All Creatures of our God and King Late Intermediate Piano Solo

Excite listeners with All Creatures of our God and King late intermediate piano solo arrangement. Perfect for church offertory or recital, this late intermediate solo features driving triplets in both the right hand and left hand for a fun show-stopper.

All Creatures of our God and King late intermediate piano solo features many favorite elements: fast triplets, octaves, 2 against 3 (polyrhythms), and a climactic ending.

I arranged All Creatures of our God and King as a traditional hymn with a contemporary flair. The driving triplets give it a “rock” feel while low left hand octaves add depth of sound. There are a lot of patterns which makes this late intermediate solo easier to learn–the challenge is getting it up to speed fluently!

For church services, recitals, and spring/summer music events, All Creatures of our God and King late intermediate piano sheet music solo will capture the listeners with delight and excitement.

Similar in level to most Level 4-5 piano curricula and ABRSM Level 4.

The basic format of All Creatures of our God and King late intermediate piano solo is: introduction, verse, interlude, verse, ending.

6 pages. Key of C major.

Approx. 2:00 performance time.

Musical Elements In All Creatures of our God and King late intermediate piano solo Sheet Music

• Key of C major
• Time signature: 4/4
• Tempo: fast, exuberant
• Note values: whole notes, dotted half notes, half notes, dotted quarter notes, quarter notes, eighth notes, eighth note triplets
• Note reading: right hand treble clef C4 to C7, left hand bass clef C1 to G4
• Ledger lines (up to 5 lines)
• Harmonic octaves in left hand and right hand
• Triplets
• Polyrhythms (2 against 3; eighth notes vs. eighth note triplets)
• Fermata
  

Practice Tips for All Creatures of our God and King late intermediate piano solo

This is an exciting arrangement that the student may be tempted to play faster than possible. Encourage the student to breathe while they play to keep the tempo steady and manageable (I like recommending breathing in for one measure, out for one measure).

There may be the temptation to have a heavy pulse for each beat, but focus on phrasing an entire measure or two.

If the student struggles to bring out the measure for the first verse, experiment with “shadow playing,” where the student only plays the actual melody notes and “shadow plays” (puts their finger on the key, but doesn’t press down) all other notes.

© 2024 by Amanda Tero Matthews