Many volumes have been written on hymnology. Numerous other books deal with facts of interest concerning the writing and singing of hymns. In this brief article it is designed to give a very informal expression of appreciation of church music, and a few suggestions regarding the proper performance of musical numbers, particularly the playing of hymns.
In the time of the Reformation, a Jesuit priest said, "Luther is damning more souls with his music than with his preaching." Another said, "The whole people is singing itself into Luther's doctrine." In the time of the. Wesleys, they themselves said that more souls were won by their songs than by their preaching. However this may be, it is impossible to estimate correctly how many thousands of people have been reached through the medium of spiritual songs sung by consecrated singers. All the renowned evangelists of modern times have recognized the great value of singing and appropriate hymn playing. My experience as accompanist, in connection with the Chapman-Alexander evangelist party, one season, led me to appreciate as never before the value of hymns and hymn playing.
It is well to keep in mind that there is a difference between hymns and gospel songs. Augustine defined a hymn as "a song with praise to God." Gospel song is a message to man. Each has its proper place in the various services of the church. Personally, I prefer the more stately hymns for the Sabbath preaching service. Unfortunately, there are some songs in the hymnals which are entirely lacking in reverence and dignity. A prominent church worker and choir leader said to me recently, "When music is of such a nature that it gets into the feet instead of into the hearts of the hearers, it should have no place in the church."
Particular emphasis should be placed upon the manner in which hymns are played. The fault in many of the hymns so frequently condemned by some who wish to appear as having superior knowledge of music, does not always lie with the composer of the music, but may be due to the pianist or the director of the singing. Many beautiful songs are ruined by either or both of these musicians. When played exactly as written, some of these songs, and even the better class of hymns, sound very choppy and almost jazzy. As an illustration, take No. 8 in "Christ in Song," entitled, "Jesus Is Calling." When this song is played just as written, especially if in a rapid tempo, it is anything but beautiful. And yet this song can be made into a -lovely number when played in the proper manner.
For a number of years I have been teaching hymn playing and accompanying, and with all my pupils I have tried to emphasize in a very decided manner that they must not jazz the hymns. Such a practice should be strongly condemned, and never permitted in the church. But it should be remembered that the addition of rich, full chords, and some other extra notes, is not jazz. A simple hymn can often be embellished with chords and proper variations, and become a beau, tiful voluntary or offertory. More compliments have come to me on the playing of such offertories than on the playing of classical numbers.
A hymn can be played in such a way that the people can almost hear the words associated with the music; and when this is the result, the effect is uplifting and helpful. The embellishments of chords and variations need not detract from the effect of a gospel solo, and will not if the accompanist uses them wisely, and never for the purpose of attracting attention to himself. Many hymns have very thin accompaniments, and these give little support to the singer. Extra chords are especially helpful to the singer when they are used to support sustained notes.
In congregational singing, these extra chords are very helpful. Wherever there is one long note in a measure, there is a tendency on the part of the congregation to eliminate a beat or two, and hurry on to the next measure. A chord to mark each beat of the measure will help to overcome this tendency, and will maintain the proper rhythm throughout the hymn.
Even the best of musical directors is often unable to prevent the cutting of beats and the breaking of the rhythm, but a good pianist can remedy this often very distressing evil.
The most simple way of beautifying the accompaniments of hymns is to play full chords with the right hand, either in the octave in which the piece is written or an octave higher. This leaves the left hand free to play an octave or two lower. If the right hand is played an octave higher, the left hand should fill in the gap with some chords. It is not necessary to play
every beat with the left hand. One or two to the measure are sufficient.
This prevents the choppiness in playing which is so often heard, and which bears such a close resemblance to jazz. A study of hymns discloses the fact that they are built almost entirely on the tonic, dominant, and subdominant chords and their inversions. Familiarity with these chords and inversions in all keys will be a great help in the beautifying of hymn playing. Be sure that the extra chords harmonize with the chords in the music as written.
In conclusion, I wish to stress again the importance of good hymn playing and accompanying. Many a service is greatly weakened, if not ruined, by poor playing. With thoughtful, prayerful practice, any nianist can improve his playing of church music. Guard against cheapening the music with light, tinkling, showy embellishments, and strive to add to the beauty of the music by the addition of rich, full chords and simple variations.
Consecration is needed in the playing of hymns as much as in any other phase of Christian service. Music that does not come from the heart does pot reach the hearts of the hearers. Remember the admonition, "Whatsoever ye do, do all to the glory of God."
Glendale, Calif.
