One of my music dictionaries provides the following definition of music; “the art of combining sounds or tones for reproduction by voice or various kinds of instruments in rhythmic, melodic and harmonic form so as to affect the emotions.” The Salvation Army band is privileged in that few other instrumental ensembles can claim the hymn tune as its basis for music-making.

If we really believe in the importance, the worthiness and the usefulness of our message in music, then surely we must attempt to make beautiful music through the medium of the hymn tune. “Anything for Jesus’ is one of our early tunes, (No. 387) but alas it is too often an apt description of the efforts of many bands in this regard. When was the last time that your band opened rehearsal with the playing of a hymn tune, not just for “warm-up” but with the avowed intent of making music to benefit a King? Yes, we are privileged; our music is for the GLORY of GOD!

Some time ago I listened to a well known Army band “warm-up” by playing “Deep Harmony”. Immediately it was apparent that the evening festival would not be one of life’s musical highlights! The balance and blend was acceptable but the band plodded from note to note; the choice of articulation was inappropriate; and there was little attention to shaping or phrasing of the tune. Alas, the responsibility for such indolence rests squarely on the shoulders of the bandmaster. Enthusiasm for hymn tune playing must be generated by the man in the middle!

It is no coincidence that the player who can play a hymn tune with sonorous tone and sensitivity is likely to be one of the band’s better instrumentalists! He has realized the importance of developing tone and style through the meticulous and analytical practice of hymn tunes. It is likely, also, that he can cope with most of the Arban exercises. Alas, the converse is not necessarily true!

Technique alone is insufficient for the successful performance of a hymn tune. I have admired the technical wizardry of some of our younger players in music camps only to be acutely disappointed in their inability to play a simple melody with warmth and insight. In a collective sense this is true also for the ensemble.

The band to which I referred above gave a competent, if unimaginative, performance of “The Holy War”, (a 9 rating in the Himes Music Index scale of technical difficulty) but its above average technique was of no avail in its attempt to play a simple hymn tune.

Some years ago Trevor Groom - a superior euphonium player - visited London for our band weekend. He played several taxing solos, (and Norman Bearcroft’s duet “Time Piece” with Major Bill Brown) but he is remembered for his masterful playing of the hymn tune “ South Shields” in the Sunday Morning Service.

The hymn tune is an integral part of worship services and can enhance (or ruin) the worship experience. It is also a great device for teaching and training the individual or the band. Here then, are a few tips on hymn tune playing.

Breath Control

Correct breathing and control of the air column is absolutely essential to enable satisfactory phrasing, to secure the desired dynamic levels, and to adopt a vocal style. Brass players must breathe! The bandmaster, therefore, must indicate clearly his intentions with regard to phrasing and develop gestures or signals which communicate to his players his shaping of the tune. Players must not be allowed to breath haphazardly.

The demands imposed on tuba and trombone sections obviously are more onerous than those of the cornet section, therefore, team work is essential in order to cover the gaps which would be apparent, for example, in a four bar phrase in “Deep Harmony”.

Section leaders should be encouraged to analyze breathing requirements for his section and take responsibility for sensible arrangements, thus conserving the bandmaster’s valuable rehearsal time. The bandmaster should involve the entire band in an analytical approach to breathing and eventually, after many hours of conscientious rehearsal, an understanding will develop which will result in a second sense” between section members, the bandmaster and the entire band.

Articulation

The selection of the cornet articulation is imperative. For example, turn to page 128 of Band Tune Supplement No. 1. The articulation for No. 732 “St. Margaret” probably should be a legato “too”. For No. 733 “St. Phillip” it would be a brighter “doo” type of articulation while for No. 731 “Ring the Bells of Heaven” a “too” attack would be employed.

Note values are important too, and while “St. Margaret” would be a legato treatment where each note is given maximum value, space should be accorded to the articulation of quarter notes in “Ring the Bells of Heaven” to provide buoyancy and a sense of lilt to this cheerful tune, in other words a “mezzo- staccato” style.

Remember, however, that articulation must always be precise, and that rapid tongue movement is just as important for legato as for staccato. Never allow articulation to develop into savagery in a march-like hymn tune or “staccato” playing. “Staccato” simply means that there is space between notes.

It is a good idea to develop the band’s articulation by playing a hymn tune in “pizzicato’ style. For example, try No. 379 “Onward Christian Soldiers” like this at various tempi:

…or No. 87 “St. Peter” very slowly like this:

You’ll be surprised how difficult this is, to get twenty-five or thirty players to articulate the tones precisely, together! Therefore teach “staccato” before “legato”.

Phrasing

Phrasing is linked closely to breath control. However, it is the conductor that must dictate the phrasing or shaping of the music. The hymn tune must be embellished with a sense of direction and purpose; it must flow and have momentum, a feeling of pulse and vitality. These qualities are not related to tempo; there is no need for a slow moving, legato hymn tune to be lifeless!

Make sure that each phrase in the hymn tune is extended to its maximum length and rounded off neatly. Always shorten the phrase before a breath to ensure that the flow of the music is not inhibited and the beginning of the next phrase is not delayed. This will avoid what is commonly called “delayed beat” playing. On behalf of all bandmasters I would point out that there is no such thing as “delayed beat”, just “delayed bands”!

Therefore when playing “Deep Harmony” breathing would be arranged thus:

and not...

Open a pdf to print or save the Exercises

Play in shapes, not plodding from note to note. This may be considered analogous to reading. We don’t punctuate individual words when we read but rather join words together to make grammatical sense using nuance and inflection. We must play tunes similarly, making each phrase interesting. The conductor should design the phrasing in such a way that there are peaks to provide contrast. This may be accomplished by judicious use of rubato, crescendo and diminuendo. This requires musicianship and sensitivity on the part of the bandmaster. Silly effects and gimmickry are intolerable.

Remember that precision in the ending of a phrase is just as important as the start. Beware of sluggish movement in cadences, especially in the tuba section!

 Balance and Blend

Each player must be encouraged to listen carefully to his contribution to his section, and to the band as a whole. The conductor should be aware of the balance problems inherent in the brass band, (to say nothing of tuning and intonation!) and in particular the matching of dynamic levels between the bright sounding (comets and trombones) and mellow instruments.

It is simply not good enough for every member to blow “forte”. There must be an analytical regard for the harmonic balance and it is the conductor’s responsibility to listen carefully and ascertain good balance. For example, in very simple terms, the fifth of the chord should never outweigh the third in the final note of the tune.

As for the blend, it is important that uniformity of tone be achieved wherever possible. One cornet player with an uncontrolled vibrato or a bass trombone with strident, aggressive playing can quickly ruin an otherwise good band. Individual mannerisms or idiosyncrasies cannot be tolerated.

Practicing Hymn Tunes

The bandmaster must demand teamwork. All members should bend entirely to his requirements even if some disagree with his concepts or interpretation. Players should always keep plenty in reserve both for phrasing and dynamics, but should intake only sufficient air for the successful negotiation of each phrase. Bandmasters should play up to the metronome (so should corps organists!) Too often conductors misjudge tempi and err on the slow side. = 60 is quicker than most bandmasters think!

Practice hymn tunes at pianissimo, but remember that this should only be as soft as the ensemble is capable of producing good tone. Beware of fortissimo! Remember this can be only as loud as your weakest players can produce good tone. After all, what is the point of four capable solo cornet players blowing fortissimo if the second comets can’t match them? Immediately there is a balance problem. We often hear the phrase “Can they ever blow!” applied to superior bands. Oh, yes, they can blow, but not as loudly as some listeners think! It is impeccable balance and attention to tuning and intonation that produces great sound! A perfectly balanced forte will sound much more convincing than an ill-balanced fortissimo! It will ring, it will glow!

This is a very brief overview on hymn tune playing. Conscientious practice by individuals and analytical rehearsal by the bandmaster will produce exciting and rewarding results. There is no short cut, so if you do not play hymn tunes in your daily practice, or if you don’t devote ten minutes or so in each rehearsal to hymn tune playing, start now!

Eventually, the bands playing at the hospital on Sunday morning; or as a prelude to worship; or in the devotional period of a concert will become more meaningful. You will experience a glow of satisfaction having made beautiful music and you will have inspired and blessed the listener!