Perhaps there is no other part of the church service that is subjected to so much variety as the piano support of the congregational hymn. There is good reason for definite criticism of much of the piano playing during this period. If a light, giddy type of hymn is used, the pianist should not be blamed for giving it the proper interpretation; but inasmuch as such a choice is rare, and the fault usually lies with the pianist, let us examine some of the principles which should govern hymn playing.
Worshipful Dignity.—The one word dignity, if properly interpreted and held in mind, should brush away most of our troubles. There are only a few who do not know the meaning of church dignity, and they should sit near the outside door, or in the hall—not at the piano. The church service may don the fool's cap in an instant by means of some thoughtless person who sits at the piano, who feels it his sacred duty to strike all the piano keys several times during the hymn. The old hand organ of the street has been revived—and I sometimes am led to wonder if that active little collared animal that used to be tied to the organ has not started to turn the crank. It is high time we stopped this monkey business.
Maybe your church pianist does not need this information, but in most places I have visited it is badly needed. There was a time when the hymn 'did not have more than one melody note to a syllable. That time has long since passed. But the farther we stray from that old ideal—and old it is—the farther we are led away from that rich, worshipful dignity that is becoming to every part of worship to God.
Everything that has to do with the hymn, from its selection to its rendition, should receive thoughtful care, not forgetting the important place it occupies in the service. It may be the only period in which the congregation can give audible expression to their sacred emotions. Surely it should contribute much to the effectiveness of the church hour, and the pianist and minister should treat it carefully and prayerfully, that it may yield the fruit it was designed to bear,
Correct Tempo.—There is much difference between tempo and rhythm. Tempo is the pace which best suits the hymn. Rhythm is the pattern represented by note values which gives the music a pulsating character. A tempo, or pace, should be selected which best suits the character of the poem, and this may be quickly determined by the title. There is not a very wide field in this respect, although there is a movement which is best adapted to every hymn, and which is always in keeping with the fullest meaning of artistic expression. There should never be a drag to hymn singing. In some places the tendency is just the opposite, although the error is usually in singing too slowly.
"Giving Out" the Hymn.—It is one thing to select and announce a hymn ; it is quite another to "give it out" at the piano before it is sung. It should be played in its entirety. If the hymn is not well known, this will give the congregation time for profitable reflection. Whether this is necessary or not, it serves as a tonal prelude. Otherwise it is bobbed off so short as to sound abrupt and hurried. Here is the pianist's opportunity to give the hymn its proper setting--to establish beforehand a tempo befitting the hymn. The pianist is saying, "When you sing, this is the way this hymn should sound. I expect to play it the succeeding times at this tempo, and I want you to join with me in maintaining a continuity throughout."
Signal to Rise.—There are various plans used in getting the congregation to rise, any one of which is all right, provided they are asked to rise neither too early nor too late. Usually the beginning of the last phrase (the musical phrase corresponds to that of the poem) is the logical point to rise. If the minister does not take the initiative, the pianist can easily, and perhaps more effectively, signal the congregation to rise by increasing the volume of piano tone at this point in the music. Audiences thus soon learn when they are expected to rise, and there will be a more unanimous, ready response than through other means.
"Stanzas," "Not Verses."—Stanzas are made of verses. A verse is one line of a stanza. How many stanzas shall be sung? The habit prevails of someone's calling out expectedly or unexpectedly to "sing the last stanza." In some places, if the call does not come after the close of the second stanza, the congregation divides itself, some singing the third stanza, and others unwittingly singing the usual fourth in its habitual place.
What can be done to forestall such a situation? The worship hour should not be marred with discord and upheaval of that sort. It can be easily removed by using a little forethought. The hymns should not exceed four stanzas—three are preferable. Where there are more than this, if you desire to shorten it (something which should have been done before it got into the book), try to avoid what is sometimes heard, "We shall sing the first, third, and fifth stanzas." One half of the congregation forgets the order, and confusion naturally results. Many hymns can be shortened without breaking the thought, although as a usual thing the hymn should be sung in entirety. Much more might be said on this point, but if the main thought is caught, it will remove an obnoxious habit from many a church service.
Instrumental Support.—Someone has said, "Art is caught, not taught." A few suggestions might be given, however, that in some case would prove helpful. The four parts of the hymn must receive pianistic handling, or you will not give much encouragement to hearty singing. Those parts are distinctly voice parts, and were written according to laws governing part writing, which, in a word, means the best-sounding arrangement of the chord members vertically and horizontally. There is far greater freedom in piano than in organ writing. Therefore we may expect to break some of those laws in supplying a rich, full-voiced fundamental instrumental support.
It would take more than the written word to properly explain the variety of ways in which a hymn may be handled. Suffice it to say, if you have good musical feeling, you may double the bass and soprano tones, and fill in the rest of the chord members as the fingers of your right hand will allow. A firm, fundamental bass is quite necessary. The middle section of the piano sounds best for the right hand. The tone of the upper register is thin and cutting and should be used sparingly. The safest plan to follow in what might best be understood as "padding" is to forget it. Your playing will blend into the spirit of worship much better without it. Just a little too much is very, very much too much. Considerable experience, coupled with sound musical judgment, would be the only safe background.
There is much to be learned about good hymn playing. It is not as simple as it may appear.
The few good hymn players testify to that. Its complexity of simplicity challenges even the best from among the talented. Hymn playing, unlike the reading of Scripture, depends upon you, your thought, your feelings, your experience, your interpretative ability.
Why should we allow such a contributing factor as hymn playing to give forth such uncertain sound ? May those who carry pianistic responsibilities in our churches consider their duties sacred, and worthy their best and most consecrated efforts.
