Many of you may not be familar with my background of music and what music writers influenced my life. Today, I’ll share a video featuring a couple that greatly influenced my style of music through my high school years.
Ron and Shelly Hamilton is that couple. Shelly’s parents, Frank and Flora Jean Garlock were also a great influence. I’m so thankful for their godly example through the years and their faithful diligence in sharing the music God gave to them.
I came across a video today that presents the testimony of the Hamiltons. Ron went through a great trial that God used to thrust him into the music production arena that has influenced the lives of many children, including mine.
God gave Ron a song from his valley experience entitled “O Rejoice in the Lord”. What a blessing this song has been to me and many others! I will also share a video of him singing this song after his testimony video below.
What could possibly be so important about learning to play scales?!
Part One: Benefits to learning scales
*Mobility
*Strength
*Key recognition
(for example…if you’ve been practicing the D major scale…you will remember this scale has two sharps. When you look in a hymnal and see a hymn with two sharps at the beginning… you’ll know it’s probably D major. (could be B minor but we won’t go there right now.) The majority of the time..it will be D major.
*Structured fingering
*Prepares the hands for complete and partial scale passages in hymn arrangements.
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Scales are more meaningful when played within a hymn arrangement.
Scales add life to a piece! Sometimes just a partial scale is used depending on what sounds best.
Learning my scales in the beginning stages of piano prepared me for different arrangements I have played through the years with technical passages.
In part two of the importance of scales…I will show examples of hymn arrangements containing scales and share ideas of how and where to apply scales in your own improvising.
Part three of the importance of scales will share various ways to play scales preparing the church pianist for real-life application.
Hmm…are scales THAT important? It’s nothing more than finger exercises…right?!
How can the church pianist possibly benefit from playing scales?!
Do hymns even utilize scales?
In the next article… I will share why I think it’s important for every church pianist to master the scales. While I’m at it…I’ll share ways to make scale playing more enjoyable.
Sharing a video of my piano arrangement “Jesus is the Sweetes Name I Know with What a Friend We Have in Jesus”.
Several church pianistshave asked about this arrangement. This particular one has been set aside for an advanced book to be published through Soundforth sometime in the future.
In time, I’ll provide some more videos with helpful information for church pianists. (I’m a little camera-shy…so it takes me a while)
Accompanying the vocalist is so different from playing for congregational singing. For the most part, a steady rhythm is maintained for congregational singing.
Not so for accompanying the vocalist. I would encourage all church pianists to sing along mentally as you play. Doing so will prevent the pianist from rushing the vocalist. So many vocalists over the years have expressed their concern over pianists that rush their singing…not allowing them time to breathe and freely interpret the hymn. It’s so easy to do! Think about it…the pianist doesn’t have to physically breathe at the end of a sentence…so he or she just moves right along…forgetting that the poor vocalist would like to breathe! I know…I’ve been guilty many times of this very thing 🙂
Just focus on the message of the hymn and allow the singer to lead you. I understand some vocalists feel more comfortable following the pianist. Please encourage them to take the lead once they have learned the song; allowing them more freedom of interpretation.
In the future, I hope to provide a video with helpful tips for accompanying the vocalist.
The hymn entitled “The Old Rugged Cross” has stood the test of time. As a church pianist, I enjoy reading the stories behind the hymns. Knowing the story behind the hymn enriches the meaning…making the hymn even more personal to me.
God used George Bennard, an evangelist of the early 1900’s to write this soul-stirring hymn.
The melody of “The Old Rugged Cross” came quite easy to George. He tried to think of words but they didn’t flow until several months later. George had been preaching a series of evangelistic meetings on “the cross”. Many people came forward to be saved during those meetings.
George was thrilled with the number of souls that were saved during those meetings. He reflected on how the message of the cross was so important!
He went home after the meetings and the words to “The Old Rugged Cross” flowed from his pen as he wrote the words to a hymn we all love and cherish.
The full story to this beautiful hymn can be found in Al Smith’s Hymn Histories. Al Smith met George Bennard many years ago and heard the firsthand account of how George wrote “The Old Rugged Cross”.
I just came across another excellent article written about George Bennard. Hope you enjoy it as well as I did.
As a church pianist, I encourage other pianists to read the stories behind the hymns that they play. It will instill a deeper appreciation of the great hymns of faith.
I thought I would share a free audio for my free piano hymn arrangement of “In the Garden”. It always helps me to hear the original audio of an arrangement so I can hear what the composer intended for interpretation.
Here is part two of the free piano hymn arrangement “In the Garden”.
This piano arrangment of “In the Garden” illustrates how the church pianist can deviate from the melody quite a bit when accompanying a vocal soloist or instrumentalist such as a violin or flute.
One of my piano students asked me today how long I had taken piano. She was surprised to hear me say…only six (accumulative) years. I had a total of about six different piano teachers in that time frame. I thank the Lord for each one of them.
As I mentioned on my “about” page…the turning point for my hymnplaying occured for me in fifth grade. My piano teacher at the time, showed me how to double the bass in the left hand and add the tenor note to the right hand. (referring to playing from a church hymnal).
In eighth grade, another piano teacher taught me how to improvise hymns by demonstration. I would listen to her play in church and then go home and try to copy what I heard. I loved her style so much that I just worked hard to play like her. I’m so thankful the Lord led her my way.
The Lord called my piano teacher and her husband to another ministry two years later. In 10th grade, the Lord led another wonderful piano teacher my way. She strenghthened me in the area of technique by assigning me classical music. I noticed such a difference! My finger strength increased; allowing me to move through busy note passages with greater ease. The most favorite thing she taught me was how to add runs to hymns. What a difference it can make to add even one “run” toward the end of a hymn. I will have to share some “runs” with you in another article.
I know six years really wasn’t a long time to take piano lessons. But….what made the difference for me was having a reason “to practice”. I was thrust into the position of “church pianist” in fifth grade. Now…that was motivation! I began practicing every choir arrangement I could get my hands on.
I’m sure other church pianists have had similar situations where they had to fill the role of church pianist… and just learn as they went. Keep it up! God will honor your efforts 🙂
“In the Garden” is such a peaceful; reflective hymn. I don’t hear it used much anymore. This free piano arrangement of “In the Garden” (part one) shares some accompaniment ideas for the church pianist.
As an accompanist, it’s not necessary for me to play the melody for every word…maybe just a few here and there to give the soloist (whether vocal or instrumental) some support.
I start with melody for the first several words and then ease into more of an accompaniment style. By measure three, I’m really into a free-style…just staying within the chord frame and being creative.
Notice how the accompaniment flows freely into each new chord change. In other words…it’s best to maintain a smooth transition from one chord to the next for this particular hymn…producing a peaceful mood.
In measure 8…most soloists will slow down on the word “discloses”. The piano accompaniment can still maintain a steady but slower flow through the ritard.
I look forward to sharing the chorus of “In the Garden” in part two of this free piano arrangement.
