Reynolds Congregational Singing

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owAl MBRARY OF
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William I. Reynolds
Congregational
Singing
conviermoM prgss
/* CHURCH SSNOES AW /MNGRMS DNISOI PRODUCT
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How to Use This Book
This book is designed to help those who are responsible for

planning, directing, and accompanying congregational singing.
It is suggested that Baptist Hymnal, 1975 be used as a primary
resource in the study of this text. Music examples included in the
text all relate to that edition of the hymnal.
If the book is used as a text for group study, individual assign
ments may include:
Planning for worship services
The use of Baptist Hymnal 1975
Selection of hymns
Organ registrations
Analyses of hymn texts
Rhythmic problems in congregational singing
Determinations of proper tempos
The appendixes are intended to be used as resource material
for leaders of worship services.
Contents
How to Use This Book iii
1. The Practice of Congregational Singing 1

2. Tempos and Keys in Congregational Singing .7
3. Instrumental Accompaniment for Congregational Singing.. 25
4. Physical Factors Influencing Hymn Singing.. 41
5. Planning for Congregational Singing 48
6. Preparation for Hymn Singing 59
7. Broadening Congregational Repertoire of Hymns 77
8. The Metrical Forms of Hymns 84
9. The Role of the Leader in Congregational Singing 87
Appendix 1 92
Appendix 2 93
Appendix 3 105
Personal Learning Activities 11 7
The Church Study Course 11 9
Chapter 1
THE PRACTICE OF
CONGREGATIONAL SINGING
Hyi^-&^
gregation. I can recall occasions across the years when the excite
ment of the moment, the familiarity of the hymn, the acoustical
factors of the room, the instrumental sound supporting the sing
ing—all resulted in a memorable experience. Usually the hymn
singing at conventions, evangelistic conferences, summer assem-
bHesTand other such meetings produces a thrilling sound. But the
singing of the local congregation Sunday by Sunday is the con
cern of this study. Hymn singing can be great for the local con
gregation; and the vibrant sound of the congregation singing
songs of praise and testimony can do great things for the spirit of
the church. Ministers and laymen throughout the world witness
to this.
To the church in Corinth, Paul the apostle wrote, "IjwiH sing
with the spirit, I will sing with the understanding also.M fCfiJ) ^'x %
£3rt5^)He is saying that the singing should be spirit-filled ancfmat
tlflf singing should be understood by the singer. ^Bgfflgufe:jP
8|Mttll^BiflgS£e' and il is an experience that is mentally per
ceived. Christian song is the overflow of the Christian heart. If
the heart is full, the singing will be full. Louis F. Benson refers to
Christian song as a "spiritual gift which each Christian brings to
2 Congregational Singing
the sanctuary and contributes to a common song of spiritual
fellowship."1
To the church at Colosse, Paul wrote:
"Let the word of Christ dwell in you richly in all wisdom;
teaching and admonishing one another in psalms and hymns and
spiritual songs, singing with grace in your hearts to the Lord.
And whatsoever ye do in word or deed, do all in the name of
the Lord Jesus, giving thanks to God and the Father by him" (CoJ.
With reference to this exhortation, Louis F. Benson comments:1

"Paul seems to see each singer apart, 'teaching and admonish
ing one another/ This is because Christian song is to him a purely
spiritual function, the natural expression of a heart filled with the
Spirit. In his concern that song should flourish among the Colos-
sians he did not exhort them to form music classes but to deepen
the spiritual life."2
Yes, spiritual values are involved in this experience, and the
church's music leaders must positively claim the reality of this
facet of congregational song.
The Congregation Metrty *<% C^ê^^^\

In congregational services, 4h# hymn, singing is done by the
<mgm0>&—slUttw.paeels:This âasesasisd. ungraêi,
Ujuu^nweg up of sgpeêager singers, some
reluctahTsingers, and some nonsingers isthe"target group to in
volve, to persuade, to motivate in the singing experience.
The congregation is not a choir. To approach the singing of the
hyllitir^Tchoral experience, using similar techniques regard
ing flexibility, tempo, dynamics, and interpretation, appropriate
for a highly skilled forty-voice choral group, is to discourage
many whose reflexive responses have been reduced by age or
impairment. The singing of a hymn by a fine choral group and the
singing of an average congregation are two different kinds of ex
periences. One is like the execution of a well-coached high school
football team; the other like a touch football game played on the
vacant corner lot by the neighborhood folks. In congregational
singing, as in the neighborhood touch football game, anybody can
ôuis F. Benson, The Hymnody of the Christian Church (Richmond: John Knox
Press, 1956), p. 44.
Hbid., p. 44.
The Practice of Congregational Singing 3
play, regardless of age, sex, height, or weight. We use all
available material.
^Grfeat congregational singing defies description. Other than

employing such ambiguous words as "great, thrilling, tremen
dous, outstanding," what can you say? The fusing together of a
text and a tune can result in an experience to the participant that
is satisfying and rewarding in terms of personal pleasure. The
factors that bring that about are difficult to verbalize. Can you 71*-^^,
identify the significant factors in the text or tune of * The Old '^zZ—'Js
Rugged Cross" that have made this song such a favorite in this
century? By literary standards, the MHULslanzas would never be ^{^,,,,.
classed as great poetry, and the tune is rather difficult tossing. J
The rfrjrthn^ and jerky and most congrega-
tions~maKeTKeir own "hgnigjBsdâdjustments each time they -j^^n^,
sing it. In spite of all this critical evaluation, when the text and ^//lr
tune are sung together, something indescribable happens that ^4^°'
seems to speak to the masses of people. Again and again, this %*~.
hymn will be foiind In tfie top titles of favorite hymn polls. How
can we explain the magic of that hymn?
Orhow"doesone explain the fact that "The Radiant Morn Hath
Passed Away" (No. 32 in the Baptist Hymnal 1956) was so
rarely used in the churches that the Hymnal Committee for the
Baptist Hymnal 1975 voted against including it? Here is a
hymn with outstanding credentials. The text is by Godfrey
Thring, noted Anglican hymn writer, a co-author of "Crown Him
with Many Crowns." The tune is credited to Charles Francis
Gounod, one of the great nineteenth-century composers. Yet in
spite of these credentials, the churches failed to sing it and its
place in the new hymnal has been given to other material.
Subjective Influence
When judgment is expressed regarding individual hymns in
our hymnal, we usually hear such well-worn phrases as "Oh, I
like that" or "But that's not evangelistic!" or "That was my
mother's favorite song and I like it." Objective, critical analysis is
difficult to apply to our hymns. The association of hymns with ex
periences we have had is often a more significant factor than the
value of the hymn content. To want to sing "When I Survey the
Wondrous Cross" solely because it recalls the singing in a city-wide
revival years ago or a statewide youth choir festival, or a favorite
anthem arrangement learned at a choir workshop is to fail to grasp
the strong commitment to Christ embodied in the text. Without a
renewal of the commitment found in these stanzas, the singing of the
hymn is meaningless.
Literary and Musical Values

Beyond the theological and doctrinal content of the hymn texts,
there are literary and poetic values involved in hymns. Some
hymn texts may be theologically and doctrinally sound, true to the
Scriptures, and without error in Baptist beliefs. Yet, they may be
of little or no value in congregational experience because of poor
construction, weak vocabulary, awkwardness of meter and ac
cent, and a total lack of poetic expression. Significant expression,
words of strong meaning, ease of reading and ease of singing,
lack of triteness, poetic structure that is perceived both visually
and aurally—all these are positive factors for a hymn.
The hymn tune^^ song, must have
musical worth, it must have, a limited range (usually within the
Qctaye), it must be placed in a key which makes it lie in a comfort
able range for singing, and it should contain no awkward leaps or
skips. A singable tune is one so well constructed that it may be
learned by the congregation without much effort.
Because of the musical and literary values involved, tjjg
m.ateriaLqiU&n^ And this ar
tistic experience is further compounded by aesthetic values, psy
chological respjonses, and physiological phenomena. All of these
values, plus the spiritual values of the hymn singing should bear
upon the individual in the congregational experience.
"When we sing, through our emotions the door of our under
standing is opened to^ things, beyond^thajiieaningôf words^ We
sing ourselves into the grace of believing; too often we talk our
selves into doubt. Sojhen, let us once in a while be filled with the
freedom and the <ocstac^ oLsinging. The reward will be great. It.
will, be that we are numbered arnqng^the immortals who sing the
jie^^begLnningi th
;sjjng to thepraise, of God."3
~"The congregation may be totally unaware of the many facets of
3David McK. Williams, in an address ciled by Armin Haousslcr. The Story of

Our Hymns (Sainl Louis: Eden Publishing House. 1952). p. 6.
The Practice of Congregational Singing 5
this experience when they sing a hymn, and music leaders in the
churches are too frequently unaware of them. That helps to ex
plain the difficulty in being precise, objective, and articulate in
communicating with one another and with the congregation about
congregational singing.
Teaching Congregational Singing Leaders

The inability to communicate clearly seems to exist also in the
academic community where church music is a major program.
Church music majors, whose vocational activity will involve a
strong emphasis on congregational singing through their careers, '
receive little or no classroom instruction on this subject, /ygjgsa.
yjsjj^mniôgy usually deals with the historical perspective of
Christia^ and most frequently from a literary perspective of
the hymn text. Sometimes there will be a course offering in "Song
Leading" but it rarely goes beyond the demonstration and physi
cal practicing of hand-and-arm movements involved in the execu
tion of traditional patterns for duple, triple, and quadruple group
ings of accented and unaccented pulsations of the music. There is
the implication to the student that if he can beat 4/4 and 3/4, he is
a qualified leader of congregational singing.
The Need for More Resources

The difficulty in communication about and understanding of
congregational singing is further compounded by the, scarcity of
helpful writings on the subject. Most of the resources classified in
church and school libraries under "hymnology, hymnody, hymn
singing," deal with the intrinsic content of hymnic repertoire.
Furthermore, the most respected and scholarly writers, who are
most articulate in extolling the glories and timelessness of the
great classic hymns, usually become (gutejyvhen trying to explain ^f^^|f
why "A Mighty Fortress Is Our God" (No. 37land "All Creatures *m**£
^
fiymns of the masses of Jjte^ggBJje. And, interestingly enough
tKoseTf^^ *'Amazing Grace! How
Sweet the Sound," (No. 165), "In the Garden," (No. 428), and
"The Old Rugged Cross" (No. 430) fail to make the pages of the
scholarly writings.
Resources that deal with the practice of congregational singing,
the mechanics of how it goes on, what happens to make the sing
ing great, and what might be done to improve the situation when
it is bad are sorely needed. These pages are designed to get to this
matter, confront the problems encountered in the church, and
seek solutions that might be helpful. The design of the material
that follows was developed by participants in the Convocation on
Congregational Singing in Nashville, Tennessee, April 29-May 1,
1974. More than two hundred church musicians were invited to
share in the discussions, and many of the ideas and suggestions
in the following chapters came out of those sessions.
Te m p o s a n d K e y s i n C o n g r e g a t i o n a l S i n g i n g 9
God Moves in a Mysterious Way 439
frMjUJ r ■! J J U j j jijj
God moves in a mys - te-riousway His won-ders to per-form;
You fear-ful saints, fresh cour-age take: The clouds you so much dread
Judge not the Lord by fee - ble sense, But trust him for his grace;
Blind un - be - lief is sure to err And scan his work in vain;
mt if r f j P^m
îi|' J ^ Ji-1^ J JU ^ jjij.1
He plants his foot-steps in the sea And rides up - on the storm.
Are big with mer - cy, and shall break In bless-ings on your head.
Be - hind a frown - ing prov - i - dence He hides a smil-ing face.
God is his own in - ter-pret - er, And he will make it plain.
w^ f ftifr f ri|,ni 11 ii ■■
Words, William Cowper, 1774. Tune DUNDEE, Scottish Psalter, 1615. Alternate tune ST. ANNE,
No. 223.
Example 1
10 Orttecx. ^M ^"'S- Congregational Singing
Jesus Is All the World to Me 424
al
fe*
M fc
P^ *v*
1. Je-sus is all the world to me, My life, my joy, my all;
2. Je - sus is all the world to me, My friend in tri - als sore;
3. Je - sus is all the world to me, And true to him 111 be;
4. Je-sus is all the world to me, I want no bet - ter friend;
sai P—P- #' #
npr p f M C If PPI E Z E
^$\\> J1 J b'h g r ■ i' J^JJiJJLi

He is my strength from day to day, With - out him I would fall:
I go to him for bless-ings, and He gives them o'er and o'er:
Oh, how could I this friend de - ny, When he's so true to me?
I trust him now, 111 trust him when Life's fleet-ing days shall end:
9¥fr£ ¥ = *
fi r ffff \ \ \ n
i^'Jii'i j'i i'i'lii'i j>
When I am sad, to him I go, No oth - er one can
He sends the sun - shine and the rain, He sends the har • vest's
Fol -low-ing him I know I'm right, He watch-es o'er me
*m
Beau - ti - ful life with such a friend, Beau - ti - ful life that
« mM ' r "T p r 'M (
ÛlljmiJ'JMlillill
cheer me so; When I am sad he makes me glad, He's my friend,
gold-en grain; Sun-shine and rain, har-vest of grain, He's my friend,
day and night; Fol - low- ing him by day and night, He's my friend,
has no end; E - ter-nal life, e - ter - nal joy, He's my friend.
§ « m I Hfl'ti ti Ua\W^
Words and tune ELIZABETH, Will L. Thompson, 1904.
Example 2
Tempos and Keys in Congregational Singing 11
to tempo than tunes that are disjunct or angular. Note the even
ness in "O Master, Let Me Walk with Thee/' BH 369; "So Let Our
Lips and Lives Express/' BH 456; or "Faith of Our Fathers/1 BH
143 as compared to the angularity of "Jesus Calls Us," BH 367;
"Rejoice, the Lord Is King/' BH 120; "Lead On, O King Eternal/'
BH 420, or "Angels from the Realms of Glory," BH% 87. Usually
these-anpnlar melodies tend to move at a slightly slnwpr pane
because or the longer intervals involved. (b66 Examples 3 and 4.)
Tunes that are more even may move a bit faster if other factors
do not suggest a slower tempo.
(4)JkeJ^n&Ulo^the ohxafifis to be sung—long or
short—may influence Uieteffl^ lungLi pluujLJ u ■slightly
faster tempo may be desirable so that the congregation may sing
the phrase in one breath instead of breaking the phrase into two
or three "sub-phrases" in order to breathe. Here is a list of
hymns with long phrases; the metrical measurement of the hymn
is given also. (These numbers indicate the number of syllables in
each line of each stanza.)
"Praise to the Lord, the Almighty," (14.14.4.7.8), BH 10
"How Firm a Foundation," (11.11.11.11.), BH 383
"To God Be the Glory," (11.11.11.11. with refrain) BH 33
"Hope of the World," (11.10.11.10), BH 364
Hymns with shorter phrases may be sung slightly slower,
strengthening the meaning of the text to the congregation. Such
hymns are:
"Have Thine Own Way, Lord," (5.4.5.4.D.), BH 349
"Fairest Lord Jesus," (5.6.8.5.5.8.), BH 48
"Break Thou the Bread of Life," (6.4.6.4.D.), BH 138
"No, Not Despairingly," (6.4.6.4.6.6.4), BH 173
"My Country, 'Tis of Thee," (6.6.4.6.6.6.4.), BH 511
(5) The character of the hflTmnnin-rhyf-hm—the complexity
or lack of complexity of harmonic change from one chord to ^*,^£
another—affects tempo. In the first line of "Standing ..Qii.Jthe oj^fv?^
PXQmises/' (BH 335), eleven syllables sung to eleven notes are all r ^^
supported by tonic harmony. The fact that the B flat harmony is
sustained through these two measures places no restraint or
brake on the tempo (See example 5). However, "When Morning
Gilds the Skies," (BH 44), with thirty-six syllables in a stanza,
has forty harmonic changes in the tune. Only three times is the
harmonic structure repeated between two consecutive beats. To
move this tune at a fast pace violates the harmonic strength built
So Let Our Lips and Lives Express 456
^jiflj IJ JitiJN Jim

let our lips and lives ex - press The ho •
1. So ly
2. Thus shall we best pro - claim a - broad The hon ors
3. Our flesh and sense must be de - nied, Pas - sion and
4. Re - li - gion bears our spir - its up, While we em-
=£ Mwmm J:
^
f inNm
"'f-' n'' r r W our works and
pel we pro • fess; So let
of our Sav - ior God; When his sal - va - tion
en vy, lust, and pride; While jus - tjce, tern- - p'rance,
brace that bless - ed hope, The bright ap - pear - ance
9#=f sp i
yr,
^ 7 u\ UQ* i,i-i hl;i 11I1
vir - tues shine, To prove the doc - trine all di - vine,
reigns with - in, And grace sub • dues the pow'r of sin.
truth, and love, Our in - ward pi e - ty ap - prove,
of the Lord; And faith stands lean - ing on his word.
*rAT\i r\t, f\ MM
Words, Isaac Watts, 1707. Tune WAREHAM, William Knapp, 1738.
Example 3
87 Angels, from the Realms of Glory
m
1.
2.
i I
An - gels, from the realms of glo - ry, Wing your flight o'er
Shep-herds, in the fields a- bid -ing, Watch - ing o'er your
w m
3. Sag - es, leave your con - tern- pla- tions, Bright - er vi - sions
4. Saints, be - fore the al - tar bend- ing, Watch - ing long in
■ if i i [ ir i f r ii r i
'iu u J i 0*
all the earth; Ye who sang ere - a -
$
tion's sto - ry,
flocks by night, God with man is now re - sid - ing,
beam a - far; Seek the great De - sire of na - tions,
hope and fear, Sud - den - ly the Lord, descend - ing,
ss i i!j if Ii I "i
p\ij I lj; *mq
Now pro - claim Mes si - ah's birth: Come and wor • ship,
Yon - der shines the in - fant Light: Come and wor ship,
Ye have seen the In - fant's star: Come and wor • ship,
Come and wor
n~
In his tern - pie shall ap - pear: ship,
W i»f ^m
f e
tempi j
CJT -9
ij j
come and wor - ship, Wor - ship Christ, the
new- born King!
come and wor - ship, Wor - ship Christ, the new- born King!
come and wor - ship, Wor - ship Christ, the new- born King!
come . and wor - ship, Wor - ship Christ, the new- born King!
m* ^ f 4 i f if i Lff if
Words, James Montgomery, 1816. Tune REGENT SQUARE, Henry Smart, 1867.
14, Congregational Singing
Standing on the Promises 335
1. Stand-ingon the prom-is-es of Christ my King,Thro' e- ter- nal a - ges

2. Stand-ingon the prom-is-es that can-not fail, When the howl-ing storms of
3. Stand-ingon the prom-is-es of Christ the Lord, Bound to him e- ter- nal-
4. Stand-ingon the prom-is-es I can-not fall, Lis- t'ning ev- 'ry mo-ment
A m* m 01 Ml 0 0lm 0 !__
■ H
H ft E I )
PU\i j jijiJ'Jiîjjjj
let his prais-es ring; Glo - ry in the high-est, I will shout and sing,
doubt and fear as -sail, By the living word of God I shall pre-vail,
ly by love's strong cord, 0 - ver-com-ing dai - lywith the Spir- it's Sword,
to the Spir- it's call, Rest-ing in mySav-ior as my all in all,
t\ 1 f* f if f ? if* f f* f f* m m* 0 O
+---9 £
■■ l ^ J J J J H
f j = j i
TWffjffWWff
Standing on the promises of God. Stand - ing, stand - ing,
Standing
k i ouuiaing on uieonpromises,
the promises, standing onuie
suanuingun the piuuu
promises,
0 , _ _ I ) fl . _ P * P P * P P ' P 1 * . P '
as
ff
i
i^JJJJjnJiljM
J ' J T U1TJT
Standing on the prom-is-es of God my Sav-ior; Stand - ing,
v I Stand-ingon the prom-is-es
w m *• m _'- m .1* P— . P+ ft *t p •' I 0.
# • #—0 • • —^—• O
stand - ing, I'm stand-ing on the prom- is - es of God.

stand-ing on the prom- is-es.
It
Words and tune PROMISES, R. Kelso Carter, 1886.

Te m p o s a n d K e y s i n C o n g r e g a t i o n a l S i n g i n g 1 5
When Morning Gilds the Skies 44
' Y-r
jij j j -JkUfU J J JiJ
1. When morn - ing gilds the skies, My heart a - wak - ing cries,
2. The night be - comes as day, When from the heart we say,
3. Ye na - tions of man-kind, In this your con- cord find:
4. In heav'n's e - ter - nal bliss The love - liest strain is this,
May Je - sus Christ be praised! A - like at work and prayer,

May Je - sus Christ be praised! The pow'rs of dark - ness fear,
May Je - sus Christ be praised! Let all the earth a - round
May Je - sus Christ be praised! Let earth, and sea, and sky
>"T ji r f P "r -«*

^
¥i\±U Vrrf.f^ T7^

ES
l^-Lry
To Je-sus I re - pair; May Je - sus Christ be praised.

When this sweet song they hear, May Je - sus Christ be praised.
Ring joy • ous with the sound: May Je - sus Christ be praised.
From depth to height re - ply, May Je - sus Christ be praised. A. - men.
y.
s jgg'lp ' II r f 1 9s
■ l e II" I O II
Words, Kalholithfs Gesangbuch, Wurzburg, 1828; translated, Edward Caswall, 1854. Tune LAUDES DOMINI,
Joseph Barnby, 1868.
Example 6
into its musical fabric. The changing harmonic relationships pile
upon each other too rapidly to be perceived clearly by the con
gregation (See example 6). This is purely a problem of musical
construction and the difficulty some have experienced with this
hymn may be attributed to a faster tempo that is appropriate.
theJimgOh^ Firm a Foundation" (BH 383)

will usually go at a slower tempo if it is sung four pulses to the
measure. It will tend to move a bit faster if sung two pulses to the
measure. Likewise, all hymn tunes in compound measure (6/8,
9/8,12/8) will move slower with six, nine, or twelve pulses to the
measure than if there are two, three, or four pulses per measure.
The judgment of which should be used will rest on the leader and
may change from one service to another depending on cir
cumstances other than the rhythmic structure.
(2) Qami^H^ wiU cause the leader t0 sin§
at a slightly slower tempo to keep those patterns clear and dis
tinct. Buryl Red's tune Raymer for 'Tor the Beauty of the Earth"
(BH 49) seems to call for a slightly slower tempo than the familiar
tune Dix (BH 54) used for the same text. When Raymer is used,
the tempo must be slow enough for the congregation to handle
easily the subdivided quarter note beats. (See example 7) A
faster tempo will tend to slur these rhythmic devices and the
beauty of this compositional technique will be lost. Dotted
rhythmic patterns and repeated (or "echo") lines found in such
hymns as "I Will Sing the Wondrous Story" (BH 55), "I Will Sing
of My Redeemer" (BH 465), and "I Know That My Redeemer
Liveth" (BH 122), will make for a slightly slower tempo to keep
from slurring these rhythmic patterns and the syllables of the
words.
, (3) The use nf JIT totn—gprHnnft or phraseg w^jph tllp
lpflrif"* g1™A,° ™,f ^f »Qwnp^—will tend to slow the overall tempo for
the congregation. Some hymns frequently treated in this manner
are "Softly and Tenderly, Jesus Is Calling" (BH 190), "O That
Will Be Glory for Me" (BH 497), and "Make Me a Channel of
Blessing" (BH 262).
(4) The use of ft>r.mnti will tend to slow the tempo unless
they are treated rhythmically, that is, rivm t rp™;f^ *;™° t/Q1f1P
Such treatment keeps the rhythmic motion going and the con
gregation will sense that movement. For example, "A Mighty
49 For the Beauty of the Earth

Harmony
^ ^
**—i
ZsZZZ j ' fcpii
^. r r ' *■
a —■
^
m
Christ our God, to thee we raise This our hymn of grate- ful praise.
mhd >U
ppp
A 1 1 , 0* 0
f ■ n
Unison
^
^
r ^
1. For the beau - ty of the earth, ,

2. For the won-der of each hour
£ m=
f r r
ii j> j> j>
r-
For the glo - ry
Of the day and
3. For the joy of hu -man Jove, Broth - er, sis - ter,
of the For the love which from our birth 0 - ver

of the night, Hill and vale and tree , and flow'r, Sun and
par -ent, child, Friends on earth, and friends a - bove, For all
5
m
^
and'. a -round us lies, 0 - ver and a - round us lies.

moon, and stars of light, Sun and moon, and stars of light.
gen - tie thoughts and mild, For all gen • tie thoughts and mild.
* XE=
TDT-
Words, Folliott S. Pierpoint, 1864. Tune RAYMER, Buryl Red, 1971. ©Copyright 1971 Broadman Press.
All rights reserved.
Example 7
Fortress Is Our God" (BH 37) moves from phrase to phrase more
easily if the quarter notes with fermati are treated as dotted half
notes. These syllables and notes are thereby given three counts in
tempo and the rhythm does not stop. The fermati in the first two
measures of the refrain of "I Am Satisfied with Jesus" (BH 455)
should be treated as dotted quarter notes, and the measures have
the feeling of 5/4 in steady tempo.
3. TmmUmm
(1) IChGUnfiQP of the text will influence the leaders judg
ment as to tempo. Hymns wESch express confession, repentance,
humility, prayer, and other areas of quiet emotion will normally
be sung at a slower tempo. Joyful, ecstatic expressions of the
Christian life will generally be sung in a bit faster tempo. But this
is not to imply that speed and ecstacy or excitement are syn
onymous. There are times and circumstances when it may be
more exciting to slow the pace of a hymn tune carrying such a
text.
(2) The need for adequate time to aj^jjj^ will
call for adjustment in tempo. Usually this problem is evident in
longer phrases and/or repeated dotted rhythmic patterns. Some
hymns which illustrate this are "Mine Eyes Have Seen the Glory11
(BH 510), "Make Me a Blessing" (BH 290), and "Since Jesus
Came into My Heart" (BH 487).
4. Other factors
(1) The acoustical characteristics of the room have some
bearing on the tempo of singing., The jUtfUlfitips (th^rimrnrhnpntinn
fnrtnr) irlrtrrminr- the duration of the sound after the release of
phrases by singers and instruments, if the time duration is longer,
each new phrase tends to "double back" on the phrase just con
cluded. All of this piling-up of sound tends to slightly restrain the
tempo and pull it back.
(2) The instrumental accompanin^ of thd
players will affect tempo. If the playing is articulate and clean
with distinct phrase endings, the tempo can move along steadily
and in tempo. On the other hand, if the playing is sluggish, with
continuous sound that provides no accent, the tempo will become
unsteady and slackening and hearty congregational singing will
be lost. (See the following chapter.)
(3) Thcsize of the congregation* and its flexibility in re
sponding to the leader of the singing and the sound of the accom
panying instruments had an effect on tempo. Of course, the larger
the congregation the greater the problem of holding the group
together in the singing. The smaller the congregation, the greater
the flexibility in the singing. Of significance^ too, is the sound of
the accompanying instruments as perceived by the singing con
gregation. The volume of sound by the instruments must support
adequately the sound of the congregation. If the level of instru
mental sound is too low, no encouragement is given the congrega
tion. (For more details see the following chapter.)
(4) The mood of the service influences the tempo. In a
quieter midweek service, tempos seem to be slightly slower than
on Sunday morning, or Sunday evening when a larger congrega
tion is s^ However, that is not always true.
k(5y"The time of day at which the service is scheduled
affects the tempo. Tempos seem to be somewhat slower at early
morning services than later morning or evening services.
(6) FaymiliariJ^ or lack of famiUarjty with the tune to the
congregation will affect the tempo. The familiar tune will be sung
with a greater sense of confidence and sureness. Uncertainty and
hesitancy will be evident in attempting an unfamiliar tune.
Congregational singing seems to be moving at too slow a tempo

when the following symptoms are evidenced: (1) the singing loses
vitality and the strength of accent is weakened; (2) the congrega
tion is unable to complete phrases in one breath and the line of
the phrase fades in the cadence, or end of the phrase; (3) the con
tent of the text—the message of the hymn—loses its thrust in the
increasing dullness of the singing; and (4) there is a decreasing
participation on the part of the congregation.
Congregational singing seems to moving at too fast a tempo
when the following symptoms are evidenced: (1) clear articula
tion of the text is difficult; (2) there is insufficient time to breathe
between phrases; (3) the congregation has difficulty in staying
together and two or three "tempo areas" may be isolated as each
takes off at its own new tempo; and (4) there is a loss of meaning
of the text in the hurried pace of the tune.
It is quite possible that there will be times when it will be most
appropriate to make a change in tempo, increasing or decreasing
it. The hymn may simply be moving too slowly or too fast and
some corrective measure must be taken in midcourse. To ac
complish this skillfully requires a high degree of communication
sad sensitiyi.ty between the muste director and the accompanists.
A change in pace must âp^pen m
director cannot so effect such change without the immediate
response of the accompanying instruments.
To be effective in tempo control, the organist and pianist need
to develop skillful ways of making slight or, if needed, drastic
changes in tempo by the keyboard technique they use. Staccato
playing or sharply detached playing can serve as a brake to slow
the pace, or as a sharp prod to move the tempo a bit faster. To play
along in normal fashion will not be as effective in accomplishing
these purposes.
Interludes between stanzas can be helpful in making tempo
changes?Tor i'iTânceroiiîiie last word of a third stanza the ac
companist may begin a brief interlude increasing the volume of
sound and establishing a maestoso feeling for the final stanza.
Again, this must be done carefully and worked out in detail. In
creasing use of this device (short of making it commonplace or
routine) can become a joyful experience to the congregation, the
music director, and the accompanist.
Suggested Tempos for Eleven Hymns
Prior to the Convocation on Congregational Singing the two
hundred participants were asked to indicate the tempos they
used in their churches for eleven hymns. The results of this
survey were shared during the Convocation and discussed at
length. The hymns were sung at the slowest and fastest tempos
indicated in the survey, and a consensus was then sought as to
the reasonable range in which an appropriate tempo would be
found. The following listing shows the results of the survey and
also the agreed upon range. The number given is the number of
beat notes (quarter notes unless otherwise indicated) per minute.
Reason
able
Slowest Fastest Range
"A Mighty Fortress Is Our God"
(BH 37) 44 114 80-90
"All Hail the Power of Jesus' Name"
(BH 40) 80 126 94-104
"Amazing Grace! How Sweet the
Sound" (BH 165) 60 120 80-92
"At Calvary" (BH 166) 80 126 100-112
"At the Cross" (BH 157) 62 126 90-100
"God of Grace and God of

Glory" (BH 265) 72 124 85-96
"Hoty, Holy, Holy" (BH 1) 72 132 90-100
"Just As I Am Without One Plea"
64 126 84-92
^BH 187)
"Praise Him, Praise Him" (dotted
!, quarters, BH 67) 60 118 75-84
;;i "To God Be the Glory" (BH 33) 90 132 104-114
$ "When I Survey the Wondrous
Cross" (BH 111) 56 132 104-120
half notes
termined by the
hymnal. The instruments normally play the tune in the key in
which it is printed in the hymnal. However, there may be occa
sions when it is appropriate to raise or lower the key of the hymn
tune. Any needed changes should be worked out well in advance
of the service by the accompanist and leader of the singing to
avoid any unfortunate misunderstandings. The following sugges
tions relate to possible key changes.
1. îjWQ^JbS^SK one"hatf steP on successive stanzas can add
interest and variety, ftp sure? to start the hymn Tow enough so tfie
final stanza is not too high. For example, sing the four stanzas of
"O for a Thousand Tongues to Sing" (BH 69) in the keys F, Gb, G,
Ab; (See example 8) "To God Be the Glory" (BH 33) in the keys of
G, Ab, and A; "All Hail the Power of Jesus' Name" (BH 40) in the
keys of F, Gb, G, Ab. The leader and accompanist must under
stand precisely how this will be done and how the key changes
will occur. This should be rehearsed several times before the ser
vice. If the keyboard accompanist does not transpose easily, the
tune should be written out in the needed keys. Also, the choir
should be alerted to the key changes, and singing through the
hymn in rehearsal will make for greater confidence all around.
2. Raising the key a half step on the final stanza can add vitali-
ty, excitement, and brightness. Such treatment of a final stanza
brings alre^ "lift" the last time through the
tune. This also needs to be well prepared and carefully executed.
3. Using lower keys in early morning services will greatly en-
22
Congregational Singing
Pip
3 ^
U
pm z—n
-a—zr JJJUJJ J ax:
XF"
'"i 'J J j 11 j j j ■* ■+ ^&
Example 8
23
Tempos and Keys in Congregational Singing
u C t , M lI Z S —j 1 J— 1
S = * =■_ € = E J — • - " r.—\
7 |J l>: ^ r i — d • V J . o 0 9 01 — n & ~ ©
1 J ■ p —j
L 1-—1 i
JJn J
courage congregational participation. They qan range from one-

h'airtb two stepis down frbrii the ofiginal key. Again, the writing
out of the transpositions may be necessary. Written transposi
tions can be filed away for future use as, across the months, an in
creasing number of hymns may be sung in altered keys.
4. Key changes can be used effectively in a hymn medley—a
series of tunessung without interruption or interludes. The tunes
can be arranged in order of ascending half steps:
"There Is a Fountain" (BH 107) Key of C C /r*- ,
H- "Just When I Need Him Most" (BH 220) Key of Db D -A?-
"Blessed Assurance" (BH 334) Key of D- £** £b
j "At the Cross" (BH 157) Key of Eb
In the final measure of "There Is a Fountain." the accompanist
can play a C chord on the first two beats, then on the third beat
% play an Ab7 chord. (The pitch C is the common tone between the
W^.C chord and the Ab7 chord.) Begin singing "fust When j_Need
Him Most." In the final measure, play the Db chord, then the A7
chord to prepare for the key of D. At the conclusion of "Blessed
Assurance" use the Bb7 chord to move into the key of Eb forÂt
the Cross." This is a very simple process of modulation/
Another way of doing this is through the use of the "circle of
fifths" (the keys of C, F, Bb, Eb, Ab, etc., for example). In this
_ process the final chord of the hymn just completed becomes the
/£vC1" r transitional chord by adding the minor seventh. Hence, C
ri ^V$ oecomes C7 going to F; F becomes F7 going to Bb; Bb becomes
"" 0<CCnBb7
^ hymns ingoingthesetokeys
Eb; Eb
to becomes Eb7 going
make a logical to Ab. Select appropriate
sequence.
— "'(V A third technique is that in which the accompanist devises im
provisatory modulations appropriate to the keys of the hymns that
the leader wishes to use in the medley. In this way there -is no
need for concern as in the sequence of key relationship. This pro
cedure can be most interesting with a skillful accompanist.
However, if there is not complete understanding between the
music director and the accompanist in the move to each succeed
ing tune, a particular tune might begin in several keys at the same
time. The classical musician would refer to this as polytonal
music. The music director would refer to it as chaos.
\0\f*
r\. 0;
Chapter 3
INSTRUMENTAL ACCOMPANIMENT
FOR CONGREGATIONAL SINGING
Instrumental accompaniment for congregational singing usually

involves the organ and/or the piano. Other instruments may be
used singly or in ensemble depending upon available resources.
The effective use of instruments, not for "leading" the singing,
but for accompanying it helpfully, is a major concern.
Several questions that relate to this primary subject call for
consideration. Is there any difference in the role of the keyboard
instruments in accompanying a choir anthem and a congrega
tional hymn? M£J^^^ is most helpful in support
ing congregational singing? How can the music director who has
no organ-playing experience talk intelligently with the organist
regarding registration for the hymns? Should the organist be the
sole judge of appropriate registration? How can the organ provide
rhythmic drive to help the congregation sing together? What
effect does the lack of release in the organ sound at the phrase
end or in the cadence have upon the~singing? These are questions
that must be confronted.
The Sound of the Instruments T "> c

Congregational singing involves human voices singing
together. Thjs singing can be to the accompaniment of musical in- '
struments, ^ it may be unajccompanied. The sopnds of accom-
25
panying instruments should enhance, enrich, and aid the singing

voices, and be a part of the total ensemble. The instruments
should not detract from the singing by calling attention to them
selves. The instrumental sound should not overwhelm and engulf
the singing and the singers, nor be so anemic as to be of little con-
sequience.
The sound of the instruments should be in the same tempo as
the singing, accompanying the congregational singing in the same
way that accompaniment would be provided for the choir. The in
struments should not run ahead or fall behind in tempo. Any at
tempt to "lead" the singing by being ahead any fraction of a beat
greatly discourages the congregation. To find the tempo at which
u !v ê congregat*on s*n8s togethei^fatsTe^dtt^li.tp have a sense of
0£lz4^[vitality but sl^t^^ for everyone to keep, up—is a most desir
able goal.
The Introduction of the Tune

fff(fMVîV The playing of thqintrpduction (giving out the tune) by the in-
o\ei^bff\ strument has reglu.purpo|}e^.j9ad.JiBWRn.. The introduction, if the
^t~ entire tune is not played, should include the first and last line of
the hymn. This provides a "mini" hymn tune that has some
architectural structure and sounds complete. It reminds the
singers of how the tune begins and comes to a musically satisfy
ing conclusion. Suggestions for the introduction of the tune are in
dicated in the Baptist Hymnal, 1975 »by the use of brackets above
the tune. Usually this involves two pairs of brackets for complete
ness. At a glance the accompanist can know how much of the tune
to play without having to make this determination uncertainly on
the spur of the moment.
The introduction sets the tempo and establishes the key. TJjje
mood of the hymn is implied by the registration and style of play
i n g . A l l o f t h o s e t h i n g s n e e d M ^ J t e j fl ff fl ^ ^ c o r i -
grggation. Any varianceTn tempo during the introduction, any
sudden chaiige in dynamic levels, any sense of uncertainty con
fuses the congregation. In order to communicate these things
clearly to the congregation, the accompanist must have a definite
mental concept of them before the first sound begins. Such play
ing leaves no question in the minds of the congregation as to how
fast or slow, how loud or soft, how boisterously or quietly, and at
what pitch thp tune is to be sung.
•■?
&
Instrumental Accompaniment for Congressional Singing 27
2 Come, Thou Almighty King
"N j in j i] ij J j
1. Come, thou Al us thy
miiht y King, Help
2. Come, thou In car nate Word, Gird on thy
3. Come, Ho - ly Com fort - er, T h y s a - cred
4. To thee, great One in Three, The high . est
K;if r p ir f r il if f r
^m name
might
m
^ 7 mm
to sing, Help us to praise: Fa - ther!
y sword, Our prayer at - tend! Come, and
all-
thy
wit ness bear In this glad hour! Thou, who al-
prais e s b e , H e n c e e v • e r - m o r e ; T h y s o v • Veign
^m r glo - ri ous, O'er

i j i j, }
all vie - to - ri -
m1
ous, Come, and reign
of
peo - pie bless, And give thy word sue - cess: Spir - it
might - y art, Now rule in ev - 'ry h e a r t A n d n e ' e r from
maj - es ty May we in glo - ry see, And to e-
>>i n if f p if if r ii1 i1 i*
frj: 2 1 IJ ,J ,i Ij, IIJJj.ll
o ver us, An cient of Days,
ho li ness, On us de scend.
us de part, Spir it of pow'r.
ter ni ty Love and a dore. MEN.
'V t t \e
Words, Anonymous, 1757. Tune ITALIAN HYMN, Felice de Giardini, 1769.
Come, Thou Almighty King

Arranged by ALBERT L. TRAVIS
fei £ 4 . To t h e e , g r e a t O n e i n T h r e e ,
Jan.
The high -est
s * j'j ; u -^ -^=
t pp ^ S
■«*■
Hence ev - er - more;
p
prais - es be,
I'ffi Li pHe jjg#

9B
§ fefci niltl
a^ ^
1
© Copyright 1975 Broadmon Press in New Sounds for Familiar Hymns. All rights reserved. International copyright
secured.
Example 10
f.'.
U'J >rU > iI*I J J^ri IJL

^ g J> * I *
Thy sov - 'reign

mtymaj
- es- -es
ty -ivia
ty May we in glo - ry see, And to e
i=UL
si ^ ^ lH r i'7^
n*1
I M ?
ter - ni-ty Love and a - dore.
s zee:
men.
fee ±U: 22=

1
spi 1=1 i
SS ^
-77*- 1JB-
Style of Playing
W^ky\ Virtu^|p(>playlng with e]§Jbprate embellishment is inap-
^/vtTl H^SRîrte*JW*«a.«.yiTP.rs^"P
^Y^ familiar service-
one, the major contribution in Particularly
instrumental if the tune is a
accompani
st ^^ment is for harmonic and rhythmic foundation. Providing this
fyfy*!}"* kind of support in the total ensemble sound makes for great sing-
ft"j2-3jrv/ ing by the congregation.
Free Accompaniments
The term ->ffwa flfrompaniment" refers to a harmonically
unrestricted ir^strnmpnTal ar.mrnrânimftnt for a hymn tune. The
congregation sings in unison—everyone singing the melody-r-and
the accompaniment is improvisational in character. That is, the
harmonization differs from that given in the hymnal, yet is one
that goes well with the melody. (See examples 9 and 10.) There
are several excellent collections of free accompaniments
available. (See appendix.) Sparingly used, they can bring excite
ment to congregational singing; too frequent a usage tends to
make them commonplace. If they are used at the same place in
the service each week, they become routine and ineffective.
Choir singers, organists, pianists, and musicians in the con
gregation are usually quite fond of free accompaniments.
However, the average person in the congregation does not always
share this interest. To him, the strange harmonizations are con
fusing and he has difficulty keeping the tune going. Free accom
paniments usually are played at a higher level of volume and may
prompt him to stop singing and listen. When that occurs, the
beautiful and imaginative free accompaniment has provided dis
couragement rather than encouragement for hearty congrega
tional song. To avoid such a reaction, the music director should
provide some instructions to the congregation to let them know
what is going on so they can enjoy the experience in a
knowledgeable way. He might, for instance, ask them to sing the
last stanza in unison, while the organist plays the free accom
paniment.
The Use of the Organ
The Organist Edition of Baptist Hymnal, 1975, is published to
provide the organist with the hymn tune printed as it should be
played on the organ. The way the tune appears in the standard
edition of the hymnal is for four-part or unison singing, and is not
m
intended to be played in precisely this manner at either organ or
piano. In other words, the hymnal version is vocal music, not in
strumental music. Example 11 is the hymn "We Are Climbing
Jacob's Ladder" as it appears in the hymnal. Example 12 is the
same hymn from the Organist edition, and is designed for the
organ keyboard. The notes to be played on the manuals and
pedals are included on two staves. Note the indications for phras
ing, the tying of notes together, and other notation changes to ac
complish this purpose. There is no alteration of harmonic struc
ture of the tune.
The most sipniffrant factors related to use of thq nrpanifnr con
gregational singing are tho canea ef phrasing and the need for
rhythmic playing. Too many organists play a hymn tune with con-"
tinuous sound, the fingers keeping keys depressed all the time,
causing some sound to continue without any break at all through
an entire stanza, and sometimes through several stanzas. The
fingers are not lifted from the keys at the ends of the phrases, nor
is there any sense of rhythmic pulse. This style of playing may be
employed at times when the organ is playing along, but does not
give adequate support when the congregation is singing.
At the end of each phrase of the hymn tune, the organ should
"breathe" with the congregation, rru~ o^»»^ ri—iî u„ „„i 1
^ tlip j"g*int thr °;"Q:"Q -*~r" *~ -11— f—' *u:-q not after the
inhalation has begun. When the people breathe, let the organ
breathe also. When the moment of silence occurs, the organ
should be silent also and should not sound over into the silence of
the singers.The carryover of organ sound into the moment of
breathing causes a tardy beginning of the next phrase by the con
gregation and thus contributes to a gradual slowing of the tune
and decreasing of vitality.
Thft rhvtr)|mir. pyfcp of rgnprppatinnal singing is the stabilizing
factor in keeping the singing together. The band in the half-time
show at the football game depends on the percussion section—not
the brasses or woodwinds—to keep the band together as they
march down the field and go through their drills. This is
not to suggest that we need drums on Sunday morning to keep our
singing together, but it is to suggest that rhythmic pulse is vital to
congregational singing. There are ways to provide this with the
accompanying instruments. In some hymns the pulse will be
stronger and with greater accent than in other hymns. "All Hail
the Power of Jesus'. Name" (BH 40) and "We're Marching to
We Are Climbing Jacob's Ladder
i ise
m ^
*
s
m j-o. j - ± i i la ^
i—k
1. We are olimb - ing Ja -
j?
c o b ' s l a d - d e r, We are
2. Ev - 'ry round goes high - e r, h i g h - e r, E v - 'ry
3. Sin - ner, do you love my Je - sus? Sin - ner,
4. If you love him, why not serve him? if you
olimb -ing Ja - cob's lad - der, We are climb -ing

round goes high - er, high - er, Ev • 'ry round goes
do you love my Je - sus? Sin - ner, do you
love him, why not hirti? If you love him,
Idd?
r tot ZEE
sxr 3XT
^ % — ^
^
xc
LA
JEEZ
« = ^
Ja - cob's lad - der, Sol - diers ' of the cross.

high - er, high - er, Sol • diers of the cross.
love my Je - sus? Sol - diers of the cross.
why not serve him? . Sol - diers of the cross.
Words and tune JACOB'S LADDER, Traditional Negro Spiritual.
Example 11
We Are Climbing Jacob's Ladder 147
:'i'j JLIJ JllJ it IJ J,ljilj j,lj i

1. We are climb-ing Ja-cob's ladder, We are climb-ing Ja-cob's
2. Ev - 'ry round goes high - er, high - er, Ev - 'ry round goes high - er,
3. Sin - ner, do you love my Je - sus? Sin - ner, do you love my
4. If you love him, why not serve him? If you love him, why not
ms ppm an
m 3
-ts*
zzzz zn± =C£
Pii
ladder, We are climb-ing Ja-cob's lad -der, Sol -diers of the
TJ^gOF
cross.
high • er, Ev-'ry round goes high-er, high-er, Sol-diers of the cross,
Je - sus? Sin-ner, do you love my Je- sus? Sol-diers of the cross,
serve him? If you love him, why not serve him? Sol-diers of the cross.
A # - b f - - &■•
§||ee||£ ■9s- ■9s-

A&-
Si
■©*-
WZ31 ^m
Words and tune JACOB'S LADDER, Traditional Negro Spiritual.
Example 12
Zion" (BH 505), for example, will require a strong rhythmic
pulse, while "Sweet, Sweet.Spirit" (BH 255) and "Speak to My
Heart" (BH 355) require much less strength in the rhythmic pulse
felt by the congregation. At the same time, thd pulse felt in all four
should be regular and steady.
The only technique by which the organist can increase the
strength of the pulse is by the contrast of sound and silence. Strik
ing the key with great force or little force has no effect on the ac
cent, for the pipes (or the speakers in an electronic organ) sound
the same regardless of hdw hard the key is struck by the player.
Legato playing provides less strength in the pulse, while staccato
playing increases the pulse. Detached (or staccato) playing can
provide strong rhythmic drive to move the congregation in the
hymn singing and control the pace of the tune.
All the hymns in the hymnal are arranged for four-part sink
ing, or for unison singing with keyboard accompaniment. "We
Are Climbing Jacob's Ladder" (No. 147) example 11, is the way
this spiritual appears in the hymnal and is written in musical
notation for four voice parts—soprano, alto, tenor, and bass. This
is intended for singing, but not for playing in exactly the same
way. Example 12 is the same tune as it appears in the Organ edi
tion of Baptist Hymnal The notation of the melody is the same,
but the other notes are not the same. Some repeated notes are
tied—even tied across bar lines. The pedal notes are repeated
across \he measure bars to keep the rhythm moving. The "alto"
notes are usually tied across measure bars because these are less
significant rhythmically. The "tenor" notes are repeated with the
melody to give support to the melodic line. Note the quarter rests
indicated at the end of each phrase. These should be strictly ob
served and the sound released on the last half of the seconds beat
of these measures.
Thgrgsources ftor registration will vary from one organ to
anQtBeTTEacli organist should explore fully the resources of "the
mstrun^JUaiidj^rnize them fully., using the same registration for
all stanzas of all hyn^^ dull and unexciting to the con
gregation. The text of each stanza usually will provide some clue
as to what the registration should be. Generally, the registration
should be on the bright side, not thick and "tubby." The use of 8'
pitch alone merely confronts the congregation with sounds at the
same pitch they are singing. Stops of 4' and 2' pitch and mixtures
can add color, brightness, and helpfuLsound. Remember that the
tpvtnpfi of the sound is morfi jmnnrtant than tfrp rrr™ ~f ^H""™

There are too many variables involved in organ playing for
congregational singing to permit dogmatism at this
point—resources of the organ, registration, acoustical properties
of the room, size of the congregation, etc. The way the organ is
played is most significant. Recording the Sunday morning hymn
singing from the back of the auditorium or the balcony can pro
vide helpful insights for the music director and organist. A study
of the tapes of the services reveal the degree to which the con
gregation, choir and instruments stay together, and will show the
positive or negative aspects of the sound of the organ. If you make
such a study, be sure to keep a record of organ registrations used
on each hymn and on each stanza. You will need it to determine
which registrations are effective and which ones come off poorly.
The Use of the Piano

The piano is a percussive instrument. Greater accent is
achieved by striking the keys with greater strength. The rhythmic
pulse of the hymn tune should be increased or decreased as re
quired by the tune, the congregation, the acoustical properties of
the room, and other factors affecting the singing. Organ sound is
continuous in intensity and volume/When you depress the key,
the pipes or speakers sound and continue sounding without
change until the keys are released. The piano sound is deteriorat
ing as long as the piano key remains depressed. The moment the
key is struck is the moment of loudest sound. The deterioration
begins at that moment and continues until the sound completely
fades, or until the key is released and the string is damped.
Renewing the sound requires that the key be struck again and
again and again.
The most effective piano accompaniment for the congrega
tional singing occurs when the pianist provides solid harmonic
and rhythmic undergirding for. the congregation. Unless the
hymn tune is familiar, melodic delineation is not significant, for
the singers are not dependent on the piano to underline the melo
dy. Hymn tunes of different characters, moods, and texture will
be played in different ways by the pianist. For example, "Sweet
Hour of Prayer," "All Creatures of Qur God and King," "Be
Thou My Vision" and "When We All Get to Heaven" would not
be played in the same manner. It would be generally agreed,
however, that inappropriate embellishments, excessive loud
36 C o n g r e g o fi o n a i Singing
playing, and rhapsodic treatment of the tune are detrimental to

congregational singing. Such practices are frequently attention-
getting techniques which meet the ego needs of the pianist, but
say to the congregation, "Don't pay any attention to what you are
singing, just see what a great piano player I am!"
The Use of Keyboard Instruments
In Southern Baptist churches the general practice is to use both
organ and piano for congregational singing. Some churches have
only a piano. However, there are many churches that have both
instruments butuse only the organ. This is true usually where the
sound of the organ and the skill of the organist are adequate for
accompanying the congregation. The sound of an organ with ade
quate tonal resources will permeate theiûTTding in a manner that
thej^^ duplicate. In a church whose organ is not ade
quate and whose organist does not play skillfully, the sound of
the piano is frequently added to reinforce the organ. There are
also churches in which only the piano is used, either because it is
the only instrument available, or because of the personal
preference of the director or the congregation.
Since the instruments are accompanying and their major ob
jective is assisting the congregation to sing together, each con
gregation or each music director will need to determine the best
means to accomplish that objective.
Unaccompanied Singing
The occasional use of unaccompanied congregational singing
can bring an experience qFtfffi Unaccompanied
singing frees the congregation from a dependence on the instru
ments. During the singing of a hymn with instruments, portions
of individual stanzas or entire stanzas can be sung unaccom
panied. No announcement or explanation to the congregation is
necessary. If the^âj^sound gradually fades out during a stanza,
the congregation will sense soon th^t the singing goes on.without
the instruments. This can happen on the secdnd stanza, and after
that stanza is completed, the third stanza cap begin unaccom
panied. Halfway through the thiM^Snza, the instruments may
begin playing unobtrusively and increase the level of sound to the
end of the stanza. The fourth stanza then may be sung with full
instruments. If you want to add variety to your congregational
singing, try this formula.
When confidence on the part of the congregation has been

built, an entire hymn may be sung unaccompanied. The need to
establish the key may be accomplished by letting the organ or
piano give out the tune and then play no further. If the song
leader has a pleasant and steady voice, he or she may simply
begin singing and the congregation will follow immediately. So
sang our Baptist forefathers, and such practice used thoughtfully
brings increased interest in congregational song.
Two words of caution. Do not attempt unaccompanied singing
without planning and experience, and do not overuse it so that
the too frequent use makes it commonplace.
The Use of Non-Keyboard Instruments

Instrumental ensembles made up of talented players from the
church family can add brightness and joy to congregational sing
ing. The sound of additional instruments should blend in with the
singing and not overpower or overwhelm the congregation in
such a manner as to discourage singing and encourage listening.
The Moravians and The Salvation Army each have a long histo
ry of'using instruments to play hymn tunes and to accompany
hyrhh singing. Those who have experienced these services know
the strength of the instrumental sound.
Many use$ can be made of an instrumental ensemble in hymn
singing. The ensemble can give out the introduction to the hymn
tune and then accompany the congregation. SomfiJÎ^
acKifiêdJwâlternatinfi; stanzas with the ensemblaândJthfiJJiano
and organ, and by the singing of unaccompanied stanzas. An
intejlii(|e by the ensemble might be played between the third and
fourth stanzas by repeating the final one or two phrases of the
i e?'y*; •■'■""'"■"'■
tm
Handbell choirs can be used effectively with congregational
singing. The handbells can play introductions and interludes be
tween stanzas. An interlude may be a portion of the tune or the
entire tune. If handbells areûsed during the hymn singing and
the singing is full and hearty, the sound of the bells may be lost.
Also, the handbells become a negative factor if the members of
the congregation merely listen to the bells and do not sing.
Acoustic guitars amplified through a sound system that
reproduces the guitar sound faithfully without distortion can ac
company congregational singing. This sound goes better with
quieter hymns of devotion or consecration such as "The Nail
38 . Congregational Singing
Scarred Hand," (BH 192), "What Wondrous Love Is This," (BH
106), "Lord, I Want to Be a Christian," (BH 322), "Morning Has
Broken," (BH 151).
The Autoharp may be used to accompany congregational sing
ing as long as the harmonies of the hymn tune are within the
capabilities of the instrument at hand, and if the congregation can
hear the sound of the instrument. Careful amplification will be
helpful in larger groups. The hymns mentioned earlier for use
with guitar also work well with the Autoharp.
Rhythm sections—electric bass guitar, rhythm guitar, drum
set, and piano—can be used in an exciting way through careful
planning when the sound is appropriate to the hymn singing in
volved and to the congregation. Again, the sound must support
congregational singing and must not attract attention to itself and
become a performance for spectators. If you wish to use this in
strumental sound in the service by itself, then make an ap
propriate place for it and let the people listen and share in a
planned experience.
The Music Director and Instrumentalists

Congregational singing goes on at its best when there exists the
finest relationship between the one responsible for the music and
those who provide the instrumental skills. First, an under
standing of the ~kj™f"fn Jr be accomplishecTana the need for
togetherness in the congregational singing is imperative. Such
relationship and communication depend on spiritual maturity,
mutual respect, and continual evaluation and sharing.
All the details of this experience need to be understood
clearly. The congregation does not need to know all the specifics
involved in hymn singingi but the leader and the instrumentalists
must have no secrets iro^'eacliôther. Desired tempos, tempo
changes within the hymn, changes in dynamic levels, modula
tions, going from one hymn to another in the same key or another
key, the number of stanzas to be sung—all shouldJ^fully under
stood and rehearsed, if rehearsal is necessary. It is embarrassing
to the leader, the instrumentalists, and the congregation when
something "falls apart" due to lack of preparation.
The need for lowering or raising the key for a hymn should be
communicated to the instrumentalists so that the new key can be
written off on manuscript paper if transposition is not a ready
skill.
The music director should know fully the skills and abilities of
the instrumentalists, and should seek to utilize these skills to the
fullest. He should also be acutely aware of their limitations and
not expect the impossible. Do not blame a person for what he can
not do, cannot play, cannot sightread, or cannot execute related to
conjgregational singing. The music director will wisely accept the
circumstances in which he finds himself and use all available
resources to the greatest benefit. Unkindness, impatience, hostili
ty, harsh criticism, and the ultimate breakdown in communica
tions ..will only increase the problems. The best of musicianship, JL
dependability, flexibility, maturity, loyalty, cooperation and I
thoughtful concern are characteristics most needed in these rela
tionships.
The Physical Location of the Instruments
The piano and the organ console should be placed so that the
pianist and organist can hear the instruments and the congrega
tional singing. This makes possible a much better control of the
balance of sound. An unimpaired sight line between the organist
and pianist and the music director is essential. Where problems of
sight line exist and the instruments cannot be moved easily, the
music director may solve the problem by moving his position for
ward, backward, or to the right or left.
Parpoting iinHpr a piann will flfrsfl^ a Qliantitv f)f cniinrl and
some nf thfThrightnpss nf thp sound will he lost. A splid railing
naêl ajftund the piano will "box in" the sound. A grand piano
contributes most effectively when the lid is opened toward the
congregation. An upright piano should not be placed so that its
sounding board (back side) is flat against a wall. It should be
pnllpH away from the wall at an angle to the rigM ™ fp fV>n loft trr
let the maximum sound out ana also to give the pianist a better
sight line to the music director.
It may be necessary in some churches, because of railings,
carpet, location, or other factors to amplify the piano sound for
congregational singing. A good system should be installed that
will amplify the piano without distortion. The level of sound
needs to be carefully set so that it carries well over the house
system without blasting oi* distortion. Then, when the piano is
playing alone at other times in the service, the volume level can
be turned down completely. Only when the congregation is sing
ing is reinforcement needed. Exceptions to this rule may arise
when acoustical problems require constant amplification of the

piano. The controlling principle is that the gpy-nd of thn pifyno
«inct nm/pr he distorted through amplification.
Chapter 4
PHYSICAL FACTORS INFLUENCING
HYMN SINGING
Congregational singing is made up of facets of musical, spiritual,

emotional, psychological, theological, poetic, aesthetic, and com
municative significance. In addition to these, physical factors that
we perceive aurally and visually, consciously or unconsciously,
are related to congregational singing. The architectural design,
the acoustics, the lighting, the temperature and humidity, the
room dimensions, the wall, floor, and ceiling surfaces are matters
of concern that can strengthen or weaken the effectiveness of the
experience of congregational singing. This chapter will not be an
attempt to deal extensively and technically with these physical
factprs, but they will be dealt with briefly.
Architectural Design
""•jfpg^ those who are responsible for the con
gregational singing usually have little control over the physical
factors, yet it will be helpful to identify them for increased aware
ness.
In the planning of a new building the general design takes
shape in the mind of the architect. This design is accepted, ad
justed, changed, modified, or rejected by a committee elected as
representatives of the congregation. There are, of course, multi
ple needs to be met in the designing of the place where the con
gregation gathers to praise God and proclaim the gospel of Jesus
41
Christ. The congregational singing depends upon the hearty par
ticipation of all the people as they share together the joy of praise
and fellowship. The visual images each person perceives—both
objectively and subjectively—and the aural sensations which are
received bear upon the value of this experience to the individual
and the corporate experience to the whole congregation.
1. Prcyôrtipns of rgprn dimensions. The dimensions of the
$&* room—width, length,
'- the size of the and height—can
congregation. A room that beisproperly
too widebalanced
or too longfor
is
* waa" out of baJiRce, and a sense of togetherness is difficult to achieve
Vv >£* *n theissinging
^ ceiling too greatof the congregation.
in proportion to theIf rest
the distance from dimen
of the room's floor to
sions, the sound of the singing may be dissipated and lost. If there
is not sufficient height, the singing will be muffled and distorted.
2. Seatfng4es^ The details of the design
of seating—pew length, spacing of rows, and overall arrange
ment—should contrib^^^ in
the congregation, balconies can be designed in such a way that
those seated there feel" tTTemserveTTolje eTpavt of, rather than
\Joj*apart from, those seated on the main floor level. In services when
the building is only half "full, the congregational singing will be
better if the people sit^Tpse^together. When they are scattered
throughout the audftorium, the singing is usually poor. Back pews
may be roped off and ushers can suggest that the people sit
toward the front of the auditorium.
3. LigMpg. There should bejsufficjgfljjy^^ for the congrega
tion to read from the hymnal without strain or difficulty. Lighting
ihnnlri nnt minnnri fifty nnnriln fnntnrrr -1—1J u hQ lm \\\f\r\ flin
ty candle^JFe^^Jluoresceni^gMinpJis, not usually recommgnded
for congregational services.
n recemyearsmore churches have provided for rheostat con
trol makmg„pj^ and 4
the individual control of lights in the room—overhead lights in
sections, choir lights, pulpit spotlight, and other adjustable
spotlights. Because the church is not a theater and the people in
the congregation are not merely spectators, the rostrum and
choirloft are not a stagejand the worship leaders are not actors^
The dimming Qf^^
on the stageM Jsjlm^ Those in the congregation are par
ticipants in worship "and praise and testimony, and the lights
should be bright enough to encourage their response. Dimming
P h y s i c a l F a c t o r s I n fl u e n c i n g H y m n S i n g i n g 4 3
he house lights relegates the members of the congregation to the
•ole of spectators, and does not encourage hearty participation in
he hymn singing even if the lights are brought up full at that
ime. For services where dramatic presentations-require complex
ight control, those facilities are most desirable and effective. But
luring the regular congregational services, all the partici-
)ants—including those in the congregation—should be well
ighted.
4. Temperature and humidity ^control. The comfort of the
:ongre&ation relative to temperature and humidity affects con-
iregafional singing. The discomfort of being too hot or too cold
vill not be conducive to sharing in joyful song. In recent years,
nore churches have included in their building plans, or have ad-
led to existing buildings, equipment to give year-round tern-
)erature control. With the closed doors and windows of air condi-
ioned churches, the sound of the singing of familiar hymns no
onger can be heard by passersby. In rural areas, in churches
acking in these modern conveniences, the sound of the hymn
inging still can be heard by those outside the building.
5. Locatiori^ pj_organ. The placement of the sound source
pipes of a pipe organ or the speaker cabinets of an electronic
irgan) should hfi within the permanent walls of the room rather
jflfl in ft gpnarat<a ^pl«t^ nir.he or chamber. Placing the pipes or
peakers in a typical "organ chamber, * which is more like
mother room attached to the auditorium with a small grill-
;oveEed opening into the auditorium, is to be avoided. This not
mly hides the pipes or speakers, but also hides much of the
ound and brilliance. It is much mote desirable to think of the
ound source as being in the room with the congregation. With
he moveability of electronic speakers, it is possible to experi-
nent with different locations to seiek the best placement for con-
regational singing!
The placement of the organ console (whether pipe or
lectronic) involves several considerations:
(a) The best location for the organist to hear the sound of
the organ to properly balance the texture and volume of
registration with the texture and volume of the sound of
the singing.
(b) The best location for sight lines to the pastor, music
director, and other persons or areas of activity which
need to be observed—such as those collecting the offer
ings.
(c) The best location possible for sight lines and hearing o
the piano in order that both instruments can be usee
effectively for accompanying the congregational sing
ing.
(d) The best location regarding the overall design of the
rostrum, choirloft, and piano and organ space withir
the limits of available space.
It has been the usual practice in recent years to place the orgar
console to the congregation's right. Other churches have made
space in the center of the choir area in front of the choir. Other*
have compromised at some point between these two placements
When the console is placed too far to the congregation's right, the
organist has difficulty in hearing the congregation, the choir\ anc
soloists and in making any judgments regarding the balance 01
sound. Being too far to the right puts the organist in the "wors
seat in the house" as far as the music is concerned.
6. Location of the pianp. To be of the greatest assistance ir
congregational singing, the piano should not be enclosed in £
piano stall. An upright pi^^ its sound
ing board Qhej^ To place ar
upHgKF piano" neaTalSara surfaci^walT and at an angle to the wall
will reflect the sourffr of the piano toward the congregation and
give greater support for the singing. A grand piano is most effec
tive when it is positioned so that thj^wTg^n^toward the con
gregation. The piano area should belarge enoughTTdr a grarici
piano to be turned, with lid open, toward the congregation foi
hymn singing, and, at other times, be turned toward the choir tc
support choir singing. A grand piano truck (with large rubber
rollers) will make this possible. \
The pianist should be able to see the organist as well as heai
the organ. The location of the organ console will affect the loca
tion of the piano. Both may be in the center area in front of the
choir, or at points away from the center of the rostrum, the Organ
console to the right and the piano to the left.
Nevef nlarp rarpoH"fl nnrlpr a piann hprancp nf its snnnf| ah.
7. JWjaii. f}oor> Qnd ceiling surfaces. When musical sound is

produceTEyT^^ singing, or by the choir or
the instruments, the church building becomes a musical instru-
l y s i c a i F a c t o r s I n fl u e n c i n g H y m n S i n g i n g 4 5
lent. The sound takes the shape of the building. The charac-
SriîcsoFi^ dulled and
iminished by the surfaces of the walls, the floor and the ceiling,
he same cpngregation^ choirôr or£ajQw>nwill^^^
Uw.fuiiffe£eJi4^
I fi U J E t a o g w ^ ^ i s k n o w n a s t h e a c o u s t i c a l
ictor, thfl^miLJif-the qualities that determine the value of an
nclosure or a roomastt^RstiTicniefi^ng.
The science of acoustics is complex and confusing to the laity,
isagreement is quite common among those who are supposed to
e authorities in acoustical engineering. There are, however.
)me general areas of agreement that bear upon the sound of con-
regational singing. To attempt a technical treatise in this area
3es beyond the scope of this book and the knowledge of this V
riter. However, it must be recognized that thp rpinfnmeme^t nf
.—*.~A ~t ^»^Qof^„i ™-Q^g h]r thp wa11 f1nnr nnii rru-Q
rf aces rs nffiost desirable. Persons with no knowledge of
rustics can reaauy'recQgnize whether or not the sound of con-
regational singing in a given room "feels good." If there is no
unforcement from the room, no reverberation factor, the singing
ill be dull, lifeless, and discouraging. Places of worship where
alls, ceilings, and floors are covered partially or completely
ith highly absorbent materials have little possibility of produc-
ig exciting congregational singing.
With regard to the sound in the room, tho finnr fa ftp q*™*^
lrfattP nf ahsnrntinn the wallc thp prpatpcf pfiflppHvp cnrfarp
id thp neilin^ foe greatest dispersion surface. Far greater sound
Dsorption occurs witfiâlPfb-wall flafpSWh^ than with aisle car-
ating. Tn churches that have hard surfaces on the rostrum or
latform areas those responsible for those sessions do not seem to
jgr.et that they did not carpet this area. The sound of both speech
id music from the area is brighter and clearer if the surface is
ade of ™nQhe™kQn» ™Q»Q^Qi «j)[r|f| flR jflflrhlp gynthfTtir ™QrhlQ
one, -asphalt cfttLiilfi, wnf)^ nr finfT1p giillliln■ ninlrii iril
Acoustically speaking, if the room is too "alive," there is too lit-
3 absorption of sound, causing the sound to linger too long in the
>om, which blurs together indistinctly the words and the har-
onic changes of the music. If the room is too "dead," there is too
uch absorption of sound and the sound dies instantly without
ly delay or reverberation. The difficulty encountered in acousti-
il design for churches is that of providing sufficient reverbera-
tion to reinforce the sound of congregational singing and at the
same time, of making sure there is no difficulty in hearing the
spoken word distinctly. A compromise that seems tobe in the
.JUbest interest of both music and speech places tEe rangeTof .the
^ r e i ^ r E e r g t i ^ ^ t . fi a n H 9 r s p r n n H s T h i s m e a n s
that the sound ot congregational singing at any point will linger in
the room (bouncing from wall to wall and floor to ceiling and all
around) from one and one-half secondsfratwo and one-half sec
onds. h*% KS~2s5&
Where acoustical problems are identified in existing build
ings, some effort should be made to improve or correct them.
Technical advice should be sought to avoid expensive alterations
that result in no improvement. It is often quite surprising how in
expensive adjustments or modifications can be made, greatly im
proving the sound of congregational singing. . *
8. ôii^dArn^ In relationship to congrega
tional singing, mention is made of the use of some type of sound
reproduction or amplification system to meet two possible needs:
(a) The need to amplify slightly the sound of the piano.
Because of the lack of tonal resources of the organ, the
lack of ability of the organist, the placement of the
piano, the acoustics of the room, or the size of the con
gregation, it may be necessary to amplify the piano. The
top should be raised on a grand piano, and the
mirrnnfrnnp nlarpH annroxinnately six inches above the
middle register strings. With an upright piand!tlie
mir-rni?lW
inches awavoK™,u K"middle
r1—d of
nnnrnfiimPiHr t™*1™
from the the soundboard
Amplified sound should normally be used only during the
hymn singing and not at other times, such as during the prelude,
offertory, postlude, and so on. If the amplifier and speakers*cause
the piano to sound distorted in any way with regard to the quality
or quantity of. sound heard by the congregation, their use should
be discontinued.
(b) The nfeed to use Rrg^«&4jl^ with con
gregational, singing. This involves the use oT'coMiSier-
cially produced instrumental tracks to accompany the
singing of the people. The quality of the amplification
system is most important to reproduce as faithfully as
possible the signal on the tape. High quality amplifiers
and speakers certainly make the difference in this type
l y s i c a i F a c t o r s I n fl u e n c i n g H y m n S i n g i n g 4 7
of experience. False economy in purchasing equipment
can greatly limit the use of this technique with con
gregational experience.
inclusion
Many physical factors long taken for granted are most signifi-
ant to the singing of the congregation. Careful consideration of
lese factors to see if improvements can be made in existing
uildings or to insure adequate provision in future buildings in
le planning stage can add greatly to the sound of congregational
ong. In all these areas counsel and advice should be sought from
ersons qualified and experienced.
The Church Architecture Department of the Sunday School
loard will be helpful in consultation in these areas. TJ&gJGJxwxfr0}00
^perty/Bi^ by T. w LeeÂn^jrJ^
Convention PressJls'aHKelpful resource both in planning new
mlHmgT"aiid in the evaluation of existing buildings.
/ ■A;-/>SV-*
Chapter 5
PLANNING FOR
The singing of a hymn by a group of people is really a simple pro

cess. All that is required is that the hymn be familiar and that
someone begin the tune. Everything else being equal, the group
will respond and sing the hymn.
In the dynamic life of a church, the jhwmn singing of the con
gregation myolves a greater^^^ careful selection
of theTiymris7and the preparation for in The planning
*pro^^ if the experience is to have any relationship
to the other parts of the congregational experience. It goes with
out saying that in planning there are persons to be involved, in
formation to be evaluated, specific hymns to be selected for sing
ing, and decisions to be made as to how and when they will be
used. For example, is it effective to sing two hymns consecutively
in the same service without any break between them? Does ii
make any difference whether two hymns closely positioned in the
service are in the same key, the same rhythm, or the same mood?
Afp thprp pcynJir^g^gl m*<i«>/™«> fry* Kat/ing at^ upward pynprpc.
sion of the keys of hymns leading toward a point of climax in the
service, and, likewise, a descending progression of keys of
hymns if a decreasing or diminishing emphasis is desired? How
may choir rehearsals, department meetings of the religious
education organizations, and other program meetings of the
church be used to strengthen congregational singing?
48
'•■!*
tanning for Congregational Singing 49

'he Unity of the Service
Planning for congregational hymn singing follows in sequence
de development of church goals and calendar. The corporate ex-
terience of hymn singing is not an end in itself, but is ja signifi-
an^part ~*^~ ^ ™v»pi.«p«^^-^fo« thnrfifli
■^ppfKpr Pv'npripnirjP IflQplKia'"HifinTrssrnn'ffnRR nnt attempt to
eal with the planning of the total worship service, it recognizes
tie fact that a service js most effective wbpn jt has unity Jn&ir
nd a^spnsp nf movemenTToTfitH?!^ pew, all the pieces
f the service should fit together appropriately. When the several
omporients of the service, such as prayer, hymn, announce- .^_<
nents, and Scripture reading, do not have |t^j^^ it *J%£\
ppears as though the order of service v^^^^^vy^Sx^n akytM>
Dgether at the last minute. To plan a service for the congregation
rith prayer and careful attention to the available resources and to
3ave room for God's spirit to work in the hearts of each in-
ividual, is to realize the full potential of worship.
The leadership role of the pastor is recognized as he leads in
[etermining the f™™*| nf the r^nporegational service.uisuallv in ^jWM.
•residing over the service, and in nis role as preacher, prophet,
xhorter. Hisjdesign fprjhe seryiceâjadJbisxQncern.for eaph part
electionjpf the hymns Hir puidnnnn in the selection of tho oloo-"

nyTyj/rr?^ valîip. He may wish to use this hymn as a
trong invitation to unbelievers to accept Christ as Savior. Or he
aay ^prefer, at times, to use the hymn as a congregational
esponse to the sermon and to extend an invitation to discipleship
nd church membership. Such planning strengthens the conclu-
ion of the service and brings it to a purposeful climax. To close
very service with the singing of "Just As I Am Without One
*lea" is to turn a very cherished hymn of commitment into a dull,
-h
ommonplace experience.
iong-range
n g - r a nPlanning
ge Planning ^,
The planning procesg should be QrrrTrllPH bntfl m tffrn™ "f *^J
Tfegjjiaj
n1E.rangP
n e - r a n"^H . ■ ~ p—p—*;
g g s/hPrtriri.ntr > - - ■Lpng-range
> - . ^ ^ wplanning
, — , r» % n\u/
hould involve the congregational, 8eryic.eajpy.eT a petiod of
welve to eighjeenmonths. Immediately identifiable guidelines
. ^ s e a ^ n a T ^ E a s t e r, s u m m e r, s p r i n g , f a l l ,
vinter, Thanksgiving, and so forth—and those special promo-
ional emphases of significance to the local church, the associa-
50 Congregational Singin,
tion, the state convention, and the Southern Baptist Convention

From the Southern Baptist denominational calendar com
some of the month-by-month emphases that will have some ir.
fluence on the planning of congregational singing if they are to b
observed on the church calendar. Several hymns are suggests
for each emphasis.
OCTOBER
Outreach Month
Rescue the Perishing, 283
Share His Love, 285
So Send I You,. 280
Tell It Out with Gladness, 275
We've a Story to Tell, 281
NOVEMBER
Stewardship and Budget Subscriptions
Because I Have Been Given Much, 414
Give to the Lord, As He Has Blessed You, 415
Glorious Is Thy Name, Most Holy, 419
Lead On, O King Eternal, 420
Something for Thee, 418
We Lift Our Hearts in Songs of Praise, 416
Royal Ambassador Week
We Have e Gospel to Proclaim, 301
Let the Song Go Round the Earth, 306
American Bible Society Day
Christian Men, Arise and Give, 141
Holy Bible, Book Divine, 139
O Word of God Incarnate, 140
Word of God, Across the Ages, 148
DECEMBER
Week of Prayer for Foreign Missions and Lottie Moon
Christmas Offering
O Zion, Haste, 295
Send Me, O Lordt Send Me, 293
Send the Light, 304
Tell the Good News, 288
JANUARY
Bible Study Week
Break Thou the Bread of Life, 138
V^W^M
fanning for Congregational Singing
Christian Men, Arise and Give, 141 ,
Wonderful Words of Life, 142
Soul Winning Commitment Day
Lord, Lay Some Soiil upon My Heart, 298
Lord, Speak to Me, that I May Speak, 276
Make Me a Blessing, 290
Pass It On, 287
People to People, 308
Reach Out and Touch, 314
Send Me, O Lord, Send Me, 203'
Set My Soul Afire, 302
Share His Love, 285
So Send I You, 280
We Have a Gospel to Proclaim, 301
Baptist Men's Day
God of Grace and God of Glory, 265
Rise Up, O Men of God, 268
Stir Thy Church, O God, Our Father, 269
FEBRUARY
Baptist World Alliance Sunday
All Hail the Power of Jesus' Name, 40,41,42
Let All the World in Every Corner Sing, 24
Jesus Shall Reign Where'er the Sun, 282
One World, One Lord, One Witness, 296
Send Me, O Lord, Send Me, 293
Race Relations Sunday
In Christ There is No East or West, 258
Jesus, Friend of Thronging Pilgrims, 100
O Church of God, Triumphant, 237
Teach Me, O Lord, to Care, 312
Thou, Whose Purpose Is to Kindle, 313
Where Charity and Love Prevail, 257
WMU Focus Week
O Zion, Haste, 295
Send the Light, 304
We've a Story to Tell, 281
MARCH
Weekof Prayer for Home Missions, and Annie Armstrong
Easter Offering
Come, All Christians, Be Committed, 362
Do You Really Care? 316
His Gentle Look, 318
In Christ There Is No East or West, 258
To Worship, Work and Witness, 238
When the Church of Jesus, 319 >
APRIL
Cooperative Program Day
Doctrinal Emphasis Week
A Charge to Keep I Have, 407
Ask Ye What Great Thing I Know, 60
Lord, Who Dost Give to Thy Church, 239
Teach Me, O Lord, I Pray, 406
Teach Me Thy Way, O Lord, 330
Life Commitment Sunday
God's World Today, 359
He Who Would Valiant Be, 384
Here Is My Life, 356
I Have Decided to Follow Jesus, 191
Lord, I Want to Be a Christian, 322
We Are Called to Be God's People, 405
Wherever He Leads I'll Go, 361
MAY
Christian Hdme Week
God, Give Us Christian Homes, 397
lanning for Congregational Singing 53
O God in Heaven, Whose Loving Plan, 396
O God, Who to a Loyal Home, 398
Baptist Radio and Television Sunday
O Zion, Haste, 295
JLY
Christian Citizenship Sunday
0 Church of God, Triumphant, 237
My Country, 'Tis of Thee, 511
The Star-Spangled Banner, 512
lUGUST
Church Music Week
All Creatures of Our God and King, 9
1 Will Sing of My Redeemer, 465
I Will Sing the Wondrous Story, 53,55
My Singing Is a Prayer, 412
O Come, Loud Anthems Let Us Sing, 21
Sing to the Lord of Harvest, 232
Sing We the King, 493
When We All Get to Heaven, 491
SEPTEMBER
Season of Prayer for State Missions
When the Church of Jesus, 319
Sunday School Preparation Week
Christian Men, Arise and Give, 141
When these emphases are adopted by a church they can become
guidelines for long-range planning of congregational services. Ii
order to keep these long-range plans current, they should be up
dated at least on a quarterly basis.
Short-range Planning
5hnrfr-r°nfl° planrnF of congregational servies should covei
from timu lu uiylfl-iuxlu. These plans should be quite specific as
to objectives, details for each service, individual responsibility
and involvement, and the hymns to be shared by the congrega
tion. SbflJfcU^
maintaining the cutting edge of these specific plans froinlour to
eight weeks ahead. Any negligence at this point can threaten
severely the planning process. As each week passes, the forward
thrust of the planning period must be advanced another seven
days.
Record keeping related to the congregational services is of
great help in planning. Those responsible need to determine what
kinds of data are needed for reference, for evaluation, and for
future planning. Useful djptta that may be recorded and retained
might be:
jl. Service music (preludes, offertories, postludes)
f.2. Choral music ; 0«&»V/^ \&fiw\
j:3. Soloists and ensembles
J4. Hymns
|5. Sermon topics
Np\|6. Members of the congregation used in the service to read
'Scripture, lead in prayer or other acts of worship
W. Scripture Readings read by the congregation
Frequent reference to this information will guard against a too-
frequent repetition of service material and too-frequent ^se of
some individuals. ^ £j\Ml t>tkh^ <K £<f o v
Selection of the Hymns

There may be those rare occasions when the singing itself and
the inherent value in that experience may be more important than
the hymns involved. The joy of Christian fellowship in singing
"psalms, hymns, and spiritual songs" may have value regardless
of the songs which are sung. This then takes on the character of a
"sing-a-long" and has a valid place in the life of a congregation. It
can be a rewarding experience in Christian fellowship. However, to
anning for Congregational Singing 55
How this pattern week by week is to fail to recognize the need for
yargnessôf thejtextual content, and theJheplpgical y^(^t<|nr7tfie
^mns^^lected. It is wonHerfurio sing "Blessed assurance, Jesus is
ine," and "We're marching to Zion," but we also need to sing
Speak to my heart, Lord Jesus" and "O Master, let me walk with
iee." It is exhilarating to sing
"This is my story, this is my song,
Praising my Savior, all the day long"
at there is need for the believer to sing with the spirit and the
nderstanding
"Help me the slow of heart to move
By some clear, winning word of love;
Teach me the wayward feet to stay,
And guide them in the homeward way."
banning then becomes important because of the need for a
areful selection of hymns based on what they say.
When all available information has been gathered for a given
ongregational service — Sunday morning, Sunday evening,
Vednesday evening, or a weeknight evangelistic service—then
QiQp»i/ô pnf^ ftp fflpHp with rPflgf[flanfl in^prnp^t That informa-Jk
ion Will include +ho f"["n nf thP oorm™ the Snrintnrp tn Hp rpaH ~J
hp Pl^phflQlg nf thp gP^VJPP tho HociroH tnno ^r\f\ fjnjrit nf tho ggr-
fice, *h^"i—hnr nf hYflfir8 reauiyed. and titti puailiuil Ul1 lllti UyU'uT
vithin the outlir\ôf. the.service. In addition to that information,
KiTperson or persons making hymn selections will draw on a
^QPFvnir nf |^now|p^r ^ +h» ^VTm\a] itsplf a^H the familiarity of
)ear on this selection.
his selection. Does it undergird the emphasis, the Scripture, the

sermon? Is the hymn an expression of praise addressed to God,
such as "Holy, Holy, Holy" (No. 1), or a hymn of praise about
3od, such as "All Creatures of Our God and King" (No. 9), or a
lymn of Christian testimony, such as "My Hope Is Built on
Nothing Less" (No. 337), or an invitation to the unbeliever, such
as "Let Jesus Come into Your Heart" (No. 179)? Each of these
hymns has a distinctive content, extremely useful if properly in
serted in the service.
The familiarity of the tune is also of major concern. If the tune
is well known, the possibility of hearty participation is very good.
If the tune is known by some of the people, the participation will
56 Congregational Singh
be scattered. If the tune is known by only a few, these few will 1
singing solos. Surely no music director would select a hymn tur
that is totally unknown to everyone in the congregation simp!
because the text is appropriate. The selection of hymns is dor
most intelligently by the person who has great familiarity wit
both the material in the hymnal and the people in the congreg;
tion.
The key of the tune and the range of the melody are factors fc
consideration if the service is an early morning one. Churche
that have a regular Sunday morning early service, and also thos
that have special services, such as a sunrise Easter Sunday sei
vice, need to exercise precaution about keys and ranges, of th«
tunes. The accompanists, if able to transpose at sight or fron
manuscript, can easily solve the problem. But if this solution i:
not possible, then a hymn tune that lies somewhat high will b(
difficult for most congregations to sing at an early hour. The in
creased nartir.ination resulting from lowpring thp kftvs nnp nr twr
steps will be quite surprising.
The Contents of the Hymnal
The 1975 edition of Baptist Hymnal contains no category in
dications on the pages as did the previous hymnal. These have
been removed to make for greater flexibility in the use of the
hymnal. It is possible that many hymns may relate to more than
one subject area or classification.
The listing of the contents (page xi) shows the broad sweep of
the material infhe hymnal. The four basic divisions of the hymnal
are: God, God Speaks, God's Work, and God's People. These
categories with the subdivisions speak to the many facets of
Christian experience and the needs for hymnic literature in the
life of the church. The numbers given by each category indicate
the hymn numbers in that category.
GOD, 1-137
Trinity, 1-7
Father
Praise and Adoration, 8-30
Glory and Power, 31-37
Jesus Christ
Praise and Adoration, 38-76
Advent,
' Birth, 77-79
80-97
v7tfu: -..V
Pianning for Congregational Singing 57

Life and Ministry, 98-104
Suffering and Death, 105-113
Resurrection and Exaltation, 114-126
Return, 127-129
Holy Spirit, 130-137
GOD SPEAKS, 138-149
Bible, 138-142
Christian Heritage, 143-149
GOD'S WORK, 150-234
Creation, 150-155
Redemption
Salvation, 156-163
Grace and Mercy, 164-172
Repentance and Confession, 173-178
Invitation and Acceptance, 179-200
Providence
Guidance and Care, 201-228
Thankfulness, 229-234
GOD'S PEOPLE, 235-506
Church
Foundation and Nature, 235-241
Baptism,
* Lord's 242-244
Supper, 245-252
Fellowship of Believers, 253-261
Renewal and Revival, 262-273
Evangelism and Missions, 274-307
Social Concern, 308-320
Christian Life
Aspiration, 321-333
Assurance, 334-345
Commitment, 346-373
Faith and Trust, 374-383
Loyalty and Courage, 384-394
Marriage and Family, 395-398
Prayer, 399-404
Service, 405-411
Stewardship, 412-420
Testimony, 421-487
Future Life, 488-506
Special Occasions, 507-512

j This content listing speaks to the careful organization of the
I hymns within the hymnal. The design is a purposeful one sc
j structured to provide songs for congregational singing from i
| wide variety of subjects. A great diversity exists even within one
'j category.
tional Those
singing will responsible for these
study carefully selecting hymns and
categories for the
congrega
scope
of hymns within each division.
'"1''""inf'-':;'^^^;
Chapter 6
PREPARATION FOR HYMN SINGING
The Music Director's Responsibility

When the hymns have been selected for the service, the music
director "will examm'(^tlf^hyiMs:^l5o^ texts ancTtun^s^fo'anti-
cipate any difficulty ^
jng. Normally all stanzas will be used. If for some reason stanzas
must be omitted, the omissions must be noted and communicated.
If the ushers are accustomed to waiting for the fourth stanza to
conje down the aisle to take the offering, and only three stanzas
are to be sung, they should know that.
If a final "amen" is to be used on a hymn, that fact should be
noted and communicated to the accompanists. Sometimes an
"amen" may be added to a hymn where none is included in the
hymnal. This is entirely appropriate and can be done without any
difficulty if both the accompanists and the choir know it is being
done.
The traditional use of fgrnxaios in familiar hymn tunes is a
practice that varies from one congregation to another. In the copy
editing of Baptist Hymnai, 1975 it was decided to remove most of
the fermatas and other markings on the music. This-gives greater
flexibility for. the congregation and the leader. Some hymns
which congregations generally sing observing a fermata which
does not occur in the music, and some which have fermatas writ
ten in the music, are listed below. The director will determine -,. ;(
59 ■: ' , i , ^ l ^ i
how they will be treated and be in agreement with the accom
panists regarding that treatment.
9. "All Creatures of Our God and King"
The fermata written in the second line at the end of th<
second "Alleluia" is usually observed.
37. "A Mighty Fortress Is Our God"
The fermatas in the second and third lines are bes
treated as dotted half notes and kept in tempo.
41. "All Hail the Power of Jesus1 Name" (Diadem)
Sometimes a fermata is observed in the second line
fourth measure, on the word "fall." If a congregatior
is singing unaccompanied and undirected, they seen
to want to pause at this cadence. It doesn't seem to dc
any violence to the sturdiness of the tune as long e^s the
tempo is resumed on "Bring forth the royal diadem.1
130. "Pentecostal Power"
Usually a fermata is observed on the word "Lord" al
the beginning of the refrain and again in the middle oi
the fourth line. The original tempo is resumed in the
following measure each time.
205. "There Is a Balm in Gilead"
The traditional fermata in the final cadence of the
stanza (the end of the fourth line) has been replaced
by notation that gives the same effect while keeping
the tempo steady.
210. "Come, Come, Ye Saints"
Usually a fermata is observed in the third line, second
measure, second beat, on the word "day." This may
also be treated as a half note and kept in tempo. The
changes of meters from 4/4 to 3/4 in this tune-should
cause no difficulty as long as the quarter note beat is
maintained steadily.
216. "Great Is Thy Faithfulness"
Usually a slight slowing occurs in the final phrase of
the refrain (the last four measures), and a fermata is
observed at the syllable "ness," leading to a slower
pace on the words, "Lord, unto me."
274. "Christ Is the'World's True Light"
There is no time signature in this tune because in the
cadences at the ends of lines one and two, fermatas
have been replaced by dotted half notes and they are
Preparation for Hymn Singing 61
kept in tempo. Otherwise the tune is in 4/4.
293. "Send Jvle, O Lord, Send Me"
Usually a fermata is observed in the fourth line, sec
ond measure, on-the word "be." It seems to occur
naturally at this peak of the ascending melodic line be
fore the final phrase.
299. "New Life for You"
Usually a fermata is observed in the fourth line, sec-
L ond measure, on the word "King." This is the peak of
the ascending melodic line and the fermata seems to
give greater strength to the final phrase.
348. "Living for Jesus"
Usually a fermata is observed in the final line of the
refrain on the word "live."
352. "I Am Thine, O Lord"
Usually a fermata is observed in the final line of the
refrain on the word "Lord."
360. "Beneath the Cross of Jesus"
Frequently a fermata is observed in the fourth line,
second measure, third beat, on the word "heat." Unac
companied and undirected congregations seem to do
this naturally.
383. "How Firm a Foundation"
In the second line, the fourth measure, the final note is
sometimes sung as notated, and at other times it is held
c as though observing a fermata. Sometimes when this is
done, the half note on the word "Word" is treated as a
whole note tied to a half note and the cadence kept in
tempo, which adds two full beats in 2/2.
424. "Jesus Is All the World to Me"
Sometimes a fermata is observed in the fourth line,
third measure, on the word "glad."
432. "Wonderful, Wonderful Jesus"
Sometimes a fermata is observed in ther final line of the
refrain on the word "strength."
487. "Since Jesus Came into My Heart"
At the beginning of the refrain, the word "since" is ob
served as having a fermata, as is the word "roll" in the
final line.
In addition to observing fermatas that are not there, congrega
tions have also developed some generally accepted ways of taking
62 Congregdtionai Singing
liberties with tempos by elongating phrases, or stretching
measures, thereby exercising some rhythmic freedom. We refer
to a momentary fluctuation of speed or tempo as mhato, Rilbato
is an Italian word that literally means 'fobbed)" Some hymn
tunes which are usually sung in this way are listed below.
109. "Blessed Redeemer"
The last two lines of the refrain are usually sung with
a good deal of freedom, which seems to cause no
difficulty to the congregation.
121. "Look, Ye Saints! The Sight Is Glorious"
A slackening of pace usually occurs in the fourth line,
first measure, because the basic quarter note and half
note pattern of the first three lines gives way to a pat
tern of eighth notes and quarter notes. This pne
measure distinctly requires a bit slower tempo to sing
with ease.
127. "One Day"
The last two measures of the refrain are usually sung
at a slower pace for dramatic emphasis.
129. "What If It Were Today?"
Sometimes the fourth line of the stanza, measures one
and two are sung with a sudden slowness, a slight fer
mata on the word "wide," followed by a return to tem
po in measures three and four. There is also a
broadening in the last two measures of the refrain.
438. "He Lives"
In the final line of the refrain, the last four measures
are usually sung with greater freedom, with some
slight hold on the word "lives" both times it occurs.
493. "Sing We the King" (and 497, "O That Will Be Glory")
Since the texts of both hymns are set to the same tune,
the comments will apply to both. A gradual slowing of
the pace usually occurs in the last four measures of the
stanza with the refrain beginning in tempo. Con
siderable freedom is exercised in the last four
measures of the refrain with a fermata usually ob
served in the third measure from the end, the second
beat, as the melody leaps the octave and holds momen
tarily.
Some of the newer hymns in Baptist Hymnal 1975 reflect a
contemporary influence in rhythmic structure within the
measure or some rhythmic structures not in previous hymnals.
All these should be examined carefully by the music director be
fore they are shared with the congregation. Any uncertainty on
the part of the director or the accompanists in handling such
rhythmic structures will be confusing to the congregation.
These contemporary patterns are heard every day. They just
have not been in our hymnal before. It will be helpful to point out
some of these specific tunes and supply a word of explanation.
14. "Praise the Lord"
The divided beats, for example, in measures one and
three can be sung easily if the tempo is not too hurried.
Take it slowly and it all falls into line very nicely.
18, "Praise Him, O Praise Him" (See example 13)
Divided beats appear frequently. Note that the tune is
really contained in the first four measures. It is in the
key of F, back to D for the final statement.
21. "O Come, Loud Anthems" (See example 14)
This is a rhythmic German chorale melody of the sev
enteenth century. Sing it rhythmically with three
steady beats per measure.
49. "For the Beauty of the Earth" (RAYMER)
The divided fourth beats in the first line on the words
"raise" and "praise" sing easily and without any
stress or accent. They simply slip irt half a beat before
* the downbeat of the following measure.
77. "Comfort, Comfort Ye My People" (See example 15)
This sixteenth-century French psalm tune is similar to
the tune discussed above, No. 21. The final measures
in the first and second lines contain four beats; other
wise a steady three beats per measure make the tune
move along vigorously.
186. "Just As I Am" (TABERNACLE) (See example 16) »
This new tune for a well-known text goes very well.
The ends of the phrases need to be held carefully and
released properly. The longest of these is on the word
"God;" which extends for seven beats. Teach the
choir to sing this correctly and you will help the con
gregation bring the tune off with real meaning.
225. Have No Fear, Little Flock" (See example 17)
The sixteenth note on the second beat of measures
one, two, and five, should be sung gently, not quickly
or with undue accent.
228. "Surely Goodness and Mercy"
The dotted eighth and sixteenth notes in the refrain, a
melodic pattern that does not occur in the stanza,
seems to indicate a slower tempo than the stanza sug
gests. The triplet figure on the second page, second
and third lines, occurs on the third beat. Be sure it is
not as three eighth notes beginning on the last halt of
the second beat of the measure.
239. "Lord, Who Dost Give to Thy Church" (See example
18)
The first and fourth lines begin on the second beat of
the measure, with the accompaniment beginning on
the first beat. Confidence on the part of the choir1 will
give assurance to the congregation. (The same second-
beat entrance occurs in the tune Sine Nomine, 43,144).
306. "Let the Song Go Round the Earth"
The triplet figures occurring in measures 1, 5, 10, 12,
and 14, should be treated as though the measures
were in 12/8 instead of 4/4. Keep the triplet figures
even and the tune will sing quite easily.
308. "People to People"
The tied eighth notes, usually tying the last half of the
second beat to the first half of the third beat, occur fre
quently throughout the tune and are intended to
emphasize the word that is sung at that point. The
notational values of the phrase are designed to match
the spoken inflections of the text.
331. 'Tree to Be Me" (See example 19) L
With no timet signature, keep the quarter note the basic
beat note throughout. Note tempo suggestion in appen
dix.
384. "He Who Would Valiant Be" (See example 20)
With no time signature, it is suggested that the quarter
note be maintained as the basic beat note throughout.
The first two lines may be basically 3/4. The third line
has two measures of 6/4, and the fourth line ends with
three measures of 4/4. Don't worry about the patterns;
just keep the quarter note beat going.
There are other decisions that the music director will want to
'reparation for Hymn Singing 65
aake regarding some of the following possibilities:
1. If both organ and Rianp are used in the service, consider the
se of only one or the other on some of the stanzas of a hymn,
"his will awaken new interest and offer variety in the using of
he hymn. It may be planned like this: j;
introduction: Organ ;f
Stanza 1—Organ and Piano j
i Stanza 2—Organ j'
I Stanza 3—Piano I
I Stanza 4—Organ and Piano
2. The congregation may sing a stanza of a hymn without: ac-
ompaniment and without any word of explanation. Qf course,
rou must prepare the organist and pianist who need to know ex-
ctly when to play. Inform the choir also, so they will know what
o expect. The unaccompanied singing adds another refreshing
limension to the hymn.
Introduction: Organ
Stanza 1—Organ and Piano
Stanza 2—Organ
Stanza 3—Unaccompanied
The use of the unaccompanied stanza can vary with the hymn. If
he mood and text of the hymn are quiet with some restraint, the
inal stanza may be unaccompanied. Examples are "Jesus, Keep
vie Near the Cross," "Speak to My Heart, Lord Jesus," "Near to
he Heart of God," or "Sweet, Sweet Spirit."
3- Ani^terlude bJythe ^SkflMuanoJid^
)e most effective, depending on the skjll of the instrumentalist.
ri!!sTri!erlu3e may be improvisatory, or may simply involve the
lse of the final phrase of the tune. For example, after the third
i t a n z a o f " Ta k ^ h e J N ^ ( N o . 4 7 3 ) , t h e
>rganist may continue in tempo with the fourth-beat pickup into
he last four measures of the refrain. The congregation may then
;ing the fourth stanza. This needs to be rehearsed carelully with
he organist, pianist,Landohpir,"Witfi"everyone involved under-
itanding the plan, no difficulty should arise and the attention of
he congregation will be held by this unannounced and unex-
)lained venture.

I Introduction:
Stanza 2—OrganOrgan
18 Praise Him, O Praise Him

r Unison
i; JLJ| fj J I J: JLJ| jKJ J>

1. Praise him, 0 praise him, Praise the
2. Glo ry and hon or, Glo ry
wif i-n-i H M B
'u j jjj Ii
r
T ^ - i
C? Tpr ^
ill
L o r d f foor r aal l l hhi si s b l e s s - i n g s ; P r a i s e h i m , 0
b e t ot o G G o do dt ht eh e F a - t h e r ; G l o - r y a n d ^_
«
r £f'i: ^*' [ru# ^ 3
W ^wd "J J-1',.1 U- ^

i p r a i s e hni m j vyy •- if uu il s o nsong
u n, , Swi jnugi g aa j o g b ebe - - **»«
fore him;
h o n - o r To t h e S o n a n d Ho - ly Spir - it;
=0.
P: R M-8
-3 1 HRT
(feS ■0—#•
s * JX
TJT iî
i 9 ■ ' 11
joy • ful, ju - bi - lant song. "A-MEN.
- 3 — 1 , *■
■f t p p if p p tfi i J J J J fe iiMi=a
* The spoken "Amen" is an optional ending for the second stanza. ' '
Words, Mary Lou Reynolds, 1970. Tune PASCHALL, William J. Reynolds, 1970. © Copyright 1970
Broadman Press. All rights reserved.
O Come, Loud Anthems Let Us Sing 21
tm 1. 0
2. In
come,
to
in
loud an
his pres
thems
ehce
^
let us sing,
let us haste,
Loud
To
3. The depths of earth are in his hand, Her
m
4. 0 let us to his courts re pair, And
m
) i jij j a ^
thanks t o o u r A l - might - y King; For we our yoic ■
thank him for his fa - vors past; To him ad - dress, in
se - cret wealth at his com-mand; The strength of hills that
bow with ad o ra - tion there; Down on our knees, de-
m^ ini^
£ j j jij jp
high should raise, When our sal - va - tion's Rock we praise,
Joy - ful songs, The praise t h a t t o his name be - longs,
reach the skies, Sub ject - ed to his em - pire lies,
vout - ly all, Be fore the Lord, our Mak - er, fall.
asi
■0- 19-
p fi
.Psalm 95:1-6. Words, Tate and Brady's New Version, 1696. Ttine HERR JESU CHRISTi Canlionale
Cermanicum, Dresden, 1628.
Example 14
77 Comfort Comfort Ye My People
ii1 j 1.1 luijjij .i i in

1. Com-fort, com-fort ye my peo-ple, Speak ye peace, thus saith our God;
IXKE
2. Hark, the voice of one that cri-eth In the des - ert far and near,
3. Make ye straight what long was crook-ed, Make the rough-er plac-es plain;
m f fin |. J if fffii ZTZ

*
l<h ,1.1JIJ j J j pillli

Com-fort those who sit in dark-ness, Mourn- ing 'neath their sor-rows'load.
2 TRT
Bid - ding all men to re - pent-ance Since the king-dom now is here.
Let your hearts be true and hum - ble, As be - fits his ho - ly reign.
rrrnr *
j j ju j 3
Speak ye to Je - ru - sa - lem Of the peace that waits for them;

iin =s=
0 that warn - ing cry o - bey! Now pre - pare for God a way;
For the glo - ry of the Lord Now o'er earth is shed a - broad;
m i r F r if F
* ^ JijM JiiJJiiijiJi»ui
Tell her that her sins I cov - er, And her war-fare now is o-ver.
Let the val - leys rise to meet him, And the hills bow down to greet him.
And all flesh shall see the to-ken That his word is nev-er bro-ken. A-men,
b* " - - ■
- -0- ■&■ J . , J , .. u ^^
a^ rp Jirri!:i-i:i
Isaiah 401-8. Words, Johannes Olearius, 1671; translated, Catherine Winkworth, 1863. Tune
PSALM 42, Genevan Psalter. 1551.
RvnmnJp 15
186 Just As I Am
Unison
fy\i}}i>n
r r >ps W f
1. Just as I am, with-out one plea, . But that thy
2. Just as I am, and wait-ing not To r i d m y
3. Just as I am, thy love un-known Has bro - ken
i — & J £2 M ^
^m T
v -J> J> J*
§Plf
blood was shed for me,
Yjnux r And that thou
soul of one dark blot, To t h e e w h o s e
ev - 'ry bar - rier down; Now to be
a g -ife-4 J=£ 4 +
r r 'yrpf
£m
^bidd'st me come to thee,
r fctcJ1
blood can cleanse each spot, 0 Lamb of God,
thine, yea, thine a - lone,
ga
g£ ^
r (offer lost sfonzo)
^ i» , JII
j^F =?
I come. I come.
-^j
b ,y«gg v
T" ^H I'J-Hn'îi
T
Words, Charlotte Elliott, 1834. Tune TABERNACLE, Phillip Landgrave, 1968. ©Copyright 1968 Broadman
Press. All rights reserved.
Example 16
Have No Fear, Little Flock 22£

*. Unison
— ^ ~ =F== | F^f F
- i J - t
=4== * = -j- i
1—W—
=M=
1. Have no fear, lit - tie flock, have no fear, lit - tie
2. Have good cheer, lit - tie flock, have good cheer, lit - tie
3. Praise the Lord high a - bove, praise the Lord high a •
4. Thank - ful learts raise to God, thank - ful learts raise to
J l> b4 1— = i) t = —J— i L-# = ^ =
rJ>--j>--j»-=
%
ifr4=
"aJ
fife = ▶ =
=
flock,
"T for
* = |
the
^
Fa - ther
t-
* == * = — k
has
f j ^
cho - sen
m
~ K 1(r
j-
to
flock, for the Fa - ther will keep you in
bove, for he stoops down to heal you, up-
God, for he stays close be - side you, m
**Z-^ L^
—4— ■ <pt
■H ^ — I
f W 2 ^ J> J) J) . K= —ir—hr^— | - r h K 1_
give
r r
y o u t h e K i n g - dom, Have . no fear,
T 1
lit - tie flock!
his l o v e f o r - e v ■ er, Have good cheer, lit - tie- flock!
lift a n d r e - s t o r e you, Praise the Lord high a - bove!
all things works with you, Thank- ful - hearts raise to God!
■ —
e —P—\
=M
■" b l i ■— *
= f = Jy =- f —■-■
Words, st. 1, Luke 12:32; St. 2-4, Marjorie Jillson, 1972. Tune LITTLE FLOCK 1971,
Heinz Werner Zimmermann, 1971. From Five Hymns by Heinz Werner Zimmermann, copyright 1972
by Concordia Publishing House. Used by permission.
Example 17
239 Lord, Who Dost Give to Thy Church

Unison
m& * * * i i li i
1. Lord, who dost give to thy church for its heal - ing
2. Clear be the voice • es of preach • ers and proph - ets
3. Ten - der and wise be the hearts of the pas • tors,
4. May those who teach grow in knowl - edge and pa • tience,
5. Lord, ev - er give to us gifts in due mea - sure,
s 23" 0 m
s
rp
Gifts, and the
Fear - less - ly
f r
grace
m*r<f J '? f
to sus - tain
ing the word
and re - new,
of the Lord,
Guid - ing and guard - ing the souls in their care,
Guid - ing to wis - dom the young and the old,
m f=T
Each need - ing oth - e r, a n d a l l hav • ing worth ;
W i f^J- 3=
WT
,
\l J'l j
tyg ' g —J1 J ' J
r
=^ M^H —c u|
Hear s» w e
a pray that to - day and each mor - row
c Wo r d o f r e - demp • tion thro' God's Son in - car - nate,
Firm with the way - ward, a strength tc> the doubt ■ mg,
Train - ing for wor - ship and wit - ness and ser - vice,
So t() t h e Fa - ther, the Son, and the Spir • it,
^V«— L
c
6!—
•6 1= ■*:
■c( =
—s
I s
f f Wvf '^f l5,r,»
l*F
We to thy purpose may show our-selves true.
Bless - ing for curs - ing, and peace for the sword.
* 8
Help - ing the need - y their bur- dens to bear.

Foes to all false - hood, in truth - ful - ness bold.
Glo - ry be shown by the church here on earth. A MEN.
m
S an
Words, Ernest A. Payne, 1966. Copyright 1966 by The Hymn Society of America. Used by permission.
Tune SEVENTH AND JAMES, Charles F. Brown, 1974. ® Copyright 1975 Broadman Press. All rights
reserved.
331 Free to Be Me
f\ * Unison ||, I
ii it 'J iiii \j H+f-^-r^

1. Free to be me, God, I real - ly am free; Free to be-
2. Free-dom, pos- ses - sion that makes me like you, Fright-ens me,
3. Free to live ful - ly, to fol - low your way, Give my - self
î r f ip
0 0
*
m » w
* iM{\l
r r ^ f j.Jnr\Uil^lm
come what you want me to be; Free to de - cide wheth - er
God, when its mean-ing seeps through; Bless-ing or curse, Lord, con-
w h o l - l y, t o d i e e v - ' r y d a y ; F r e e t o t ob eb er e a l , G o d , t o
±1
§s
rrn
/fHrf p ipJ T-
h
n
^ J J ■/■ rJj i
I should be lord, Or be your slave and o • bey your word,
j f
IU PiPpji
demned to be free? Free, but re • spon - si - ble, free to be me.

strip off my mask, Be your ere - a - tion, it's all that I ask.
i i fi f f fi r f fi r r p
Words, Kate Wilkins Woolley, 1970. Tune CHISLEHURST, William L. Hooper, 1970. ©Copyright 1970
Broadman Press. All rights reserved.
Example 19
He Who Would Valiant Be 384
IE
j i I Ij; i1 J lJ J i lj j
1. He who would val - iant be 'Gainst all di - sas - ter,
2. Who so be - set him round With dis - mal sto - ries;
3. Since, Lord, thou dost de - fend Us with thy Spir - it,
'V r r ir g i f 'i r
i i fi ij, t i \^m T
Let him in con - stan - cy Fol - low the Mas • ter.
Do but them - selves con • found; His strength the more is.
We know we at the end Shall life in her - it.
•M f f if f $
j i i i
* There's no dis • cour - age • ment Shall make him once re - lent
No foes shall stay his might, Tho he with gi - ants fight;
111 fear not what men say;
rmr
Then, fan • cies, flee way
m.
g ' * m ^m
frjil f J Jijiiiij j iiîj,ii
His first a - vowed in • tent To be a pil • grim.
He will make good his right To be a pil - grim.
111 la - bor night and day To be a pil - grim. MEN.
i ^ 1
.Tip p t f if f m ^ -—tf
Words, John Bunyan, 1684; adapted, Percy Dearmer, 1906. Words from The English Hymnal. Used by
permission of Oxford University Press. Tune ST. DUNSTAN'S, C Winfred Douglas, 1917. Music used
by permission of The Church Pension Fund.
Stanza 3—Piano
I Interlude—Organ repeats last phrase of tune in tempo
• Stanza 4—Organ and Piano
If the interlude is improvisatory, there must be some under-
standing as to the number of measures^ i^yplyed (probably four)
arid liow the cadence will end. Sometimes the interlude can*end"
on the dominant and the final stanza will then begin in tempo.
Again, the music director, the organist, the pianist, and the choir
all need to know how this is to occur and must be prepared to be
an intelligent part of the experience.
4. Free accompaniments are discussed in Chapter 3, and do
not need further explanation here, except that the decision to jise
or not to use one must be made by. the music director in the light
of the knowledge of the hymn tune itself, the free accompaniment
repertoire of the organist, and the responsiveness of the con
gregation to this technique. The plan to use a free accompaniment
might be the one outlined below.
• Întroduction: Organ
I Stanza 1—Organ and Piano
| Stanza 2—Piano
I Stanza 3—Unaccompanied
* Stanza 4—Organ plays free accompaniment and piano plays
hymn tune melody in octaves or double octaves
5. Instruments other than,the organ and piano may be used.
These are discussed in Chapter 3, and can add genuine interest to
the hymn singing. Consider the following plan.
Introduction: Piano
Startza 1—Organ and Piano
Stanza 2—Handbells
Stanza 3—Unaccompanied
Stanza 4—Organ, Piano, and Handbells
Rehearsing the Hymns with the Organist and Pianist

Outside of the close relationship b^twppn tl]p minir **{™"*™
and the pastor, there is no greater need for clear understanding
and injratiniy flfljm faying ^*wppn *h*» "Mlftifi director and
the organist and pianist. As-far as the hymn singing of the con
gregation is concerned, the latter relationship is most important.
The music director is responsible for the hymn singing, the spirit
of the singing, the involvement of the people, and the supporting
role of the choir. The organist and pianist are responsible for
Preparation for Hymn Singing . 75
playing the instruments as skillfully as possible to contribute in

the most effective manner.
All of this happens withgr^
acconipaliist^^^ Reading to an
understanding of the tuneiTto^
JaJpsHfyices. TKe^proBTems Inherent in each turie~can be dis-
:ussed freely. While there may not be unanimous agreement con-
:erning tempo or dynamics, there can be a clear understanding as
:o how the music director intends to direct it in the Sunday ser
vice. Playing through every tune to be sung by the congregation
may seem unnecessary and foolish/particularly if the tunes are
Did familiar favorites. But even where well-known hymns are in
volved a meeting of the minds can improve the congregational
response and heighten the joy of hymn singing for everyone. The
following should be discussed Âî^§SE§§jii9getlier- "*"
1. The ij^tj^ductijOQ of the tune must be agreecTupon. How
much of the tune shall be played, and at what level of volume?
iA/W uppjcjtratinn will Hp iispH and how does it relate to tât iispH (
:»+ fV>0 KopinniriP cff the first stanza when the congregation sin^g?
T h e i n t r o d u c t i o n s e t s f fi ^ t h e k e y
}f the tune. If those factors are clear to the congregation, the hymn
singing will go much better.
2. The tggjftp of the tune needs to be clearly understood and
iccepted. If there is a difference of opinion in the service regard-
ng the tempo—if the music director wishes the tune sung faster
>r slqwer and the instruments do not follow the director, the con
jugation will continue to follow the instruments. The risk of that
lappening is much less if an attempt is made to come to agree-
nent prior to the service.
3. The stvle of the accompaniment—whether it should be
egato or slightly staccato—can be determined for each hymn
urie. Also, the matter of the release of the sound of the organ at
he ends of the phrases needs to be discussed.
4. The registration^ oMh^Qrgap should be discussed. The
;ound oTcffffererit ranKs of pipes and combinations of ranks can
>e evaluated with regard to the hymn singing. A record of the
egistration used on each stanza of each hymn can be helpful in
in evaluation session following the service.
5. Some agreement needs to be reached about the volume of
;ound from the instruinents. The music director will be in the
)est position to suggest the use of either more or less sound for
the hymn singing. There should be enough volume with the
proper registration to fully support hearty singing from the con
gregation. rr*" "ftlfi ffniihd fmm thp instruments provides no en
couragement for the people to sing out_too mucH i}Q\ind
Taping the Hymn Singing

One of the most helpful ways to evaluate the singing of the con
gregation in a service is to record the sound on some type of
recording equipment. This can be done easily with a cassette
recorder, and the center balcony seems to afford an excellent
place for the microphone. The tape will capture the total sound of
the hymn singing—the congregation, the choir, and the accom
panying instruments.
Careful listening to this tape after the service will give helpful
clues as to the balance of sound, the registrations, the together
ness of instruments and congregation, the introductions and the
tempos. An evaluation procedure of this sort continuing for
M several weeks can prove most informative and helpful. Signifi
cant improvement in congregational hymn singing will occur
without the congregation's being aware of the process.
If the music director and accompanists have a commitment tc
improve the hymn singing, a willingness to work together com
pletely, and a cooperative spirit toward the problem, the singing
of the congregation can show noticeable improvement.
*- Chapter 7
BROADENING CONGREGATIONAL
REPERTOIRE OF HYMNS
-low many hymns in the hymnal does your congregation know

veil and welcome the opportunity to sing? Congregations read
he English language much better than they read music notation.
Jnfamiliarity with the hymn tune is the basic barrier to a per-
on's participation in congregational singing. A director's failure
o recognize this fact and his failure to teach unfamiliar tunes un-
il they are familiar result in less anHTess participation.
The number of hymns that the congregation knows and will
eadily sing varies from church to church. Familiar hymns are
lsed frequently for two basic reasons: (1) the congregation likes
o sing, them, and (2); if we use them almost everyone will sing.
This is logical reasoning and it works. Such practice is not to be
aulted unless the music leader fails to increase the number of
amiliar hymns and thereby to widen the circle of resources for
.ongregational singing.
To sing regularly from the same handful of hymns leads to
itagnation, and this practice continued over a long period will
esult in a decreasing number of hymns the congregation knows.
iqngregation for they add to spiritual maturity and growth.

V Musical Problem
Helping the congregation learn a new song is largely a musical
77
problem. The text can be read, with no difficulty, but the ready
reassurance. It also involves strategic planning for using all

available resources in order to get maximum participation.
Eifst. the music director must know the song. He must fully
comprehend it musically and textually. He cannot teach some
thing he himself does not possess in his mind. The confidence
which he reflects and his love of the song will be apparent. At
this point of teaching he will not use any background material
about the text, tune, author, or composer. He needs to be able to
sing the tune with confidence and to encourage the singing pf the
tune on the part of others.
Sficand, the n^sic lparfpr nppds to take advantage of any op-
rfflptnnity tn charp thp npw firing. Anywhere ne can cM'iirtllll H feg-
ment of his congregation is an opportunity to say "let me share
with you this new song." Department meetings of the church's
educational program as well as meetings of the Woman's Mis
sionary Union or the Brotherhood, parents' meetings, deacons'
meetings, and so on, offer great opportunities to share the excite
ment of a new song. All these groups together make up a major
portion of the church's congregation.
TKLrH the music lpadpr -yyjjll inyolvp all thosp persons who
have responsibilityfor leading the singmg n'k MW UI^JiiimlwwaL
component "of the church. Jhose incluaetlTe' musfcI leaders and
Jnstrumentalists oi' the Sunday School and^rainingrUnion
^^partments, wKb, each week, lead a segment of the cohgrega-
tionTTKelnusic leader can teach these individuals the new song
and inspire them to become familiar with it and share it
enthusiastically with the groups they lead. *"" *
Methods of Teaching
The teaching of new hymns to the congregation should be done
carefully and with design. The number of new hymns that a con
gregation will accept and use will vary from church to church.
Some congregations will readily accept a new hymn each month,
while others will do well to learn one every tw6 or three months.
The music director must determine the frequency with which he
can use new material. If he is wise in his decision, the hymn sing
ing will be strengthened. If he chooses to move faster than his
congregation desires, he will encounter passive resistance, and
Broadening Congregational Repertoire of Hymns 79
the response of the congregation to his leadership in teaching
new hymns will be weakened.
Suggestions for introducing new hymns to thejôngregation:
( T ^ U s e o p p o r t u n i t i e s w fl f T W f r o n g n i o f fi i ^ a s
revivals or witness experiences, retreats or camps, and congrega
tional services in which a new hymn may suypportâ.sj&mon topic,
a seasonal emphasis, a churchwide theme or emphasis, or the or
dinances.
In these experiences, the fact that a new hymn relates to a
theme,Lhas a specific reason for being presented, or has unusual
meaning offers valid reasons for bringing it to the attention of the
congregation. New songs that have been used as theme songs for
evangelistic efforts have become very familiar and remain in the
repertoire of congregational songs long after the event for which
they were first used has passed.
(fr Toll thn rnnijTP0?*'0" about the p^w hymt} Thf* church
hnlfetjp nr weekly paper can be used to explain that vou are going
to lead a new tiymn in thgjsejj^^ Also, the
congregation can BeToJHlTiat the liymn'^lirB^suhg in each Sun
day School department as a rehearsal for the church service.
The interest and enthusiasm ofjthe jnjyL§jysJeader should be
reflected in these pfinteS communications. Sometimes brief,
terse statements about the authQJLi)iLiioripRQser ^
but this information needs to be used to capture interest without
becoming tiresome with boring details. i4Amazing Grace! How
Sweêt the Sound" has been sung effectively for almost two cen
turies by people who did not know of the colorful life of John
Newton, a clergyman in the Church of England who wrote the
hymn. Such information as this will bring greater interest and
enrichment after the hymn is known, but it will not help someone
overcome the initial barrier of learning the tune and of being able
to'sMg it.
^^ ie definite plan of adding to the congregation's hyrpv^
-EQporfrfljffi is desired. A H^HM-fl! JHfi-WUIllll Ulan, or a select list
(four or six or more) of1'New Hymns for Our Church This Year"
will give some direction.
~~TI—iffp^ plan promoted by the
Church Music Department of the Sunday School Board and car
ried in the music periodicals is being reinstituted after being dis
continued for several years. This plan is recommended and
resources are provided to help those churches who wish to follow
this plan. It is suggested that the music director discuss the

hymns with the pastor and the church leadership and begin the
Hymn-of-the-Month plan with the unanimous support of,the
church leaders.
Some churches may prefer to select their own hymns. In these
instances, it may be advisable to involve a number of people in
the selection of the hymns. The pastor and the music director, or a
special committee may select the unfamiliar hymns to be learned.
The adult choir or the adult and youth choirs together might share
in the decision making. Such involvement tends to generate
greater interest and heighten participation.
*A Jlinn "-*"—jHn» +nnfif asjiprvir:e mnsir. hv fhp orpan andfor
pianomay behelpful to the members of the congregation if they
k r i b w ^ U n l e s s t h e y h a v e r e a s o n Tc T R n o w t h a t
their attention needs to be focused on the tune they will hfear,
there will be little chance of any learning being accomplished.
Without this knowledge the congregation will passively accept
this music as more unfamiliar, unidentifiable organ or piano
music. Peop](e do not learn new tunes by accident in some strange
process or osmosis. ■
This is true also of the use of a choral arrangement of the
hymn-qf-the-month sung by the choir.
TkQ mnnl effective use nf the choir "cnurs at the time the con
gregation
1—"*"4 thrsings the hymn.
fV>;ciThe choirTheir
membfil'y UllUUld Y18VV*
t"*r r™M iPfvifiP hearty singing rein
forcing the congregation can be most helpful.
/Ui7l**- 5. New texts which are unfamiliar to the congregation may be
oi^hX /L_sun8 t^^^^r tull^*at *e congregation already knows. In
S^*^w^his'w^ appropriate for a particular occasion or
sermon subject, may be used in the church service effectively
without having to teach a new tune to the congregation. There are
a number of hymns in Baptist Hymnal, 1975 that have alternate
tunes given at the bottom of the page. Some of these are:,
8 Praise, My Soul, the King of Heaven
(alternate tune Regent Square, No. 87)
121 Look, Ye Saints! The Sight Is Glorious
221 Sometimes a Light Surprises
(alternate tune AURELIA, No. 236)
286 I Bless the Christ of God
(alternate tune St. Thomas, 240)
Broadening Congregational Repertoire of Hymns • 81
292 Ye Servants of God
(alternate tune Lyons, No. 30)
362 Come, All Christians, Be Committed
(alternate tune Hyfrydol, No. 11)
439 God Moves in a Mysterious Way
(alternate tune St. Anne, No. 223)
450 I'm Not Ashamed to Own My Lord
(alternate tune Serenity, No. 329)
: 464 How Sweet the Name of Jesus Sounds
\ (alternate tune Ortonville, No. 267, repeat
final line of each stanza)
470, O Thou to Whose All-Searching Sight
(alternate tunes Old 100th, No. 6; and
Duke Street, No. 282)
Other possible matching of unfamiliar texts to familiar tunes are:
20 God of Earth and Outer Space
(alternate tune Martyn, 172)
21 O Come, Loud Anthems Let Us Sing
(alternate tune Old 100th, No. 17)
100 Jesus, Friend of Thronging Pilgrims
224 Give to the Winds Your Fears
(alternate tune Diademata, No. 52)
238 To Worship, Work, and Witness
(alternate tunes AURELIA, No. 236; and LANCASHIRE, No.
t, 237)
247 From Every Race, from Every Clime
(alternate tunes Arlington, No. 68; and McKee, No. 258)
269 Stir Thy Church, O God, Our Father
(alternate tunes Beecher, No. 3; Hyfrydol, No. 11; and
Hymn to Joy, No. 31)
274 Christ Is the World's True Light
(alternate tune Nun Danket, No. 234)
313 Thpu, Whose Purpose Is to Kindle
(alternate tune Stuttgart, No. 36)
385 Once to Every Man and Nation
(alternate tunes Beecher, No. 3; Hyfrydol, No. 11; and
Hymn to Joy, No. 31)
398 O God, Who to a Loyal Home
(alternate tune KlNGSFOLD, 57)
400 Prayer Is the Soul's Sincete Desire
82 . Congregational Singing
(alternate tunes Arlington, No. 68; Ortonville, No.

267; and ST. AGNES, No. 133)
402 I Waited for the Lord
(alternate tunes Avon, No. 113; McKee, No. 258; and Or
tonville, No. 267)
445 God Loved the World So That He Gave
(alternate tunes Canonbury, No. 276; Germany, No. 301)
456 So Let Our Lips and Lives Express
(alternate tunes Canonbury, No. 276; Germany, No. 301;
and St. Agnes, No. 133)
460 Fill Thou My Life, O Lord My God
(alternate tunes Arlington, No. 68; St. Agnes, No/133;
and Ortonville, No. 267)
476 The Savior's Wondrous Love
(alternate tune St. Thomas, No. 268) '
504 There Is a Land of Pure Delight
(alternate tune St. Peter, No. 249)
6. Rehearsals of hymn singing 1^ b£
effective arid fflteiêstitig'. Midf-week or^Sunday evening services
seem to offer a more relaxed and informal atmosphere for such
experience. It is possible to rehearse a single hymn pr^Sunday
morning a few minutes before the beginning of the service.
The music[director and the accompanists should plan carefully
these rehearsals with the congregation. The leading and the play
ing should be well coordinated as to make the experience enjoy
able and comfortable for the congregation. The tempo, the mood,
and the level of instrumental sound are items of concern to be
worked out in advance. A harmonious meeting of minds will help
the teaching of the congregation go much easier. If the accompani
ment for the singing is too fast, or too sjow, or too loud, or too soft,
the leader will be frustrated and the congregation confused.
The teaching procedure may involve the accompanying instru
ment giving out the melody line without any harmonization, after
which the people sing the melody in unison. In this manner the
sound of the harmonic structure does not clutter the learning pro
cess at the outset. In like manner, the leader may "line outM the
tune, by singing a line at a time with the congregation repeating
the line he sings. Repeating the first stanza two or three times
helps to etch the tune in the learner's mind and to focus attention
on the tune rather than the words. After the tune is in hand, other
stanzas may be used.
Broadening Congregational Repertoire of Hymns 83
7. The choir can help in the teaching and inijhe, singing of a
new or unfamiliar hymn by singing a stanza which is repeated by
ttrerCongregatioir."The music director will need to decide whether
thfLchoir ^ parts or in unison.
In the choir rehearsal prior to the service when a new hymn
will be used, the choir should become very familiar with the
hymn. Attention may be called to the musical characteristics of
the tune, the content, the text, and other related facts to heighten
the significance of the hymn to the choir.
It is- helpful to point out to the choir members that during the
congregational hymn singing in the service, the choir actually is a
part of the congregation. Thp idpa nf glaring in the hyîn f"nfl"T
^ P f l r t f ] f t h p ™ n o r p p a t i n n i s m n n h m n r o h J p f n l f V m r. f l i n n n n n ^
of being isolated performers singing the hymn to the congrega
tion.
Chapter 8
THE METRICAL FORMS OF HYMNS
OyjuaXcJI Pvk^X. *)to^7/**M> YU^-
Some understanding of the metrical forms of hymns will be

helpful to one who is responsible for leading congregational sing
ing. Since hymns are poetic expressions, it is not unusual that we
find terminology related to. poetry used in connection with hymn
texts. TheJambic foot, the trpchaic foot, the dactylic foot, the
anapestic fooLarafound in all hvmnic literaJureT Stanza form and
rhyme"scHeme are evident to one wKolooks carefully at the text.
Because the hymn texts are placed between the staves of music,
the poetic structure of the text may not be readily apparent.
A system of symbols and terminology peculiar to the area of
hymn study has developed across many years. Hymnic meters at
tempt to classify texts (and the tunes to which they are sung) into
categories on the basis of the number of lines per stanza a^d the
number of syllables per line. Except for the three most frequently
found meters—common, long, and short—they will be indicated
by a series of digits: 8.7.8.7.; 10.10.10.10.; 14.14.4.7.8. and so on.
The number pl-^sits shown indicates thrjnmhrrr ftf linns prr
stanza, anci each digit indicates the number of syllahlps jp that
For example, the meter for "How Firm a Foundation" (No.
383) is 11.11.11.11. This means that each stanza has four lines,
and each line has eleven syllables. The metrical form, 8.7.8.7., in
dicates that each stanza has four lines, and the first and third
84
The Metrical Forms of Hymns 85
lines have eight syllables each; the second and fourth lines have
seven syllables each. This is the meter for "Jesus Calls Us." The
addition of D to these numbers as in 8.7.8.7.D. (for "Come, Thou
Fount of Every Blessing," No. 13), indicates that each stanza has
eight lines, or a four-line stanza doubled. This might also be writ
ten 8.7.8.7.8.7.8.7.
In the Baptist Hymnal, 1975, the hymn meters are given in the
_igy^habetical . (pp. 550-554) The hymn tune name
ufgivgn aTtKeTofKnToFtEe page below each hymn. This name,
then, is located in the Alphabetical Listing of tunes and the metri
cal form of the tune is indicated. If one wishes to find other tunes
of a like meter, the Metrical Index of Tunes (pp. 554-557) will
provide that information.
The three metrical forms most commonly found are usually in
dicated by initials rather than by digits: C.M. (common meter);
L.M. (long meter); and S.M. (short meter).
Commonmêrj[C.M.) is a four-line stanza in 8.6.8.6. meter.
ThfsirtKirO^^ ballad meter, originally two poetic lines
containing seven iambic feet, or fourteen syllables. This couplet,
known as a "fourteener," breaks into four lines of alternating
four and three feet, or eight and six syllables. Some familiar com
mon meter hymns are:
"Amazing Grace! How Sweet the Sound" (No. 165)
"Am I a Soldier of the Cross" (No. 388)
"All Hail the Power of Jesus' Name" (No. 40)
Th£ rhyme is abab:
"O God, our help in ages past, (8 syllables) a
Our hope for years to come, (6 syllables) b
Our shelter from the stormy blast, (8 syllables) a
And our eternal home!" (6 syllables) b
(No. 223)
or abcb
"In Christ there is no East or West, (8 syllables) a
In him no South or North; (6 syllables) b
But one great fellowship of love (8 syllables) c
Thro'out the whole wide earth." (6 syllables) b
(No. 258)
Lorifi mefcxJL.M.) is a four-line stanza, each line containing
eight"svITatjlesIjB.8.8.Q. The form follows the iambic-dimeter pat
tern of the early Latin hymns. Some of the familiar long meter
hymns are:
"Praise God from Whom All Blessings Flow" (No. 6)
"Just As I Am" (No. 187)
"Jesus Shall Reign Where'er the Sun" (No. 282)
The rhyme is:
"When I survey the wondrous cross (8 syllables) a
On which the Prince of Glory died (6 syllables) b
My richest gain I count but loss, (8 syllables) a
And pour contempt on all my pride." (6 syllables) b
(No. Ill)
or aabb:
"Children of the heavenly Father (8 syllables) a
Safely in his bosom gather; (8 syllables) a
Nestling bird nor star in heaven (8 syllables) b
Such a refuge e'er was given." (8 syllable?) b
(No. 209)
^Shgrtjmeter (T^M.) is a four-line stanzaiSL&JBUS^. meter. This
poetic meter was once called "Poulter's Measure," because of the
poulterers' custom of giving twelve eggs for the first dozen and thir
teen or fourteen for the second. The couplet of twelve and fourteen
syllables breaks into a four-line stanza. Some familiar short meter
hymns are:
"Blest Be the Tie" (No. 256)
"Rise Up, O Men of God" (No. 268)
"Breathe on Me, Breath of God" (No. 317)
Its rhyme is abab:
"Blest be the tie that binds (6 syllables) a
Our hearts in Christian love; (6 syllables) b
The fellowship of kindred minds (8 syllables) a
Is like to that above." (6 syllables) b
(No. 256)
or abcb: I
"I love thy kingdom, Lord, (6 syllables) a
The house of thine abode, (6 syllables) b
The church our blest Redeemer saved (8 syllables) c
With his own precious blood." (6 syllables) b
(No. 240)
Chapter 9
THE ROLE OF THE LEADER IN
Aosi Southern Baptist churches are of the tradition which calls

or the leader of congregational singing to select the hymn, deter-
line the manherTmbodrand tempo in which it is sung, and stand
•efpre the congregation to conduct the singing. He must do all
lose things on the basis of his own judgment. THe charismatic
uality of his leadership is difficult to define or communicate, but
: is usually a vital element which affects congregational singing.
Charles M. Alexander, who lived from 1867 to 1920, was the
irst charismatic song leader to gain international fame. P. P.
Hiss, Ira D. Sankey, James McGranahan, and Philip Phillips,
yere all well-known evangelistic song leaders in the last half of
he nineteenth century, and were products of the rising tide of
vajigelism of that era. They were among the first in the vanguard
f gospel song development, and they led great throngs of people,
isually from the keyboard of a reed organ. Their strong voices
irovided the guiding sound for the people. Alexander was the
irst to stand before the audience and lead with his arms and
lands. He first did so in a series of evangelistic meetings spon-
ored by D. L. Moody during the Chicago World's Fair in 189,3. In
he years that followed, Alexander was associated with such
vangelists as M. B. Williams, R. A. Torrey, and J. Wiltiur Chapman.
The phenomenon of the evangelistic song leader did not occur
n isolation or develop unrelated to other influences. The rise of
87
Romanticism in the nineteenth century provided the climate for
musical virtuosity to blossom to full flower. The star, the prima
donna, the much-sought-after headliner appeared. The great
singer, the great pianist, the great violinist, and their public and
private lives became front-page copy for the press.
The appearance of the great conductors came toward the end
of the nineteenth century. Antal Dorati points out that the old
playbills in Venice, announcing the first performance of Verdi's
La Traviata in 1853, carry no mention of the conductor.
The various contributors to the performances are* listed in
great detail: from the authors (the librettist first) through the pro
tagonists, down to the wigmaker's assistant. Everyone's name is
carried in full. Only one participant is conspicuously omit
ted .. . the conductor.1
Long before Verdi's death in 1901, the conductor had achieved
star status, and was recognized as a hero in his own right.
Verdi was still alive when Charles M. Alexander, this charm
ing young man from Maryville, Tennessee, began his career as an
evangelistic song leader. Homer Rodeheaver and Cliff Barrows
have followed in his tradition, and it is that tradition that has been
accepted in most Southern Baptist churches. There are still quite
•a wii™hM^f ^hlirrflH H' »l »m ii I v\ il liji 1)1 j; mi il nlinii1 iliinii hn
who lead the choir and the congregational singing from the con
sole of the organ.
Regardless of the style of leadership the local church chooses
to provide, it is imperative that we discover new ways to increase
audience participation of the congregation in hymn singing.
During the Convocation on Congregational Singing in
Nashville, Tennessee, April 29-May 1, 1974, a workgroup of
twenty-five ministers of music from fourteen states developed the
following statements regarding the role of the leader in corigrega-
tional singing.
1. We believe that the effectiveness of congregational singing
is determined largely by the leader.
2. We believe that the effectiveness of this leader is deter
mined largely by his ability to act and react in three basic areas.
(1) Influencing the congregation:
a. Spiritually—reflecting and magnifying the person of
'Antal Dorati, "What Is a Conductor?", They Talk About Music (Rockville

Centre, N.Y: Belwin-Mills Publishing Corp., 1971), Vol. 1, p. 11.
The Role of the Leader in Congregational Singing 89
Christ. This influence is generated largely as a result
of the leader's contact with the people in roles other
than that of the congregational song leader. Yet, his
acceptance as a music leader is influenced by his ac
ceptance as a person by the congregation.
b. Physically—by presenting a convincing and con
fident appearance.
c. Musically—through adequate educational prepara-
L tion and experience.
(a) He should have a thorough knowledge of hymnic
literature—historically, theologically, and
musically.
(b) He should skillfully determine the judgments
relative to the hymn singing.
(c) He should determine the needed accompaniment
and the manner in which it should be used.
d. Psychologically
(a) Projecting a positive attitude.
(b) Eliciting a positive response from the congrega
tion.
(c) Maintaining a consensus of approval from the
congregation.
(2) Exhibiting a sensitivity to the expressed needs of the
congregation:
a. Spiritually—by an awareness of previous spiritual
' experiences of the members of the congregation.
b. Intelligently—by knowing the cultural and educa
tional climate of the congregation.
c. Musically—by knowing the musical talent and ex
perience within the congregation.
d. Psychologically—by being aware of the psychologi
cal responses of the congregation.
(3) Developing and using resources and creative tech
niques for effective congregational singing:
a. He must determine methods and techniques that he
Can »qp pffprti\/p|y yHthin ihaJimitntinnn nf hin nnin
personality and ability.
b. His methods and techniques should be well planned
rather than extemporaneous in character.
While we speak positively concerning the role of the leader of r\
oneregational singing, the personal characteristics, musical rA \ .
talents, vocal capabilities, conducting skills, etc.; that are most
desirable are somewhat difficult to describe. The individual s
personal appearance before the congregation is important. His
musical talents will be apparent to the congregation. The con
fidence with which he sings as he directs the hymns will surely
be noticeable. The manner in which he conducts will reveal ease
of gesture or awkardness and inexperience. Yet, there are suc
cessful leaders of congregational singing who do not possess in
abundance all of these qualifications. Through some charismatic
appeal the congregation responds enthusiastically and the singing
goes on.
It seems that thgregXga few basic factors that may be observed
"j.,8, sugBWiMJBadBLgf congâfaond s.îgingthaTm^t be
identified.
(y A lovje of singing. If the person leading the sirfging
thoroughly enjoys this experience, that enjoyment will be con
tagious and will inspire persons in the congregation to want to
sin&
V2.M pleasant singing voice. The sound of the voice should be
sure and confident. The congregation will respond positively or
negatively, to the singer's voice.
$DtA confident manner of leading. This factor speaks to the
leader being perfectly at ease all through the singing of the
hymn—at the opening phrase, at the end of the stanzas, and at the
beginning of each subsequent stanza. He must establish a com
fortable tempo and pace for the hymn that is appropriate for the
congregation.
These three factors seem to be fundamental. Other charac
teristics or elements involved in this experience add to the dimen
sion of leadership if they are positive. The motion of hand and
arm in the traditional patterns of duple, triple, and quadruple
meter can be helpful, but they are not imperative. To master the
graceful motions of those patterns by no means guarantees that
the person automatically becomes a skilled and qualified con
gregational song leader.
Since the hymnal is the basic tool of the leader of congrega
tional singing, it must become an object of intense and continued
study. It is imperative for the leader to know the subject matter of
the texts, and to be able to sing the tunes. Unfamiliar tunes
should be learned and practiced until they can be sung and led
confidently.
The Role of the Leader in Congregational Singing 91
The joy of leading persons in hymn singing is a blessed oppor
tunity and a responsibility that presents a serious challenge to the
church musician interested in effective service.
APPENDIX 1
Free Organ Accompaniments

Bock, Fred, Variants on Hymn Tunes for Congregational Singinj
(Word)
Cassler, G. Winston, Organ Descants for Selected Hymn Tunei
(Augsburg)
Coleman, Henry, Varied Hymn Accompaniments (Oxford)
Herbek, Raymond, Organ Accompaniments for Congregational Sing
ing (Broadman)
Hustad, Donald, Organ-Piano Accompaniments for Congregationa
Singing (Broadman)
Johnson, David N., Free Harmonizations of Twelve Hymn TJunei
(Augsburg)
Johnson, David N., Free Hymn Accompaniments for Manuals, Books :
&2
Johnson, David N., Twenty Hymns for Lent and Easter and Genera
(Augsburg)
Lyon, Sharron, ed., New Sounds for Familiar Hymns (Broadman)
Marshall, Jane, 15 Harmonizations on Hymn Tunes (Abingdon)
Noble, T. Tertius, Free Accompaniments to 50 Hymns (J. Fischer)
Noble, T. Tertius, Free Accompaniments to 100 Hymns (J. Fischer)
Thiman, Eric, Varied Accompaniments to 34 (iymns (Oxford)
Thiman, Eric, Varied Harmonizations (Belwin-Gray)
Wood, Dale, New Settings of Twenty Well-Known Hymntunei
(Augsburg)
92
APPENDIX 2
Suggested Tempos for Hymns in Baptist Hymnal 1975

This list provides for each title in Baptist Hymnal a suggested tempo
range for each hymn. Unless otherwise indicated, the beat, note is
assumed to be a quarter note. If the indicated range is, for example,
80-88, this means that an appropriate tempo would be between 80
and 88 quarter notes per minute.
A Charge to Keep I Have,, 407 (108-116)

A Mighty Fortress Is Our God, 37 (72-88)
Abide with Me, 217 (80-92)
Alas, and Did My Savior Bleed, 113 (80-92)
All Creatures of Our God and King, 9 ( J =80-92)
All for Jesus, All for Jesus; 485 (76r88)
All Glory, Laud, and Honor, 39 (84-100)
All Hail the Power of Jesus' Name (CORONATION), 40 (92-104)
All Hail the Power of Jesus' Name (DIADEM), 41 (84-96)
All Hail the Power of Jesus' Name (MILES LANE), 42 (88-100)
All People That on Earth Do Dwell, 17 (80-96)
All Praise to Thee, 43 (96-108)
All That Thrills My Soul, 434 (76-88)
All the Way My Savior Leads Me, 214 (80-92)
All to Thee, 346(60-72)
Alleluia, 422 (60-72)
Alleluia! Alleluia!, 117 (100-112)
Am I a Soldier of the Cross, 388 (88-100)
Amazing Grace! How Sweet the Sound, 165 (80-96)
America, the Beautiful, 508 (84-100)
Angels, from the Realms of Glory, 87 (88-100)
Angels We Have Heard on High, 95 (100-112)
Are You Washed in the Blood, 162 (96-108)
As Jacob with Travel Was Weary One Day, 421 (J =84-96)
As We Gather Around the Table of Our Lord, 251 (76-88)
Ask Ye What Great Thing I Know, 60 (88-100)
At Calvary, 166 (80-96)
At the Cross, 157 (80-92)
93
At the Name of Jesus, 363. (84-96)

Awake, Awake to Love and Work, 413 (92-100)
Awake, My Soul, Awake, My Tongue, 96 (84-96)
Away in a Manger, 80 (76-88)
Be Thou My Vision, 212 (96-108)
Because He Lives, 448 (108-120)
Because I Have Been Given Much, 414 ( J =60-72)
Beneath the Cross of Jesus, 360 (80-92)
Blessed Assurance, Jesus Is Mine, 334 (J. =66-76)
Blessed Be the Name, 50 (84-96)
Blessed Redeemer, 109 (J. =50-60)
Blessed Savior, Thee I Love, 427 (84-96)
Blest Be the Tie, 256 (84-96)
Break Thou the Bread of Life, 138 (82-96)
Breathe on Me, 131 (96-108)
Breathe on Me, Breath of God, 317 (92-100) '
Brethren, We Have Met to Worship, 260 (88-100)
Built on the Rock the Church Doth Stand, 235 (92-104)
By and By, 506 (88-100)
Child in the Manger, 84 (120-138)
Children of the Heavenly Father, 207 (63-72)
Christ Is the World's True Light, 274 (84-96)
Christ Receiveth Sinful Men, 167 (80-92)
Christ the Lord Is Risen Today, 114 (88-100)
Christian Hearts, in Love United, 253 (80-92)
Christian Men, Arise and Give, 141 (92-100)
Come, All Christians, Be Committed, 362 ( J=72-84)
Come, Christians, Join to Sing, 61 (104-116)
Come, Come, Ye Saints, 210 (66-80)
Come, Holy Spirit, Dove Divine, 242 (92-104)
Come, Holy Spirit, Heavenly Dove, 134 (76-88)
Come, Let Us Join Our Cheerful Songs, 126 (80-92)
Come, Thou Almighty King, 2 (92-104) I
Come, Thou Fount of Every Blessing (NETTLETON), 13 (66-80)
Come, Thou Fount of Every Blessing (WARRENTON), 12 (80-96)
Come, Thou Long-Expected Jesus, 79 (92-104)
Come, Ye Disconsolate, 211 (76-88)
Come, Ye Sinners, Poor and Needy (ARISE), 197 (80-92)
Come, Ye Sinners, Poor and Needy (BEACH SPRING), 196 (72-84)
Come, Ye Thankful People, Come, 233 (80-92)
Comfort, Comfort Ye My People, 77 (72-84)
Count Your Blessings, 231 (80-96)
Crown Him with Many Crowns, 52 (84-96)
Day by Day and with Each Passing Moment, 222 (80-88)
Day of Judgment! Day of Wonders!, 502 (84-96)
Appendix 2 95
Dear Lord and Father of Mankind, 270 (76-88)

Declare, O Heavens, the Lord of Space, 47 ( 1=80-92)
Do You Really Care?, 316 (84-96)
Down at the Cross, 454 (92-100)
Draw Thou My Soul, O Christ, 307 (84-96)
Face to Face with Christ My Savior, 489 (72-88)
Fairest Lord Jesus, 48 (76-92)
Faith Is the Victory, 377 (J. =60-72)
Faith of Our Fathers, 143 (88-100)
Fight ihe Good Fight, 394 (92-108)
Fill Thou My Life, O Lord My God, 460 (92-104)
Follow On, 226 (80-92)
Footstrips of Jesus, 325 (84-96)
For All the Saints, 144 (88-100)
For Me, 110 (80-92)
For the Beauty of the Earth, 54 (84-96)
For the Beauty of the Earth, 49 (84-96)
Forward Through the Ages, 146 (92-100)
Free from the Law, O Happy Condition, 168 (J. = 60-72)
Free [0 ?q Me, 331 (100-108)
From Every Race, from Every Clime, 247 (76-84)
Give Me the Wings of Faith, 498 (76-84)
Give to the Lord, As He Has Blessed You, 415 (84-96)
Give to the Winds Your Fears, 224 (80-92)
Glorious Is Thy Name, 59 (84-96)
Glorious Is Thy Name Most Holy, 419 (88-100)
Glory Be to God on High, 104 (92-100)
Glory Be to the Father, 4 (88-96)
Glory Be to the Father, 5 (88-96) '
Go, Tell It on the Mountain, 82 (92-100)
Go to Dark Gcthsemane, 112 (84-96)
God Be with You, 261 (84-92)
God, Give Us Christian Homes, 397 (92-100)
God Himself Is with Us, 16 (96-108)
God Is Love, His Mercy Brightens, 36 (80-92)
God Is My Strong Salvation, 343 (112-120)
God Is Working His Purpose Out, 509 (104-116)
God Loved the World So That He Gave, 445 (96-104)
God Moves in a Mysterious Way, 439 (80-92)
God of Earth and Outer Space, 20 (80-92)
God of Grace and God of Glory, 265 (80-92)
God of Mercy, God of Grace, 297 (104-112)
God of Our Fathers, 149 (92-104)
God, Our Father, We Adore Thee, 3 (92-104)
God, Who Stretched the Spangled Heavens, 150 (92-104)
;Whjiir;
God Will Take Care of You, 219 ( h =120-132)
God's World Today, 359 (80-92)
Good Christian Men, Rejoice, 90 (72-84)
Good Christian Men, Rejoice and Sing, 123 (104-112)
Grace Greater than Our Sin, 164 (92-104) .
Great Is Thy Faithfulness, 216 (92-104)
Great Redeemer, We Adore Thee, 51 (100-112)
Guide Me, O Thou Great Jehovah, 202 (92-104)
Hark! The Herald Angels Sing, 83 (100-112)
Have Faith in God, 376 (84-96)
Have No Fear, Little Flock, 225 (69-76)
Have Thine Own Way, Lord, 349 (92-104)
He Hideth My Soul, 451 (104-112)
He Included Me, 170 (J. = 56-66)
He Is Able to Deliver Thee, 479 (92-104)
He Is So Precious to Me, 449 (104-112)
He Keeps Me Singing, 435 (84-96)
He Leadeth Me! O Blessed Thought, 218 (92-104)
He Lives, 438 (J, =72-84)
He Who Would Valiant Be, 384 (92-104)
Heaven Came Down, 425 (J, =60-69)
Heavenly Sunlight, 472 (J. =72-80)
Here at Thy Table, Lord, 246 ( J =58-66)
Here Is My Life, 356 (76-84)
He's Everything to Me, 463 (80-92)
Higher Ground, 324 (80-92)
His Gentle Look, 318 (76-88)
His Name Is Wonderful, 71 (80-92)
Holy Bible, Book Divine, 139 (100-112)
Holy, Holy, Holy, 1 (80-92)
Holy Spirit, Light Divine, 135 (92-104)
Hope of the World, 364 (92-104)
How Firm a Foundation, 383 ( J =60-72)
How Gracious Are Thy Mercies, Lord, 230 (92-104)
How Great Thou Art, 35 (72-84)
How Sweet the Name of Jesus Sounds, 464 (92-104)
1 Am His, and He Is Mine, 342 ( J=72-80)
I Am Not Skilled to Understand, 433 (80-92)
I Am Resolved, 177 (92-104)
I Am Thine, O Lord, 352 (92-104)
I Bless the Christ of God, 286 (84-96)
I Gave My Life for Thee, 417 (J)=52-60)
I Have Decided to Follow Jesus, 191 (72-80)
I Hear Thy Welcome Voice, 175 (72-84)
I Know Not What the Future, 492 (80-92)
Appendix 2 97
Know that My Redeemer Lives, 436 (J =72-80)
Know that My Redeemer Liveth, 122 (92-104)
Know Whom I Have Believed, 344 (104-116)
Love Thee, 75 (80-92)
Love Thy Kingdom, Lord, 240 (80-92)
Love to Tell the Story, 461 (92-104)
Need Thee Every Hour, 379 (72-84)
Saw the Cross of Jesus, 483 (80-92)
Sing the Almighty Power of God, 154 (92-104)
Stared Amazed in the Presence, 63 (84-96)
Surrender All, 347 (72-84)
Waited for the Lord My God, 402 (84-96)
Will Not Be Afraid, 452 (72-84)
Will Sing of My Redeemer, 465 ( J.=72-84)
Will Sing the Wondrous Story, 53 (84-96)
Will Sing the Wondrous Story, 55 (84-96)
f You Will Only Let God Guide You, 203 (80-92)
'11 Live for Him, 189 (84-92)
'm Not Ashamed to Own My Lord, 450 (84-96)
mmortal, Invisible, God Only Wise, 32 (84-96)
mmortal Love, Forever Full, 329 (72-84)
n Christ There Is No East or West, 258 (80-92)
n Heavenly Love Abiding, 204 (92-104)
n Loving-Kindness Jesus Came, 426 (72-80)
n Memory of the Savior's Love, 249 (80-92)
n the Cross of Christ I Glory, 70 (92-104)
n the Garden, 428 (J)=84-104)
n îmes Like These, 469 (63-72)
nfant Holy, Infant Lowly, 94 (80-92)
t Came upon the Midnight Clear, 86 (J. =60-72)
t Is yVell with My Soul, 339 (80-92)
t's So Wonderful, 467 (88-96)
've Found a Friend, O Such a Friend, 423 (72-80)
've Got Peace Like a River, 458 (90-104)
Jerusalem, My Happy Home, 488 ( J =69-80)
esus Calls Us o'er the Tumult, 367 (84-96)
fesus Christ Is Risen Today, 115 (92-104)
esus, Friend of Thronging Pilgrims, 100 (84-96)
esus Is All the World to Me, 424 (J. =60-69)
esus Is Lord of All, 353 (100-112)
esus Is Tenderly Calling, 188 (J, = 52-60)
esus, Keep Me Near the Cross, 351 ( J>=92-100)
esus Lives and Jesus Leads, 38 (84-96)
esus, Lover of My Soul, 172 (92-100)
esus Loves Me, 336 (92-100)
Jesus Makes My Heart Rejoice, 386 (84-96)

Jesus! Name of Wondrous Love, 74 (84-96)
Jesus Paid It All, 156 (72-80)
Jesus Shall Reign Where'er the Sun, 282 (J =69-80)
Jesus, Still Lead On, 500 (80-92)
Jesus, the Very Thought of Thee, 73 (84-96)
Jesus, Thou Joy of Loving Hearts, 72 (96-104)
Jesus, Thy Boundless Love to Me, 326 (96-104)
Jesus! What a Friend for Sinners, 64 (84-96)
Jesus, with Thy Church Abide, 241 (96-104)
Joy to the World! The Lord Is Come, 88 (96-108)
Joyful, Joyful, We Adore Thee, 31 (96-108)
Just a Closer Walk with Thee, 481 (58-66)
Just As I Am, 187 (72-80)
Just As I Am, 186 (72-80)
Just As I Am, Thine Own to Be, 243 (84-90)
Just When I Need Him Most, 220 (J. =72-80)
Lead Me to Calvary, 350 (84-96)
Lead On, O King Eternal, 420 (100-108)
Leaning on the Everlasting Arms, 254 (96-104)
Let All the World in Every Corner Sing, 24 (92-100)
Let Jesus Come into Your Heart, 179 (J. = 56-66)
Let Others See Jesus in You, 294 (J.=48-56).
Let the Song Go Round the Earth, 306 (96-104)
Let Us Break Bread Together, 252 (92-100)
Let Us with a Gladsome Mind, 27 (96-108)
Like a River Glorious, 208 ( J=69-80)
Living for Jesus, 348 (96-104)
Look, Ye Saints! The Sight Is Glorious, 121 ( J=76-84)
Lord, I Want to Be a Christian, 322 (80-92)
Lord, I'm Coming Home, 174 (60-72)
Lord, Lay Some Soul upon My Heart, 298 (96-104)
Lord of Our Life, 145 (88-96)
Lord, Send a Revival, 272 (J=48-56)
Lord, Speak to Me, that I May Speak, 276 (80-92)
Lord, Who Dost Give to Thy Church, 239 (108-116)
Lord, You Bid Us Ever, 378 (88-96)
Love Divine, All Loves Excelling, 58 (88-96)
Love Is the Theme, 453 (100-112)
Love Lifted Me, 462 (60-72)
Low in the Grave He Lay, 118 (76-88)
Majestic Sweetness Sits Enthroned, 267 (108-116)
Make Me a Blessing, 290 (120-132)
Make Me a Channel of Blessing, 262 (52-63)
Make Room Within My Heart, O God, 321 (92-100)
Appendix 2 99
"Man of Sorrows," What a Name, 56 (80-92)
May the Mind of Christ My Savior, 328 (80-92)
Mine Eyes Have Seen the Glory, 510 (76-88)
Moment by Moment, 381 (92-100)
More About Jesus, 327 (J. = 52-63)
More Love to Thee, O Christ, 484 (84-92)
Morning Has Broken, 151 ( J.=48-60)
Must Jesus Bear the Cross Alone, 494 (92-100)
My Blessed Savior, Is Thy Love, 431 (88-100)
My Country, Tis of Thee, 511 (88-96)
My Paith Has Found a Resting Place, 380 (84-96)
My Faith Looks Up to Thee, 382 (84-96)
My God, I Love Thee, 57 (92-100)
My God Is There, Controlling, 153 (72-80)
My Heart Looks in Faith, 332 (96-108)
My Jesus, I Love Thee, 76 (84-96)
My Lord Is Near Me All the Time, 209 (84-96)
My Master Was So Very Poor, 103 (84-92)
My Singing Is a Prayer, 412 (92-100)
My Song Is Love Unknown, 486 (100-112)
My Soul in Sad Exile, 338 (96-108)
Near to the Heart of God, 354 (84-96)
Nearer, My God, to Thee, 333 (80-92)
New Born Again, 474 (80-92)
New Life for You, 299 (92-104)
No, Not Despairingly, 173 (84-96)
No, Not One, 478 (76-84)
Nothing but the Blood, 158 (96-104)
N&w I Belong to Jesus, 477 (84-96)
Now Thank We All Our God, 234 (76-88)
O Breath of Life, 137 (66-76)
O Church of God, Triumphant, 237 (88-100)
O Come, All Ye Faithful, 81 (96-108)
O Come, Loud Anthems Let Us Sing, 21 (80-92)
O Come, O Come, Emmanuel, 78 (100-108)
O for a Faith That Will Not Shrink, 390 ( J=80-92)
O for a Thousand Tongues to Sing, 69 (80-92)
O God in Heaven, Whose Loving Plan, 396 (92-100)
O God of Every Time and. Place, 320 (J =60-72)
O God of Our Fathers, 507 (92-100)
O God, Our Help in Ages Past, 223 (76-84)
O God, We Pray for All Mankind, 305 (96-108)
O God, Who to a Loyal Home, 398 (72-84)
O Gracious Lord, Accept Our Praise, 19 (92-100)
O Happy Day That Fixed My Choice, 457 (J =72-80)
xM^;
O Jesus, I Have Promised, 365 (88-96)

O Little Town of Bethlehem, 85 (84-100)
O Lord, Who Came to Earth to Show, 309 (96-104)
O Love of God Most Full, 482 (96-104)
O Love That Wilt Not Let Me Go, 368 (80-88)
O Master, Let Me Walk with Thee, 369 (108-116)
O My Soul, Bless God the Father, 34 (80-92)
O Perfect Love, 395 (88-100)
O Sacred Head, Now Wounded, 105 (80-88)
O Sing a Song of Bethlehem, 99 (108-116)
O Spirit of the Living God, 264 (90-102)
O Teacher, Master of the Skill, 443 (90-102)
O That Will Be Glory, 497 (126-138)
O the Deep, Deep Love of Jesus, 340 (72-84)
O Thou, in Whose Presence, 372 (J =60-66)
O Thou to Whose All-Searching Sight, 470 (J =69-76) ,
O Word of God Incarnate, 140 (88-100)
O Worship the King, 30 (96-108)
O Zion, Haste, 295 (96-112)
Of the Father's Love Begotten, 62 (J) = 108-120)
On Jordan's Stormy Banks, 490 (92-100)
Once to Every Man and Nation, 385 (72-84)
One Day, 127 (J, =60-66)
One World, One Lord, One Witness, 296 (J =72-80)
Only Trust Him, 183 (80-92)
Onward, Christian Soldiers, 393 (84-96)
Open My Eyes that I May See, 358 (J.=56-66)
Our Father God, Thy Name We Praise, 206 (80-92)
Our Hope Is in the Living God, 201 (84-96)
Out of My Bondage, Sorrow, and Night, 178 (88-100)
Pass It On, 287 (108-120)
Pass Me Not, O Gentle Savior, 176 (80-92)
Peace in Our Time, O Lord, 310 (69-76) I
Pentecostal Power, 130 (100-108) \
People to People, 308 (92-100)
Praise God from Whom All Blessings Flow, 6 (80-92)
Praise God from Whom All Blessings Flow, 7 (100-108)
Praise Him, O Praise Him, 18 (92-100)
Praise Him! Praise Him!, 67 (J. =72-84)
Praise, My Soul, the King of Heaven, 8 (100-108)
Praise the Lord, 14 (100-108)
Praise the Lord, the King of Glory, 46 (100-108)
Praise the Lord Who Reigns Above, 23 (100-108)
Praise the Lord! Ye Heavens, Adore Him, 11 (84-96)
Praise to the Lord, the Almighty, 10 (88-100)
Appendix 2 101
Prayer Is the Soul's Sincere Desire, 400 (84-96)

Purer in Heart, O God, 323 (84-96)
Reach Out and Touch, 314 (96-108)
Ready, 408 (J. =60-72)
Redeemed, 444 (J.=60-66)
Redeemed, How I Love to Proclaim It, 446 (J. =60-66)
Rejoice, AH Ye People, 116 (88-96)
Rejoice, the Lord Is King, 120 (104-112)
Rejoice, Ye Pure in Heart, 28 (104-112)
Rescue the Perishing, 283 (100-108)
Revive Us Again, 263 (104-112)
Ring the Bells of Heaven, 300 (104-112)
Rise Up, O Men of God, 268 (92-100)
Rock of Ages, Cleft for Me, 163 (69-80)
Room at the Cross, 194 (J> = 92-100)
Satisfied, 345 (72-80)
Satisfied With Jesus, 455 (80-92)
Saved, Saved!, 160 (66-76)
Savior, Again to Thy Dear Name, 65 (104-112)
Savior, Like a Shepherd Lead Us, 213 (88-100)
Savior, Teach Me Day by Day, 291 (88-100)
Search Me, O God, 266 (104-112)
Send a Great Revival, 271 (80-92)
Send Me, O Lord, Send Me, 293 (92-104)
Send the Light, 304 (96-108)
Serve the Lord with Gladness, 411 (J.=80-92)
Set My Soul Afire, 302 (96-108)
Shall We Gather at the River, 496 (88-100)
Share His Love, 285 ( J = 76-84)
Show, O Lord, Thy Blessed Face, 227 (92-100)
Silent Night, Holy Night, 89 (88-96)
Since I Have Been Redeemed, 442 (92-100)
Since Jesus Came into My Heart, 487 (92-100)
Sing Hosannas, 92 (100-112)
Sing Praise to God Who Reigns Above, 22 (88-100)
Sing to the Lord of Harvest, 232 (88-100)
Sing We the King, 493 (126-138)
So Let Our Lips and Lives Express, 456 (96-104)
So Send I You, 280 (69-76).
Softly and Tenderly, 190 ( J>=92-104)
Soldiers of Christ, in Truth Arrayed, 315 (100-112)
Somebody's Knocking at Your Door, 480 (80-92)
Something for Thee, 418 (92-100)
Sometimes a Light Surprises, 221 (92-100)
Speak to My Heart, 355 (88-96)
Spirit of God, Descend upon My Heart, 132 (J =60-72)

Spirit of God, Our Comforter, 133 (84-96)
Spirit of the Living God, 136 (84-96)
Spread, O Spread the Mighty Word, 284 (92-100)
Stand Up and Bless the Lord, 26 (84-96)
Stand Up, Stand Up for Jesus, 389 (96-108)
Stand Up, Stand Up for Jesus, 391 (96-108)
Standing on the Promises, 335 (96-108)
Stir Thy Church, O God, Our Father, 269 (92-100)
Strong, Righteous Man of Galilee, 101 (84-96)
Sunshine in My Soul, 447 (84-96)
Surely Goodness and Mercy, 228 (92-100)
Sweet Hour of Prayer, 401 (92-100)
Sweet, Sweet Spirit, 255 (84-96)
Take My Life, and Let It Be, 373 (88-96)
Take My Life, and Let It Be, 374 (J, =56-66) ,
Take My Life, Lead Me, Lord, 366 (80-92)
Take the Name of Jesus with You, 473 (88-96)
Take Up Thy Cross, 370 (92-100)
Teach Me, O Lord, I Pray, 406 (84-96)
Teach Me, O Lord, to Care, 312 (60-72)
Teach Me Thy Way, O Lord, 330 (96-104)
Teach Me to Pray, 399 (J =48-60)
Tell It Out with Gladness', 275 (96-108)
Tell It to Jesus, 404 (84-96)
Tell Me the Story of Jesus, 437 (76-84)
Tell the Good News, 288 (84-96)
Thank the Lord with Joyful Heart, 466 (88-100)
The Banner of the Cross, 387 (84-96)
The Bond of Love, 259 (66-76)
The Bread of Life for All Men Broken, 250 (88-96)
The Cattle on a Thousand Hills, 152 (84-96)
The Church's One Foundation, 236 (88-100)
T h e F i r s t L o r d ' s D a y, 11 9 ( 9 2 - 1 0 0 ) \
The First Noel the Angel Did Say, 91 (96-108)
The God of Abraham Praise, 25 (88-100)
The Great Physician, 102 (J. =56-66)
The Head That Once Was Crowned, 125 (84-96)
The King of Love My Shepherd Is, 215 (72-84)
The Lily of the Valley, 459 (72-84)
The Lord Will Come, 128 (84-96)
The Lord's My Shepherd, 341 (72-84)
The Nail-Scarred Hand, 192 (72-80)
The Old Rugged Cross, 430 (J) = 72-84)
The Savior Is Waiting, 182 (76-84)
Appendix 2 103
TKe Savior's Wondrous Love, 476 (84-96)

The Sheltering Rock, 195 (84-96)
The Solid Rock, 337 (72-84)
The Star-Spangled Banner, 512 (80-88)
The Time Is Now, 193 (80-88)
The,Way of the Cross Leads Home, 161 (80-92)
There Is a Balm in Gilead, 205 (80-88)
There Is a Fountain, 107 (76-88)
There Is a Land of Pure Delight, 504 (J =66-76)
There Is a Name I Love to Hear, 66 (J. =56-63)
Therehs No Name So Sweet, 440 (72-84)
There'ls Power in the Blood, 159 (80-88)
There Shall Be Showers of Blessing, 273 ( J =60-72)
There's a Glad New Song, 471 (84-96)
There's a Land That Is Fairer than Day, 495 (72-84)
There's a Song in the Air, 93 (72-80)
There's a Wideness in God's Mercy, 171 (76-88)
This Is My Father's World, 155 (80-88)
This Is the Day the Lord Hath Made, 68 (76-84)
This Joyful Eastertide, 124 (80-88)
Thou, Whose Almighty Word, 303 (96-104)
Thou, Whose Purpose Is to Kindle, 313 (84-90)
Thy Supper, Lord, Before Us Spread, 248 (J =72-80)
Tis So Sweet to Trust in Jesus, 375 (84-92)
To God Be the Glory, 33 (92-100)
To Worship, Work, and Witness, 238 (96-108)
Trusting Jesus, 441 (J.=48-56)
Turn Your Eyes upon Jesus, 198 (96-108)
Victory in Jesus, 475 (80-88)
Walk Ye in Him, 279 (84-92)
We Are Called to Be God's People, 405 (88-96)
We Are Clirtibing Jacob's Ladder, 147 (72-80)
We Believe in One True God, 29 (84-92)
We Bless the Name of Christ the Lord, 244 (84-96)
We Gather Together, 229 (92-100)
We Have a Gospel to Proclaim, 301 (92-100)
We Have Heard the Joyful Sound, 277 (88-100)
We Have Heard the Joyful Sound, 278 (J.=60-66)
We Lift Our Hearts in Songs of Praise, 416 (76-84)
We Praise Thee, O God, Our Redeemer, 15 (92-100)
We Praise Thee with Our Minds, O Lord, 45 (84-92)
We Shall Walk Through the Valley, 501 (76-84)
We Thank Thee That Thy Mandate, 410 (100-108)
We Walk by Faith and Not by Sight, 357 (J =66-76)
We Would See Jesus; Lo! His Star, 98 ( J = 66-76)
We're Marching to Zion, 505 (J. =66-76)

Were You There, 108 (80-88)
We've a Story to Tell, 281 (84-96)
What a Friend We Have in Jesus, 403 (76-84)
What If It Were Today?, 129 (J. =60-72)
What Wondrous Love Is This, 106 (J =63-72)
When All Thy Mercies, O My God, 468 (J =72-80)
When I Survey the Wondrous Cross, 111 (J =56-66)
When Morning Gilds the Skies, 44 (84-90)
When Stephen, Full of Power and Grace, 392 (J =63-72)
When the Church of Jesus, 319 (84-96)
When the Morning Comes, 499 (72-80)
When the Roll is Called Up Yonder, 503 (84-96)
When We All Get to Heaven, 491 (92-100)
When We Walk with the Lord, 409 (84-96)
Where Can We Find Thee, Lord, So Near, 245 ( J =66-76) ,
Where Charity and Love Prevail, 257 (jl= 108-120)
Where Cross the Crowded Ways of Life, 311 (96-108)
Where He Leads Me, 371 (66-76)
Wherever He Leads I'll Go, 361 (84-92)
While Shepherds Watched Their Flocks, 97 (84-96)
Whiter than Snow, 185 (84-92)
Who at My Door Is Standing, 181 (84-92)
"Whosoever" Meaneth Me, 169 (80-92)
"Whosoever Will", 184 (84-96)
Why Do I Sing About Jesus?, 429 (J.=46-54)
Will You Come?, 199 (66-76)
Without Him, 200 (80-88)
Wonderful, Wonderful Jesus, 432 (J. =48-56)
Wonderful Words of Life, 142 (J.=48-56)
Word of God, Across the Ages, 148 (88-96)
Ye Christian Heralds!, 289 (J =66-76)
Ye Must Be Born Again, 180 (J. =56-60)
Ye S e r v a n t s o f G o d , 2 9 2 ( 8 8 - 9 6 ) \
<rL:;
APPENDIX 3
Listing of Hymns in Baptist Hymnal, 1975 by Keys

Key of C
A Mighty Fortress Is Our God, 37
At Calvary, 166
Child in the Manger, 84
Chrfst Is the World's True Light, 274
Christ the Lord Is Risen Today, 114
Come, Ye Disconsolate, 211
Do You Really Care? 316
Free to Be Me, 331
God Be with You, 261
Good Christian Men, Rejoice and Sing, 123
Have Faith in God, 376
He Leadeth Me! O Blessed Thought, 218
I Know that My Redeemer Liveth, 122
Jesus Is Tenderly Calling, 188
Low in the Grave He Lay, 118
Make Me a Blessing, 290
Morning Has Broken, 151
My Song Is Love Unknown, 486
O God Our Help in Ages Past, 223
Rejoice, the Lord Is King, 120
Send a Great Revival, 271
Serve the Lord with Gladness, 411
Spirit of God, Descend upon My Heart, 132
Spread, O Spread the Mighty Word, 284
" Strong, Righteous
Sweet Hour Man401
of Prayer, of Galilee, 101
There Is a Fountain, 107
We Thank Thee That Thy Mandate, 410
What If It Were Today? 129
When We All Get to Heaven, 491
"Whosoever Will," 184
Key of C minor
Built on the Rock the Church Doth Stand, 235
Jesus, Friend of Thronging Pilgrims, 100
My Master Was So Very Poor, 103
O Thou to Whose All-Searching Sight, 470
105
106 Congregational Singin>
Key of Db
All for JesuS, All for Jesus, 485
Beneath the Cross of Jesus, 360
I Have Decided to Follow Jesus, 191
It Is Well with My Spul, 339
Jesus Is Lord of All, 353
Jesus Lives and Jesus Leads, 38
Jesus! Name of Wondrous Love, 74
Just When I Need Him Most, 220
My Singing Is a Prayer, 412
Near to the Heart of God, 354
One Day, 127
Savior, Like a Shepherd Lead Us, 213
Take My Life, Lead Me, Lord, 366
Te a c h Me to P r a y, 399 1
Key of D
As We Gather Around the Table, 251
Blessed Assurance, Jesus Is Mine, 334
Children of the Heavenly Father, 207
Christ Receiveth Sinful Men, 167
Come, Thou Fount of Every Blessing, 12
Pay of Judgment! Day of Wonders! 502
Dear Lord and Father of Mankind, 270
Glory Be to God on High, 104
God Loved the World So That He Gave, 445
He Hideth My Soul, 451
Holy; Holy, Holy, 1
How {Sweet the Name of Jesus Sounds, 464
I Am jîs, and He Is Mine, 342
I Am Not Skilled to Understand, 433
I Surrender All, 347
Jesus,5 with Thy Church Abide, 241 I
Joy to (he World! The Lord Is Come, 88
O Church of God, Triumphant, 237
O God of Our Fathers, 507
O Thou, in Whose Presence, 372
Pass It On, 287
Praise Him, O Praise Him, 18
Praise, My Soul, the King of Heaven, 8
Praise the Lord, 14
Savior, Teach Me Day by Day, 291
Shall We Gather at the River, 496
Appendix 3 . 107
Show. O Lord, Thy Blessed Face, 227
The First Nowell the Angel Did Say, 91
We Are Climbing Jacob's Ladder, 147
We Gather Together, 229
We Have Heard the Joyful Sound, 278
,We Praise Thee, O God, Our Redeemer, 15
Where Can We Find Thee, Lord, So Near, 245
Key of D minor
At the Name of Jesus, 363
Fjrom Every Race, from Every Clime, 247
.God of Earth and Outer Space, 20
I Know that My Redeemer Lives, 436
Lord of Our Life, 145
O God of Every Time and Place, 3£0
Peace in Our Time, O Lord, 310
(Final cadence D)
The Bread of Life for All Men Broken, 250
There's a Song in the Air, 93
What Wondrous Love Is This, 106
When Stephen, Full of Power and Grace, 392
When the Church of Jesus, 319
Key of Eb
Abide with Me, 217
All Creatures of Our God and King, 9
At the Cross, 157
Be Thou My Vision, 212
t Blessed Redeemer, 109
Break Thou the Bread of Life, 138
Breathe on Me, 131
Come, Holy Spirit, Dove Divine, 242
Come, Thou Fount of Every Blessing, 13
Count Your Blessings, 231
Crown Him with Many Crowns, 52
Day by Day, 222
Declare, O Heavens, the Lord of Space, 47
Fairest Lord Jesus, 48
Faith Is the Victory, 377
Footsteps of Jesus, 325
Forward Through-the Ages, 146
Free from the Law, O Happy Condition, 168
Give to the Lord, As He Has Blessed You, 415
Give to the Winds Your Fears, 224
Glory Be to the Father, 5
Go to Dark Cethsemane, 112
God, Give Us Christian Homes, 397

God Moves in a Mysterious Way, 439
God of Our Fathers, 149
Great Is Thy Faithfulness, 216
Great Redeemer, We Adore Thee, 51
Have No Fear, Little Flock, 225
Have Thine Own Way, Lord, 349
Here at Thy Table, Lord, 246
Hope of the World, 364
I Hear Thy Welcome Voice, 175
I Know Not What the Future, 492
I Know Whom I Have Believed, 344
I Love Thee, 75
I Saw the Cros&of Jesus, 483
I Waited for the Lord My God, 402
I W i l l S i n g t h e Wo n d r o u s S t o r y, 5 5 *
Immortal Love, Forever Full, 329
In Heavenly Love Abiding, 204
In Memory of the Savior's Love, 249
Jesus Loves Me, 336
Jesus Paid It All, 156
Jesus, Thou Joy of Loving Hearts, 72
Just As I Am, 186
Just As I Am, 187
Lead Me to Calvary, 350
Let Us Break Bread Together, 252
Lord, I Want to Be a Christian, 322
Lord, Who Dost Give to Thy Church, 239 .
May the Mind of Christ My Savior, 328
My Blessed Savior, Is Thy Love, 431
My Faith Looks Up to Thee, 382
M y L o r d I s N e a r M e A l l t h e Ti m e , 2 0 9 J .
No, Not D e s p a i r i n g l y, 173 -»
O Master, Let Me Walk with Thee, 369
O Perfect Love, 395
Of the Father's Love Begotten, 62
Onward, Christian Soldiers, 393
Our Father God, Thy Name We Praise, 206
Redeemed, 444
Satisfied, 345
Satisfied with Jesus, 455
Sing Praise to God Who Reigns Above, 22
. Somebody's Knocking at Your Door, 480
Appendix 3 109
Surely Goodness and Mercy, 228
Teach Me Thy Way, O Lord, 330
Tell Me the Story of Jesus, 437
The Church's One Foundation, 236
The Great Physician, 102
This Is My Father's World, 155
This Joyful Eastertide, 124
We Praise Thee with Our Minds, O Lord, 45
Were You There, 108
Wfe've a Story to Tell, 281
When the Morning Comes, 499
Ye Christian Heralds!, 289
Ye* Must Be Born Again, 180
Key of E minor
God Is My Strong Salvation, 343
Here Is My Life, 356 (Refrain in G)
How Gracious Are Thy Mercies, Lord, 230
Make Room Within My Heart, O God, 321
(Final cadence E)
My God, I Love Thee, 57
O Come, O Come, Emmanuel, 78
O Sing a Song of Bethlehem, 99
O the Deep, Deep Love of Jesus, 340
Once to Every Man and Nation, 385
The God of Abraham Praise, 25
Thou, Whose Purpose Is to Kindle, 313
^ Where Charity and Love Prevail, 257
Key of F
All Praise to Thee, 43
AH to Thee, 346
Am I a Soldier of the Cross, 388
Angels We Have Heard on High, 95
• As Jacob with Travel, 421
Ask Ye What Great Thing I Know, 60
Awake, My Soul, Awake, My Tongue, 96
Away in a Manger, 80
Blest Be the Tie, 256
Breathe on Me, Breath of God, 317
By and By, 506 -
Come, Holy Spirit, Heavenly Dove, 134
Come, Thou Almighty King, 2
Come, Thou Long-Expected Jesus, 79
Come, Ye Thankful People, Come, 233
11 0 Congregational Singing
Comfort, Comfort Ye My People, 77

Fill Thou My Life, O Lord My God, 460
For the Beauty of the Earth, 49
Give Me the Wings of Faith, 498
Glorious Is Thy Name, 59
God Himself Is with Us, 16
God, Who Stretched the Spangled Heavens, 150
God's World Today, 359
Good Christian Men, Rejoice, 90
Hark! The Herald Angels Sing, 83
He Who Would Valiant Be, 384
Heaven Came Down, 425
Heavenly Sunlight, 472
His Name Is Wonderful, 71
Holy Bible, Book Divine, 139 *
I'll Live for Him, 189
I Love Thy Kingdom, Lord, 240
I Sing the Almighty Power of God, 154
I Will Sing the Wondrous Story, 53
Jerusalem, My Happy Home, 488
Jesus Christ Is Risen Today, 115
Jesus, Keep Me Near the Cross, 351
Jesus, Lover of My Soul, 172
Jesus, Thy Boundless Love to Me, 326
Jesus! What a Friend for Sinners, 64
Like a River Glorious, 208
Living for Jesus, 348
Lord, Lay Some Soul upon My Heart, 298
Lord, You Bid Us Ever, 378
Moment by Moment, 381
M y C o u n t r y, ' Ti s o f T h e e , 5 11 <
My God Is There, Controlling, 153 \
My Jesus, I Love Thee, 76
No, Not One, 478
Now Thank We All Our God, 234
O Come, Loud Anthems Let Us Sing, 21
O for a Faith That Will Not Shrink, 390
O Gracious Lord, Accept Our Praise, 19
O Happy Day That Fixed My Choice, 457
O Little Town of Bethlehem, 85
O Lord, Who Came to Earth to Show, 309
O Love of God Most Full, 482
On Jordan's Stormy Banks, 490
Appendix 3 111
Praise the Lord, the King of Glory, 46
Praise the Lord Who Reigns Above, 23
Praise the Lord! Ye Heavens, Adore Him, 11
Praise to the Lord, the Almighty, 10
Râch Out and Touch, 314
Ready, 408
Rejoice, Ye Pure in Heart, 28
Rise Up, O Men of God, 268
Sirfg Hosannas, 92
So Send I You, 280
Sometimes a Light Surprises, 221
Speak to My Heart, 355
Spirit of God, Our Comforter, 133
Spirit of the Living God, 136
Stand Up, Stand Up for Jesus, 389
Stir Thy Church, O God, Our Father, 269
Take My Life, and Let It Be, 373
The Cattle on a Thousand Hills, 152
The First Lord's Day, 119
The Lily of the Valley, 459
The Lord's My Shepherd, 341
* The Nail-Scarred Hand, 192
The Savior Is Waiting, 182
The Solid Rock, 337
there Is a Balm in Gilead, 205
There Is a Land of Pure Delight, 504
There Is No Name So Sweet, 440
TKis Is the Day the Lord Hath Made, 68
Thy Supper, Lord, Before Us Spread, 248
Turn Your
' Walk Ye inEyes
Him,upon
279 Jesus, 198
We Shall Walk Through the Valley, 501
We Walk by Faith and Not by Sight, 357
What a Friend We Have in Jesus, 403
When I Survey the Wondrous Cross, 111
When We Walk with the Lord, 409
Where He Leads Me, 371
Wherever He Leads I'll Go, 361
Who at My Door Is Standing, 181
Will You Come? 199
Without Him, 200

Key of F minor
Awake, Awake to Love and Work 413
God Is Workihg His Purpose Out, 509
(Final cadence F)
O God, Who to a Loyal Home, 398
Key of G
All Hail the Power of Jesus' Name, 40
All People That on Earth Do Dwell, 17
All the Way My Savior Leads Me, 214
Alleluia, 422
Alleluia! Alleluia! 117
Amazing Grace! How Sweet the Sound, 165
Christian Hearts, in Love United, 253
Christian Men, Arise and Give, 141 1
Come, Come Ye Saints, 210
Come, Ye Sinners, Poor and Needy, 196
Draw Thou My Soul, O Christ, 307
Faith of Our Fathers, 143
Fight the Good Fight, 394
Follow On, 226
For All the Saints, 144
For the Beauty of the Earth, 54
Glorious Is Thy Name Most Holy, 419
Go, Tell It on the Mountain, 82
God Is Love, His Mercy Brightens, 36
God of Grace and God of Glory, 265
G6d of Mercy, God of Grace, 297
Grace Greater than Our Sin, 164
Guide Me, O Thou Great Jehovah, 202
He Is So Precious to Me, 449
Higher Ground, 324 I
I'm Not Ashamed to Own My Lord, 450 i
In Loving-Kindness Jesus Came, 426
Infant Holy, Infant Lowly, 94
It's So Wonderful, 467
I've Got Peace Like a River, 458
Jesus Makes My Heart Rejoice, 386
Jesus, Still Lead On, 500
Jesus, the Very Thought of Thee, 73
Joyful, Joyful, We Adore Thee, 31
Lord, Speak to Me, that I May Speak, 276
More Love to Thee, O Christ, 484
Nearer, My God, to Thee, 333
Appendix 3 11 3
New Born Again, 474
Nothing
' Now but the
I Belong to Blood,
Jesus, 158
477
O Jesus, I Have Promised, 365
O Jesus, I have Promised, 365
Q My Soul, Bless God the Father, 34
O Spirit of the Living God, 264
O Teacher, Master of the Skill, 443
Only Trust Him, 183
Our Hope Is in the Living God, 201
Pedple to People, 308
Praise God, from Whom All Blessings Flow, 6
Praise God, from Whom All Blessings Flow, 7
Praise Him! Praise Him! 67
Purer in Heart, O God, 323
Revive Us Again, 263
Room at the Cross, 194
Search Me, O God, 266
Send Me, O Lord, Send Me, 293
Send the Light, 304
Share His Love, 285
Since I Have Been Redeemed, 442
Sing to the Lord of Harvest, 232
Something for Thee, 418
Stand Up and Bless the Lord, 26
Sweet, Sweet Spirit, 255
Take My Life, and Let It Be, 374
Tell It to Jesus, 404
the Head That Once Was Crowned, 125
The King of Love My Shepherd Is, 215
The Lord Will Come, 128
THe Time Is Now, 193
The Way of the Cross Leads Home, 161
There's
' Tis a Land
So Sweet toThat
TrustIsinFairer
Jesus,than
375Day, 495
Trusting Jesus, 441
Victory in Jesus, 475
We Have Heard the Joyful Sound, 277
We Would See Jesus; Lo! His Star, 98
We're Marching to Zion, 505
When All Thy Merqies, O My God, 468
Ye Servants of God, 292
Key of G minor
Come, Ye Sinners, Poor and Needy, 197
If You Will Only Let God Guide You, 203
Look, Ye Saints! The Sight Is Glorious, 121

My Heart Looks in Faith, 332
Key of Ab
Alas, and Did My Savior Bleed,. 113
Are You Washed in the Blood, 162
Because He Lives, 448
Blessed Be the Name, 50
Blessed Savior, Thee I Love, 427
Brethren, We Have Met to Worship, 260
Come, Christians, Join to Sing, 61
Down at the Cross, 454 '
He Keeps Me Singing, 435
How Firm a Foundation, 383
I Am Thine, O Lord, 352 *
I Love to Tell the Story, 461
I Need Thee Every Hour, 379
I Stand Amazed in the Presence, 63
I Will Not Be Afraid, 452
I Will Sing of My Redeemer, 464
Immortal, Invisible, God Only Wise, 32
In the Garden, 428
In Times Like These, 469
I've Found a Friend, O Such a Friend, 423
Jesus Calls Us O'er the Tumult, 367
Jesus Is All the World to Me, 424
Just As I Am, Thine Own to Be, 243
Leaning on the Everlasting Arms, 254
Let Jesus Come into Your Heart, 179
Let Others See Jesus in You, 294
Lord, I'm Coming Home, 174
Lord, Send a Revival, 272 I
Majestic Sweetness Sits Enthroned, 267 "*
Make Me a Channel of Blessing, 262
More About Jesus, 327
Must Jesus Bear the Cross Alone, 494
My Faith Has Found a Resting Place, 380
My Soul in Sad Exile, 338
New Life for You, 299
O for a Thousand Tongues to Sing, 69
O God, We Pray for All Mankind, 305
O Love That Wilt Not Let Me Go, 368
O That Will Be Glory, 497
O Worship the King, 30
Appendix 3 11 5
Open My Eyes that I May See, 358

Out of My Bondage, Sorrow, and Night, 178
Pass Me Not, O Gentle Savior, 176
Pentecostal Power, 130
Redeemed, How I Love to Proclaim It, 446
Rejoice, All Ye People, 116
Savior, Again to Thy Dear Name, 65
Since Jesus Came into My Heart, 487
Sing We the King, 493
Softly and Tenderly, 190
Soldiers of Christ, in Truth Arrayed, 315
Staiid Up, Stand Up for Jesus, 391
Sunshine in My Soul, 447
Take the Name of Jesus with You, 473
Thank the Lord with Joyful Heart, 466
The Sheltering Rock, 195
The Star-Spangled Banner, 512
There Is a Name I Love to Hear, 66
To God Be the Glory, 33
We Believe in One True God, 29
We Bless the Name of Christ the Lord, 244
We Have a Gospel to Proclaim, 301
When the Roll Is Called Up Yonder, 503
Whiter than Snow, 185
"Whosoever" Meaneth Me, 169
Why Do I Sing About Jesus? 429
Wonderful, Wonderful Jesus, 432
Key of A
Glory Be to the Father, 4
O Breath of Life, 137
Thou, Whose Almighty Word, 303
Key of A minor
For Me, 110
O Sacred Head, Now Wounded, 105 (Final cadence C)
Prayer Is the Soul's Sincere Desire, 400 (Final cadence C)
KeyofBb
All Glory, Laud, and Honor, 39
All That Thrills My Soul, 434
America, the Beautiful, 508
Angels, from the Realms of Glory, 87
Come, Let Us Join Our Cheerful Songs, 126
Face to Face with Christ My Savior, 489
Cod, Our Father, We Adore Thee, 3

God Will Take Care of You, 219
He Included Me, 170
He Is Able to Deliver Thee, 479
He Lives, 438
He's Everything to Me, 463
Holy Spirit, Light Divine, 135
How Great Thou Art, 35
I Am Resolved, 177
I Bless the Christ ot God, 286
I Gave My Life for Thee, 417
In Christ There Is No East or West, 258
In the Cross of Christ I Glory, 70
It Came Upon the Midnight Clear, 86
Just a Closer Walk With Thee, 481
Let Us with a Gladsome Mind, 27 *
Love Divine, All Loves Excelling, 58
Love Is the Theme, 453
Love Lifted Me, 462
"Man of Sorrows," What a Name, 56
Mine Eyes Have Seen the Glory, 510
O God in Heaven, Whose Loving Plan, 396
O Zion, Haste, 295
Rescue the Perishing, 283
Ring the Bells of Heaven, 300
Rock of Ages, Cleft for Me, 163
Saved, Saved!, 160
Silent Night, Holy Night, 89
So Let Our Lips and Lives Express, 456
Standing on the Promises, 335
Take Up Thy Cross, 370
The Banner of the Cross, 387 ,
The Bond of Love, 259
The Old Rugged Cross, 430 ""
The Savior's Wondrous Love, 476
There Is Power in the Blood, 159
There Shall Be Showers of Blessing, 273
There's a Glad New Song, 471
There's a Wideness in God's Mercy, 171
To Worship, Work, and Witness, 238
When Morning Gilds the Skies, 44
Where Cross the Crowded Ways of Life, 311
Personal Learning Activities
Chapter 1
1. What did Paul write to the church in Corinth about his singing?
(1 Cor. 14:15)
2. What were Paul's instructions to the church at Colosse con
cerning the indwelling word of Christ? (Col. 3:16-17)
3. List several positive literary and musical values of hymns.
Chapter 2
1. What are the negative factors of a tempo that is too fast?
2. What are the negative factors of a tempo that is too slow?
3. List several types of hymn tunes.
4. Name one hymn with long phrases.
5. Name one hymn with short phrases.
Chapter 3
1. What is important about the way the instrument introduces the
hymn tune before it is sung?
2. What is meant by * letting the organ breathe with the congrega
tion0?
3. (What style of piano playing is most beneficial for congregational
singing?
4. Why should the music director plan carefully with the instrumen
talists?
Chapter 4
1. What physical factors affect congregational singing?
2. Describe factors influencing the placement of the organ console.
3. Describe factors influencing the placement of the piano.
4. What is the desirable range of the reverberation factor for con
gregational singing?
Chapter 5
1. Discuss the significance of unity in the congregational service.
2. With regard to congregational singing, what should long-range
planning include?
117
3. Name three hymns appropriate for Bible Study Week.
4. Name three hymns appropriate for Doctrinal Emphasis Week.
5. Name three hymns for Church Music emphasis.
Chapter 6
1. What judgments need to be made regarding texts of hymns to be
used in the service?
2. What judgments need to be made regarding the hymn twines to be
used in the service? J, h fjLvl ^ **--!
3. What is a fermata?-^ /^,& ,'.'/{ #* ^> i.TA%f*
4. What does rubato mean? %■• ' '■' ' ^ / ' " "■ ^ - * 0 b j J l
Chapter 7
1. Why is the teaching of a new hymn a musical problem?
2. Name two hymns unfamiliar to you and identify two tunes with
which you are familiar that fit these texts.
3. How may Sunday School and Church Training department
periods be used for teaching new hymns?
4. Explain how the choir can assist in teaching new hymns to the
congregation.
Chapter 8
1. What is Common Meter?
2. What is Short Meter?
3. What is Long Meter?
4. What is the metrical form of the Doxology?
5. What is the metrical form of "Amazing Grace"?
Chapter 9
1. Who was Charles M. Alexander?
2. How does the music director influence the congregation
spiritually, physically, musically, and psychologically in the con
gregational singing?
The Church Study Course
and
Requirements for Credit
The Church Study Course is an organized system of short-term

credit courses designed to meet the educational needs of Southern
Baptists. Its purpose, in regard to church leaders, is (1) to provide a
comprehensive series of courses to help develop and train church
leaders and (2) to provide a means to recognize leaders1 progress in
developing leadership understanding and skills.
Congregational Singing is included in the courses required for
the Church Music Diploma for General leaders, Adult leaders, and
Youth leaders. A list of other courses required, and further informa
tion concerning the Church Study Course, is available from the
Church Music Department, The Sunday School Board of the
Southern Baptist Convention, 127 Ninth Avenue, North, Nashville,
Tennessee 37234.
You may obtain credit for this course in two ways:
1. Attend ten hours of class study and read the book as
directed by the teacher.
2. Read the book and answer all of the questions included in
* the "Personal Learning Activities."
Request for credit may be made on form 151 and sent to
Church Study Course Awards Section
The'Sunday School Board of the Southern Baptist Convention
127 Ninth Avenue, North
Nashville, Tennessee 37234
or you may use the form included in the back of this book, sent to the
same address.
119.
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riuiw iti-z Kti«*-.

This book is designed to help those who are responsible for

1. The Practice of Congregational Singing 1

With reference to this exhortation, Louis F. Benson comments:1

The Congregation Metrty *<% C^^e^^^\

^Grfeat congregational singing defies description. Other than

Literary and Musical Values

3David McK. Williams, in an address ciled by Armin Haousslcr. The Story of

Teaching Congregational Singing Leaders

The Need for More Resources

God Moves in a Mysterious Way 439

Jesus Is All the World to Me 424

sai P—P- #' #

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« mM ' r "T p r 'M (

So Let Our Lips and Lives Express 456

^jiflj IJ JitiJN Jim

87 Angels, from the Realms of Glory

Standing on the Promises 335

1. Stand-ingon the prom-is-es of Christ my King,Thro' e- ter- nal a - ges

stand - ing, I'm stand-ing on the prom- is - es of God.

Words and tune PROMISES, R. Kelso Carter, 1886.

When Morning Gilds the Skies 44

May Je - sus Christ be praised! A - like at work and prayer,

>"T ji r f P "r -«*

¥i\±U Vrrf.f^ T7^

To Je-sus I re - pair; May Je - sus Christ be praised.

theJimgOh^ Firm a Foundation" (BH 383)

49 For the Beauty of the Earth

1. For the beau - ty of the earth, ,

of the For the love which from our birth 0 - ver

and'. a -round us lies, 0 - ver and a - round us lies.

Congregational singing seems to be moving at too slow a tempo

"God of Grace and God of

'"i 'J J j 11 j j j ■* ■+ ^&

courage congregational participation. They qan range from one-

Instrumental accompaniment for congregational singing usually

The Sound of the Instruments T "> c

panying instruments should enhance, enrich, and aid the singing

The Introduction of the Tune

Instrumental Accompaniment for Congressional Singing 27

2 Come, Thou Almighty King

^m r glo - ri ous, O'er

Come, Thou Almighty King

I'ffi Li pHe jjg#

Instrumental Accompaniment for Congressional Singing 29

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Thy sov - 'reign

fee ±U: 22=

We Are Climbing Jacob's Ladder

olimb -ing Ja - cob's lad - der, We are climb -ing

Ja - cob's lad - der, Sol - diers ' of the cross.

We Are Climbing Jacob's Ladder 147

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tpvtnpfi of the sound is morfi jmnnrtant than tfrp rrr™ ~f ^H""™

The Use of the Piano

playing, and rhapsodic treatment of the tune are detrimental to

When confidence on the part of the congregation has been

The Use of Non-Keyboard Instruments