I enjoy creating pieces with a certain student in mind. This particular piece goes to one of my older female students who enjoys playing songs in a minor key.

The idea for the introduction hit me as I laid down to sleep this past Wednesday.  I had to get up and write it down or the idea would have been history!

Even though I’m an advanced level pianist, I still enjoy playing this early intermediate arrangement of “O Come O Come Emmanuel”.

O Come O Come Emmanuel

Early intermediate Christmas piano solo, 2 pgs. A nice selection for Christmas recitals or offertory.

Price: $2.75

If you’re a beginning church pianist and learning to play from the hymnal…this lesson is for you 🙂

There are always exceptions to the rules as we’ll see in this lesson dealing with five part playing style from the church hymnal.

The thumb cannot always comfortably plug the tenor note into the right hand as we’ll see in the last video below.

Watch this video first if you need a more involved description of the five part playing style and then proceed to the latest video below which describes the exception to the five part playing style.

One of my former piano students approached me at church a couple months ago and asked if I would write her an offertory arrangement of “I Must Tell Jesus”.

Well…I finally got around to it! 🙂  But what a surprise!  This arrangement just flowed out of my little brain this week and I quickly penned it to paper.   It’s not always that easy for me to arrange a hymn!

I tried to arrange this piano solo well within  her early intermediate level…hoping she could learn it soon.  Even though I’m an advanced pianist…I wouldn’t mind playing this for offertory.

I Must Tell Jesus

Early intermediate sacred piano solo, 2 pgs. Approx. length 1:24

Price: $3.00

Do modulation and transposition mean the same thing?  They ARE closely related but describe two different actions.

Modulation is the transition process (the key change itself)… that takes the pianist to the new key.

Transposition is playing a song in a different key than what’s written.

Next post will share a modulation chord that is commonly used for modulating from one key to another.

The following excerpt was taken from my Easter arrangement “Were You There” (to be published sometime in Feb. 2017)

Many have asked how I play runs so fast and smooth.

My answer: fingering and body movement are important factors in creating a smooth and fast run.

Keep hands close to keys…wrist level with hands. Allow hands to follow shape of the note groups….turning thumb ahead of time to make smooth transition into next group of notes. (The thumb starts each group.) The body…waist up… should also follow the run….bend slightly at the waist to the right… and lean toward keys a little for full body support.

(Watch this video for demonstration of body support movement during similar runs) *Start about 1:10 on this video

Use fingering that follows the natural shape of the run…allowing for ease of movement throughout the run. ( suggested fingering for right hand run at measure 48… 1-2-3-5)

Notice the loose wrist and arm movement as I cross into each group. ( I prefer to play 4 groups of this run instead of 3 but trying to be reasonable 😉

The following video samples begin at measure 47  (first time…fast….second time…slow)

Fast Run

Slow Run

Just thought I’d share an incident that happened last night at church…

I’m surprised my church hasn’t fired me from being one of their pianists!   😉
I’m SO forgetful! ….like playing the wrong song intro for choir opener….and then my son, David, (who happens to be the choir director) looks at me with a big smirky smile and says for all to hear….”that’s the choir special.”
“Oh yeah…” I say.

Oh well…at least we could laugh about it… (including the whole congregation)   🙂

                            Anybody else have a similar experience?

Even though I’m not a small handed pianist…I sometimes experience the feeling of having small hands due to challenging passages in music.  While in high school I would always roll a 10th in the left hand.  However…after playing a 10th with a gentle “rolled” movement over time….I found that I had stretched my left hand span and soon began playing solid 10ths!

While researching pianists with small hands, I came across the following inspiring article and video!

Click here to read how this small handed pianist overcame his limitation before hearing him in the video below:

I know…not all church pianists have big hands like Rachmaninoff!  With that in mind…I created alternative fill-ins for the runs in The Love of God advanced piano solo that I just published a couple days ago.

I hope these alternative fill-ins will be more user-friendly for those with small hands.  The whole piece is really written for a pianist with large hands but maybe those of you with smaller hands can adapt this arrangement with these alternative fill-ins.

I know other church pianists would agree that it’s so important to be training other pianists in the church to become church pianists or simply to fill in while other pianists are out of town.

At our church, we have  a couple college male students who commute to our church..one of which helps us out on the piano, among many other areas.  There are actually a total of three pianists available:  Sunshine, Hunter (college student) and myself. We rotate on a monthly basis to allow each one of us ample opportunity to serve.

I’m usually out of town at least 6 times during the school year calendar. To provide extra experience for Hunter, I’m having him play second piano along with me when I accompany instrumental specials for offertory. This opportunity allows him to learn the art of accompanying with an “on hands” approach.  (A lot of “give and take” in rhythm occurs when accompanying someone to sing or play their instrument.)

Hunter also plays second piano for congregational singing on Sunday nights and main piano on Wednesday nights giving him a chance to play introductions on his own. He has also used the congregational notebook I’m creating (which was destroyed in our church flood)..another story. He says the congregational notebook was a great help to him.

I can’t wait to start creating the congregational notebook again! I do have some of the songs in the computer…but most were not in the computer due to me accidentally deleting the original files on my computer about a year ago…(which was also a about a year’s worth of music…ugh)

Hunter has progressed by leaps and bounds!  I’m so excited to see how the Lord is preparing him for future ministries.  I’m also honored that the Lord has allowed me to be a part of his training.  Unfortunately, we only have him one more year since he’ll be graduating.

It seems God has allowed our church to be a training post for young male college students training in the area of music ministry and children’s ministries over the past (at least six years).  We’ve been SO blessed to be a part of this important training process.

This will be one of several videos I’ll share from my recent trip to the annual Wilds Music Conference. I had not planned on videoing the sessions…thinking they were being done by someone professionally.  So…you will have to put up with my amateur recordings 🙂 The first part of Hymnplaying Master Class on Tuesday consisted of an open discussion on the benefits of piano duets…even with a few composer tips from Faye and Duane on writing quality piano duets. I’ll start with the benefits of playing piano duets: *Allows time to focus on basic techniques with easier playing passages…such as phrasing, pedaling, dynamic balance between two players, etc. *Prepares pianist to think and play like an accompanist.  For example, both pianists have to keep melody dominant throughout.  The pianist without melody part must remain in the background (so to speak)…allowing the melody to be heard. *Playing piano duets can improve the pianist’s sense of rhythm.  Teaches them to play different rhythms against the other player.  Such as: one pianist may play triplets while the other is playing straight eighths. (fun! fun!) The pianists are forced to play the correct rhythm if they are to stay together. *Encourages teamwork!

Now…on to several composer tips in writing piano duets:

*Stack duet parts on one page so both pianists are aware of the full picture. *Try the duet with another pianist to check for hand collisions (I speak from experience on this one)    😉 *Avoid writing in excessive extreme registers (real low or high).  Too high gives the primo a “tinty” or “empty” sound.  Writing primo section more near the middle of the piano gives the piece a more balanced, pleasing tone.  Playing too low will give the duet a “cloudy/muddled” tone.

Piano duets on this video:

O Come All Ye Faithful from: “O Come All Ye Faithful” by Nathan Arnold

I Need Thee Every Hour from: “Standing on the Promises” by Nathan Arnold

Saved! Saved! from:  “Like a River Glorious” by Rebecca Bonam

Dwelling Beulah Land from: ?  (I think it was a Rebecca Bonam duet…not sure)

Other Piano Duet Book List:

Immortal Invisible  by Dan Forest

Crown Him Lord of All by Dan Forest

Joy to the World by Rebecca Bonam (piano solo book with three duets!)

Tip:  Don’t forget those duets in the back of your piano solo books you may have 🙂

*The above book titles are clickable links that carry you to BJU Press.  However, these books are no longer available through BJU Press.  Go to Lorenz  to purchase them. (or try Ebay or Amazon)