Lines and Spaces
Page 2
Song and Scroll Ministries
4840 Forest Drive
Box 127
Box 127
Columbia, S.C. 29206
Board of Directors
President: Ryan Smith
Vice-President: Michael Lines
Secretary/Treasurer: Vaughan Thandroyen
Internet:
http://www.songandscroll.org/
Email: ryan@songandscroll.org
Song and Scroll Ministries exists to help local churches promote musical and worship excellence within a sound biblical framework. We are a 501(c)3 organization based in South Carolina. All charitable donations are tax-deductible. Please contact us for more information.
participate in singing without unnecessary distractions.
A third concern for the pianist is the register in which he plays. The congregation must hear their pitches above (soprano) and below (bass) the voices in order to carry across the congregation. Organists add 2’, 4’, 16’, and mixtures to 8’ pipes because the 8’ pipes share the same range with the human voice. Similarly, it is important for the pianist to play an octave above the written pitches so that the congregation can hear the melody above their voices. When a congregation cannot hear their accompaniment, their singing inevitably suffers from pitch and rhythm insecurity.
The pianist can double the soprano and bass lines whenever possible. If playing octaves is too difficult, the pianist should loudly play the soprano line an octave above the written pitches. Descants and accompanimental figures can be added once the congregation is settled in tempo and pitch, which usually happens on the later verses.
Fourth, it is critical that the pianist play assertively. This principle does not mean that the pianist should force or punch the tone, but rather he must sustain a controlled forte (or even fortissimo). Depending on one’s hand size, the congregation benefits when the pianist plays with thick chords across several octaves with full volume.
Finally, endings of stanzas have to be carefully timed. Hold the last note for its full duration, and avoid the temptation to rush long note values in general. Make sure that the congregation can hear a breath leading into the beginning of the next stanza. If not, the stanza will begin clumsily.
Although this article is not an exhaustive treatment of congregational accompanying, one can see that it requires different skills from accompanying a soloist, choir, or other ensemble. The pianist must lead the congregation with strength and assertiveness so that the congregation’s singing will have the potential to be more spiritually exuberant and musically fulfilling.
