I’ve had many requests for the written arrangement of “Jesus is the Sweetest Name I Know Medley” that is on youtube. It has just been published in my online church pianist music store.
*The written version does contain some modifications; making it a little different from the youtube version. Why? The youtube version was played ‘by ear’ making it difficult to duplicate it note for note on paper. I did my best. If I’m able to refine it…I will email the updated arrangement for “free” to whoever purchases this arrangement.
Thanks for your encouragement to get this one down on paper 🙂
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.
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Now…a couple more examples of the II 7 chord substitution in the key of A flat & G Major.
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Special Note!
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.
I’ve printed your “Have Thine Own Way, Lord”. How did you know to put a F7 on the 2nd “own” in the first full measure….
Is there a process of knowing what chords are to be uses as substitution and when to use them?
~Elise~
Fortunately…yes! 🙂 There’s an endless supply of chord substitutions that can be used…depending on the initial chord scenario.
To begin with, I’ll apply this II 7 chord substitution to the key of C Major for easier application. (Otherwise, it’s like teaching a beginner to play Moonlight Sonata at his first lesson)
So…what’s a II chord?! In simple terms…it’s an altered chord. Normally, the second chord in any major key is a minor chord…thus marked in lowercase roman numerals…ii. For example, in the key of C Major…the ii chord is D-F-A. (D is the second note in the key of C Major which gives the chord its number). But…we can alter the chord (making it a major chord) by raising the middle note of the chord (the note F to an F sharp). * See example below
Now…to create the II 7 chord…just add the 7th note above the bottom note of the chord. *See Example below
Chord Scenario for the II 7 Chord Substitution:
1. When a I chord lasts for at least two or more beats leading into a V or V 7 chord lasting two or more beats. (to allow time for chords to develop) I’ve used the II 7 chord with less beats but in general…it’s best to allow enough beats for chords to sound like they belong and not just randomly thrown in.
In the examples below, I’ve included the vocal and piano score to reflect the changes made in the piano accompaniment. *Reminder: chord substitutions clash with congregational singing due to the note changes.
I use chord substitutions when playing solo offertories, background music for invitation, prelude/postlude, communion and accompanying a vocal or instrumental soloist.
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In Lesson Two, I’ll share more examples of this II7 chord substitution… including “Have Thine Own Way”.
A reader recently asked me how I knew to use a certain chord substitution in one of my free arrangements “Have Thine Own Way”.
My first answer would be…I just thought it sounded nice. But…unfortunately that’s NOT the best answer. I hope to explain it in such a way that the average church pianist can take and apply this chord substitution on their own.
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.
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. 🙂
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 🙂
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.
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.
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 🙂
