/Bookmark

This arrangement of “Just As I Am” will be included in the congregational accompaniment book.

Our church pianists have enjoyed using the “working” copy of this book. They like the pre-made introductions…especially for those awkward entry hymns that require “special treatment” for a comfortable introduction.  The song leader has also commented on it making his job easier.

Without further introduction…here’s your free piano arrangement of “Just As I Am”

Click on the above title in “red” for the arrangement

Special note: I haven’t included an introduction to this arrangement yet because we mainly use background music for invitation. I may consider modulating for some of the other invitation hymns in this book.

Share/Bookmark

Following the song director is a challenge for a lot of church pianists.  Since I’m ancient…and have memorized the majority of the hymnal…I’m more free to look away from the hymnal and watch the director.

Seriously,  the church pianist must learn the hymns well enough  in order to  look away from the music at the song leader or at least have the leader’s arm  within your peripheral vision.

How does the pianist get comfortable playing “by feel”?  Try playing a familiar song in the dark.  I’m serious!  Playing in the dark is an excellent way to sharpen your senses/skills…just as a blind person may have a more keen sense than the average person because they are avidly “tuning in” to the situation at hand.

At least ten years ago…I was playing the prelude  in the Charlotte coliseum at a teacher’s convention.  It was right after 9/11.  All of a sudden, the lights went out!  A sudden rush of anxious, whispered voices stirred through the auditorium.  My thoughts…”Now what?!”

Thankfully I knew the hymns I was playing from “many” years of practice    The Lord just guided my fingers and I just played  soothing hymns to hopefully calm the concerned crowed (considering we had guards around due to the 9/11 event.  I remember hearing people singing along with several of the hymns.   A little over ten minutes went by before the lights came on.  It seemed like an eternity to me.

Share/Bookmark

Every church pianist probably owns a copy of the traditional “Wedding March”.  I’ve personally been wanting a new arrangement of this well used tune.  So…I finally finished a new version of  the “Wedding March”.

The majority of the weddings that I use this song for…want it to last long enough for the married couple to exit and then transition into another tune for the rest of the wedding party. The bride is usually open to suggestions for this separate song after the wedding march.  I usually suggest “Praise My Soul the King of Heaven”…an old hymn tune but very majestic and happy!  Of course there are other tunes  that work beautifully. (another article) 

I just like the smooth transition from “Wedding March” to “Praise My Soul the King of Heaven”. Here’s an audio sample of  this transition…

Wedding March transitioning into Praise My Soul the King of Heaven

It took me forever to find this alternate tune for Praise My Soul the King of Heaven by Mark Andrews.  I think it’s public domain but still checking to make sure. If it’s public domain…how many of you would be interested in a piano solo arrangement of this tune?  It’s just so pretty!

An absolutely beautiful two piano arrangement of it is available in “The Wilds” online music store.  The following link takes you to their music store.  (I couldn’t get the specific page link to work). Once you’re on the main page…click on “product search” on the left and type in “Praise My Soul the King of” to find  the two piano arrangement.

Wedding March

Early advanced piano arrangement, 3 pgs. Length: Approx 1 minute & 20 seconds (without repeats)

Price: $3.50

Share/Bookmark

Scenario: When a I chord is leading into a IV chord…add a minor 7th to the I chord. The minor 7th note is located a 7th above the root (bottom) note of the chord.  See the following explanation of the chords before viewing the free pdf sheet of this chord substitution.

Editor’s notes for free pdf sheet on this chord substitution:

Key of F:  I chord = F,A,C       IV chord =  Bflat,D,F    I chord with added minor 7th = F,A,C,E flat

Key of G: I chord =  G,B,D       IV chord =  C,E,G        I chord with added minor 7th = G,B,D,F natural

*Special note: The substituted chord ( I 7) does not have to contain all 4 notes as you’ll discover in the examples.

Click here to download free sheet for Chord-Substitution-adding-minor-7th-to-I-chord

Challenge yourself to look for the I (minor 7th)  chord already in use throughout the church hymnal.  Try applying the above chord substitution in other hymns during I – IV chord progressions. Tip: Use hymns with easy keys at first until you gain confidence with the concept.

Share/Bookmark

 I recently composed a congregational piano arrangement of Away in a Manger for one of my upcoming church pianists to play for church while I’m away.

So..I’ll share it with other church pianists that may be able to put it to use this Christmas.

Click here to download Away in a Manger (free congregational piano arrangement)

Share/Bookmark