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.

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.

“In the Garden” Part One

Audio of entire arrangement: In the Garden

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.

complete free audio HERE

Editor notes for “In the Garden”(Part One) Accompaniment

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.

“In the Garden” part one

 “In the Garden” part two

 Here’s a free piano hymn arrangement of “Since I Have Been Redeemed”.

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.

Since I Have Been Redeemed

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.

Haven of Rest part one
Haven of Rest part two
Haven of Rest part three

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:)

To help   your creativity…I’ll provide an excerpt from the congregational arrangement of “Christ the Lord is Risen Today”.

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.)

The complete congregational arrangement of “Christ the Lord is Risen Today” is available in the music store. 

Special Discount offer on this arrangement through the end of March.

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”. 

“My Saviour’s Love”  Early advanced piano solo

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… 

Here is part two (the remainder) of O Store Gud in G Major.

It’s probably the shortest part two I’ve done in a while 🙂

This free arrangement is written with the beginning church pianist in mind.

A more advanced church pianist can add their own embellishments to this arrangement.

I  just wanted to provide this hymn in a lower key for church pianists having to accompany bass or alto vocal solos.

O Store Gud  (part two) of free piano arrangement

O Store Gud  (part one) of free piano arrangement