The leading of hymns is a fine art. I have played for many years in mainline Protestant and Catholic churches in the United States and now have a unique perspective that comes from playing in a central European cathedral. My hope is that some of what I have learned over these years will be of help to others.
Registration
Registration is often a difficult topic to discuss because it is so variable and subjective. It can be affected by the size of the space, the size of the assembly, and the size of the organ—how it speaks into the room, and whether it is directly or indirectly buried behind concrete with a small opening or in a case or chambers. The voicing and style of an organ can vary, so that a “one size fits all” approach to registration simply is neither practical nor even advisable.
For example, if the organ is of a modest size and voiced properly, it may produce a much larger sound than an organ that is much larger but poorly voiced and speaks not from a case but from chambers. The pipe scaling can also have a dramatic effect; wide-scaled flutes may be enough to lead a large assembly on some organs, while a thinly scaled principal chorus may not do the job. Thus we must know how our organs sound from top to bottom—every octave, every stop, and every pitch.
What does this mean for us as leaders of worship? First, we must do our homework every week. I advocate recording, in order to discover how the assembly responds to various registrations. I have been amazed at what recordings have taught me, and how listening this way has changed my thinking and my playing. In terms of registration, certainly less is more (although it may not be true in every situation). Our calling as artists is to work with the instrument at hand, find what is good about it, and make the most of those attributes. The organ is simply the medium to communicate music.
After getting to know an instrument, the organist should develop several possible plenums of various volumes on all divisions, coupled and uncoupled. The principal chorus of 8′ 4′, 2′, possibly with mixtures, may not be the answer in all situations. Keep in mind that any stop whose speech is not prompt can affect the congregation’s ability to feel rhythmic pulse.
Next, devise registrations for soloing out the melody line (playing the lower parts on a lighter sound, on a secondary manual with pedal at 8′ pitch and possibly without 16′). The solo line could be played on a solo cornet (or various related combinations such as 8′, 22⁄3′, 13⁄5′) accompanied by flutes 8′ and 4′, or possibly by an 8′ flute and a 4′ principal. The melody could also be played with a solo Trompete or any combination that makes for a good solo line. If the accompaniment is more than four voices, then on the secondary manual I adapt my left hand, by rewriting positions of chords or leaving out unnecessary or doubled notes.
Another possibility is to play the soprano line an octave higher, with again the alto and tenor voices played in the normal range on the same manual (or on a second manual depending on the size of the assembly), and an appropriate pedal to match. This may seem strange, but the effect is that you are not doubling the congregation at unison pitch—they can better hear the sound of the melody, as it is an octave above. This technique can be used with combinations of various stop families to good effect; lighter 8′ and 4′ stops have worked well for me.
In fact, I have found that doubling the congregation at unison pitch—with many 8′ stops playing in four parts or more—can really get in the way of the assembly being able to hear itself. I would save a bigger registration—say a manual 16′, Principal 8′, and Octave 4′ (or more or less dependent on the organ and room), with pedal—for a climactic verse. The above-mentioned registration can be large or small depending on the organ, so I would adjust to my situation accordingly. On the organ I play in Banska Bystrica, Slovak Republic, that combination of stops is plenty to lead a full cathedral at Sunday Mass. If more is needed, you could add a 2′ or couple something from the Swell with the box closed and open as needed.
Another possibility would be to try a chorus of flutes (possibly 8′, 4′, 2′) on a verse or perhaps add a string to that. This combination can provide a nice accompaniment dependent on the size of the assembly. When we sang a Gregorian Agnus Dei, I used flutes 8′ and 4′ on the Rückpositif for my left hand and used all of the 8′ stops from the Récit with the Hautbois coupled to 8′ flutes and strings on the Great but soloing the melody an octave lower on the Great with no pedal. It was very effective—the assembly could hear itself and also hear the organ because the pitch was an octave lower.
I believe in changing registrations on every verse, making the registration fit the hymn text that is being sung. The accusation leveled at organists that the registration is too loud can be true when an organist plays four verses of a hymn with principal chorus plus reeds with no variation at all, or plays every verse of every hymn with the same combinations used every time in the same order. Know your instrument. Is what you are creating encouraging or discouraging your assembly’s ability to sing?
In accompanying Gregorian melodies, one could try using the strings (coupled to strings on another division, if available) but not doubling the melody; both hands would play chords an octave higher. This gives an ethereal effect. If one is good at improvisation, adding chord tones of the sixth, major seventh, ninth, eleventh, and thirteenth can also be very effective. In this case the organ is one voice with the assembly rather than playing a leading role. By very slightly anticipating the beat, one can keep the assembly moving along if they are dragging. This would also help if the cantor is singing at the opposite end of the building.
Rhythm and tempo
Choosing a tempo for a hymn is not an easy task. The real test is: can the assembly sing full-voiced at a given tempo? It is helpful to study the harmonic rhythm of the hymn. Is the harmony changing quickly, on every beat or half beat? Are there a lot of passing tones? Are there many words on eighth notes written in succession? Is the meter in cut time or 4/4 time, and how does that affect the accents? Is a 3/4 meter in a feeling of three beats to the bar, or one to the bar?
I have learned from recording that playing a hymn quickly is not necessarily exciting, and playing it slowly is not necessarily boring. It all depends on the hymn’s text and mood, whether there is an energized beat even if the tempo is not fast, and the congregation’s tradition of singing a hymn in a particular way (which sometimes we musicians tend not to respect).
One also must consider that meter is one thing but rhythm is quite another. Understanding where rhythmic accents should fall is crucial, is separate from meter, and will also be influenced by the text.
Then there is the problem of acoustics. Are we in a large reverberant space, or a room full of carpet? Is the organ a beautifully singing instrument, or is its voicing harsh and is it placed in a dry acoustic? All of these must be considered when choosing a tempo. But remember that the chosen registration and the tempo are tied together and cannot be ignored. Only after assessing all of these considerations would I choose a metronome marking. The marking need not be followed slavishly, and in fact is only for a check before beginning to practice.
Conducting and singing
I advocate conducting and singing for all musicians. Conducting always allows for a stretching of the beat that a metronome does not permit. In conducting, one imagines a square for the beat. It can be small or large but it allows for a differing feel at the same basic tempo, be that square small or large. This principle has considerable ramifications for rhythm and needs a good deal of thought and consideration. The principle applies to hymns as well: the size of the square will affect the feeling and rhythm of a hymn and even differences between phrases. Hence, a mastery of basic conducting patterns is necessary. An analysis of large or smaller squares for a hymn (from line to line the feeling of a phrase can change) needs careful planning, recording, and practice.
Singers think differently about a line than organists do, and that is often why a singer and organist may have trouble staying together. Regarding the cantor (usually in Catholic liturgies), I am not advocating what I have heard some singers do, which involves wallowing in a sugary fashion, holding long notes too long, and using too much rubato (which some call “feeling”). This kind of vocal leadership is not appropriate for liturgical use, discourages any kind of assembly participation (especially if the singer is rhythmically impaired), and is unnecessary with a good organist. Remember, it is the congregation’s hymn. I would propose having a cantor with a lighter voice get the assembly started but then step back from the microphone and become one voice with the assembly. Certainly if the hymn is new, more vocal support may be needed, but not to the point where a solo voice is heard above the entire assembly.
On the other hand, organists need to think more like singers in terms of creating beautiful lines. So often the playing of hymns can be angular, and articulation, while useful, can be overdone to the point where it hinders natural singing, with the music feeling like a series of downbeats. This is especially true when dealing with a dead acoustic and a harsh-sounding organ. A very good technique for organists is to practice singing each of the four parts. Using this technique changed how I played the hymn; the articulation then fell into place as a means of expression, rather than an end unto itself.
Releases of notes are extremely important. Singers will “think” a crescendo on a long note and crescendo to the rest, while organists have a tendency to clip the note before the rest. Singers also can stretch a beat naturally, and I have observed that many musicians do not understand this concept. It relates to conducting, as conductors will stretch a beat with their gesture but they keep in mind you can only stretch so far. Organists can have trouble with that concept, and what comes out has no stretch (is mechanical), or has an exaggerated stretch that sounds ridiculous. With a long note value, try thinking a crescendo to the next beat, and then try putting an ever-so-tiny articulation before you strike that next note—but always be aware that the listener cannot realize that the articulation is there.
It is not uncommon to develop “systems” of playing—for example, making the first beat always strong, second always weak, third always strong, and fourth always weak. If this concept is followed in every case and is taken to extremes (as any system can be), then the final result could be that a dignified hymn could sound like a circus march. Regarding the hierarchy of beats, there are countless examples in Bach where the fourth beat is very strong harmonically and cannot fit into the “system” some try to create for it. In all periods, styles, and hymns, beat four can be very strong; to try to make it weak in every situation may be at odds with what the music itself wants to do. Every case—every piece of music, be it hymn, anthem, or voluntary—is different and must be treated individually.
Speaking again of conducting, there is always a bit of a wait on that fourth beat before the downbeat lands. This is a bit like being up in the air before landing. (Watch a good conductor beat 4 and then 1.) That fourth beat is certainly strong, not weak, and this certainly can apply to all periods and styles (though again not every time).
Does your playing incorporate the best principles of good conducting and good singing? First, studying voice and conducting is invaluable. Secondly, it is a good practice to record your hymn playing in the nave while the congregation is singing. Then you can answer some of the questions I am posing. The recording will tell you exactly what you are doing with no mercy shown. Recording oneself may be the best teacher and provides a point of departure from which to work and create.
Don’t let rules and regulations get in the way of the creative process; artists create, and reproducing a mindless system or pattern is not art. Explore every possibility with your instrument in terms of registration and do not let others dictate what “should be.’’ It is important to ask whether what you are doing is effective. Be sure that there is a good deal of color in your leadership of hymns and string out some beautiful lines like a singer would do, but also follow your inner conductor for nuanced rhythm and know that your voice is the organ.
You will also find yourself spending much more time practicing because this process will cause you to really listen to what you are creating. It is possible to spend an hour getting the ending of a phrase just the way you want it to be, or finding a better registration, or maybe changing a tempo to one that will work in a given room. You will also find this same process will extend into voluntaries, accompaniments, and so on. I find I look forward to listening every week as I keep coming up with new ideas to try out. I can also promise that if you really want to improve, this technique is essential.
Articulation
Articulation has an effect on rhythm. One cannot simply say that all organ playing is legato, portato, staccato, or anything else. You will need a variety of touches at your disposal, and your ear will have to tell you when to use one or another (or more likely, a combination of all kinds of articulations).
You can also try staccato or non-legato in various voices. For example, try alto and tenor detached and soprano and bass legato. Or try soprano, alto, and tenor legato and detach the pedal notes. Sometimes you could play the soprano detached and the lower voices legato. Many combinations are possible, depending on the situation.
Another really effective technique—especially if using a full plenum with reeds and mixtures—is to play the soprano extremely legato and play the lower voices very detached. In this way the congregation is able to cut through, so to speak, the full organ sounds—whereas if all the voices were played legato, it would be difficult for most average-sized congregations to be heard. Some advocate staccato in all voices for a dragging congregation, which can work, but I reserve that technique for very extreme cases. I have found that adding passing notes in the pedal actually does a better job of moving along the congregation. I also avoid heavy 16′ stops in the pedal for that kind of situation.
If there is a long note in the pedal, adding some passing tones can keep a pulse going. Another possibility is to change a resolved harmony on a long note to one that is unresolved, which will usually keep people from hanging on past where they should, as they want the chord to resolve.
I also use articulation to energize the beat, which means that the energy is transferred from the fingers to the key. But keep in mind that there must be tension and release/relaxation in relation to what the harmony is doing. It is a bit like the strong upbeat mentioned above. Similarly we cannot have relaxation without tension. Another concept is the idea of inner rhythm—that is what happens in the inner part of the beat; for example, on the second of two eighth notes, that second eighth note must be energized to move a line forward.
Introductions and reharmonizations
Making hymn singing inspiring can include using creative introductions and reharmonizations. Introductions usually should be in the tempo of the hymn, or at least the last few bars set the tempo of the hymn with a clear reference to the melody. Much depends on whether or not the hymn is well known.
One need not reharmonize every verse of every hymn, but the art of improvisation, used wisely, can really inspire a congregation to sing better. The study of improvisation is well worth the effort in terms of creative hymn playing. If a hymn verse is to be reharmonized, my preference is that the harmony stays close to the style of the hymn. Again, less is more when it comes to this topic, and much depends on the tradition within any given congregation.
Unaccompanied singing
Over the last few years I have learned the importance of unaccompanied singing within a service of worship. This could happen on a verse of a hymn, a Taizé response, or a host of other places. Listening to my recordings I think that some of the most exciting singing is when the assembly holds forth unaccompanied. For example, on one hymn I gradually reduced the sound from the second verse into the third verse and after two or three bars dropped out, then re-entered gradually before the beginning of the fourth verse. It is a nice contrast and is even more thrilling when the organ returns again after some unaccompanied singing.
Another advantage is that the congregation is actually able to hear themselves in a different way than when they are accompanied. In a Catholic Mass, the Mass Ordinary and responses, especially during Lent, can be sung without accompaniment. I have used this technique with great success and would urge you to try it as well. If your congregation is used to being accompanied on everything, introduce this idea slowly. Perhaps the first time try it on a simple response like an Amen. Then try it on the other responses and also on a verse of a hymn that is well known. Moderation is the key, depending on what your congregation is used to.
I always tell my students who play for churches that hymn playing should be their first priority when they play for a worship service. Of secondary importance is the accompaniment of anthems or soloists and the third priority their own voluntaries. Hymns involve the entire assembly in a musical prayer. Hence hymnody must be of absolute importance in our preparation for Sunday mornings.
In closing
Hymn playing is a fine art and can be as difficult as playing some of the most challenging organ repertoire. The shaping of phrases and expression while maintaining leadership and playing for large numbers of people (all of whom have their own ideas what the tempo should be) is no easy task. It is hoped that this article will give you some food for thought and new ideas to try out in your own ministry.
Bibliography
Connolly, Michael. The Parish Cantor. Chicago: GIA Publications, 1991.
Day, Thomas. Why Catholics Cannot Sing. Spring Valley, New York: Crossroads Publishing, 1990, revised, 2011.
Lovelace, Austin. The Organist and Hymn Playing. Carol Stream, Illinois: Agape, 1981.
Noble, T. Tertius. Introduction to Free Organ Accompaniments to Well Known Hymn Tunes Volumes 1 and 2. New York: J. Fischer and Brothers, 1946. Later edition by Alfred Publishing, Van Nuys, 1985.
