Music Matters
October 2006
Suggestions for Keyboard Musicians in Accompanying
Congregational Hymn Singing
 Church musicians come
to realize, sooner or later, that we bear a crucial role in the service of
worship. The prelude sets the mood of the service; the message of each hymn and
indications for singing may be contained in the introduction of the hymn; a
meditation before or after the Word is an opportunity to prepare for or reflect
on the spoken message. When hymn numbers are not announced prior to the singing
of the hymn, timing is crucial in beginning the introduction. One of my organist
friends likes to say, “We hold the service in our hands!”
Service music is such an integral part of the worship experience
that it behooves us to enable vibrant worship in the tempos we set for each
hymn. How can church musicians communicate appropriate tempos for congregational
hymn singing?
Set and keep a consistent tempo in the introduction of the
hymn particularly leading into the first stanza.
When an organ is used, register (select stops) so the
participants can hear while they are singing. The organ should “frame” the
voices singing at the 8’ pitch by using 4’, 2’ and occasionally mixture stops
for stanzas which bear being sung with exclamation or meaningful enthusiasm.
Pedal stops are essential in supporting strong registrations and enthusiastic
singing in registration.
Soloing out the melody (on a reed stop) is another good method
of effective leadership.
It’s fine to ritard at the end of the hymn, but if each stanza
ritards it encourages a slower and slower tempo and should be avoided.
The duration of silence left between stanzas of a hymn has
been much discussed and written about. You may have your own formula. Several
ideas have been promoted, including adding various numbers of beats to the
last measure (˝ or a whole measure at the end of a stanza depending on whether
the next verse begins with a “pick-up” note).
This is not the time to begin a faster tempo or to try to play
catch-up by jumping in ahead of time at the beginning of the next verse. A
most effective technique is to breathe with the congregation as they
pause at the end of the stanza to catch a good breath and support their timely
beginning the next stanza with the organ.
Separation of repeated notes especially in the soprano and
tenor lines enables the singers to hear the keyboard more easily.
Singing the hymn in your mind before you begin the first chord
of the introduction leads to confident playing and setting of the tempo.
Breathing or singing along (if you feel comfortable doing that) with the hymn
cannot be overemphasized.
If your congregation insists on tempos you consider “too
slow”, analyze your tempos—they may
be rushed.
The accompaniment of congregational singing is an art. It
needs to be practiced and practiced and practiced ….. Nothing can substitute
for being aware of these techniques and knowing each hymn
extremely well.
Our role as church musicians is to enhance the
experience of worship ; to prepare well and then get out of the way—not
to have a “tug of war” with the congregation over the tempo of any hymn.
It has been written: “They who sing pray twice.” Let us lead our
congregations in effective, prayerful and worshipful singing!
—Junia Braby
If you have suggestions or ideas for future columns, please contact:
Jan Kraybill
Principal Organist and Director of Music
Community of Christ Headquarters
Independence, MO, USA
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Next month’s topic: Plant the Tree
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