THE K I N G ’ S BUS I NE S S
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an impression on the song-leader, the opening measures were played. In stantly, Mr. Alexander turned towards the piano and said, “ I’ve been looking for this fellow for years." This per sonal reference greatly displeased me for I had no desire to he associated with the campaign. The song was sung and during the singing I made up my mind to Introduce an element into the ac companiment of the next song calculated to annoy the song-leader. The “ Glory Song” was next announced and for the first time I became acquainted with the famous hymn of my friend Charles H. Gabriel. Picking up the discarded song book, I turned to the song and read the melody as you.would read a book. In so doing, I forgot that Mr. Alexander was waiting for me to play the opening measures. He announced the song again and then reminded me that he was ready to start. He seemed to be im patient at my delay in introducing the theme. Once again I dropped the book on the floor and proceeded to sound out the mplody of the song from memory, The absence of a book seemed to appeal to the leader, for he ventured to make further remarks concerning the pianist. This was simply adding fuel to the flame. It prompted me to attempt a more elaborate improvisation than orig inally planned. When the chorus was taken up by the audience, I introduced a full octave accompaniment quite dis tinct from the melody. Instead of dis pleasing Mr. Alexander, it pleased him greatly. It met with his entire ap proval. He continued to direct the music with his right hand, whilst with the left he directed me to keep the ac companiment going. My own purpose was defeated. Instead of annoying the song-leader, his interest was so aroused as to lead to an ultimate round-the- world association of many years. It also led to my own decision to accept Christ.
The development of this form of ac companiment was rapid. Throughout Australia, New Zealand, Great Britain, and later in America, its use at first startled the Christian world. It is now recognized as an indispensable factor in successful Gospel Song work. This modern method of accompaniment in volves much more than appears on the surface. It covers such important fea tures as Memory Training, Develop ment of Technique, Improvisation, In terpretation, Intelligent use of Pedals, Chorus Accompaniment and Solo Accom paniment and Transposition. It in volves definite study and thorough prep aration. It opens up a field of musical study hitherto untouched. It seeks the development of musical talent along a new line of training. Any Sunday School pianist of ordinary ability can acquire the method. But the mere de velopment of this type of accompani ment is not sufficient. It is when the pianist gets a vision of the spiritual value of the effort that real success is achieved. (Note—Mr. Harkness is the author of a correspondence course of 15 lessons, teaching the above methods. He can be addressed care Bible Institute, Los Angeles.) EXPLAINING THE COMMENTARIES While it happens that sometimes commentaries may explain difficult pas sages of Scripture, it as often happens that they mystify simple passages. We heard of an old man whom a good lady observed reading his Bible, and she in the kindness of her heart gave him a commentary to explain it; and on her asking him subsequently how he got on now with his reading with the aid of the commentary, he replied that he under stood the Scriptures well enough, and hoped soon he should understand the explanation as well!
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