I enjoyed improvising the chorus of “Christ Returneth”.  There are fewer chord changes in the chorus, making it easier to add extra movement.  The frequent half notes also provide time for fill-ins. 

This arrangement was written for the  intermediate to late intermediate level church pianist.  The advanced church pianist can just play more four-note chords in the right hand where feasible.

Editor Highlights for Part Two of “Christ Returneth”

1. page two (first measure)  The left hand octave movement is used to create excitement to match the words “Jesus will come in the fullness of glory”. 

2.  page two, measure #20 (where chorus begins)  A simple accompaniment is used for a more “subdued” mood.

3. page three, measure #30, third count, right hand (right hand plays octaver higher for contrast…but still remains soft).

Click here to download free sacred piano arrangement “Christ Returneth” part two

Click here for “Christ Returneth” part one

I’ve had my computer off because of our weather and now back online. Sorry for the late posting.  Since I’m short on time…I only entered the soprano for the vocal score of “Christ Returneth” to help you follow the words while you play the piano accompaniment.

I think “Christ Returneth” is one of the most awkward hymns to play when accompanying the four part harmony from the hymnal.  Due to the frequent chord changes, the church pianist only needs to create a simple, but stately accompaniment to enrich the text. 

Notice the time signature changes during the verse.  The verses are sudued and the chorus is jubilant. The congregation will enter with confidence if they hear how the song starts in the piano introduction. 

To maintain the subdued mood of the verse, the church pianist can just play the beginning phrase of the verse followed by a improvised ending…creating  a smooth transition for the congregation to begin singing.  I did include an introduction in today’s free arrangement of “Christ Returneth” Part One

Click here to download free piano arrangement of: Christ Returneth (Part One)

One of my readers recently asked if I would share some improvising ideas for Victory in Jesus. Since this hymn is copyrighted, I’m limited to how much of the song I can share due to the “fair use” law for copyrighted music.  (Another interesting topic for a future article)  🙂

Editor’s Notes for the free handout of Victory in Jesus (improvising ideas): Click here for free handout. 

For time’s sake, I only entered the melody on the vocal score but the piano score utulizes the basic chord structure of the four voice parts from the hymnal.

Left hand accompaniment description for line one:  I used an alternate bass note (D) on the third beat for variety.  The note (D) fits in a “G” chord…therefore making it a good choice for an alternate bass note. 

LH accompaniment description for line two: I used the same alternate bass idea. The final measure contains a busy octave stepping pattern to fill-in three counts on the word “me”.   The dotted rhythm on the first two octaves adds an extra spice to the sound; making it more lively.

I know more visual examples of this hymn would be helpful but I’ve reached my limit of “fair use”.   Although, I can tell you in words… that I use the alternate bass idea on the chorus too.  Just look in a hymnal at the chorus.  See the words “Saviour” and “blood” ?  I play stepping octaves for these words with my left hand.

Just a peek at what can be done with this hymn but may provide a springboard to your own creativity!

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 

Piano introductions play a vital role in the music of the church service.  Listen to the following audios and decide for yourself which one better prepares the congregation to enter with confidence.

Jesus is Coming Again (introduction #1)

Jesus is Coming Again (introduction #2)

Why are piano introductions so important?   I plan on answering this question and sharing several introduction examples from commonly used hymns in the next article on piano introductions for congregational singing.

His Eye is on the Sparrow has always been a favorite of mine.  On a recent visit to my parent’s house…I accompanied my dad to sing this old but comforting hymn.

Dad has always taught me to “feel” the words when I play or sing.  He seems to make the words come to life as he sings from his heart to the Lord.  Thanks Dad for being such a wonderful teacher!  Thanks to a patient Mom who made me practice piano which prepared me for years of service to the Lord in the music ministry.

Please allow the message of this song to soothe your soul 🙂

 Part One of Sunlight

PDF link: Sunlight Part Two

The chorus of Sunlight contains several twists and turns in the melody line making it tricky for the church pianist to manuveur through this peppy hymn. 

Simply play more blocked chords on the main beats (one.two, three, four).  I had to add an occasional  sprinkle of triplets in the right hand for a lively sound. The triplets also allude to rays of sunshine as the congregation happily sings….”…sunlight, sunlight, in my soul today!”

Complete audio for Sunlight Part Two (congregational accompaniment)

Just use your imagination to make the music come to life…causing the congregation to sing with more enthusiasm.

I hope the accompaniment ideas I’ve shared over the past few years have helped to stimulate the  creative thinking of other church pianists…encouraging them to be even more effective for the Lord as they serve Him through the ministry of music.

I enjoy playing for congregational singing.  It takes alot of energy too!  It’s important for the church pianist to play loud enough to support the singers…giving them a sense of security to sing out even more.

Today’s tip on congregational singing involves “keeping the tempo alive” between the verses.  In general, most songleaders do not slow down too much between the verses of a hymn when leading congregational singing.   It’s the pianist’s responsibility to keep the rhythm alive and steady when transitioning into another verse. 

In many cases, the last word of a hymn requires very little fill-in movement.  For example, the hymn “Redeemed” needs a bare minumum of fill-in music before plowing into the next verse.  Listen….”Redeemed” audio example.

Other hymns, such as “What a Friend We Have in Jesus” may require more fill-in notes because the last word of this hymn is held up to 4 counts.  Here is where I use one of my favorite transition fill-ins.   In the following audio sample…you will hear the last phrase followed by the transition into the next verse.  “What a Friend” audio example  Special note:  You will see this example when you click the link for the free handout for today’s article.

Remember to maintain a steady tempo during the fill-in between the verses to keep the tempo alive.

Free Handout for Piano Accompaniment Fill-ins for Congregational Singing ( Between Verses)

The most demanding but enjoyable playing for me as a church pianist is accompanying the congregational singing.

The church pianist plays (no pun intended) a vital role in the congregational singing.  Maintaining a steady tempo throughout a hymn is extremely important. 

Over the years, church pianists have asked me what to play in between verses during congregational singing to prevent a stop and go scenario.  A very good question!  I’ll attempt to answer this question in this week’s upcoming article.

 Hmmm…accompaning vocalists…what a responsiblilty we have as church pianists to support the singer; allowing them to take the lead. 

Our job as a pianist is to provide a nice backdrop of sound to enhance the singer’s message. This is an area I would like to expound upon…at a later time:)

Until then….the following tips for accompanying the vocalist makes a nice start.

I came across this practical, informative article today on Sheryl Welles’ Notable Music Studio blog. The article addresses the importance of learning to accompany the vocalist.  Laura Lowe of  The Piano Studio, authored this practical advice on accompanying.

Article: Teaching Well-Rounded Musicians