The hymn “Count Your Blessings” carries a great message in song but contains frequent repetitive notes providing a rather plain accompaniment for the average church pianist

Free Improvising Ideas for Count Your Blessings (congregational style)

Key of D Major

1. Use alternate bass movement (see measure #2) LH beat one…I played an ‘A’ rather than ‘D’

2. Measure #1 and #5, beat one ( no need to play every word) when playing congregational style; allows more ease of movement for the pianist.

3. The four note RH chords provide support to the singers.

4. Measure #6, notice the contrary octave movement between the hands for variety.

    *Contrary movement between both hands always adds a nice touch of spice 🙂

Click here to download Free Improvising Ideas for Count Your Blessings (congregational style)

Click here for audio of “All Hail the Power”

As I’ve mentioned before…the church pianist can deviate from the melody as long as the congregation knows the song real well.  You’ll notice the “missing melody” here and there in the free congregational piano arrangement of “All Hail the Power”.  The audio contains the piano accompaniment and the melody line.

We like to change keys to add extra life to the congregational singing 🙂  The key change in this arrangement does add an extra measure so it would require a quick practice with pianist and song leader before trying it with the congregation.

Most of the key changes we use in congregational singing move right into the last verse without hesitation.

Church Pianist Tip:

*This free congregational piano arrangement may also be used to accompany a trumpet solo.

 Click here to download “All Hail the Power” congregational accompaniment

I was able to finish page two of “All Hail the Power” tonight even after a busy but good week of revival at our church.   I will try to share some music highlights of our week sometime soon.

In my next article…I ‘ll share editor notes along with an audio of this free piano arrangement for “All Hail the Power” congregational accompaniment.

Click here to download “All Hail the Power” congregational accompaniment

I enjoy playing and singing “All Hail the Power”.  The church pianist must add lots of fullness to this majestic hymn to portray the mood of the text.

Just picture it…God is on His throne and scores of angels are bowed down before Him. A huge choir is singing “All hail the power of Jesus’ name! Let angels prostrate fall…”

I think the words as I play this wonderful hymn.  The melody and text are a great match!

Ingredients for  Majestic Hymns

Lots of left hand octaves for fullness and energy

Full chords in right hand

Occasional dotted rhythm…adding extra zest!

Click here to download “All Hail the Power” congregational accompaniment

Chord Scenario for this II 7  Chord Substitution:

When a I chord lasts for at least two beats and leads into a V or V 7  chord that lasts 3 or more  beats…the II 7 can replace a I chord.

On to our example in Have Thine Own Way in E flat major.  Since E flat is the first note in the key of E flat…it is number one. So F is the second note in the key of E flat major.  The ii chord would be: F-A flat-C.

Now let’s alter this minor ii chord by making it major.  Raise the middle note to A natural.  Are you beginning to catch on?  You now have the II  chord:  F-A natural-C   See illustration below:

*I added an E flat (not shown)… on the top of the II chord…making it a II 7 (the E flat is 7 notes from the bottom note (F).  Added 7ths make a chord sound SO much richer!

*You’ll notice the note members of the II 7 chord in the following excerpt are scrambled between both hands. The note “C” is missing (which is ok)… but the rest are present.

~   ~   ~   ~   ~   ~   ~   ~   ~   ~   ~   ~   ~   ~   ~   ~   ~   ~   ~

Now…a couple more examples of the II 7 chord substitution in the key of A flat & G Major.

~   ~   ~   ~   ~   ~   ~   ~   ~   ~   ~   ~   ~   ~   ~   ~   ~   ~   ~

Are you wondering how to use the ii 7 chord in each example?  Whenever a V or V7 chord is lasting three or more beats…use the ii 7 chord first and then resolve to the written V or V 7 chord. I’ll share examples of this chord substitution in another article.  So much to share!

Church Pianist Tip:  Remember…chord substitutions can not be used during congregational singing unless they are singing unison. Why? Because the substitution chords will conflict with the voice parts.

Click here for: Lesson One: The  II 7 Chord Substitution

Due to a hectic but wonderful weekend…I’m sharing a free piano arrangement of “At the Cross”. I wrote this particular arrangement for one of my students who is preparing to be a church pianist. Our congregation usually sings unison…so the piano accompaniment contains chords that would not support the four-part style from most church hymnals.

You’ll notice it’s also in a different key…C Major.  She only had two weeks to learn the song before playing it in church. (She  filled in for me while I was out of town)

Hopefully some of you church pianists can make use of this arrangement.  You could also use it as accompaniment for a vocal solo or ensemble singing unison.

Click here to download your free piano arrangement of “At the Cross”

World Tour Double X-Braced Keyboard Stand

Just thought I’d share this bit of information to church pianists looking for an affordable, sturdy keyboard stand.  My original keyboard stand was getting so rickety that I decided to upgrade to a more durable keyboard stand.

After several days of researching keyboard stands online…I found an excellent deal!  I bought it online from Walmart.  This particular stand was only available online.  Having it shipped to Walmart (site to store) voided any shipping costs.  The grand total was $32.27…well worth it too!  Now my keyboard doesn’t wobble to and fro while I play.  🙂

Click here to see the keyboard stand I purchased.

*Make sure you read the consumer reviews on the above product link.

Trying to figure out what to play for piano introductions can be tricky at times for church pianists.

The previous article entitled: Piano Introductions (part two) provided a piano introduction of “Wonderful Words of Life” using only the verse.  Sometimes it works better just to use the starting and ending phrase of a verse. Other times, the entire first line of the verse works well for the introduction.

Always remember to end the introduction with the one (I) chord for the key you’re using. For example, if the song is in C major…make sure you end on a C major chord to provide a “finished” sound.  Otherwise, you’ll have everybody guessing when to enter.

There are times when a V 7 chord works well at the end of an introduction or during the invitation when you’re providing background music and you’re in the middle of a phrase and need to end on a chord that makes sense before the congregation starts to sing…but I will cover that at another time.  SO much to talk about!  🙂

In today’s example, you’ll notice a fairly, easy piano introduction for “Count Your Blessings”. The faster the hymn, the less frills the church pianist has time to play 🙂

Click here for: Piano Introductions: Part Two (second example)

Have you discovered how it doesn’t always work to play the first and last phrase of a hymn for an introduction? A lot of church pianists have been asking me for help in the area of piano introductions.

Sometimes it works to just use phrases from the verse for the whole  introduction.  In today’s example, I share two ways of playing an introduction for “Wonderful Words of Life”.  Decide which example sounds best to you.  I prefer the first example because the melody follows a more logical flow as opposed to the second introduction.

Click here for: Piano Introductions (part two)

I do plan to share more introduction tips and examples!

Click here for: Piano Introductions (part one)

It’s true…there is no friend like Jesus 🙂  The words to “No Not One” are a blessing to me but I like to dress up the accompaniment to bring the text to life.

I’m sharing another simple congregational  accompaniment for “No Not One” (verse only).  I like to alter the melody for variety and sometimes I’ll chord in place of the melody to avoid a “ploddy” tone or maybe for easier hand movement.

Click here to download: No Not One Example #2

Measure #1

Right hand: beat two and three (altered melody) Just played a stepwise movement contrary to the melody…adding a nice contrast in sound.  Beat four: played a G inverted quarter note chord in place of two eight notes for the words “is so”.  Why? Easier hand movement leading into the next chord of measure #2

Measure #2:

Right hand: beat one and two (played half note chord in place of two quarter notes for word: “lowly”.  The melody notes for this word belong in the C chord so the C chord fit nicely.

Measure $3:

I transferred the improvised (eighth note idea) from the right hand to the left hand for this second verse. To see verse one example, click on the link at the bottom of this page.

Measure #8:

Where’s the melody?!  🙂   It’s ok to wander away from the melody here and there to add  extra spice!  How do I come up with this idea? Well,  first off…I know my chord structure for that measure which is…G chord, D7chord and back to a G chord for words: “No, not one!”  I basically used a stepwise movement that included stepping tones within a G chord to a D chord and ended on a G chord. Now…for a challenge…try to apply this same improvising idea to another song.

Hmmm….I need to create another article to illustrate HOW to apply this last improvising idea to other hymns with similar structure.  Once you apply an idea to several hymns…you will find yourself feeling more confident and you’ll begin to  implement this idea into your own hymnplaying 🙂

 Click here to see Example #1 for “No Not One” simple congregational accompaniment