*(You may want to print the “Runs in Hymns example three” page below to have on hand as you read the following information)

I enjoy using what I call “cluster runs” in hymnplaying. It’s just a cluster of notes (close together) played in a rapid broken-chord pattern. I just repeat the same four notes up the piano.  Runs can be added almost anywhere as long as they fit the flow of the hymn.  The run needs to sound like it belongs in the arrangement…not just thrown in as an afterthought.

The following example illustrates  the use of the “cluster run” in the hymn “Throw Out the Lifeline”.  The cluster run begins on the word “someone”.  Just use your right thumb to start each set of four notes.  For each group of 4 notes…I use the 1st, 2nd, 3rd and 4th finger.

Emphasize (stress) the first note of each 4 notes to create a more shapely tone…making the run blend into the piece. 

Runs- in- Hymns- example -three

Audio of Runs in Hymns (example three)

One of my latest arrangements uses this cluster run in most of the chorus of “The Light of the World is Jesus”.  The sample audio on this link contains the chorus with the cluster runs.

Example #2 for Adding Runs in Hymns 

Explanation of example #2 in adding runs to hymns:

(Click on image for a clearer view)

This run created a nice fill-in where normally a dotted half note occured on the word: “Thee”.  In the original version, the G chord lasted for the entire last measure of the verse for the words: “Thee….Draw me”  I added a D (7) chord on the 3rd beat of that measure for chord variety.

 Audio Sample of Example #2

*Upcoming article: Longer example with run in middle of a sentence with user friendly fingering!  I call them cluster runs 🙂

I hope the first example of adding runs to hymns was helpful for some of you.

The second example of adding runs to hymns is fairly simple. I chose a hymn in G Major and 4/4 time.  The run is nothing more than a one note ascending scale used as a fill-in.  This particular run makes a nice transition from the verse to chorus.

These articles discussing runs will be broken down into even smaller segments due to my limited time this semester. I will share more explanation on this example along with an audio in the next article.

At least you can view the example and print it in advance of hearing the audio and seeing more details soon.

Runs_ in _Hymn_ example_ 2

I enjoy adding runs to hymns.  A lot of pianists have asked me the following questions about runs over the years:

1. Where can I add a run?

2. What notes do I use?

3. Do I start the run on the word or after the word?

4. How do I make the run sound like it fits?

5. What fingering do I use?

6. Do I use one or two hands for this run?

Excellent questions!  I will attempt to answer these questions as I go through this series of articles on adding runs to hymns. 

Runs consist of either arpeggios (broken chords)  or scales.  Ew….got to know your theory!   (Another lesson)  🙂

1. Arpeggios look like this… (notes on treble staff below) 

*Special note: Did you notice this particular arpeggio is the second inversion of a C chord with a passing tone sprinkled in?  Hmm…I feel more theory lessons coming. That’s ok… a little  at a time, right?!

*I’ll show an example of a scale used as a run in upcoming articles.

Some pianists find “adding their own runs” to hymns or playing runs in hymn arrangements to be rather difficult.  Let me give you a helpful suggestion…isolate the run…turn it into a technical exercise and learn it well. 

When playing runs or anything else for that matter, it is extremely important to use correct fingering.  Many church pianists never had the proper training in this area…making it difficult for them to play in a smooth style. It’s ok..not your fault. I’ll provide  fingering suggestions on today’s example of a run…to help you produce a flowing style. This first example will use a right hand arpeggio in an octave format (spread).

Editor notes for today’s example:

The example contains the final phrase of Trust and Obey, written in congregational style.

The run occurs on the second syllable of the word “Je-sus”  

 Notice the ritarando marking  (rit.) starting ahead of the run… so the run won’t sound rushed as though it was just carelessly thrown in. I’ll provide an audio link for this example.

The measure containing the run has an extra beat to allow time for the run. (This isn’t always necessary)

 Click on the following…Runs in Hymns (Example #1)

Audio for Trust and Obey Run

Link: Adding runs to hymns Example Two

How many church pianists are interested in learning how to add runs to hymns?  Do you ever wonder where the best place is to insert a run?

I consider this a fun topic!  I’ve been wanting to share ideas on adding runs to hymns for quite some time.  This will probably be a series of articles. Each article will contain at least one written example of a run in a hymn.

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)

To start with…I will show you a page of hymn arrangement samples containing scales.  Scales are used to embellish a melody or simply as a fill-in.  In the following examples…both functions are utlizied.

Editor notes for Scale Variations in Hymns

Count Your Blessings  (the opening scale is added as extra filler to  an introduction)

Jesus Loves Me (the scale creates a nice dress-up for the melody)

Let the Lower Lights Be Burning (this scale creates a nice filler on the syllable “more” and blends into the next two words “But to”)

Editor Notes for final page “Practical Scale Exercises”

When trying to master technical passages in hymn arrangements…I will isolate the passage and master it.  Sometimes I create or embellish upon the passage making it more fun to practice.  Hope the following scale exercises will stimulate other church pianist’s creativity.

Practical Scale Exercises

Scales add life to hymns! 

I’ll show you one way to insert a scale in the first measure of a hymn or in some cases…adding an extra measure to make the scale fit at the beginning.

Editor notes for today’s… Scale Examples in Hymns

1. The  scale in each example  equals two counts.

2. This type of scale entry works well when the first note of the song begins on the 5th note of the present key.

     It is Well is in the key of C and the first note is “G” which is the 5th note of the C scale

3. Notice…the scale in each example begins one octave (8 notes) lower than the first note of the song.

4. When the first word of the song occurs in an incomplete measure…(as in “It is Well” and “He Hideth My Soul”)…the first word will be understood during the scale.  Reminds me of English…when “you” is understood in the sentence even though it may not be written 🙂

 Application:

Try this scale idea in other hymns of similar design!

I plan to post part three of scales in hymns by the end of this week.

Some church pianists may not understand where to insert a scale in a hymn.

Scales can be placed in several different places in a hymn.  The upcoming article will show the church pianist how to add a scale to the very first measure of a hymn!

Looking forward to sharing the examples with you!