The organist (who is generally also the choirmaster) should, of course, strive constantly to improve his work by study and practice.
One can scarcely imagine an organist - student of veteran - coming to a service without some preparation, but too many organists are much better prepared for their voluntaries and postludes than for their duties as accompanists. No sensible person would advise a student to neglect his technical studies and organ literature (no sensible student would heed such advice!) but he who undertakes the playing of a church service must realize that his principal role is that of accompanist, and that if he fails in that role he fails completely in the judgement of his congregation, play he Bach fugues ever so expertly.
From a purely technical point of view, the playing of hymn tunes is a fairly simple matter. Yet, of two organists playing the same chords with the same degree of accuracy, one may infuse the service with life and warmth, while the other may be uninspiring to the point of dreariness. The difference between the two is not accidental: it is not always a matter of talent, either, for the brilliant recitalist may prove to be a broken reed when the clergy, choir and congregation are looking to him for support and inspiration. It is a matter of forethought and attention to detail.
The singing of hymns by a congregation of untrained voices requires a great deal of inspiration and suggestion from the organ if it is to have much meaning. We all deplore the sentimental fellow who keeps one foot on the expression pedal and pumps it in and out with little or no provocation; but there are many opportunities of emphasizing the sentiment of the words without making one's accompaniment spectacular of ridiculous. It might be observed that such emphasis is not always achieved by increasing or decreasing volume: a change of registration may be even more effective than adding stronger stops or opening the swell box. The point is that the organist should devote part of his study period to becoming familiar with the hymns and finding out what sort of accompaniment aids best in deepening and strengthening the sentiment of the words. The too confident player who scorns the practising of hymn tunes will, despite all the presence of mind he may posses, miss many opportunities for effective playing.
The accompaniment for the canticles and psalms is likely to require more preparation than the hymns. The organist should be well versed in the general principles of chanting and, particularly, in the method used in his church.
It is prudent to memorize either the words or the chant, for the necessity of shifting one's eyes from chant to words and back again may result in losing one's place. The pointing of frequently used canticles and psalms will soon become familiar; but when playing without reference to the printed page, one should rely on memory rather than habit which may prove treacherous at times.
Strange things have been known to happen during the singing of psalms and, while the organist should not be considered a crutch for a weak choir to lean upon, he should be well enough prepared to take command of the situation if confusion threatens.
Accompaniments for anthems are often ill-prepared. When the organ merely duplicates the voice parts, little preparation is necessary; but when the organ part is more or less independent of the voices, care should be taken that it is given enough yet not too much prominence. Many lovely passages upon which composers have lavished thought and skill are entirely lost to the congregation because the organist has not thought it worth while to devise a suitable registration. The choir cannot make the anthem a work of art if the accompaniment is slovenly.
In accompanying a small choir whose range of volume is necessarily smaller than that of a large group of singers, the careful organist can do much to heighten contrasts by using the facilities for expression that his instrument provides.
In addition to the usual accomplishments (the preparation of pieces and accompaniments for the choir) the Anglican organist should be fairly adept at improvisation and modulation.
There are many places in the service where a few chords are required to avoid "dead spots" - when the people are rising from their knees after prayers, or when the sidesmen are returning to their pews after the presentation of the alms. Only the organist can fill these brief gaps, and then only if he can improvise at least a little.
The necessity of passing from one part of the service to another without interruption, and without abrupt and unpleasant changes of key requires some proficiency in modulation. The organist who has not yet acquired the skill may find some aid in sets of ready made modulations and interludes which may be obtained from music publishers. However, a good ear, a not too profound knowledge of harmony, and constant practice will result in some degree of proficiency which will give the organist far more satisfaction than he can derive from the printed page.
It might be argued that anyone who cannot improvise and modulate should not be playing a church organ. There are, in small communities, countless men and women of limited ability who are keeping church music alive, either because more experienced people are not available, or because professional musicians scorn to serve for the trifling remuneration that is offered by some small churches. These valiant souls deserve more encouragement and respect than they usually receive; and, in view of the handicaps under which they work, they often accomplish more than their more fortunate brethren in large and splendidly equipped city churches. However, while their shortcomings may be overlooked because of their devotion, there is no excuse for neglect of self-improvement on their part.
The organist, whether he is the choirmaster or not, should be thoroughly familiar with the Prayer Book and the services. It goes without saying that he will cultivate a good taste in organ music, for the selection of pieces is in his hands even when the direction of choral music is responsibility of another.