Growl Technique in Saxophone Performance for Accompanying B.E No. 754 Goklas Ni Roha at GKPI Pagar Beringin Church

Abstract

This study aims to analyze and describe the application of the growl technique in saxophone performance when accompanying the hymn Buku Ende (BE) No. 754 “Gok Las Ni Roha” at GKPI Pagar Beringin Church, Resort Sipoholon I. The background of this research stems from the significant role of music in Protestant worship, particularly within the GKPI congregation, and the need for expressive variation in church music ministry. The growl technique was chosen because it produces a distinctive sound color—rough yet emotional—that enriches musical nuances while reinforcing the theological expression of the sacred song. The research employed a qualitative method with a case study approach. Data were collected through observation, interviews with church musicians, documentation, and score analysis. Data analysis followed the stages of data reduction, data presentation, and conclusion drawing. The findings reveal that the growl technique on the saxophone contributes significantly to the accompaniment of Gok Las Ni Roha. First, this technique enhances the character and expressive power of the music, especially in sustained notes and the climactic sections of the song. Second, the application of growl aligns with the march-like character of the hymn, thereby creating a more dynamic and spirited atmosphere of worship. Third, the congregation’s response indicates a positive reception, as the resulting musical nuance deepens the spiritual experience during worship. The growl technique on the saxophone is not merely a technical variation but also a means of spiritual expression that enriches church liturgy. The author recommends that church musicians, especially saxophonists, continuously develop this skill and combine it with other techniques such as vibrato, legato, and staccato to support a more creative, varied, and meaningful music ministry.