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Liturgical Resources


Resources for the Parish Pianist

Dr. Charlotte Kroeker


Please direct questions to:
Dr. Gail Walton
walton.4@nd.edu

 


Table of Contents

 

Preface

Shortly after beginning as a young piano professor in a church-related college, I came to a startling realization: my students were playing their sonatas and etudes quite well, but they had little or no idea how to translate their gifts into the churches they attended. Many of these churches either did not have an organ or organist, or the piano was the instrument of choice for a variety of reasons. These piano students were very capable of providing keyboard accompaniment for worship services, but they needed help with performance practice, with choosing appropriate pieces from their classical repertoire, and with finding piano arrangements of hymn and chorale tunes that were being sung as part of services. This early professional experience provided questions that I have continued to contemplate over the years since: What is the difference between using the organ and the piano to accompany worship? How can fine settings of liturgical piano music be found? What is the performance practice difference between playing the piano in concert versus playing for worship? What follows is my attempt to answer these and other questions. The answers are not final, and are continually changing. But they are offered in hopes they will be helpful to those who are asking these same questions, as they too seek to provide meaningful piano music for worship.

Introduction: The Organ and the Piano Are the Same and Different

The organ and its literature have been associated with the church for centuries. Organs, for the most part, reside in churches, where a large part of their function has been a liturgical one. Secular, non-religious concert literature is certainly part of the organ repertoire. But for hundreds of years religious music has been written for the organ, which is usually intended to be used in worship services. A rich and varied repertoire awaits the organist who is preparing music for the liturgy.

The piano is another matter. The development of the piano was largely an eighteenth century phenomenon, and its placement was chiefly in the salon, concert hall, or home. With the westward expansion of America in the 1800's, the piano could travel in a covered wagon or train. It found its way into the homes, meeting halls, schools and churches of settlers of a new territory. Organs (except for pump organs), the preferred instruments to accompany worship, came into the churches later. The piano was simply the most available instrument, and a temporary solution to the need for liturgical accompaniment until an organ could be secured. Nevertheless, and not surprisingly, the piano has found its way permanently into use in the church.

Unfortunately, but also not surprisingly, the religious literature of the piano did not develop in the same thoughtful ways that organ literature developed. Why might this be so? The piano was not used primarily for religious purposes. Its function was not regarded as a religious one. Rather, the piano was a performance instrument in concert halls, salons and the home. Even the development of the piano as an instrument took place in the 1800's when music literature had taken a decidedly more secular direction than in previous centuries when religious music was at the center of art music. The resulting lack of good religious literature for the piano creates a paradox at the turn of the present millennium, when many churches can afford a good piano but not a good pipe organ, and good pianists are more plentiful than good organists. An opportunity and obligation therefore exists to explore how the piano can be used tastefully and appropriately, and how selected piano literature can aid the worship service just as the organ literature has served the liturgy for hundreds of years.

Sacred Art Music and Liturgical Music

Despite its paucity in the larger piano repertoire, there are artistic pieces with sacred connotations for pianists. While they may have liturgical use, they stand alone as art music, irrespective of potential liturgical function. While liturgical music may be art music, its primary function is in the service of the liturgy. Liturgical music and art music sometimes overlap, as we see in many cases in the organ literature, but each also functions apart from the other.

The focus for this resource guide is on the music for the piano which is specifically appropriate for use in the worship service. The categories are more functional in their intent than the repertoire of sacred art music. The piano music that follows is chosen specifically for its ability to serve the liturgy. Included are some quite standard works of the piano repertoire, but only for their ability to support and enhance liturgical function, rather than only for their value as art repertoire. A worship service differs from a concert. Quality and fittingness of the music matter greatly in liturgy, but the music must function to different ends than those of the concert stage.

Sacred art music can function in both the concert hall and a worship setting, and a spiritual experience may result from either. For example, attendance of a performance of Bach’s B Minor Mass can be a decidedly spiritual experience. Bach’s cantatas, now performed most often in a concert setting, were originally intended for a worship service and as a worship experience for parishioners. Sacred art music (for primarily artistic use) and liturgical music (for primarily liturgical use) overlap, but they may differ in function, as in two overlapping circles.

Sacred Art and Liturgical Music Diagram


Literature and Performers

Performance practice for organists, and the literature of the organ, can serve as models for pianists wanting to serve the church. Organs and choirs are often found in the rear of churches, so placed in order to emphasize their service to the liturgy rather than a performance function. While there is certainly a wealth of concert organ literature, there is a wide repertoire of music based on chorale/hymn tunes that are intended to introduce and illumine the singing of the congregational hymn. The repertoire of organ music includes music to accompany movement in the liturgy; there are aids for the playing of hymns and liturgical movements of the mass. This literature and its use have developed over the hundreds of years the organ has served the liturgy of the church. While this body of literature may be used in concerts, and serve very well an artistic purpose for the organ in performance, these pieces also have meaningful use in supporting the liturgy in a worship service. Piano literature can be used in similar ways.

Just as literature can have uses for both concert and liturgy, so, too, the roles of musicians in church differ from performers on a concert stage. Just as a musician in concert is performing for artistic ends, the musician in church is offering music to God and as an aid to the congregation in worship of God. Music chosen for use in worship differs substantially in function, therefore, from music chosen for the concert hall. And the performer comes to the performance of that literature with the intent to serve the liturgy rather than to give a performance.

Criteria for Selecting Piano Music for Church Use

I have found suggestions by Maurice Hinson, to whom we are deeply indebted for his exhaustive bibliographic work in piano literature, a helpful guide in choosing music for worship services. He gives specific criteria in the introductions to his three volumes of piano literature published by Alfred Publishing Company. (1) These criteria are reprinted here, and followed by my own commentary in italics.

1. Melody. Melody is very obvious to most ears, and flowing melody helps create an appropriate atmosphere in a service. Thus, diatonic melodies are desirable, and those that are disjunct, highly fluid or very chromatic should be avoided. Prof. Hinson seems to be making a case for the music to be in the service of the liturgy. There may be times when drawing attention to a disjunct or chromatic melody would serve the liturgy well. But that music would be chosen with that specific intent in mind.

2. Harmony. A great deal of harmonic variety can be found in good church music. However, there are limits, harmonically speaking, to what is generally considered acceptable for most services. Music that incorporates a great deal of dissonance should be avoided, as should pieces that use harmonies and progressions associated with blues, jazz and rock. Aleatoric and 12-tone works also are generally not acceptable as church music. Again, there may be good reasons for using a jazz or 12-tone piece. But the most of the history of the church has not used music in the idioms Prof. Hinson lists, and a departure from the norm will need thoughtful reasoning for the use of such a piece. Such a piece will draw attention to itself, and a liturgical reason needs to justify its use.

3. Rhythm and tempo. Highly syncopated music is not appropriate for worship services. Too many unusual rhythmic stresses hinder a smooth musical flow. Music that ranges from slow to moderately fast will probably be better suited to most services than very fast music. I suspect many would differ with Prof. Hinson in these statements. Indeed, I was very moved by a performance of a Brubeck jazz mass with many rhythmic stresses and syncopation, and can see that it could function well in a worship service. But I believe his underlying reasons are valid, that is, that the best musical choices do not interfere with a communal or individual worship by drawing attention to the music.

4. Dynamics. Good church piano music will have a balance between piano and forte. Short excursions into pianissimo and fortissimo can also be desirable. A piece that uses fortissimo for long periods may tend to demonstrate virtuosity and have a showy character. Virtuosity places too much emphasis on the performer and detracts from the worship atmosphere. Because the piano literature is rich with virtuosic pieces, and pianists are trained to play these pieces, we may be tempted to transfer this skill into the services where we play. Granted, there may be good reasons for including virtuosity and virtuosic pieces appropriately in specific instances. But if we are aware of why we are including virtuosity, we will include it only for valid liturgical reasons.

5. Form. Good formal structure is essential. Intelligible shape is necessary to any art. Prof. Hinson seems to be calling for fine compositional structure. Yes!

6. Articulation and Touch. Legato and cantabile pieces are generally more suitable to the worship service than pieces that use a great deal of staccato and drastic articulation changes. Unusual articulation will, again, draw attention to the music itself, and may be inappropriate for its liturgical function.

7. Title. The title usually gives the composer’s idea(s) of the mood and/or character of the piece. Religious titles such as “Prayer,” “Reconciliation” and “Andante Religioso” indicate music that is probably suitable for church use. While intent of the composer is not always reliable for a specific musical function, it does give indication that a piece may be worthy of consideration for worship. Few pieces of such titles were written for actual use in worship; rather, they were written with a sacred (not liturgical) purpose. However, they comprise a subset of literature in the piano repertoire that can function well in the liturgy.

8. Association. It is best to avoid pieces which have strong secular connotations, as do most popularized classics. For example, Debussy’s “Clair de lune” is a beautiful piece, but has strong secular associations which may be distracting---perhaps the listeners have heard it at a piano recital, or it may recall a movie that used this piece, etc. Works associated with opera, movies, or television should not be used. In general, I believe Prof. Hinson makes very valid points. We live in an pervasively popular culture that, in many cases, is in strong contrast to Christian values. Yet, there are fine exceptions in film, opera and television that speak to high religious values. His point is well made, however, in that the context will determine whether or not a piece of music from those sources will function well in worship.

9. Appropriateness. Always consider the type of service (morning worship, communion, youth group), as well as the cultural, ethnic and social background of the congregation, when selecting music. The same music will have different meanings for different groups of people. Where black gospel may be a significant vehicle for worship in one congregation, it may be pleasant entertainment for another. Understanding the congregation’s musical knowledge and experience is key to choosing music meaningful for worship.


Bibliography of Piano Literature for Service Use

Hymn Arrangements for Piano

Listing of Tune Names for Hymn/Chorale Piano Settings

Bach, J.S./Zorn, Ed. Fourteen Chorale Preludes for Harpsichord or Piano. St. Louis, MO: Concordia Publishing House, 1973.

Bach, J.S. Organ Chorales from the Neumeister Collection. New Haven, CT: Yale University Press, 1985.

J.S. Bach/Henderson, Transcr. Eight Organ Chorale-Preludes. Milwaukee, WI: G. Schirmer/Hal Leonard, 1910.

J.S. Bach/Hess, Myra, Arr. Jesu, Joy of Man’s Desiring. London: Oxford U. Press, 1954.

_____________________. Sleepers, Wake, 1940.

J.S. Bach/Howe, Transcr. Sheep May Safely Graze. Oxford: Oxford University Press, 1976.

Bober, Melody. Traditional Hymns for Advanced Piano. Fort Lauderdale, FL: FJH Music Company, Inc., 2000.

Callahan, Charles. American Folk Hymn Suite, Sets 1 & 2. St. Louis, MO: Concordia Publishing House, 2002.
______________. Piano Improvisations on Familiar Hymns. St. Louis, MO: MorningStar Music Publishers, 1996.

Carlson, J. Bert. Come Thou Fount: Piano Solos to Touch the Heart. Minneapolis, MN: Augsburg Fortress, 2004.

Carter, John. Carter’s Classics: Tunes Inspired by the Words of Charles Wesley. Clarkston, MI: Evergreen Morning Press, 1998.

Carter, John. Contemplative Folk Tunes for Piano. Minneapolis, MN: Augsburg Fortress, 2001.
__________. Little Chorale Preludes for Piano, 2004.
__________. Be Still My Soul. Carol Stream, IL: Hope Publishing Co., 2003.
__________. Folk Hymns for Piano. Carol Stream, IL: Hope Publishing Co., 1987.
__________. Hymns for Piano, 1991.
__________. Songs of the Shepherd, 1996.
__________. Spirituals for Piano, 1990.
__________. The Wondrous Cross, 1994.
__________. You Satisfy the Hungry Heart: Piano Settings for Communion, 1998.

Dengler, Lee. Great Sacred Melodies, Vol. I, II. Dayton, OH: Lorenz Publishing Co., 1990.
__________. Easter Piano Variations. St. Louis, MO: Concordia Publishing House, 1998.
__________. We Praise Your Name. St. Louis, MO: Concordia Publishing House, 2001.

Gerig, Reginald. Piano Preludes on Hymns and Chorales. Carol Stream IL: Hope Publishing, 1959.

Goodyear, Kay Hawkes. Soaring: Hymn Interpretations for Piano. Chapel Hill, NC: Hinshaw/Alfred, 1986.

Gounod, Charles. Ave Maria, based on the Bach WTC-I C Major Prelude. Germany: Schott, 1923.

Leavitt, John. How Sweet the Sound. St. Louis: Concordia Publishing House, 2000.
___________. Shall We Gather at the River, 2004.
___________. Wonder, Love and Praise, 2003.

Manookin. Robert P. Music of Manookin, Vol. I. Chapel Hill, NC: Sonos/Hinshaw Music Co., 1984.

Martin, Joseph. Celtic Tapestry. Delaware Water Gap, PA: Malcolm Music/Shawnee Press, 2003.
____________. Songs of the Journey, 1996.

Mier, Martha. Hymns for Meditation: Six Hymn Arrangements for the Late Intermediate Pianist. Van Nuys, CA: Alfred Publishing Co., 1999.

Page, Anna Laura. American Folk Hymns for Piano: Eight Early Advanced to Advanced Arrangements. Van Nuys, CA: Alfred Publishing Co., 1999.

Raney, Joel. An Instrument of Your Peace. Carol Stream, IL: Hope Publishing Company, 1998.

Shackley, Larry. Celtic Hymn Settings for Piano. Carol Stream, IL: Hope Publishing Company, 2001.

Ulrich, E.J. Forty Hymn and Carol Arrangements for Piano. Available from the composer at 1820 E. 2nd Street, Grand Chain, IL 62941.

Wood, Dale. Softly and Tenderly: Meditations on Contemplative Hymns. Dayton, OH: The Sacred Music Press, 1996.
__________. Wood Works for Piano: Nine Settings of Hymns and Folk Tunes. Dayton, OH: The Sacred Music Press, 1998.

Manuals Only Organ Music

Bach, J.S./Lionel Lethbridge. An Album for Manuals Only. Oxford University Press, 1959.

Callahan, Charles. Advent Music for Manuals. St. Louis, MO: Morning Star Music Publishers, 1989.
_____________. Christmas Music for Manuals, 1990.
_____________. Communion Music for Manuals, 1994.
_____________. Easter Music for Manuals, 1991.
_____________. Great American Hymns: Music for Manuals, 1993.
_____________. Great Evening Hymns: Music for Manuals, 1997.
_____________. Great Victorian Hymns, 1992.
_____________. Lenten Music for Manuals, 1990.
_____________. Marian Hymns: Music for Manuals, 1996.
_____________. Pentecost Music for Manuals, 1989.
_____________. Preludes and Postludes for Manuals, Vol. I, II, III, IV, V. 1996-1999.

Callahan, Charles, Ed. In Paradisum: Keyboard Music for Funerals and Memorial Services. St. Louis, MO: Concordia Publishing House, 1995.
_____________. Chorale Preludes and Postludes from Manuals, Vol. 1,2,3,4, 2000-2002.

Drischner, Max. Choralvorspiele fur Dorforganisten. Tubingen: C. L. Schultheiss, Musikverlag, 1954.

Ferguson, Howard. Style and Interpretation: An Anthology of Keyboard Music, Vols. I-IV. Oxford University Press, 197l.

Johnson, David N. All Glory, Laud, and Honor. Augsburg Publishing House, 198l.

Johnson, David N. "Beautiful Savior," (Fairest Lord Jesus). Miami, FL: H.W. Gray Co., Inc. l967.

Lind, Robert. Six Pieces for Manuals. St. Louis, MO: Concordia Publishing House, 1990.

Peeters, Flor. Thirty-Five Miniatures and Other Pieces for Organ. Summy-Birchard Music, l975.

Peterson, John David. "Variations on 'Les Beaux Mots'" (Wonderful Words of Life). St. Louis, MO: Morning Star Music Publishers, l989.

Selby, William; Powell, Linton, Ed. Keyboard Music of William Selby. Boston: Boston Music Co., 1979.

Stanley, John; McAfee, Don, Ed. Early English Keyboard Music: Voluntaries for Organ or Harpsichord or Piano. Miami, FL: McAfee Music Corporation, 1977.

Stearns, Peter, Ed. Music for Manuals. Coburn Press, Theodore Presser Co., l977.

Trevor, C.H. Ed. Old English Organ Music for Manuals, Books l-4. Oxford University Press, l966, l972, l973.
____________. Organ Music for Manuals, Vol. I-VI, l972.
____________. Seasonal Chorale Preludes. Books l,2, l962.

Wolff, S. Drummond Ed./Arr. Baroque Music for Manuals. Concordia Publishing House, 1976.

Wolford, Darwin, Ed. Just for Manuals, Vol I,II. Harold Flammer, Inc.

Advent and Christmas Music for Piano

J.S. Bach/Hess. Sleepers, Wake. Oxford: Oxford University Press, 1940.

Beck, John Ness. Five Carol Fantasies for Piano. New York: G. Schirmer, 1971.

Carlson, J. Bert. Carols from Many Lands. Minneapolis, MN: Augsburg Fortress, 2001.

Carter, John. Carols for Piano. Carol Stream, IL: Hope Publishing Co., 1987.
_________. More Carols for Piano, 1995.
_________. Still More Carols for Piano, 2002.
_________. There’s a Star in the East: Eight Carols for Piano Solo. Columbus, OH: Beckenhorst Press, Inc., 1998.

Dengler, Lee. Christmas Piano Variations. St. Louis, MO: Concordia Publishing House, 1999.

__________. Advent Piano Variations, 1998.

Dello Joio, Norman. Christmas Music, transcribed for piano-four hands. Melville, NY: Edward B. Marks/Belwin, 1968.

Leavitt, John. Christmas Gift. Miami, FL: Warner Bros. Publications, 1996.
__________. Silent Night, Wondrous Light. St. Louis, MO: Concordia Publishing House, 2002.
__________. Sweet Songs of Christmas. Milwaukee, WI: Brookfield Press/Hal Leonard Corporation, 2000.

Leupold, Wayne, Ed. The Church Organist’s Library: Volume 3, Music for Advent and Christmas. Melville, N.Y.: McAfee Music/Belwin-Mills, 1985.

Lindberg, Charles. Christmas Music for Advanced Piano. New York: Bradley Publications, 1979.

Liszt, Franz. Weihnachtsbaum (Christmas Tree). London/Frankfurt/New York: Hinrichsen/Peters, 1953.

Martin, Gilbert M. Caroling! Caroling! (piano duet) Dayton, OH: Lorenz Publishing, 1973.

Persichetti, Vincent. Appalachian Christmas Carols. Bryn Mawr, PA: Elkan-Vogel/Theodore Presser Co., 1975.

Phemister, William, Ed. Masterworks Piano Library: Music for Advent and Christmas. Fred Bock Music Company, 1991.

Raney, Joel. Images of Christmas. Carol Stream, IL: Hope Publishing Company, 2001.

Reger, Max. Maria Wiegenlied. Berlin: Bote & Bock, 1956.

Rocherolle, Eugenie R. Christmas Around the Piano. San Diego, CA: General Words and Music Company (Kjos), 1982.

Shackley, Larry. A Keyboard for Christmas. Carol Stream, IL: Hope Publishing Company, 1994.

Vaughn Williams, Ralph. Fantasia on Greensleeves. Oxford: Oxford University Press, 1936.

Lent and Holy Week Music for Piano

Callahan, Charles. Lenten Music for Manuals. St. Louis: Morning Star Music Publishers, 1990.

Dengler, Lee. Lenten Piano Variations. St. Louis: Concordia Publishing House, 1997.

Leavitt, John. Lenten Reflections for Piano. St. Louis: Concordia Publishing House, 2001.

Classical Piano Music for Service Use

General Collections:

Gurdjieff and de Hartmann. Music for the Piano, Volume III: Hymns, Prayers, and Rituals. New York/London: Schott, 2002.

Hinson, Maurice, Ed. Classical Music for the Church Service. Vol. I, II, III (Early Intermediate, Intermediate, Late Intermediate). Van Nuys, CA: Alfred Publishing Co., Inc., l989.
_______________. Classical Music for the Wedding Service, l989.

Pasquet, Jean. The Church Musician. Cincinnati, OH: Willis Music Co., 1964.

Phemister, William, Ed. Masterworks Piano Library: J. S. Bach (1994); Johannes Brahms (1987); Franz Liszt (1994); Felix Mendelssohn (1988); Robert Schumann (1994). Alexandria, IN: Antara Music Group/Fred Bock Music Company.

Suggested examples from the literature:

Bach, C.P.E. - Selected Sonatas
Bach, J.S. - Preludes & Fugues from the Well Tempered Clavier. (Note especially the B Minor Prelude, WTC I.) Toccatas (Note D & G Major). Movements fr. Suites.
Beethoven, L.V. - Selected slow movements of Sonatas
Brahms, J. - Selected pieces from Op. 76, ll6, ll8.
Cimarosa, D. - Selected Sonatas
Chopin, F. - Selected Preludes, Nocturnes, Mazurkas
Debussy, C. - Selected Preludes, Book I; "Sarabande" from Pour le Piano
Haydn, F. - Selected Sonata movements
Mendelssohn, F. - Songs without Words; Prelude & Fugue in Em, Op. 35, No. l
Mozart, W.A. - Selected Sonata movements
Rachmaninoff, S. – Vocalise, Op. 34, No. 14, transcribed by Alan Richardson (B&H)
Ravel, M. - Short menuets; "Menuet" from Sonatine
Satie - Gymnopedies
Scarlatti, D. - Selected Sonatas
Schumann, R. - Nocturne in F Major, Op. 23, No. 4
Valenti, Michael - Ten Nocturnes

Suggestion: Evaluate texture as to Celebrative, Declamatory or Reflective to determine the use and placement of a piece in a service.

Bibliography:

Phemister, William. Classical Piano Music for Church and Synagogue. Available from the author, a professor at the Conservatory of Music, Wheaton College, Wheaton, IL 60187.

Examples of Sacred Art Music for Piano

Albinoni/Giazotto. “Adagio in G Minor.” Milan: Ricordi, 1958.

Bach, J.S. Bach: Collected Transcriptions. 26 Piano Transcriptions by Great Composers and Pianists. New York: G. Schirmer/Hal Leonard, 1999.

Bach/Busoni. Organ Choral Preludes, Books I, II. New York: Carl Fischer, Inc., reprint of Breitkopf & Hartel, 1925.

Bach/Kempff. Ten Pieces Transcribed for Piano. Berlin: Bote & Bock, 1982.

Eben, Petr. Veni Creator Spiritus. Barenreiter Editio Supraphon Praha, 1996.

Gottschalk, Louis Moreau. The Last Hope: Meditation, Op. 16. Bryn Mawr, PA: J. Behrend/Theodore Presser, 1956.

Kuhnau, Johann. Biblische Sonates, No. 1-6. New York: C.F. Peters. No. 1: The Battle between David and Goliath; No. 2: Saul who is cured by David through means of music; No. 3: The Wedding of Jacob; No. 4: Hezekiah, who being sick unto death, is restored again to health; No. 5: Gideon, the deliverer of Israel; No. 6: The death and burial of Jacob.

Liszt, Franz. Weihnachtsbaum (Christmas Tree). London/Frankfurt/New York: Hinrichsen/Peters, 1953.

Messiaen, Olivier. Vingt Regards sur l’Enfant-Jesus. Paris: Durand, 1947.

Peeters, Flor. Twelve Chorale Preludes, Vol. I, II. New York/London/Frankfurt: C.F. Peters Corporation, 1966.

Rzewski, Frederic. North American Ballads for Paul Jacobs, No. 1 and 4. ZEN-ON Music Co., Ltd, 1982.

Schumann, Robert. Nachstucke, Op. 23, No. 4. Various publishers.

Tchaikovsky, Peter. In Church, Op. 39, No. 24; Morning Prayer, Op. 39, No. 1. Various publishers.

Vaughan Williams, Ralph. Vaughan Williams, Ralph.. “Fantasia on Greensleeves.” London: Oxford University Press, 1936.
___________. “Hymn Tune Prelude on ‘Song 13’ (Orlando Gibbons) for Pianoforte.” London: Oxford University Press, 1930.


Service Planning Worksheet

Date/Sunday_______________________

What is the main point of each reading?

First Reading____________________________________________________

Psalm__________________________________________________________

Second Reading__________________________________________________

Gospel_________________________________________________________

Based on these readings, what is the theme for the day?_________________________

What is an appropriate opening/entrance hymn? What prelude will appropriately introduce this hymn and the theme for the day?

What is a hymn to be sung close to the sermon/homily, assuming it will emphasize the gospel?

What are appropriate distribution hymns? What piano music will enhance the ability of the congregation to take communion?

What is an effective closing/recessional hymn? What piano setting might reinforce the text in the postlude?

Prelude - Sets the mood for the service and/or introduces the first hymn:


Offertory Music - Often follows sermon & serves as a reflective moment:


Distribution Music - Absolute music, or, if text-based, coordinates with theme of day:

Postlude - A “sending” piece to help the congregation take the experience of worship into the world.

(1) Hinson, Maurice, ed. Classical Music for the Church Service, Vol. I, II, III. Van Nuys, CA: Alfred Publishing Company, 1989.