Spiritual music elevates the soul to the life of lofty ideals and raises it from this visible world to the unforeseen world, and art is nothing but a revelation of the spiritual through material things, and music is part of life and one of its most important elements and is not a pastime or mere entertainment, and man has used music in his worship since the dawn of history in Praising the Creator, and that the more we go back to ancient times, the more solemn and noble the music will take on, and the more its range will expand and its influence will increase. The Coptic Church contains a rich heritage of religious ritual melodies in the Greek and Coptic languages that extend back to the first centuries of Christianity. A movement has arisen in this church that calls for preserving the melodies left behind a strong oral tradition that was inherited from generation to generation. The researcher noticed, through the process of teaching playing the piano, the failure of some students to perform some musical pieces in their curricula, so the idea of the current research was how to prepare some Coptic melodies to suit the performance on the piano. The researcher has dealt with the research problem, research objectives, research importance, research hypotheses, research procedures (research method - research sample - research limits - research tools), research terms, and previous studies related to the research. The research sample included three melodies of the Coptic Church, as follows: The first melody: "Ikuti "forget you" melody "I asked you from the bottom of my heart" The second melody: "Aripsaline" "Sing" The Third Tone: "Asomine to Kiryu": "Let us praise the Lord" The research contained two parts: The theoretical side, which included: First: The musical value of Coptic melodies. Second: A brief summary of the melodies of the research sample. the applied aspect: the researcher dealt with each melody separately through the general analysis of the melody, the basic melody in the musical notes - from the researcher's writing, the new formulation of the melody in the musical notes, and the instrumental analysis by dealing with the proposed techniques, means of shading, expressive signals, terms of speed, and instrumental instructions Which the researcher dealt with in a comprehensive manner for the proposed techniques. The research concluded with Arabic and English findings, recommendations, references, and a summary of the research in Arabic and English.