John Ferguson

The Art of Organ Leadership of Congregational Song

by

Accompanying congregational singing is an extraordinary challenge, requiring careful practice and disciplined creativity. The following article outlines many of the musical matters that every organist must consider, along with suggestions for the creative interpretation of the texts that are sung.

The organist can be a catalyst, an energizer, for congregational song. Where one finds a good organ and sensitive leadership, things can and do happen. The organ works well as a medium for inspiring congregational songs, surrounding the assembly with sound. This sound need not be overbearing or excessively loud, rather, it should be rich, full, and warm, assisting the singer to feel encouraged to participate. The organ supports and undergirds the singer with its sound, thus diminishing their feeling of being alone. Of course, other instruments can work well too, but the organ is unique in that one player can produce enough quality, range, and variety of sound to lead a large congregation. To be a good leader of songs at the organ, three qualities are essential: the organist must be trustworthy and predictable, the organist must be sensitive to interact with other leaders of the assembly, and the organist must lead in creative ways. Let us take a look at each of these considerations.

Musical Trustworthiness

First, the congregation must trust the organist. As Robert Batastini writes, “The last thing the average congregant wants to do is sing a solo.” If the organist is unstable rhythmically, if the organist is timid, or if the organist is unpredictable, members of the congregation will withdraw; they will be subconsciously afraid to participate fully for fear they will be left alone, singing a solo. Thus the major considerations for the organist become (1) rhythmical and metrical stability, (2) control and accuracy of notes, and (3) sensitivity to the needs of the singers in such areas as tempo and key.

The organist must strive to achieve rhythmical and metrical stability. Each musical selection for a given service needs to be examined to determine the appropriate metrical feel and tempo. This decision is made by singing, not playing, the selection since we are concerned with song. Often a selection notated with a meter signature of 4/4 really moves and feels as if it were 2/2. In other words, the half note is the real energizer of the music. If the piece is played feeling the half note, the music has a better flow and feel of forward momentum. If the piece is played feeling the quarter note, the music often seems to drag. Many times, pieces in 3/4 should be felt in one beat per measure. An example of a 3/4 tune that works in one is “Holy God, We Praise Thy Name” to the tune Grosser Gott. Examples in 4/4 that move in two include “O God, Our Help” (St. Anne) or “Joyful, Joyful, We Adore You” (hymn to joy). This feeling of a larger unit of measure as energizing pulse does not imply that a piece should go faster. Rather, it means that the music will take on greater energy and vitality; it will have forward momentum. This momentum will draw the congregant into more vigorous participation.

Once this concept of the energizing pulse as a larger value is established, one must then work on rhythmical and metrical control and stability. Notes must be given correct value, tempo must be stable, pitches of a given vertical sonority must sound together. All of these things seem so obvious, yet will not happen without careful, meticulous practice. At workshops in hymn playing, I often play a hymn for us to sing, shortening the last notes of a phrase, rushing or delaying the start of a next phrase, missing a few pedal notes, playing vertical sonorities a bit out of line, or not maintaining a stable tempo. We all agree (after a good laugh) that our first and intuitive reaction as singers was withdrawal. My inconsistent playing did not lend confidence, and as a result, we didn’t want to sing. After all, who wants to follow a leader who communicates a confusing lack of direction?

The matter of breathing, both within stanzas and between stanzas of a hymn, is of great importance. Organs can go on and on; people need to breathe. As much as possible, breathing should be within the metrical structure of the song. For example, in a phrase ending with a half note, this note is shortened to allow time to breathe, the next phrase beginning on the beat and in time. Usually, this shortening should be done rhythmically. In other words, a half note would become a quarter note with a quarter rest to breathe.

In the case of strophic compositions—including most hymns—think of each stanza as a related but independent musical entity. Play to the end of the stanza, perhaps broadening just a little bit, hold the last chord full written value, stop, breathe in the tempo of the tune, and begin the next stanza. It is dangerous to generalize about these things, but this is the basic strategy I pursue. While I believe in maintaining a stable tempo, there are some tunes that demand the addition of a bit of time at certain spots to give room for a breath. Other tunes demand a subtle bit of rubato to make them sing well. Yet, these are exceptions to the basic principle that stability of tempo is essential. Perhaps the single greatest reason that these ideas work for me is that I try to be consistent in applying them. When the organist is predictable, the congregant begins to trust the organist, relaxes, and enters into the singing. Consistency is the most important single consideration.

Another thing to consider is the treatment of repeated notes. Vocal music with many repeated pitches is a challenge to play well at the organ. Many hymns were written in four-part vocal style, especially nineteenth-century tunes like a hymn to joy (“Joyful, Joyful”) or aurelia (“The Church’s One Foundation,” or “O Christ the Great Foundation”) have many repeated chords. Of course, the melody must be played exactly as written. The other voices, especially the bass, benefit from selective repeating of the pitches, lifting before strong beats. For example, if one considers a 4/4 melody as moving in units of half notes, then repeated notes in the lower voices would be tied together and played as half notes.

My great emphasis on stability and control does not mean to imply that I advocate inflexibility in leading congregational songs. Predictability and consistency should be tempered by a sensitivity to the needs of the congregation as well as the character of the music to be sung. Choice of tempo is influenced by text and melodic structure of tune as well as by the size of the congregation. The text plays a large role in determining appropriate tempo; singers need time to encounter the text, not just mouth words. The melodic contours of a tune may suggest that a slower or faster tempo would work better. While it is true that large congregations cannot move as rapidly as a chamber choir, they do not need to drag through music that begs for vitality. “Joy to the World” (Antioch) can be sung briskly by an assembly of 4,000 (I’ve experienced it), but the rapid tempo cannot be as fast as 16 professional singers could use. More time will be needed by the larger assembly for breathing.

Sensitivity to the needs of the congregation also includes the choice of key. Some tunes have a very wide range and must not be played in a key too high. Some tunes have a smaller range but the tessitura is high or low and could influence the choice of key. People can sing higher with great ease later in the day, so I might play the same tune lower at 8:00 a.m., higher at 11:00 a.m. In general, I do not advocate transposing melodies radically lower (down a third) and in some more recent hymnals would transpose them back up, closer to the keys in which they were originally written. A few hymnal editors have transposed some tunes too low and some new tunes have been notated too low. The best part of our voice, the most vibrant part, is not at the bottom of our tessitura. We must encourage our congregants to relax and discover their entire vocal range by selecting keys that encourage using the most resonant part of their voice.

Teamwork

Even after we have learned how to play hymns well, how to lead well, there is more to do. We must consider our relationship to the other leaders of worship. Organists need to understand their leadership role and dialogue with other leaders in worship to be sure that all comprehend their differing responsibilities. Then we will be much less likely to send confusing signals to the congregation. When the singing of a song leader or cantor of the hymn competes with the organ sound or dominates the sound of congregation and organ, the congregants become confused and withdraw from participation. Things don’t go well when it is unclear who is leading. The congregation needs to sense and see a logical sharing of leadership depending upon what is happening in the liturgy. The cantor, song leader, or minister must move away from the microphone during the congregational song. If this is not possible, the cantor must mouth the words without singing the congregant’s part so the confusion of the two leadership sources is removed.

Another dimension of shared leadership is advanced planning and practice so that each leader has sufficient time to prepare and is comfortable in shared situations. The organist needs to practice each week with cantors and even with presiders. As we become comfortable and secure in what we do, we communicate that poise for the assembly. When we feel secure, they will feel secure and become more willing to participate.

As we feel comfortable technically and evolve good relationships with others leading worship, we are ready for the best part of our role as catalysts for congregational song. We are ready to provide encouragement and leadership in such a way that the level of involvement for all begins to grow. Good leadership of congregational song is more than encouraging enthusiastic participation. The congregational song should involve the head and heart as well as the body of each participant.

Creativity in Accompanying Congregational Singing

Creative use of the organ, careful choice of registrants, and use of alternative harmonizations all lead to better singing. For me, leading a congregation in the song is a challenging responsibility. It is also fun! It is a joy to read the text and ask myself how my musical skills can be employed to assist us all to proclaim the text through intelligent, vital songs. Which stanzas should be loud, which more gentle, which reharmonized, which a cappella, which without pedals? Variety based upon creative encounter with the text is even better, as it increases understanding and never bores.

So then, how do we lead a congregation with musical and theological creativity? First, we must consider again that a hymn is words—poetry set to music. A hymn (or any liturgical music) must be considered as text first. In some ways, a hymn is like a program for a tone poem. The text gives us some sense of how the music is to be perceived.

Nevertheless, the music selected as a companion for the text plays an immense role in communicating the spirit, the essence of that text. Consider how our perception of the text “Amazing Grace” changes if it is sung to the tune Antioch (“Joy to the World”). The different spirit of Antioch changes our response to the text of “Amazing Grace.” Try this switch some time with your choir and note the reactions. Music has enormous communicative power of its own and will influence, sometimes radically, sometimes subtly, the intrinsic, inherent message of a text. Music is not neutral. Music is exegetical; that is, it interprets and amplifies the meaning of any text it accompanies.

Some organists believe that when leading hymn singing it is wise to be neutral. One plays the notes on the page, well and with rhythmical discipline, but does little more. Registrational changes, harmonic changes, or whatever is not in order for fear they will get in the way of and distract from the text. There is much to be said for such an approach, for it is preferable to flamboyance for flamboyance’s sake. But I believe that such an approach, while acceptable, is not adequate. Such neutrality can communicate in ways unintended.

It is as if a computer were programmed to read out loud. The pronunciation is perfect, the accent superb, but the computer does not understand the language. It communicates no Geist, no spirit, just perfectly formed sounds. A hymn tune is not absolute music; it is the vehicle for the proclamation of text. Consequently, one must encounter, respond to, and be influenced by the meaning of the text.

As one examines the text in relation to a given tune, one moves past just playing the notes to considering how variety in the playing of introduction and subsequent stanzas can enhance the meaning and support the spirit of text and tune. To encounter a text and tune is to begin a creative process exploring options for playing the hymn so that the congregation is inspired to sing with greater understanding and spirit. The practical outcome of such a process is that any two adjacent stanzas are rarely played the same way or with the same registration.

I use the term alternation for this variety between stanzas. Part of my preparation of any hymn for congregational singing is to devise an alternation scheme for the hymn. Creative alternation can encourage a congregation to remain more engaged, more involved in singing. The alternation between subgroups of the congregation (men and women, congregation and choir, etc.) provides vocal rest as well. Members of the congregation do not have a vocal warm-up before plunging into the typical multi stanza opening hymn of praise and after a few stanzas may become vocally fatigued and cease singing. A planned stanza of rest (always reading the text while others sing it) allows individual singers to re-enter, renewed, and inspired (we hope) by hearing the singing of others. An alternation approach to hymn singing could be structured as follows: each hymn is examined and a scheme prepared (for example, stanza 1—all; stanza 2—women; stanza 3—harmony; stanza 4—men; stanza 5—all). Such a scheme is printed in the worship folder so that all are aware of the performance plan for the hymn.

After vocal alternation is considered, musical color can be factored into the mix. A registration scheme for each hymn should be prepared (for example, stanza 1—principals and reeds; stanza 2—remove reeds; stanza 3—flues 8 & 4; etc.), written down on a piece of scratch paper and placed beside the music for quick reference when playing. The vocal alternation scheme may also result in changes of color. The sound of men’s voices or women’s voices alone is very distinctive. Organ registrations could complement these sounds.

Many times specific ideas for alternation and registration come through the study of the text. Some hymns (for example, “Love Divine, All Loves Excelling”) lend themselves to a gradual crescendo, first stanza to last. Others can be envisioned as a gradual diminuendo, beginning forte, decreasing during the middle stanzas with the organ vanishing during the last, allowing the people to finish unaccompanied. (“Love Divine” can work this way as well.) Adopting such approaches would be determined by the place and function of the hymn in a specific service as well as the text itself.

Of course, most hymns do not lend themselves to dramatic changes. Even so, the contrast between accompanied and unaccompanied singing, the absence or presence of reed stops, gives a flavor to a stanza, impacts our response to it. Over time and with gentle encouragement, a congregation learns to respond to aural signals from the organ and will crescendo or diminuendo with it. Thus, congregational dynamic changes become an addition to our palette of color possibilities.

Another alternation technique is to vary the musical setting of a tune. Melodies soloed out (in soprano, tenor, or even bass voice) provide interesting variety. Filling in leaps of thirds and fourths in alto, tenor or bass is another. Judicious use of pedal point or other musical, rhetorical devices can provide a fresh flavor for a stanza. Complete reharmonizations (improvised, written in advance, or played from the many published sources) are the ultimate examples of modified musical settings.

A choral or vocal solo stanza is an especially useful alternation possibility. Choral stanzas could be as simple as a careful rendering in the harmony of a stanza from the hymnal to the excerpting of a unique setting of a stanza from one of the many hymn anthems or concertatos in print. An organ stanza is another alternation device when the organ “sings” while all listen and read the text. Short settings of the tune from published, hymn-based repertoire are possible sources for such organ stanzas if one is not ready to improvise them.

Another variant is alternation between two hymns. The congregation sings one hymn (with help from choir and organ) and the choir (or soloist) sings stanzas of a second interspersed between those of the first. Both musical and theological relationships need to be considered in selecting two hymns for such alternation.

Still another area that begs for careful consideration is the introduction for each hymn. Here the organist can be quite creative since the congregation is not yet singing. The hymn introduction provides starting pitch and tonality, gives time to find the page in the hymnal, communicates the spirit of text and tune, and if necessary, reminds the singers of the melodic structure of the tune or introduces a less-familiar tune. Again, it is important to let textual as well as musical considerations inform one’s creativity. A gentle, whispering introduction, no matter how well it sounds from a musical perspective, will not prepare a congregation for the singing of a favorite, powerful hymn of praise. There are many interesting introductions (or intonations as I like to call them) in print, but ideally, the organist should learn to improvise these. This is a good place to begin as an improviser. No one is singing yet, so there is no need to worry about leading the congregation astray when an improvisation takes an unexpected turn. Intonations can be brief, which minimizes the single greatest challenge to the improviser, the maintenance of formal coherence over time.

Any attempt to deal comprehensively with the many possibilities for creativity in hymn playing is beyond the scope of any single article. All that can be accomplished here is to offer a few basic concepts and encourage their implementation. As these ideas are put into use, it is essential to be in dialogue with clergy colleagues and worship boards, encouraging them to help by making sure that congregational music for worship is selected early enough to provide for adequate preparation. Also, it is important to solicit their support and cooperation in informing the congregation about the role of congregational songs in worship. Articles in the parish newsletter and brief paragraphs in the weekly service folder will contribute to the growth of a congregation’s understanding of their song. Supportive comments from clergy colleagues and worship boards will do much to encourage greater participation in congregational songs and affirm the leadership role of the organist in nurturing that song.

And, of course, as in any artistic endeavor, a little bit goes a long way. It is possible to do too much in any one service (normally a worship service is not a hymn festival) or try to do more than we are ready to do well. But as we grow as leaders of congregational song, we discover a rich and challenging way to utilize our musical abilities, a rewarding way to serve as church musicians.

Electronic Keyboards and the Church Musician

by

Recent technology has generated a wide variety of electronic keyboards available to the church musician. This article defines many of the technical terms that are used to distinguish the varieties of keyboards available and provides guidelines for their use.

The word keyboard has taken on new meaning in the last decade or so. Most of us think of keyboards in the context of musical instruments, especially the piano, we have experienced all our lives. These instruments have evolved over some 500 years, and with the appearance of the piano in the eighteenth century, have remained essentially unchanged.

Today the word keyboard describes a bewildering variety of instruments. Keyboards are everywhere: small, mini-instruments that fit into a backpack, semi-portable “electric pianos,” keyboards stacked one upon another like some sci-fi organ, and especially keyboards of all types as the instrument of choice for the teenager. In fact, the keyboard has replaced the guitar as the instrument of the younger generation. But what about the church?

Electronic keyboards are now found in churches and have potential that is just beginning to be explored. Yet most of us are a bit uncomfortable about these new instruments, wondering how to use them and even if we should use them. Before exploring these questions, it is helpful to define a few terms which will give some perspective for any discussion of the use of electronic keyboards in church. Let’s begin with general terms that may or may not apply to any specific electronic keyboard.

A Glossary of Terms

MIDI. MIDI is an acronym for musical instrument digital interface. It is an international standard, agreed upon by manufacturers in the industry, a “language” that enables any MIDI-equipped device to communicate with any other MIDI-equipped device. Computers can “talk” to electronic keyboards; a synthesizer can be played from a guitar or organ console. MIDI technology has revolutionized the commercial music industry and is beginning to impact music publishing. MIDI will touch almost all musicians of the future.

Sequencer. A sequencer electronically records all information (pitch, rhythm, key velocity, and duration) while an instrument is played and then plays it back through that instrument or another MIDI-compatible instrument. The recorded information is stored digitally in computer memory and during playback the instrument is activated from this memory. Thus a sequencer is more like a player-piano roll than a tape recorder, since the sequence is played back through the instrument, not as an audio recording. Computers can have a sequencer program. Sequencers are a part of some electronic keyboards or can stand alone as a separate little “box.”

Track. Track is the term used in sequencing when the performer plays once through a song using a particular sound (e.g., piano). This track can then be replayed while another is “laid down” (e.g., a percussion part). Both could then be played back while a melody line is performed on the same keyboard. Thus it is possible to be a one-person band! Of course, there are some problems here; if the first track does not slow down for a cadence, the subsequent tracks must not slow or the ensemble will collapse. Singing with such tracks must be rhythmically perfect without extra time for breathing or expression. This is one reason why such sequenced tracks work better for pop music, which tends to have a more stable pulse than traditional concert, choral, or congregational music.

Touch Sensitive. Keyboards can be made to respond to the most subtle degrees of touch. As varying pressure is applied, loudness could increase or decrease or vibrato could change in intensity or depth. A fast stroke could result in a sharp beginning for a sound, a gentle stroke the opposite. A piano has a touch-sensitive keyboard, but the best electronic keyboards are, in their own way, more touch-sensitive than an acoustic piano. (To refer to an instrument as acoustic implies that it is a real one rather than an electronically generated imitation of a real instrument).

Polytimbral. Keyboards can be designed so that they produce more than one sound simultaneously. For example, keyboards can be split, with the lower half providing one sound (e.g., string bass) and the other half another (e.g., piano). Many polytimbral keyboards are such that different sounds occur simultaneously, some via a previously prepared sequencer track and some live, played by the performer. Thus one can play a duet (or trio or quartet) with oneself.

Electronic Keyboards

Now, what about the keyboards themselves? Before examining the various types available, a bit of history would be helpful. Early in this century, the new technology of electronically generated sounds made possible the first electronic organs as well as a few other instruments, specifically the Ondes Martinot and Theremin. They produced undulating, spooky sounds that were employed by a few composers of the time.

In the 1960s rapidly evolving electronic technology made possible much more sophisticated, synthesized sounds. Instruments called synthesizers (remember the famous Moog synthesizer?) began to appear. By the 1980s, electronic keyboards had become much more sophisticated and at the same time affordable and user-friendly. These electronic keyboards have been around long enough that various categories or types seems to be emerging.

Portable Keyboards. These instruments range in size and quality and tend to have a few pre-set sounds. Most have a small amplifier and speaker system “on board” and are relatively inexpensive. They are practical, easy to use and move about, and do offer the advantage of staying in tune (assuming they are in tune from the beginning).

Electronic Keyboards. These instruments are somewhat more sophisticated than their portable cousins and are designed to imitate an acoustic piano. Some do quite well, complete with weighted, touch-sensitive keys. Some offer optional sounds (e.g., harpsichord, concert grand, barroom upright). While still portable, they are more expensive than the simplest electronic keyboards and usually require a separate audio system. Most have their sounds permanently stored in memory that is largely unchangeable.

Samplers. Samplers and synthesizers are more complex than the keyboards above and at the same time more flexible. A sampler takes a digital “picture” (a short recording) of a real sound which then can be played back at any pitch level. Any sound can be sampled and played back: rain, thunder, water running, voices, birds, instruments. Special aural effects as well as reasonably realistic acoustic instrumental sounds are possible. Electronic modification or change of sampled sound is also possible. Unfortunately, real, high-quality, musically satisfying samples of acoustic instruments are very difficult to achieve because instruments produce complex sounds, sounds which change in timbre as the pitch range changes. While simple in concept, the process of sampling quickly becomes complex and requires voluminous data storage (computer memory in other words). Quality samplers are expensive ($2,000 and up!) and always demand quality external audio equipment.

Before rushing out to purchase a sampler instead of finding four good brass players for Easter, it is well to remember that what makes individual, live music-making exciting to experience is its imperfection and infinite variety. Samplers are too perfect, lacking the incredible subtlety of even amateur-level performers, to say nothing of really fine performers. It is one of the amazing ironies of all electronically produced sounds that they tend to be too perfect and our ear hears perfection as sterility—a kind of strange, unreal, boring flavor to the sounds. To produce musically convincing imperfections—the infinite variety of subtle changes in articulations and quality of tone that a real instrument can achieve—is the great challenge facing any attempt at the electronic generation of an acoustical sound. To create electronically the effect of an ensemble (a group of acoustical instruments, each with its own imperfections to give life and interest to the composite sound) is an even greater challenge.

All of the above notwithstanding, a good sampler can do a fine job of sounding like an acoustic piano and will do certain other instruments (tuned percussion instruments being one example) with astounding fidelity. Single musical lines also tend to come off better than complex sonorities, because the individual line can be mutated somewhat through the use of the touch-sensitive keyboard and other controls that most samplers and synthesizers include which allow the performer to instantly modify a specific sound. But it is important to remember that the more subtle the acoustic sound, the more difficult it is to reproduce it via sampler since its many nuances are impossible to program.

Synthesizers. A synthesizer combines and manipulates individual dimensions (parameters) of a sound, generating it electronically. The skilled synthesist can produce a wide variety of interesting and useful sounds, many of which are remarkably like acoustic instruments. A recent development has seen the inclusion of some sampled sounds from acoustic instruments in the database or memory of the synthesizer. These sounds can then be modified and combined with synthesized sounds for remarkable results. Good quality synthesizers (in the same general price range as samplers) also require external audio equipment, and just like samplers vary widely in price depending upon features and degree of flexibility. (Features can include, but are not limited to, an on-board sequencer, polytimbral capability, and touch sensitivity.)

Since the skills to produce good sampled or synthesized sounds are very complex, most users rely upon previously derived collections of “sounds” that can be purchased as floppy disks or cartridges and “loaded” into the memory of the instrument. Many synthesizers come with a number of pre-engineered “sounds” stored in their memory, ready to be used by the performer. Thus it is not necessary to know how to program a synthesizer to produce sounds in order to use it.

Audio Equipment. Most of the better-quality electronic keyboards require separate audio equipment. It is important to remember that these instruments are designed to produce, not reproduce, musical sounds. Most have a wider pitch range than most pipe organs. Typical church PA systems are totally inadequate for these instruments. Most home stereo systems are also inadequate and in fact can be damaged by the wide dynamic and pitch range of even a medium-quality electronic keyboard. Any consideration of a keyboard also must include consideration of an adequate audio system to project the sound. Small, portable, and reasonably effective systems are available for a modest cost. More extensive, perhaps permanent installations, will be required if the better keyboards available today are to sound at their best, especially in larger worship spaces.

As this discussion makes clear, the amazing world of the electronic keyboard can be quite complicated. However, it is not to be feared. Almost every congregation has someone (usually a high school or college student) who is “into” electronic keyboards. These people are enthusiasts who would be happy to share their knowledge. After a basic session with an enthusiast (a good way to begin might be to take this article along and ask that each term defined be demonstrated for you), it might be helpful to go to a music store for additional information. If you can find one, the best resource is a business dealing exclusively in electronic keyboards. Often the employees are more knowledgeable than those in a general music store, and you will not be distracted by clashing cymbals or wailing guitars. The best time to visit is earlier on a weekday; in other words, never go when school is not in session unless you want to compete for attention with all the young enthusiasts. Upon visiting such a resource, make clear your interest (church, not rock band!) and how much experience you have had to date. Don’t be afraid to ask questions. If you feel that your needs are not being met, the specific store visited may not be the place where you should purchase equipment. After all, you will need some help and advice after the purchase as well.

Electronic Keyboards in the Local Church

A few applications in the musical life of the local congregation are immediately obvious. Convenient, always-in-tune keyboards are now possible for the church school or the choir room; in fact anywhere in church where a simple accompanying instrument is needed. While these keyboards may not replace a good quality grand piano, they are better and more flexible in many situations, if only because of their size, than the typical old upright piano which is so common in choir rooms and church-school rooms.

Once one moves beyond the use of a keyboard as a replacement for an acoustic piano, things become more complex. Sequenced accompaniments or adjunct parts for accompaniments are possible but do raise musical problems since the potential for spontaneous addition of rubato is destroyed if one must stay synchronized with the previously sequenced accompaniments. Sequenced tracks for leading of congregational song present special problems. One’s best notion of the perfect tempo for a hymn may change between Saturday when the sequenced tracks were done, and Sunday morning, when the congregation attempts to sing with them.

There is also the question of musical ethics in using sampled or synthesized sounds to replace or in place of live instrumentalists. Is it morally correct to use synthetic devices, especially in churches where honesty is proclaimed as a virtue? On the other hand, is it better to use a few sequenced tracks done well than a live performance so poor that it gets in the way of the music and our worship? Since there is no single or easy answer to these questions, it is important to explore and discuss how these new instruments can best contribute to the musical life of the congregation. My own conviction is that their greatest possibilities lie in their ability to create new sounds; sounds that real instruments cannot make. In this way, we find additional expressive possibilities for singing new songs to the Lord as well as enriching our singing of the old songs.

Designing the Organ for Leading Congregational Song

by

The primary purpose of the church organ is to lead and accompany congregational singing. This article argues that the highest priority in organ design and construction in churches should not be to produce an impressive organ for recitals, but rather to construct an organ to meet the unique needs of congregational singing.

The organ is not placed in the church for recitals, nice as they may be. The organ is not placed in the church as a tourist attraction, although some wonderful instruments have resulted from a desire to make a statement and attract people. And especially, the organ is not placed in the church for the amusement and delight of organist, builder, or enthusiast. I believe the pipe organ still finds a welcome place in the church because it remains the single best instrument at which one person can lead a variety of styles of congregational song.

Some of you reading this article may be a bit upset with me because you like to use other instruments to lead congregational songs. So do I. I have used guitar, synthesizer, piano (I like this one a lot), handbells, flutes, brass ensembles, even full orchestra and band for the leadership of congregational song. All of these possibilities work well if employed creatively and with a good understanding of their musical potential and limitations. But the organ remains as the best single musical resource capable of producing an ample quantity, quality, and variety of sound useful for leading many styles of song.

Others may be upset because my original statement implies that I consider the organ’s reason for being in a space for worship in relation to its role in leading the song of the assembly. They believe that I am not interested in the organ per se, its repertoire, its history, its lore. Of course, I am interested. The organ is my instrument of choice as a performer, and my degrees are all in organ performance. I’m intrigued by its history and perpetually amazed by the incredible variety of organs built over the years. Organs are like people; they come in all shapes and sizes and are fascinating to study. They are complex machines, and many individual examples are marvels of engineering and artistic excellence. But, all the lore, all the questions posed by enthusiasts when visiting a new organ (for example: What kind of key action does it have? Is it suspended? What kind of woods are used in the music rack? Does this organ have flexible winding? How much lead is in the principal pipes?) can obscure or distract us from the real issue. Organs, with few exceptions, are placed in churches for the purpose of leading the song of the assembly. Organs are servants to and energizers of this song. This mission is primary and all other considerations are secondary. With this basic affirmation in mind, let’s now look at concepts that should influence the design of organs for spaces where people gather for worship.

Physical and tonal properties need to be considered. Organs are large pieces of furniture, and care must be taken in placing them in a worship space. Since the church organ is not primarily a solo instrument, it must be designed in such a way that the organ and organist can interact well with other musicians. The musicians include instrumentalists and especially the choir and congregation. Both aural and visual concerns must be remembered when considering this interaction. Will the organist and other musicians be able to hear each other with some reasonable feel for balance? Will they be able to see each other? Frankly, this makes it difficult to propose attached-console, mechanical action instruments for any but the smallest instruments. (Please understand I appreciate and affirm such a style of building, but my responsibility as a church musician is to consider the organ not in isolation, but in relation to its servant role in the life of the parish. Citing European examples of such an approach to organ building is not all that helpful either since church music practice there is so different from American practice.) Of course, detached-console, mechanical-action instruments are an option, and I hope more work is done to perfect this style of building. Some fine instruments with wonderful, sensitive key actions have been done. Some horrible examples can be found as well. We need to cautiously and conservatively design and build more good ones.

Console design is another concern. Consider the question of the combination action and layout of stop controls. Small, two-manual instruments don’t require combination actions. Larger instruments do (say twenty to twenty-five or more stops). If one is to be free to utilize color possibilities inherent in larger instruments, one needs the flexibility provided by a reliable combination action. The larger the organ, the more efficient and practical the entire console design should be. A few large drawknobs can be placed conveniently close to the manual keys. Thirty or more of the large drawknobs to be found on some organs begin to present problems which are made worse by the use of nameplates for the stops placed adjacent to but separate from the knobs. It gets hard to find a single stop quickly in a forest of knobs, and since the addition of a single stop is less noticeable in the total ensemble of a larger instrument, the addition of three or four at once is not all that easy and disrupts one’s musical and rhythmical concentration. Simple stop tables placed above the top manual are easier to find and see. Of course, they don’t look as elegant, but they do the job more efficiently.

While good physical and visual design is important, good tonal design is vital. The ultimate usefulness of the organ depends primarily upon its aural qualities. So let’s consider some basic concepts in tonal design for church organs.

Good, warm singing sounds are the ideal. The assembly sings best when it is invited to join and blend with the organ in song. This invitation is not by a gesture or the singing into a mike by the organist or cantor, but by the very nature of the organ’s sound—a sound which inspires participation. This sound requires adequate amplitude (loudness), character, and warmth. It needs a good bottom to lead, support, and undergird the assembly’s song (the bass voice is the primary energizer of rhythmic pulse in music). It needs to be clear with some brilliance to communicate the melodic line. The sound must not be so forced or distinctive that the amateur singer is frightened or awed into silence. Aural assault is not the preferred way to encourage congregational song! Rather, the singer must feel surrounded and supported by the sound of the organ, drawn into participation by the very quality and personality of the organ tone.

As the stoplist is determined, certain concepts must be remembered. The organ is an ensemble instrument, not a collection of favorite solo stops gathered willy-nilly into an instrument. A “buffet table” approach to organ tonal design never results in a good organ. Rather, a concern for blend and cohesion of stops, an ensemble approach, is essential, especially in smaller instruments. A large instrument can afford to have a few unique, solo stops that are rarely used. If an organ has only twenty stops, all must work well together. Fortunately, blending and ensemble stops can have character and distinction. Please understand, I’m not arguing for a tonal palate akin to the cream of rice cereal. Rather, I am proposing that the ensemble concept in organ tonal design works somewhat like the blend of a choir or congregation in song. All are group activities that work best when no single performer stands apart from the ensemble.

This ensemble concept is at work both within each organ division (say great, swell, and pedal) as well as in the relationship between divisions. First, let’s look at the concept at work within a division. Most organ ensembles are created by combining stops of different pitches much like rungs on a ladder—8´, 4´, 2´, and so on. And like a ladder, it is better—and safer—not to omit a rung along the way. Within a reasonably complete manual division may be found more than one ensemble: a principal chorus, a flute chorus, and perhaps even a reed chorus. The most important of these ensemble combinations is the principal chorus which, when complete, is “crowned” by a mixture. This ensemble is the backbone of the organ and the critical ingredient in good hymn combinations.

Not every principal chorus begins with a principal at 8´ pitch. It is possible to have a “principal chorus” using flute (usually stopped) registers as long as the combination has a principal on top. The well-designed two manuals are likely to have such a hybrid ensemble in the swell with its principal chorus being built upon a Rohrflote or Gedackt 8´ and the principal register being at 4´. Such a chorus will not be quite as broad in tone as one which includes a principal 8´. Flute and reed choruses are often less complete and not as important to hymn playing, although a chorus trumpet on the great and a reed chorus (16´ and 8´ with perhaps a 4´) on the swell is especially useful in hymn combinations.

Each division should have its own principal chorus with secondary flute and reed components. (For service playing, a complete, independent principal chorus in the pedal is not essential, although desirable.) These divisions should be designed to sound good and complete alone but also work well when coupled together. Divisions should complement and enhance each other as they are combined. Since an organ crescendo works best as an increase of brilliance and not just loudness, it is best that secondary divisions have choruses that add brilliance to the primary (great) division. Thus the mixture, or crown, of the swell would be higher than the great so that an increase in brilliance is noted when the swell chorus is added to a great chorus. While it is true that a crescendo works through an increase of brilliance, not the addition of more and more 8´ and 4´ stops, it is important to remember that as the sound grows brighter, more 16´ and 8´ foundation (especially pedal foundation) must be provided as well. Brilliance does not imply screaming, harsh sounds! No one likes to hear people or instruments shouting for very long.

Now, this discussion of organ tonal design could go on longer, and I could become more specific about choice of appropriate registers for individual divisions. But specific choice of stops is secondary to the primary consideration that basic, good organ design is built upon each division as a complete ensemble working alone or in combination with other divisions. Since congregational song is an ensemble activity, the organ interacts with and leads ensemble singing best when its individual divisions are used together. Thus, my hymn combinations always begin by engaging the couplers. Ensembles in each division are then selected. A more gentle hymn might be played upon a combination of great 8´ and 4´ with swell 8´, 4´, and 2´. A more majestic text might call for complete principal choruses from both manual divisions. The opening hymn on Easter Day would call for chorus reeds added to the ensemble. In each case, a pedal ensemble to support and undergird the manual ensemble would be important, although from time to time it is good to give the feet a rest and lead a stanza with manuals alone. But no matter what the specific combination may be, the goal is always warm, blending sounds from the organ.

A delightful by-product of such a design approach is an organ well suited for the classic core of its own repertoire. Thus good church organ design is not at all in conflict with good organ design for the repertoire, provided one is interested in a reasonably eclectic, middle-of-the-road approach to an instrument for the literature. Good news! We can have our cake and eat it too.

Instrumental Music in Service to the Text

by

A wide variety of musical instruments can be used effectively in accompanying hymns and anthems. Creativity in the use of instruments should always seek to reflect and illuminate the text that is sung. The following article gives suggestions for how a variety of instruments can be used to proclaim the text.

Music Proclaims the Word

As a church musician, I am vitally concerned about, almost obsessed by words. This is because I believe strongly that music in worship, and by extension a musician making music for worship, is a servant of the Word assisting in leading God’s people in prayer and praise, Word and sacrament. The musician encounters text, be it biblical, prose, or poetry, and responds to it. Thus the music, its style, character, timbre, and spirit have evocative power to communicate a sense of the text’s focus. The musician (composer or performer) functions exegetically to proclaim and, in the process, to interpret the text.

Instrumental Color in Proclamation

One of the most creative ways a parish musician can enter into this exegetical world of musical proclamation is to be aware of the possibilities for instrumental color. Most of us are not composers or arrangers, but we all can be alert to possibilities for the addition of instrumental color to the song of the congregation and choir. In a way, we are like a cook who imparts a distinctive personality to a common recipe by choosing to modify the proportions of certain spices. Instrumental color provides spice for vocal music.

Creative use of instrumental color is most helpful in hymn singing. It is easy for us and the members of our congregations to get into a rut as hymn singers. This is especially true for those familiar texts and tunes used so often that they have lost some of their power to speak to us. If indeed the hymnal is a kind of theological handbook for the people, then we must be ever alert for ways to challenge our congregations to sing with understanding as well as spirit.

The Organ as Primary Instrumental Color

In most churches, the pipe organ continues as the primary instrument for the leading of congregational song. It is ideally suited for this task, able to produce a rich quantity of sound—complex and colorful sound—a sound still controlled and played by one person. No other single instrument (not even the wonderful synthesizers and samplers available today) can begin to equal the organ in its versatility and quantity of sound. In addition, the pipe organ is wind-driven—its pipes sing, supported, and energized by air, just as the human voice is. This shared energizing source explains in part why a well-played pipe organ works so well in leading vocal songs.

Unfortunately, many organists have not considered the remarkable color possibilities of their instrument, especially in relation to leading congregational songs. It is not enough to play through the hymn, perhaps with a louder combination for the last stanza. Gentle reed stops add excitement to a hymn stanza. A solo trumpet soaring out on a hymn melody provides a heightened level of leadership. Gentle flutes 8 and 4 with a soft manual 16 create a warm, dignified, solemn sound. The absence of a pedal on a stanza, the absence of the organ on a stanza (unaccompanied singing is wonderful both in harmony and sturdy unison) provides the opportunity for an instrumental punctuation when the organ returns.

To devise a registrational strategy for each hymn, carefully read the text to see what it has to say and consider registrational enhancements that support the message. Some hymns are strong statements of praise, while others are more introspective and contemplative. Some hymns can be envisioned as a crescendo from beginning to end. Others function in just the opposite way. (Interestingly, Wesley’s magnificent text, “Love Divine, All Love’s Excelling,” will work either way.) Some hymn texts reach a climax in the middle. Skillful use of organ registrations can encourage a congregation to begin to sing with varied dynamics if the choir is encouraged to be sensitive to these changes and sing accordingly. If the organ is quiet, we sing more introspectively; if the organ is full and rich, we sing with greater intensity.

While the organ is the primary and most important single source of instrumental color in most churches, it should not be the only one. My ideal collection of instruments for worship leadership would include a good piano, handbells, Orff instruments, a good synthesizer with its own high-quality audio system, plus an ever-expanding group of instrumentalists who could be called upon to add the sounds of orchestral instruments to the congregation’s song.

Handbells as Punctuation

In many churches, no resource is more underutilized than the handbell. Many churches have bell choirs, but few use the bells other than for the performance of set pieces as an adornment to the service. Although such contributions are fine and to be encouraged, they only scratch the surface of what bells (or choirs for that matter) can to do assist in propelling the flow of the service and enhancing our encounter with the Word.

Handbells are marvelous pitch pipes. A simple bell tone or a short cluster of pitches can establish tonality for an a cappella anthem or give the pitch to a worship leader about to sing a psalm. In the hymn “O Come, O Come Emmanuel,” bells E4, B4, E5, B5, E6, played in order from bottom to top, provide ample accompaniment for the congregational singing of the hymn. Play the pattern in the speed of the eighth notes of the tune: twice before each stanza and once every time the melody ends on an E or G during the stanza. The free, random ringing of a cluster of bells (or a triad doubled in additional octaves) makes a fine accompaniment for the chanting of a psalm. The refrain to “Angels We Have Heard on High” takes a new spirit of joy with free-ringing bells added. A repeating pattern of E-B alternating with D-G, one pair per bar, works wonderfully to accompany “What Wondrous Love is This.” Handbells in slightly more elaborate patterns provide a marvelous accompaniment for a choir (see my arrangement of Let All Mortal Flesh Keep Silence [Augsburg 11-2517] or Ding Dong Merrily on High in Two Carols [Augsburg 11-2080]). Because they are portable, bells work wonderfully to provide pitch for a choir in procession (consider the Boyce Alleluia Round [GIA G-2494] for Easter and the Dufay Gloria ad modum tubae for Christmas [GIA G-2150], the former with free-ringing bells, and the latter substituting bells for the suggested trumpets).

Limitations of space preclude spending more time on handbells. The church musician interested in devising bell patterns for use with choir or congregation is encouraged to experiment at the piano with the damper pedal depressed to simulate the decay of bells. Sound patterns built upon intervals of fourths work especially well (remember bells sound one octave higher than written). Also do consider investing in these two useful resource books: Tintinnabulum: The Liturgical Use of Handbells (Richard Proulx, GIA Publications, G-2358) and Handbells in the Liturgical Service (John Folkening, Concordia Publishing House).

Orff Instruments

The German musician Carl Orff devised an approach to music for children which included a collection of instruments that now carry his name. Some were untuned percussion (various hand drums, miniature timpani, etc.) and others were tuned instruments (xylophones, glockenspiels, and metallophones). All were designed using quality materials to assure good sound but in miniature size for young people. (For example, an Orff xylophone uses the same rosewood bars to produce the sounds made by a regular xylophone.) The pitched instruments were designed so that bars not needed could be removed to minimize the chance for wrong notes.

Orff instruments lend themselves to ostinato (“repeated”) patterns which work well in accompanying certain hymn tunes, especially pentatonic folk melodies such as holy manna or beach spring. A minimum collection of Orff instruments for church use would include bass and alto xylophones, alto metallophone, and glockenspiel.

Such an ensemble can work well to accompany a reasonably large congregation. Since adults enjoy playing these instruments just as much as children do, members of the choir singing a given service could accompany a hymn with Orff instruments. Often it is good to add a treble instrument (flute, recorder, synthesizer, or even organ) to double the melody with the congregation. The collection of hymn arrangements Take a Hymn (Augsburg 11-2172) includes arrangements of hymns with Orff that would work well for congregational or choral song. My arrangement of the hymn All Things Bright and Beautiful (GIA G-3104) calls for Orff alto and bass xylophone with piccolo and works as a choir anthem or as a congregational hymn, the congregation joining the choir each time on the refrain. A good resource book to consider is McRae’s Celebrate: A Practical Guide for the Use of Orff Techniques and Materials in the Church (Augsburg 11-5328).

Orchestral Instruments in Worship

Of course, everyone loves brass with organ on hymns for festival Sundays. The quartet of two trumpets and two trombones works especially well: the four instruments can play four-part harmony from the hymnal, and their principle of construction is similar, so they produce a seamless, blended sound together. There are many published versions of hymns for organ, brass quartet, and congregation, often with special choir parts as well. Another option is the single trumpet. Vocal descants sung by choir sopranos are wonderful but if the congregation is really singing out, the descant is rarely heard. A solo trumpet, lyrically “singing” the descant will be heard and save rehearsal time for the choir director as well.

It is wise to come to know the band director in the local high school who could provide suggestions for instrumentalists. Even better is a nearby college. College instrumentalists have a bit more experience and will be more secure than many high school players. I know of some churches that have established resident brass ensembles, thus assuring a supply of players who have worked together and are readily available when needed. One congregation provides free rehearsal space for an area brass ensemble and free use of facilities for concerts in return for appearances of the brass ensemble a few Sundays each year. Another congregation has established a scholarship program with an adjacent university underwriting music lesson fees for members of their brass ensemble, all music students selected and coached by the trumpet professor, who is a member of the church. Church musicians need to be creative in exploring ways to identify a cadre of instrumentalists ready to play when needed. Most communities have a wealth of talent; we need to find it and harness it.

The flute is an especially useful instrument to use in hymn singing. Since it is rather weak in its lower register, transposing up an octave is often necessary. When played an octave higher than the written melody, its sound soars above a congregation providing ample leadership for the unaccompanied singing of a stanza. Children’s choirs are given confidence by the support of a flute or recorder, doubling their melody especially if the accompaniment is for Orff instruments, which do not reinforce the melody. Another possibility is an ensemble of flutes; six or more flutes playing together producing a rich, warm sound that works well on many hymn tunes (have most play at the written pitch, one or three an octave higher). In this context it is well to consider Ferguson’s first rule for soprano instruments; one or three on the top part, never two. When two play together on the same part, slight imperfections of intonation result in “sour sounds” but the imperfections of three players cancel each other out producing a “warm ensemble sound.”

Clarinets are often overlooked as a useful color, perhaps because we all have heard beginning players squeaking away. The lower registers of a clarinet well-played provide a rich mellow sound. Clarinets are transposing instruments so the director must be ready to cope with the special needs of these players. Again, having a cadre of instrumentalists ready to play helps because everyone knows what to expect.

One other observation about wind instruments needs to be made. Do encourage players to slur some intervals. Instrumentalists will tongue between each written note unless instructed otherwise. At the very least, any notes which encompass one syllable should be played slurred just as they are sung. Careful consideration of this dimension of the wind players performance will result in smoother, more elegant sounds from wind instruments.

String instruments also provide lovely additions to our palate of instrumental color, even though they are not quite as useful since they are not strong enough individually to lead a congregation (with the exception of the violin soaring above the congregation, much as a flute can do). Strings are especially painful when not played well, so again it would be important to identify players and nurture them so that they gain experience and poise. There are a few choral octavos for solo string instrument and choir which would provide a special punctuation to a service (for example, my setting of Ah, Holy Jesus for choir and viola [Morningstar MSM-50-3012], exploring the mournful sounds of the viola as a color for this passion text). When using a single solo instrument for an anthem in a service, be sure to find other ways to use that instrument as well. A solo instrument can provide a fine introduction to a hymn. If the player is gifted, ask him or her to play alone, melody only, to introduce a more lyrical tune. On a gentle text and tune, solo cello, viola, or violin could be heard joining with the congregation, especially if you encourage the soloist to play out even though choir and congregation will sing rather gently.

Synthesizers and Samplers

No discussion of instrumental color for worship would be complete without some mention of those wonderful, provocative, upsetting instruments made possible by the remarkable technology of our age. A synthesizer makes sound by the manipulation of basic electrical patterns (for example a sine wave is a very pure, flute-like sound). This basic sound or wave is then processed and mutated electronically by the synthesizer, adding additional character to the sound. A sampler begins by taking an electrical picture or “sample” of a real sound (any sound can be sampled—one note of an instrument, a waterfall, a dog bark), which can then be manipulated and processed somewhat like the basic sound waves of a synthesizer. Neither should be considered as replacements for real instruments, but rather as resources that do things real instruments cannot do.

For example, very “windy” sounds can be made that complement wonderfully the profound concept of the Incarnation—the breath of God upon Mary. Or such sounds might work as part of a reading of the biblical story of the coming of the Holy Spirit on Pentecost. Published examples of such creative use of these instruments are beginning to appear (for example, GIA recently published a version of the Genesis creation story, appointed for the Easter vigil with parts for the reader, organ, percussion, and synthesizer) and more are bound to come. Anyone doubting the powerful, evocative, colorful possibilities of these instruments to exegete text need only listen to the gifted use of synthesized sound as accompaniment for some of the songs in The Broadway Album of Barbra Streisand (Columbia). I am especially taken by the accompaniment using only electronically generated sounds for the Leonard Bernstein song “Something’s Coming” from West Side Story. The sounds of the accompaniment evoke the excitement, the anticipation, the impatient waiting that is reflected in the text and tune—a kind of Advent feeling if you will.

No clearer demonstration of the remarkable power of musical color to enhance a text can be cited than this setting of the Bernstein song. Martin Luther is often quoted as saying that the devil didn’t need to have all the good tunes. Neither does our secular society need to frighten us away from the many wonderful ways instrumental color, from piccolo and drum to synthesizer, can enrich our worship. Just like Luther, we must be ready to adapt and modify in creative ways and not merely copy things done in secular musical contexts. Here is a challenge worthy of us all.