Music Matters

April 2007

Introducing and Accompanying Hymns

(Intonations and Reharmonizations)

Elements of a church music course Twila and I found very useful over the years (Accompanying at the Organ), included sessions on hymn leadership at the organ. Various methods of introducing (guiding) a congregation into, as well as ‘through’ the singing of hymns was both illustrated and practiced extensively. Very early on, the unnecessary practice of first playing completely through a hymn as its introduction was illustrated as a waste of time. Timing introductory stanzas proved this to be true. No matter how many stanzas in any given hymn, playing it through completely translated into several minutes being robbed from a service. (Note: a four-stanza hymn would be actually be played five times when done in the “traditional” manner).

Asked to share from our prior service playing experiences, our professor inquired: “What elements (prompts) are needed by a congregation for them to be able to even begin singing a hymn?” We concluded there are “3 T’s.” Tune, Tonality and Tempo.

Tonality (the ‘key’ of the hymn needs to be clearly presented in what is played. The Tune (melody—the beginning and ending of a hymn) should be included in an Intonation. Tempo sets that pace so that all may sing together in unity of speed. This, of course, should be varied from time to time, making each hymn meaningful by contributing to the mood or subject of the worship it is to sustain We were instructed to always improvise hymn intonations in our daily keyboard practice. Doing so made it increasingly comfortable – and intelligible.

One course project included composing fifty hymn introductions (intonations) and reharmonizations. Vigorous unison (melody only) congregational singing has gradually emerged perhaps due to the worldwide hymn explosion which began to occur in the mid-70’s and the enthusiastic support of organizations such as the Hymn Society, American Guild of Organists and others has contributed immensely. Shaping and sharing intonations, using chorale preludes as introductions, instrumental fanfares, etc., encourages congregational hymn singing and makes it something very special and memorable in the worship of the Holy Trinity: Father, Son and Holy Spirit for which we are all created.

Many small, moderate and large churches have greatly benefited when musicians have been willing to risk using new methods of hymn introductions and accompaniments. In addition to using creative, imaginative hymn introductions is the occasional use of a hymn-tune reharmonization. Hundreds have been published. They are, normally, listed by hymn-tune name, i.e., Coronation for “All hail the power of Jesus’ name.” Quality collections include selections from the liturgical calendar (seasonal works). These always keep the melody in the “mix” while making use of chords and progressions which, at times, soar above the melody in descant-like formation and contrast with the tune’s original, four-part setting.

—Dale Rider

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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