The augmented chord does have a special symbol.

A plus (+) sign proceeds the chord name.

For example:  The C augmented chord would be labeled

this way:  C+

The augmented chord adds a nice upward movement effect

when used in the following scenario:

When a I chord lasts for at least one measure leading into a IV chord.

Substitute the I chord with an augmented chord usually at least

halfway through the measure.

Here are a few improvised examples.

Part_Two_Augmented_Chord_Substitution

Part_Two_Augmented_Chord_Sub_Example_3

Try this augmented chord subsitution on the following hymns:

Trusting Jesus ( “Simply trusting ev’ry day) on the word “day”

The Haven of Rest (“My soul in sad exile was….)  on the word “ex-ile”

Wonderful Peace (“Far away in the depths…”)  on the word “depths”

*(Also in the chorus of Wonderful Peace)…

Can you guess where? (at least two places).

What is an augmented chord?

The word “augment” means to make larger.  That is exactly what happens

when a chord is augmented…it is made a half step greater.

The augmented chord adds a touch of “suspense or anticipation” to

a song.

An augmented chord is just like a major chord (in root position)

with a raised fifth.

For example:

The  C major chord in root position = C E G

The C augmented chord  = C E G#

Any major chord can be augmented within a song as long

as it sounds right.

Alot of hymns use the augmented chord. Here are two

brief examples.

Click here: Part_One_The_Augmented_Chord

Did you find the augmented chords in the above example?

If not, here are the answers: (There was only one in each example).

Moment by Moment: on the word “by”

Thank You Lord: on the word “for”

In part two, I will share how to use the augmented chord

as a  chord substitution in hymns.

My last article dealt with using the IV/V chord fill-in for 4/4 time.

This fill-in can also take place in other time signatures….as long as

there are at least three beats…allowing time for complete development.

Original article on this subject:

https://thechurchpianist.com/improvising/the-church-pianist-improvising-hymns-fill-in-idea/

I will share several more examples in time signatures other than 4/4.

Remember…this fill-in works great when the I chord lasts for three or more beats.

Click here for pdf:   Improvising_Hymns_Using_the_ IV_and_ V

1. Emphasize melody throughout

2. De-emphasize anything that’s not melody
to avoid a sluggish tempo or mechanical tone.

3. In 3/4 time….heaviest accent is on the first
beat of each measure. (for a more shapely tone)

4. Measure #10: Careful to keep inner voice move-
ment notes on beat one (eighth notes only)
of right hand softer than melody.

I’ll discuss inner voice movement in a future article.

Try some of these left hand accompaniment ideas out on a simliar hymn…such as…..Jesus Saves.

Here’s a youtube video of my arrangement entitled:

“America the Beautiful”.

Youtube url: http://www.youtube.com/watch?v=q3DU2Y1_7tc

Click here for free pdf piano arrangement of America the Beautiful

Do you as a church pianist ever get in a rut, playing

the same song endings? I sure do!

I thought I would share a variety of endings for the hymn:

“I Love to Tell the Story”.

I’m sure some of you could probably come up with some more

endings of your own but this may help stimulate your creativity!

Click here: Congregational_Song_Endings

This improvisational idea works well at the end of a verse…..leading into the chorus.

The following two ingredients are necessary in order to use this fill-in idea.

1.The final chord of the verse must be a I chord and last for at least three beats.

2. The first chord of the chorus must also be a I chord.

For example: In G Major….the I (one) chord is GBD.

 On Beat #3…

1. Play a IV chord in the right hand

2. Play the V note of G Major in the left hand for the bass note ( note: D )

This creates the chord notation: IV/V

Editor notes for today’s example:

After the word…”Thee” the right hand plays a “climb the ladder”

fill-in to make an easy transition to the upper register of the piano.

*Description of the Fill-In Idea: (occurs in final measure of verse)

Click here for pdf image: Improvising_Hymns_Draw_Me_Nearer

Do you know what “inner voice movement” means?

It’s all those moving notes under the melody that add
extra life to an arrangement.

A good example of inner voice movement can be found
in the hymn “Jesus is Coming Again”.

Look at the first few words of the chorus….

“Coming again, coming again”.

The moving notes under the melody for the right hand
is the inner voice movement.

The proper hand treatment (varied weight) can make or
break the inner voice movement.

How to play this phrase of “Jesus is Coming Again”
for right hand…

1. Go heavy on the octaves

2. Play softer and lighter staccato on the inner voice movement notes.

*Special note: Hold onto the octave while playing the inner
voice movement. Allow the wrist to lightly bounce up when
playing the inner voice movement to avoid tightness in the hand.

Here’s example #2 of an improvising idea.

Click here for pdf example: Improvising_ Hymns_Day _by_ Day 

This idea can be used anywhere in a hymn

where a one chord last for at least three to

four beats in addition to the following measure

starting on a one (I) chord.

 It  adds a nice flowing movement from

one measure to the next.

*Click the following sentence to access the music examples:

Improvising_Idea_Contrary_Octaves *pdf example

Here’s a simple improvising idea to dress up

hymns with few chord changes.

Use contrary octaves between both hands to produce

a more interesting sound.

In today’s examples, the contrary octaves will occur

when the V chord leads to a I chord.  The contary octaves can

occur in other chord progressions but  I’ll address those at

another time.

After playing these examples, try the contrary octave idea

in the following hymns:

“Showers of Blessing” ( 1st sentence on words: “…showers of….” )

“Redeemed” ( 1st sentence on words: “…love to pro-…” )

Editor notes on today’s examples:

Description of left hand octave pattern:

1st octave is same note as right hand

2nd octave steps down

3rd octave skips down