“The Lily of the Valley” is a nice, uplifting hymn. Several factors make this hymn a challenge for most church pianists.

The hymn is loaded with repeated notes and a very busy rhythm…(what I call….the “wordy” hymns).

You don’t want it to sound like you’re trying to chop down a tree 🙂

The church pianist needs to basically outline or (play) the main beats of the hymn. This particular hymn is in 4/4 time.   So…the pianist should at least play on the 1st, 2nd, 3rd and 4th beats…creating a steady, rhythmic  tempo for the congregation.

It’s not necessary for the pianist to play “every word” of the song when accompanying. Playing every word would limit the pianist’s ability to improvise. 

The more familiar the congregation is with a hymn…the less dependent they are on hearing the melody.  This allows the  pianist more  freedom to stray from the melody…making it much easier to maneuver through the accompaniment.

Editor notes for today’s free piano sample of “The Lily of the Valley”

Notice the left hand plays the main beats (1,2,3,4) and the right hand skip words here and there for ease of movement.

Measure #3 (beats 3 through 4)  the right hand plays notes within the chord frame being used… “sweeping upward”…for a livelier sound.

Measure #4 (beats 1 through 4) the left hand begins with a dotted rhythm for a peppy tone and drives through with octaves to maintain tempo while the congregation holds the word “soul”.

Measure #4 (beat 4) into Measure #5…the right hand moves into middle range of keyboard for variety in location.

Click here for free piano sample of “The Lily of the Valley”

 

(View of run from the video of “Father’s World” excerpt)

It’s so easy to rush through a busy fill-in passage during a hymn arrangement.

If you’re like me, you think…”That’s alot of notes! I’d better play fast to make them fit in!”  So….you rip through the pretty stuff as though it were thrown in all of a sudden and listeners think…”Woah!  What was that?”

 Fill-ins and runs either enhance the melody (hopefully)…or are used to add movement during a held word.

Runs that intertwine with the melody are meant to move along at a fair pace so as not to break the flow of thought.

Slowing down for a run during a held word is appropriate. Such is the case in today’s excerpt from my arrangement entitled: “This is My Father’s World” published by Soundforth Publications (now under Lorenz Publishing)

Purchase HERE

Editor notes for video:

Wrong way: I play one speed with little emotion.

Better way:  Taking more time to feel the music in a more conversational style.

Here’s a simple left hand octave fill-in idea when going from a I chord to a vi chord.

This easy fill-in idea creates a smooth transition to the next chord.

I illustrated this fill-in for three different hymns… all in the key of G Major.

You will  see a short excerpt from each hymn; showing where the left hand fill-in occurs.

Once you’ve mastered this fill-in idea…try it on other hymns.

In order to do this, you will have to hunt for a I chord  leading to a vi chord. You can do it!

Here’s a few hymns to start with:

Key of C… Wonderful Grace of Jesus (end of sentence #1 on word “sin” going in to the next word “how”)

Key of E flat…Fairest Lord Jesus (first two words)

Key of D Major…Crown Him With Many Crowns (first three words)

That’s enough to keep you busy for a while.

Repeated application  will help you master and retain this simple left hand octave fill-in.

Click here: Left Hand Octave Fill-in Idea

Do you ever have a hard time knowing what to play for fill-ins when improvising hymns? 

This simple, instructional video gives the beginning church pianist some easy-to-use  right hand fill-ins!

I love the hymn: It is Well.  What a comforting piece of music! I’ll have to share the story behind it sometime soon.

Dwelling on the words of the song allows the pianist to be more expressive; producing a more effective delivery through music.

Click on the following title to hear the interpretation of It is Well.

Audio: It is Well (interpretation)

As promised in part one of this lesson…I’m sharing a video demonstration of my very first hymn improvising piano lesson.

The only change…I used the hymn “When I Survey the Wondrous Cross” instead of “Like a River Glorious”.  Either hymn is fine but I decided on the second one for the video.

Youtube video link:  http://www.youtube.com/watch?v=yemAttikFNU

Click here to download free pdf arrangement:   When_ I_ Survey_ the_ Wondrous_ Cross_ five_ part_ style_

Are you a church pianist needing to know how to improvise hymns?

Do you play straight from the hymnal…as written?

Would you like to know how to make your playing sound fuller?

If so, this lesson is for you.

I plan on posting Part Two of My First Hymn Improvising Lesson next week.

The article will include a video demonstration of ths lesson.

A free downloadable arrangement of the improvised hymn will also be available.

Please let other piano friends know that may benefit from this lesson.

Part One of this lesson can be found at:

https://thechurchpianist.com/improvise/the-church-pianist-part-one-my-first-improvising-piano-lesson/

Appreciate all your visits and comments!

I was in fifth grade when I received my first improvising lesson from the hymnal.

The hymn I improvised was At Calvary.  It took me at least two months to learn the improvised style in a flowing rhythm.

Here are the first two improvising steps I learned to create a fuller sound in hymnplaying.

First, open a hymnal to the hymn: “Like a River Glorious”.  I chose this hymn because it is in an easy key and contains a simple rhythm.

Let me preface the lesson with the following clarification: The soprano is the top note on the treble staff; while the alto is under the soprano note.

The tenor note is the top note on the bass staff and the bass note is under the tenor note.

Step #1:  Add the tenor note to the right hand when feasible (right thumb plays this note).

You should be playing a total of three notes in the right hand. (tenor, alto and soprano)

Exception: Sometimes the tenor note fits better between the alto and soprano note.

This usually occurs when the alto and soprano have a greater distance between them; allowing room for

the tenor note to fit between them.

It is best to practice the right hand alone (with the added tenor) until a steady flow is maintained.

Expect to feel disoriented at first; having to add the tenor note to the right hand without it written that way.

Step #2: Double the bass note (left thumb is placed on the written bass note and duplicated an octave below with the pinky).

(Doubling the bass note is basically playing in octaves.) This second step really adds a deep, rich sound to the hymn.

Be prepared to slow down when adding the left hand to the right hand.

The following two step improvising lesson can be described as playing in five-part style:

Three notes in the right hand and two notes in the left hand.

Keep in mind, it took me two months to play one hymn with this two step improvising lesson.

Once you play one hymn this way, you can apply the same two step process to all other hymns.

Choose other hymns in easy keys with simple rhythms at first. Once you’ve gained some confidence,

you can move on to hymns in harder keys with more complex rhythms.

This two step improvising method will allow a pianist to sound full enough to support congregational singing.

Over time, more improvising skills can be obtained; adding life and fullness to hymnplaying.

Part two will contain a video demonstrating this two step improvising piano lesson along with a free pdf arrangement

of Like a River Glorious in five-part style.

Click here to see video of my first improvising lesson

Just thought I’d share an easy tip with you all this evening.

Just click on this youtube link to hear a tip for church pianists:

http://www.youtube.com/watch?v=ax0YbeKa9f0

Audio of lesson…What_a_Friend_We_Have_in_Jesus_Interpretation 

The interpretation of a piano solo is of upmost importance.

In my younger years, my dad always reminded me to play as though I were speaking the song.

He told me to “feel the music” and learn to breathe just as a singer would breathe when singing the same song.

To this day, I always sing the words in my head while playing to focus on the message.

Some words may need to be slower for a special emphasis…while other words can be sped up

to portray a sense of urgency or importance.

To stress the importance of interpretation…I will play an excerpt of my arrangement

“What a FriendWe Have in Jesus”.

The first time through…I will play in strict time with no ebb and flow.

Hear the difference in the second time as I play in a more conversational style.

What_A_Friend_Audio_Samples_ 

Notice the treatment of the inner voice movement (notes under the melody) and fill-ins (notes between held words).

Fill-ins are played with a softer touch then the melody.

Fill-ins are always meant to be softer than the melody to avoid distraction of the message.

The next time you play or sing a solo….just remember to interpret the music just as though you were ‘speaking’ the words.

The message will be so much more affective!

Free Music:  What_ a_ Friend_ We _Have_ in_ Jesus