I’m training one of my piano students to be a church pianist. She is in level 3B of Faber Adventure series and has enjoyed learning to play this hymn arrangement of “Since I Have Been Redeemed”.
This arrangement works well for the pianist that can’t reach an octave span as of yet.
More arrangements like this will be available in the near future for beginning church pianists.
As church pianists, we could use some inexpensive, creative
ideas for offertories, right?
Did you know you can use a piano arrangement written for
a vocalist to accompany say…a violin or flute solo?
Or…use a piano accompaniment written for one of these instru-
ments to accompany a vocalist.
Not too long ago…I shared a free vocal arrangement of
“Haven of Rest”. One of my church pianist readers used it
to accompany her sister, who plays violin.
It turned out so nice that I decided to share this offertory
idea with you… with their video. Links to music included below the video.
Some hymns can be tricky for the church pianist when accompanying congregational singing. One such hymn is “Christ the Lord is Risen Today”. This hymn has a busy rhythm! Trying to play every note or word will cause a sluggish tempo or overworked tone.
The remedy…don’t play every note/word. The church pianist’s main concern is to play/outline the main beats of whatever time signature is represented. “Christ the Lord is Risen Today” is written in 4/4 time. Therefore…play on beats one, two, three and four (no in between beats are necessary). Adding a few in between beats here and there does add spice to the music though.
Since hymns sung during congregational singing are usually familar…I will stray from the melody here and there to add spice; encouraging the audience to sing with even more fervency! Simply lose yourself in the meaning of the words to bring out creativity you didn’t think existed! I’m always exhausted after playing for congregational singing…feels like I’ve run a marathon:)
Editor notes for today’s excerpt: I transferred alot of the action to my left hand; where it was easier to add eighth note stepping octaves for spice. Occasionally I added sixteenth or grace notes to the right hand to keep it alive.(The full arrangement contains these right hand additions.)
Easter is just around the corner and church pianists are looking for Easter arrangements or already practicing one. I thought I’d post my free piano arrangement of “My Saviour’s Love”.
I know many church pianists already use chord substitutions but some of you may not be sure what chords fit where.
Today, I was trying to show one of my hymnplaying students several chord substitutions for the last line of “Just As I Am”. We were short on time…so I had her video me playing the chord substitutions so I could just email it to her. The thought occured to me…maybe others could benefit from this very brief video demonstration of chord substitutions.
You may have to pause here and there to get a glimpse of the chord substitutions.
Editor notes for today’s quick video…
Scenario: When the same chord lasts for an entire measure…it’s time to try a chord substitution for a more interesting sound.
For example…the last line of “Just As I Am”…
“And that Thou bidst me…” uses a C chord
Chord substitution used: G minor 7th to a C 7
Next few words…
“…come to Thee O…” uses a F chord
Chord substitutions used: F , d minor, G7
Next words…
“…Lamb of God, I come!” uses a C to G chord
Chord substitutions: a minor 7 on “God” d minor 7 for “come”
Church pianists can revolutionize the sound of their hymnplaying just by adding chord substitutions!
Now…for a quickie video, demonstrating these chord substitutions…
I’m offering another free arrangement entitled “O-Store-Gud”to church pianists. This will be part one.
How many church pianists have needed to play O Store Gud in a lower key? I have… plenty of times. I usually play O Store Gud in G major when accompanying male solos. Altos also like this key.
This free arrangement (part one) is written at a basic level; allowing the pianist freedom to add their own embellishments. The arrangement contains chords not found in the hymnal version of “O-Store-Gud”.
Church pianists are always needing hymns in lower keys. Periodically, I will provide such arrangements.
Just finished playing for a creation conference here this week. Due to limited time, I’m sharing a sacred vocal solo by my dad, Reece Yandle. He wrote this song several years ago entitled “When I Looked Up to the Cross”.
The following songs by Reece Yandle, have been published by Soundforth. Each of these songs are included in a book of sacred solos and or duets.
One of my church pianist readers recently posted the following question…
“I have trouble filling in the blank spaces in songs (for example, whole notes, or the end of a verse, leading into the next verse). I have no idea what to play in those spots and sometimes, that creates an uncertainty for the congregation about when to start singing again. What can I play to help sort of “lead in”?
~Stephanie~
I’ve been answering her question with this series. Part One and Two of Piano Hymn Fill-ins, shared fill-in ideas for the end of verses leading into the chorus. Part three deals with fill-ins for the end of choruses leading into the next verse. The examples in part three are for choruses ending with a whole note.
Editor notes for part three piano hymn fill-ins…
The fill-in for both examples are similar; making it easier for church pianists to learn and apply to other hymns ending in whole notes.
