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Alternate Hymn Tunes

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Alternate hymn tunes can refresh old lyrics. Have you ever tried singing a hymn to a tune other than the one used in your hymn book? If this is done carefully–and not too often–it can have a useful purpose.

What do you do if a hymn is unfamiliar? By using an already familiar tune, you can enable your congregation to sing and enjoy the unfamiliar piece. Well-known hymns benefit also. The difference in phrasing provided by another melody can lead to a fresh look at the lyrics. Suddenly, the words will take on new significance.

If you try this a few times, you may also discover that many people “like” a particular hymn because of the tune. (Ask for “favourites,” and try singing one to a different tune and you will see!) While it is fine to enjoy the melody, that is not our first priority. The tune is like the frame of a picture. It does its job when it enhances the words and enables us to understand them better. If another tune will facilitate this, that is a good thing.

At the back of many hymn books is something called a “Metrical Index,” a listing of tunes according to the lines of poetry they will accommodate. It can be used to select a different tune for a particular set of words.

For now, here are several hymns with suggested tune changes for you to try as alternate hymn tunes. (Many tunes have their own names, and many hymn books list them for you.)

  • “How Firm a Foundation.” In most books, this great hymn is combined with a tune called “Foundation.” But try it to “Portuguese Hymn” (the tune used for “O Come, All Ye Faithful”).
  • “In Heavenly Love Abiding” is a paraphrase of the 23rd Psalm using the tune “Seasons.” Try using “Aurelia” (“The Church’s One Foundation”).
  • “O Jesus, I Have Promised” (tune: “Angel’s Story”) is another hymn that works well with “Aurelia” (“The Church’s One Foundation”).
  • “I Will Sing of My Redeemer” (tune unnamed) works extremely well with “Hyfrydol,” (“Jesus, what a Friend for sinners”). So much so that some newer books set it to the latter tune.
  • O Sacred Head, Now Wounded” uses “Passion Chorale.” If your congregation is not accustomed to Bach, you might try “Aurelia” for this too (“The Church’s One Foundation”).
  • “What a Friend We Have in Jesus.” Instead of the tune “Converse,” try “Holy Manna” (“Brethren, We Have Met to Worship”), or “Beecher,” (“Love Divine, All Love’s Excelling”), or “Blaenwern.” (The latter is a little trickier to find.)
  • “Arise, My Soul, Arise!” uses a fine tune (“Towner”) which is somewhat difficult to sing. Instead, you could try “Darwall” (“Rejoice, the Lord is King”).
  • “Spirit of God, Descend Upon My Heart” uses the tune “Morecambe.” Try it with the tune “Eventide” (“Abide with Me”).
  • “Jesus Loves Even Me” (tune unnamed) is worth trying to the tune “Slane” (“Be Thou My Vision”).
  • “And Can It Be” uses the tune “Sagina.” Try it to “Sweet Hour” (“Sweet Hour of Prayer”).
  • “Come Thou Almighty King” was originally sung to the tune for “God Save the Queen” (“God Save the King” in that day). It works well.

Using Hymns with Children

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Using hymns with children prepares them to have a fuller part in adult worship later on. Conversely, to use only children’s songs and choruses in children’s programming may handicap their integration into the adult services of worship. Instead of “Heavenly Sunshine” and other old chestnuts, why not use the first verse of a good hymn as if it were a “chorus” (or perhaps the refrain of a hymn as a chorus, if it can stand alone).

In some cases, you might have to define a word or explain a concept or two. But so much the better. How often have we taken a moment to do that with adults?

You could also tell a story about the author, or tell how the hymn came to be written. That way, what children learn in Sunday School, children’s church, and week-day clubs, will help to prepare them for more meaningful worship with the whole congregation.

In addition to fine children’s hymns such as “Jesus Loves Me,” and “Jesus Loves Even Me,” here are some other hymns that could be used in this way:

  • My Jesus, I Love Thee (explain “follies”)
  • Ye Must Be Born Again
  • Wonderful Words of Life (explain “duty”)
  • O How I Love Jesus
  • Jesus Is the Joy of Living (refrain only)
  • The Light of the World Is Jesus
  • Amazing Grace (explain “wretch”)
  • Trust and Obey
  • What a Friend We Have in Jesus (explain “griefs” and “forfeit”)
  • Praise Him! Praise Him! (by Fanny Crosby)
  • Constantly Abiding (refrain)
  • Blessed Be the Name (explain “majesty supreme”)

With a little study of the hymn book, you will be able to think of many more, and find using hymns with children very profitable.

Applause: Is Clapping Appropriate in Worship Services?

Applause has its place. But for some it seems out of place in the worship services of the church.

The sanctuary lights dimmed, as costumed young people made their way to the platform. The story of Joseph began to unfold. His coat of many colours, the dreams, the jealousy of his brothers. The youth group of the church my wife and I attended some years ago was presenting the familiar account in the form of a contemporary musical. Eventually, they came to his time in Potiphar’s house and Joseph’s encounter with Potiphar’s wife. A teenage girl slunk across the platform singing a song called “Mae East”–a take-off on Mae West, the movie vamp of the thirties.

It was an impossibly difficult task, singing that song. Not musically, but dramatically. Play it for laughs and it trivializes the conflict between holiness and wanton wickedness. Play it too sensually and it crosses the border of good taste. My impression was that the singer came perilously close to the latter. With the sexual innuendo in her walk and her look, she left no doubt as to what this was all about. At last she ended her siren song–on a spectacularly high note. “Praise the Lord!” proclaimed a gentleman seated in front of me, in a voice loud enough to be heard rows away.

It was startling, disturbing, that note of praise. What was he lauding? This woman’s wicked seduction of a godly young man? No, not that. His attention was on the performance. What thrilled him was that sensational finishing note. It was the singer’s ability to climb higher up the musical scale than the average person. And in that moment, a deep concern was ignited in my mind and heart.

Will you excuse me if I “stops preachin’ and goes to meddlin'” for a moment? It sometimes distresses me when we applaud the ministry of music in our church services–especially during those times designated for worship. What are we applauding? I am sure that in many cases it is the skill of the performance. I know there is a breezy style abroad that says, “Let’s give the Lord a hand,” but I wonder. Are we sincerely worshipping when we applaud at the end of a song. “My Jesus, I love Thee…”–and we clap enthusiastically. What? Whom? Jesus? In the majority of cases, I doubt it.

Those of us who serve publicly in this way need the attitude of John the Baptist who said, “He must increase, but I must decrease” (Jn. 3:30). And the outlook of the one on the platform ought to promote a similar response from those in the pew. Augustine once said, “When I am moved by the voice of him that sings more than by the words sung, I confess I have sinned.” Let’s determine to direct our attention to what the words communicate. Let’s respond to the sentiment of the message, not assess the competence of the performer.

So, is there a place to encourage the one who sings? Certainly. Time enough later, after the service, to express personal appreciation for the ministry. It is entirely appropriate to approach a soloist after the meeting, and say how much the ministry has blessed us. God’s servants need our support. But as Ecclesiastes reminds us, “to everything there is a season” (Ecc. 3:1). Worship celebrates His worth-ship. In services designed for such a purpose, we must be careful not to confuse emotional excitement with spiritual energy, or worship with entertainment. Hold that applause…please.

Drums in Worship: Are they Appropriate?

Drums in worship. Do they have a place…or not? There is certainly a difference of opinion in the Christian community as to whether drums are an appropriate accompaniment to congregational singing in the worship services of the church. Some welcome them enthusiastically. For others they are an unnecessary distraction. Still others are appalled at what they see as a worldly intrusion. Herewith, then, some observations. One person’s perspective on the subject.

drum set

In their favour, the drums do seem to appeal to some, and they provide an opportunity for another kind of talent to be put to use. They are said to promote excitement in singing, but the feeling about the latter is far from unanimous. On balance, there are several factors which at least commend discretion in the matter.

Focus

What is the purpose of more strongly accenting certain beats (sometimes monotonously) in the hymns and choruses we sing? Is it necessary? Can’t we keep together without it? Does it add to their beauty? Not for some. Musically, at least at times, a focus on the rhythm seems uncalled for. A continuous beat (or back beat) that bears little relation to the words does not enhance their message. And its presence gives songs a certain sameness and uniformity of style–like putting ketchup on all our food–that hinders an appreciation for the nuances of feeling represented in our sacred music.

Because of the potential volume of which drums are capable, it is easy for them to overpower the voices, particularly in smaller auditoriums. There is a danger of abuse, and this writer has experienced it a number of times. Without great care, the beat can overwhelm the singers. I have been in services where the volume of the drums and amplified guitars was so deafening I could not hear those singing next to me. This smacks of a return to the Dark Ages, when the joy of fellowship in song was taken from the congregation and replaced with a performance by the “professionals.” Lost is the wonderful experience of the harmonious singing of God’s praises, in which we are able to appreciate the contribution of all.

Further–and this is a critical point, it could be argued that a constant drumming–or drumming that seems to compete with the singing–tends to turn a spiritual ministry (through the message of the words) into a more sensual experience (through the rhythm of the music). “‘Come now, and let us reason together,’ says the Lord” (Isa. 1:18). The foundation of spiritual growth is still a thoughtful study of, and meditation on, the Word of God. And music, used properly, is to provide a setting and a frame for the effective communication of that Word, to aid us in “teaching and admonishing one another” (Col. 3:16).

Are we losing a sense of the distinction between fleshly excitement and spiritual joy? Let the exhilaration of our congregational singing arise primarily from an appreciation of the truth–and of God Himself (Ps. 28:7), and not simply a physiological and psychological response to the music. The latter may, in fact, distract worshippers from a true worship. More than a century ago, Charles Haddon Spurgeon criticized some of the church music of his day with words that still ring true: “Is it not a sin to be tickling men’s ears with sounds when we profess to be adoring the Lord?…Do not men mistake physical effects for spiritual impulses? Do they not often offer to God strains more calculated for human amusement than for divine acceptance?” (from Psalms, by Spurgeon).

Association

Percussion instruments have a long history, and are mentioned in the Word of God (though for some reason drums never are). They have been used to mark time, to send a signal, and, in the case of symphonic bands and symphony orchestras, to add accent and emphasis at certain points in a musical work. Historically, and for many years, drum sets (traps) have been used predominantly in dance bands, and secular rock bands. There they provide a driving beat which stirs rhythmic response and adds excitement for dancing.

Also, drums have traditionally been a vehicle for solo virtuosity and showmanship (from the time of Gene Kruppa and Buddy Rich in the 40’s, and on). As noted previously, due to their intrusiveness and tendency to dominate, drum sets do tend to draw attention to the individual. In the services of the church, and in congregational singing, this is surely contrary to our purpose, where “He must increase, but I must decrease” (Jn. 3:30).

Because of this strong association in the minds of some with worldly music and worldly pleasures, there are those who see their inclusion in worship as a step backward. We should not be trying to see how much like the world we can be; we should be demonstrating as clear a distinction from it as possible. For certain individuals, the instruments may even recall their past experience in the world–a life they are trying to leave behind.

It may be significant that there is not a single reference in the epistles to Christians using instrumental music of any kind. In spite of the fact that various instruments were used in Old Testament temple worship, in spite of the fact that some are seen again in John’s prophetic vision of God’s throne in Revelation, the apostolic church apparently avoided the use of instruments–percussion or otherwise. The likely reason is their close association with worldly entertainment and heathen worship in the first century. Such associations must be a concern for us as well (cf. I Jn. 2:15-17).

Separation

The music of the world intrudes on our lives at every turn, on radio and television, in restaurants and doctor’s offices, in malls and elevators, and even as we walk down the street. Should there not be some haven free from it? Perhaps there ought to be, in the house of God, a music that is distinctly His, and not simply a copy of what the world is doing. The great hymns of the church, and the more doctrinally solid choruses, fit that criterion. They represent triumphs of faith over many centuries. In the words of essayist Robert Bridges, “If we consider and ask ourselves what sort of music we should wish to hear on entering a church, we should surely, in describing our ideal, say first of all that it must be something different from what is heard elsewhere; that it should be a sacred music, devoted to its purpose” (from the Preface to The Hymn Book, 1938).

That our sacred music is “different” is something to celebrate not complain about. That it is rooted in tradition is a characteristic in itself inseparable from its message. Christianity is anchored to the past. To the cross, first of all, but also to the Reformation and to great times of revival that followed. This fact should at least encourage balance between the old and the new. We ought to rejoice in our spiritual heritage and not be too quick to cast it aside. Let us “ask for the old paths, where the good way is, and walk in it” (Jer. 6:16). Before we rush to “keep up with the times,” it is worth considering whether the “times” reflect better the spirit of Christ or of the world. Sometimes music that is called “Christian” is superficial, and even downright unbiblical. We are to be in the world, but not of the world (cf. II Cor. 6:15-17).

Unity

The other side of the coin of separation from the world is the unity of believers. Paul’s desire for the Corinthians was, “that there be no divisions among you, but that you be perfectly joined together in the same mind and in the same judgment” (I Cor. 1:10). At times, the debate over this issue divides along generational lines. Because of this, the presence of drums tends to attract or repel different segments of the congregation, fostering disunity and distrust. When young people and the older generation should be coming together and learning from each other, it seems counterproductive to create unnecessary division.

Some congregations are prepared to “endure” the drums as a kind of compromise, in hopes of keeping teenagers in the church. But at what cost? It is demonstrable that for at least some young people music with a dominating rhythm is a passion–one would almost say an addiction– that has robbed them of a fuller appreciation of other kinds of music. We may do these individuals a disservice by accommodating them without careful thought. Further, in my experience, this attempt to keep young people interested in church by copying what they enjoy in the world has had very limited success.

It is important for leaders in the church to weigh all the factors carefully rather than simply succumbing to pressure from either side in an attempt to keep the peace (cf. Rom. 15:1-2). More is at stake than just a difference in taste. What principles of God’s Word are relevant? What is the value of this addition? Is it appropriate to the situation? Does it help us to meet the needs of all segments the congregation? A consideration of such questions will encourage balance and temperance in the resolution of the issue.

Bottom line: Neither drums nor any instrument should intrude a platform “performance” into the fellowship of singing. Better to have no instruments than that! The volume need never be deafening. In fact, it should never prevent worshippers from hearing and blending with voices around them.

Music Choice: 12 Keys to Good Music

Music choice is important. But how are we to evaluate the music in our lives? Here are twelve major principles, based on the Word of God, which can help us as Christians to do so.

piano keys

1. Humility. In the complexities of understanding and evaluating music, none of us has all the answers (cf. Rom. 12:3, 10; 14:1).

2.Uniqueness. We are each different as to the music in our lives, and with respect to how it affects us (cf. Rom. 12:3-6a; I Cor. 12:14, 27).

3. Integration. Earthly things can have a valid place in our Christian lives, as we assess them biblically and use them wisely (cf. I Cor. 7:31; I Tim. 6:17b).

4. Origin. The source of a piece of music will affect it in significant ways (cf. Prov. 15:2, 28; Lk. 6:45).

5. Tradition. The wise person appreciates the heritage of the past and will continue to employ it and be enriched by it (cf. Deut. 32:7; Jer. 6:16; contrast Acts 17:21).

6. Purpose. The purpose of the musician and of his music will influence how it is used and how it affects us (cf. I Cor. 9:25; 10:31; contrast Phil. 3:18-19).

7. Balance. Music with its various elements in balance reflects the nature of God and accomplishes the purposes of God (cf. I Cor. 14:33, 40; Tit. 1:5a). Such elements include: melody, harmony, rhythm, tempo, and dynamics. If there are lyrics, the music should serve as an appropriate vehicle to enhance their message.

8. Separation. We must not, with our music, encourage or glorify that attachment to the world that God hates (cf. II Cor. 6:14-17; I Jn. 2:15-17).

9. Association. Communication problems arise if the music accompanying a Christian message is associated in the mind of the hearer with a corrupt and sinful lifestyle (cf. I Cor. 8:4, 7; 14:8; 15:33).

10. Effect. Music is a medium of expression (a language) which can communicate with powerful effect (cf. I Sam. 16:23; Col. 3:16; and see Gal. 6:7).

11. Message. The message a song delivers depends upon several components working effectively together: Words + Music + Performance + Musician’s known lifestyle + Social context = the Total Message of a Song (cf. Ps. 139:15-16; I Cor. 12:12; Eph. 4:16).

12. Responsibility. Music is a stewardship from God that we are responsible to use according to His will and purpose (cf. Deut. 12:29-31; Lk. 16:15; and see Est. 4:14; Acts 13:36).

Singing in Harmony

Singing in harmony the praises of God is an important fellowship activity for the body of Christ. Most of us are not “professional” singers; we are “amateurs.” But never be embarrassed by that title. A “professional” sings and plays as a profession–it is his way to earn a living. But on the other hand, the word “amateur” is related to the French amour–the word for love. It speaks of someone who does a thing for love! Surely that is a fitting description of congregational singing. The people have a love for God and for one another, and perhaps for the music itself. And it plays a vital part in the life of the local church.

In recent years, the trend in many churches has been to remove the hymn books from the pews, or to leave them unopened. Overhead projectors, or computerized “Power Point” presentations flash the words on a screen instead. But something is lost in this change. The musical notes. Though not all in the congregation are able to read music, some have a rudimentary knowledge of how to do it. Further, it is a skill that can be nurtured and developed, to the great benefit of all. It is of special value with regard to part-singing. And singing in harmony can be a special blessing for those in the local church. Here’s why.

1. A Picture of Body Life

Singing in harmony is a tangible illustration of the “Body life” of the Church–God’s people working together to achieve a common goal (Eph. 4:16). When each sings his own part, in his own range, no one needs to feel left out simply because some notes are too high or too low to reach. Each part makes its own unique contribution.

  • The sopranos usually sing the melody. They reveal the profile of the song and play a major role in communicating its message.
  • The altos support and enhance the melody with beautifying harmonies.
  • The basses provide a foundational note for each chord and an anchor for the music of the song.
  • The tenors add richness of detail to the foundation and build a bridge that unites the men’s and ladies’ voices.

2. A Time-honoured Tradition

Singing in harmony is a reminder of the connection of believers today with those who have gone before. Part-singing is a great and time-honoured tradition in the church. And singing the songs that are the heritage of the Church from other times, and other lands, reminds us of the oneness of the whole family of God (Eph. 3:14-15).

3. An Experience of Mutual Submission

Singing in harmony provides and example of the kind of humility and mutual submission God desires in the Body (Eph. 5:21). While each person contributes in a unique way, selfishness is out of place and independence is made subservient to the overall purpose. As with the playing of a great orchestra, there is a harmonious blending of gifts to create a “symphony” of ministry.

4. The Creation of Something Beautiful

The creation of something of beauty is a God-like activity. We are made in the image of God, and we honour how He made us when we create a beautiful sound. Such songs offered up to God are true acts of worship. Some may be inclined to say, “But you don’t know our congregation! We’re not singers!” In response, let me offer a couple of encouragements. First, the greater number of people that are involved, the more it tends to minimize the flaws in any one voice. And second, this is a skill that will improve with practice. With diligent work it is possible for any congregation to create beautiful music. And be assured that even if the “experts” criticize, the praises of God, sung from the heart, will be beautiful to Him.

5. An Effective Means of Education

God’s Word instructs us to teach and edify one another in song (Col. 3:16). For this reason, our sacred songs should be strong in doctrine and biblical teaching. Then, as we beautify and adorn the message of our songs with harmony, we add to their effectiveness, and the uplifting influence of our ministry to one another. Such singing is a memorable experience. We will often find ourselves humming or singing the songs over, days later, recalling the experience of singing them together, and reinforcing the message.

6. A Useful Skill to Learn

Part-singing is training for mind and voice. The concentration and practice required are a good discipline for us–something that can carry over into other areas of life. The work is also a practical way to improve sight-reading skills, making the learning of new songs easier, and thus expanding our ability to honour and serve the Lord Jesus Christ in the future.

7. A Foretaste of Heaven

Someone has said that music is the only art of heaven we enjoy on earth, and the only art of earth that we will experience in heaven (Rev. 15:2-4). The blended harmonies of sacred music can be a foretaste and a preparation for heaven. And this experience of fellowship, in the presence of the Lord, will leave a faint fragrance of the eternal in the air.

Singing Speed for Congregation

Singing speed for congregations with hymns and choruses is a subject of some debate. Christian hymns are sung at a wide range of speeds. So, is there one correct pace? No. But it is likely we can identify a range of speeds that are appropriate.

The musical term “andante” [on-DON-tay] means, literally, going. It represents a comfortable walking pace. Since most hymns were written to be sung at approximately that speed, it provides an appropriate centre point for the tempo of our hymns. A bit of experimentation will show that most hymns suit it fairly well. Some are better at a slower or a slightly quicker pace. (You might try experimenting with this, some time when you are taking a walk. Sing a verse of several different kinds of hymns, to see what kind of relative pace is most suitable.) Variations within a moderate range can be effective, but the extremes should be avoided.

Some general principles. 1) Take into account the needs of the whole congregation. 2) Consider the importance of singing the words clearly and intelligently. 3) Examine the tune for quicker eighth note patterns or moving parts. Set a pace that will allow inexperienced singers a chance to sing these properly.

We have all experienced the extremes. Slow, dragging melancholy singing that seem to make it difficult to remember how a line began, by the time we get to the end of it. Then, the blazing speed of the song leader intent (it seems) on waking up everyone in time for the message. Or getting us all home as quickly as possible! In between, there is a suitable range of speeds. As in everything else, fashion seems to dictate the pace of our hymns, to some degree. Previous generations often sang more slowly. The more recent trend is to pick up the pace. While this will relate much to tradition and subjective judgment, here are a few reasons why too quick a pace could be detrimental.

1. Meditation

Let us not give the impression that our aim is to rush into God’s presence, and rush around in His presence, anxious to get corporate worship out of the way so that we can rush out again. It seems to be the fashion of the times that everything must be instant access, instant answers, quick, hurry, try to keep up. It is the spirit of the world that we should take pains to resist. Singing should allow us time to think about the meaning and message of the song.

2. Motivation

One reason given for picking up the tempo of congregational songs is that we need to stir up the saints and build an atmosphere of excitement and anticipation. This means we are using the tune to create an emotional response. But while emotion has its place, a little of that would seem to go a long way. Our excitement should be generated through a spiritual response to the words–which should reflect the truth of God’s Word.

3. Moderation

Sometimes the penchant for speed ignores the message of the words and the need to adjust the tempo to suit them. Some hymns of serious mediation call for a less lively rate of speed. Further, when we set a rapid overall pace, there is nowhere to go to make a contrast when the music suits a quicker tempo.

4. Message

When songs are sung with extreme slowness, the focus is placed (in order of our general awareness) on: HARMONY — words — tune — rhythm and tempo. When an excessively rapid pace is set, the focus would seem to be: RHYTHM AND TEMPO — tune — words — harmony. When a moderate tempo is used, the focus would seem to be: WORDS — tune — harmony — rhythm and tempo. Take note of where the words fall in each of these. What is it that we wish to have prominence? If it is the message of the words, we will adjust our speed to maximize their impact.

5. Ministry

Older people in our congregations do not usually prefer the speed at which the younger ones would like to travel (in anything, as well as in singing). Responses tend to slow somewhat, with age. Seniors cannot easily get the breath to sing quickly (nor do dentures always allow clear diction at such a pace!). In addition, they grew up in an era which was less hurried, and their singing often reflected it. It is biblical to show deference to our seniors, and respect their needs and wishes. It becomes more difficult for us to keep together, when the pace is excessive, more difficult to keep the words clear.

6. Musicality

We cannot fully appreciate the joys of singing in harmony, when the notes rush by at an inappropriate pace. Singing in harmony provides a dynamic example of body life, which both inspires and edifies believers. (See notes on Singing in Harmony). What a trained choir may do with a piece is a little different. Practice makes a quicker pace possible. But untrained singers, will do well to moderate the speed to suit their abilities.

Choosing a Hymn Book for Home Use

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Church hymnal choices are many. A wide selection of hymn books (hymnals, hymnaries) is available to Christians. Some of these are denominationally oriented. Most of the ones described below have found a home in churches of many denominations.

Though we usually think of a hymn book as belonging in the church pew, it has value at home as well. The old tradition of family and friends singing around the piano should not be lost. And beyond that, we can be enriched simply by reading over the words of a hymn, as a part of our personal time of daily devotions.

Whether you are choosing a book for congregational or personal use, these are ones worth considering. See also: Choosing a Hymnal for Your Church.

The Celebration Hymnal, published in 1997, is the newest of the major evangelical hymnals (at the time of writing this article). Included in its over 800 songs is a good selection of traditional hymns, as well as newer hymns and choruses.

The Worship & Service Hymnal was published in 1957. Other than the fact that it has none of the newer songs from the last 50 years, it is a fine book, containing a balanced compendium of 525 hymns. In spite of its age, it remains an excellent hymnal for church or personal use.

Great Hymns of the Faith came out in 1968. Its over 530 hymns provide a wide selection of familiar standards. Through the years, I have come to appreciate this book more and more.

Living Hymns came out in 1972. Published by Striving Together Publications. it contains over 850 selections. Some of these are songs composed by editor Alfred Smith. And while these are unfamiliar, Smith tended to write singable tunes that are not difficult to learn. This is a hymn book with a heart. Many of its selections focus on the Christian’s devotional life.

Hymns for the Living Church was published in 1974. With over 570 selections, its strength lies in its inclusion of hymns from ancient times, and other sometimes neglected periods of church history.

Praise! Our Songs & Hymns, also edited by John Peterson, was produced in 1981. Its over 570 selections provide a good selection of hymns on various themes.

The Cyber Hymnal has been available on the Internet since 1996, and now contains over 7,600 selections. Dick Adams, the editor, not only gives us the words of the hymn (often including verses omitted in the standard hymnals). He also provides pictures of the author and composer, where these are available, and even plays the tune for us! If you own a computer, you should bookmark the Cyber Hymnal. Highly recommended! Check it out here: Cyber Hymnal.

Choosing a Hymnal for your Church

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Choosing a hymnal for your church is not a simple matter. But here are nearly three dozen great, practical tips for the church wanting to purchase a new hymn book!

A. General Considerations

Next to the Bible, a good hymn book may well be the Christian’s most valuable treasure. It contains a distillation of church history, and of the life personal experiences of great saints of bygone days. It provides a wonderful teaching tool (cf. Col. 3:16). It gives the body of Christ a means to engage in unifying fellowship as they sing together. For these reasons and more, a church’s choice of which hymn book to purchase is a critical one. It should be done carefully.

  1. The decision should be made by a committee, rather than one individual. (Include the pastoral staff, church musicians, and insightful people from the congregation–spiritual men and women who know the Word of God.)
  2. Pray about your choice, individually and as a committee. But realize that you will never be able to satisfy everyone. (Remind the congregation of this, and assure them the committee is seeking to make a wise and balanced choice.)
  3. Take plenty of time. This is a big (and expensive) decision that may affect the church for a number of years.
  4. Encourage committee members to talk to pastors and members of other churches. Find out what they are using and how they like it.
  5. Keep your local church doctrines and policies in mind (and those of your denomination). For example, if your church has a strong missionary emphasis, does the hymn book provide an adequate number of suitable songs in that area.
  6. No hymn book can keep up with the contemporary music scene. Don’t make a major issue out of whether the book contains all the newest and latest. There are other ways to provide a selection of newer songs (such as by using a screen).
  7. Don’t buy a smaller book because, “That’s all we can afford.” You may find later you have made a poor investment. A quality hymn book should contain 500-800 songs. Too many congregations are stuck in a rut and sing fewer than 50 hymns, over and over. They need to expand their devotional vocabulary by learning more about our heritage. Get a good-sized book, and have your musicians teach “new” hymns regularly.
  8. You should be able to find a eight or ten books that are possibilities. Purchase (or borrow) a copy of each, and give each committee member time to evaluate them individually. Then discuss findings as a group.

B. Textual Factors

The words of our hymns are basically poetry. Some of it is poor to average in quality; some is sublimely beautiful. But even the simplest lines of verse can express profound truths that stick in the mind and ring in the heart long after the songs are sung. It is the words which must be central. The music provides a frame for that message, but the words are always most important. For that reason, give careful attention to the words of the hymns.

  1. There should be hymns representing various periods in church history, and representing the major writers of each era. A few hymns come from the earliest centuries of church history–and even before, if we count psalms set to music. But the majority of our hymns date from the Protestant Reformation (about 1500) onward. Key names to look for: Isaac Watts, Charles Wesley, Fanny Crosby, Philip Bliss.
  2. Watch for the opposite problem: too much emphasis on one author and one period. Sometimes the editor of the book is also a hymn writer, and he may overload the book with his own songs, leaving less room for those of others.
  3. Does your congregation have some special favourites? Look for a book that includes them. Usually a book will include a good selection of the “standards” because they are widely known and loved.
  4. Watch for alterations in the traditional texts of hymns. Some editors attempt to modernize the words–with mixed success. Some remove all the “thees” and “thous,” even when the poetry suffers as a result. And some concerned with gender equality balk at singing hymns that refer to “men of God” and miss the women. If such things are a concern, it will affect your choice. (This author’s personal view is that usually we should leave traditional hymns as they are, unless blatantly false doctrine requires a change.)
  5. Many hymn books also contain a selection of Bible portions (usually at the rear of the book). These are useful for congregational reading. In a day when a variety of Bible versions are in use, unison reading of the Scriptures is difficult. Check the variety and usefulness of the portions included. And is the version used one that your congregation would find acceptable?

C. Theological Factors

People ought to get their theology from the Scriptures, not from a hymn book. But it remains true that our hymns are a valuable tool for teaching biblical truth. However, the authors of our hymns wrote from an extremely wide doctrinal spectrum. Some hymn writers were theological liberals. And along with Presbyterians, Anglicans, Methodists and Pentecostals, are Roman Catholics, Unitarians and more. Usually, our hymns focus on commonly held beliefs–but not always. You will find some thoughts which are not true to Scripture. What then? We do not need to throw out the whole hymn book on that account. Sometimes, we can agree with the basic sentiment, even though we might argue over the details. Other times, we can simply avoid using certain hymns, or certain verses within a hymn. You must determine how you will handle this issue.

  1. Are the major doctrines of the Bible covered? Or are there gaps? Be aware of your church’s doctrinal statement as you examine possible hymn books. Are some key truths missing? For example, in the liberal community there is sometimes an abhorrence of the blood of Christ. Attempts are made to edit out hymns that make reference to it, such as “Power in the Blood,” or “There Is a Fountain Filled with Blood.”
  2. What about the theological accuracy of hymns in the book? As noted above, we will not agree with every phrase of every hymn. But are these the exception, or do doctrinal problems predominate? Sometimes, simply changing a word can improve a hymn. An example: Early versions of the hymn “Beneath the Cross of Jesus” contain this line at the end of the second verse: “Two wonders I confess– / The wonders of redeeming love and my own worthlessness.” But Christ did not die for “worthless” people. We are unworthy of His love, yes. But not worthless. Later books amend the line to read, “The wonders of redeeming love and my unworthiness.”
  3. Special attention should be given to the area of the Second Coming, and the doctrine of the Holy Spirit. Are the hymns generally supportive of the position of your church? If your church is not charismatic, for example, you should avoid books that emphasize charismatic teaching.

D. Thematic Factors

To see the range of topics covered in a particular book, you should be able to check the Topical Index at the back. (If the book lacks this helpful tool, it is a major omission.)

  1. What topics are covered in the book? Your pastor should be able to find songs that will complement his pulpit ministry and help him to emphasize key truths. Church services ought to be planned around a definite theme. Is that possible with the choices available?
  2. Watch for the opposite problem. A thematic over-emphasis–too many hymns on one topic, to the detriment of others. (A less frequent issue, since editors aim to please as many people as possible!)
  3. What about special occasion music? Is there a good choice for Christmas and Easter? What about Thanksgiving, New Year’s, Mother’s Day, Father’s Day, and so on. Consider the special days emphasized by your church. Will the book help you with those services?

E. Musical Factors

While the music is of less importance than the words, it is not unimportant. Our enjoyment of a beautiful painting can be hindered by a distracting frame. And the tune, or tune arrangement, can either enhance or detract from the message of the words.

  1. Are the tunes used with the texts the familiar ones? A little creativity is fine, but most congregations will not be happy with a steady diet of unfamiliar tunes. Too much innovation can simply be a nuisance.
  2. Even if the tune looks familiar, an arranger may have done new things with the melody or the harmony that will confuse the congregation–or the accompanists. Watch for the words “Arranged by” (or “Arr.”) along with the name of the tune’s composer. Have your church organist or pianist play through some of these to see what changes have been made.
  3. Consider the pitch and the musical range of the songs. It has become common in newer books to lower the tune slightly so the melody is reachable by those with lower voices. This can strengthen congregational singing. It is not so much a concern if your accompanists are able to transpose on sight, but that ability is not possessed by all.
  4. Is there a special edition of the hymn book available for the instrumentalists? Often the print in these is larger, and they sometimes include guitar chords above the music. Your musicians will thank you for books bound so they will lie open more easily as these usually are.

F. Mechanical Factors

  1. What indexes are included in the book? Usually, there is an Alphabetical Index of each hymn–often by the first line, as well as by the title. Very occasionally, a book will include the first line of each verse. Another important index is the Topical Index. How do you find hymns about prayer? Or about the cross? These topics and dozens more should be covered. Along with these two, your musicians will find an Index of Tunes, and a Metrical Index valuable. (It is possible, with the use of these, to select a different tune for many hymns. Done occasionally, this can add variety and give the hymn a new feel.) Some books include an Index of Authors and Composers. And if there are Scripture portions in the book it should have one or two indexes for these–indexing them by passage and by subject.
  2. Some of the newer books have a computer program available with even more extensive indexes, and help with service planning, etc. This can be a valuable tool.
  3. What is the paper and the print like? The paper should be a good, clean white, with a texture that is smooth rather than course and grainy. The print should be black, clear and readable. Think about the seniors in your congregation. They will thank you for attention to this last detail.
  4. What about the binding? It should be both durable and attractive. Purchase only a hard cover hymn book, with a sturdy sewn binding. Otherwise, you will soon see pages beginning to loosen and fall out. What colours are available? Is there one that particularly harmonizes with the decor of your church sanctuary?

G. Financial Factors

  1. What is the cost per book? You can expect to pay around $14-15 for a good hymn book. Multiply that by the number needed for your congregation (keeping in mind those occasions when there are more people present, and also the prospect of future numerical growth). For 100 books, the cost will be $1500 plus shipping (and some possible taxes). This is a large expenditure. But think of it as being spread over 8-10 years, the period in which you may well be using the book.
  2. You could finance the project by having each adult and teen contribute the cost of one book. You might have special envelopes prepared, and a special Sunday’s offering (well advertised in advance) designated for this.
  3. Another alternative is to have people donate books in memory of family members or friends who have passed away. A tasteful sticker in the front of these books could say “Dedicated to the memory of ____ / By _____.
  4. You should also encourage families to purchase their own copy of the book for home use. If possible, these should be a different colour, so they are not confused with those belonging to the church. Another means of differentiating the two is to have the church books gold stamped with the church name. (Many hymn book companies will do the former, for a small additional cost.)
  5. When the books arrive, plan a special service of dedication for them. Place them at the front of the sanctuary, and have a prayer of dedication. Then distribute them. If you can devote the whole (or most of the) service to singing from the book, this is an excellent way to introduce it. Have your choir or a soloist prepared to sing a number; ask for some favourites, introduce one or two new songs. Make it a great occasion–because it is!
  6. Here is a brief list of some hymnals presently in print. Depending on your needs, one of these may be what you are looking for. (If you have difficulty locating information, leave a comment. Perhaps someone can help.)

For more information on some of these books, see the article on choosing a hymn book for home use, at Choosing a Hymn Book.

Community Hymn Sings

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Community Hymn Sing–the very phrase breathes warmth and fellowship. And this kind of program is something I have conducted many times over the years. Here is some information that could help you organize one.

Note: The questionnaire below was used when I was asked to be the leader of the program in a distant town. That is why you will see “I” and “me” at various points. Simply substitute the name of the leader you have chosen where appropriate.

To begin with, there is merit in calling the event a “Community Hymn Sing.” It becomes an automatic invitation to the whole “community.” I have found there are many people all over who love to sing the old hymns!

  1. What is the VENUE for the event (location, address)? Will folks need a map? And is there anything more we should know about this location (parking, etc.)?
  2. What is the DATE and TIME for the event? Usually, I have planned on about a 90-minute program. No sermon. The emphasis is on singing, with about a half hour afterward for coffee and conversation. The latter, or course, is optional, and up to you.
  3. What CHURCHES will be involved? In my experience, it is possible to draw in participants from about an hour’s radius, with good promotion, and the traditional hymns of the church seem to cross many denominational boundaries.
  4. Is it possible to estimate the NUMBER OF PEOPLE that might attend? This is helpful in case you would like to provide a hand-out for certain songs, and provide a snack afterward, etc.
  5. Who will the ACCOMPANIST(S) be? Simple piano accompaniment is good, or organ and piano. Some songs may be done a cappella (without instruments), if harmonization shows promise. (I have also conducted programs where a very fine violinist played along, sometimes supplying a beautiful obligato to the singing. Given the nature of the music, my personal preference is not to have drums and guitars used, but that’s up to you.)
  6. Will an organized CHOIR be involved? My usual pattern is to sing all or part of as many hymns as possible, giving the background for some along the way. To vary congregational participation, we may have the instruments play a verse, or I could sing a verse as a solo, asking all to join me on the refrain. A choir could fit into this mix well. Even if they did not do much on their own, they would add support to the singing–valuable if a song is unfamiliar to some. (A mixed quartet could work the same way.)
  7. What HYMNS will be used? I prefer to choose most of the hymns myself, or have a major input into the choice (though it is possible to set aside some time for requests during the event). One reason I do this is that not all songs have as interesting a story behind them as others do. Sometimes I also choose hymns to fit or develop a particular theme (Christmas, Easter, Valentine’s, etc.). If enough lead time is given, I can provide a list of songs in advance, so accompanists can get familiar with them.
  8. What about a PRACTICE? Would it be possible to meet with the accompanist(s) (and choir?) in advance (i.e. the evening before, or even the afternoon of the hymn sing date)? Though this is not usually necessary, a bit of discussion and a run-through of less familiar numbers could add to the effectiveness of the program.
  9. What HYMN BOOK will be in the pews? (And could I borrow a copy in advance, if I do not already have one?) I have done this type of program with hand-outs, or using an overhead. But I’ve found it’s most helpful for people to turn to the hymn, have the music before them, and see the names of the author/composer that I will be telling them about.
  10. Is there an VIDEO projector which could be used? (And do you have a spare bulb on hand?) Even if it is not used for song words, sometimes a photograph of the hymn writer is of interest. (Note that a choir would have to be positioned to be able to see what is projected.) I once tried having a hymn sing with folks sitting in a semicircle, and roughly divided into parts. It worked fairly well.
  11. Will there be a LUNCH afterward? And if so, who will take care of arranging for this? Suggestion: Keep it simple. Tea, coffee or juice, and a cookie would do. The main idea is to give some time for visiting and conversation.
  12. How will the event be ADVERTISED? Depending on your circumstances, such things as small posters and bulletin inserts for participating churches would be helpful. Or maybe a newspaper advertisement on the “Church Page.” (Who will take care of producing these?)
  13. Are there local CONTACTS, individuals who can be phoned or e-mailed for further information?
  14. How will the event be covered and REPORTED ON afterward? Will someone be taking pictures? A report in a local newspaper will likely be of interest to those involved. Also, denominational publications sometimes like to tell about such special events.
  15. Are there local COSTS involved? For publicity? Rental of facilities? Etc. As for myself, I ask that you cover the expense of my travel (and accommodation, if needed). If you wish to give me an honorarium, that is up to you. I do not have a “fee,” but as the Bible says, “The labourer is worthy of his wages” (I Tim. 5:18).
  16. MISCELLANEOUS. Anything else that needs consideration in your particular situation?

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