Brass In Worship

Brass has enjoyed a long use in worship, beginning in Old Testament times and continuing into the present. This article describes where and how brass may be used in worship.

Brass Instruments Brass-like instruments have been used as instruments of sound production for many centuries. Some have been constructed of metal, while others have been constructed of wood, animal horns, or conch shells. Most have been made so as to produce specific musical pitches (i.e., pitch-oriented) while some others have not (i.e., nonpitch-oriented). A brass instrument may be defined as any instrument configured as an open tube which produces sound when the player blows air through his compressed lips placed against one end of the tube. As the lips vibrate, the column of air within the tube is vibrated at the same frequency, producing a musical pitch. The tightness of the lips (i.e., the embouchure) and the length of the tubing determine the pitch that is produced. The instruments usually have a cup-shaped mouthpiece that facilitates lip vibration and a flared bell on the opposite end which amplifies the produced pitch and helps to tune that pitch. Modern brass instruments, which are primarily made of brass or other metal, also have valves or slides for chromatic pitch production. Chromatic tone production was achieved on older instruments either by using tone holes, crooks (added lengths of tubing), or just by manipulating the lips. Trumpets in Scripture In biblical usage there were two kinds of trumpets. The most common, mentioned over seventy times, is the shofar. The shofar, also called the jobel (yovel) or keren (qeren), was made from the hollowed-out horn of a bullock or ram. It is translated as "trumpet," "ram's horn," or "cornet." The shofar was a nonpitch-oriented instrument used for signaling or announcing. It was played in the Year of Jubilee on the Day of Atonement (Lev. 25:9). It also was used for leading in warfare, particularly at the Battle of Jericho (Josh. 6:5–20, Num. 31:6, Judg. 3:27; 6:34), for sounding an alarm (Joel 2:1, 15), and in the procession of the ark of the covenant to Zion (2 Sam. 6:15). The shofar is used to describe the sound of God's voice in Exodus 19:16, 19 and 20:18 (sounding from Sinai) and in Zechariah 9:14. The chatsotserah (or chatsotser or chatsorer) were the silver trumpets which the Lord commanded Moses to make in Numbers 10:2. These instruments, mentioned more than thirty times in Scripture, were pitch-oriented and shaped like a long straight slender tube with a flared end (the bell). They were constructed of one piece of beaten or hammered silver. According to the historian Josephus, Solomon is said to have had as many as 20,000 of these trumpets. The term chatsotserah is usually translated "trumpet" in English translations of Scripture. These instruments were used in numerous ways: to call an assembly or congregation; to break camp; to call to war; in rejoicing; at various feasts; especially the Feast of Trumpets (New Year's Day—now Rosh Hashannah); at the beginning of months; when offering burnt offerings or peace offerings; at the dedication of Solomon's temple; and to minister regularly before the ark of the covenant (see Num. 10; 29:1; 1 Chron. 15:28; 2 Chron. 5:12–13; 7:6; 13:12, 14; 15:14, 18). Modern Brass Sections Today's brass section consists of one or more of the following: trumpet, cornet, flugelhorn, French horn, alto horn, trombone, baritone horn, euphonium, and tuba. All the instruments have a cup or funnel-shaped mouthpiece with a flared bell at the opposite end. Almost all have some means of altering pitch to achieve chromatics—either a group of valves or a slide (or a combination of both). Many of the brass instruments are keyed differently from the written pitch, making them transposing instruments (i.e., the parts they play are written in a different key from what is actually sounding when played). Many of the instruments are keyed to B-flat (their fundamental pitch). The most common exceptions are the French horn and alto horn. Of the B-flat instruments, the trumpet, cornet, flugelhorn, and treble-clef baritone horn are transposing (e.g., a C is played but a B-flat is sounded), and the trombone, bass-clef baritone horn, euphonium, and tuba are not transposing (e.g., a C is played and a C is sounded). The French horn and alto horn sound down a perfect fifth from where they are written (e.g., a C is played but an F is sounded). Some of the instruments, particularly trumpet and tuba, are commonly constructed in other keys (e.g., C trumpet and double-C tuba). The instruments with more cylindrically shaped tubing (e.g., the trumpet and trombone) sound brighter and edgier than the instruments with more conical tubing (e.g., the French horn and flugelhorn), which sound more mellow. The tone of all brass instruments can be altered by using any one of a variety of mutes. A mute will alter the instrument's timbre and often decrease its volume. Brass Instruments in Worship Brass instruments have been used in Christian worship most prominently since the sixteenth century. In the early church, brass instruments were not utilized in worship since the volume of the instruments was inappropriate for small and sometimes clandestine meetings. Also, the use of brass in Roman festivals, some of which incorporated Christian torture or martyrdom, created an associational stigma that was undesirable for those believers. The Council of Laodicea in the fourth century disallowed instrumental music altogether in worship. It was not until the sixteenth century that brass was prominently restored to the church as a legitimate means of worship. The writing of tower music (brass music performed from a church tower) and brass accompaniment for choirs (usually doubling choir parts) gave impetus for the church to receive brass instruments back into an important worship role. Today, brass can significantly enhance the worship of any congregation. They can be used as they were in biblical times, to signal or announce an event (like a call to worship or an opening hymn). They can accompany and help lead the congregational worship or add an element of pageantry to a processional. They can spice up a rhythm section when used in a contemporary "horn section" style employing idiomatic stylized contemporary or jazz writing. Since brass instruments blend very well with organs, they can be used in worship to help a congregation accept the idea of adding instruments to the traditional organ worship leadership. They can be used in outreach to the community, particularly in the genre of the brass quintet or the brass quartet. Setting Up a Brass Section When starting a brass section in a church, several items should be kept in mind: the composition of the brass section; how to write for brass players; and how to encourage players' improvement through practice. Listed below are several example brass section setups. A music minister should have a goal in mind for his section composition.

A. Symphonic

1. 4 horns 2. 3 or 4 trumpets 3. 3 trombones (1 bass) 4. 1 tuba B. Studio 1. 2 or 3 horns 2. 3 or 4 trumpets 3. 3 or 4 trombones (1 bass) 4. Optional tuba C. Jazz 1. 4 or 5 trumpets 2. 4 or 5 trombones (1 bass) D. Quintet—2 trumpets, 1 horn, 1 trombone (or 2 trombones), 1 tuba (or bass trombone) E. Quartet—2 trumpets, 1 horn, 1 trombone (or 2 trombones, or 1 trombone and 1 tuba)

When writing for brass, one must avoid being overly idiomatic, particularly with fanfarish brass licks. The writing should display a wide range of styles stretching the capabilities of the church's players. Utilizing a wide range of stylistic elements in different pieces keeps the music sounding fresh.Players should be encouraged to practice and improve. Some books which can be suggested as resources are

A. For beginners—the Rubank Series B. For more advanced players—Arban's Complete Conservatory Method C. Other etude and technique books as time permits

One final word of warning: due to the volume of sound brass instruments are capable of producing, "bleeding" from the horns into other sections' microphones is an ongoing and challenging problem. Brass should be kept somewhat isolated from other instrumental sections.