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Are You a Soloist…or Not?

I  suppose almost everyone can sing. Many of us do, in the shower, or in the car, driving along alone. But singing solos in public is a bit different. Audience expectations are usually higher, and that places a greater demand on the singer. While there are some who have a natural gift, the best singers are usually those who’ve had some training and experience.

Ministering for the Lord in music adds a further dimension of responsibility. We are singing both to others and to Him (Ps. 96:2; Col. 3:16), and that is serious business. It’s one thing to go to a nursing home and sing a little song for Grandma, but singing in the services of the church is another. Singing on radio or television, or posting a video of our singing, where thousands may listen, expands the audience even more, and it usually calls for a still higher standard.

A. Before You Sing

  1. Those who are singing for the Lord should be born again believers, with Christian character and a godly lifestyle to match. To sing, “My Jesus I love Thee,” and have a life that shows anything but, is rank hypocrisy. No matter how talented a singer is, if the life does not measure up he or she’s not ready for ministry. Check your spiritual fitness to serve, and bathe your ministry in prayer, asking the Lord to help you convey His Word, without calling undue and distracting attention to yourself.
  2. Get to know your voice, and your limitations. Have you ever watched a TV talent show? Sometimes an individual will deliver a simply awful performance, and become quite angry when the judges tell him he can’t sing. The response often is that “Mom and Dad, and all my friends, love my singing!” But of course they’re usually prejudiced, and may lack musical training as well. If you’re not sure about your voice, ask someone who can be impartial to evaluate your singing–not your best friend, who’s afraid to hurt your feelings!
  3. Soloists should select songs that are within their vocal range, and suitable to their own Christian experience, so that they can sing the text sincerely. And if you don’t have adequate ability to sing solos, perhaps you can take some lessons and improve. Or you could consider being part of an ensemble, where some vocal flaws are less noticeable. I’ve led amateur church choirs in which there are few solo voices, but average singers did a creditable job when uniting with others. It’s not only love that hides a multitude of sins.
  4. Having said all this, whether you have a mediocre voice, or the voice of an angel, modesty, and sincere humility are required. All that we have is a gift from God, and we are not to think of ourselves more highly than we ought to think (Rom. 12:3; cf. I Chron. 29:14; Jas. 1:17). One of the reasons I don’t like a congregation to applaud after a solo is that it seems to put too much focus on the performance, and we need to recede into the background as much as possible, allowing the message of the song to be what people attend to. If your purpose is to glorify God and communicate His truth, you’ll want what John the Baptist spoke of: “He [Christ] must increase [in prominence], but I must decrease” (Jn. 3:30).
  5. Further, since we are ministering in music, we will want to select songs that are doctrinally accurate, and songs that have meaningful lyrics. A ministry should minister! This also requires knowing our audience, and considering what will communicate best–though there’s a caveat with that. We mustn’t use the spiritual immaturity or carnality of a particular group as an excuse to sing in a worldly way, turning a ministry into mere entertainment. There are things that are “highly esteemed among men [that are] an abomination in the sight of God” (Lk. 16:15).

B. When You Sing

  1. Proper voice production involves the use of the diaphragm, the muscle just below our lungs that controls the intake and expulsion of air. To produce a full and flexible tone, the voice needs to be steadily supported by the diaphragm. Put your hand on your stomach, just below your lungs, and feel what happens when you sing something like “Huh, huh, huh!” on a note, in full voice. It’s your diaphragm that pushes the air upward. And it’s a mistake to think that we can ignore the support of this muscle when we sing softly. It’s needed then, perhaps more than ever to support the tone.
  2. Work at producing a full and pleasing tone, that’s uniform through your vocal range. A uniform, firm tone should not require shouting or screeching on the higher notes. And avoid breathy, “sexy” singing that some singers use, almost seeming to swallow the mike in the process. You should also avoid extremes of vibrato, when the voice seems to wobble between one note and another. And do check to see that you’re staying on pitch. If you can’t “carry a tune,” you shouldn’t be attempting to sing solos.
  3. Learn the proper timing of the piece of music, but don’t stick rigidly or mechanically to it, if a slight change will suit the words better. Vary tempo and dynamics to provide the best possible communication of what the song is saying. Use appropriate vocal expression. And most importantly, practice using clear diction. Pronounce words properly and make the consonants crisp and clear. In softer singing diction, the clear pronunciation of the words, is critical–and often where it becomes mushy and unclear.
  4. One of the most common faults (a modern trend that should be vigorously resisted) is over-amplification. It isn’t necessary for a ministry in song to be loud in order to bless people. Not if our main purpose is for them to hear the words clearly and think about the message. A well modulated voice can be heard quite well in a small or medium sized auditorium with little or no amplification. Learn to sing without it, then use it sparingly as needed.
  5. Accompaniment, if there is any, should be carefully balanced with the voice or voices. It should support the voice, not overpower it. The accompanist should not draw attention to what he or she is doing, but rather seek to enhance the message of the song. If there are several stanzas being sung, the accompaniment should be varied if possible, so it’s not using the same repetitious chords throughout. The accompanist should work with the soloist and find out which parts of the song will, perhaps, be better sung more softly or loudly, or more slowly or quickly (etc.), and learn to provide a background of music that is appropriate to this.
  6. You may call it a matter of taste and preference, but I abhor the constant and intrusive percussion of much popular music today. It’s sad that this fashion has been carried over into contemporary religious music. Percussion instruments, if they’re included at all, should be used for occasional accent, not to beat time incessantly.

C. Platform Presentation

  1. The message we convey when we sing a solo involves more than just what we sing, and the quality of our voice. Practice singing in front of a mirror and watch the expression on your face. Is it appropriate to the song you’re singing? It should be. You are interpreting a song, and “selling” its message. Try standing before a mirror and simply reciting the words, without singing them. Think of it as if you are giving a testimony, or teaching a lesson in Sunday School. Is the message coming across clearly, and does your facial expression suit it?
  2. Speaking personally, I think soloists should use only very limited physical movement. Stay put, and let people focus on the words, not on your actions. And there should be no “grandstanding,” striking supposedly pious poses. Such theatrics too often look phony. Some even make the singer look as though he had stomach cramps! And this caution also includes hitting dramatically high (or low) notes that are unnecessary to the melody, notes simply intended to show off the voice.
  3. Dress should be neat, and modest, not calling attention to itself. Avoid extremes of fashion, and don’t have clothing that’s either too tight, or too limited in what it covers! Modesty is needed if we’re to communicate the message of the song, and glorify the Lord.
  4. Watch your actions before and after singing. Will you be sitting on the platform through the service, or will you come up from the pew to sing? Work with the service leader to choose what will be the least distracting. Sitting the shortest distance possible from where you will stand to sing is usually best.
  5. A word about introductions. If you are singing in your own church, or one where you are well know, no introduction is necessary. The service leader doesn’t need to announce you with, “Now here’s Joe Smith to sing for us.” The accompanist can simply begin the musical introduction to the song. If you are to sing in a place where you are not known, you might ask if an introduction could be included at the time of the announcements. In this way, there’s less focus on you, when the time comes to sing.

The bottom line: I hope pray that those few ideas will be useful to you. Not all will apply in every case. But I believe there are things here worth considering. Singing for the Lord and ministering to His people is a great privilege. Treat it seriously, and determine to do your best, for His glory.

Fit for the Occasion?

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Recently we had a Memorial Service at the church for an elderly gentleman, a long-time member of the church. There were the usual tributes paid–well deserved. He was a godly man who’d lived a good life. And since the family is musical, there was lots of music. But it’s with some of that that I take issue. (I was tempted to call this article, “Not at My Funeral You Don’t!”)

I had no control over the planning of the service. But, knowing something of the family, I was aware of what might happen–though harbouring the hope that perhaps restraint might be shown, given the occasion. My arrival disabused me of that hope.

The family had taken over the front of the church. There were speakers and large amplifiers everywhere, with an array of instruments scattered about–a keyboard, drums, several guitars, a harp–and wires running everywhere. And a whirlwind of setting up, testing equipment, and talk, swirled around the open casket where loved ones were trying to have a quiet moment of reflection and prayer. When it came time for me to make my way to the platform, I had to negotiate a veritable obstacle course.

I’m tempted to set aside criticism of a mistake-ridden duet, accompanied by the harp. After all, funerals are often highly charged emotionally. From experience, I know singing at a funeral isn’t always easy. And we all make mistakes. However, one of the women made a point of telling us all they had practised and prepared. But they still stumbled again and again, at least twice beginning the song with the wrong stanza, and having to start over. And since the electronic gear wasn’t putting them across quite to their liking, they moved off the platform to another set of microphones, and began yet again–a couple of times!

More serious in my view was the fact that the songs the family used were mostly light, sentimental selections that didn’t convey strong doctrine or a clear gospel message–Where the Roses Never Fade, and Sweet By and By and, for a video presentation, Precious Memories, How the Linger plus a bit of In the Garden. Not that these are heretical, but they at least needed other, stronger songs with them. If the musicians were unsaved people hunting for something “religious” to sing and play, that would be one thing. But they are all professing Christians, one of them a pastor.

Several of the songs were marred by the accompaniment, or musical styles, that descended to raucous rock and honky tonk (by definition, the noisy, garish music of sleazy bars). Several of the family sang the chorus Seek Ye First the Kingdom of God. Fine. But they were accompanied by drums inexpertly handled, emphasizing beats in odd places, and overall played much too loudly.

And, while I’m on the subject, just a word about the volume of almost all the music. The church has a small sanctuary. To house about one hundred and fifty people for the service,  some had to be seated in an adjacent Sunday School room. I’m sure that all would have been able to hear without any amplification (though the support of a little would have been fine). However, there was no need for us to be assaulted by sound as we repeatedly were.

Ask yourself, why is the rock music of the world so often played at a deafening volume? Here is one answer. The musicians have designed the music to be an adrenalin-pumping sensual experience–because that is all the world has to offer, a transitory experience. But Christians have an imperishable gospel, a gift of grace from our glorious Lord (Tit. 2:11-14). We don’t need to stir up an “experience” by artifice and manipulation.

Unfortunately, the family saved the worst for last. A gentleman gave us his own garbled and repetitive version of When the Roll Is Called Up Yonder, accompanying himself on the guitar. Throughout the song, he stomped and danced an energetic jig on the platform, twisting and turning himself like a demented dervish. Meanwhile the guitar accompaniment, and his virtually shouted “singing” got louder and louder.

It was an appalling exhibition. And again, was this an unsaved person who had rarely darkened the door of a church? No, he allegedly has a strong Christian testimony, and frequently talks about how Jesus or the Holy Spirit has revealed things to him. But if there was any doubt about the impression he left, a man from the neighbourhood settled it for me. As he was leaving, he said, “We gotta get them for a [community] concert. They were really rockin’!”

I realize some will dismiss my critique with the argument that “this is just the fashion these days.” But aren’t Christians to live differently from worldly fashion (cf. II Cor. 6:14–7:1). This may be the kind of music the world enjoys, but should we not be calling them to something different? Something higher? Too often, “what is highly esteemed among men is an abomination in the sight of God” (Lk. 16:15). Others will tell me these things are “just a matter of taste,” but I strongly disagree. There are key biblical principles involved. I discuss this in more detail in the article, The “Total Message” of a Song.

Music is a language, all on its own, and it sends its own message. If the music is appropriate for the words, the overall message of the song is strengthened. If it’s not, the message is weakened, or completely obliterated. As I sat on the platform, a few feet away from the man last mentioned, watching his unseemly gyrations, I thought to myself, what is more prominent in this performance, the message, the music, or the man?

What made the strongest impression? It was the man, first and foremost, with his odd antics. Then the music, with the dominant rhythms and loud amplification so typical of many of the songs of the godless world. From my perspective, this was an ugly display of ego, far from the testimony of John the Baptist that “He [Christ] must increase, and I must decrease” (Jn. 3:30). When the message could be heard amid the din, there wasn’t much of it! Yet it was vitally important. When the roll is called up yonder, I’ll be there. Will you? That is what we needed to ponder.

Am I saying that funerals should be sombre and dreary affairs, with music to suit that mood? No, definitely not, especially when the departed loved one had a strong a Christian testimony as this gentleman did. We could rejoice in the way God blessed his long life, and in the fact that He is now present with the Lord. Even the loss we’ve experienced is mitigated by the great reunion day coming at the feet of Jesus (I Thess. 4:16-17). But that’s just the point–Jesus.

A Christian funeral should be filled with praise to God, rendered in a manner appropriate to both the message and the occasion. “Rejoice in the LORD, you righteous, and give thanks at the remembrance of His holy name” (Ps. 97:12). Such a service should focus our thoughts on the Lord Jesus Christ, and the eternal salvation offered to us through His sacrifice on the cross. If it doesn’t do so, it becomes a tragically missed opportunity to bear witness.

For what I believe is a more acceptable mix of hymns and gospel songs, see my article on Funeral Hymns. I’m sure some will question a few of the selections I’ve included, but I tried to strike a balance and cover ones that are reasonably familiar, as well as thinking of the overall content.

In conclusion, and with relation to the kind of thing I’ve described, consider the prayer hymn by John Greenleaf Whittier:

Dear Lord and Father of mankind,
Forgive our foolish ways!
Reclothe us in our rightful mind;
In purer lives Thy service find,
In deeper reverence, praise.

Reviews and Ideas: The Scofield Study Bible III

The Scofield Bible has been around for nearly a century, having been published first in 1909. The original work by Cyrus I. Scofield has been revised or reformatted a number of times–in 1917, 1967, 1989, and now again in 2002. Its study notes provide a solid defense of the great fundamentals of the faith, doing so from a premillennial and dispensational point of view. Though no study notes are divinely inspired, used with caution and care, these can be a great help to the one searching the Scriptures and seeking to understand and apply what is found there. There are many study Bibles available today–some quite good, some very poor. This is an excellent study Bible.

The Scofield Study Bible III

I received my first Scofield as a boy of twelve, and have used one extensively in my study and teaching ever since. With great interest I obtained a copy of the most recent edition, wanting to see what had been done with “Scofield III.” The copy I have before me uses the text of the New King James Version (which is my usual translation). It includes the notes of the previous edition, with a few things added and changed.

a) Over a hundred of the notes, dealing with specific subjects rather than a passage found on the page, have been placed in boxes to highlight them.

b) There are also new biographical notes, and genealogical tables.

c) Some added notes do not seem particularly helpful. There are over 550 in-text definitions of Bible names–David, Abraham, Sodom, and so on. But since many of these names are used multiple times in the Word of God they are often not on the page where the reader will need them. Such things are better left to an index (where they are also found in this Bible, with a helpful guide to their pronunciation).

In addition, some of the name definitions are questionable. We are told, for example, that “Israel” means Soldier of God. But this is by no means certain. F. W. Grant suggests the meaning Prince with God; Keil and Delitzsch give us God’s Fighter. Another suggests He Who Struggles with God. Still others turn the meaning around to refer to God, rather than Jacob. The Bible Knowledge Commentary has God Fights. Other suggestions include: May God Strive; God Rules, and so on. A fuller note on such an important word would have been helpful.

d) The fonts used for the Bible text, the headings, and notes, are good. Very readable. However, the edition produced in 1989 by Thomas Nelson Publishers used bold verse numbers to indicate the beginning of new paragraphs. For some reason this practice was not followed in Scofield III, and it is a significant loss. Also, the 1989 Bible I have has two ribbons for marking one’s place in the Bible and I have found this extremely useful. Scofield III has only one.

e) There are about 70 useful in-text maps and charts to assist the reader, plus a number of full-colour maps in the traditional place at the back of the book.

f) The copy I obtained is also thumb-indexed. This is supposed to aid the individual in finding a particular book or passage more quickly. But it is an unnecessary feature. Anyone who uses the Bible enough to know the approximate location of the books will not need it. Further, it takes up to a half dozen little nicks out of each page, with more corners to catch and curl. Avoid this feature.

Though there are things I would not have done the way they have been, in general, this is a worthy variation on the great Scofield tradition. The content cannot help but enrich your understanding of God’s wonderful Word. Very much recommended. Scofield III (The Scofield Study Bible).

How It All Started

This article is a bit of a departure from recent posts, since it doesn’t, in the main, deal with music. But any who have attended or worked in the Sunday School will know that music plays a significant part in the teaching and training that takes place there. As has been noted in other posts, a common name for gospel songs in the nineteenth century was “Sunday School songs,” since they were seen as a teaching tool in that program.  So how did this important ministry of the church come to be?

The England of the eighteenth and nineteenth centuries was far different from today. One of the tragic differences was the extensive use of child labour–which was virtual slavery. During the Industrial Revolution, children as young as four were employed in factories under dangerous, and often fatal, working conditions. Many worked sixteen hours a day, six days a week. The Victorian era became notorious for employing young children in factories and mines, and as chimney sweeps. In England and Scotland, two-thirds of the workers in the cotton mills were children.

As a child, author Charles Dickens himself was a victim of this cruel practice. He wrote strongly against it, in novels such as Oliver Twist and David Copperfield. But another man who was to make a dramatic difference was an Anglican layman and newspaper publisher named Robert Raikes (1735-1811). He lived in the English city of Gloucester [pronounced glah-ster].

One afternoon, Mr. Raikes went into the slum area of the city to see if he could find a man willing to work in their family garden. There he was jostled and knocked about by a gang of ragged boys. When he mentioned it to someone, she replied, “You ought to see them on Sundays, when the factories are closed and they have nothing to do but get in trouble!”

Robert Raikes

Robert Raikes’s heart went out to the ragged children of the slums, worn down by mistreatment, running wild in the streets, and exposed to all kinds of vice. Most of them were illiterate. Many had likely never even seen a book! There were no state schools of any kind back then, and Mr. Raikes believed that a good education would give children a much better start in life. With that conviction, he decided to start a school.

A local pastor made a list of ninety possible children in his own parish, and together the two men visited each home on the list. Not everyone thought it was a good idea. Some parents cursed them, and drove them away. But eventually they were able to enlist a few children in the pioneering project.

Since the children worked in the factories six days a week, Raikes decided to hold his school on Sundays. The Bible was used as the textbook, and church attendance was part of the Sunday curriculum. The “Sunday School” began in the kitchen of a home, in Gloucester, in July of 1780. At first it was for boys only, but soon girls came too.

A high standard was set from the beginning. You had to have a clean face and combed hair to be allowed in. And if parents worried that their children did not have good enough clothes to attend, Mr. Raikes provided them, free of charge.

Many of the first pupils were half-wild creatures, full of hatred and crippled by ignorance. Strong discipline was needed to control the children. But it was administered in an interesting way. When a child was disruptive and disobedient, Mr. Raikes would take the offender home, and have parents apply chastisement to “the seat of learning.” Then, he would bring the student back to school again!

Robert Raikes certainly had his early detractors. Some said “Raikes’ Ragged School,” as they called it, was a violation of the Lord’s Day, when Christians shouldn’t be working. But Methodist founder John Wesley supported the work enthusiastically. He determined that wherever a new Methodist work was started, they would have a Sunday School.

Mr. Raikes used his newspaper to promote his work with children, and word spread that something very worthwhile was being done. In spite of its critics, the movement continued to grow, and schools sprang up all over. In only four years, there were 250,000 pupils enrolled. By 1831, there were 1,250,000 attending Sunday School (about a quarter of the population of Great Britain at that time).

One of the early teachers was a Baptist layman named John Burton. He wrote and published songs for the Sunday School, and the music greatly helped in the teaching and training of those who attended. Committing songs to memory enabled illiterate children to get their first grasp on eternal truth. One of Mr. Burton’s hymns begins:

Holy Bible, Book divine,
Precious treasure, thou art mine;
Mine to tell me whence I came;
Mine to teach me what I am.

That’s how it all started. Praise the Lord for men such as Robert Raikes and John Burton! From its humble beginnings, their spiritual vision continues to bring an understanding of God’s Word to millions all over the world. It has also been the means of bringing many to faith in the Saviour, and preparing them to build godly homes, and serve the Lord in other ways.

Funeral Hymns

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This is an article for those looking for hymns that could be suitable for a Funeral or Memorial Service (or, as they are sometimes called today, a Celebration of Life). When I talk to the family after a loved one has died, I have a list of such hymns ready to make suggestions, in case they’re not sure what is needed. Sometimes, the individual will have made known his or her preferences, but other times not.

If at all possible, avoid weaker gospel songs such as In the Garden. I realize it’s a favourite of some, but it has limited value as far as a clear devotional or doctrinal message. If the departed person had a strong Christian faith, there may be a particular desire for a gospel emphasis to the service. In that case, hymns such as Jesus Paid It All (by Elvina Hall), The Solid Rock (by Edward Mote), My Hope Is in the Lord (by Norman Clayton) or No Other Plea (by Lidie Edmunds, a pen name for Eliza Edmunds Hewitt), any of these would give a clear testimony.

The hymns below put more of an emphasis on comfort and encouragement, and a number speak specifically of our heavenly home. Many of them have interesting and relevant stories related to the author or the circumstances under which the hymn was written. These might be helpful in a devotional message. (Many such stories are found on this blog, or on the Cyber Hymnal.)

If you are a pastor, the following list should give you ideas for possible choices. And if you are to be the pianist or organist, you will want a good supply of hymns to be played before, and possibly after the service as people are filing out. For the accompanist, I suggest you put copies of possible hymns in a binder. Then you will have a ready-made selection to be used when the time comes.

Not long ago, my wife and I attended a Memorial Service at which there were clearly a large number of hymn lovers in attendance, a love that was shared by the woman who had passed away. We spent fifteen or twenty minutes, singing hymns and gospel songs. Words were projected on the front wall, so we could sing one song after another without interruption or instruction. It was a wonderful experience! I recommend it as an option.

With those few thoughts, here are some possible hymns and gospel songs to consider, selections old and new, but all, I believe, with something worthwhile to say:

  • Abide with Me (Henry Lyte)
  • After (N. B. Vandall)
  • Amazing Grace (John Newton)
  • Be Still, My Soul (Katharina von Schlegel)
  • Come, Ye Disconsolate (Thomas Moore)
  • Does Jesus Care? (Frank Graeff)
  • Face to Face (Carrie Breck)
  • Farther Along (Baxter and Stevens)
  • God Understands (Oswald Smith)
  • God Will Take Care of You (Civilla Martin)
  • How Blest a Home! (Janetta Trench)
  • In Heavenly Love Abiding (Anna Waring)
  • It Is Well with My Soul (Horatio Spafford)
  • Jesus, Lover of My Soul (Charles Wesley)
  • My Faith Looks Up to Thee (Ray Palmer)
  • My Home, Sweet Home (N. B. Vandall)
  • My Jesus, I Love Thee (William Featherstone)
  • My Saviour First of All (Fanny Crosby)
  • Near to the Heart of God (Cleland McAfee)
  • Nearer, My God, to Thee (Sarah Adams)*
  • No Night There (John Clements)
  • No Tears in Heaven (Robert Arnold)
  • O That Will Be Glory (Charles Gabriel)
  • Precious Lord, Take My Hand (Thomas Dorsey)
  • Precious Name (Lydia Baxter)**
  • Rock of Ages (Augustus Toplady)
  • Safe in the Arms of Jesus (Fanny Crosby)
  • Saved by Grace (Fanny Crosby)
  • Shall We Gather at the River? (Robert Lowry)
  • Still, Still with Thee (Harriet Beecher Stowe)
  • Sweet By and By (Sanford Bennett)
  • Tell It to Jesus (Jeremiah Rankin)
  • The Sands of Time Are Sinking (Ann Cousin)
  • The Lord’s My Shepherd (to the tune Crimond)
  • Until Then (Stuart Hamblen)
  • We Shall See His Lovely Face (Norman Clayton)
  • What a Friend We Have in Jesus (Joseph Scriven)
  • When We See Christ (Esther Rusthoi)
  • Where the Gates Swing Outward Never (Charles Gabriel)
  • Where the Roses Never Fade (Jack & Elsie Osborn, James Miller)

*If you use Nearer, My God, to Thee, be sure to include the added stanza by Henry Bickersteth (you can find it on the Cyber Hymnal).

**Precious Name is also called Take the Name of Jesus with You.

If there are other hymns you have used on such occasions, songs that are not on the above list, please add a comment to the blog, and give us your suggestions.

About “Old-fashioned” Hymns

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I  hear it occasionally: That folks don’t understand the old hymns anymore. Perhaps it’s true, sometimes–though certainly not always. But whose fault is that, if it is true? Should the leadership of the church not make a determined effort to acquaint believers with our great heritage in English hymnody?

What bothers me even more is the leap from the first dubious assertion to a second: That we should therefore abandon the hymn book and stick with contemporary songs in the language of today. The result has been that a growing number of people have lost something precious, the distilled Christian devotion of centuries found in the great hymns of the faith.

So, is it true that the old hymns are incomprehensible to modern believers? Let’s consider Charles Wesley’s great hymn, Jesus, Lover of My Soul as an example.

It was published in 1740. That’s 272 years ago, as I write this. The four stanzas that are commonly used contain 188 words. Almost all of them are words of one or two syllables, and are words still in use. There are four exceptions. Words longer than two syllables. Two of these are still part of our contemporary vocabulary: defenseless, and eternity.

A third longer word used is “unrighteousness.” That, and other forms of the word unrighteous, are used in the Bible 28 times (NKJV). The prefix “un” shows clearly it’s the opposite of “righteous,” a word used in the Bible 540 times, and therefore rather important! Should we not take a moment to explain the word, if necessary?

The fourth exception to the one or two syllable words of Wesley is the word “plenteous,” a more poetic form of the word plentiful. Are we to believe that just because people today are more likely to say “plentiful,” they therefore don’t have the intelligence to grasp the meaning of the other word? That is surely nonsense.

For a defence of the language of our hymns, I encourage you to read the article A New Language that I wrote some time ago.  I’m convinced there are good reasons to continue using our traditional hymns and gospel songs, not only in the services of the church, but in our personal and family devotions.

Advantages of Hymn Books

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Lindsay Smith, of New Zealand, is the editor of a hymn book entitled Redemption Hymns. Below are are some advantages Lindsay sees in using hymn books, rather than words projected on the wall. I have slightly abridged his article, and added a few more comments of my own.

The trend in many churches in recent years has been to abandon the hymn book and simply project words to be sung on a screen, or the wall, with a video projector. This can certainly work. But there are advantages to using hymn books that need to be considered. Not all of these will apply in every case, but many will.

  1. There can be more flexibility possible with the use of hymnals. Video projectors must be programmed in advance, and stanzas chosen. But if the pastor or service leader wants to repeat a stanza sung earlier, or add another one, or feels led to call for a hymn that wasn’t planned for, he cannot do so as easily with a video system. Only hymn books provide simply for these unplanned changes.
  2. Congregations enjoy times when requests are called for by the leader, so they can sing their favourites. This also provides an occasion for sharing good hymns that perhaps haven’t been used for a while. Doing this easily is only possible with hymn books.
  3. Hymn books contain the names of the authors and composers of the songs. This provides a snapshot of our Christian heritage, reflecting many valuable life lessons from saints of bygone days. Their names and experiences will often become familiar over time, and when some of the history of hymn writers is shared before a hymn is sung, it provides a wonderful teaching tool.
  4. Many people grow to know and love their hymn book, and the hymns it contains. This is less likely with the limited use of projected hymns, augmented by the introduction of an ever-changing collection of projected contemporary songs.
  5. Hymn books can be used when the projector bulb blows, or the projector breaks down, or when the one trained to use the video projector is away. If there is enough light in the sanctuary from windows, books can be used even during a power outage, while a projector cannot.
  6. If the lighting in the sanctuary is adequately bright, hymn books can be helpful to people who have difficulty seeing the words on a screen due to eyesight problems–or because they’re sitting or standing behind a taller person.
  7. Hymn books can be used when people are sitting around a room facing the centre. They don’t all need to be facing a screen.
  8. People can purchase their own hymn books and take them home. (This should definitely be encouraged.) There they can mark or highlight the songs they like, use them for devotional reading, becoming more familiar with them. This in turn strengthens the hymn-singing of the congregation.
  9. Hymn books are easily transported, and great for song-times in homes. They are suitable for families, and other small Bible study or prayer groups meeting in homes. On occasion, they might be used when a service is scheduled in a seniors facility.
  10. If God speaks to an individual through a hymn, he or she might want to re-read the words after it has been sung. This is easy with a hymn book, but a projected song disappears as soon as it has been sung. And sometimes, only one verse is visible at a time.
  11. Operators of projection equipment must be recruited, trained and scheduled. There will inevitably be hitches with operator absences, equipment problems, and selecting the right songs on the computer. Such problems can usually be corrected on the spot, when hymn books are used.
  12. Often using books places more of the hymn (i.e. more stanzas) before the reader. Many of these are rich in doctrine and devotion, and can be an added blessing.
  13. It is worthwhile having books with musical notation, because it can provide for singing in parts, which is a wonderful fellowship experience, often creating something of beauty to offer to the Lord. Not everyone has this skill, but with hymn books it can be learned, over time.
  14. Because a video projector is an expensive piece of equipment, it is often stored away in a safe place between uses. That means it must be set up each time. Hymn books can often be left in their place, week by week, and simply picked up from the rack when needed.
  15. There is a cost associated with the purchase of hymn books, but this cost should be thought of as being spread over ten years or more, as the books will last at least that long with care. There is also a cost (sometimes a very large one) associated with the purchase and maintenance of projection equipment. And replacement projector bulbs are very expensive too.
  16. When a church uses hymn books instead of a projector, there’s no annual copyright charge–and no need to carefully keep weekly records of songs used each time, sending them in to the copyright agency. This must be done with projected songs. To use copyrighted hymns without this payment is currently considered illegal. Church Copyright Licensing International (the CCLI) charges $132/year for this service in a church with attendance between 25 and 99.
  17. In part because of a failure of Bible colleges to teach the subject of hymnology, and the failure of churches to fully explore the riches of our heritage, those planning to use projected words will tend to gravitate toward the few hymns they know, when there are hundreds that could be added to a church’s repertoire. Having a church hymn book may put before those who plan and lead the services a broader selection of choices.

Champions of Gospel Song

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We often use the term “hymns” in a broad, generic sense, to refer to all the sacred songs written for congregational use. However, the Bible, in Colossians 3:16, makes a distinction between:

  • “Psalms” – Scripture set to music, particularly as found in the book of Psalms (e.g. The Lord Is My Shepherd)
  • “Hymns” – Songs specifically to or about God, directed to Him in praise or prayer (e.g. How Great Thou Art)
  • “Spiritual songs” – Likely meaning songs of testimony and teaching, that the singers direct more toward one another (e.g. All the Way My Saviour Leads Me)

The nineteenth century saw a special emphasis on the latter of these three. They were often called “Sunday School Songs” in those days, being thought of as a teaching tool for that agency. Now, they are more usually referred to as “gospel songs.” And one of the greatest proponents and promoters of this genre was Ira Sankey (1840-1908), the soloist and song leader for evangelist Dwight L. Moody.

Gospel songs have sometimes been criticized for being simplistic and repetitious and, without question, some are. But for a reason. As thousands gathered to hear Mr. Moody preach, singing was a prominent feature in all the meetings. The evangelist liked to have about forty-five minutes of singing before he spoke. And sometimes the great hymns of the church were used. But the team sensed a need for something more.

There was a place for songs that were easily learned, and readily remembered. Songs that clearly expressed simple Bible truths, ones that would be imbedded in the memory and continue to be used by the Spirit of God to reinforce the message preached from the Word. Often Sankey sang these as solos (sometimes writing them himself.) But if there was to be participation, those present needed a book to read from. (No overhead projectors or “powerpoint” in those days!).

Usually bright and uplifting in style, when the gospel songs expressed biblical truth clearly they performed an important service. Few people would remember details from Moody’s sermons in later years. But those same people could sing the songs that encapsulated the truths he presented many many years afterward. Through the songs, they also had a way of sharing the truths with others.

For a time, the team employed a book called Hallowed Hymns for the meetings, but it was limited in scope. Mr. Sankey approached the publisher to see if a new edition could be issued that included some of the gospel songs they were using. The publisher refused. So Sankey contacted a London firm (Marshall, Morgan and Scott Ltd.) about creating an entirely new book, and the idea was enthusiastically received. The result was Sacred Songs and Solos, edited by Ira Sankey.

The book was introduced in 1873, during Moody and Sankey’s first evangelistic meetings in Great Britain. It became an instant favourite. Revised and augmented a number of times, over the years since, it eventually has come to contain twelve hundred selections. With that, the version including the musical scores is a weighty volume two inches thick, and really too large for the pew. Thus it was the words-only version that was most popular. Tens of millions of copies were sold–over eighty million by the 1930’s.

Many churches and Sunday Schools in the early days adopted Sacred Songs and Solos. The hymns and gospel songs it contained became a link between churches and whole denominations. So well known were the songs that you could simply call out a number, and many would instantly know the song it identified! It was said that you could go to any city in the British Empire, stand on a street corner, and start singing one of the songs from the book, and soon a group of people would gather and join in.

When the Moody team returned to America in 1875, the story was no different. Outstanding gospel songwriters in the United States–Fanny Crosby, Philip Bliss, George Stebbins, James McGranahan, and more–added their gifts. Churches bought and used the book, and were delighted with it. (I can recall these red paper-backed books being used regularly in our church, in my younger years.)

Not all of the twelve hundred selections continue to be sung of course. But a surprising number have found their way into other hymn books printed since. I encourage pastors and worship leaders to have a copy of Sacred Songs and Solos on hand. It’s a blessing to sit down at a piano, and play and sing through some of the songs that have been left behind. Don’t be discouraged by the Victorian prose. Some lovely treasures can be found there. Songs worth resurrecting and singing again. Truly Dwight Moody and Ira Sankey were champions of gospel song. We can praise God for what they’ve left us.

A Thousand Hymn Stories

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For several years, this blog has provided not only Bible studies and devotionals, but also information on the history of our traditional hymns and gospel songs, explaining something of their meaning. In that time, I’ve covered something like a thousand hymns, and continue to add new material all the time.

The purpose of this labour of love is the help Christians have a new appreciation for, and a greater understanding of, our English hymnody. The Bible says we are to “sing praises with understanding” (Ps. 47:7; cf. I Cor. 14:15). This requires a growing knowledge both of God’s Word, and of our sacred songs.

We need fresh insights, if we are to direct our musical teaching and testimony to “one another,” and our musical praise and prayer “to the Lord” (Col. 3:16). If we’re simply content to sing words ritualistically that have no heartfelt meaning for us, we are using “vain repetitions as the heathen do” (Matt. 6:7), a practice that will neither please the Lord, nor benefit us!

I pray that you and your church will continue to make use of our great heritage of hymns. And to  help you with that, I encourage you to do several things:

  1. Come to this site regularly, and take a few minutes to read the most recent posts.
  2. If there is something that strikes you, or something you have a question about, add a comment to the page.
  3. Provide a link to this blog on your own blog or website, so that those who visit you will be able to come for a visit here, as well.
  4. Pass the word about the blog to your pastor, and your church’s worship leaders, so that they too can benefit from the content.
  5. Hopefully in the future, three books will be published for you to purchase here, so watch for that. The first, already published but currently out of print, is Discovering the Songs of Christmas. Other books in this series are in the works: Discovering the Songs of Comfort and Discovering the Songs of Calvary.

May the Lord bless you, and thanks so much for your partnership in the gospel.

Confessions of a Male Chauvinist (Or maybe not!)

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Some editors of our newer hymn books seem insistent on–perhaps I might even say obsessed with–pursuing gender equality in our sacred songs. Everything has to come out evenly, so none feel neglected, or slighted. But is this revisionism justified, or even helpful?

Why change the venerable line “Faith of our fathers” to “faith of the martyrs”? Or, as The Seasonal Missalette has done, add a stanza about mothers, to balance things out? (“Our mothers, too, oppressed and wronged, / Still lived their faith with dignity.”) The original hymn is not speaking of fathers or husbands. The reference is to our believing forefathers. And were there foremothers, too? I suppose. But the former is a widely accepted term for ancestors.

This editorial tinkering seems to be spreading, at least in some circles. “Sons of men and angels say,” the second line of Christ the Lord Is Risen Today, has become “Earth and heav’n in chorus say”. And instead of caroling “Good Christian men rejoice,” we’re now asked to sing “Good Christians all rejoice,” or, “Good Christian friends rejoice.” The classic “Jesu, joy of man’s desiring” has become “Jesu, joy of our desiring.” But are there reasons why this may not be the best idea? I believe so.

1) It is widely understood that masculine nouns and pronouns can be used generically.

Perhaps the human authors of the Scriptures were guided in this by the Lord, to avoid the clumsiness and complications that could ensue by repeatedly including “sons and daughters,” brothers and sisters. In other words, one reason the masculine form may be used there is for simplicity. Can you imagine how it would be, otherwise?

Whoever has this world’s goods, and sees his [or her] brother [or sister] in need, and shuts up his [or her] heart from [him or her], how does the love of God abide in him [or her]? (I Jn. 3:17).

Masculine terms are used of Christians in general, in the Word of God. The Bible exhorts all believers to exhibit “brotherly love” (Rom. 12:10; I Thess. 4:9; Heb. 13:1). And we are to “love the brotherhood,” everyone in the family of God (I Pet. 2:17). The Bible also refers to all Christians as “sons of God” (Rom. 8:14; Gal. 4:6-7). And if we believe in the verbal inspiration of the Scriptures, we need to think twice about assuming we know better what the words should be.

Join hands, then, brothers of the faith,
Whatever your race may be!
Who serves my Father as a son
Is surely kin to me.

It is condescending to think that women are unable to understand this. Are we to assume that they have so little perception that they aren’t aware that such statements include them? That may not be the intent, but it is the implication. Thus, in attempting to give women an equal representation, we may actually be insulting their intelligence!

2) There is merit in preserving our traditions.

Though tradition can be misused, it’s not a bad thing, in itself. The word simply refers to something that is passed on, from one person to another, or from one generation to another. The Apostle Paul spoke of the teachings he received from God, and conveyed to the Thessalonian believers, as traditions (II Thess. 2:15; 3:6).

Using our traditional hymnody gives us a sense of continuity and connectedness with the past. Abandoning or altering the older sacred songs (e.g. removing every “thee” and “thou”) can rob us of that sense of connection. Of course, we are certainly justified in changing the wording (or omitting a stanza or even dropping a hymn) if the original teaches something contrary to the Word of God. But beyond that, alterations seem rarely necessary.

Such editorial doctoring can compound itself. One change often mandates another. In the hymn Jesus, Thou Joy of Loving Hearts, the second line, “Thou Fount of Life, Thou Light of men,” has become “The fount of life, the light of all”–which doesn’t rhyme with “We turn unfilled to Thee again.” So, the latter must be changed to, “We turn, unfilled, to hear your call.” Come again? We turn to hear Your call? What on earth does that mean?

3) The proposed changes further divide the generations.

Some congregations have abandoned the hymn book altogether, in favour of contemporary songs projected on the wall. Another alternative has been to have what is called a “blended” service–which commonly means using mostly contemporary songs, with a few stanzas of an old hymn thrown in. But the latter may be set to an unfamiliar tune. And if the words are changed as well, those who love the songs may hardly recognize them.

Some of us don’t see as well as we used to. But we’re able to sing many of the great old hymns from memory, as we share favourites that have blessed our lives for many years. But I know of churches where most of the hymn singing has been abandoned, or the songs have been so abbreviated, and altered, that some have trouble joining in singing what’s left! This tends to disenfranchise our seniors, a valuable part of any congregation.

4) There is a danger of emasculating our hymnody.

I think that those obsessed with removing masculine references from our hymnody may be subtly emasculating the Christian faith in the minds of many, leaving it, by default, the province of women and children. Since God has given headship in the home, and leadership in the church specifically to men, is it not reasonable to have some hymns that address them, in particular?

What if the male references in our hymnody are taken to heart, particularly by men? Is that so harmful? We need men! Men of strong Christian character, to guide our families, and provide leadership in the church. We need a muscular Christianity that connects with them. Don’t omit from our hymnals the call to Rise Up, O Men of God, or other songs of that kind, simply because they’re addressed to men.

5) It’s dangerous to tamper with hymns that quote the Scriptures.

In the soul-stirring gospel song, Stand Up, Stand Up for Jesus, the third stanza says:

Ye that are men now serve Him against unnumbered foes;
Let courage rise with danger, and strength to strength oppose.

It’s a fine challenge to the men of the congregation. But that is changed in some hymnals to “Ye that are brave now serve Him.” Not only does the original line have a historical connection to the writing of the hymn (see my post here). It is also virtually a quotation from the book of Exodus: “Go now ye that are men, and serve the Lord” (Exod. 10:11, KJV). Even though the application to Christian men is at odds with the context (where the words are spoken to the Israelites by a disdainful heathen ruler), it is still the Word of God.

Instead of “Dear Lord and Father of mankind,” we’re now to warble “Dear God, embracing humankind.” The reference to God the Father has been removed, as being too sexist–even though God is spoken of as our Father in every New Testament book but one (the tiny epistle of Third John). Furthermore, masculine pronouns are uniformly used for God in the Bible–and for angels, incidentally. From Genesis to Revelation, God is addressed as “He” (Gen. 1:5; 2:8; Rev. 11:15; 21:3). He is our heavenly Father (Matt. 6:9).

Unless we are willing to reject the doctrine of verbal inspiration (II Tim. 3:16; II Pet. 1:21), there is simply no room for debate here. Yet the political correcters cannot leave even this alone. Another proposes changing 50% of the references to God in our hymns from “he,” to “she.” I was actually in a service where this was done. Song sheets had the congregation alternating “He’s got the whole world in His hands” with “She’s got the whole world in her hands”! (My oh my!)

6) Some changes obscure or miss doctrinal truths.

In a stanza of the hymn In Christ There Is No East or West (quoted earlier), “brothers of the faith” has been changed to “members of the faith,” and “who serves my Father as a son” to “who serves my Father as His child.”

Consider the latter phrase for a moment. The Bible refers to Christians both as children of God, and sons of God. But those who want to do away with what they see as the “exclusiveness” of the latter, often change references to “sons” in our hymns to “children.” On the surface, it may seem an acceptable alternative. However, the two aren’t precisely the same thing.

Through faith in Christ, we are children of God, brought into His forever family, through the new birth (Jn. 1:12-13). But all born-again children of God (male and female) are also elevated to the position of sonship, at the moment of conversion. In ancient times, sonship entailed a recognition of certain adult rights and privileges in the family. In the spiritual realm, these privileges of sonship are ours immediately, by adoption (Gal. 4:6-7; Eph. 1:5). Two different ministries of the Holy Spirit are involved, accomplishing two different things. So, let us be both children and sons of God.

Bottom line: There is rarely a valid reason to alter our hymns in this way, and it may actually do more harm than good.

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