Preludes, offertories, and postludes are an important part of the musical offering in our churches. Everyone will agree that these numbers should be spiritual and appropriate sacred music. No doubt all our musicians at tempt to do their best in playing good music for these parts of the service. Sometimes our church members are not too clear as to the purposes of these numbers, nor do they understand why certain types of music are used. It is worth while for all of us at times to consider the whole subject of worship and how best to carry on our services of worship.
Our musicians need also to study their part in the Sabbath morning program. We are considering here only the instrumental music of worship services. The music should always be good music, free from secular associations, and it should be played skillfully and above all, reverently. "When the worshipers enter the place of meeting, they should do so with decorum, passing quietly to their seats. . . . Common talking, whispering, and laughing should not be permitted in the house of worship, either before or after the service. Ardent, active piety should characterize the worshipers." Testimonies, vol. 5, p. 492. Prelude This is an ideal not often reached in our churches. It does not mean that we should be unfriendly or formal, but we should reserve our friendly greetings and talking for places out side the room in which we worship. As the worshipers enter, the prelude played on the organ or piano will create an atmosphere for worship. To do this the music must be of such a nature that the people are not distracted from turning their minds toward God and His worship. This means that the music will not be secular, ostentatious, or trivial. It may be familiar or un familiar.
It need not always be quiet, but should have contrasts. The worshiper will not listen to the prelude with the idea of being pleased or entertained. He will not think that he must understand the music.
He will not be interested in the performer, or the technique or the pleasing qualities of the music. He will be directing his mind toward the worship of God, and the music will simply be an appropriate atmosphere for meditation and thinking on God. In many respects unfamiliar music is more ideal than any other kind to create this mood. If the .music is familiar, one is inclined to concentrate on listening to it, but if it is unfamiliar the worshiper's mind is less likely to be distracted from the act of worship. Offertory The offertory usually covers up the short interval during which the offering is received.
It should not extend unduly beyond the actual time necessary for receiving the offering. Here again it should be music that will aid in worship rather than distract the congregation. Secular music of course is ruled out. Much the same kind of music that is suitable for preludes might be used. Musicians are sometimes so enthusiastic about their art and so convinced of its significance that they are in danger of overemphasizing its place in a worship service. It is true that music is important and can greatly enhance religious services. It is also true that a worship service can dispense with all the music and still be a vital service of worship. Sometimes it is best to omit music or certain musical features. It surely is unwise to keep up a continuous musical background during a worship service. This may be done on some kinds of radio programs, but it is not wise to keep something going on during every moment of a service. There should be periods of silence. We should always keep in mind that the worship of God is the objective of the service rather than entertainment. The minister and the musicians should plan together that every part of the service will contribute toward the real objective of worshiping God.
Music During Prayer
Music during prayer, or during the partaking of communion, or during the speaking of the vows in a wedding service these are practices that hardly add to but rather detract from the solemnity of the religious act. There are times such as these when it is better to dispense with music altogether. There are many musicians who agree that the most solemn parts of a service are made doubly effective without music as a background. Hymn Introductions Another way to improve a service is to keep the musical parts within proper time limits. For example, it is better and proper to shorten the introduction to the hymns rather than omitting stanzas of the hymns.
The purpose of the instrumental introduction to the singing of hymns is to set the proper tempo and to give the congregation time to find the hymn. Therefore the introduction need only be long enough to accomplish this. It is not at all necessary to play every hymn through before singing it. If the hymn is short this may be done, but longer hymns need only be played to a suitable cadence before the congregation joins in singing.
"The vast majority of tunes should be played over on some soft combination and without pedals. One or two lines only are sufficient as a rule, provided we finish at a cadence of some sort. Fancy effects with celestes, octave couplers, etc., are generally out of place and should be avoided. . . . In any and every case, 'ear-tickling' with soft solo and fancy stops, and with or without the tremulant, is quite out of place and in the worst taste."—M. P. CONWAY, Church Organ Accompaniment (Macmillan, 1952), p. 34. (Italics supplied.) Other authorities give the same counsel concerning shortening the introduction. Of course there are differences of opinion, and these mat ters have various solutions.
The essential thing to remember is that music is a servant in the worship service and not the master. Every musical part should contribute as a servant to the enhancing and beautifying of the supreme act of man the worship of God.
Postlude
There is some doubt as to the value of the postlude. If used it should be music that adds a fitting amen to the service. It may be quiet or more full of volume. The congregation should leave the worship service in as decorous a manner as they assembled. The postlude should never be thought of as a convenient means to cover up the noise of a departing congregation. In fact, music should never be de graded to the place where it acts as a gong to Page 28 call people into a meeting or as a means to quiet a noisy crowd. Possibly a band might function in this way, or a bugle call, but surely a church organ should be used in a more dignified manner. "When the benediction is pronounced, all should still be quiet, as if fearful of losing the peace of Christ. Let all pass out without jostling or loud talking, feeling that they are in the presence of God, that His eye is resting upon them, and they must act as in His visible presence. Let there be no stopping in the aisles to visit or gossip, thus blocking them up so that others cannot pa%s out. The precincts of the church should be invested with a sacred reverence. It should not be made a place to meet old friends and visit and introduce common thoughts and worldly business transactions. These should be left outside the church. God and angels have been dishonored by the careless, noisy laughing and shuffling of feet heard in some places." Testimonies, vol. 5, pp. 493, 494.
This does not mean that our churches will become cold and formal places where strangers find no welcome or friendliness. But we would profit much by an increase of solemnity and reverence in the sanctuary itself. The kind of music used will aid in creating this spirit of reverence. It is not necessary to have difficult or elaborate music for our services, but the music should always be the kind that will assist in a true worship program. The ideal instrument is an organ, but other instruments can be used effectively in the hands of a good musician. To do most effective work as a church musician one must seek training and counsel from a qualified teacher of sacred music. Sincerity and consecration are necessary, but a certain amount of careful training is essential if our church music is to be adequate. Much more is involved than simply selecting "classical" music instead of cheap and trivial music.
One must study the meaning and purpose of worship and the kind of music to fit this religious act. As an aid in selecting suitable music for preludes, offertories, and postludes, the church musician should examine the collections by Philip Kreckel, entitled Musica Div'ma, volumes one, two, and three. The music in these volumes illustrates a good type of sacred music.
