Lesson 6: Prelude and Postlude
Lesson Overview
Lesson Overview
"Prelude music is played as members gather before the meeting. Its purpose is to create an atmosphere of worship that invites the Spirit. After the closing prayer, an instrumental postlude is played as members leave the meeting. Hymns, worshipful children's songs, and other sacred music can be selected for prelude and postlude music."
- General Handbook: Serving in the Church of Jesus Christ of Latter-day Saints 19.3.2
Timing your prelude music is crucial because it ensures that the music fills the designated prelude period appropriately, neither ending too early nor running too long. The prelude sets the spiritual tone for the meeting, helping the congregation prepare in quiet reverence for worship. If it's too short, there may be an awkward silence before the meeting starts; if it's too long, it can interrupt the flow of the service. A well-timed prelude reflects good preparation, supports the spirit of the meeting, and shows respect for the Lord by worshipping Him intentionally.
The "General Handbook: Serving in the Church of Jesus Christ of Latter-day Saints" doesn't give any direction on a specified length for prelude and postlude. However, at least 15 minutes for prelude and 5 to 10 minutes for postlude is generally best.
Watch the clock carefully – Time your selections so you finish just before or as the meeting begins.
Choose a shorter piece – End with a short hymn or arrangement that you can wrap up quickly.
Use cadence points – Find musically satisfying places in the music to resolve to, rather than cutting off abruptly.
Plan your ending ahead – Know where and how you'll stop, especially if you're in the middle of a longer piece when the meeting begins.
Have clear communication with your leaders - It is important to communicate with your priesthood leaders so that you and they know what to expect. Many issues can be avoided or easily solved with clear and respectful communication.
Don't panic – If the priesthood leader stands to begin the meeting, don't stress. Gracefully finish the best you can.
Section 19.3.2 of the "General Handbook: Serving in the Church of Jesus Christ of Latter-day Saints" states that, "Hymns, worshipful children's songs, and other sacred music can be selected for prelude and postlude music." There is a great wealth of music written for the organ that could serve appropriately as preludes and postludes for church services. The "Organ Hymn Arrangement" practice activity in this lesson can give you some ideas.
The thoughtful use of volume during prelude and postlude music can greatly enhance the spirit of worship during both the preparation and conclusion of a service.
For the prelude, begin with all expression pedals fully closed. If the organ is too soft to be heard with the expression pedals in this position, open them slightly—just enough for the organ to be comfortably heard without becoming intrusive. When using solo and accompaniment registration, it may be helpful to open the expression pedal slightly for the division containing the solo stop or combination so the melody can be heard clearly.
If the congregation is noisy as they enter the chapel and find their seats, use dynamic contrast thoughtfully: briefly increase the organ’s volume to establish presence, then allow for a space of complete silence between hymns or pieces. Resume by playing very softly. This intentional contrast—sound, silence, and gentle reentry—can subtly invite the congregation to settle into quiet reverence and prepare their hearts and minds for worship.
For the postlude, play slightly softer than you did for the closing hymn, but with more presence than the prelude.
The most effective way an organist can invite quiet reverence during the prelude is through the thoughtful use of volume, registration, silence, and a well-planned sequence of hymns or other appropriate music. When combined, these elements create a worshipful atmosphere that encourages worshippers to enter quietly and prepare their hearts and minds for worship.
Avoid filling every moment of the prelude with sound. Instead, allow for brief pauses between hymns or pieces. These intentional moments of silence give space for reflection and naturally discourage conversation. A few seconds of silence between each hymn or piece encourages quiet reverence more powerfully than uninterrupted playing. The video provided below demonstrates a well-planned, well-registered prelude line-up that uses all the elements taught above.
Prelude:
Use Flutes, Strings, and Hybrids
Use celestes
Use 8′ Principals as solo voices
Use Reeds as solo voices
Avoid 4’ and 2’ principals and mixtures
Avoid pedal principals and mixtures
Postlude:
You may use the same stop combinations as you did for the prelude, or choose registrations similar to those used for accompanying hymns. However, if you use hymn-like registrations, be sure to play slightly softer than you did for the closing hymn—either by using fewer stops or adjusting the expression pedals.
See the following charts for various combinations of stops suitable for prelude and postlude.