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About That “Metrical Index”

In the back of many hymnals you will find a Tune Index (because many of the tunes have names separate from the title of the text). Sometimes tune names are chosen to relate to a particular set of words. Other times, they may honour a saint, or the composer’s home town, or even be named after his wife! Then there’s that Metrical Index. For many, the latter is wasted space. What good is it? Who cares?

Well, there is value in the Metrical Index if we know the basics of how to use it. Take as an example the hymn The Church’s One Foundation. The name of the tune commonly used for this hymn is Aurelia. The Tune Index of the hymn book will list it, followed by some funny looking numbers. After Aurelia you will likely see 7.6.7.6 D. (The “D” stands for doubled, so the number becomes 7.6.7.6.7.6.7.6.)

That number describes the metre of the hymn. It tells us that each stanza contains eight lines of poetry, and each of those lines contains either 7 or 6 sounded syllables, alternately. Take a look at the first stanza of The Church’s One Foundation as an example. Count the sounded syllables and you’ll see what I mean.

The Chur – ch’s one foun – da – tion = 7
Is Je – sus Christ her Lord = 6
She is His new cre – a – tion = 7
By wa – ter and the Word = 6
From heav’n He came and sought her = 7
To be His holy bride = 6
With His own blood He bought her = 7
And for her life He died = 6

Now, you may still be saying, “So what?” But that is valuable information, because it makes it possible for us to use a different tune for The Church’s One Foundation if we want to, or to use the tune Aurelia with another set of words.

Maybe the hymn you want to sing has an unfamiliar tune, or one that is more difficult to sing. By knowing the metre, you may be able to make a switch. Or what if you discover some great lines of poetry that have no tune at all, but you think the poem might work as a hymn? With the Metrical Index you may be able to find a tune that fits. A change of tune may also give a familiar hymn a new feel, helping us to appreciate the words in a new way.

We’ll get to some cautions in a moment, but first, let’s see what we can do with the above example. In the Metrical Index, all the tunes with the same metre are grouped together. You should be able to find a group of tunes under the heading 7.6.7.6 D. In the hymn book I have in front of me at the moment, there are a dozen such tunes, followed by the number(s) in the book where the particular tune is used. Here’s the list of 7.6.7.6 D tunes: 

Aurelia
Ellacombe
Greenland
Lancashire
Mendebras
Missionary Hymn
Munich
Passion Chorale
St. Hilda
St. Theodulph
Webb

The last of these (Webb) is used with the hymn Stand Up, Stand Up for Jesus. Try singing the words of The Church’s One Foundation to the hymn tune Webb, and you will see that the two fit together quite well. But the tune Aurelia is not as good a match for the hymn Stand Up, Stand Up for Jesus. The metre fits, but not the mood. And this is where we get to a few cautions.

1) Think of the music as functioning like the frame of a great painting. If we were to put a big gaudy frame with pink and purple polka dots around the Mona Lisa, it would detract from the masterpiece. We’d want a frame that enhances the painting, and draws attention to it, not to the frame itself. In a similar way, a tune needs to support and enhance the message of the words, not get in the way of our understanding of them.

The tune Webb works with The Church’s One Foundation because it feels strong and sturdy–like a “foundation” should be. But Aurelia has a beautiful smooth-flowing, more contemplative melody that does not seem the best way to enhance the idea of soldiers fighting for the Lord. (This is not an exact science, and you may disagree with me. But try it and see.)

Here is an illustration I’ve sometimes used to demonstrate that tunes with the same metre do not necessarily match the mood of all the texts they fit metrically. Isaac Watts’ hymn, Alas, and Did My Saviour Bleed? often uses the hymn tune Martyrdom. Next to the tune name in the Tune Index you’ll see either CM (which stands for Common Metre), or the numbers 8.6.8.6 (a very “common” metre for hymns). Now, find the gospel song Faith Is the Victory in your hymn book. It doesn’t happen to have a tune name, but if you count the sounded syllables, you will see that the stanzas (excluding the refrain) have an 8.6.8.6 Doubled metre.

But does this mean we can simply switch the two tunes? No, because the mood is utterly different. Alas, and Did My Saviour Bleed? is a sober, worshipful meditation by one standing before the cross of Calvary, utterly amazed that Christ would die for him. It seems almost a mockery to sing the words to the bouncy tune Ira Sankey provided for Faith Is the Victory. Won’t work the other way either. The slow meditative pace of Martyrdom would put all of the soldiers to sleep who are to “press the battle” in Faith is the Victory. Sankey’s tune appropriately seems to call to mind galloping horsemen! Give it a try, and you’ll see what I mean.

2) Another caution is in order. Sometimes, though the number of sounded syllables is the same, you will find that the em-PHA-sis is not on the right syl-LAB-le. Both What a Friend We Have in Jesus and James Small’s I’ve Found a Friend have an 8.7.8.7 D metre. But try switching the tunes by Charles Converse and George Stebbins and you will see they have different beat patterns (technically known as trochaic and iambic, respectively). This is a less common problem, and sometimes even the traditional tunes used with our hymns don’t fit every stanza precisely. They require a bit of a compromise. All you can do is try the new combination to see if it works for you.

3) And one final caution: Don’t overdo it. Changing the tune of a hymn can be helpful for the reasons given at the beginning. But use the technique sparingly. A steady diet may not only defeat the purpose, it will be unacceptable to many. It is surprising how many folks love a hymn because of the tune. Change the tune, and to them it’s not the same hymn. But make it an occasional thing, and choose carefully, and you will find it a great help. Here are more than a dozen variations to try:

  1. Sing Philip Bliss’s My Redeemer to the tune Hyfrydol. (Some hymn books have actually printed the hymn with this tune because it works so well.)
  2. Sing Arise, My Soul, Arise! to the tune Darwall.
  3. Sing Come, Thou Almighty King to the tune for God Save the Queen (or My Country, ‘Tis of Thee). (That is actually the tune used with the hymn originally.)
  4. Sing Jesus Loves Even Me to the tune Slane.
  5. Sing What a Friend We Have in Jesus to the tune Holy Manna, or to the wonderful tune Blaenwern. (This tune is a little tricky to find. Check it out on the Cyber Hymnal where it is given as a secondary tune. The site also provides the tune as a PDF file that can be printed.)
  6. Sing Spirit of God Descend Upon My Heart to the tune Eventide (used with Abide with Me)
  7. Sing And Can It Be? to tune Sweet Hour (used with Sweet Hour of Prayer).
  8. Sing How Firm a Foundation to the tune Portuguese Hymn (used with O Come, All Ye Faithful).
  9. Sing either In Heavenly Love Abiding or O Jesus I Have Promised to the tune Aurelia. Or if your congregation balks at Bach, try singing O Sacred Head, Now Wounded to Aurelia as well.
  10. Sing Love Divine, All Love’s Excelling either to the tune Hyfrydol, or Blaenwern. Both are great tunes.
  11. Sing How Great Thou Art to the tune Finlandia. This works well, with a slight change in the refrain. Add two words, as you see below, and drop the repeat of “Then sings my soul…”

Then sings my soul, my Saviour God, to Thee;
How great Thou art, my God, how great Thou art.

  1. Sing Come, Thou Fount of Every Blessing, or What a Friend We Have to Jesus (or a combination of part of the two hymns, to the tune Hyfrydol (to which we sing “Jesus, what a friend for sinners…” and “Come, Thou long expected Jesus…”)

Lord’s Day Meditation – The Burden Bearer

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Cast your burden on the Lord, and He shall sustain you; He shall never permit the righteous to be moved.

Psalm 55:22

Our “burdens” are the circumstances in which we find ourselves. Particularly difficulties, not of our own making, that beset us as we seek to do the will of God. The promise of His Word is that if we will bring such burdens to His throne, we’ll find that the Lord will sustain and nourish us so that we are not shaken out of our place. That is, the Lord will assure that the enemy is not able to hinder our work for Him, or render our service ineffective (cf. Ps. 37:23-24). It should be a settled habit with us that we bring our burdens to the Lord.

Can He handle them? Yes, of course. Surely the One who has strength enough to bear the government of the world upon His shoulder one day (Isa. 9:6) will hardly balk at supporting one weak saint in his or her extremity. He may not take away the problem–though He does this at times. But we can be assured He will at least sustain us in it, and bring us through it.

However, there are a couple of common problems with doing this. At least, I confess they are ones I have. Perhaps you do too.

  • First, there is that craving in our sin nature to be independent, and a root of pride that tells us we can handle whatever it is. This can lead to prayerlessness. Peter exhorts his readers to humble themselves before the Lord, “casting all your care upon Him, for He cares for you” (I Pet. 5:6-7). To bow at His throne and admit our need of Him, that is where we must begin.
  • Second, perhaps we do readily bring our burdens before the Lord in prayer. But when we leave the place of prayer, we often drag them away with us! Casting our burdens on the Lord means we entrust them to Him and look to Him for the resolution of the problems. Committing burdens to Him is not intended to be a brief moment of relief while we are at prayer. It is to be a lasting remedy.

David’s utter confidence in God, expressed in Ps. 55:22, is reflected in Ps. 31 as well. “I trust in You, O Lord; I say, You are my God, my times are in Your hand” (vs. 14-15). A practical example of such sustaining faith is found in the experience of Job (Job 2:20-22). And in more recent times, the trust that transcends circumstances was illustrated by Horatio Spafford and his wife, at the loss of their four daughters in a tragic shipwreck. Out of his steadfast assurance Spafford, he gave us the hymn:

When peace like a river attendeth my way,
When sorrows like sea-billows role;
Whatever my lot, Thou hast taught me to say,
“It is well, it is well with my soul.”

Choosing a Hymn Book for Your Church

These days, many churches have abandoned the traditional hymns and gospel songs of the faith, turning instead to contemporary choruses. And even when a few of the hymns are used, it’s often in an abbreviated or altered form, with the words projected on a wall. Sadly, the hymnals have left the pews in many churches, to be consigned to some dusty cupboard.

But there are valid reasons to stick with the hymn books. Next to the Bible, a good hymnal may well be the Christian’s most valuable treasure. It contains a distillation of church history, and of the life experiences of great saints of bygone days. It provides a wonderful teaching tool (cf. Col. 3:16).

Using books usually places more of the hymn before the reader, as well as providing information about author and composer. And it gives the body of Christ a means to engage in unifying fellowship as they sing together, possibly in harmony, if some can follow the notes. Churches need to encourage individuals and families to purchase copies of the book for home use. The hymn book can be a blessing in personal and family devotions. Songs sung in church can be sung or read at home.

This author takes the position that the hymn book still has a valid place in the services of the church But choosing a new hymnal for your church is not a simple matter. It should be done carefully. With that in mind, here are nearly three dozen practical tips for the church wanting to purchase a new hymn book.

A. General Considerations

1) The decision should be made by a committee, rather than by one individual. (Include on the committee 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, so don’t make a major issue out of whether the book contains all the newest and latest. (By the time you buy the book there will be more “newest and latest”!) There are other ways to provide a selection of newer songs.

7) Don’t buy a small book simply 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 several 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 their message, but the words are always most important. For that reason, give careful attention to the words of the hymns.

9) 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, John Newton, Fanny Crosby, and Philip Bliss.

10) 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.

11) 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.

12) Watch for alterations in the traditional texts of hymns. Some editors attempt to modernize the words–with mixed success. Some remove all the thee’s and thou’s, even when the poetry suffers as a result. And some concerned with gender equality balk at singing hymns that refer to “men of God” assuming that misses the women. (“Men” can be used in a generic sense to refer to mankind or humankind.) 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.)

13) Many hymn books also contain a selection of Bible portions (usually at the back of the book). These are useful for congregational reading. In a day when a variety of Bible versions are in use, unison or responsive reading of the Scriptures is difficult. Check the variety and practicality of the portions included. And is the Bible version 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 Baptists, Presbyterians, Anglicans, Methodists and Pentecostals, are Roman Catholics, Unitarians and more.

Usually, our hymns focus on commonly held beliefs–but not always. You may 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 stanzas within a hymn. You must determine how you will handle this issue.

14) 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 references to 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,” or “Nothing But the Blood of Jesus.”

15) 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 often amend the line to read, “The wonders of redeeming love and my unworthiness.”

16) 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.)

17) What topics are covered in the book? Your pastor should be able to find songs that will complement his pulpit ministry, helping him to emphasize key truths. Church services ought to be planned around a definite theme. Is that possible with the choices available?

18) 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!)

19) 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 or occasions (such as believer’s baptism) 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.

20) 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.

21) 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.

22) 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.

23) 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 that are spiral bound or looseleaf, so they will lie open more easily as these usually are.

F. Mechanical Factors

24) 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 Alphabetical 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 a useful 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.

25) For some of the newer books there is a computer program available with even more extensive indexes, and help with service planning, etc. This can be a valuable tool.

26) What are 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.

27) 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

28) 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). Don’t stint on this. 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 a decade or more, the period in which you may well be using the book.

29) 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.

30) Another option 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 _____.”

31) 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. (Some hymn book publishers will do that, for a small additional cost.)

32) 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!

33) Here is a list of three hymnals presently in print. I have been the pastor of churches that used each of them. The first two are special favourites of mine. Depending on your needs, one of these may be what you are looking for.

¤ Living Hymns. Newly revised, with over 850 songs, some not available elsewhere, this is a fine heart-warming book. I highly recommend it.

¤ Great Hymns of the Faith. A little smaller and less expensive than some books, but still excellent. The more I’ve used it, the more I’ve come to admire it. Also highly recommended.

¤ The Celebration Hymnal. A newer hymnal with a helpful combination of old and new songs, plus added features such as segues between some songs so that they can be used in a medley.  If you’re more into the contemporary style, this one may be preferable.

Hold That Applause…Please

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 teen-age 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.

Historical Hymn Issues

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Over the centuries there have been a number of issues confronting the church with regard to sacred music. Sometimes these have aroused contention and rancour. But even when this has not happened, local congregations have needed to decide on what their policy will be. Here are several of the issues involved.

Issue #1 – The Use of Instruments

Nothing is said of musical instruments being used in the worship of the New Testament church. In fact, the early church fathers (Clement of Alexandria, Chrysostum, Ambrose, and Augustine) strongly opposed the use of instruments in sacred singing. This is in spite of the fact that extensive use was made of instrumental music in the Jewish temple (I Chron. 25:6-7, etc.) and we are told the heavenly courts will resound with music accompanied by “harps” (Rev. 5:8; 14:2; 15:2-3).

Israel had been more or less a homogeneous cultural unit, with some consensus as to the meaning of its music. The church, made up of many nations, is quite different. After Pentecost, believers had to be concerned with how their practices were being received and understood by a diversity of cultural groups. Since there is nothing in the New Testament that forbids the use of instruments in Christian worship, it is likely that in those times instrumental music had, for many, a strong association with pagan worship, or sensual activities that Christians wanted to avoid. In The Ministry of Music (p. 50), Ken Osbeck states that “instrumental music was associated with boisterous Roman paganism.”

Currently, most churches do not have a problem with instrumental music, if it appropriately and effectively supports congregational singing. But we must still be cautious of the danger of seeking to entertain, rather than edify, and of the possibility of secular associations tainting our music.

Issue #2 – Congregational Singing

Pope Gregory I (540-604) disapproved of congregational singing. In his time, much of the music of the church was turned over to the priests. As well, the formal liturgy of the “Mass” took shape. Attending church involved more observation than participation in singing God’s praises. There is some beautiful church music from the Middle Ages, but it was largely written for trained choirs, not the congregation. It took the Reformation to restore hymn singing to the people. This is an avenue of fellowship the people of God should carefully guard.

Issue #3 – Non-biblical Lyrics

One of the prominent arguments of an earlier time–along with whether to use musical instruments or not–was over what should be sung. Some said only Scripture should be sung by God’s people. Others said that newer songs could be used as well. (This debate actually continued off and on for over a thousand years.) To show how seriously this was taken, consider what happened to the bishop of Antioch, in 260 A.D. He was hauled into court, accused of “suppressing the chanting of psalms.” His defence was that he only meant to forbid the singing of new songs. On that basis, he was acquitted!

Isaac Watts, known as “the father of English hymnody,” finally convinced the church of his day that it was appropriate to introduce new hymns not directly taken from the Word of God. Since his day, thousands of wonderful hymns and gospel songs have been written, songs that have greatly blessed the church.

Issue #4 – The Use of Secular Tunes

In the early 1800’s, another controversy surfaced which has never been entirely resolved. A man named Joshua Leavitt published a hymnal in which the words were set to well-known secular melodies of the day. This is not the first or last time this was done. A number of hymn tunes we use are taken from secular sources. (Far fewer than some would contend, but most hymnals do contain a few.)

There is nothing inherently wrong with doing that. But one danger we must guard against is using tunes which are associated in people’s minds with lyrics or activities that dishonour God. In the words of one critic, Leavitt’s tunes were “current love songs, vulgar melodies of the street, the circus and the ballroom.” It was to combat this perceived drift into secularism that Lowell Mason and Thomas Hastings published several new hymn books for church use, with tunes that had been written specifically for use with hymns.

Issue #5. The Place of Traditional Hymns Today

I’ve been a pastor, and a church musician, for about 40 years. But in recent years I’ve observed a disturbing trend–the abandonment of the hymn book. It’s either left to gather dust in the pew. Or taken away altogether, replaced with songs projected on the wall. Mostly a multitude of simple choruses.

Well, something else was written on a wall, many centuries ago: “You have been weighed in the balances and found wanting” (Dan. 5:27).  I just wonder if those words won’t be written one day about the modern church. Some of the newer songs are fine, of course. And they’d work if they were occasionally included in a service. But there are churches sing them exclusively–and repetitiously.

Among the reasons given for the change, we are told that hymns are so old fashioned, and out of date we can’t understand them. But most hymns are understandable with a bit of explanation. Maybe the lack of understanding comes from a lack of spiritual insight–or from a lack of proper education. Don’t capitulate, educate! We still study authors like William Shakespeare, and Charles Dickens. Why not study the work of our hymn writers? Truth is never out of date!

I don’t know what the practice of your church is, but I beg you not to discard the hymn book! It’s so important to our Christian faith. We need to preserve the wonderful heritage of sacred music that’s been developed by the church, over 2,000 years. And that means not abandoning the old songs. They’re a part of our history. They’ve comforted and challenged the saints for generations. Used with care, they can do so again.

Unfinished Business

Now Joshua was old, advanced in years. And the Lord said to him: “You are old, advanced in years, and there remains very much land yet to be possessed.”

Josh. 13:1
Completing the race!

Joshua was an elderly man, as the first part of this verse indicates. But the work of conquering the land of Canaan was not yet complete. There was still more territory to be claimed by Israel, other battles to be fought and won. The words of the Lord are both a statement of fact and a challenge to those who would follow after.

Each of us is called to serve our own generation by the will of God, as David was (Acts 13:36). And all anyone can do is his best, by the grace of God. But until the Lord returns we will each die with a sense of leaving unfinished business behind. The Apostle Paul reflects that outlook in Second Timothy chapter 4. He is conscious that the end is near for him, and he has finished his part of the task (vs. 6-8). But he challenges Timothy to carry on (vs. 1-5).

In a practical sense, there is quite a difference between an inheritance and a possession. An inheritance can be simply a pledge for the future that is not yet enjoyed (Josh. 13:6-7). An inheritance received is a possession possessed (Josh. 13:8). Israel often failed to do the latter. Though they were given the land as a perpetual inheritance by the Lord, they failed to completely possess their possessions (cf. Josh. 18:3).

As Christians, we have no earthly territory guaranteed to us. Instead, we have an eternal inheritance reserved for us in heaven (I Pet. 1:3-4). But not all of our blessings are heavenly. Many are available to us now, including abundant life and fruitfulness in Christ. It is up to us to claim them, and possess our possessions, by faith. In the words of Paul:

Not that I have already attained, or am already perfected; but I press on, that I may lay hold of that for which Christ Jesus has also laid hold of me. Brethren, I do not count myself to have apprehended; but one thing I do, forgetting those things which are behind and reaching forward to those things which are ahead, I press toward the goal for the prize of the upward call of God in Christ Jesus.

Phil. 3:12-14

A race course is a kind of one-way street. All the runners, whatever their skill, move forward toward the finish line. And that is where their mental focus must be. Perhaps a runner has had a bad start, or a slip along the way. But now is not the time to dwell on that. The goal is the thing! In the spiritual realm, our own memories of past failures may cause us to fix our attention on the past. But apart from the confession of our sin to restore our fellowship with the Lord, we must leave the past in the past, and “press on.” There is unfinished business yet to be cared for.

Cutting Up the Pie

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There used to be a cute TV commercial depicting a young girl sharing out pieces of a dessert with two friends. Then a voice-over says, “And a big piece goes to her little brother”–who stands by, looking hopeful. Clearly she had not intended this. But when the voice insists, “And a big piece goes to her little brother,” she sighs and passes him a helping.

That got me thinking–that we sometimes view our lives like a pie. And a big piece goes to our family, and a big piece goes to our employer, and a big piece goes to our recreational pursuits, and so on. But if we are Christians, there is another issue. How big a slice of the pie belongs to God? Maybe we plan to fill the other plates first. Then, if there are left-overs, we will see they are passed on to Him. Or perhaps we readily cut him a large piece.

But all of this falls short. In truth, the whole pie belongs to Him! All we are and have comes from God, and ultimately belongs to Him. We are stewards of these things, no more. King David recognized that when he prayed regarding his people’s offering to the Lord, “All things come from You, and of Your own we have given You” (I Chron. 29:14). The Macedonian believers did too, whom Paul commends because “they first gave themselves to the Lord, and then [gave] to us by the will of God” (II Cor. 8:5).

Mary Dagworthy James reached a point in her life where she grasped that essential truth. Mrs. James (1810-1883) had been a Sunday School teacher since she was thirteen years old. But in later years she offered herself to God as a “living sacrifice,” releasing every part of her life to His control. Her service for God included assisting in the meetings of a leading evangelist of the day. Mary also penned about fifty hymns. One of these, entitled All for Jesus, reflects her commitment.

All for Jesus, all for Jesus!
All my being’s ransomed powers:
All my thoughts and words and doings,
All my days and all my hours.

All for Jesus! All for Jesus!
All my days and all my hours;
All for Jesus! All for Jesus!
All my days and all my hours.

Let my hands perform His bidding,
Let my feet run in His ways;
Let my eyes see Jesus only,
Let my lips speak forth His praise.

Lord’s Day Meditation – Godly Giving

I can do all things through Christ who strengthens me….And my God shall supply all your need according to His riches in glory by Christ Jesus (Phil. 4:13, 19).

Verse 13 is not intended as an absolute. Even God cannot do everything. He cannot do that which is contrary to His holy nature. (For example, He cannot lie.) In the context, the “all things” involves God’s enablement to be content both in times of privation and of plenty. Paul explains that he has learned to handle being in physical want or in abundance (vs. 10-20).

But certainly the statement may be applied more broadly to anything that is within the will of God for us, anything that a wise and loving Providence sends our way. By the grace of God we are able not only to endure it but to flourish in the situation. This is, in fact, the secret of rejoicing–the apostle’s theme throughout the epistle. Joy is inwardly motivated (Gal. 5:22), so it can be present even at times when happiness is not being outwardly stimulated.

The Philippian church had been supporting Paul’s ministry financially, assisting him over and over (vs. 10, 14-16, 18). We get the sense that this was done sacrificially, beyond what would normally be expected of them. (He pictures it as a “sacrifice,” vs. 18.) And even when no one else aided Paul’s ministry in this way, they did (vs. 15).

They had given much. But on the basis of his own experience Paul could assure them that the Lord would meet their needs. (Not their greeds, but their needs.) And notice it is not merely a wish or a prayer, but a bold statement: This is what God will do. Where there is a great need, there is, from His throne, an infinitely greater resource to meet it.

Aren’t you grateful for those in your congregation who give sacrificially to support the work of the local church? And are you such a person yourself? In giving, we can be assured of two things. First, that as we give generously and wholeheartedly to the Lord, He will see that our needs are met. And second, as this becomes the norm in a Christian assembly, there will always be sufficient to carry out any ministry the Lord has planned for that group of believers.

William Walsham How speaks of the stewardship of our resources in an 1864 hymn, based on a prayer of David’s (I Chron. 29:14).

We give Thee but Thine own,
Whate’er the gift may be:
All that we have is Thine alone,
A trust, O Lord, from Thee.

May we Thy bounties thus
As stewards true receive,
And gladly, as Thou blessest us,
To Thee our firstfruits give.

Back to Basics

I am continually with You; You hold me by my right hand. You will guide me with Your counsel, and afterward receive me to glory. Whom have I in heaven but You? And there is none upon earth that I desire besides You. My flesh and my heart fail; but God is the strength of my heart and my portion forever.

Ps. 73:23-26

Asaph, the psalmist, confesses he once had a problem. He had begun to be envious of sinners who seemed to have it all. It seemed so unfair that wicked people were prospering, while he struggled (vs. 2-3). The fact is he had fallen into the trap of evaluating life on their terms–temporal and material terms. It took a visit to the temple to help him regain an eternal and spiritual viewpoint (vs. 17).

Sometimes, when our values are skewed, we need to get back to basics, to see once again God’s perspective on things. Time spent in the house of God, in fellowship with His people, can help us to do that. So can time spent in the Word of God. The seeming advantages of the wicked are transitory at best. As for the believer, we have the presence of God, His sustaining hold on us, His guidance, and an eternal future with Him to look forward to. The “portion” of the wicked will soon crumble to dust, but the Christian can say, “God is the strength of my heart and my portion forever.”

This is an Old Testament passage. And in keeping with the fact that most of the Old Testament concerns God’s earthly people, Israel, and that the covenants God made with them concern mostly earthly blessings, there is relatively little said about life beyond the grave. For the ancient Hebrews, physical death was viewed as the end of life as they knew it, the end of their present warring and witnessing for God.

A fuller revelation of what comes after death awaited the New Testament. Nevertheless, there is enough in the Old to show that these early saints were confident of spending eternity in the blessed presence of God. “You will…afterward receive me to glory” (vs. 24; cf. Job 19:25-27; Ps. 16:10-11; 23:6).

Meanwhile, even in this life they were not actually disadvantaged, nor are we, as Asaph shows us. We can testify with him, “God is the strength of my heart”–literally, the rock on which my soul rests. Someone has said, “For the believer, when you hit rock bottom, you are still on the Rock!” That is far better than the “slippery places” inhabited by the unregenerate (vs. 18).

My hope is built on nothing less
Than Jesus’ blood and righteousness.
I dare not trust the sweetest frame,
But wholly trust in Jesus’ name.

On Christ the solid Rock I stand,
All other ground is sinking sand.

Missing Verses

If you have a large library of hymnals, and books on hymn history, as I do, or if you check a well-researched Web site such as the Cyber Hymnal, you will discover that many of the hymns we know and love have additional stanzas that are seldom, if ever, printed in today’s hymn books.

The reasons for this are varied. Sometimes, the verses omitted are of relatively poor poetic quality, or they may express a doctrinal position that is questionable. Sometimes, it is a bow to contemporary culture–because most congregations today would be unwilling to sing eight or ten stanzas. (Often three or four seem to tax us!) Many times, however, it seems to be simply a matter of space and keeping hymn books from becoming unmanageably large.

That being said, there are some unsung treasures in the missing stanzas of our hymns. It is worthwhile doing a bit of research on this. And if you are a pastor, or worship leader, you may be able to print a missing stanza in the bulletin, occasionally, or include it on an overhead. It will be an added blessing for all who think they already know the hymn.

Following are a few examples.

Why, for instance, would editors omit this stanza of There Shall Be Showers of Blessing which contains a key principle of application:

There shall be showers of blessing,
If we but trust and obey;
There shall be seasons refreshing,
If we let God have His way.

There is a worshipful stanza of Fairest Lord Jesus that few hymn books include:

All fairest beauty, heavenly and earthly,
Wondrously, Jesus, is found in Thee;
None can be nearer, fairer or dearer,
Than Thou, my Saviour, art to me.

Several hymn books I’ve seen leave out the following insightful stanza of More Love to Thee. The author of the song, a bedridden invalid, could make this statement from personal experience, and it is reminiscent of the testimony of Paul that he could glory in his infirmities (II Cor. 12:7-10):

Let sorrow do its work, come grief or pain;
Sweet are Thy messengers, sweet their refrain,
When they can sing with me: More love, O Christ, to Thee;
More love to Thee, more love to Thee!

Several stanzas of the poem that became the popular hymn, How Great Thou Art, have not been used with the hymn. Here is one that I’ve found a blessing:

When burdens press, and seem beyond endurance,
Bowed down with grief, to Him I lift my face;
And then in love He brings me sweet assurance,
“My child, for thee, sufficient is My grace.”

And here is the concluding stanza of the carol, As With Gladness Men of Old, which takes us beyond the bounds of time into eternity:

In the heavenly country bright,
Need they no created light;
Thou its Light, its Joy, its Crown,
Thou its Sun which goes not down;
There forever may we sing
Alleluias to our King!

This is an often missing stanza of I Need Thee Every Hour:

I need Thee every hour; teach me Thy will;
And Thy rich promises in me fulfil.

Being something of a traditionalist, I’m not always enthused by the modern trend to tamper with our old hymns. But from time to time I come across a change that seems helpful. Long ago, hymn writer Edward Bickersteth added this final stanza to Nearer, My God, to Thee:

There in my Father’s home, safe and at rest,
There in my Saviour’s love, perfectly blest;
Age after age to be, nearer my God to Thee.
Nearer, my God to Thee, nearer to Thee.

I encourage you to do some research of your own. You may be surprised and delighted by what you find!

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