How about a free piano arrangement for “Sunlight”?  (congregational style)

One of my adult piano students attends a church with several pianists.  The songleader has setup a rotating schedule to give more of the pianists an opporunity to play for the church service.  What a great idea…utulizing the people God has provided a church family 🙂

I’ve particularly enjoyed sharing improvising tips with this student. She’s so ready to learn and has shown great progress in being more mobile on the keyboard due to her being able to play at her church.  The next hymn we will work with is “Sunlight”.  The melody is very busy….but….relax!  The pianist doesn’t need to play every single word 🙂   Just play on the main beats (1,2,3,4) and let the congregation keep up with the words. 

Editor notes for today’s free piano arrangement for

PDF link: “Sunlight” (Part One)

Overall right hand analysis:  I used chord inversions with a sprinkle of triplet groups here and there for some extra spice. Measure #6: Look at how I play empty octaves (octaves without any notes in the middle) during fast passages in the right hand.  I added middle notes to the 1st beat of the right hand to emphasize the  accented beat in 4/4 time.  (Beats one and three are normally accented in 4/4 time.)

Left hand mainly consists of octaves and chords.  Notice the alternating bass in the piano score…avoiding the overuse of E flat bass in the vocal score. (as in measures #1,2,and 5)

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.

I’ve always enjoyed singing the Christmas carol, “Angels We Have Heard on High”.  My favorite key to sing this hymn is E flat Major.   We have a small congregation and this key works out very well for them.   Generally, we  transpose all hymns at least one step lower; making it easier for the congregation to reach the melody with confidence. (All of our congregation sings melody).

I understand not all church pianists know how to transpose. Therefore, I’m sharing this transposed version of  “Angels We Have Heard on High” in E flat Major; simple four-part style as it would appear in the hymnal.

Angels We Have Heard on High (four-part hymnal version)

Some hymns, such as Angels We Have Heard on High, contain busy inner voice movement.

I’m referring to the weaving alto part under the melody of the chorus.

It makes it tough on the piano fingers!  There’s no need to play every note during this kind of passage.

I simply play more blocked chords that include the moving voice parts to support the singers (congregation).

Stepping bass octaves in the left hand add movement needed to maintain a peppy tone.

Just remember to simplify busy inner voice movement by using blocked chords that agree
with the voice parts.

 Angels We Have Heard on High (inner voice movement)

Alot of times, our choir will sing a special from the church hymnal.  Sometimes I just want an introduction other than the regular last phrase of the song. 

 Congregational introductions do require introductions that are self-explanatory.  But…for the choir and other specials, it’s nice for the church pianist  to have a creative introduction as long as it fits the song. 

I”m sharing an introduction idea today that would work for offertory, choir or other vocal special. 

For example, if you’re giving an introduction for a song in C Major…start the introduction with an F chord…then to a C chord and finally end with a G (7) chord right before the first word of the song.  

Sound clear?   Check out the example below that illustrates this type of introduction.  In this particular case, I used the introduction idea in an offertory special entitled  “We Gather Together”.

Click on image to enlarge for clearer view.

I just finished the free arrangement of  “Wonderful Grace of Jesus”.   It was a challenge having to write this piece at an early advanced level.  I had to leave sooo much out but knew this level would benefit a larger group of church pianists. 

Editor notes for Part Two of “Wonderful Grace of Jesus”

Measures 17 & 18:  Left hand begins with melody which is very busy; therefore…the RH remains simple.

Measure 19 & beyond:  RH borrows the rhythm of the LH melody and becomes the leader for variety.

*Overall tip:  This arrangement wasn’t written for too fast of a speed.  I recorded it at the highest suggested tempo. If your church sings it faster than the recording…you’ll need to play less detail (fewer notes) to keep up.

Part One of “Wonderful Grace of Jesus” (free arrangement)

Yes….it’s part one of a free piano arrangement entitled: “Wonderful Grace of Jesus”.  This particular hymn can be challenging for a couple of reasons.  The melody has such a wide range..making it a challenge to sing! (I transposed it to B flat Major).  The chorus can also be tricky for the church pianist.

I’ve gleaned ideas from different piano arrangements for “Wonderful Grace of Jesus” and applied them during congregational singing.  It’s a great time to try new ideas while you have the singers for coverup. (ha ha)
The chorus use to be the most awkward part of the song but now has become my favorite over the past few years…once I learned to play in a more user friendly style.  Can’t wait to share the rest of “Wonderful Grace of Jesus” in the next article or two.

One of my favorite arrangements of“Wonderful Grace of Jesus” is arranged by Mary Lynn Van Gelderen. I also gleaned alot of ideas for congregational style from Marilynn Ham’s “Wonderful Grace of Jesus” arrangement.  I could not locate a pdf sample of this particular arrangement but it’s found in her book entitled “Timeless Tribute”.

Wonderful Grace of Jesus (Part Two)

As promised, I’m offering a free hymn piano arrangement today for church pianists.  The title of the hymn is “Like a River Glorious”.

This free piano arrangement can be used for prelude, congregational singing or as an offertory.

As a church pianist, I would find this arrangement most suitable for congregational singing.

Like a River Glorious (free piano hymn arrangement)

For the past several months, I have been training one of my students to be a church pianist.  Letha will get her first opportunity to play for congregational singing this Sunday.  (Our church has two pianos in the auditorium.)

I’m excited for her!  I thought I would share us practicing one of the congregational piano arrangements entitled “Higher Ground“.