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 🙂
As promised…I’m sharing hymn improvising ideas for “No Not One”. I love the words to this hymn but it could use some dress-up by the church pianist to give it that extra zest! In example #1, I’ve shared a simple accompaniment for verse one. In upcoming articles, I’ll give more examples for this particular hymn. As I think up improvising ideas for this hymn, I consider the text and try to enrich the message by adding appropriate accompaniment.
(refer to the printed copy as you view the following notes)
Editor notes for “No Not One” Example:
I only altered a chord on measure #5 by adding G minor 7 (F natural) in left hand on word “heal”. This particular chord (G minor 7) provides a nice “leading into” sound as it moves into a C chord on the word “soul’s”. Adding minor 7ths to chords always adds a warmer sound.
Ever notice how the rhythm on words “Jesus” and dis “eases” feels awkward to your hands? The hands don’t seem to go together well on these spots. You’re right! Take note of how I played left hand during these areas. I basically maintained a steady beat in the left hand while the right hand played the tricky rhythm.
As promised, here is part two of “God of Our Fathers”. I used dotted rhythm in measures # 9, 12 and 14 to liven up the accompaniment.
The busy left hand octave movement was also added to give this hymn some driving motion as in measures #11, 12, 15 and 17. (Also in the right hand on measure #14)
This free arrangement of God of Our Fathers can also be used as a short patriotic offertory or for congregational piano accompaniment.
“God of Our Fathers” is a wonderful hymn to sing anytime of year, but especially around July 4th. This stately hymn reminds Christians of God as their leader.
In part one of today’s free arrangement of “God of Our Fathers” I tried to portray the majestic mood of the text by solid octave movement in the left hand and full chords in the right hand.
The introduction (trumpet fanfare) was doubled (both hands) for a fuller sound. The octave higher treatment gave it a brighter tone.
In measure five, I added a light touch of syncopation to the left hand for text enrichment. The words for this measure speak of God’s “…almighty hand”.
Congregational singing plays such an important role in the worship service. As a church pianist, I try to play with enthusiasm, since I represent the Lord in all I do. I want others to know that I truly believe the words of the great hymns of faith as I play them for God’s glory.
To be honest, I don’t always feel energetic on a Sunday morning when I’ve had maybe a couple hours of sleep… but God is good. He gives me just enough energy to make it through. I’ve found I do better during those times. I think it’s because I’m relying more on His help…as I should ALWAYS do 🙂
Part two of “God of Our Father’s” will take us up an octave as we prepare for the climax of this great hymn. Looking forward to sharing the rest!
