Go to this website in order to practice with hymns:
http://lds.org/cm/display/0,17631,8763-1,00.html
Read this about accompanying (piano or organ):
http://lds.org/cm/display/0,17631,4774-1,00.html
Read this for extra tips on being an expert hymn accompanist:
http://lds.org/cm/display/0,17631,4990-1,00.html#5
IT'S MODULATING TIME!
(See source at the bottom of the page, but I find this very useful, especially in hymn modulations between verses):
When you modulate from one key to another, your composition changes color. Even if all you do is repeat the same melodies and chords in the new key, those melodies and chords sound different in comparison to their original presentation. Not only that, a melody being played a half-step (or a whole step or a third, a fourth, or a fifth) higher triggers an emotional response from the listener. Key changes are a great tool, and very easy to do. Here’s how.
Changing Keys, In Short
Changing keys is easy. Physically, all you have to do is insert a new key signature in that measure where you want the key to change. If the key change takes place at the start of a new staff, the old key signature should be cancelled out at the end of the previous staff. For example, if you move from the key of F (with one flat) to the key of G (with one sharp), you use a natural sign to cancel out the flat of the old key and a sharp to introduce the new key.
Changing key signatures—cancel out the old and introduce the new.
Harmonically, changing key signatures is a little more involved. Ideally, you want to modulate to a key that is somehow related to the previous key. You should familiarize yourself with several common types of modulation.
Modulating Up a Half-Step
This is a very simple modulation, moving your entire composition just a tad higher. This type of modulation is common in popular music and is effected simply by moving up a half-step to the new I chord—no connecting cadences necessary.
A half-step modulation—very uplifting.
Modulating Up a Whole Step
This is similar to the half-step modulation, but a little more dramatic. Again, there is no connecting cadence before the modulation; just step up to the new I chord.
A whole-step modulation—more of the same.
Modulating Down a Fifth (Up a Fourth)
Technically, this modulation is down a perfect fifth, although the melody is often transposed higher (up a fourth) rather than lower (down a fifth). This type of modulation sounds very natural because the old key functions as the dominant of the new key. For example, if you change from F to B♭, F is the dominant of B♭.
You typically make this modulation via a slight connecting cadence; all you have to do is turn the tonic chord (I) of the original key into a dominant seventh chord. This dominant seventh then cadences naturally to the tonic of the new key. For example, if you’re modulating from C to F, turn the C chord into a C7 chord, and then lead from that into the F major chord—the I of the new key.
Modulating down a perfect fifth.
Modulating via Shared Chords
Another way to determine which key to move to is to move to a key that shares one or more chords in common with the original key. That shared chord can then serve as the pivot point for the modulation.
Let’s look at an example, starting in the key of C major. The D minor (ii) chord also exists in several other keys, including the key of F major, where it serves as the vi chord. You can modulate from C to F by holding the D minor chord and then using it as the vi chord in the new key. From your chord-leading rules, you know that the vi chord easily leads to the IV chord, which, in the key of F, is a B♭ major chord. So you hold the D minor chord and then move to a B♭ major chord (and then to the next appropriate chord in the new key). Because B♭ major is definitely not a chord in the original key of C, the listener is immediately made aware of the modulation.
Modulating via a shared pivot chord.
Modulating Abruptly
There’s no rule that says you have to follow these modulation guidelines; it’s perfectly acceptable to change from any one key to any other key, with no warning or connecting cadence necessary. For example, you can modulate from the key of C to the key of A simply by moving from one tonic chord to the other. This is called an abrupt or direct modulation and has a very unsettling affect. It definitely calls a good deal of attention to itself.
An abrupt modulation.
Now that you know how to do modulate to a new key, you can insert a key change into your composition and take it to new heights! Happy composing!
From The Complete Idiot’s Guide to Music Composition by Michael Miller
How Can I Improve My Hymn Reading and Playing?
Presented by Christie Sowby, NCTM
February 18, 2012
What is the point of playing hymns well and practicing a lot to get them to sound good?
For the beginner: The church has provided a free website with examples to use.
The website takes you from the very basics to helping you successfully play hymns.
Know your notes! You can’t begin until you know all of the notes. Look here for help:
· Flashcards from the music store (Piano Gallery, Summerhays, Best in Music, etc.). It is important to time yourself (all notes in both clefs under one minute) so you can see your progress. Practice “saying and playing” each note. Just looking at the flashcard but not applying it will not work as well as actually playing the note when you practice.
· http://beaskeys.com
Have good posture: Do you know how to sit correctly? You will be prepared to make beautiful music if you sit properly.
· Always arrange the bench before you play. It is worth it to sit right.
· If you can adjust the bench, the best height is when it allows the elbow/upper arm to fall freely from the shoulder and the forearm should be parallel to the floor.
· Elbows out. Remember to stay relaxed when your shoulders are out. A good rule is to always have your elbows out farther than the pinkies when you are playing in the center of the keyboard (all hymns stay in this range unless you add notes).
· Our elbows should be slightly in front of our torso (not equal or behind).
· The bench should be about halfway between our knee and hip.
· Feet always right in front of the pedals if you are not using pedals. Your back will be in great pain after several years of playing with one foot behind (or both feet) the piano bench. If you use pedals, then the feet will be on the pedals ready to play.
· Imagine a straight line from your elbows to the middle finger, top knuckle.
· Wrists straight (but not stiff, because we move them). Never low or too high. This will cause dexterity problems and potential cramping in your hand.
· Back straight and slightly leaning in (for beautiful tone you’ll use your body weight to sink into the keys). No slouching.
· No shifting positions on the bench. We aren’t human typewriters, so plant yourself and don’t move around. You are fully capable of reaching every note on the keyboard without moving.
Hand Posture: This is everything!
· Cut those nails. Sorry—it just can’t be done properly if your nails are long. The general rule is that if you can tap your fingers on a desk (or piano) and hear a “click” noise from the nails, they are too long. Yes, that means they will have to be cut several times a week.
· Knuckles out/arch the fingers/curved fingers. It is called several different things. The point is your fingers should be curved. You will never have the piano technique needed to play well if your fingers are not curved. If you have never curved your fingers, it is not to late to learn! Practice perfect position by putting both hands on your knees and bringing them up to the keyboard every time you practice. You’ll get it.
· To strengthen your finger technique, visit Christieksowby.blogspot.com under “Technique Videos”—watch the “Down Curved, Relax, Straight Up” video. It will help make your fingers curved and arms strong. This exercise rapidly changes your position and helps you curve your fingers successfully.
· Crest of hand high (not low and sinking).
· Loose shoulders/arms/wrists and you’ll play beautifully.
Fingering: Using the best finger to play each note of a song is one of the most important parts of playing the piano, yet it is underestimated the majority amount of the time. You’ll not only learn quicker, but you’ll feel good about the consistency you are getting. There are 88 keys on the piano. You have 10 fingers. This combination equals 888 possibilities if you don’t put in fingering. It’s just easier to have one option. You’ll play more confidently and have great accuracy. Once you choose the best fingering, never deviate from it.
· “Thumb is One” rule. Pointer fingers are 2, middle fingers are 3, ring fingers are 4, and pinkies are 5.
· Follow the fingering suggestions in the hymn books (all levels). They are excellent suggestions, as they help you execute a particular musical passage most efficiently and comfortably.
· If you put in your own fingering, put the fingering as close to the noteheads as possible so your eyes don’t have to search for the fingering.
· Benefits include: great balance, control over fingers, minimizes hard stretches and finger crossings, and you will play smoothly.
· Good suggestions (from LDS.org): 1) Play the highest note in the passage with the fifth finger of the right hand or the thumb of the left. 2) Play the lowest note in the passage with the thumb of the right hand or the fifth finger of the left. 3) When you’ve placed your thumb or fifth finger on the highest or lowest note in the passage, use the most convenient finger on each key as you play the notes leading to and leading away from that note. 4) If you run out of fingers, go back and try stretching your hand to distribute them over a wider area of keys. If you are moving away from the center of the keyboard, try crossing your thumb under your hand. If you are moving toward the center, try crossing your second, third, or fourth finger over your thumb. 5) Never use your fifth finger before you arrive at the highest note in the right hand or the lowest note in the left hand. If you do, you might have to make an awkward hop as you shift your hand position. 6) Try several different fingerings for complicated passages. Choose the one that feels most natural to your hand. 7) Once you have chosen the best fingering for a passage, pencil the finger numbers close to the noteheads. 8) Always use the same fingering when practicing a hymn or a song. This suggests buying your own hymnbook and using it consistently!
Practicing: FERN is the way you should practice when you are learning a new piece for the first week. Split each piece into sections (about two to four measures each). Always start learning the last section first (so you don’t get in the habit of having the first section the best and nothing else after). If there are two hands playing in the section, which all hymns contain, do the following: play the right hand using all steps of FERN, left hand using all steps of FERN, and then hands together using all steps of FERN. If you do this, you will learn your pieces consistently well and will progress faster than those that do not.
1. Fingering: Think about all the components of fingering when you do this step. This includes putting in all fingering, playing with all of the finger numbers correct (start on the right note), keeping fingers curved (knuckles sticking out, not sinking in) and with thumbs curved under hand or resting on key (thumbs never up in the air or hanging below the piano).
2. Expression: Think about all the components of expression when you do this step. All dynamics (louds and softs) and phrasings (swells, crescendos, decrescendos) followed and wrists up at the end of slurs and on staccatos (for a rounded cut-off). Focus on articulations (legato, staccato, accents). If the piece ends with a half note or longer, lift your wrists on the last note (and other similar places). Also focus on pedal.
3. Rhythm: Think about all the components of rhythm when you do this step. Play exactly with the metronome or a steady beat. Keep going no matter what happens. If you can’t do the rhythm correctly, then clap to the metronome on the keyboard or put it on a slower tempo until you can do it right and you know it is correct. Use the rhythmic syllables (found on LDS.org) to help you feel a steady pulse.
4. Notes: Play all notes correctly. If you have to make a pause to get all the notes, that is fine. Do not repeat any notes. Take your time to figure out and place your fingers over a chord before playing. Do not settle for anything less than 100 percent accuracy though.
5. Evaluation: Play entire section/piece through. Which parts did you do well on? What parts do you need to do better on? Take note of the improvements needed so you can work on them first on the next day of practice. Congratulate yourself for your progress. Your goal for each piece or section should be to have all steps perfectly at the same time by the end of the week.
2nd WEEK: “Five Times a Day” Practicing
After the first week, you should be able to play through all aspects of FERN at the same time. Play each section 5 times a day during the second week focusing on all aspects of FERN each run-through. Make sure to add one measure after and before each section so you can be confident in transitions. After each section is played once, evaluate yourself. If you miss a component of FERN, write down the step you will focus on for the next run-through. You will see yourself improving immediately. If you have 5 sections to work on, you might consider starting at the last section, then the second to last, etc. Make sure each section flows into the next with ease.
2nd WEEK to PERFORMANCE/PLAYING
How to increase tempo
1) Find your current “perfect” speed per section with the metronome—today! It doesn’t matter how slow/fast you have it. Once you have it at a certain tempo, don’t go slower if it needs to be faster. You’ll never get fast enough if you don’t keep pushing the tempo.
2) Figure out your final goal speed and how many speeds you are away and how many speeds per day you need to move up to meet your time goal. Make sure you have a date to reach your goal (when you will be playing the piece).
3) Move up 1 click for every perfect play through in a section. Once you move up NEVER move back. You’ll reach your goal and be solid.
About Practicing Correctly
The most successful musicians are the ones who learn to maximize their practice time.
· Musicians who learn to use their practice time wisely can accomplish twice as much in half the amount of time.
· No church musician should be without a metronome. Learn to play with it. Once you can play it with a perfect tempo, then move up the tempo one click. Repetition during slow practice will solidify the notes in your brain and in your hands.
· Always be at least with the lowest tempo marking when you play. I always like to be 1 or 2 above the fastest.
· Don’t use the metronome during the initial learning phase. (when working out notes)
· Never practice faster than you can play accurately.
· “If you want to play fast, practice slowly.” (Paul Pollei)
· If you are having a “problem spot,” do the following:
o Four “F’s” (Don Cook : Organ Essentials, 1992. p. 130)
a. Find (identify the problem)
b. Fence (isolate the problem)
c. Fix (repetitions using appropriate practice techniques)
d. Fit (put the pieces back together—playing the passage in context)
· During the initial learning phase, the number one time waster is to play the entire piece/hymn from beginning to end. The reason this is so counter-productive is because we practice the mistakes and we become very proficient playing those mistakes. We then have to go back and undo what we have learned wrong. If we spill something on the floor, we don’t clean the whole house. We go right to the spot.
o Go immediately to the problem passage and work it out.
o Play the entire piece/section as a reward or incentive after having worked out the problem(s).
· Prepare a practice plan for each practice session
o Decide how much time is available for practice. Are you playing next Sunday or are you in a rotation and have three weeks?
o Incorporate the above mentioned practice techniques.
Helpful resources:
Hymns Made Easy. This book contains arrangements of 60 hymns for the beginning pianist.
Hymns, Simplified Accompaniments. This book provides simplified musical arrangements of 158 hymns.
The real hymn book will now be easy!
You can purchase these at BYU, any music store, or online at LDS.org under the music section.
Quotes:
· “An organist (or pianist) who has the sensitivity to quietly play prelude music from the hymnbook tempers our feelings and causes us to go over in our minds the lyrics which teach the peaceable things of the kingdom. If we listen, they are teaching the Gospel, for the hymns of the Restoration are, in fact, a course in doctrine!” President Boyd K. Packer
· “It really matters what you listen to. . . . Select music that will strengthen your spirit.” Elder Russell M. Nelson (I suggest listening to Classical 89.1 or 89.5 on your radio stations. They have phenomenal, uplifting programs and music.)
· “When you sing the hymns, . . . ponder the meaning of the words, enjoy the spirit of the music. Sing with enthusiasm without regard to your tones. You will have a good feeling, and your spirit will be enlivened.” Elder Graham W. Doxey
Adapting Hymn Accompaniments:
· Some hymns may have notes or passages that are difficult to play. Feel free to adapt such passages to your own ability by dropping less-important notes from chords. You may want to mark your own hymnbook for this purpose.
· Hymns frequently have a space between the tenor and bass notes that is too wide to reach with the left hand. Often the right hand can include the tenor note quite easily. You may want to mark such notes with a bracket to remind yourself to play them with your right hand:
Helpful Hints:
· Since the text (message) is the most important part of each hymn, read the text out loud with meaning to determine where to breathe. Most congregational members will breathe where their bodies demand air. However, those members in tune with the spirit of worshiping through hymn singing will be sensitive to the pianist’s efforts to convey the meaning of the text. Mark complete breaks, partial breaks, and “carry-overs” in the text itself.
· Don’t look down as you play (plus, your neck hurts).
· Always read from bottom to top in chords. Then move to the next chord in the same fashion. It’s like reading another language—you need to be consistent. We waste so much time with our eyes going to and fro.
· Play the correct rhythm (How Great Thou Art, The Lord is My Light, ends of songs after fermatas, etc.)
· Practice with a metronome. Don’t let the congregation bog you or the conductor down. They will get it, I promise!
· Follow the text of the hymn. Shape the phrases beautifully (no slamming “We Thank Thee O God for a Prophet).
· Bring out the soprano voice with the pinky, focus on balance!
· When you have mastered a hymn or assignment, you may want to place a check mark or a star on the page.
· Play the hymns in a style that reflects the nature of each hymn. A robust and energetic hymn should be played very differently from a slow and sustained hymn. Learning the notes is only the beginning to good musicianship.
· When you have learned a hymn, have someone practice conducting it with you. You must learn to follow and work with a conductor successfully.
· Practice performing for others 3-10 times each time you play in church. You will be so much more confident and ready in a spiritual, mental, emotional, and physical way.
· Start learning music theory so you can learn to recognize chords in hymns. Typically hymns have three types of chords. You’ll understand so much more and hymns will come quicker if you understand theory. Visit Musictheory.net for free help on theory.
· Start learning how to play scales and cadences. There are books at the music store that can help you with this. This way, you will be able to play any hymn in any key (written or by ear) because you are familiar with more than just the key of C and G.
· Pray for guidance and help.
Some Hymns That Are Easy to Play:
Come, Follow Me; Do What Is Right; God Be with You Till We Meet Again; How Gentle God's Commands; I Stand All Amazed; Keep the Commandments; Let the Holy Spirit Guide; Now Let Us Rejoice; Redeemer of Israel; Sweet Is the Work; Sweet Hour of Prayer; Teach Me to Walk in the Light; We Thank Thee, O God, for a Prophet.
Want a piano teacher to improve even faster? Look here:
