Between the Staves: Choral Questions, Candid Answers, is fresh take on the classic advice column—this time for all things choral music! Modeled after the beloved “Dear Sally” format, this blog will answer your questions about choral music education, performance, and leadership. Whether you’re curious about vocal technique, rehearsal tips, repertoire selection, or the “other” side of our profession (business, fundraising, scheduling, recruiting, communication, audio engineering, etc…), Between the Staves will have you covered.
This Month’s Question Is:
I took over as music director at a new church. The existing organist has been there for 10 years. The existing organist inserts himself into music selections, is sure to provide his opinion on every decision I make and is quick to voice if he does not agree. To make matters more complicated, he will correct me in front of the choir during rehearsal. In addition to this, he fails to watch me for my tempo and will play at whatever speed he feels is appropriate. Recently, I have been selecting a cappella music, as the choir is very receptive to my direction and watches me closely. However, I want to be able to program music with accompaniment. How can I address this issue in a professional manner that is effective, respectful, and does not create a hostile work environment? –Anonymous
This Month’s Response Are:
You have been placed in a situation that has multiple problems, all linked together by one individual. I see two options: either address each problem individually, or find improved working environments, either for you or for him.
If you decide to address each problem individually, I suggest that you choose the problem that causes you the greatest difficulty. For me, that would be tempo. If that is yours as well, you want to understand whether the organist is simply unable to keep up with faster tempos or prefers slower tempos. You can be very plain and direct in this communication – “I’d like to take this song faster; should I find somebody else who wants to work on that for this song?”
Another way to address each problem individually is to suggest that the organist is simply no longer the choir’s accompanist. You could ask your pastor whether they see that as a viable option and work together to create a plan.
If your organist is playing slowly because of age, ascertain whether slower tempos are also impacting hymn singing. Then, you can work with the leadership in the congregation to determine whether it is time to throw a retirement party and let their established friends keep the organist in the loop about that. My own dad retired from playing the organ in his mid-70’s, specifically because he didn’t want to wait until somebody told him it was time to let go.
Your work-around is smart! Having the choir sing a cappella manages the tempo. Make sure when you talk with your organist and leadership, that you put the professional manner front and center – you want to be effective and respectful, and you also need an effective and respectful accompanist.
Kristie Halverson, Lecturer of Choral Music, University of Wisconsin-Eau Claire; Eau Claire, WI
14 years of experience
This issue needs to be shared with upper management. I imagine there is someone who serves as the superior to both of you – the head of the worship commission, or perhaps the pastor. You need to have upper management’s support before action is taken. Once that is secure you can move forward with them, together, in meeting with your organist to discuss the parameters of your jobs and appropriateness of behavior. It would be wrong not to pursue this issue quickly. This kind of behavior can negatively impact the choir and even the church if allowed to persist.
Allan Petker, Pavane Publishing ; San Pedro, CA
40+ years church and community music experience
I am an organist and accompanist, so I am writing with some ideas from the bench.
Perhaps this would be a good time for you to have a meeting with the organist, and the pastor, or whoever is in charge of personnel. This would give everyone a chance to discuss your job expectations. It helps to clarify what “music director” includes. Your comment that you “took over” implies that you see yourself as the boss rather than part of a team. I recently worked at a church where I (the organist) was the “director of music” and other people directed the choirs. How does the organist see his role in the music team? Has his role changed with your position?
Concerning the musical problems you are having with collaboration, you might invite the organist to have a practice session with you without the choir and rehearse staying together. I have worked with conductors who have unclear prep beats, from extremely subtle to whole measures. It is challenging to be at the keyboard and see (stay with) the director if there is too much distance between you. A short line of sight is also helpful so that he doesn’t have to take his eyes away from the music. This one-on-one time will help you identify the issue. Sometimes it works best to have a separate accompanist for the choir.
When you do long-range planning for the choir, share some of your ideas for repertoire with the organist. This would give him a chance to express his thoughts and hopefully not surprise you publicly with negative comments. He could be helpful since after 10 years he knows what the choir can handle. Even if you still make most of the decisions, he will hopefully feel more cooperative.
Elaine Mann, Organist and Music Coordinator, Grace Lutheran Church; Eau Claire, WI
50+ years of experience
Additional Resources
Acker, Mark, and Timothy W. Sharp. “Hallelujah! A Church Musician’s Bibliography for Dealing with Change, Conflict, and Staff Relationship.” Choral Journal 39, no. 9 (April 1999): 43–44.
Amundson, Melvin. “Building Positive Staff Relationships.” Journal of Church Music (March 1986): 11–14.
Bartholomew, Betty Jean. “Interpersonal Relationships: The Wholistic/Holistic Approach.” The American Organist (April 1985): 43–44.
Guenther, Eileen Morris. Rivals or a Team: Clergy-Musician Relationships in the Twenty-First Century. St. Louis, MO: MorningStar Music Publishers, 2012.
Wiest, Lori. “Student Times: The Care and Nurturing of the Choral Accompanist.” The Choral Journal 45, no. 5 (December 2004): 91–93.
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Between the Staves is an initiative of the ACDA Education and Collaboration National Standing Committee. For questions, contact John McDonald at .
Thank you to Micah Bland for this month’s contribution.
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