Organ Hymn Accompaniment

Accompanying the congregation is at the core of what a church organist does.  Whether alone or with other instruments, the organ provides the foundational sound for most congregational singing.

Introducing the Hymn

An effective introduction guides the congregation into the song. The organist's goal should be to:

1. Establish the key
2. Set the tempo
3. Demonstrate the melody

Make sure the key is well established. If you are playing a full stanza introduction this is not a concern; however, if a short introduction is being used try to include a perfect cadence. This is a chord progression from the dominant to the tonic (V - I). This will leave no doubt about what key the hymn is in.

Set strict tempo and stay with it avoiding any slowing before the first stanza. If everyone is in sync, singing will be much more enjoyable and no one will be embarrassed by coming in to early. It will also lessen the tendency of the congregation to come in a few words late after they get the feel of the song.

Make sure the melody is prominent. Use stops strong enough to be clearly heard by all but the most severely hearing impaired. If you are playing a short introduction, use the first part of the stanza for and hymn that is not very well known then transition to a perfect cadence,(V-I chord sequence). The last two or four bars can be used alone for readily recognized hymns(i.e.. Amazing Grace).

The organist needs to achieve clarity. You may be able to play beautiful melodic variations and fill the sanctuary with florid and expressive pipe tones but save that for your solo playing. Keep the introduction simple and straightforward.

If all the above has been implemented in your introduction the congregation should be well-prepared to begin singing.

Playing the First Stanza or Verse

The first stanza should be played in a straightforward manner. A simple basic four-part reading with a moderately loud registration will guide the singers through this initial verse. There will always be some who are not familiar with the hymn and others who need to be reminded. This is where you can help them learn. Listen to how they are singing. If the congregation is having trouble consider switching to a loud solo melody with softer accompaniment. If the song is in a verse, chorus structure continue this same style through the first chorus.

Altering the Middle Verses

It is best to add some variety to the accompaniment. There are several ways to do this. You could:

1. Change the registration
2. Vary the voicing style
3. Add an counter-melody line
4. Play an obbligato line
5. Introduce a rhythmic pattern.

Changing the registration is the easiest way to add variety. Try a flute chorus or add a solo reed or any other countless combination change you can imagine.  Just remember to keep a balance with the singers. They need to hear you but you are after all just the accompaniment, they are what hymn singing is all about. This kind of change is the only one recommended for less familiar hymns. If you are playing a well-known piece then try one of the following techniques:

Vary the voicing style

You could double the melody an octave lower filling in the appropriate chord tones in between. Another variation would be to play a solo or duet with the right hand while playing accompaniment chords with the left hand.

Add a counter-melody

Use any counter-point theory you have learned and make a counter-melody ensuring however that the melody is still prominent and clear.

Play an obbligato line

Often the alto part can be borrowed as a basis for this by playing it an octave higher than written altering it a little to avoid fingering problems or to improve the line.

 Introduce a rhythmic pattern

If the type of hymn will allow, you might be able to create a little rhythmic pattern that adds motion and interest to a verse. Just be sure that adds to the clarity not confusing the basic rhythmic feel of the song.

Ending the Hymn

Decide what the dynamic direction of the song should be. If there will be a big climax then strengthen the registration with mixtures and reeds and also play some expanded chords. If a quiet ending is desirable then reduce the registration down to a string stops finishing with simple harmony.