This is a wonderful arrangement of, “How Great Thou Art”. Mark Hayes has to be one of my favorite writers / composers of piano music. His ability to transfer musical ideas into playable, albeit moderate to advanced, finger-fun keyboard merriment is nearly unmatched. I search out his works. My library is stuffed full of well-creased, loosely stapled, worn arrangements accredited to his exceptional musicianship.
These books are of a religious persuasion, of course. I guess I need to say this. From every season of faith, he extracts melodies, harmonies, and rhythms appropriate for services from traditional to contemporary. Pentecostal to Brethren to Lutheran to Catholic… and beyond. Really, any gathering focused on a sensibility beyond our daily go-get ’em grind, … our yo-yo self schedule of daily ups and downs … is a good suit to fit on his body of music.
Specifically for me as an organist/pianist … any weekend collection of human worshipers inside a sanctuary wears well. I thoroughly enjoy the space I occupy behind any keyboard requiring my presence. Mark Hayes isn’t the only partner with me, of course, but on a most recent occasion … he was.
Thus the “Fine Line” of which I write.
The arrangement above is, well, so much fun to play. I’ve had it “under my fingers” a long time. As solo piano hymn music goes, it probably qualifies as “advanced” with some tricky octave passages, “showy” broken chord cadenza-type measures, and nice flowery arpeggios. To the non-music people, let’s just say, “a lot of fluff”. If a hymnal was opened to, “How Great Thou Art”, singing along with Mr. Hayes’ version wouldn’t be possible without a little imagination …
I played this as a Prelude. Here’s the “Fine Line”. It was an emotional dance played mentally in my head – even as notes began their arc into the sanctuary space. (By the way, not just with this piece, but with others as well). “Is this appropriate? Should a wonderful piece like this be played as a vessel to help congregants focus? Or, are they really listening, anyway? Is this about me, or their needs? Am I doing this just for my enjoyment as an artist? Why am I even concerned … Just play it and move on to the rest of the service”.
These, and other similar second-guessing, time consuming, energy draining, brain drain thoughts circle around and around … before, during, and after.
Problem is … I simply enjoy playing. Period.
All the arrangements I have … and there’s a generational ton going back through my grandmother and mother … are literally at my fingertips. Classical, romantic, baroque, modern, Christian. Over the decades, I’ve used them all. Funerals, weddings, solo recitals, special music events, a lot of specific services, accompanying soloists, and on… it’s almost always a question, for me, of appropriateness. What music fits the occasion, … the audience.
And the congregation as well.
They are not an audience; however, when I play a piece like “How Great”, an unimagical, unfantastical transformation happens before my very imagination. This wonderful “fluff” becomes a show piece I never intended it to be … converting a congregation of worshipers into an audience.
I know. I know. It’s what happens in my gray matter. Nobody, I repeat, nobody has ever mentioned a thing. I, alone, have created this hurricane of hazy hymnody.
It’s the fine line of what is, and is not, appropriate.
Even after decades of doing the dance, enjoying this line is a challenge. Play what’s not exciting or an arrangement I don’t find particulary engaging – to appease a prelude space? Or, fill that time with something intriguing to hear, play, and engage everyone’s aural senses, but risk tilting that imaginary spotlight in my direction?
There’s no real answer here. I suppose if I wore my black speckled rhinestone jacket, then someone “may” say a word, or two, to our Pastor. An 1970’s electronic color wheel on the organ could work, probably? For a minute – at least, or until an usher unplugged it. Small, dancing scarfs? A tall piano hat? Elton John glasses? These would be, clearly, an issue. Cause for a ministerial meeting, a personal pastoral interventional inquest.
The beauty in all of this? Music speaks so many languages to so many people. I’ve learned these tiny dots on a manuscript, regardless of what I play, do mean something to someone. On balance, my selections are varied. It’s my own personality creeping in when arrangements of this level present themselves on my music rack.
Heck, I’m just one piano player who worries more than I should. Ten fingers, eighty-eight keys and endless combinations of melodious merriment should be enough for me.
If only my fingers weren’t connected to a brain over-thinking too much instead of just enjoying the “Fine Line” I’ve created for myself.
It’s being human. It’s being a musician, maybe. It’s being alive at the same time as Mark Hayes and being massaged with his genius every time I open one of his books. He’d probably tell me to let the music speak for itself and don’t worry about anything else.
I’ll try to do better with all of it, Mark. My words … and my personal prelude piano problem.
Promise.
