The following article discusses the limitations that come with the intermediate level church pianist.  A reminder, they are doing the best they can do for the moment. But with a little extra practice…they can blossom into a fuller sound of playing by expanding their right hand horizon; opening up space for more left hand creativity!  The following article is meant to encourage the intermediate level church pianist.

Most intermediate level church pianists play basically in the middle area of the keyboard when accompanying congregational singing or other vocal specials.

(See the picture of their range below)

The bass part in the hymnal doesn’t normally go below the second G under Middle C and the right hand probably doesn’t go as high as the second F above Middle C unless the intermediate pianist takes quick ventures into the upper register 😉

When the right hand stays within this boundary…the left hand playing space is limited.  Taking the right hand an octave higher for an occasional spin…opens up more room for the left hand. This does not mean the pianist must stay an octave higher throughout the entire hymn.  It’s actually better to use a combination of both the middle or upper register for variety in sound.

When to change registers for the right hand?  In my early days of training, I was taught to change right hand registers at the end of a line which equates to at least two sentences.  It’s nice to gradually work your way up or down by playing extra chords or notes leading into whatever register you’re heading for.

See example below in the hymn excerpt “Like a River Glorious” (click on image to enlarge)

Click HERE to download free pdf copy of this image without comments in red

Wow! I already have a list of at least twelve different left hand patterns for hymns with busy melodies in 4/4 time!

Can’t wait to complete this first booklet of ideas!

It’s a challenge for me to focus on just one aspect while preparing instructive material because I come across so many other ideas closely related but don’t want to give you all info overload!

I’m  jotting my random ideas down and saving them for another time.

I think the greatest challenge during the prep time is coming up with a simple, concise way to present the concept.

Here’s an example of how I may display the left hand patterns on the master content list. (There will be PLENTY of visual examples to accompany these ideas)

1. octave-chord-octave-chord (all quarter notes)
2. octave-chord-octave-octave (all quarter notes)
3. octave-chord-octave-quarter-rest  (three quarter notes plus one quarter rest)

As of now….I plan to number the visual examples with the number that corresponds to the numbered list of patterns on the master content list.

There are SO many variables to this topic. I will have to discuss right hand activity as well since the left hand is affected by what the right hand plays.

For example: It’s easier on the pianist (truly!) to omit notes here and there during a busy melody  and focus more on the main beats. The singers can fill in the missing notes 😉  The key is… omitting melody in places that don’t throw off the singers.

Simple:  Start by playing melody at the beginning of the song and then omit a note here and there once you get them going 😉

More on that topic in my first booklet.

I want to create a series of booklets on hymn improvising ideas for the church pianist.

The first booklet is going to deal with left hand patterns for devotional style hymns. (I’m working on it now)

The most challenging part for me is presenting everything in a well ordered approach.

I want to keep these books practical, short and concise.  Each booklet will deal with one topic.

Another booklet  will deal with right hand fill-ins and so on. Hopefully the church pianist can grasp the concept(s)  from each booklet in order to make application on their own.

Each booklet will provide a sufficient amount of examples for ample reinforcement.

The booklets will be geared to the intermediate and beyond church pianist.

The church pianist will need to know their scales, chords and chord inversions.  A prior knowledge of interval reading would also be helpful.

For the first booklet, the concepts and examples will be presented in the keys of C , F, and G Major for ease of application.

I’m considering naming the booklet series “Making Hymns Expressive”.

Are there other church pianists besides myself who work with instrumental or vocal groups for special music at your church?

Over the years I’ve developed some guidelines to help us use our time wisely. I know every church has its own level of abilities.  That being said, you may need more or less practice than what’s suggested below.

We stick with unison or two part arrangements for our ladies’ and two to three parts for our men’s groups. You would be amazed at how nice unison can sound… especially if the pianist can make up for lack of harmony by using  chord substitutions…creating a colorful; rich sound.

I try to allow for a total of six rehearsals when the arrangement is new to them. The group just stands around the piano for all but the last practice.  (Details below) In addition, I email practice audios for those wanting additional practice.  With the group providing surround sound around the piano…I’m able to listen to their blend, balance of parts, etc. and better coach them as they sing.  Once the group becomes familiar with the words…say…maybe after the first three practices…I’ll ask them a question about the approaching sentences in the song (while they’re singing and I’m playing)… forcing them to think about what they are singing. I LOVE doing this, because you can hear the difference in their voice expression…making for very effective communication!

For example, I’ll use the hymn “Amazing Grace” since everyone knows it 🙂   While the group is singing the first sentence..”Amazing grace how sweet the sound…”

I’ll ask the following question for the upcoming sentence…”What did God’s grace do for you?!”  They’ll answer in singing response “That saved a wretch like me!”  🙂   The results: A more meaningful delivery!

If it’s an arrangement they have done before…we may only have four practice sessions.

Our practice sessions are generally no more than 10 minutes.

General checklist for carrying out the group rehearsals:

1. Beginning of 1st practice (may need to cover at second practice too in case someone was missing at first practice), hand out practice schedule which includes the date and service for when they are singing.
2. Kindly tell the group that it will work best to attend all of the scheduled practices in order to be adequately prepared. Otherwise…they can wait until the next scheduled time. (Exception: missing one practice due to sickness or other unavoidable reason).
3.  Make following suggestion:  Arrange someone to watch your young kid(s) during these practices. (Our ladies are SO good about doing this)
4. Please remind them that each person is essential to the group as a whole. (Have them stand in the same order for each practice.)  Each person gets accustomed to singing by the same person for each practice so it can throw a person off when they’re missing a team member.
5. The vocal ensemble will practice on stage around the pulpit during the final rehearsal for  a sound check. (Arrange for sound person to be at this rehearsal so he or she can do the sound check.)
6. Our ultimate goal is to honor Christ by being adequately prepared. I Corinthians 14:40 “Let all things be done decently and in order.”*I usually have groups practice around the piano that I’m playing for a more up-close

Most of the above suggested guidelines will also apply to instrumental ensembles….depending on the age of your members.

Hopefully the information above has been an encouragement to other church pianists who work with vocal and/or instrumental ensembles.

*Next article: What details I work on with ensembles during these brief rehearsals

During choir practice yesterday afternoon…our choir was practicing “Faith is the Victory” in unison.

I noticed it was just SO awkward trying to grab all the melody notes…especially during the verse!

Each sentence of the verse starts on a fast note (eighth note) making it almost impossible to keep up with the melody. I thought, “The choir KNOWS the melody…why not delete the first word of each sentence to alleviate the awkwardness!?!  (Exception: I’ll play the first word of the song to allow for secure entry) 🙂

My mind devised a plan to ease up my old moving hands 😉  Time to have some fun!  Just stay within the vicinity of the melody and you won’t get AS lost 😉

Let the singers do the work!

The result: (Download the free pdf version of “Faith is the Victory” below)

Faith is the Victory

Customers from several years ago may have purchased this collection “Congregational Piano Hymn Arrangements Booklet Two”.

I published this collection several years ago but for some odd reason had not been showing up in my store.

I’ve also just published a congregational piano accompaniment for “Great is Thy Faithfulness” thanks to a reader who prompted me to publish it.

Both of these items can be found in my store HERE or you can purchase below.

Congregational Piano Hymn Arrangements (Booklet Two)

10 Late intermediate to early advanced piano congregational arrangements. 37 pages Songs include: And Can it Be, At the Cross, Come Thou Fount, Heaven Came Down, Higher Ground, I Shall Know Him (My Saviour First of All), It's Just Like His Great Love, My Faith Has Found a Resting Place, Near the Cross, What a Friend We Have in Jesus) *Special note: The arrangements in this booklet do not support the four-part singing found in most hymnals. *Other suggested uses: vocal solos, violin specials, unison choir specials. **Another special note: These arrangements can not stand alone as piano solos since some of the melody is absent during the piano accompaniment.

Price: $16.00

Great is Thy Faithfulness

Congregational piano accompaniment, late intermediate to early advanced, 4pgs Contains two verses and two choruses. *Supports unison or soprano and tenor voice parts. Not intended for four part singing.

Price: $4.50

If you’re a beginning church pianist and learning to play from the hymnal…this lesson is for you 🙂

There are always exceptions to the rules as we’ll see in this lesson dealing with five part playing style from the church hymnal.

The thumb cannot always comfortably plug the tenor note into the right hand as we’ll see in the last video below.

Watch this video first if you need a more involved description of the five part playing style and then proceed to the latest video below which describes the exception to the five part playing style.

I’m preparing a video tutorial on pedal suggestions for the church pianist who would appreciate some helpful tips on how to sound smooth when playing hymns.

Get ready with these prep tips!

1. Sit elbow length from the keys (knees should be slightly under keyboard.)
2.  Sit on front half of bench

More pedaling tips coming soon!

Ever have a hard time trying to figure out what to use for an interlude between verses when accompanying a vocalist or other small ensemble?

Here’s just one interlude method I use to help the soloist find his way back to the next verse…

Easy Six Beat Note Fill In!

Sharing one of my favorite fill ins for pianists!

Use this fill in for hymns in 3/4, 9/4, 6/8, 9/8 and 12/8

Where to use? On a melody note lasting 6 beats.

How to use? Determine what chord is being used during the six count note.

Left hand plays single bass note in lower register of keyboard on 1st beat and plays a chord on fourth beat.

Right hand enters on beats two through beat six.

Tip: To prevent disorientation….notice the melody note you’re heading to after the fill-in.

Apply to hymns of like nature using the time signatures listed above.

Below…is a video demonstrating the four examples from video above.