Click on the following song title to see this improvising idea put to use. The pattern can be seen in the first few measures.

When the Roll is Called Up Yonder (part of chorus)  Intermediate version

For those of you at a more advanced level..you’ll find a free sample below of what I would play to accompany congregational singing. (I transferred the stepping down pattern to the right hand for the first phrase of the chorus.

When the Roll is Called Up Yonder (part of chorus) Advanced version

Have you discovered how it doesn’t always work to play the first and last phrase of a hymn for an introduction? A lot of church pianists have been asking me for help in the area of piano introductions.

Sometimes it works to just use phrases from the verse for the whole  introduction.  In today’s example, I share two ways of playing an introduction for “Wonderful Words of Life”.  Decide which example sounds best to you.  I prefer the first example because the melody follows a more logical flow as opposed to the second introduction.

Click here for: Piano Introductions (part two)

I do plan to share more introduction tips and examples!

Click here for: Piano Introductions (part one)

How long should a piano introduction be?  What part of the song do I play for the introduction?  

I hope the following video and free pdf sheet of piano introduction examples will benefit church pianists needing guidance in this area.

Free PDF Sheet: Piano-Introductions-Part-One 

I just attended the smoothest wedding rehearsal and wedding ever!…my son’s

While flying home yesterday,  I began to list the things I observed in my son’s wedding rehearsal that helped create this seemingly, effortless event. 

 Many church pianists, like myself, occasionally find themselves in the position of wedding consultant/pianist/coordinator/etc. 

For this reason, I’ll share my wedding notes with you soon…in hopes that the list can be of help to other church pianists placed in the position of wedding assistant.

I have compiled several of my free Christmas piano arrangements under the ” Free Hymns Pdf” page for easier access. 

 Most church pianists are gearing up for Christmas; searching out Christmas piano arrangements. Hope these free arrangements are a help to your music ministry.

Here’s another nice resource for church pianists.  I found this website not too long ago and thought I’d share it with you. It’s an easy name to remember….pdfpiano.com

The site contains gospel piano solos and piano duets.  Many of the arrangements require minimal practice…making it a nice resource for church pianists with limited practice time.

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

Ever been nervous while playing an offertory?  I’ve never met a church pianist who hasn’t dealt with this issue. (including myself).

A question from one of my readers…

How do you address the issue of nerves with your students? I am completely comfortable playing congregationals, but as soon as it is time for the offertory my hands start shaking!

A music professor shared some sound advice with me several years ago, about my being nervous to play or sing at church.  I’m human too

He said, being nervous reflects on self.. thinking about how I will sound or look when I’m playing or singing in front of others.  Then he said what I didn’t want to hear….PRIDE.  I know…pride is a sin and therefore…well…

So true!  If you think about it…being nervous hinders us as church pianists from being effective communicators through music.

I still get nervous at times, but this wise man’s words have rung in my ears many times… as a gentle reminder to forget self and focus on the message of the song.  Ultimately, I should rely on God to help me convey His message of truth in song.

I also find it easier to play for congregational singing as opposed to playing for an offertory.  During the offering, the church pianist is more on display right?  :)  Just forget about all those eyes watching you and focus on the message of the song. I like to sing along in my head as I play…which draws me into the song.  Just ask God to give you peace.

Either my parents or piano teacher once advised me to imagine myself just playing in my own livingroom when having to play in church.  I found this helped me to forget the audience and focus on what I was playing.

I will have to say that experience over time does wonders to ease the nerves.  I’ve been playing for church since about age eleven.  I’m ancient now!  Well…just 46.   But…long enough to have gained some experience.

God has a way of keeping me humble if I get too prideful

There is another side to being nervous.  Maybe the pianist hasn’t prepared enough and therefore he or she is nervous.  Valid reason! Or…it could simply be…the pianist has chosen a piece above his or her level.  If you can’t play it at home without struggling after sufficient practice…then don’t play it.  It’s better to play a simple piece well than to play a fancy piece poorly.

In closing, I’d like to  encourage all church pianists, including myself, to focus on pleasing God with our music and so much will just fall into place.

Thanks for your visits and comments!  I pray for you all as you seek to please the Lord with the talents He has blessed you with.

The hymn entitled “The Old Rugged Cross” has stood the test of time. As a church pianist, I enjoy reading the stories behind the hymns.  Knowing the story behind the hymn enriches the meaning…making the hymn even more personal to me.

God used George Bennard, an evangelist of the early 1900′s to write this soul-stirring hymn.

The melody of “The Old Rugged Cross” came quite easy to George.   He tried to think of words but they didn’t flow until several months later. George had been preaching a series of evangelistic meetings on “the cross”. Many people came forward to be saved during those meetings. 

George was thrilled with the number of souls that were saved during those meetings.  He reflected on how the message of the cross was so important!

He went home after the meetings and the words to “The Old Rugged Cross” flowed from his pen as he wrote the words to a hymn we all love and cherish.

The full story to this beautiful hymn can be found in Al Smith’s Hymn Histories.  Al Smith met George Bennard many years ago and heard the firsthand account of how George wrote “The Old Rugged Cross”.

I just came across another excellent article written about George Bennard.  Hope you enjoy it as well as I did.

As a church pianist, I encourage other pianists to read the stories behind the hymns that they play. It will instill a deeper appreciation of the great hymns of faith.

How many church pianists have needed to play How Great Thou Art in a lower key?  I have… plenty of times.  I usually play How Great Thou Art  in G major when accompanying male solos. Altos also like this key.

 This free arrangement (part one)  is written at a basic level; allowing the pianist freedom to add their own embellishments.  The arrangement contains chords not found in the hymnal version of “How Great Thou Art”.

Church pianists are always needing hymns in lower keys. Periodically, I will provide such arrangements.