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EVANGELISTIC

PIANO

OSV<X<[0

PLAYING
BY

GEORGE

S.

SCHULER

$tyladellDl?ici

EVANGELISTIC
PIANO
PLAYING
<031>Ol

'I6~I

BY

GEORGE

S.

SCHULER

S?iladelpl7ia
1712 J&jestyulStr.
Copyright, 1922, by Theo. Presser Co.
British Copyright Secured

Ut4.

e^ct&sum

Copyright 1922 by Theo.Presser Co.

British Copyright secured.

E.EP.-37

;;

PREFACE
not the intention of the author to present this work as an exhaustive treatise on the subject of Evangelistic Piano Playing, but
It is

rather as a practical guide to those

ficient in the playing of religious

who

songs

desire to

in

become more

pro-

which the piano accompa-

niment is lacking.
The material touched upon in this course is used (in part at least)
by such well known evangelistic pianists as B. D. Ackley, G.A.Brewster,
F L. Fellers, C.H. Gabriel, Jr., Robert Harkness, Lance Latham, C. H.
Marsh, Robert Matthews, A. W. Roper, L.C. Voke, Ensign Young,and many
others of like standing.

INTRODUCTION
Every musical instrument has

its

own peculiar

style of musical ef-

piano is extensively used

in religious services, especially evangelistic meetings, it is needless
to say that in order to obtain satisfactory results, gospel songs and
hymn -tunes should be played in the style of piano music.
It is significant to note that this need has been discovered by the riligious song publishers, some of whom are issuing, with their recent pub
lications, individual piano parts which conform closely to the Accompaniment Style as given in this "Evangelistic Piano Playing" course.
The songs, as we find them in our hymn books, are written with "the
express purpose of being SUNG and not PLAYED, although it is possible to play most of them exactly as they are written. The effect produced by the singing of the four parts, (soprano, alto, tenor and bass
is the main thought in the mind of the composer, and not the question
of how many notes the right and the left hand shall play, or whether the
tune is, or is not, easy to perform.
fects adapted to its possibilities. Since the

E.P.P.-37

EVANGELISTIC PIANO PLAYING

PROBLEMS IN HYMN PLAYING
Before entering upon the subject of Evangelistic

Pi-

ano Playing, it might be expedient to suggest ways

and means whereby the average pianist may improve
his ability in the

playing of gospel songs, exactly as

written, by solving

lems

some

of the ever

present prob-

an octave apart, are almost impossible for an aver-

age player

to

perform. Observe the difference between

the written and suggested ways,

suggested ways

as written

W=*

si

frl.iii

if

y
ii

##

-c-^-f-

giP^ ipp
in the first

P*
:

example

used an octave higher.. In the

is

second example, the right hand plays the tenor tone.

In the third

example, the right hand plays

the tenor

tone, while the duplicate of the bass tone is being

&

added

m m m

to the left

h&UU

hand,

B. The soprano and alto, as found in"Leoni," otherwise

known as"The God of Abraham Praise," third measure

and fourth beat, are so far apart as

hand playing the tenor note.

to prevent the right

suggested ways

as written

$.

nfi

$h Hit

d^'ii

JJJ

m3E
A

similar condition

third

is

* ):,l >

9-

(fc

ii ftfj iri

found in Mendelssohn's "in Heavenly Love Abiding" fifth measure from the close,

suggested ways

jftHJUV Sft
i

Tf.

sbe
P.

.-!;i

and fourth beats.

as written

E.P.

Hfff

or<

Si*

h i} j

will have observed that the bass tone

$*lii

i j

or<

The student

the latter being

the better.

in notation.

&m

A. The bass and tenor as found in "America" third

measure and third beat, in that they are more than

-37

If.

^jjjrpijj^

s M
zt

$HH\-\ ty&
\

or
*

i I

itiiM.*.

6
The tenor and

as found in the first and sec-

finger at a time upon a given key, The conditions of

ond measures of "Retreat" sing at the same time a

approaching and of leaving the stipulated chord gov-

C.

alto,

given tone. The. question

is,

shall a finger of each

hand be placed upon the same key? The rule

"^
.

SFS=
P

* *

<

1*

If

21

$m
ytf
and

is

if

being continued. Although

condition can easily be sung,

it is

that while the right hand holds

hand cannot strike that same

"Geer"second

full

this

needless to state

given tone, the left

tone. See

hymn -tune

measure; also gospel song, "There

Shall be Showers of Blessing," second measure.

N9

1.

may

as written

\'

if

ynpip

t\f

In the first case, the tenor note

that

it

tenor, being unimportant, in that

to

mm TT1
(f

N"

H
'',

is

desirable to strike the tenor note, as in case

do so with right hand, considering the alto as a

as written

I H*=5
*

aa
K.

P. P.

- 37

f=

in

the previous

it is

so

notated as
all

parts should not move in similar direction), need

not be restruck*

suggested

way

i
J

rr f

'.r-i'l

ip

ip

""IIJ'JWJ

wnC

K E

gPF
full

as follows:

suggested

::

way

=0

59^^

:J
*j-

E. Play the ninth

way

quarter note.
.

in

avoid breaking a rule' in composition, (namely,

suggested

rx
f

P^i

being important,

echoes the melody as found

N. 2. as written

m m m

measure, must be restruck. In the second case, the

^imi'^rS

Ff.i

3=

fffi

2Z

m s

f3

be used.

t=f F=*

D. The tenor. has a tone, which previously has been

alto

<

yap

not the best, although, it

is

or

4:

The following suggestion

used by the

the choice as to which hand shall be employed,

ern

one

suggested ways

as written

is,

*=>

measure

of hymn-tune"Geer'

GOSPEL SONG ACCOMPANYING

This chapter

is

make use

cult to

intended for those who find

of the

fect,

in the following chapters.

of

companiments as found
There
solos.

no set rule for the accompanying of gospel

is

The following suggestions

When

song or hymn

a gospel

melody). In other words,

th_e

if

In triple

the alto has

Hymn -tune "Hursley"

how

opportunity to observe

dotted quarter note. If the repeated notes, are played,

The

1.

r
Sun

m Pf

da
of

my

r
soul!

3Ef
1

dear,

and 5 are just as

1.

;>

t
Sun of my soul!

The second verse

^^r
2.

When

is

#^
Sav

!=

-iour

dear,

the soft

r
dews

fkind

of

fe^

^^

What

*==&

- 37

near;

Thou" art

if

It

night

is not

n
U

Thou

if

m ^
first

s ==
f=r
P.

Thou

struck twice in the measure,-the

effective if played the following way:

r=TMy

sleep

ly

a friend

j
weary

'

j-j
eye

near;

art

lids

e>'

n i^
i

gen
&'

B. In quadruple measure, the repeated notes are

E.

played thus:

m^

each verse.

^gipf iP

(5)

night

not

9^

(1)

$^P

is

It

i ^

?kz

Measures

iour

in

played as follows:

F3?

Sav

Thou

first verse is

affords an

different verses are played,

conforming with the thought expressed

places

measure, the repeated noted are struck

once, in a measure.

three eighth notes on the tone D, play instead, one

4-

in

emphasis, such as the end of a line of poetry, a

A.

as a solo, the repeated notes are not played (except

those of

undesirable, except, of course,

ef-

rule certain qualifications are necessary.

being sung

is

is

or disconnected

punctuation or an oratorical pause. To this general

will be of value.

tune

which

"choppy"

be a

the result will

it diffi-

more elaborate styles of ac-

and

third beats.

"What

rr~?

We Have

in

Jesus"

3
in

Je

sus,

All

r
oui sins
our
ins and griefs

is

^
to

bear!

j_ =
ZZ3

f=

tly

example.

\w

we have

a Friend

steep.

'

used as an

r
8
Sometimes the repeated notes are struck
first

the bass note changes."The Son of God Goes Forth

on' the

and fourth beats, as well as every beat where

The

Son

f'TJ

of

God goes

^J

to

forth to war,

War" is used

king-ly crown to

}:*i JlJ

as an illustration.

as

T^TT

C. In sextuple measure,the repeated notes are struck

Mm

and sixth beats, as

first

gain;

will

be observed in the

fol

lowing hymn-tunes "Lebanon" and "Ortonville"

twice in a measure, -the first and fourth beats, or the

"LEBANON"

was

wand'ring

sheep,

the

love

fold.

*^m

not

did

"ORTONVILLE"

3^ r

tt

J^

p:

|I.J'J

Vr.

'

Ma-jes-tic sweetness

y^fl-

sits

enthroned Up

on

the Saviour's

im

J'ljrl,

brow;

#^

p-

or

pi

j)

Ma

J:

j:

jestic sweetness sits

rrjr^"

J j

'^t:

enthroned Up -on the Sav-iour's

gfei
It is

somewhat unlikely that the songs given above

would be used

for solo

purposes, however they serve

acceptably as examples.

is

on the Sparrow"

(Gabriel), the last four measures of the verse and cho-

R.

P. P.

- 37

rus.

brow;

!
i

yw
PH

Here we find the melody and harmony

in

both in-

stances the same, however, owing to the fact that the

verse

For a striking illustration of solo accompanying,

examine gospel song "His Eye

J^

ment

is

intended

to

differs in the

be sung as

number

pared with the chorus

(in

a solo, the

accompani-

of notes played, as

which

it

is

necessary

a note for each syllable of the poem).

com
to

have

EVANGELISTIC PIANO PLAYING

This subject resolves

itself into four natural divisions,

namely: Choral, Variation, Accompaniment and Im

provising Styles. Other

names may be given

to

divisions; but the substance and material, not the

names, are the

all

important items.

these

N91. Choral Style

Play the soprano, alto and tenor parts with the

RIGHT

hand, while with the

LEFT hand

play every bass note

as an octave. (The first three measures of "Dennis"are given as an example.)

play

as written

3xrn
"

'ni

^m

HlZ

fcn iiHit

To this general rule, certain qualifications are necessary:

A. When the soprano and tenor are more than an octave apart, the tenor

play

as written

sp

mw

?.

B.In the second

measure of "Trust and Obey"

full

the

soprano and alto have the same tone. It will be observed

that the third

(Every triad or
3

and

5; for

wvrf^
three members,

1,

It is

permissible to omit 5 of any chord,- which accounts for

four

members,

C
1,

in the example. A seventh chord has

3,

or(C, E,G and B-flat).

and

7; for

It is

example, (G, B,

D and

F)

permissible to omit' either

3 or 5 of these seventh chords.

Many forms

of disso-

as written

$
P.

P.

37

which would be

C.

nance, other than the seventh chord, are employed.

some having

five

members. The two examples men-

tioned will be sufficient to give light upon the expression "omitted tone")

Sometimes the duplicate of the bass is added to

the right hand when the soprano has the same tone
C.

as the alto.

play

ggjgjj
E.

of this chord,

example, (C,E and G) or (D, Fand A).

the omission of

member

#mfPffPfi

common chord has

play

jn^ftj-hj

has been omitted. In this case supply the omitted tone.

as written

BE*

played an octave higher.

is

10
D. The right hand would have only .two tones instead
of three, if the alto

and tenor parts were of the same

pitch. In eases of this kind

add the bass tone (an

tave higher) to the right hand.(The first

measure

oc-

of

"Nicaea" given as an example.)

m mm
play

as written

^^ i

yi

E. In the first measure of hymn-tune "Beecher," the

soprano and tenor have the same tone an octave apart.

measure

right hand.

play

gs pppp
F. In the first

In such cases add the duplicate of the bass to the

as written

of "Trust and Obey," the bass

Eg
w w
notes.

The reason

for this difference

is

that in the

part has two eighth notes. In this and in similar meas-

first

ures of this tune, (except measures 2,4 and 6 of the

pitch, while in the second instance the notes are of

chorus, where the bass

different pitches,

bass part as

is

played as written) play the

instance the two eighth notes are of the same

quarter note instead of two eighth

Chorus

Verse

mm
yjpp
G.

When

j^i'i'li

f=ir

f f

the melody

is

biH

w^=
m
of these qualifications is to have three

different tones in each chord of the right hand. In the

P.

- 37

&

low, play only two tones with the right hand.

T.

^p

as written

The object

*H
play

as written

play

as written

play

f
*WF^
event of a seventh chord, four different tones may be

used in the right hand.

11

Choral Style
Adhere

to the afore

-mentioned rule, with one ex-

large congregation/where volume

octave lower)to the right hand, thus producing a chord

When the melody is low, the duplicate

melody may be omitted. When playing for a

on the first beat of the measure. This exception for

left hand must not be overdone.

of four tones.

the

MASON

"LABAN"

ft

-f3>

vr<

(2

~:

measure 7; the 3 of the dominant

seventh chord has been added, the duplicate of the
melody being omitted.

fourth chord of

any "(given below). The duplicate of the melody may

be onfitted in order to supply 7 of the dominant sevnot in the original.

Observe the

MASON

"BETHANY"

Sra^^:

# a
:

<m

In the playing- of
tical of all,

3:

ZT

i 8^

I V

::

hymns, this

although each has

=? i

!J2T

D.S.

1^g=

-a-

wm

r^

in^

S=3=

=;

style is the
its

most prac-

individual place.

this style but not such

songs as "If Your Heart Keeps

Right"(Ackley), "Brighten the Corner" (Gabriel), or

N9
is

fr*sc

M
_:

This style gives dignity, fulness and majesty to the

hymn, which foster good congregational singing.
Hymns of a devotional character should be played in

It

5^5=

2ZZIZ5:

Fine.

-W4

(21)

Observe the fourth and twelfth measures of "Beth

is

-trt*

it

enth chord which

r\

-to

m
fT*
HP

wm

i*tttttt
?ra
w

desired, the right

is

hand may be played an octave higher and to the left

hand may be added the fourth or fifth of the octave

ception, namely: add the duplicate of the melody (an

of the

(Developed

"Rescue the Perishing" (Doane). The following is a

which lend themselves to this
of
style
treatment: "When I Survey the Wondrous
Cross" (Hamburg), "Rock of Ages" (Top fa dy), "Behold,
partial list of songs

a Stranger's at the Door" (Federal Street)and"Holy,

Holy, Holy "(Nica^a).

2. Variation Style

assumed that the student before entering upon

artistically executed (which

may be

said of

all styles),

the Variation Style has acquired a certain degree of

gives the impression of attempting something beyond

proficiency in the Choral Style.

one's ability.

V.

i\

P.-

37

This style,

unless

13
which after

all is only a safeguard for the.

Begin the study of the Variation Style -by using the

Choral Style as a basis, the principle of which is the

to this rule,

addition of a melodic figure (in the treble and bass)

ways have precedence over the variation, or melodic

figure.
The following example gives the first part

following notes of long denominations. These figures

may

novice.)

be played with either hand, separately, or with

both. simultaneously. When a figure

started

is

should

it

be continued throughout the composition, or at least

chorus, before abandoning it for another. (The
advanced performer may exercise freedom in regard
to the

of

THE TUNE WITH ITS RHYTHM must

al-

"Bethany," written in Choral Style with the simplest

form of a figure, although not very melodic

in

itself.

("Bethany" will be found notatedintwo different kinds

of measure, both of which are given below: the first
is more generally used.)

melodic
figure

Hymn

in

choral style

i'ti. i

U
S

Develop this figure by using a grace -note chord with the above mentioned chord, or figure. The grace -note
chord

or-

figure

may be

struck twice.

N9 1.
%b

N9

8
>
Efc

ft

Develop

hand with the

fFfF
#

etc.

this figure still further

m
#

m
w$^

complicated notation, because

last note of the right

8n

>

4:

for

i
PrfE

sa
The example 2 calls

2.

inFitn

-w

of the

etc.

measure sign however,

:

it

is

easily executed.

by breaking the chord of the right hand and using the chord of the

left

hand. (See page 26).

8-

B.H.

fl

j-r^

The figure
played twice

L.H.

The more notes

in the figure, the faster they

tune should always be maintained.

E.P.

P.

-;

gJpHp,

must be performed, but the tempo and rhythm

of the original

13
The HARPeffect

is

very desirable and

played either once or twice.

If

may

ond may be an octave higher than the

versa. (Pee page 26)

be

played twice, the sec-

first, or vice

or

g_zg
l.h:

The harp

The

effect

may be used descending.

ARPEGGIO

or

HARP forms

are practically

ble either ascending or descending.

the same, with this distinction: the harp form, or ef-

formed

for

broken chord, one hand following the other;

tone,or

it

feet, is a

whereas, the arpeggio

is the

same

one hand. The arpeggio effect

is

might be started near middle

effect played with

to the last octave of the piano.The

also very desira-

chord

may be used

melody

It

might be per-

two octaves beginning upon the melody

tone. (See

C,

continuing

fundamental of the

as a starting place instead of the

page 27 and 32).

fit-

s'

Jf./f.

b.h.

j>^n

or

The arpeggio
ding, with the

left

effect

may be augmented by

hand, a tone

Th> following example gives the notation

ad-

a half-step lower.

ic

and dominant

Dominant

farti
K.P.

P.-37

K.H.

or
/..ff.

in the

keyof

G.

T^rni

in the ton-

14
The DIATONIC or

CHROMATIC

scale

may

be used

ways. After performing the written .music

in several

When

playing a descending scale, conclude the same on

the melody tone or an octave higher.

When applying

this

play (with right hand) an ascending scale, an octave

effect to the left

or two, beginning on the melody tone^an octave, higher).

fundamental of the chord which very frequently

The advanced pianist may play these runs

the bass note. (See

page

and sometimes with

solo

N9

in octaves.

hand, play the scale beginning on the

is

33).

1. 8-

or

N9

2.

The above mentioned effects are a few of the many

which may be given. The following is a partial list
of songs which lend themselves readily to this style
of treatment: "Rock of Ages," "Jesus, Saviour, Pilot
Sweet Bye and Bye,""0 Happy Day that
Fixed My Choice,"and"Let the Lower Lights be Burning"
Me'/ "In the

This style of playing

is

Having acquired the principles

proceed with the Accompaniment

3.

example, "Jesus
a

ings" by Schuler, "Last Hope" by Gottschalk,"Love

Dreams" by Brown, and "Heart's Message" by Hayes.

Style, which,

cause four -member chords are difficult

is

loss- of the

not

if

dignity

All the World

to"

good two-step. Likewise, "Trust

waltz. The player

as follows:

to

execute

rapidly.(Consult example.)

LEFT HAND -Play the first bass note of every

measure as an octave and every succeeding count or
beat as a chord (same harmony as tune) consisting
of three members, the upper note of which ehall.be
middle C or above. When the bass note changes, play
an octave instead of a chord. Examine"Love that Pas-

RIGHT HAND- Play

as the Choral Style, (an oc-

tave higher), with the following exception.lt will be

P.-37

by Engelmann, "Rose of Sharon" and "Twilight Mus-

Accompaniment Style

should always avoid this lightness and frivolity in

hymn playing. The general rules for this style are

E.P.

'Love's Confession"

short denominations by omitting the inside notes, be-

and Obey,"would make an attractive

necessary

examine such piano

compositions, as"Days of Yore" and

of the Variation Style,

carefully played, will result in the

Me" would make

accompaniments. For further

of the Variation Style,

used largely for offertories

of the song. For

examples

to

reduce the four

member chords

of

Knowledge" (Meredith), as to left hand chords.

The following is "Love Divine, All Love Excelling"
seth

(Beecher), written

in this style.

15

"BEECHER"

ZUNDEL

Wf H

'

fl 'ff

gg f I

Stan

TffffifffF

ffifflJ

'

^p

*=*

2>.<y.

Fine.

jji'iMf ftfr^f
i

P5 *

f f

To the rule for the

left

hand

A The

first

ifTijurfrijf jT

certain qualifications

are necessary:

bass note of a measure may be

strengthened by use of a

roll chord, as

following example. (This

is in

tion found

under the Choral

given

in the

addition to the excep-

Style).

"RATHBUN"
:=*

ifiryiifM^^

al/itie.

CONKEY

Mff.iffH

[i

l,

ft

a
Effr.

hf

y*

ip

u M n* m
(15)

Measures 15 and

16 of

lfff id
#

*"

'

if

d
?

hymn - tune"Rathbun"

*
i

F F id F

$*

J3
*

U)

(16)

Wherever an authentic cadence occurs

(either at the

(given below) are so notated in contradistinction to

close of a composition or a modulation)play an octave

hand rule. The reason for the exception is

that these measures form an authentic cadence.

instead of a chord at the change of harmony. Notice the

the left

harmonic strength of the exercise as compared with

the one given above.

m
igpN 1^
K.

P. P.

- 37

1
16

C The

hand chords may be performed the following way, as a matter

left

page 25)

m
D When

of variety, (see

playing for large congregations,where

vol-

hand, is sometimes desirable. In such cases the two

members, with the

left

upper notes of the chord may be above middle

lime is required, a chord of four

C.

N91.

s
m^

:fe

* ), /
)

s
E- Gospel

if

-f>

fl

2.

jnf
* ):

Iff
jut

N9

\>

ffi

] }

f.^N
*-JS
2z:

H=

sohg,"Christ Arose"(Lowry) presents a

ing example. Instead of playinga chord on the second,

condition in the latter part of the chorus, where a rest

third

occurs at the

the former rule, (Page 14) the rhythmical effect of the

first

beat of the measure for the bass

and tenor. In this and similar cases play an octave,

where the rest occurs, as will be seen in the follow-

and fourth beats of the measure, as stated

tenor and bass

chord

is

in

by playing more than one

the purpose of adding dynamic to

adhered

to a beat, for

to

the music.

<

^m
F When

r-

:fe

Christ arose

Christ arose

I*

*ijt

Christ arose
rose

or

Christ arose

^m

song begins with a unison section, such

as "My Anchor Holds," (Towner)"In Heavenly Love A-

(M c Granahan)

biding," (Mendelssohn) "Hallelujah for the Cross,"

as written.

E.P.P.-37

Hymn"

or the seventh measure of "Italian

1

play the section in octaves with both hands

17

G- When

I- Play an octave for beats 1 and 4 and a chord for

6, or an octave for beat 1 and a chord for

playing hymns "There Shall be Show(M e Granahan) and"Jesus is All the

ers of Blessing"

beats 3 and

World to Me" (Thompson) it is not necessary to play

a chord for every beat (except the first of the measure

beats 3,4 and

when

or

nn

Play an octave

rTj~^

! j

ures of two familiar songs.

"Jesus

is all

the world to

^ SS

me"

fr#b=fa

fails to give the swing, (as

measure (sextuple measure).

These two ideas of accompaniments are applicable
to all song written in compound measure, i.e.,six-

called) to a composition written in six- eight

eight,nine-eight,twelve-eight,andtwelve-sixteen meas-

This second thought

for
is

because in many cases

it is

The examples give the openinc meas

the bass note changes).Two. ways are suggested.

"There shall be showers of blessing"

II

6.

beat

and a chord

for beat 4.

not as desirable as the first

it

urer

H-

Me

Quite often songs begin on other beats than the

the Old, Old Story" (Doane)," We Praise Thee,

"What

measure, such as "Trust andObey"(Towner),

"My Jesus, I Love Thee" (Gordon)and "Stand Up, Stand

God,"

Up

(Webb),"More Love

first of a

for

Power

Jesus" (Webb). In these and similar cases play

an octave, with

left

hand; instead of a chord for the

We Have

a Friend

of Jesus

Name,""Stand up, Stand up

to

in Jesus',' "All Hail the

for

Jesus"

Thee.O Christ"(Doane)and"On-

ward, Christian Soldiers" (Sullivan).

beginning of the song. (See page 16, No. 1.)

The following is a partial list of songs which lend
themselves to this style of treatment:"America';"Tell

In conclusion, the students are advised to

careful study of the left

hand part

make &

of standard instru-

mental compositions availing themselves

of their de-

ductions.

N 4. Improvising or Fantasy
This style

a composite of the

is in reality

When.the bass note changes, apply the same rule as

found in the Accompaniment Style. See measures 9,

first three,

in which the lines of demarcation are very pro

nounced.This style affords the musician an opportunity to display his technical ability and

genius. Of the

many

10,11

most practical

aver

for the

the melody in the right

simplest way will be to play

hand an octave lower than

Me &

0-0

P--

J
r

pr^'r rr\r

Measures 8 and 16 could have been written

P. .P.

-37

'

this style will be

found

Engelmann's well known piano

Love'.'

a partial

list of

songs

to

which the
Lower

easily applied:"Let the

is

is Well

with

My Soul"and"Rock of Ages."

CONNECTING LINKS. The

addition of

connecting

links to the melody is quite acceptable. The following

every succeeding count or beat as a chord of three

members, which chord shall be above the right hand.

pr^

is

Lights be Burhing,"lt

hand will play the first bass note df

every measure as written (or an octave lower) and

4 3ai+

of

cross-hand treatment

written. The left

"Onward, Christian Soldiers"as found

composition, "Melody of

The following

CROSS-HAND. The

of

theme

in the first

age pianist.

s
t ste
$m

and 12

on page23.A good illustration of

musical

sub-headings which might be giv-

en, the following are the

Style

example

is

the melody of "More Love to Thee"(Doane),

written with the connecting links.

m^&\i?
^~^^ ^uTiJ&
J

^s

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in the following ways:

mm ^

(16)

w-

~)

#
18
These links may be used in the bass. The example

gg ^

is

the bass part of "More Love to Thee" (Doane).

tr itj^Jl

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*w4

fuH ^;

flijffl pjj, u 7f

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trt

^ SS3

<i

fU

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Connecting links work well in conjunction with the Accompaniment Style.

(See closing measures

BROKEN
it

of 'Onward, Christian

STYLL,. In order

be necessary to refer

will

to

to

Soldiers!' on

explain this style,

piano compositions"Ca-

page 24 and "America" page 28).

The alto and tenor should not be struck with the soprano and bass. Play the

baletta"(Lack),"Evening Star" (Mendelssohn), "Lost

The example

Happiness" (Mendelssohn), and "Berceuse"(Delbruck).

of "It is

p
l

>\>

rJ

,
.
f f
L-Lj
r jj__r

r)

J
*

J
J

is

^3tJ
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song."I

am

is

used

to help establish the

mr

made

effective if played in this style.

style. Notice the

for

Kings"(Smith)

.l

for a further

small notes of

jj

soloists.

style is

Study the

used effectively
first

and third

"Fifth Nocturne"

Op. 53, N9 21, "May Breezes" Op. 62,

N9

right

tave higher.

and

tenor.

hand may be played

in

"

25, "Lost Il-

lusions" Op. 67, N9 32, and IlinskyVCradle-

rus.

Examine the second unison section of

"Awaking Chorus" (Gabriel), also the chorus of"Wonderful Book" (Smith). (See page 29).

Lr

(Leybach);also examine Mendelssohn's "Agitation

hand in the first two measures of.. the' choThese small notes are considered as the alto

P.-37

lit

accompanying

the right

E.P.

themes of piano composition entitled

Examine songs "Crown Him King of

and"What if it were Today?" (Morris),
development of this

J
7

NOCTURNE STYLE. This

rhythm of a

Praying for You"(Sankey),may be

notes.

My Soul" (Bliss).

>

g
This style

and tenor as eighth

the notation of the first few. measures

Well with

j*

alto

Song'.'

The

the Choral Style an oc-

simple form of this style will be

seen in song"Nearer,DrawNearer"(Tullai).A further dev-

elopment will be found

in

"Love

man),and "Beautiful Words

(See page 26).

Won My Heart"(Kauff-

of Jesus" (Meredith).

19

CHIMES OR BELLS. There

many ways

are as

should be used sparingly. The chimes

of

when used as

playing chimes as there are exponents of Evangelistic

Piano Playing. Whatever their differences maybe,

one point

is

are

most

effective

The triad

agreed upon, namely, the chord must be

a variation figure,(see

when heard

or chord, is generally built

The student

ody note

sustaining pedal (erroneously called the loud pedal)

this chord will be of a different

should be used without a release throughout the whole

with the chord

portion or section intended for the chime. The portions

I.

played as chimes should be slow in movement. Chimes

page28.)Chimes

at a distance.

played upon the upper octaves of the piano, and the

(1

or 8).

in

effective

;ire

upon the mel-

will frequently find that

harmony as compared

the original tune.

Divide a four-member chord, giving to each hand

two notes, the

and 5 of the chord

hand, and

to the left

the 3 and 8 to the right hand.The melody tone

is 1

of the

chord.

Hi

iii
i
II.

The

hand plays

left

plays 5,1 and

4,

and

is 1

FF

is 4)

't

.3

(5)

3
*

the .key of

key of

plays in the key of the

a
~

l -i

=5t

F,

In this

example the upper note

B -flat, while
chime

is

in

all the other tones are in the

which accounts

exercise. (This

is

for the accidentals

used

in the

not often used.)

iMMMJkUa

(4).
i

sub-dominant.

upper note of

a,

PPP pi

members.

of five

of the chord. The

hand (which

Pf

'

while the right hand

which give a chord

The melody tone

the right

iii

"

"

(3>

III.

The 3 and

in the left,

and the 4 and 8

in the right.

U.

hU
rn

^=m*.
5a.u
TV-

The 3 and

in the left,

and the

and 8 in the

(Seldom used.)

right.

V. The

5a,

and 5 in the right, and the 3 in the left.

The melody note in this chime is 5. It will be ob-

d
<

<

5a.
E. P. P.

served that the

37

i i

d
i

and 5 form

perfect fifth which

gives occasion for the accidental found in the exercise.

*
i

=a

20
VI. Play the melody as an octave with the right
.-.and

The

and add the

fifth, or

fifth, making a

dominant,

three-member chord.

middle tone should play

key of the

in the

the

i.e., if

melody

piays in the key of G;

or, if

the key of C, the

is in

fifth

the melody is in the key

of F, the fifth plays in the key of C.

8-

cur
"Nearer,

My

God,

to

Thee"canbemade very

by using the last mentioned chime

effect, in

effective

most

difficult of all styles

conjunc-

used

for

tion with the Nocturne Style, (used softly) with the

left

hand. In this and similar cases the pedal may be

and should be very sparingly

congregational work, unless the melody

in unison. This style is a

structure of the tune.

It

REHARMONIZING STYLE.

necessary

will be

This style

the

is

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"BETHANY"

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have a

CAREY

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to

successfully reharmonize a tune.

"AMERICA"

PH

sung

thorough foundation in Harmony and Composition

released every measure or two.

is

revamping of the harmonic

1
2T

mrfat

'ITALIAN HYMN"

PORTOGALLO

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22
A simplified form of the unique harmony of hymnparalleled
tune f lot y Ghost" will be found below,
'

wit!) the r rtginal,for

the purpose of visualizing re

harmonization. Had the original been written as a

hymn, it would no doubt have appeared harmonized

somewhat similar

to the

form given below.

"HOLY GHOST"

s
bb^

GOTTSCHALK

original
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^s a
IF

^#

S:

simplified

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19-=-

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To reharmonize successfully, one must have a thorough working knowledge of the subject of altered chords

and that

of both natural

and remote modulations.

TRANSPOSING
Evangelistic pianists are frequently called upon

to

transpose songs and many times this must be done

at sight.
to

Some

of the best musicians find

transpose,while

little difficulty is

it

difficult

encountered by

others of limited ability.

In the Question

magazine

in

and Answer Department of a well-known

answer

to the

query as

to

how

to trans-

To transpose

at sight is

extremely

difficult,

requiring

great practice and musical alertness. A system or simple rule for transposing at sight does not exist as far

as

know."

The most satisfactory method of transposition is

of the harmonic structure: i.e., to play by har-

by way
mony.

Pianists will have to acquaint themselves

pose from the key of G to the key of A- flat, Josef Hof-

with the fundamental chords (tonic, dojninant.sub-

mann,the renowned pianist,

dominant and the usual modulations)

manner. "Your idea

replies in the

correct + M
'

is

that transposing from notes

'.

will say, however,

very

is

following

difficult unless

your theoretical training was thorough and profound.

should not be the case

were far better

of familar

songs, diligently practicing them in other keys (in

the original order), giving no heed to the melody.

After this has been mastered

to

some degree,the mel-

to

ody with the other factors, such as passing-tones, sus-

memorize the accompaniment and then to transpose

it, so to speak, by ear."
In the January 1916 issue
Mr. Hofmann again writes: "Transposing is always
easier when a piece has been securely memorized.

pensions, altered chords, appoggiaturas, remote modu-

If this

E.P.

P.-37

it

lations, etc., will be

cess

is

more readily acquired.

Little

suc-

assured, in the majority of cases, unless one

has the ability

to

play by ear.

CONCLUSION
The following compositions
sive

ed

will give a

comprehen-

pies of the art of piano playing and

understanding of how a song looks when arrangwork. The student will now,no

for evangelistic

in

doubt,

ity.

However discouraging

this

much innate

may seem

to the

abil-

average

student, the fact remains that

many persons of lim have improved their hymn -playing by ap-

appreciate the fact that in order to do evangelistic

ited ability

piano playing successfully one must have a practical

plying these rudimentary and fundamental principles,

understanding

of the

fundamental technical princi

Onward Christian

Soldiers
SULLIVAN- SCHULER

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Bethany
MASON -SCHULER

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Come Ye

Disconsolate
WEBBE-SCHULER

Maestoso

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32

Me

Jesus Saviour Pilot

GOULD -SCHULER

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Chapel Bell
Introducing "Jesus, Lover of

my Soul"
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March

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K.R R-37

Modern

Scales and Technics for Pianoforte

COMPLETE SCHOOL OF
TECHNIC

MAJOR AND MINOR

Studies,

Price,$2.00
Br ISIDOR PH1LIPP
Without abandoning the best features of older methods, ceaseless experiments have led M. Philipp to
believe more and more fully in certain
rhythmic practice schemes.
These
schemes, starting from universally acforms
accentuation,
cepted
of
he has
so ingeniously enlarged, formulated
and applied, that they may well be
regarded as his own.
The present volume constitutes an
epitome of M, Philipp's very broad
pedagogic experience. It is suitable
for students of medium attainments;
and in it will be found concise yet
varied material for complete technical

Br

Exercisu and Prelude* in All the

Major and Minor Keys

KOELLING

Price, 75 Centi
of the most valuable
study
books that has been published in a
long time.
There are twenty-four
studies in this work, each study being

C.

One

preceded by an appropriate preparatory exercise containing finger work,

scales and arpeggios, and followed by
a prelude in the same key. All the
twenty-four major and minor keys are
exemplified, following their regular
order.
In addition to their technical
value, these studies are all very musical throughout.
They are of intermediate grade.

development.

EXERCISES FOR

PREPARATORY SCHOOL OF
TECHNIC
B 7 ISIDOR PHILIPP

Price, $1.25
These exercises may be taken up by
who have finished second grade
work.
The book forms complete
preparation for all forms of advanced
technic.
Carrying out the author's

pupils

strong convictions regarding the use-

fulness of rhythmic exercises, many

of these exercises are intended to be
played in various rhythms. The dynamics have been carefully marked also.
The exercises will prove indispensable
for daily practice, and they may be

used

in

conjunction with any system

of technic.

Modern Studies

DEVELOPING ACCURACY IN
PIANO PLAYING
GUSTAV L. BECKER Price, 80 Cents
How accurate is your aim at the
keyboard? How many notes do you
miss? Can you play a complicated
passage and never fail to hit the right
notes at the right time in the right
tempo? If you cannot, you certainly
need some such practice book as that
Mr. Becker has prepared, Eiving special drills in "Keyboard gunnery," as
it might indeed be called.
There are
copious descriptive notes and numerous exercises. This is an extremely
modern technical work of the utmost
value to advanced players.

for the

in Style, Phrasing

Second

and Third Grades

Br
Op. 129

GUSTAV LAZARUS
Price, $1.00

Modern studies by a prominent teach-

er and composer. These studies may

be taken up by second grade pupils,

somewhat advanced, and carried on

Into the third grade. They suffice to
bridge the gap between these grades.
So musically attractive are these
studies that a number of them may
be played as pieces, and all of them
will certainly be liked. They will serve
to lighten the drudgery of practice,
and at the same time to promote style,

mechanism and general musicianship.

Each study bears a characteristic title
such as: "Joyfulness," "Folk Song,
"Festal March," "Elfin Dance." "Catch
Me!" etc. The fifteen numbers are
strongly contrasted, covering a wide
range In technical features, employing many rhythms and giving plenty
of work to both hands. All the various touches are employed and a vaThe
riety of effects in phrasing.
studies are tuneful and exceedingly
well harmonized.
All are original.
Progressive teachers will welcome this
book.

Complete and Practical System from the

Most Elementary Steps to the Highest
Velocity and Artistic Perfection
Br JAMES FRANCIS COOKE Price,$1.50
This eighty-two-page, full-size music
book gives the greatest essentials of
all piano technic in complete, logical,
practical, progressive form.
It contains all the standard soale and arpeggio material used in the foremost
conservatories of the world and also
a vast amount of additional material,
which makes It far more comprehensive and systematic than any
work of its kind. It may be used by
any teacher, with any system without
previous study.

EIGHT MEASURE STUDIES IN

ALL KEYS

Br

STYLE AND TECHNIC

15 Melodious Studies

MASTERING THE SCALES

AND ARPEGGIOS

Br CARL KOELLING
Price, 80 Cents
Grade III
Preceding each study Is a brace of
the scale, common chords and arpeggio in the key in which the study Is
written, each correctly fingered. These

Op. 373

eight measure studies present

and Interpretation

ETUDES MELODIQUES
NOLLET

ETUDES ELEGANTES

Op. 43
Price, $1.50
Fifteen splendid studies, similar In
style and grade to Heller's well-known
Op. 45, but more modern and far more
interesting in musical content. Each
study is In itself a charming piece of
music, but each one exemplifies some
important feature in piano playing.
These studies are carefully edited and
fingered.
Nollet is a most accomplished modern French writer.

Br THE0. LACK.

TEN PICTURESQUE STUDIES

IN PHRASING, STYLE
AND MECHANISM

writers.

Br

E.

SABATH1L Op. 271 Price, $1.00

A new set by a well-known German
writer and teacher. They may be com-

Br

numer-

ous rhythmical problems and standard

motives melodically presented. This
ensures the pupil's interest, and their
shortness encourages a thorough learning.
Each hand is uniformly treated.
These short studies will strongly tend
towards rapid sight reading.

F.

Op. 30
Price, $1.50
splendid set of studies for a moderately advanced player. The" may be
used in a grade in which good studies
are particularly scarce. "We refer to
that period in piano study just previous to taking up the advanced studies

by Cramer, Clementi and others. The

named; they are alt

studios are well

of finished and

elegant character,
highly melodious and at the same
time brilliant. Lack is one of the best
known of contemporary

French

EIGHT MELODIOUS STUDIES

IN MODERN TECHNIC
Br GEZA

pared in
difficulty

general style and degree of

to those of Heller, Op. 45;
but they differ in being decidedly
modern.
They are intended, howmore
ever, to supplement the studies of
Heller. Op. 45, 46, 47, or to replace them
altogether. These studies of Sabathil
are almost like separate pieces, each
having a special title, but nevertheless
each brings out some special detail of

Op. 87

technic.

fifth

H0RVATH
Price, $1.25

These studies, as their title suggests,

exemplify certain troublesome features
of modern technical work, such as passages in broken octaves, Irregular running passages in either hand, and special work for the left hand. Musically,
they are so interesting that
their study will prove more of a
pleasure than a task. Suitable for the
or sixth grade.

YOU MUST SEE THESE BOOKS TO APPRECIATE THEM

Word* can never describe music. Just write and tell us which of these books you v/ould
have us send you "on sale," so that you can inspect them at your home. Our "o.i sale"
system has brought us thousands of patrons. Best discounts. Immediate mail deliveries. Liberal

like to

terms.

THEO. PRESSER CO.

'Everything in Music"

PHILADELPHIA, PA.

Boston Public Library

Central Library, Copley Square
Division of

Reference and Research Services

Music Department
The Date Due Card

in the pocket indi-

cates the date on or before which this

book should be returned

to the Library.

Please do not remove cards from this

pocket.

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