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!

Good practicing habits are necesscary for all pianists…if they want to progress and sound prepared.

I stumbled across an excellent article on the best and worst ways to practice located on the website entitled Piano Perspectives.

Click here to read Best and Worst Ways of Practicing.  Decide which list you belong to.  🙂

 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.

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)

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)

Improving Ideas for Thou Didst Leave Thy Throne (part two)

The improvising ideas in this hymn are simplistic but are meant to add warmth to enhance the beautiful words of this old melody.

Improvising ideas for Thou Didst Leave Thy Throne: part one

*Keep in mind…the chords in the piano score will not match the four parts from the hymnal version.

“Thou Didst Leave Thy Throne” is a beautiful hymn to use at Christmas time.  This particular hymn contains a lot of accidentals…creating awkward moves for the church pianist.  I will attempt to create smoother harmonic changes making it more user-friendly for the average church pianist.

Editor notes for Part One of “Thou Didst Leave Thy Throne”

Download the free pdf  example here to view as you read the information below.

1. I like to use a ‘G’ natural in place of the ‘G’ sharp on the last word of line one. I just think it sounds better.

2. Notice the chord number labels in line two. Whenever a I chord is lasting more than one beat and moving to a V chord…you can substitute a vi chord in place of the I chord before moving into the V chord.   The vi chord creates a warmer tone.

In plain English…a I chord in the key of D = DF#A and the V chord in the key of D = AC#E

I look forward to sharing more improvising ideas with the rest of “Thou Didst Leave Thy Throne” in part two.

*Keep in mind…the chords in the piano score will not match the four parts from the hymnal version.

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.