As I’ve mentioned before…the church pianist can deviate from the melody as long as the congregation knows the song real well. You’ll notice the “missing melody” here and there in the free congregational piano arrangement of “All Hail the Power”. The audio contains the piano accompaniment and the melody line.
We like to change keys to add extra life to the congregational singing 🙂 The key change in this arrangement does add an extra measure so it would require a quick practice with pianist and song leader before trying it with the congregation.
Most of the key changes we use in congregational singing move right into the last verse without hesitation.
Church Pianist Tip:
*This free congregational piano arrangement may also be used to accompany a trumpet solo.
I was able to finish page two of “All Hail the Power” tonight even after a busy but good week of revival at our church. I will try to share some music highlights of our week sometime soon.
In my next article…I ‘ll share editor notes along with an audio of this free piano arrangement for “All Hail the Power” congregational accompaniment.
I enjoy playing and singing “All Hail the Power”. The church pianist must add lots of fullness to this majestic hymn to portray the mood of the text.
Just picture it…God is on His throne and scores of angels are bowed down before Him. A huge choir is singing “All hail the power of Jesus’ name! Let angels prostrate fall…”
I think the words as I play this wonderful hymn. The melody and text are a great match!
My dad just told me about a reputable website that sells used church choir music. I was SO excited to find out about The MusicLibrary.com!
This site sells used music for churches that are trying to get rid of music they no longer use.
For the last several weeks I have been brainstorming…trying to figure out what to do this year for our church Christmas program. I checked out TheMusicLibrary.com and found enough books for the “Christmas at Home” cantata by Ron Hamilton…reasonably priced!
Our books should arrive next Friday just in time to start learning the songs on Sunday, September 18th. The music in Christmas at Home are SATB arrangements. Our choir is mainly a two part choir but getting use to three parts now… due to new choir members 🙂 (Praise the Lord)
We are going to simplify the songs by singing unison on some and two parts on other songs.”Christmas at Home” is one of my favorite cantatas because of the strong emphasis on salvation. This is an excellent cantata to bring unsaved family and friends to.
So…if you’re looking for Christmas program material or music in general…check out TheMusicLibrary.com
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.
