My last article dealt with using the IV/V chord fill-in for 4/4 time.

This fill-in can also take place in other time signatures….as long as

there are at least three beats…allowing time for complete development.

Original article on this subject:

https://thechurchpianist.com/improvising/the-church-pianist-improvising-hymns-fill-in-idea/

I will share several more examples in time signatures other than 4/4.

Remember…this fill-in works great when the I chord lasts for three or more beats.

Click here for pdf:   Improvising_Hymns_Using_the_ IV_and_ V

Do you as a church pianist ever get in a rut, playing

the same song endings? I sure do!

I thought I would share a variety of endings for the hymn:

“I Love to Tell the Story”.

I’m sure some of you could probably come up with some more

endings of your own but this may help stimulate your creativity!

Click here: Congregational_Song_Endings

This improvisational idea works well at the end of a verse…..leading into the chorus.

The following two ingredients are necessary in order to use this fill-in idea.

1.The final chord of the verse must be a I chord and last for at least three beats.

2. The first chord of the chorus must also be a I chord.

For example: In G Major….the I (one) chord is GBD.

 On Beat #3…

1. Play a IV chord in the right hand

2. Play the V note of G Major in the left hand for the bass note ( note: D )

This creates the chord notation: IV/V

Editor notes for today’s example:

After the word…”Thee” the right hand plays a “climb the ladder”

fill-in to make an easy transition to the upper register of the piano.

*Description of the Fill-In Idea: (occurs in final measure of verse)

Click here for pdf image: Improvising_Hymns_Draw_Me_Nearer

Do you know what “inner voice movement” means?

It’s all those moving notes under the melody that add
extra life to an arrangement.

A good example of inner voice movement can be found
in the hymn “Jesus is Coming Again”.

Look at the first few words of the chorus….

“Coming again, coming again”.

The moving notes under the melody for the right hand
is the inner voice movement.

The proper hand treatment (varied weight) can make or
break the inner voice movement.

How to play this phrase of “Jesus is Coming Again”
for right hand…

1. Go heavy on the octaves

2. Play softer and lighter staccato on the inner voice movement notes.

*Special note: Hold onto the octave while playing the inner
voice movement. Allow the wrist to lightly bounce up when
playing the inner voice movement to avoid tightness in the hand.

Here’s example #2 of an improvising idea.

Click here for pdf example: Improvising_ Hymns_Day _by_ Day 

This idea can be used anywhere in a hymn

where a one chord last for at least three to

four beats in addition to the following measure

starting on a one (I) chord.

 It  adds a nice flowing movement from

one measure to the next.

*Click the following sentence to access the music examples:

Improvising_Idea_Contrary_Octaves *pdf example

Here’s a simple improvising idea to dress up

hymns with few chord changes.

Use contrary octaves between both hands to produce

a more interesting sound.

In today’s examples, the contrary octaves will occur

when the V chord leads to a I chord.  The contary octaves can

occur in other chord progressions but  I’ll address those at

another time.

After playing these examples, try the contrary octave idea

in the following hymns:

“Showers of Blessing” ( 1st sentence on words: “…showers of….” )

“Redeemed” ( 1st sentence on words: “…love to pro-…” )

Editor notes on today’s examples:

Description of left hand octave pattern:

1st octave is same note as right hand

2nd octave steps down

3rd octave skips down

Here’s a video I posted on youtube.

 One of my students and I are playing a piano
duo of Amazing Grace.

I wrote his part as a piano solo and then I just
accompanied him.

We played this piano duo at our spring recital last year.

I guess you can tell that Amazing Grace is one of my
favorite hymns.

Youtube link:

http://www.youtube.com/watch?v=PWGb2fgQj_8

Nothing but the blood of Jesus has a wonderful

message. I try to bring the text to life by

improvising with a lively accompaniment.

Do you realize that this hymn uses only two chords?

The I and V….meaning….G and D chord.

If the congregation sings parts…I have to use the

written chords to agree with the voice parts.

Editor notes for “Nothing but the Blood”

Verse One

Right hand: Plays three to four notes for fullness

Left hand: Uses stepping down octaves for a march-like tone

Verse Two

Right hand: Adds an eighth note rhythm for livelier sound

Left hand: Consists of alternating bass note movement

to avoid a montone effect.

Verse Four

Right hand: Adds a little change; especially in the last measure

Left hand: Same pattern as verse one but in eighth note pattern.

 Click to print:  Nothing_but_the_Blood

 Try applying these same accompaniment ideas

to a similar hymn — “A Shelter in the Time of Storm”

Transposing can be easy when moving a half step
higher or lower from the original key.

(This may be common knowledge to most of
you all but here’s to those who’ve never heard.)

First…you’ll need the music in front of you: preferrably the hymnal.

All you have to do is play the same notes, but in a different key.

For example:

A hymn in D major (two sharps) can be changed
to D flat major (five flats).

You’re reading the same notes but having to flat
certain ones instead of sharping them.

A hymn in A major (three sharps) can be changed
to A flat major (four flats).

Notice a numeric pattern? The sum of each key
change equals seven.

Also take note that each key maintains the same
letter name but moves from sharps to flats or vice
versa…depending on which direction you want to
transpose.

This is one of the easiest ways to transpose!

Playing by ear has its advantages and
disadvantages.

I confess, “I play be ear” but I also read
music.

My parents had me take lessons when I
was in third grade.

We moved several times during my childhood
years so I had several different teachers.

God blessed me with wonderful piano teachers.

Looking back, I can see how each one emphasized
certain concepts providing me with a well-
rounded diet of learning.

My learning involved these areas:

Improvising (adding runs, chord subsitutions)
I used the “Hymnplayer” series by Flora Jean
Garlock & Judy Swaim.

Theory

Classical music, Annual solo competitions
The competitions motivated me to practice
more because I had a purpose.

Learning to read music opened up a world of
opportunities!

I was then exposed to well-structured music,
which helped to tame my own style of playing.

Rhythm was one of my major weaknesses.

As a teenager, I began writing my own hymn
arrangements, exposing my own style and
rhythmic flaws.

I then became more analytical of my playing;
counting my fill-ins to make sure I had the
correct number of beats.

I also analyzed written arrangements of
various arrangers to learn ‘proper playing’.

‘Playing by ear’ is a gift but must be harnessed
with the reins of instruction for proper execution.

I would encourage those who ‘play by ear’ to
learn to read music and study theory.

I’m so thankful for my piano instruction. It has
given me the opportunity to share my heart
through written music.

Thanks Mom and Dad for making me practice!