Playing an instrument or singing a solo for call to worship in church requires top-notch musicianship. It is not an occasion for testing one’s ability as a performer, but instead, it is a sacred time in which a congregation is led in praising our Lord and Creator. Only one’s best is good enough and the musician must rank amongst the most proficient of musicians and definitely not be a beginner.
For the piper asked to play for call to worship, a few suggestions can be made to help in attaining that degree of perfection.
The first of course, is to assure that his or her instrument is working perfectly and will be beautifully tuned. The pipe bag must be absolutely airtight, to require easy blowing, and no effort to maintain constant pressure, not allowing the slightest waver of the drones throughout the hymn. This assures a steady sound that will be pleasing. If a tenor drone does not stay perfectly in tune, shut it off, and tune the remaining one to perfection. When there’s an opportunity to do so, spend time to restore the drone’s function.
The hymn medley should be selected weeks ahead and be well practiced. Not too many hymns or even too few should be selected. Three or four are sufficient to play in and out and across the front several times. Be sure not to confuse a hymn with any band tune that is similar. Consequently, one should forgo practicing any selection that may conflict with his or her memory. For an example, there are two tunes, “Highland Cathedral,” and “See, What a Morning!” in which there is a similarity in the beginning and one must avoid making a pitfall in which to fall.
Another suggestion is to assure you will be marching in step with the beat and with the emphasis. This is not quite so difficult when playing solo, but in a band everyone must practice the beginning of a three-four-retreat march. It is unlike any other march. Unless one begins differently, then he or she can be assured of playing out of step. The drums should provide the customary roll, but begin instead, by playing it on the right foot. Pipers will begin their introduction of the three-four march on the right foot, with the left foot coming down on the first beat of the bar as it should. In a medley, any tune following the three-four hymns or retreats will then be played in step. The procedure simply needs to be practiced. The usual drummers’ introduction on the left foot just doesn’t work for retreats or for hymns in three-quarter time. This is the simplest way. It makes an appreciable difference to the expression given to the music when one’s feet fall correctly on the notes to be emphasized.
When there are four quarter notes in each bar, it is well to notice that there are two ways in which the music may be played. In 4/4 time, one counts four beats to a bar, while in common time, the count is only two. The signature for common time is a C with a line drawn through it. The beat comes only on the first and third quarter notes. “Loch Lomond” is a good example for this timing or rhythm. Played in 4/4 time, the music is restricted and ponderous, while in common time, the tune flows along smoothly.
While mentioning rhythm, and expression, it is indeed noteworthy to consider the beautiful hymn, “Amazing Grace,” and explain that there is a world of difference in how it might be played as compared with how it should sound. Commonly, one hears the triplet-like notes played as a downward run with emphasis on the last note. Instead, one should endeavor to put emphasis on the first of these three notes. In fact, the whole hymn should be played with a solid beat going on in the piper’s head. Beginning with power in the two introductory notes. With Ah-a, on the right foot, and conviction on the rest of the word, ’mazing,’ which involves the entire first bar. “Grace” comes on the right foot. Throughout, the time is firm and constant, with emphasis placed on the first note of the triplets and power supplied to the high notes that have two or three beats. It is actually a thrill to play this great hymn using power and solid timing to support it. With practice, the beauty in this hymn will be extolled and its sweetness will be a wonderful tribute to God. The pattern used to play “Amazing Grace” may be applied to any other hymn when the feeling they deserve is given.
Once, having been requested to play “Amazing Grace” from the platform in church, for a memorial service, I was anticipating playing it solo for three verses. I completed the first verse, and then, unannounced to me beforehand, the organist drove home the introduction to the second verse, and he was right in tune for me to continue. The Bison Men’s Choir of Winnipeg was in the choir loft and they received the signal from the organist that they were to sing the verse, “When I’ve been there ten-thousand years.” It was a wonderful experience. Now this is often considered to be the third and final verse to the hymn, although there are thirteen verses. I didn’t dare try for another verse, for I had no idea if all the singers would have the same choice for a third verse. So, I gave the signal to the organist that two verses would be sufficient. I would have loved to play all the verses written, but couldn’t take the chance.
Often one hears someone say that his or her music teacher taught that a dotted quarter note causes the note to be played one-and-a-half times as long. That’s true of course, but it isn’t always understood that a dotted quarter note is played with two beats. First, one should notice that the quarter note has a full beat. Then notice that the dot comes on the second beat. Instead of a dot, the quarter note may be tied to the next note, which will be an eighth note, and that eighth note will complete the second beat. This makes a very neat difference in a piece of music, with the quarter note A or F for examples, tied over, then with an immediate short burrel or an eighth note being played to complete the second beat, the note of the third beat is struck. There are several good examples for playing with this neat expression. They are, “The Sands of Kuwait,” “Highland Cathedral,” “The Minstrel Boy” and “Oh! Rowan Tree.”
To be able to play well in the church setting, there is much for the piper to gain from his or her experience in a pipe band in which the pipers and their teachers conscientiously try to produce the best expression. It is insufficient merely to play the pipes, while it is necessary to uphold with pride, Scotland’s traditional and beloved musical instrument, by which one may offer genuine praise to the Lord. I hope with all my heart that these few suggestions will assist pipers to play their very best in the church setting, that all those present my respond well to his or her all-out genuine effort.
