How to Play “My Sins Are Gone” on Piano: Chords, Rhythms & Fills for Congregational Singing

📥 FREE RESOURCE – LEFT-HAND PATTERNS PDF 👉 Download it here: https://www.churchpianistacademy.com/... In this in-depth church piano lesson, you’ll learn how to play the hymn “My Sins Are Gone” in a full congregational style on the piano. We’ll work in the key of G (Songs & Hymns of Revival, page 421), starting with the simple melody and basic 1–4–5 chords, then build all the way up to energetic fills, walkups, and advanced chord colors that fit real church services. First, we’ll review the G major scale and the core chords for this hymn: G, C, D and D7. You’ll see how the dominant 5–7 chord naturally wants to resolve back to the 1 chord, and how that “pull” gives your hymn playing life. Then we’ll walk through the rhythms you need to recognize on sight: quarter notes, eighth notes, half and dotted half notes, dotted eighth–sixteenth patterns, dotted quarter–eighth patterns, and half notes tied to eighth notes. If those syncopated spots in “My Sins Are Gone” have ever tripped you up, this will clear them up. From there, we’ll go line by line through the melody so you can confidently play and count every phrase. After the melody is solid, we’ll add in the chords: how the verse is built mostly on G and D7 with occasional C, how the chorus opens on a D7, and how to keep your right hand in one smart position so you can grab full chords without jumping all over the keyboard. You’ll also learn how to use the beautiful “out of the ordinary” chords in this hymn: passing diminished chords like C# diminished and G# diminished, and what’s really happening when you stack minor thirds. You’ll see how these diminished passing chords move by half steps and smoothly connect your G, C, and D7 chords. Then we’ll turn the hymn into a full congregational accompaniment. You’ll learn: • How to follow the bass line and use octaves and octave-chord patterns • Easy left-hand walks inside the chord (G–B–G) and between chords (G up to D) • How to lock your right hand into one position and still catch every melody note • How to add energy with D octave “hits” whenever you’re on the D7 chord • A stronger walkup using G–B–C–C#–D instead of just straight white notes We’ll also look at powerful chord substitutions and secondary dominants: using A7 to lead strongly into D, and using G7 (with an F natural) to set up the C chord. You’ll see how to move from a G major 7 sound into a G7 by half steps for beautiful voice leading. Finally, we’ll tie it all together with ideas for ending the song using 2–5–1 motion in the bass and a high-energy finish. Whether you’re a church pianist, a hymn lover, or just wanting to grow in chord-based playing, this lesson will help you take “My Sins Are Gone” from simple notes on a page to a confident, joyful congregation-leading accompaniment. CHAPTER TIMESTAMPS 00:00 Intro and lesson overview (why “My Sins Are Gone”) 00:39 Key of G review: scale, 1–4–5 chords and D7 02:30 Rhythm breakdown: dotted patterns, ties and tricky spots 05:20 Melody walkthrough – verse (counting every beat) 09:40 Melody walkthrough – chorus and pickup notes 12:10 Chord progression breakdown for verse and chorus (G, C, D, D7) 15:30 Diminished passing chords explained (C#° and G#°) 19:20 Building full congregational style: bass patterns, walks and RH voicings 26:20 Energy fills: D octave hits, walkups and driving rhythm on D7 32:40 Advanced movement: A7 into D, G7 into C, major 7 to dominant 7, ending ideas 38:10 Full playthrough and final tips for practicing this hymn If this helped you, please like the video, subscribe for more church piano tutorials, and leave a comment with the next hymn you’d like broken down step by step.