| The Church Pianist |
| A help ministry for church pianists all over the world! |
As a church pianist, you all know that the invitation
is a crucial time. It’s a time when many make life-
changing decisions.
Sometimes the pastor has me play while he’s talking
during the invitation.
I try to convey a reflective yet urgent mood as pastor
encourages people to come forward as God leads.
Here is an audio sample of how I might play the background
music for the invitation:
My last article dealt with using the IV/V chord fill-in for 4/4 time.
This fill-in can also take place in other time signatures….as long as
there are at least three beats…allowing time for complete development.
Original article on this subject:
https://thechurchpianist.com/improvising/the-church-pianist-improvising-hymns-fill-in-idea/
I will share several more examples in time signatures other than 4/4.
Remember…this fill-in works great when the I chord lasts for three or more beats.
Click here for pdf: Improvising_Hymns_Using_the_ IV_and_ V
Do you as a church pianist ever get in a rut, playing
the same song endings? I sure do!
I thought I would share a variety of endings for the hymn:
“I Love to Tell the Story”.
I’m sure some of you could probably come up with some more
endings of your own but this may help stimulate your creativity!
Click here: Congregational_Song_Endings
This improvisational idea works well at the end of a verse…..leading into the chorus.
The following two ingredients are necessary in order to use this fill-in idea.
1.The final chord of the verse must be a I chord and last for at least three beats.
2. The first chord of the chorus must also be a I chord.
For example: In G Major….the I (one) chord is GBD.
On Beat #3…
1. Play a IV chord in the right hand
2. Play the V note of G Major in the left hand for the bass note ( note: D )
This creates the chord notation: IV/V
Editor notes for today’s example:
After the word…”Thee” the right hand plays a “climb the ladder”
fill-in to make an easy transition to the upper register of the piano.
*Description of the Fill-In Idea: (occurs in final measure of verse)
Click here for pdf image: Improvising_Hymns_Draw_Me_Nearer
Do you know what “inner voice movement” means?
It’s all those moving notes under the melody that add
extra life to an arrangement.
A good example of inner voice movement can be found
in the hymn “Jesus is Coming Again”.
Look at the first few words of the chorus….
“Coming again, coming again”.
The moving notes under the melody for the right hand
is the inner voice movement.
The proper hand treatment (varied weight) can make or
break the inner voice movement.
How to play this phrase of “Jesus is Coming Again”
for right hand…
1. Go heavy on the octaves
2. Play softer and lighter staccato on the inner voice movement notes.
*Special note: Hold onto the octave while playing the inner
voice movement. Allow the wrist to lightly bounce up when
playing the inner voice movement to avoid tightness in the hand.
Here’s example #2 of an improvising idea.
Click here for pdf example: Improvising_ Hymns_Day _by_ Day
This idea can be used anywhere in a hymn
where a one chord last for at least three to
four beats in addition to the following measure
starting on a one (I) chord.
It adds a nice flowing movement from
one measure to the next.
Nothing but the blood of Jesus has a wonderful
message. I try to bring the text to life by
improvising with a lively accompaniment.
Do you realize that this hymn uses only two chords?
The I and V….meaning….G and D chord.
If the congregation sings parts…I have to use the
written chords to agree with the voice parts.
Editor notes for “Nothing but the Blood”
Verse One
Right hand: Plays three to four notes for fullness
Left hand: Uses stepping down octaves for a march-like tone
Verse Two
Right hand: Adds an eighth note rhythm for livelier sound
Left hand: Consists of alternating bass note movement
to avoid a montone effect.
Verse Four
Right hand: Adds a little change; especially in the last measure
Left hand: Same pattern as verse one but in eighth note pattern.
Try applying these same accompaniment ideas
to a similar hymn — “A Shelter in the Time of Storm”
Playing by ear has its advantages and
disadvantages.
I confess, “I play be ear” but I also read
music.
My parents had me take lessons when I
was in third grade.
We moved several times during my childhood
years so I had several different teachers.
God blessed me with wonderful piano teachers.
Looking back, I can see how each one emphasized
certain concepts providing me with a well-
rounded diet of learning.
My learning involved these areas:
Improvising (adding runs, chord subsitutions)
I used the “Hymnplayer” series by Flora Jean
Garlock & Judy Swaim.
Theory
Classical music, Annual solo competitions
The competitions motivated me to practice
more because I had a purpose.
Learning to read music opened up a world of
opportunities!
I was then exposed to well-structured music,
which helped to tame my own style of playing.
Rhythm was one of my major weaknesses.
As a teenager, I began writing my own hymn
arrangements, exposing my own style and
rhythmic flaws.
I then became more analytical of my playing;
counting my fill-ins to make sure I had the
correct number of beats.
I also analyzed written arrangements of
various arrangers to learn ‘proper playing’.
‘Playing by ear’ is a gift but must be harnessed
with the reins of instruction for proper execution.
I would encourage those who ‘play by ear’ to
learn to read music and study theory.
I’m so thankful for my piano instruction. It has
given me the opportunity to share my heart
through written music.
Thanks Mom and Dad for making me practice!