My husband was filling in for a pastor that was out of town, and I also filled in as the pianist. Here is a fun list of some things to do when accompanying a new music director.

1. Try to put the director at ease when you meet before the service. It can be as nerve-wracking for them as it can be for you.

2. Be honest about your capabilities. Do not try something you know you are not comfortable with. But if you can be helpful with key changes, etc., offer to do so if the director wants a certain song, but can’t sing that “high” (or low.)

3. Watch! I blasted right from the first introduction to the first verse, but the music director did a three second pause before beginning the verse. My mistake! I watched more carefully for the rest of the service.

4. Be very aware of the order of service. Sometimes you are given great detail, but most of the time it’s just a skeleton of an order.

5. Turn your book to the next page number right after finishing the previous song. Along with number 4, this will help you to stay prepared and to avoid last minute shuffling.

6. Leave out arpeggios or fill-ins on fermatas or typically “held” notes. Everyone does these differently. Get a feel for what the director will do before you find yourself hanging out to dry.

7. Play from the key the song is written in if others (ie: orchestra or organ) are playing along.

8. Match your style to how the congregation sings. Do not overpower them if it is weak or be too mousy if the singing is robust.

9. Play in the tempo given. Sometimes you are left to decide, but often the director or congregation will give you some indication. Be flexible!

10. Be forgiving about mistakes by the director and yourself.

11. Enjoy the new and challenging experience. Every situation can teach you something. It is a joy to work with all sorts of people.

 

*Neither here nor there*: I have found that my favorite “new” people to work with are church music directors who do not think they know what they are doing (i.e.: not musically trained, just volunteering) After you hear all the apologies and jokes, most of the time, they are actually quite good (and always forgiving!)

These thoughts refer to mainly one-time experiences. I am sure the list would be much more extensive if speaking of working with a new music director in a long-term relationship. 

Last time, I introduced the topic of mixing parenting and piano. Today, I am just going to briefly go through some challenges these two jobs have presented in my life and how I have tried to deal with them. This is by no means any instruction on what others should do, just solutions that have worked for me.

One challenge I faced personally was balancing how involved my children could be during my practice time. At first I thought I was doing them a great service by letting them bang alongside me, climb over my lap, or sit on the pedals and such. I still think this is harmless for the very young (just learning to crawl), but I began to realize that I was not teaching them to be respectful of others. I always love when my children are there when I practice, but I do try now to teach them to be quiet and not play while I do. It helps to let them have “their turn” or even a simple lesson at the end of my practicing session.

I have chosen not to be too strict about how they play when they have a chance. Occasionally, I might say “Not so loud, or try to be more gentle,” but so far I have not really had any terrors. However, if I did, there would probably be much stricter enforcement and instruction of how to play. Overall, I want my children to see playing the piano as fun and enjoyable. There are other rules that you might choose and enforce strictly. For instance, one of mine is “No food or drink anywhere near the piano!”

Another challenge I often encountered was what to do with your children while you rehearsed with other musicians before or after church. For my taste, letting them run loose was not an option. There were a few people who I would ask to sit or play with them; then I tried to make the practice session as timely as possible. The solution will completely depend on your situation. Most important, I think, is keeping a balance of being a parent first while still being courteous and attentive to those who need your help.

Perhaps these challenges seem the greatest when children are very young. What have some of you parents/pianists faced with older children? Join in the conversation on Facebook and let us know your solutions.

Have you ever seen a “Norman Rockwell” moment? A scene or interaction that just seemed classic and endearing? I have many of these stashed in my memory bank. One of my favorites is of one of my professors (rather intimidating) playing a grand postlude at our large church and his preschool daughter walking up on the huge stage, climbing onto the bench next to him, and playfully playing along. It was obvious that he was enjoying it as much as she was. To me it spoke volumes about priorities, humility, and parental love. I hope that picture never escapes my memory. If two of the hats given you to wear in life are parent and pianist, this can present special challenges and opportunities. Share your love for music with your children from the very beginning. I have never met a child that did not LOVE music and it is such a privilege for them to have a live-in musician! Perhaps one danger could be over-doing the instruction and demands, but for the most part children really want to learn about what their parents are involved in when it is presented in a fun, non-intimidating manner. Involve your children in what you do by letting them listen and play with you as much as possible. Talk with them about what you do, how you plan, and why you practice. This can have such a positive effect on your children’s view of music and ministry. 

Church pianists are often called upon to play for funeral services. Since this service can be very sensitive in nature, having a plan in mind can make the service go more smoothly for everyone involved. I personally enjoy playing for funerals because they provide a means for me to minister to the family.

Here are some elements to keep in mind when preparing for the service:

1.       Communicate with the pastor and/or music pastor ahead of time. Find out if a prelude is needed, if there will be any special music, if there will be any congregational songs, and if any specific songs have been requested.

2.       Plan your prelude. Find out how long you will need to play. I usually ask if there will be a viewing ahead of the service. If so, plan on repeating your prelude as the viewings usually run over time. Either make a list of your prelude songs (if playing by memory), or put the music in a notebook so you can easily transition from one song to the next.

3.       Practice the special music and congregational songs. If a soloist is involved, practice with him ahead of time. Also, practice the congregational songs including any transitions and introductions.

4.       Be flexible. Watch the leadership for any change of plans, extensions of time (viewing, etc.), and timing of the overall service.

Keep in mind that this service is very important to the family. They do not need any distractions while they participate in the service. You can contribute to the memory of their loved one by being prepared and confident in your playing and being sensitive and flexible in order to meet their needs.

About a month ago, I had an “eleventh-hour” experience that Laurie thought would be beneficial to share. On a Saturday afternoon about 4:30, I received a phone call that our regular church pianist had fallen and injured both of her hands. “Could you play for the services tomorrow?” I agreed and was told to be “on stage” at seven o’clock for the morning sound check.

That morning I woke up much earlier than normal (actually I hardly slept the night before for fear of not waking up on time) and found myself backstage sleepy and unsure of what lay ahead. We have not even been attending this church for a year, and because of the needs of my small children, I had never participated in the Sunday worship service. A few of the firsts would be: new music, new music director, new instrument, new choir, new orchestra and new sound system. Thank You, Lord, for forcing me to practice faith through new situations!

After a brief look through the music, the rehearsal began. Every frustrating minute I had spent practicing sight-reading seemed suddenly worthwhile. The director and orchestra were kind and patient with me. (I tried to watch the director as much as possible. When playing with an orchestra, I think it is much more important to stay together than to play all the notes.)

Before I knew it (or felt ready) it was time for the prelude to the first service. I asked God to give me courage to play boldly and not to be timid or worried. He did, and all three services went well to His glory! I have to say, as a side note, that the way the music committee printed up the order of service was outstanding! Every last detail of what verses were being sung, and when key changes and bridges occurred, and who would pray and when was spelled out clearly. It is probably the most secure I have ever felt playing for a service because I knew exactly what I was supposed to do and when I was supposed to do it.

It was truly a privilege to play with such committed musicians. The next week I was able to play as well, but at least I was able to attend the Wednesday night rehearsal. I was reminded that being a pianist and receiving all kinds of instruction over the years is really something for which to be thankful. I should also be thankful for every opportunity to take those gifts and offer them humbly to God.

Don’t be afraid to accept the challenge of last-minute opportunities!

Here are some very practical ideas on how to plan offertories. We mentioned yesterday to include congregational songs, intermediate (or even easy) pieces, and more advanced selections in your plan. For illustration sake, we’ll give our imaginary accompanist a heavy load: two offertories on Sunday and an offertory at the mid-week service as well. In an average month, this could come out to twelve offertories a month!        

I would suggest using six very familiar, easy offertories; three congregational songs, and three songs of whatever difficulty that will require a little more practice.

            ~The six songs should be “old standards.” Space them out; don’t feel that your “best” or “hardest” songs always have to be for Sunday morning. Practice them ahead of time even if they are very familiar. Make the effort to play them your absolute best!

            ~ Choose three hymns or gospel songs that you especially enjoy. It is completely okay to play it as you would if the congregation were singing. Play several verses and maybe add an extra chorus at the end. Again, the key here is to practice ahead of time. You will know exactly what you are going to do and it will be great!

            ~ The three more advanced pieces should be planned for later in the month. (Especially if this is the first time you’re planning offertories.) I would pick a couple pieces done some time in the past and maybe one new one you have wanted to prepare. Know when they are scheduled and make sure that you practice accordingly.     

As you get used to planning, there will be some variation in these ratios. Maybe you will want to plan for more songs that need more practice; or maybe you will plan for easier pieces in a month that is especially busy. It is also a good idea to pick two songs that will really be a challenge and try to work on them throughout the year. Before you know it, they will be in your “old standards” list!

Try to mix up the styles and arrangers you use as well as the levels of difficulty. Maybe start looking for Christmas or other seasonal music a few months early to avoid having to settle for something you are not really excited about at the last minute. If you keep old lists, you can recycle them! Simply add or take away the songs you want to be different.

As always, we welcome your feedback! Thanks for reading!

Some churches have many options for musicians to use during offertories. Others, have just one -- you! If this is the case, chances are there is more on your plate besides just offertories. I have found that in the hustle of preparing for choir specials, congregationals, and other special music, sometimes choosing and practicing the offertory can become a last minute occurrence. Today we’ll discuss a few brief tips and tomorrow we’ll finish up with some more planning tools. Here are a few thoughts that might help lighten the load.

1. Plan - Look at a whole month and determine how many offertories you’ll be expected to play. Write out a plan using congregationals, intermediate pieces, and songs you’ve already prepared. (More on this tomorrow)

2. Do not feel that every offertory has to be astounding - It’s better to be prepared with a more simple selection than to wing it with a song that really needs more practice.

3. If possible, employ the help of other musicians. Anyone who plays an instrument, helps out occasionally, and especially children or teenagers who are taking lessons are fair game to involve in the offertory schedule.

 

Planning an offertory schedule eliminates last-minute anxiety and guilt. Even twenty minutes a month can really make a difference. Keep your list by the piano and practice when time allows. Check the site again tomorrow for more ideas on planning offertories!  

 

 

 

 

 

                       

Remember all those theory lessons Christie Funchess gave us? We just created a new tab, Practical Theory, to make it easier to find your theory information. Feel free to use these articles as resources for hymn playing, arranging, and teaching.

Keep watching for more articles on how we can lend better support to our music directors in choir rehearsals.

If you are like me, you probably have several books of piano arrangements from which you play maybe one or two songs. Of course, we all have those tried and true books that we can pull out at a moment’s notice!

The other day a friend asked to hear a certain arrangement from one of my arrangement books. I will confess that the book is one I ordered online and have never played an arrangement from for church. I said that I would look at the arrangement and see how it went. In my mind, however, I was thinking that I had played through these songs before and did not think any of them would work for church.

I sat down to practice the song and was pleasantly surprised at how fun the arrangement was! In fact, I liked the arrangement so much that I decided to prepare it for an upcoming offertory.

The moral of the story is not to forget about those arrangements that you either did not like or discarded at first glance. I love the challenge of preparing new arrangements, don’t you? I challenge you to pull out some of those old piano books and see what “new” arrangements you might discover!

Do you ever wonder why we practice with people for special music instead of just winging it? There could be several reasons, but my experience this past Sunday gave me a good reminder.

Our sound check was 8:10am and I had not had my coffee yet (I was a little sleepy). The first time through the song, I could tell that we were not together. It is my responsibility as the accompanist to listen and follow the soloist. After the first run through, we talked about how it went and what we needed to fix. The soloist said that he felt out of breath. That meant that I was rushing the tempo. I made a mental note to watch the tempo the second time through.

I also noticed that the accompaniment was very straight tempo (mainly quarter notes and eighth notes) and the vocal part had more rhythmic variety (tied notes, sixteenth notes, etc.). I have a tendency to subconsciously push the tempo if my accompaniment is very “plodding.” Because of the vocal rhythm, I needed to not improvise the accompaniment and keep the tempo very steady.

Also, at the key change in the song the accompaniment added a little more movement. Again, here was the tendency to speed up. I made another mental note to increase the dynamics but not push the tempo.

After the second run through, the soloist and I both agreed that we felt better about the tempo and the overall presentation. I told him what I had realized about the key change and the tempo, and we both agreed to keep that in mind. We then had a word of prayer and asked God to bless the song.

Sound checks might seem like an inconvenience or make for an earlier morning, but do not underestimate the importance of practicing. Remember to communicate and make mental notes – and pray for each other!