What do I look for in quality piano accompaniment tracks?

Over the past couple of years, I have scoured the web for quality piano accompaniment recordings, both free and purchased.  Here are some features that I have found to be important for congregational accompaniment.

1. Suitable intro

There needs to be a clear introduction to establish the key, starting pitch, and tempo.  This usually consists of the last phrase or two at the end of the song which should naturally lead you into the beginning of the first verse.  In my internet search for accompaniment tracks, I came across recordings which just start right into the first verse with no intro.  It’s very difficult or even impossible to get everyone started on the same pitch and tempo when there are no introductory cues to follow.  It may only take a few beats for everything to snap into place but I find that starting and ending a song properly is often more important than what goes on in the middle.

Also, the intro must lead, tempo-wise, right into the first verse without any odd or extra beats to throw off the timing.  Even if there is a pause/rest in the sound after the last note of the intro, the leader should still be able to conduct through the silence and be able to bring everyone in on the first downbeat (or pickup notes) once the music starts again.  Keep in mind that the music leader has to follow the recording and not the other way around like it would be with a live accompanist.

2. Appropriate tempo

The second thing I look for is an appropriate tempo for each song especially if the song is considered a more upbeat, joyful tune.  I will agree that tempo can be subjective but no one wants to sing “Victory in Jesus” at the same tempo as “Just As I Am” or vice versa.  I have found some excellent recordings that were, in my opinion, just too slow for some songs.  My wife is usually a good judge of this and will let me know if I use a recording with a tempo that is too lethargic for the context of the hymn.

One method that I sometimes employ to work around a too-slow recording is to edit the audio file using Audacity to increase the tempo without altering the pitch.  This works to a degree as long as the change is not too high a percentage.  If the change is too much, there can be audible distortion artifacts in the modified recording.  Your mileage may vary.

3. Cues to restart after holds/fermatas

It is important to have either a suitable number of extra beats or logical cues that allow me to easily lead folks back into the tempo so that we can all come back in together.  I have found that the better recordings will have clear cues from the arrangement instead of just sustaining the note that is paused.  However, there is enough variation in the interpretation of fermatas that I must practice with the recording in advance so that I am sure of how long to hold.

4. Tempo from end of verse/chorus to the start of the next

Similar to the previous comment about continuing the tempo between an intro and the first verse, this also applies for having a logical number of beats from the end of one verse/chorus to the start of next verse.  Usually, this is not an issue but I have encountered recordings where the piano simply stops at the end of one verse/chorus and then pauses for an odd number of beats that does not follow the time signature.  Even if the song does not lend itself well to flowing immediately from the last measure back to the first (so the congregation can maybe catch a breath), the better recordings may add an extra measure or two at the end but at least the tempo and timing continue logically.

5. Arrangements vs. Basic Parts

I much prefer arrangements with embellishments and slight variations from one verse to the next as most accomplished hymn players will provide and not just simply playing the 4-part voices as they are written in most hymn books.  I do understand that playing just the parts can help those who want to sing harmony so that they can hear their individual (soprano, alto, tenor, bass) parts and that the harmony parts do not get lost in a complex arrangement.  A good arrangement should ensure that the melody is clear but still provide some cues for the harmonies.

Summary

I am not an accomplished arranger or music theory expert.  However, I have found that these five features, when incorporated into recordings (and live piano accompaniment as well) help me to better lead the congregation in worshipful singing without causing undo distraction or confusion.  And if I am accompanying with my guitar, I attempt to follow these guidelines as well in order to provide a smooth flow for the song.

“Let all things be done decently and in order.” – 1 Corinthians 14:40