The preacher is supposed to hold in mind the needs of his audience—and all successful preachers do so. But how many organists consider their congregations? Have we dedicated ourselves to their service, or are we free lances, occupying an office for our own enjoyment? It might be well for us to check our motives occasionally and make any necessary adjustments.
The consecrated organist will be the faithful servant of his church, and, as such, will ever be seeking to render himself more useful and his service more effective. Therefore, Mr., Mrs., or Miss Musician, consider thy congregation!
Our consideration can show itself in many little ways. We should, for instance, find our hymns in advance and not wait until the number has been announced, lines read aloud, and the hymn re-announced before we rise from our seat, walk slowly to the instrument, fumble with our hymnbook, then turn around and in a stage whisper inquire, "What was the number?"
It is time that each church possessed a hymn board, hung in a prominent position visible to both the instrumentalist and the would-be singers. If one of the deacons were responsible for the posting of numbers at each service, the announcement of hymns would be a much less clumsy and time-wasting procedure than it usually is, and the organist would know all hymns in advance.
May we here address a few words to those who choose and announce our hymns.' Our choice could often be more thoughtfully made. We would then avoid having evening hymns in the morning, closing hymns at the beginning, and the like. And can we not find another introductory phrase instead of the misleading "Let us sing again—" (Rarely is the same hymn sung again in the same service.) We can vary our phraseology by saying, "Let us praise God__________ " or, "We shall worship God by singing—" or simply, "Our second hymn is—" And should it be found necessary to shorten a hymn, think about it beforehand and announce the omission of certain stanzas before the musician begins to play. The worshipful spirit is offended when a voice from the platform suddenly breaks into the singing with "Last stanza only, please!" or, "Sing the last!"
It is well in the worship service for the organist to play the entire hymn through as an introduction to its congregational use, thus giving opportunity for an unhurried rising of the congregation at the beginning of the last line or phrase, and opening up to the congregation the beauties of the hymn to be sung.
Do we think only of the music when we are playing? If that is so, we miss more than half of the hymn, for the music by itself says very little to the average worshiper. It is the words that express his sentiment. If we are to assist in worship, we must allow the words to influence our music. If the numbers of the hymns are known be. forehand, study the words. Grasp their purpose, use imagination to sense their atmosphere, note the light and shade of expression, the rise and fall of emotion. Better still, be so well acquainted with all hymns used in our services that, no matter which may be chosen, the music will always fit the words as the skin fits the body—there's ample room for stretching and bending but no possibility of the skin's going one way and the body another. When our music fits the words like that, we shall have reached a reasonable standard; but until that day dawns, let us diligently seek to improve the musical service we render to the congregation.
Lend a Listening Ear to Hymn Singing
What do we know about the standard of hymn singing in our own church? Can we accurately assess it, or are we playing in the dark? Let us put these questions another way. Do we ever listen to our congregation as it sings ? Do we listen critically (but kindly), analytically, appraisingly? Do we detect the strengths and the weaknesses of those who sing? Do we understand their limitations well enough to help them improve their performance? If we have never lent such a listening ear, it would be well for us to do so at the earliest opportunity. When another is playing, take "a busman's holiday" and analyze the singing. This will prove a very profitable occupation.
We look forward to the day when the organist will be the expert on all musical matters in his church. He will understand his congregation as a teacher understands his class. He will know its limits, both in the upper and lower registers. He will know its taste, and he should have a clear vision of his ambitions for it. When we become such organists, we shall be useful church officers, making valuable contributions to the welfare of our church.
The day may even come when, as a matter of course, and justifiably, we are consulted on the 'choice of hymns, solos, and special music. When that day arrives, or when it begins to peep above the horizon, let us be on our guard against one great danger—that of becoming musical dictators ! It will be a sad day for any church if we attempt to rule the roost even in our own sphere, so let us learn all we can, teach all we can, play all we can, while at the same time retaining a readiness to fit in with others' plans without lowering our own standards.
MONTHLY PRACTICE.--It will be seen that no organist is going to realize his highest ideals if he just sits at his instrument, week after week, playing the hymns that are set before him. He needs a personal contact with his congregation outside of regular church hours. In other words, he needs a regular practice with his singers.
If the organist is the most musically minded person in the church, then he should be the one to conduct such a practice; but if another competent person is available, he should be asked to lead, thus leaving the organist free to concentrate on the instrument. And when we use the word con-, duct, it is not intended to suggest much arm and stick waving, which very rarely serves any useful purpose with an untrained choir, but reference is made to one who will guide and lead a group of ordinary church members in the better use of their hymnbook.
We are not suggesting the formation of a choir, or the singing of "highfalutin" numbers. Our present ambitions are limited to the improvement of congregational singing. The conditions for realizing such a modest desire are very simple. All that is needed is a leader, an organist, a group of interested singers, and a spare thirty minutes or full hour. The time can be' secured once a month as a Sabbath afternoon service, or an M.V. Society meeting could provide some occasions for practice. Such arrangements must be worked out in relation to local conditions and in co-operation with the minister or church elder. But let us bear. in mind that it is a perfectly reasonable suggestion that is being made, and one that will greatly benefit church life.
When the time is settled and the enthusiastic singers are assembled, there are three main themes with which the practice should deal: (I) general instruction; (2) singing well-known hymns correctly; (3) learning new hymns.
I. GENERAL INSTRUCTION.—ThiS Should include elementary reference to the neglected art of breathing, formation of words, enunciation of vowels and awkward consonants, note values, time, and expression. All these topics will reappear as specified hymns are discussed, but they should be understood from the beginning of the practices.
2. FAMILIAR HYMNS.—Many well-known hymns are sung incorrectly, and many are unappreciated. Wrong time and wrong expression should be corrected. Appreciation can be stimulated by an explanation or an emphasis of the words, by a brief history of the poet or composer, or by an account of how the hymn came to be written.
3. NEW HYMNS.—Our hymnbook contains many good hymns that are rarely, if ever, used. These can be sought out and taught to the group, then promptly used in a church service.
Anyone can see that such a program as this cannot be carried out unless someone spends much time in preparation before the practices are held. Whether the organist is sole leader, or whether he shares the post with another, he will need to prepare well for the monthly practice. This duty need not be irksome, however. In fact, for anyone who loves his job, it will be pure pleasure. He will enjoy exploring the hymnbook, finding and testing new tunes, discovering the beauty of rarely used words, getting acquainted with poets and composers, and learning a little of hymnology. Then will come the joy of passing this knowledge on to others, and of hearing the music in his church get better and better as the months pass by.
