Church pianists find it an extra challenge when accompanying vocalists singing wordy hymns.  Hymns such as: In the Garden,  Wonderful Peace, Fill My Cup Lord,God Leads Us Along and No One Ever Cared for Me Like Jesus.

These wordy hymns are most effective when sung or played  in a more conversational tone to avoid a mechanical reading style often heard in young ones when they are first learning to read. How to achieve a more conversational sound?

In 4/4 time…beats one and three are naturally stressed.  Emphasizing these particular beats results in a more shapely tone…making the message flow in a more conversational tone.

Listen to the two accompaniment style excerpts in the video below to determine which style sounds more conversational.

“No One Ever Cared for Me Like Jesus”

*Editor notes:

Accompaniment pattern #1: I basically played every word of the song.

Accompaniment style #2: I used quarter note chords here and there to break up the  repeated eighth note patterns..allowing the singer more ebb and flow of rhythm.

Click here to download FREE PDF excerpt of “No One Ever Cared for Me Like Jesus” for accompaniment style #2.

Special note:  I sang the excerpt(s) in A Major on the video (due to my vocal range but the free pdf is a half step higher in B flat Major.

I would have loved to share the entire song…but this particular hymn is copyrighted.  The “fair use” law allows me to share a small portion of a copyrighted song for educational purposes only.

Now don’t get offended with the title of this music theory book…I use it as a reference book for my piano teaching and composing. The title…“The Complete Idiot’s Guide to Music Theory”.

The description on the front cover of this book gives an excellent overview:

“Essential information on reading and writing—including basic notes, rhythms and scales”

“Helpful hints on creating your own melodies, chords and harmonies”

“Audio exercises (CD included) to develop your ear training skills”

My favorite chapter in the Complete Idiot’s Guide to Music Theory deals with chords…(chapter 9). This chapter gives the reader an overview of the basic types of chords used in today’s music.

For example…the basic types of chords mentioned in this chapter include the following: Major, minor, diminished and augmented.  The chapter then goes into “chord extensions”…my favorite section! Oh, and the “power” chords are interesting too 🙂

There is a complete chord appendix in the back of the book that covers every kind of chord–in every key!  The writer of this book says to use this appendix when you want to write a chord but don’t know how.

List of the Appendixes

A. The Complete Idiot’s Music Glossary

B. The Complete Idiot’s Chord Reference

C. Answers to Chapter Exercises

D. The Complete Idiot’s Guide to Music Theory, Second Edition, Ear Training Course CD

Click on following link to view a sample chapter of this book:

Complete Idiot’s Guide to Music Theory

You may purchase the book at the above link or try to find on Ebay or Amazon for a more reasonable price. (make sure the CD is included)

One of my church pianist readers recently requested that I provide some helpful tips on how to play glissandos.

One of the trickiest technical moves in my How Great Thou Art  piano arrangement is the glissando found on page four.   (Shown below)

Glissando Tips

1.  Notice the  three tenuto (line marks) under the left hand in measure 29.  These marks are pointing out the melody for the words “…then sings my…”.  Emphasize the melody and keep the glissando volume in the background (little softer than left hand).

2. The right hand begins the glissando with the index finger immediately after the left hand plays the G octave with the first tenuto (line) mark.  (It happens to be the same G as the left thumb just finished playing in the G octave).

3. Start the glissando with your right hand index finger…flipping the right hand over after the index finger starts.  The index finger and 3rd finger will glide across the keys in an upside down, horizontal position.  Once the index finger begins…the third finger will carry the brunt of the notes as you glide upward.  The index finger will act more as a support and guide for the third finger.  Just remember….the third finger is longer so it naturally has better contact of the keys.

4.  Word of caution to church pianists:  Glide across keys in a lightweight; relaxed fashion to avoid sore fingers 🙂

Visual Tips for the Glissando in How Great Thou Art

While reading I John 4 this morning…the words to the hymn “The Love of God” swept through my mind….

The love of God is greater far, than tongue or pen can EVER tell;

It goes beyond the highest star and reaches to the lowest hell;

The guilty pair bowed down with care, God gave His Son to win;

His erring child He reconciled, And pardoned from his sin!

O love of God, how RICH and PURE! How MEASURELESS and STRONG!

It shall FOREVERMORE endure, The saints’ and angels’ song.

Click here to read short story behind this hymn. You’ll be surprised to learn how verse three came into existence!

I plan to start working on an advanced arrangement of this reassuring hymn.

This has been a very difficult week.  One of my piano students I’ve been mentoring to be a church pianist passed away this week…very unexpectedly.  Please pray for the family.

I’ve managed to prepare a “free accompaniment” idea for Heaven Came Down.  This particular hymn contains a mundane bass line..making it a challenge for the average church pianist to create an interesting accompaniment.  What to do?  You have to play what’s not there 🙂  Easy said…but a challenge to do right?  For that reason, I’m sharing a free accompaniment idea that can be used for the verse of this hymn.

I”m limited on what I can share because this hymn is still under copyright. Therefore, I can only share a small portion for educational purposes only…(called the “fair use” law). Just use the same accompaniment idea to finish out the verse.  I would tend to use this accompaniment idea ONLY if the congregation is secure with their voice parts…whatever that may be.  Most of our congregation sings melody.

Click here to download Heaven-Came-Down-congregational-idea

After publishing a video of me playing “How Great Thou Art” in a nursing home…I began receiving requests on youtube and my website for a copy of this arrangement.  The funny thing about this arrangement…it was spontaneous.

After at least two years in the make (on and off–during this time frame)…I am about to put the finishing touches on this arrangement. It will be available by March 15th !

Keep in mind…the arrangement of “How Great Thou Art” won’t be exact note for note as played but…will be VERY close 🙂 It took me about 20 minutes to re-create about 3 measures at a time.  I would watch my youtube video by the piano and pause ALOT to write what I heard.

Thanks to all who encouraged me to write this arrangement of “How Great Thou Art”.

Recently, I’ve been working on an arrangement of “Rock of Ages”.  The introduction contains what I call “weighty chords”…chords with three or more notes.  Thus, the following tip…

Scenario: A pianist sees a chord with three or more notes…(brain computes)…HEAVY touch!  Your brain thinks….I can’t possibly mash all those notes down at once without attacking them 😉   Word of caution:  Relax and apply gentle even pressure as though you’re lightly kneading dough… to avoid a “chunky” or “weighted” sound…especially when the full chords occur on the weak beats.

For example, in 4/4 time, the 1st and 3rd beats are naturally accented. Therefore the 2nd and 4th beats are weaker. In 3/4 time…only the first beat of each measure receives the accent. Why? To produce a more shapely rhythm and to avoid a mechanical/laboured sound.

The following excerpt is from an arrangement that will be included in a “Funeral Collection” which I hope to finish within the next several months. Notice the full chords in the left hand. I will give a brief demonstration of a suggested way to interpret these chords…fighting against the natural tendency of “heavy hand” treatment.

Click here for: video clip of following example

Since I’ve been sick all this week…I’ve had a little spare time to write music.  One of my music writing projects has been to write a  piano arrangement  of the traditional “Wedding March” recessional.  (This is the march that is played at the end of the wedding)

There’s nothing wrong with the traditional arrangement.  I’m just ready for a change. The last few times I played this song… it sounded so repetitive. If I could just add some different chords and melody twists.

It’s a challenge to draw this song to a close at just the right moment. I always work out my escape hatch (premature ending) in advance for short weddings.  (I’ll share alternate repeats and endings in the finished arrangement).

I decided to google piano arrangements for the “Wedding March”. What a variety of styles! I heard everything from slow romantic to party time renditions of this traditional tune.   It made me think…”What mood am I trying to create?”  I think…Happy! Yeah! I’m married! Joyful!

Therefore… a happy, joyful, triumphant mood…right?  So, I’m trying to add some spice to the already traditional “Wedding March” but not overdo it… or my changes will sound out of place/out of character.

This upcoming  arrangement of the “Wedding March” will be available for sale very soon.  I will offer the arrangement at a discount for a limited time.

Click here to see new arrangement of “Wedding March”

All church pianists understand there are those hymns that just need a little dress-up to bring them to life!  One of those such hymns is When the Roll is Called Up Yonder. Why the need for a dress-up?  Because there are a lot of repeated chords throughout the entire hymn.  What can be done to make this hymn sound more interesting?  Replace the repetitive bass line with a simple improvising idea.

Click on the following song title to see this improvising idea put to use. The pattern can be seen in the first few measures.

When the Roll is Called Up Yonder (part of chorus)  Intermediate version

For those of you at a more advanced level..you’ll find a free sample below of what I would play to accompany congregational singing. (I transferred the stepping down pattern to the right hand for the first phrase of the chorus.

When the Roll is Called Up Yonder (part of chorus) Advanced version

Chord substitutions add color to hymnplaying! Here’s an easy chord substitution for church pianists to use.

Scenario: When a I chord is leading into a IV chord…add a minor 7th to the I chord. The minor 7th note is located a 7th above the root (bottom) note of the chord.  See the following explanation of the chords before viewing the free pdf sheet of this chord substitution.

Editor’s notes for free pdf sheet on this chord substitution:

Key of F:  I chord = F,A,C       IV chord =  Bflat,D,F    I chord with added minor 7th = F,A,C,E flat

Key of G: I chord =  G,B,D       IV chord =  C,E,G        I chord with added minor 7th = G,B,D,F natural

*Special note: The substituted chord ( I 7) does not have to contain all 4 notes as you’ll discover in the examples.

Click here to download free sheet for Chord-Substitution-adding-minor-7th-to-I-chord

Challenge yourself to look for the I (minor 7th)  chord already in use throughout the church hymnal.  Try applying the above chord substitution in other hymns during I – IV chord progressions. Tip: Use hymns with easy keys at first until you gain confidence with the concept.