Preparing for Stake Conference

In March, for the first time, I will be playing for all three sessions of my stake conference. As I've been spending hours in preparation, I thought I'd create a post that shares the steps I'm currently taking to prepare.

The most important part of my preparation is seeking the Spirit. With the Spirit, music is very powerful and can change lives. The Spirit extends our preparation, and makes up for what we lack. Without the Spirit, music can still be powerful and awe-inspiring, but that's all it is--it fails to reach deep inside the soul. This reach is necessary to bring healing and to strengthen testimonies.

As part of this pursuit, I asked for a blessing to aid me. This blessing helped me center my focus on my Savior, and provided much-needed guidance.

Postlude

First, I worked out my postlude. I made a list of pieces that I felt would be appropriate, then played through each, listening for promptings as to which pieces would be the best, and which session they should follow. A couple of my final decisions surprised me, as they weren't what I expected to end up with, but I'm excited for them. I think they'll be very appropriate and "extend the spirit of the meeting" beautifully. I chose one piece for after the leadership session, and two pieces each after the other sessions.

Prelude

Prelude is where I've spent most of my time preparing so far, and these steps take place over a number of weeks. First, I looked through my collection for pieces that jumped out at me, played through each of them, then made a list of pieces that I felt impressed to play. Often I even felt which session they should precede, which I noted next to the pieces in my notebook.

For this conference, the pieces I chose for the leadership session prelude mostly focus on the restoration (it's the 200th anniversary of the First Vision); the evening adult session prelude pieces are all of comfort and turning to the Savior; and the general session pieces include a number of Primary song arrangements. These themes aren't by my design, but emerged as I played through the pieces, listening for the promptings of the Spirit.

Next, I roughly sight-read through each piece, at the proper tempo, and made an initial timing of each one. This will guide me as to how many pieces I'll be able to play before each session: I have been allotted 15 minutes of prelude for the leadership session, 15 (but I'm requesting 20) for the adult session, and 30 for the general session.

Now that I have the estimated timings, I will make reduced copies of each piece, and tape them together to avoid page turns, then I'll practice and register each piece. Once the pieces are learned, I'll spend time on each organ to finalize my timings with registration changes. The final piece in each set will be one that can be extended or ended early if needed. This is especially important for the general session, as the choir will be singing a piece for prelude, and I may need to pad that time a little bit, to avoid an awkward silence after the choir finishes, but before it's time for the meeting to begin.

I also plan to provide the counselor over music in my stake presidency a copy of my prelude pieces along with the projected starting times of each piece, and a list of my postlude pieces. This is a courtesy and shows respect to the presiding authority over music for the meetings.

Hymns

When I began to prepare the hymns, I first read the hymn text, marked textual breaks, and decided how I wanted to treat each verse. Then I looked for reharmonizations/free accompaniments for final verses or introductions, and played through them to see if I felt they would be appropriate. Since several of the hymns were less familiar hymns about the restoration without any reharmonizations readily available, I reached out to a friend of mine, Mike Carson, who graciously arranged "hymnbellishments" of each of them.

(For ideas on hymn preparation, feel free to read my article here, entitled, "Let the People Sing!")

Practice

Now, I just need to practice, practice, and practice! I can do a lot of this on my home organ, but I'll also be spending a fair amount of time on the organs I'll be playing for conference. The first two sessions will be at my ward building. Since we're a new stake without a stake center, our general session will be held at a larger venue with an unfamiliar pipe organ.

Additionally, one of the choir pieces, which will be performed as the closing hymn, is written for choir and organ accompaniment, so trying to get that balance in just one rehearsal Sunday morning on a pipe organ will be very tricky. I'll register and practice several options, then have someone listening to the run through who can give me immediate feedback. Hopefully the balance will be okay!

Conclusion

While preparing to play for three sessions of stake conference over two days is intense and very time-consuming, I also use these methods to prepare for every service for which I play the organ. I'm currently employed as an organist for a United Church of Christ congregation, and every week I prepare in a similar manner. Now, typically my weekly focus is less on prelude and more on the hymns, offertory, and postlude, as well as the piece I play during monthly Communion, but the concepts are the same. This preparation can also be followed for funeral services, and even weddings.

How do you prepare to play for worship services? Do you have any suggestions to share that I haven't mentioned?

Playing for Funerals

Playing for your first (or second or third) funeral can feel quite overwhelming. I've heard from many organists who have asked for help in preparing for a funeral service. What music should be played? What happens when? What registration should be used for the hymns? Funeral services, especially in an LDS service, are fairly straightforward.

In the Church Handbook of Instruction, we learn that the music should include "the comfort afforded by the Savior's Atonement and Resurrection." Additionally, we learn:

Music for funerals might include prelude music, an opening hymn, special musical selections, a closing hymn, and postlude music. Simple hymns and other songs with gospel messages are most appropriate for these occasions.  Opening and closing hymns are usually sung by the congregation.

Having played for many funerals, held both at LDS meetinghouses and mortuaries, I've found that they typically follow a similar pattern, which I'll outline below.

Prepare in Advance

For a funeral you will need a flexible amount of prelude music (I once played for a funeral that started 25 minutes late), a piece to play while the casket and family are coming in to the chapel, music for the service which will include congregational hymns and possible accompaniment for musical numbers, a piece to play as the casket and family leave, and postlude music. If possible, ask the family if they have any requests. God Be With You Till We Meet Again is very popular as the casket leaves, but once I was asked to play There Is Sunshine in My Soul Today.

Gather the pieces you plan to play, and come up with a basic registration plan. This will save you time once you are able to practice on the actual organ.

I recommend trying to find time on the organ before the day of the funeral if possible.  If not, arrive fifteen or so minutes before the viewing is scheduled to begin.  Chances are, the church or mortuary will be open, the chapel will be empty, and you'll have time to become familiar with the organ. Quickly figure out your registration plan for each piece--hopefully several of the presets will provide a starting point.

Prelude Music

Many funerals are preceded by a viewing at the location where the funeral is to be held. Because of this, quite often those attending will wait in the chapel thirty minutes or more before the service begins. Sometimes family members will be piecing together their musical number during this time as well. It's important to be flexible and make sure the family is accommodated.


You can start prelude at any time, but I try to start playing once several people are in the chapel, waiting. The purpose of the prelude music is to bring comfort, and to bear testimony of the Plan of Salvation. Choose pieces, such as Abide With Me, Nearer My God To Thee, Lead Kindly Light, Each Life that Touches Ours for Good, and Children of Our Heavenly Father. Funerals for a child could also include Primary songs, such as I Am a Child of God, Families Can Be Together Forever, I Lived in Heaven, and I Need My Heavenly Father.

Be flexible. The family will enter the chapel after the family prayer and the closing of the casket.  They may arrive earlier or later than expected. In my personal experience, the family is usually a little late. Keep an eye out towards the doors for any sign that the family is coming, and make sure your processional piece is accessible and ready to go.


The Processional

Generally, someone from the mortuary will ask the audience to please rise. This is your cue to begin the piece that you've chosen to play while the casket and family are coming in to the chapel. This piece should be easy to end or extend--have places marked where you can repeat or cadence for an ending. After the entire family has taken their seats, it will be announced for the audience to be seated, and you'll need to end the piece--take care to end on the tonic chord!

Congregational Hymns

The biggest error I've seen with congregational hymns at funerals, is lack of good foundational support from the organ. Our religious culture is one of singing! Even at a funeral service, it is important to support the congregation with adequate volume and registration, as I shared in a previous article. Some organists register with more mellow and dark registrations for funerals, but I tend to let the hymn text direct my choices. Remember--we are testifying that after death we live again. Make sure your registration choices reflect the Plan of Salvation.

Special Musical Numbers

Quite often the family will take care of these, but about half the time I'm also asked to accompany at least one special musical number, typically from the hymnal or Children's Songbook on the piano. Be prepared for this possibility. In these instances, I ask if they can meet before the viewing in the chapel for a quick run-through.

The Recessional

Following the closing prayer, I usually begin playing the piece I chose for the recessional with the expression pedals fully closed as the officiant again asks the audience to rise and the pallbearers to come forward. At that time I'll increase the volume.

At President Monson's funeral, I noticed the recessional music didn't begin until after the pallbearers were called forward. Whichever you decide is up to you, but if you do start playing immediately, make sure the officiant can be heard clearly.

Postlude

Typically one or two additional postlude pieces are sufficient. Most of the members of the audience are friends of the family who will also attend the graveside service. I usually finish up the recessional piece and play one additional arrangement.

In Conclusion

Once you know what to expect, playing for funerals doesn't differ too much from playing for a traditional worship service. Good preparation and flexibility is key!

What are your favorite pieces and arrangements for funerals?

Preparing Congregations for Worship

I've had the privilege to play the organ in the temple for 2 1/2 months so far, and it has been a wonderful experience. I have the early morning shift, every-other week, which allows me to be home before my kids leave for school. During this time, I've learned a lot about preparing those in attendance for worship, and I was able to implement these principles as I played prelude for our adult session of stake conference on Saturday evening.  I wanted to share my suggestions and experiences with you.


The picture I took before playing for the second time in the temple
Earlier this year, I attended a class where Mike Carson, former dean of the Utah Valley AGO chapter and current Bonneville District Convener, mentioned being careful not to be "intrusive" with our playing.  At the time, I didn't really understand what he meant, but filed that thought away for the future.

I began playing in the temple the first week of July, and it seems that each time I'm there I learn a little more about effectively preparing those in attendance for worship.  I now know what Mike meant about being careful not to be intrusive.  The purpose of prelude music isn't to call attention to ourselves, and we aren't playing to perform beautiful organ music.  The purpose of prelude music is to prepare those in attendance for worship.  While these following suggestions and applications are specifically intended towards adult congregations, I'm sure they can be adapted or modified for services which include children.

1. Don't compete for volume

While the temple chapel is generally very reverent, there are times when whispers or dialogue become noticeable and distracting.  Instead of increasing the volume of the organ slightly to cover the noise, I've learned that it's much more effective to decrease the volume of the organ.  If the organ is softer than the dialogue, generally the person talking or whispering will become softer or stop talking altogether as they respond to the decreased organ volume.

As soon as I began my prelude Saturday evening, the volume of voices in the chapel increased noticeably.  Instead of opening the expression pedals a little bit more, as has been my habit, I decided to try what works in the temple, and decrease the volume.  The volume of the voices immediately returned to the pre-organ level.

2. Keep it simple, and play the hymns

In the temple, the organists are asked to play the hymns and songs from the Children's Songbook as written, without alternate harmonies or arrangements.  The simple four-part harmonies and chord progressions do not draw undue attention to themselves and allow those listening to pursue their own thoughts and ponderings.

Saturday evening, instead of using my normal prelude books and pieces, I felt that I should use my copy of Easy Hymn Preludes for Organ, outlined towards the bottom of the article here, which was published by the Church in 1982 but is now out of print. My registrations were simple and subdued, the arrangements were beautiful in their simplicity, and many portions of the pieces are played in the manuals, using the pedals sparingly as emphasis.  This prevents the pedal drone that many prelude pieces utilize, and which I now think might contribute to more congregational noise.

3. Embrace silence

As I play in the temple, I am not afraid to lift all four voices at the end of phrases as the text directs, or where rests are indicated in the staff.  I allow some silence between hymns as I turn the pages in my binder of music.  Allowing that moment of silence reestablishes a quiet baseline, despite the volume of the music that comes from the organ.

After taking down the volume of the organ Saturday evening and playing a simple yet beautiful piece to begin my prelude, it was during the silence between the first and second piece where I really heard the volume of the congregation decrease. As I continued to play, if the volume started to creep up, I simply allowed for an extra moment of silence at appropriate times in my prelude music, and the congregation readily responded.

4. Do not look around

 During my orientation at the temple, I was asked not to look around as I played, but to focus on the organ and my music.  Following this direction allows me to focus on the Spirit as I contemplate the needs of those in attendance, instead of becoming distracted by the faces of those sitting in the chapel. I've found that I can sense the needs of those in the room best when I follow the Spirit's direction instead of using my eyes.

My husband did not drive with me Saturday evening, as it was taking longer for the the kids to finish eating dinner, bathe and settle down than we had planned.  I didn't allow myself to focus on whether or not he was here yet as I played.  I didn't look to see how full the chapel was getting, or to see how many people I knew that were there.  These visual distractions are just that--distractions.  They get in the way of the Spirit, and prevent the organist from focusing wholly on the prelude.  I was actually surprised when the meeting started to see that my husband had not yet arrived.  I was grateful that I was unaware of that fact until after my prelude had concluded.

5. Play with the Spirit

The hymns are powerful.  There are times when I'm playing in the temple that I feel impressed to play certain hymns, and I know that there is someone there who needs the comfort, strength, or healing power found in that particular hymn.  When I focus on the words and do not allow myself to be distracted with other things, I feel that my playing brings with it a special spiritual effectiveness that is not present if I'm just playing the notes with my thoughts elsewhere.

Before beginning my prelude Saturday evening, I took a moment to let go of the frenzied craziness of the day.  I took a deep breath, said a silent prayer, and allowed peace to enter my heart.  As I played the prelude, I felt the Spirit of the hymns.  I thought of the words of the hymns, and I sought to allow my playing to be an instrument in bringing the Spirit to the meeting. I had such focus, that there were times I completely forgot the room and the environment as I played the beautiful hymns of Zion.

As the chapel and cultural hall filled during my 15 minutes of prelude, I had the most wonderful experience. I was filled with the Spirit, and was able to play my pieces with that Spirit, and without distraction.  A beautiful reverence extended over the entire room, and I felt almost as though I was again playing in the temple as the adults who entered maintained the existing reverence of the room.  When the Stake President stood to begin the meeting, you could have heard a pin drop.  I was given the distinct assurance that those in attendance were prepared to hear the word of the Lord.


While I know that this experience is unique (I have never experienced anything like it), hopefully these suggestions and applications can help you as you strive to prepare your congregation to worship in your respective meetings.  I feel that I was taught these principles as I served in the temple of the Lord, and wanted to share with my readers.

As always, thank you so much for visiting!

Hymn 119: A Call to Worship

In a recent article I shared some new insights of mine regarding a "Call to Worship."

Here is my arrangement, free to you.



For verse 2 instead of using my version with the pedal point, I instead chose to use the first verse of Douglas Lemmon's arrangement in his book Preludes SAC.

How Did It Go?

I began prelude 20 minutes early, but the chapel was already getting "chatty" as the choir had finished 10 minutes earlier. I began with Larry Beebee's "Father, I Will Reverent Be," but it didn't help much. I wasn't too worried, as a louder congregation would really put my new technique to the test.

Halfway through the chimes introduction of my "Call to Worship" piece, the chapel and cultural hall quieted almost completely. I played through the hymn and second verse before my time was up, and the chapel was completely silent for that entire prelude piece. The music and reverence really invited the Spirit. Then the Stake Presidency member stood to begin the meeting, and commented on how wonderful it was to have time to reflect before the meeting. The meeting began on a spiritual note--it began with reverence.

After writing the previous article, I was unsure of how it this technique would be received, but I felt completely at peace, so I went ahead and tried it. Now that I've used it, I have no hesitation in recommending it--sporadically, of course, or it will lose its effectiveness. It really set the right mood for this meeting and I'm very glad I went ahead with it.

If you decide to use this "Call to Worship," let me know how it goes!

Lesson 12: Prelude and Postlude

Click here for Lesson 11: Prelude Registration.

"Quiet prelude and postlude music creates an atmosphere of worship that invites the Spirit into Church meetings. The organist or pianist usually plays hymns or other appropriate music for five to ten minutes before and after a meeting. Playing hymns helps members review gospel teachings in their minds."

--Church Handbook of Instructions

In our last lesson we learned prelude and postlude registrations from Dr. Don Cook's new handout. This lesson we will cover the importance of prelude and postlude, and touch on what types of pieces are appropriate. In future articles I'll go into more specifics, but the purpose of today's lesson is not to teach technique, but to bear testimony of the importance of prelude and postlude music.

Prelude Aids Revelation

Boyd K. Packer has said, "Prelude music, reverently played, is nourishment for the spirit. It invites inspiration. That is a time to, as the poet said, 'Go to your bosom … and ask your heart what it doth know.' Do not ever disturb prelude music for others, for reverence is essential to revelation. 'Be still,' He said, 'and know that I am God.'"

This statement echoes my own feelings on prelude music. With my young, large family it rarely happens, but my favorite thing to do is to arrive to Sacrament meeting fifteen minutes early to sit and ponder as I listen to the prelude music. It doesn't have to be complex; in fact, as long as the music is well-prepared and appropriate, even the simplest pieces have the power of the organist's testimony within them.

Robert C. Oaks shared:

"[W]e should be able to sit quietly during prelude music and meditate on the beauty of the restored gospel, prepare our hearts and minds for the sacrament, and ponder the majesty of our Heavenly Father and the splendor of the Savior’s Atonement. Where better to consider such sacred and weighty matters? These manifestations of our worship will naturally be accompanied by an attitude of reverence.

"...[O]ne Sabbath day as I sat during the prelude music...[m]y wife and I had been seeking spiritual instruction on a particular question in our lives. Thankfully, the answer came through the particular prelude hymn selected. In response to the sweet melody, the Spirit clearly indicated the appropriate course for us....From this experience I gained a special appreciation for the sanctity of a quiet prelude moment."

What to Play

The Church Handbook of Instruction states that prelude music should be "quiet" and consist of "hymns or other appropriate music." Merrill J. Bateman has recounted an experience where the organist at stake conference was "absorbed in presenting a Bach concert," and due to the volume level of the organ and corresponding irreverence of the congregation, President Boyd K. Packer told the organist that he "had a special responsibility to bring the Spirit into the building and prepare the members for the meeting." He then asked that organist to continue his prelude from the hymnbook.

Does this experience mean that all prelude must be from the hymnbook? It does not. However, it illustrates the importance of an organist who is sensitive to the Spirit.

Boyd K. Packer has shared, "An organist who has the sensitivity to quietly play prelude music from the hymnbook tempers our feelings and causes us to go over in our minds the lyrics which teach the peaceable things of the kingdom. If we will listen, they are teaching the gospel, for the hymns of the Restoration are, in fact, a course in doctrine!"

I love to play reverent hymn arrangements for prelude music. As I play, I recall the words to the hymns. I register the organ according to the message shared, and bear testimony through song. Generally, the topic of the meeting is known to me in advance and I strive to choose hymns and other sacred pieces whose message reflects that of the upcoming meeting. Sacrament songs are also very appropriate, as they allow the congregation to reflect on Jesus Christ and the upcoming Sacramental ordinance.

When to Start

Russell M. Nelson has stated, "Those participating should be seated at least five minutes before the meeting begins so they can be spiritually prepared for a worshipful experience. During that quiet interval, prelude music is subdued. This is not a time for conversation or transmission of messages but a period of prayerful meditation as leaders and members prepare spiritually for the sacrament."

The Church Handbook of Instruction states that prelude should begin five to ten minutes prior to the meeting. I, personally, believe it should begin no later than 15 minutes prior. However, for stake conference my rule of thumb is 30 minutes before, sometimes even sooner, depending on attendance. Prelude provides the Spirit for the meeting, so as soon as members begin to arrive, I begin my prelude.


Postlude

While prelude music is often spoken of, not much is shared about postlude music. Often it is included as an afterthought--since we have prelude, we've gotta have postlude, right? It's the bookend to the service.

In the Ensign, Jay E. Jensen wrote, "[P]ostlude music ... extend[s] the spirit of the meeting."

What a simple, profound statement. Postlude music is not exit music. It's not celebratory music that signifies the meeting is over and it's time to stretch our legs and visit.

Just because every one is leaving doesn't mean no one is listening.

Postlude music should reflect the spirit of the meeting. If the meeting was quiet and reverent, the postlude music should also be quiet and reverent. If the meeting was jubilant and full of praise, the postlude should also reflect jubilation and praise. It's a good idea to prepare two contrasting moods for postlude, then play the one that is most appropriate.

While prelude is a time when I, personally, prefer to play simple and reverent arrangements, during postlude I don't mind playing more complex hymn arrangements or even classical pieces. However, I always strive to listen to the Spirit--for without the Spirit, what is music?

In the New Era, Eric D. Snider shared a special experience he had with playing postlude music:

After the closing prayer, which built upon the Spirit we already felt, I played some quiet postlude music as people talked and began to filter out. I played “The Spirit of God” (Hymns, no. 2) very softly on the upper keys. It’s hard to explain, but sometimes just believing in the words of the song you’re playing, and having the Spirit with you, causes you to play so that the people listening feel what you’re feeling. You can actually express your emotions through the way you play the song. It doesn’t always happen (at least not to me), but it happened this time. I really felt what I was playing, and I really wanted to convey a message by the way I played it.

"As I played, I noticed that someone was behind me watching and listening. I finished the hymn and quickly glanced to see who it was. It was Elder Smith, someone I didn’t know very well. He was standing there, crying.

"He had already felt the Spirit during the meeting, like the rest of us, and now the music was helping to intensify it. So I kept playing.

"That’s when it struck me. For perhaps the first time, I was playing the piano, not for my own enjoyment and not to receive praise, but to help someone feel the Spirit. I actually, truly wanted to be an instrument in the Lord’s hands and serve him. In this case, the best way I could serve him was to help convey the Spirit to one of his children through music."

When to begin postlude

At the end of the closing prayer, the congregation audibly voices "Amen," which is followed by just a beat of silence before everyone starts to stand up, gather things together, or chat with a neighbor.

In my opinion, that beat of silence is extremely important in solidifying the mood of the meeting. Often times the organist is busy shuffling music and setting stops while the first members of the congregation head out of the chapel and other members begin chatting, causing this precious time to be lost. However, if the organist begins postlude during that one beat of silence, the congregation intuitively feels the Spirit of the music and members are guided to be more reverent and reflect on the music that is being played--in effect, the music allows them to reflect on the Spirit of the meeting they just attended. It is very important to seize this precious moment; waiting causes the congregation to move on to thoughts of the next meeting or to thoughts of home.

Homework

If you are not currently serving as organist, ask your ward music chair if you may play organ prelude and/or postlude for an upcoming meeting.

Continue using Hymns Made Easy, to prepare simple and reverent prelude pieces in the solo and accompaniment style. Try playing one verse with a chorus registration, playing the second verse with solo and accompaniment registration, then the third verse with a different solo and accompaniment registration.

Prepare 10-15 minutes of prelude for a Sacrament meeting with the topic of your choice, or the topic provided by your ward music chair if you are practicing to play for an actual meeting. Also prepare two 5 minute-segments of postlude music in contrasting moods, as discussed above.

In Conclusion

Prelude and postlude music is often taken for granted in the Church. However, as an organist it is important to make sure that prelude and postlude music for your congregation is well-prepared and selected with the guidance of the Spirit--in this way lives can be touched through music.

Continue on to Lesson 13: Thumb Glissando and a New Hymn.