“Diminish” (verb) to make smaller vs. “Augment” (verb) to make larger

A diminished chord is a minor chord with a lowered 5th

Example:  C Eb Gb   Or expressed as: C°

Suggested role of the diminished chord: creates suspense

An augmented chord is a major chord with a raised 5th

Example:  C E G#    Or expressed as:  C+

Suggested role of the augmented chord: generates amazement; surprise; anticipation

The diminished or augmented chord is not found within the scale. The pianist must alter the notes of a chord to create either one of these chords.

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Visual examples of the d diminished in the key of C Major

d diminished = D F A flat

*diminished 7ths are more common; create fuller sound

d diminished 7th = D F A flat C

The symbol ° after the chord letter name… represents diminished chord

The / separates the diminished chord from the bass note (the slash is used when the bass note is NOT the root note of the diminished chord.)

Special note:  Yes, I should have included a “slash” indicating the “C” as the bass note for the last example on the word “leads”.  Hope you caught it!  🙂

 I will share augmented examples in the next article asap!

These diminished chord examples are just a tip of the iceberg! 

This lesson does not contain a thorough list of diminished chord possibilities  within a key/scale.

Just wanted to share a couple of spontaneous prelude transitions that I created today for one of my hymn playing students during their lesson.

She’s wanting more help in the area of prelude transitions…and needed to see examples for transition ideas.

Hope they’re a help to other church pianists too!

Prelude Transition tips:

When creating a prelude transition consider the following:

1.  The time signature you’re coming from and going to

2.  The key signature you’re coming from and going to

3.  Mood of approaching song

4.  Add a ritard toward end of first song before the transition to allow breathing space for the player and listeners.

What are diminished and augmented chords?  Where can I use them? The first article on diminished and augmented chords will answer these questions.

The other post I’m creating deals with tips for choosing vocal solos for the male voice.  I enjoy the challenge of looking for solos that fit a certain person’s vocal range/ability.  Singing a song that fits the singer’s range allows for a more positive experience for the soloist as well as the listeners 😉

It’s our responsibility as Christians to be as effective as we can to carry God’s message through whatever means possible and that includes singing.

Looking forward to sharing more soon!

News for my church pianist readers: I’ve been creating video recordings of The Piano Invitation Collection and publishing them on my youtube channel.

I don’t know about other church pianists…but I find myself in the role of “encourager” many times!  I love to get our young people involved in the music ministry.  In order to fully utilize them, I find or write music with their level in mind; prodding them along…equipping them for the ministry.

It’s a rewarding experience.  Any other church pianist having similar experiences?

Down From His Glory requires ALOT of ad lib from the church pianist when accompanying someone to sing this hymn.

I could not help but add runs during the chorus due to the frequent held words. The fingering for the runs is included 🙂

I plan to create an audio of the piano accompaniment as time allows.

Click here to download “Down From His Glory” in E Flat Major

Click here to download “Down From His Glory” in F

“Down From His Glory”…a challenging piece for many church pianists!

Many of you requested that I share improvising tips for this very piece as recently discussed in a video from last year’s Wild’s Music Conference.

In this particular video, Faye Lopez shared several tips for dressing up the accompaniment such as adding right hand echoes during held words for the first half of the verse and then broken chords for the second half of verse.

As stated in a recent article…the following free download of “Down From His Glory” is similar to Faye’s accompaniment but not an exact replica 🙂

Tip: Watching the related video to this article would be beneficial while looking over the free download below. Click here to see: VIDEO

 Complete arrangement of Down From His Glory

Freestyle is my favorite way to accompany vocalists.  To me, freestyle is playing by ear what I feel at the time without written music.  It takes years of practice… of course… to get to this point of playing 😉   Dad was the first person I ever accompanied in my early years of being church pianist.  He taught me accompaniment tips along the way such as “Follow the soloist”…a MUST for the church pianist.

I do play for soloists that prefer to follow me but I’m trying to help them feel more comfortable being the leader. After all…the church pianist is just the background support for the soloist.

Below, is a recent recording of me playing for my dad. Our parents were visiting with us this past week and Dad sang this solo in our church.

I love to accompany my dad!

There are certain songs that are a challenge for the church pianist to accompany. “Down From His Glory” is one of those songs!

In the video below, Duane Ream and Faye Lopez share some of their insight on accompanying the vocal soloist for “Down From His Glory”.

The following video excerpt came from last year’s  Hymn Playing Master Class workshop at the annual Wild’s Music Conference. Please excuse the shaky quality of the video.  I didn’t have a tripod available.

I want to thank the pianist for granting me permission to share this video excerpt.  He did a great job with his impromptu accompaniment; providing others with an opportunity to learn more about accompanying a vocal solo.

This video was taken during the “critique” session of the class when someone would volunteer to play either a piano solo, prelude style piece or accompaniment style.

Duane Ream, one of the workshop leaders, also volunteered to sing…making it easier for the volunteer pianist to share his accompaniment style.  *Please note that Duane sang an octave lower on purpose for the chorus… since it was out of his vocal range 🙂  At least he was willing to help the pianist 🙂

I’ve thought about providing a couple visual examples of the accompaniment patterns Faye was trying to convey to the pianist. Keep in mind…they wouldn’t be note for note what she played but I could produce something very similar. Who would be interested?

If you have been a church pianist for very long or played in different churches as church pianist…then you may have run across this scenario…”playing for an inexperienced leader”.

The intention of this article is not meant to minimize the willingness and faithfulness of the inexperienced leader but rather to give constructive pointers to church pianists on how to deal with such a situation.

My dad, who was my first leader to follow,  emphasized to me the importance of the pianist following the leader.  I’m thankful for his teaching and preparing me for my role as church pianist.  He was the best teacher!

Over time, through experience…I have learned there are exceptions to rules 🙂

I have had to play for at least several different leaders in various situations who  just didn’t know “how” to lead and were doing the best they could.  Not all of them were non-musical people either.  I’ve had the joy of helping some of those leaders along…ONLY because of having a trusting relationship with them; giving me the liberty to do so.

I’ve found it necessary to “lead” as a pianist in some cases IF it was the only way to keep everyone singing together at the same tempo.

On occasion, when a lay person in our church has had to  substitute  for our regular leader…he will ask me before the service… to help him during congregational singing by keeping things moving since he’s not comfortable with leading.

The following video (taken from the 2013 Wild’s Music Conference) contains more discussion about this topic of “The Experienced Church Pianist vs. The Inexperienced Leader.”

My favorite quotes from the video:

“Part of our role is… we’re support, we’re ministry, we’re behind-the-scenes…serving and helping someone else try to do their job effectively…part of the philosophy of being a good church pianist.”  

 ~   ~   Faye Lopez   ~   ~

“You can infuse the service with energy and vitality in the singing…from the keyboard.” 

~   ~   Duane Ream   ~   ~

Enjoy the following brief… yet informative video on:

“The Experienced Church Pianist vs. The Inexperienced Leader”