Assist our Song
Choosing music for worship
No.4 in a series of church music pamphlets
from the Panel on Worship of the Church of Scotlan
CONTENTS
Choosing hymns ............................................................................... 3
Introduction .......................................................................... 3
A service has shape ............................................................. 3
Hymns in their place ............................................................ 4
The Christian Calendar ........................................................ 5
Events and circumstances ................................................... 6
Language and imagery ........................................................ 6
Hymns and songs for children ............................................. 7
Introducing hymns ................................................................ 8
Other uses for the hymn ...................................................... 9
Getting out of the rut ............................................................ 9
Musical issues .................................................................... 10
Minister and organist .......................................................... 10
Conclusion ......................................................................... 10
Shorter songs .................................................................................. 11
Choral music ................................................................................... 15
Appendix: two services with hymns ................................................ 18
Useful addresses ............................................................................ 20
Other music pamphlets in this series
1 With heart and hands and voices Leading the music of the local church.
2 With a loud noise skilfully Practical guidance about using instruments in worship
3 All that hath life and breath Helping the whole congregation take its rightful place in the church's
song; plus a discussion about copyright as it affects the local congregation.
All cost £1.50 (£1.75 if ordered by post); available from the Office for Worship, Church of Scotland,
121 George Street, Edinburgh EH2 4YN; tel. 0131 225 5722; fax 0131 220 3113.
Assist our Song was prepared by Douglas Galbraith and Glendon Macaulay, with members of the Panel on Worship Music
Committee
© Church of Scotland, Panel on Worship, 1999
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CHOOSING HYMNS
Introduction
When the last reading has been read, the last prayer prayed, the last sermon preached, what will be
remembered most is - well, probably none of those! Far more likely will be the hymns, psalms and
songs. Repeatedly sung, year in year out, they become embedded in the memory.
Some even argue that Christian people learn the doctrines of the faith not so much from the carefully
crafted sermon as from what they themselves sing.
It is no exaggeration to say that hymns used effectively in worship will significantly enhance the
quality of the encounter with God. If this is true, then the task of selecting hymns for worship is
equally as important as choosing the readings and writing the prayers.
This means that the Sunday hymn list should never be relegated to some kind of 'Thursday evening
lottery draw' ten minutes before choir practice (any 5 from 695!). It also means that the criteria of
selection should never simply depend on whether the tune is familiar or not, or on whether it is likely
to be 'enjoyed' by the congregation.
The purpose of this part of the booklet is to gather together some principles for selecting hymns and
songs for worship, and to suggest how they might be used more effectively. Behind this is the view
that hymns are an integral part of the service and not simply items which separate and 'give relief'
from talking and listening.
A service has shape
Many worshippers, even those who attend church every week, are often unaware that there is (or
should be!) a definite structure to the service, even though they are being helped to worship more
fully by this hidden shape.
Indeed some hymn books, like the Church Hymnary: Third Edition (‘CH3’) from which examples in this
pamphlet are taken, are arranged to echo this shape - broadly speaking, the approach to God (or, as
some now prefer, the Gathering of the People of God), the hearing and preaching of the Word of God,
and finally the response to hearing the Word - in declaring our faith, in praying for others, in baptising new
members, in sharing Communion, in dedicating our lives.
This basic shape is very ancient, and is said to have its starting point in the synaxis, the form used in
synagogue worship at the time of Christ. It is natural for worship to have a shape. Even
congregations who believe their worship is entirely free and spontaneous follow certain, at base very
similar, patterns. The word 'liturgy', not a great favourite in some traditions, has a more basic and
general meaning than 'repeated, formal exchanges and gestures'.
Such a structure, properly and creatively handled, will not be a straitjacket but a skeleton to be enfleshed
by human prayer and praise. This underlying formal framework, shared by all branches of the church, is
capable of as much diversity as the people who worship. Their culture, their tradition, the life situation
they share, the richness of their imagination, all contribute to making their 'version' of worship unique.
There are very good and logical reasons why this order of worship has been followed since even the
earliest times. A good way to understand it is to think of worship in terms of a meeting or encounter that
takes place between God and the worshipper, the pattern of which is not unlike encounters between
human persons, from greeting to goodbye. However, there are theological and even dramatic reasons
also.
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Hymns in their place
In this section we look at the unfolding 'drama' of worship and see how hymns, psalms and songs can
strengthen and deepen the participation of the people who form the congregation.
The Gathering of the People of God/Approach to Worship
Here is the threshold between the everyday and the eternal. The music and the words are to help
people make a transition, laying aside for a time the demands and distractions which still jostle in the
mind so that we can focus on the God who has promised to be in the midst of life and worship.
Greeting, Call to Worship
In a single announcement, or in a dialogue, or in 'sentences' from Scripture, the minister/leader
'invites us across the threshold'; in the same action, the 'relationship' between leader and people is
established, namely that this act of worship is not 'done' by one person to whom others listen but by a
community in which all have an equal part, enabled by the leader.
The opening hymn can assist in reaching across this threshold. Most commonly it focuses on God
in adoration and praise, 'big' in its statements and in its tune. Or it may express delight in being in
God's house, or more quietly prepare the mind to recognise the presence of the one who promised to
be where two or three have gathered together, helping create a feeling of unity among the singers.
On special Sundays, it may strike the appropriate note for the day or the season. At a time of sorrow
or threat, it may express contrition, searching, longing - a time when an opening psalm may be
particularly appropriate.
The first prayer
This may be similar in tone and content to the first hymn, either an outpouring of adoration or a
quieter prayer or collect (see next paragraph) seeking a deepening of the experience of worship. It is
common for this to lead to a prayer of confession, in general or with specific 'examples'. Some
congregations use the ancient (fourth century) response: Lord, have mercy .. Christ, have mercy ..
Lord, have mercy (which may be sung: see below 'Shorter Songs'). Many prefer to include here a
specific declaration of forgiveness, perhaps using scriptural words.
A prayer for help in living the Christian life may follow ('supplication'). In some orders the prayer is
completed by a collect, a very succinct form of prayer popular since the fifth century, whose five tiny
parts in succession: a) call on God, b) declare an attribute of God, c) utter our prayer, made possible
to ask because God is 'that kind of God', d) the outcome we hope for, e) a 'doxological' ending,
attesting to the glory of God in Christ through whom we pray.
If there is now a children's address, there may follow a children's hymn, which may be either one
written specifically with children in mind or it may be one of the vivid hymns of the church, with clear
images and a telling tune, which children are as likely to respond to as adults. There are also styles
of music (e.g. participatory, using percussion, from other cultures) which engage children. (See
further below in the special section on children’s hymns.)
If there is no children's address, sometimes there may be a second hymn at this point, picking up the
theme of confession/supplication (68-100 in CH3) or seeking the help of the Holy Spirit as worship
unfolds ('invocation', 101-112). However, always bear in mind the dangers of creating the muchmaligned 'hymn sandwich' and consider this 'slot' an option. Some like to round off this opening part
of the service with the Gloria (see the section on ‘shorter songs’).
The Word of God
In this section we meet Christ the Living Word in hearing the words of Scripture and then in the
sermon through which Christ walks, heals, challenges and saves in our own times.
For the readings, some use a Lectionary (a table of set Bible readings for each Sunday of the year) to
'keep in step' with other congregations in Scotland and throughout the world, or to enable the 'flavour'
of the readings to be relevant to the unfolding Christian Year, or to ensure that all of Scripture is
allowed to speak. (The Panel on Worship’s pamphlet on the Lectionary explains this further.) Others
take a book of the Bible, a new section every week, or choose readings and preach a sermon which
arises out of the situation in the world, church or congregation at that particular time.
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It is after the first reading (usually from the Old Testament) that the psalm is most appropriate. The
lectionary provides a psalm for each Sunday of the year, and this is included as a reflection or echo of
the Old Testament reading that precedes it before moving on to the promise of the Gospel. The
psalm should be introduced as a psalm and not under the guise of a hymn (see below on announcing
hymns). If there are three readings, the Epistle and Gospel may now follow.
The practice is increasing of keeping the sermon as close as possible to the readings which it
expounds. Where this is the case, the Gospel and Sermon may be separated by a hymn before the
sermon which speaks of our expectancy as the Word of God is opened to us. It may have the theme
of illumination or be in celebration of Scripture (113-124 in CH3). Common Order also suggests the
use here of the Alleluia, whose oldest place in worship was as a joyous greeting to the Gospel. (See
the section on ‘shorter songs’ below).
The Response to the Word
The hymn after the sermon is of response to hearing the Word of God declared. A wide variety of
themes is possible - the affirmation of faith (this is also a place where the Creed may be said by all
together); God's wonderful works in creation and providence; the saving life and work of Christ;
intercession for the world; or a prayer for the Holy Spirit to be active in the Church.
The intimations may follow, not as 'relief' after the sermon but as an affirmation of the weekday life of
the local church as a community of faith, mutual love and service. They are carefully prepared and
delivered so as to add to the worship at this point rather than interrupt it. This is a place often
preferred to the opening of a service where they can make for a 'weak' beginning to worship, an anticlimax after the 'build up' provided by voluntary and the entry of Bible, choir and minister.
The prayers of intercession take place, in some orders, before the sermon, but placed here they are a
response to the challenge heard in the reading and preaching of the Word to more urgent prayer,
greater discipleship, deeper caring, a more imaginative response to the needs of the world. This
prayer often ends with an acknowledgement of the 'communion of saints', arising from the belief that
we do not pray alone but in company. Fewer topics more carefully worked out will be of greater help
than a comprehensive list which tries to 'cover' everything.
In the offering, which sometimes precedes the prayer of intercession, believers respond by dedicating
their lives to Christ. (In some traditions, the collecting of the offering is carried out while an offertory
hymn is sung, uniting word and action.) The theme of offering is captured in the prayer of dedication
and is often the theme of the closing hymn (428-488 – 'dedication and discipleship', 'stewardship
and service', 'witness and encouragement'). Alternatively, it may echo the prayers of intercession
(489-545) or return to the theme of adoration and thanksgiving. Here the service does not just 'end',
but we are 'dismissed' and blessed in the continuation of worship into the life of the world.
The above outline should be seen as 'typical' rather than in any sense obligatory. Other
considerations may apply on a given occasion and in a particular place. Further, the contention is not
that the above is in some way 'correct', only that it is more helpful than a merely haphazard selection.
Careful choice of this kind means that the understanding is appealed to as well as the joy of singing
praise, a powerful combination in making for worship that is both life-enhancing and world-changing.
The Christian Calendar
Churches in the Reformed tradition may now be finding in the adherence to the 'Christian Year'
advantages that outweigh the disadvantages that used to be seen as attaching to these observances
- the eclipse of reason and the obscuring of the Gospel itself. Indeed, the interest in the Calendar
arises from a belief on the part of many that it allows the story of Christ to unfold in such a way that
people can 'pace' their own life and spiritual growth with it, and gain a greater appreciation of the
'drama' of the salvation story.
This does not only apply to the main festivals, like Christmas and Easter. Epiphany, with its theme of
the light of the Gospel spreading to the ends of the earth, makes us more conscious of the missionary
imperative. Advent and Lent, in their different ways periods of waiting, raise our awareness of both
the world's and our own inner needs. Pentecost speaks to a church which longs for a release of the
Holy Spirit in its midst. The observance of Holy Week as a whole (and not just Good Friday) offers,
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through the power of story, truly to enable us to share in the passage from death to resurrection.
Mothering Sunday has rich meanings for many. All Saints' puts us in touch with those from whom we
have inherited the faith and reassures us that we do not battle on alone in what may seem to be
particularly difficult times.
Nothing is as good as hymns for capturing these 'flavours'. Most modern hymn books arrange hymns to
reflect in some way the Christian Calendar, and/or provide helpful indices which enable those planning
worship to find hymns which suit. The dates and durations of these seasons and festivals are recorded
at the end of Common Order, where there can also be found, in a way easy to follow, the readings and a
suitable collect for each Sunday of the three-year cycle. For those who wish, the appropriate colours for
the seasons are listed on page 613 of that publication. A separate booklet from the Panel on Worship
outlines some reasons why a lectionary can be helpful and the principles behind the construction of the
one now most in use (The Lectionary, Saint Andrew Press).
Events and Circumstances
As well as arising from the pattern of the worship itself or taking their themes from the calendar and
lectionary, hymns may also be carefully chosen to reflect some particular circumstance in congregation or
wider community. At a time of personal or national loss, a hymn such as ‘We cannot measure how you
heal’ (Common Ground 138) may help place a people’s grief in the wider context of God’s love, while a
congregation facing radical change may find new heart in singing, ‘The clouds ye so much dread are big
with mercy’ (‘God moves in a mysterious way’ v.3).
Sensitive use of hymns in this way, of course, requires that those making the selection know their
hymn book! So often, the lines a congregation needs to sing are buried in a later verse. In our
tradition, we have long seen the hymn book as a major devotional source and necessary companion
in the Christian life. Those who lead worship are doubly bound to make frequent recourse to the
hymns of the church. Here is where the modern idea of offering several indices of themes and
seasons in a hymn book, in addition to the lists of first lines and names of tunes etc., is particularly
useful.
It remains to say that in all the above it is, of course, not necessary for a specific theme to run through
all the hymns chosen for a service. One or two may be explicitly on the particular theme. But to hear
at least resonances of the same idea in the other hymns in the service can often help people, even if
they are only dimly aware of it at the time, to perceive and experience the entire act of worship as a
comprehensive, meaningful unity. For example, one hymn may resonate with the Gospel theme,
while others may contain fleeting references, or echo the words of the other readings for the day.
Language and imagery
If the singing of hymns and songs is to be a meaningful experience, we need also to give particular
attention to the language and imagery used in the hymns we choose. Psalm 45, metrical version,
runs:
My heart inditing is good matter in a song:
I speak the things that I have made, which to the King belong:
My tongue shall be as quick, his honour to indite,
As is the pen of any scribe that useth fast to write.
At first sight (or first sing) these words are likely to be fairly unintelligible to many. The vocabulary is
archaic and the imagery of a scribe bears no relation to most people’s current experience of word
processors and e-mail! This is one of the reasons why new metrical versions of psalms are being
attempted today. Even hymns which seem to us perfectly intelligible, since we have grown up with
them, may seem strange and alien to others:
Our midnight is thy smile withdrawn,
Our noontide is thy gracious dawn,
Our rainbow arch thy mercy’s sign;
All, save the clouds of sin, are thine.
Nevertheless, hymns like these, which are gloriously rich in their imagery, often 'work' by allowing us
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to express a whole range of feelings and thoughts that we might otherwise find difficult to put into
words ourselves. So this is not to suggest that they should be disposed of and replaced. But in
selecting hymns, we do need to be careful that a good balance is struck between imagery that is
traditional and that which resonates with everyday experience of life. This is particularly important
when we are aware that there will be visitors in the church who are likely to be unfamiliar with
'ecclesiastical vocabulary'. We are not just a congregation at prayer; it is our responsibility to provide
‘public worship’.
The opposite of such complex language and imagery need not be banality, however, and the only
alternative to indirect, metaphysical language is not simple ‘child-speak’. There are many hymn
writers today who are working hard at expressing things in a vivid and accessible way that is easily
understood and remembered. Two examples:
Let us build a house where love is found
in water, wine and wheat;
a banquet hall on holy ground
where peace and justice meet.
(Common Ground 4)
To the lost Christ shows his face,
to the unloved he gives his embrace,
to those who cry in pair or disgrace,
Christ makes, with his friends, a touching place.
(Common Ground 1)
Hymns and Songs for Children
This is where worship planners can come closest to throwing in the towel! It is becoming less
common for hymn books to have a special section of ‘children’s hymns’, although CH3 does try to
include in each section some hymns so designated. Behind this development lies the growing
realisation that there is no one type of music that is appropriate for children, that there is a great
variety of taste between the different stages of childhood, and that even within the same age group
children’s preferences are very varied. It is easy to patronise children by the songs we ask them to
sing.
Of course there is a place for the simple action song (‘And if you’re a friend of Jesus, CLAP CLAP
CLAP CLAP, you’re a friend of mine’). Children, especially in the youngest age groups, enjoy songs
that call for moving as well as singing (a natural combination that even adults are learning from the
traditions of other Christian cultures), but we may be grossly underestimating both the intelligence
and inherent sensibility of our children if we limit their repertoire in this way.
The church has to waken up to the fact that children are often disarmingly wise when it comes to
matters of faith, and not infrequently reveal a surprising natural facility to embrace the numinous. It is
quite disabling of children, and we do them a gross disservice if, even with the best of intentions, we
restrict their repertoire to simple tunes with simple words expressing simple ideas. Good children’s
songs don’t have to be couched in kidspeak!
Children in primary 1 classrooms today know all about Tyrannosaurus Rex as well as being aware of
many of the complex arguments surrounding environmental and ecological issues (even if they can’t
spell these words, though many of them can!). Any educationalist will affirm that it is quite legitimate
to expect children to sing words that may be unfamiliar to them, and for younger children to be
exposed to concepts about which they might have only limited knowledge. (After all, how many adults
fully understand the concepts expressed in hymns about the mystery of the Trinity or the Holy Spirit?)
‘Even very young children might like to get their tongues round words like joyful and triumphant and
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sing in exultation’.
We have pointed out above how words and phrases of hymns that have become well known to a
person can ‘crop up’ at significant times and give new strength and insight. Experience has shown
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Ian Sharp Church Music Quarterly January 1999 p. 31
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how things learned by rote at an early age, be they the twelve times table or ‘If’ by Rudyard Kipling,
even if the full significance is not grasped at the time, stay with a person into maturer years. Might
this not apply also to the ‘classic’ hymns of our faith?
If not to the ‘classic’ tunes! Plenty of children and teenagers know a fine, well-made tune when they
hear one. Given, however, that we seek music which will appeal across a broad spectrum, there are
plenty of stages before we reach the ‘too simple by half’ which is often our answer when children are
concerned. A feature of some of the new songs, especially amongst those which come from other
cultures, is that they depend on interaction between groups of singers, in creating harmonies, in call
and response, in rounds and canons, in solo/cantor and refrain, in short chants and choruses which
do not depend on the following of an 'argument’.
These more ‘dynamic’ styles are popular with children, especially since, as with many, there is a strong
rhythmic element, and even the use of percussion. Examples include Come, let us seek our God’s
protection (Common Ground 22), As the deer longs for running streams (CG10), Come, all you people
(CG18), Celtic Alleluia (CG19), Clap your hands (CG20), the Peruvian Gloria (CG101). Children absorb
and respond to rhythm (just ask them to sing the latest, complex, pop song) and enjoy the challenge and
novelty of singing in other languages. Try Amen siakudumisa (CG7) or Halle, halle, halle (Many and
Great). Or try telling a Bible story in rap style; Scriptaid no.31 from the Netherbow Centre (0131 556
9579) has three – about Easter, Jonah, and the Fiery Furnace.
Then there is the increasing recovery today of folk melody, the kind of songs that children would hear
‘at their mother’s knee’. Their longevity speaks of their strength of composition and of their wide
appeal, and their modal structure shows kinship with the earliest styles of church music. ‘Christ’s is
the world in which we move’ (Dream Angus, CG1), ‘Will you come and follow me?’ (Kelvingrove,
CG148), and ‘Lord, we come to ask your healing’ (All through the night, CG78) not only may
rehabilitate a tune now in danger of being forgotten but bring to life new words which arise from the
struggle to be Christian in the contemporary world.
As well as looking more widely in the directions suggested above, the following collections may repay
examination: Big Blue Planet (Stainer & Bell), Calling the Children (ed. Christopher Walker), Come
and Praise and Come and Praise Beginning (BBC), Junior Praise (Marshall Pickering), Kids Praise
(Spring Harvest), Songs of Fellowship for Kids (Kingsway), A Year of Celebration (McCrimmon), The
Children’s Hymn Book (Kevin Mayhew), Tomb Breaker (CEP), and Songs for the Young Church Choir
(Kevin Mayhew).
Introducing Hymns
While there is an sense in which everything we do in worship, including our singing, is ‘to God’s
praise and glory’, it does become a bit monotonous to hear every single hymn introduced with this
and similar formulae which have become predictable and well-worn clichés. Quite often, indeed, such
a prefix does not suit the hymn it introduces, which may be one of struggle or supplication or be in a
meditative mood.
The way in which hymns are introduced can greatly enhance their meaning and relevance.
Thoughtful introductions can be extremely effective in underlining the significance and power of the
words that are to be sung in a way that adds immeasurably to the experience of worship. On the
other hand, a standard introductory formula may not raise any expectations at best, or dampen
enthusiasm at worst.
While it is often best to make the simplest of announcements, or even to make none at all and let the
worship ‘flow’, assuming an order of service contains all the information necessary, sometimes it can
greatly illuminate the hymn to include a brief but additional piece of information. This may relate to
the theme of the hymn, how it fits in at this point in the service or to the theme of the day, its
authorship, or even to make reference to a subsequent verse or line of the hymn which may
crystallise the meaning of the whole or which, perhaps, will be referred to in the sermon.
Introductions to avoid reading over the whole of the first verse – a hymn is not a poem but a new creation of words and
music; to isolate one element distorts;
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overextending the announcement (unless a deliberate, well worked out and brief introduction as above) by
unnecessary words which sound messy and only serve to increase the distance between the hymn and
what has gone before, making it sound a separate ‘item’ with no particular connection with its context;
obliterating our heritage of psalmody by either only giving it the 'hymn' number it has been given in
CH3 or by giving that as its principle reference; instead name it as ‘Psalm X’ and qualify this as, e.g.,
‘found at Hymn Y’’;
and maybe the following are not as inviting as we imagine! ‘Here’s one you’ll like …’
‘Now we are going to sing one of my favourites …’
‘I didn’t think much of your singing in the last hymn; let’s see if we can
do any better in Hymn …’
‘This is a hymn that may not be known to most of you …’
‘Let’s lift the roof with Hymn …’
Other uses for the hymn
Hymns may be used other than as main items in worship. On occasion, the verse of a hymn might
punctuate a prayer, provide a ‘pause for thought’ in a sermon, or set the scene. A whole hymn might
be employed as the structure for teaching about an aspect of faith and doctrine, with pauses for
elaboration; or, similarly, a hymn could ‘punctuate’ a sermon or address on a suitable occasion,
leading from one point to the next. In the appendix, there is recorded a service where a ‘set’ of hymns
were used as the framework for the whole act of worship ('A service where the hymns helped develop
a theme').
In planning the use of hymns in this way, reference may be made to thematic and scriptural indices
increasingly being provided in hymn books; the Handbook to the Church Hymnary (Revised Edition)
contains such indices, although they are not given in the parent book or its successor, CH3.
Speaking of which, a hymn book companion or handbook gives useful background to individual
hymns and their creators.
Learning new hymns
Imaginative use of hymns will inevitably lead to the necessity of learning new hymns. Often, new
words may be sung to tunes already known. Another pamphlet in this series, With heart and hands
and voices, has a section entitled ‘Metre demystified’ which gives advice on how to find tunes that fit a
particular hymn.
Often, an old tune cannot be found to fit, since some new hymns are in unusual and interesting
metres, or it may be that the old tune does not ‘lift’ the words and do justice to them. In such cases,
the new tune will need to be learned. A further pamphlet in this series, All that hath life and breath,
gives detailed practical advice as to how to go about teaching new tunes. It suggests, among other
things, that the most effective way may not be having the choir sing it over and the congregation try to
copy, and that nothing can beat the human voice (a skill which may reside in someone other than the
minister or organist). It also suggests that any learning should be done before the service begins
and not at the point when the hymn is to be sung.
Getting out of the rut
Just as the shape of the service should be a hidden strength and inspiration, which must be clothed in
prayer and imagination and not be allowed to become a dull duty which never changes from week to
week, so the choice of hymns can be saved from becoming predictable and repetitive, not just in the
actual hymns chosen but in how they are used.
a) Need there, for example, always be five hymns, no more, no less? On occasion, fewer or more
(carefully chosen) would 'make a change' and thus enhance and enliven.
b) Does it always have to be the case that the first and last hymns are triumphant and rousing while
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those in between are quieter and more contemplative?
c) Will an invariable mix of three standard hymns and two from an alternative source such as a
supplement automatically make all ages feel included, which is usually the intention, or will this lose its
impact through time?
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d) Does every service have to begin with a psalm, with only hymns to follow (a relic of the times when
all the singings were from the psalms)? The theme of a given psalm may make it a gift for another
part of the service. Also, there is a strong reason for including the song from Scripture with the
readings from Scripture.
e) Need the congregation always stand to sing? Singing seated was once the practice in our
tradition, and it may be that on occasion this might add to the sense of the words or help create a
mood. Similarly, might part of a hymn be sung by a soloist, or have male or female voices sing on
their own, or divide the congregation into two?
Musical issues
Even when the right hymn has been chosen for the right ‘slot’, there can remain pitfalls. One is that if
all, or too many, of the hymns are in the same key, even though people may not recognise this
consciously it can have a deadening effect on worship. A variety of keys will help to avoid monotony
and dullness in singing. The same goes for metre. Four lines in every verse, each set of lines with
the same number of syllables – people will soon forget which hymn they have reached! This is not a
call for variety just for the sake of it; hymns which are too alike will ‘relate back’ to each other rather
than arise fresh from the point in worship that has been reached.
Minister and organist
Although in our tradition the responsibility for the content of worship lies with the minister, the
musician in the congregation has very real responsibilities also. He or she wishes to accompany a
hymn not only as accurately as possible but in a way that enhances the meaning of the words. Also,
the responsible organist will hope to add his/her pennyworth to the effectiveness of the worship by
making appropriate suggestions, about the best tune for a particular hymn, or suggesting a hymn not
often sung but whose content is particularly good, or by adding suitable music for choir or organ.
One of the most frequent comments of those who are following the Scottish Churches Organist
Training Scheme (SCOTS) is that they would like to know the hymns earlier. It is not always easy for
the planner of worship to comply. Often the theme of the service may develop ‘late’ in the week, and
the good worship leader will want the hymns to match mood and moment. However, occasionally,
the problem is lack of organisation.
A minister might reassure an organist – ‘They are all simple; you won’t have any difficulty’, but the
organist, particularly one as yet without long experience, wishes always to improve accuracy (for
example, on the pedals) and increase confidence. Also, the organist may (rightly) believe that what is
required from him/her is not just plain accompaniment but interpretation – which means getting to
know the words of the hymn and reflecting on how they should be accompanied.
Conclusion
Behind all the points made about the choice of hymns lies the conviction that the right theme, the right
flavour or mood, the right key or metre, are only part of the story. In putting a hymn into people’s
mouths, you are doing much more, namely ‘second guessing’ that this particular hymn will at that time
allow the people to make the response they want to make, the ‘Amen’ that is on their lips waiting for
expression. As such, the choice of hymns is a task which calls for prayer, sensitivity, love and
imagination.
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SHORTER SONGS
Those whose worship is already packed with five or six hymns and an anthem may be surprised to
hear that there is still room for more music. Praising God in a hymn or a psalm is a central act in a
service but there are many other components of worship which, at various times in our history, have
been given added power and punch by being clothed in music. For example, at Baptism, a
congregation might sing the words of the Aaronic Blessing (‘The Lord bless you and keep you’) - a
custom that dates back to worship in the synagogue. For many people, these words somehow
wouldn’t be the same if they were spoken rather than sung. Today there are signals that the church
is becoming interested in singing at other points in a service. There are three main reasons for this.
1 Increased spontaneity For several centuries, worship in the Reformed tradition has tended to rely
heavily on the words of one person (the minister). Undoubtedly our Sunday worship has been “well
thought out” and soundly based on good doctrine. However, because of this, worship has demanded
considerable intellectual effort on the part of the listeners and in the past people have enjoyed
sermons that “made them think.” Today’s worshippers still want to be thoughtful, but they also seek
an element of spontaneity: the feeling that we can be with God naturally and easily without always
having to ‘get the theology right’.
In our Reformed Scottish worship patterns, apart from hymns, there has been no opportunity for
individual worshippers to articulate what they feel in their hearts during public worship. However,
short songs that accompany actions and events within worship, or allow us to respond to them, mean
that we can express immediately and spontaneously what we feel, without the encumbrance of
lengthy announcements from the worship leader, or the need to look up hymn books to find
appropriate words. These songs are being widely welcomed and increasingly more popular in
churches today.
2 More fluency Today, perhaps from seeing how other branches of the church operate, we hanker
after more fluency in our worship. We can tend to view each component of worship as separate and
distinct, as in a concert programme, where one item follows another. As a result it can be difficult for
us to ‘lose ourselves’ in the service, or be swept along and caught up in it.
Spontaneous, brief outbursts of song that happen without announcement, then, without lengthy
introductions on the organ (as with hymns), and without the formality of the congregation having to
heave itself to its collective feet, serve to anticipate, accompany or affirm the action that is taking
place. They also help to create a sense of continuity in the flow of the worship as well as providing
the means through which the feelings and emotions of the whole congregation can be expressed.
3 Greater participation Many of us have become quite unused to responding verbally in our
services, and ‘responses’ are often viewed with suspicion. This is true even though our service books
have for some time included spoken parts for the congregation. Nevertheless it is our right and
privilege to contribute to the unfolding of the service of worship and make it our own. Those who
might feel awkward about speaking may be willing to sing, since singing is something we are at home
with in our style of worship. Words that are sung, and actions that are accompanied by
congregational singing, offer everyone the opportunity to be directly involved in parts of the liturgy that
rightfully belong to the people.
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Where to find shorter songs
Evidence of the widespread interest of congregations in singing shorter songs today is seen in the
plethora of publications that now include such settings. It is impossible to list them all here, but
details of those most frequently used are given below, together with some suggestions as to how
shorter songs might be used in worship. In what follows, some songs are found in more than one
source, but only one is given for identification. Abbreviations used are as follows:
CG
SOGP
CAYP
TOAU
SL
MG
WGS 1,2,3
PPP
T
Common Ground (Saint Andrew Press)
Songs of God’s People (Oxford University Press)
Come All You People (Wild Goose Resource Group)
There is One Among Us (WGRG)
Sent by the Lord (WGRG)
Many and Great (WGRG)
Wild Goose Songs Vols 1, 2, 3 (WGRG)
Psalms of Patience, Protest and Praise (WGRG)
Music from Taizé
Gathering songs
Gathering songs are used as an alternative to or in addition to the organ voluntary before the service
begins to prepare people for and call them to worship. They help to set the scene for what is about to
take place and create an appropriate mood and atmosphere. They can be repeated for as long as is
necessary and, like most short songs, are often best unaccompanied. One person or the choir might
start off the singing and the congregation can be invited to join in (and drop out) as they feel moved to
do.
Appropriate gathering songs include: We believe, maranatha (SL); Yesuve saranam (India, MG); Wa
emimimo/ Come, Holy Spirit, come (Nigeria, MG); Jesu tawa pano/ Jesus, we are here (Zimbabwe,
MG); Come, Lord, come quickly (WGS 1); I waited on the Lord (WGS 1); Lord, draw near (WGS 1);
Lord Jesus Christ, lover of all (WGS 1); Come, Holy Spirit (WGS 2); Come, Holy Spirit (CAYP); Here I
stand (WGS 2); Be still and know (WGS 3); Come all you people (CG); Send out your light (CAYP);
Holy, holy (v.1) (CG); Bless the Lord, my soul (CG); Spirit of the living God (CG); Bless the Lord
(Kenyan, TOAU); Be still and know (TOAU).
These may be performed in a variety of ways. For example, ‘Wa emimimo’ can be sung quickly and
with excitement but may also be sung quietly and reflectively, depending on the occasion and the
intention.
Prayer chants
Adoration and confession Towards the beginning of a typical Sunday morning service is the prayer of
adoration and confession. Such prayers do not set out to prescribe what we are to feel but enable us
to express what we need to. (The minister can’t possibly take into account the reasons why every
individual present wants to adore God that morning, or what personal regrets and shortcomings need
to be remembered in confession.) The inclusion in the prayer of short sung sentences can mean that
every person in the congregation can make his or her own response in a way that is unique to each.
Adoration Suitable short songs include ‘Adoramus te domine’ (T); the antiphon from ‘In you, O Lord, I
found refuge’ (PPP); Father, we adore you (SOGP); Bless the Lord, my soul (CG).
Confession The Kyrie (the Greek beginning of the sentence “Lord, have mercy upon us”) is a brief but
poignant hymn which was first used in fourth century Jerusalem and Antioch, from where it spread
rapidly. It was originally a general response in any kind of prayer but it has become particularly
associated with confession. There are many settings in both Greek and English, and many also from
other countries: Greece (SL); Taiwan (SL); Brazil (MG); Ghana (MG); the Ukraine (CG); Chad
(TOAU); and Scotland (TOAU). CG has a setting by the Scottish composer James MacMillan. In this
category, the antiphon from ‘In my day of fear’ (PPP) and ‘Take, O take me as I am’ (CAYP) are also
suitable.
13
Thanksgiving, intercession, dedication Practices vary as to where these prayers come and whether
they are connected, but, as in the earlier prayer, the minister’s words are not prayers on our behalf,
but are intended to “stir us to prayer”. Musical settings punctuating the spoken prayer help to deepen
participation and engagement on the part of the individual.
Thanksgiving Antiphon from ‘Let the giving of thanks’ (PPP); the chorus from ‘Alleluia, give thanks to
the risen Lord’ (SOGP); Jubilate Deo (SOGP); Imela (MG); Glory and gratitude and praise (CAYP);
Deo gratias (TOAU); and Jesus Christ, Jesus Christ (TOAU).
Intercession O Lord, hear our prayer (CG); Ubi caritas et amor (T, SOGP); Gabi Gabi (SOGP); On the
poor (SL); Dona nobis pacem in terra (SOGP); Through our lives and by our prayers (CAYP); Lord, to
whom shall we go? (CAYP); Stay with me (CG); Bring your best (TOAU); Lord of life, we come to you
(TOAU). The song ‘For the world and all its people’ (SL) comprises several short verses, each of
which could be used in response to appropriate sections of an intercessory prayer.
Dedication Take, O take me as I am (CAYP); In love you summon (TOAU).
Acclamations
Amen Acclamations are short bursts of affirmation, the best known being “Amen” meaning “So be it!”
Scripture is peppered with amens which appear not only at the end of psalms, but also at the
beginning of some of the sayings of Jesus (translated as “verily” in older editions of the Bible). The
word “amen” is used to describe Jesus himself in Revelation 3:14. In addition to the well-known
“threefold” amen used to conclude many services, there are other musical settings which allow the
word to be repeated until it becomes a resounding shout of confident praise. There is an interesting
arrangement of ‘Amen, Alleluia’ in CAYP; it is very easily taught, and may be sung as a round by the
whole congregation. Further examples are: Amen Alleluia (MG); Amen Siakudumisa (CG), both
South African.
Alleluia Alleluia (Greek and Latin) or Halleluia (Hebrew) means “Praise the Lord". It is very ancient
and found frequently in the psalms of praise in the Old Testament. A traditional location in Christian
worship has been immediately before the Gospel reading, as a joyous greeting. A triumphant Alleluia
sung as a congregational response could be interspersed between the verses of an appropriate
spoken psalm (eg Psalm 113). Many of the settings from African and Latin American countries
wonderfully capture the spirit that is needed to sing an alleluia. The lively and infectious Halle, Halle,
Halle from the Caribbean (MG) can be used as a recessional, or as a song during which people move
for whatever purpose during the service. TOAU has Alleluia (Duncan) and one from Korea. The
setting at CG5 from South Africa arises from ‘deeper springs’. There are two settings with added
verses in CG, the ‘Celtic Alleluia’ and the ‘Eastertide Gospel Acclamation’.
Gloria in excelsis Deo “Glory to God in the highest” was part of the song of the angels at Bethlehem.
By the fourth century other words had been added to make one of the psalmi idiotici, the popular
hymns modelled on the psalms and canticles of scripture. The full text is quite long (more like an
anthem) but shorter settings, particularly those from other parts of the world church, capture the mood
of praise and elation. A common place is at the end of the opening section of the service, before the
Word is read, but it could be used at other appropriate points. Two terrific versions, both very easily
taught to the congregation, are from Peru (CG) and Argentina (MG). The ‘Iona Gloria’ (CG) may be
quite ancient.
Other affirmations include: If you believe, Jubilate, everybody, You shall go out with joy, Mayenziwe
(all CG).
The Peace
This very early action may go back to the Jewish synaxis in which the shape of our present worship was
foreshadowed. It may have been given fresh meaning by Jesus’ command to make peace before
bringing a gift to the altar. 1 Peter 5:14 has ‘Greet one another with a kiss of love’. As worship has
developed, this act has moved from place to place but is now most commonly found as the people
prepare to share Communion. Examples include ‘The peace of the earth’ (Guatemala, CG), Dona nobis
pacem Domine (T), Dignity and Grace (CG).
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Songs at Communion
Certain parts of the Communion service cry out to be sung by all the people (and some of them were)
and not simply spoken by the minister.
Sanctus and Benedictus The Sanctus (“Holy, holy, holy Lord, God of power and might….”) and the
Benedictus (“Blessed is he who comes in the name of the Lord…..”) are short hymns near the beginning
of the Communion prayer. There are many good versions in the books listed above, including the
Argentinian Santo/Holy (CG) and the Sanctus and Benedictus in WGS 3. There is a James MacMillan
setting in CG.
Agnus Dei The words “Lamb of God, you take away the sins of the world…” come at a very poignant
moment in the Communion service, just as the people are about to touch and taste the elements.
Here, the Lamb refers both to Christ and to the bread and wine. Originally, the Agnus Dei was
repeatedly said or sung for as long as it took to distribute the bread and wine to all the people. Again,
there are many settings available, but particularly popular are: Behold the Lamb of God (CG) and
Agnus Dei (WGS 3). There is a setting, ‘Lamb of God’, by James MacMillan in CG.
The sharing of the bread and wine ‘Eat this bread’ (CG) can be used as a simple chant, repeated, or
in association with other verses (T); James MacMillan’s ‘When we eat this bread’ is in CG.
Dismissals, blessings, recessionals
The final task of the minister in a service of worship is to bless the people in God’s name before they
go out into the everyday life of the world. The people can respond to this blessing by repeating this to
each other, and may continue until all are outside the church. Possibilities include: We are marching
in the light of God (CG); Thuma Mina (CG), both South African. Night has fallen (Malawi, CG) is a
beautiful prayer at time of parting; Now go in peace (CG) has West Indian origins; “Sent by the Lord”
(SL) is from Nicaragua; Mayenziwe (CG) is from South Africa; Behold, I make all things new (CAYP);
God to enfold you (CG); May the Lord, mighty God (China, CG); The peace of the earth (Guatemala,
CG).
Miscellaneous and special occasions
Although the short songs above have been listed under specific categories, many of them can be
used effectively at other suitable points in the service. The following songs might be used
imaginatively on particular occasions and at appropriate times of the year: Surrexit Dominus (SOGP);
Stay with me (CG); Lord, to whom shall we go (SOGP); Kindle a flame to lighten the dark (WGS 1);
Veni Immanuel (CAYP); Watch and pray (WGS 2); Wonder and stare (CAYP); For yours is the
Kingdom (WGS 3); He became poor (WGS 3); Word of the Father (CAYP); Don’t be afraid (CAYP).
15
CHORAL MUSIC
The well-loved Scottish churchman, the late Archie Craig, once said that the Bible is such that a lamb
can paddle in it and an elephant can swim in it. Similarly, the church is home for people ‘well
travelled’ in the faith as well as those beginning their journey, and for those also who make widely
different intellectual demands. Musically, the same applies – from those whose natural talent remains
undeveloped to those who have nurtured their voice or musical skill and knowledge. All these have
‘musical ministries’, and so far we have been focusing on that of the congregation.
The traditional full choir of soprano, alto, tenor and bass voices is not always found these days.
There are several reasons for this. In society in general, people do not sing together as they used to.
Again, musical energies in schools usually favour instruments above singing. Often, then, where
there is a 'choir', it may be weak in one or more sections (most frequently the tenor section), or it may
consist of older people who have stayed together for many years and who may not have the
resilience to tackle the more demanding music which once they sang with ease.
There are also positive reasons for changes in the composition and structure of the choir, resulting
from a desire to establish new patterns. Some find a choir 'too rigid' and prefer to come together in a
more ad hoc way, encouraging people to drop in and drop out as their circumstances dictate. Their
purpose may be to explore new congregational music and become able to introduce such material to
others. Or it may be felt that the old pattern brought with it a restricted repertoire and that a newlyestablished choral group may bring a new release of musical energy.
Whether we are dealing with such groups or with a 'traditional' choir with smaller numbers, the search
is on for music which is more accessible, not only in its musical range or in the skill required, but in its
general appeal – simpler settings in fewer parts or in unison.
As in our discussion of the choice of hymns, the place to start in making a selection is giving attention
to the worship context. 'Anthem' is usually thought to derive from 'antiphon' which in its earliest guise
was the addition to the psalm which 'anchored' it in the Christian season or in the festival being
marked on a particular day. It is good practice, in choosing choral music, to take into account those
same considerations which assist in the choice of appropriate hymns, namely the Christian Calendar
and the themes emerging from the Scripture readings as well as any special events or circumstances
in the life of church and world.
As to the place in the service, the commonest place for the anthem – i.e. in close association with the
readings – acknowledges the fact that most anthems are settings of words from Scripture and allow
the hearer to reflect on a text. (That is why it is important to let the congregation know what the words
of the anthem are, perhaps reproducing them in a printed order of service.) However, the introit
(originally sung during the entry of the clergy) can also set the scene for a particular service, reflecting
season or theme. There are other places where a choir may sing, as long as this is not just at random
but in some meaningful relation to what has just happened or is about to happen.
Here are some suggestions about finding simpler, more accessible or less 'formal' musical settings.
Hymns we don't sing
There are many tunes in any standard hymn book which have never ‘caught on’ because they have
seemed too difficult or have not been properly introduced, but are both interesting and appealing to
listen to. These may be very useful and accessible for a small choir and may even in time become
part of the congregation’s own repertoire. Browse through CH3, for example, and try Spenser’s fine
‘Most glorious Lord of life’ to the Leighton tune (44), or the Gelineau psalm at 350, or ‘God your glory’
(469). Or consider using a tune that is set but not the one usually preferred, like Psalm 23 to
‘Searching for lambs’ (387). There are plenty of seasonal possibilities: what about ‘Away with gloom’
(Easter, Ascension, 292) or ‘Hail thee, Festival Day!’ (Pentecost, 328)?
Hymn book supplements
Hymn book supplements sometimes offer potential pieces for small choir, in that they are often new
16
and unheard, although later they may be popular. In Common Ground, for example, ‘All are welcome’
(4) has a short chorus in which a congregation could join; ‘As the deer longs’ has a varied texture with
an interplay of solo voice, harmony, and overlapping tunes; ‘Come and gather round’ (23) can be
sung in three parts if the tenor is omitted; at 44 and 56 are two, possibly quite early, Scottish Gaelic
settings with English translation; ‘When in our music, God is glorified’ (142) is a stirring setting of
words which celebrate the gift of music.
'Shorter songs'
Reference may be made also to the section on shorter songs (above). It could well be that on
occasion a choir or small group can provide (or of course reinforce) such chants. Some of these are
supplied with varied arrangements. The books of Music from Taizé (Collins Liturgical) offer settings in
harmony, in canon, with descants, with additional verses. There is also a volume of instrumental
parts where the addition of even just one instrument might enhance the piece and make a simple but
effective musical offering in a service.
The Royal School of Church Music
The problems and opportunities provided by small choirs are now being taken seriously by publishers
and other bodies. In particular, the Royal School of Church Music is making it its business to
resource not only congregations with an established musical tradition but those who have very few
resources indeed. This is done through events and workshops, but their catalogue of their own and
other publications is worth studying. There one may find books of simple anthems for two or more
upper voices, for SAB, books of descants, publications to assist sight reading and warming up, as
well as a setting of Psalm 23 to the Vicar of Dibley theme! The catalogue comes to all affiliated
congregations but is available generally from RSCM, Cleveland Lodge, Westhumble, DORKING RH5
6BW (tel. 01306 872811, fax 01306 887240, email musicdirect@rscm.com).
Worthy of mention are four publications of their own which offer interesting and more challenging
arrangements of popular choruses and worship songs. They are Sing with all my soul, Worship in
Song (both ed. William Llewellyn), Anthems from worship songs (Whitbourn and Wilson), and
Worship songs for the small church (ed. Robin Sheldon).
Particularly useful is the publication Getting started, which offers basic information for churches with
minimal resources. Congregations who feel they are virtually starting from square one (one chapter,
for example, is entitled 'When there is no organist') will find no assumptions being made about the
level, if any, of their resources, and will find tackled the most basic questions as they relate to
congregation, any potential choir, clergy, even readers.
Another resource circulated by RSCM to its affiliated congregations is Sunday by Sunday, 'a weekly
guide for all who plan and lead worship'. This offers suggestions for hymns (CH3 and Songs of God's
People are included), anthems, psalm settings and organ music relating to two lectionaries, one being
the Revised Common Lectionary (although called in this publication by a different name) published in
the Church of Scotland's Common Order and used also in other Scottish churches.
Information about affiliation can be had from the Church of Scotland's Office for Worship or the RSCM
itself (see Useful Addresses p. 30).
Wild Goose Resource Group
Wild Goose publications are now numerous. Among the earlier collections were the three volumes of
Wild Goose Songs which variously focus round Christmas/Creation/Incarnation (1. Heaven shall not
wait), Easter (2. Enemy of Apathy), and sacraments and seasons generally (3. Love from below).
The two collections of songs from the world church, Many and great and Sent by the Lord, and the
South African collection, Freedom is coming, have many appealing songs in a variety of settings.
Psalms of patience, protest and praise, and Seven songs of Mary/Seven Psalms of David are in
settings which would appeal to a choir seeking something a little more challenging than hymns and
songs. These and other volumes are listed in the Wild Goose Publications catalogue available from
Unit 16, Six Harmony Row, Glasgow G51 3BA, tel. 0141 445 0985, fax 0141 440 2338.
17
Others
Other catalogues are worth scrutiny. Stainer & Bell Ltd., the publishers of Sydney Carter, Brian Wren,
Timothy Dudley-Smith and other pioneers, have been gathering and publishing lively new material
since the 'hymn explosion' of the nineteen sixties. An old-established concern, they also publish
across the whole musical range and produce such collections as Musica Britannica. Their church
music catalogue is called Sing a new song and they also produce a periodic church music newsheet
called The Bell.
The catalogues of Kevin Mayhew Ltd., in addition to useful collections of traditional anthems
(including one for 'choirs which are rather short of men'!), cantatas and musicals for adults and
children, organ and instrumental music etc., make available material from contemporary Roman
Catholic sources as well as others.
18
APPENDIX
Here are two examples of services where careful thought was given to the selection of the hymns.
They are not meant to be taken as paradigms of how it should be done! Rather, they are simply
meant to demonstrate how hymns might more effectively and imaginatively be used as integral
components of worship.
An ordinary Sunday in an east coast fishing town
The Gospel for the day was Mark 4.35-41, the storm on the lake. The accompanying Old Testament
reading given in the Common Order lectionary was Job 38.1-11, where God reminds Job of his place
in creation compared with the one who prescribed the bounds for the sea and said: Thus far shall you
come, and no farther, and here shall your proud waves be stayed. The service was the morning
worship of the parish church of a Fife fishing port. Examination of these five hymns and psalms will
reveal a contrast in metres, moods and keys. Indeed there were five different keys, four different
metres, and a mixture of four line, six line and eight line verses.
Opening hymn (CH3) 37 Praise the Lord! Ye heavens adore him, chosen as a general hymn of praise
but the line ‘Worlds his mighty voice obeyed’ prepared the way for the picture of Christ stilling the
storm as well as referred forward to God laying the foundation of the earth. Further, ‘Never shall his
promise fail’ and ‘Sin and death shall not prevail’ (v.2 lines 2 and 4) pre-echoes the reassurance of
the Gospel story.
Psalm 93 (Hymn 140) The Lord doth reign with the evocative words, ‘The floods have lifted up their
waves/ and made a mighty noise’ but with the note, again, of promise and reassurance, ‘But yet the Lord,
that is on high,/ is more of might by far/ Than noise of many waters is …’
Hymn following the Gospel reading 681 In heavenly love abiding. The not of reassurance in this hymn
echoes the relief of the disciples and the peace following the story. It includes the lines ‘Bright skies
will soon be over me/ Where the dark clouds have been’.
Hymn after the sermon 147 God moves in a mysterious way. As well as a confident declaration of
faith, it contains the lines, ‘He plants his footsteps on the sea,/ And rides upon the storm.’ It calls on
us ‘fearful saints’ to take fresh courage – ‘The clouds ye so much dread/ Are big with mercy. In the
Gospel narrative, Jesus asks the disciples: Have you no faith? and God asks Job to find a new trust
in him, but on God’s terms, not on his. This is captured in verse 4, ‘Judge not the Lord by feeble
sense but trust him for his grace’.
Closing hymn 527 - a staple for such a fishing community, with so many memories attached to it. The
direct reference is to the gospel narrative: ‘O Christ, whose voice the waters heard,/ And hushed their
raging at thy word,/ Who walkedst on the foaming deep,/ And calm amid the storm didst sleep’.
A service where the hymns helped develop a theme
The theme was listening for the still, small voice. It was prepared for morning worship where children
were present at the first part of the service. The hymns were interwoven with a series of brief
comments.
Hymn (CH3) 9 Praise to the Lord, the almighty, the King of creation. The Call to Worship had used
the lines from verse 1, ‘All ye who hear,/ Now to his temple draw near’.
Talk to the children
This focused on the importance of holding fast to what we know and feel deep inside is right, and was
illustrated by a participative game.
CG 100 One more step along the world I go
The introduction highlighted the line ‘Keep me travelling the way I should’, which was the essential
point of the talk to the children.
19
First comment
We are usually willing to agree that God speaks to us in the still small voice of calm; it’s a comforting
and reassuring notion; the words are whispered intimately and confidentially; and as the hymn says,
they remove stress and bring us peace.
Hymn 76 Dear Lord and Father of mankind
The words refer directly to Elijah’s experience of the earthquake, wind and fire on the mountain, and
include the line, O still small voice of calm’ as well as to Jesus’ drawing apart in quiet to speak with
God.
Second comment
We are quick to agree God speaks; but when did you last hear his voice? did it have a Glasgow
accent? what precisely did he say to you? Does it really happen like the hymn says it does? What
about when there seems no answer whispered in our ear when we ask God to help us? So what
exactly is the still small voice? Maybe the Old Testament story can give us a clue…
Old Testament Reading: 1Kings 19.8-12
The well-known story of Elijah’s encounter with God on the mountain, and containing the words ‘And
after the fire there was the soft whisper of a voice’.
Third comment
God had traditionally spoken in the context of earthquake, wind and fire (eg to Moses at Mount Sinai);
so this passage contradicts tradition. Elijah story demonstrates God speaks also in the aftermath, in
the lull. It can be through the small and the insignificant that God speaks and influences. We too
influence on folk around us in a ‘mundane’ way.
Hymn 485 Lord speak to me that I may speak in living echoes of thy tone This hymn sums up this
last thought.
New Testament Reading: Luke 18.9-14
The Pharisee boasts of his goodness while the sinning tax collector hides in a corner of the temple,
too ashamed to say anything. But he listens!
Fourth comment
The tax collector discovered the secret of how God communicates, not in words whispered in his ear,
but in the silence of his heart; that’s what the still, small voice of calm is; when we take time to listen,
God can plant a word, idea, notion in our hearts; real listening means responding to that.
SOGP 89 O the love of my Lord is the essence. Each verse speaks of God’s giving/touch/mercy as
being ‘gentle as silence’.
A brief time for silent reflection
SOGP 103 The voice of God goes out to all the world.
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USEFUL ADDRESSES
RSCM, Cleveland Lodge, Westhumble, DORKING RH5 6BW; tel. 01306 872811, fax 01306 887240,
e-mail: musicdirect@rscm.com; website: www.rscm.com.
Wild Goose Publications, Unit 16, Six Harmony Row, Glasgow G51 3BA; tel. 0141 440 0985, fax
0141 440 2338.
Stainer & Bell Ltd., P.O. Box 110, Victoria House, Gruneisen Road, LONDON N3 1DZ; tel. 0181 343
3303, fax 0181 343 3024, e-mail: post@stainer.co.uk, website: www.stainer.co.uk.
Kevin Mayhew Publishers, Buxhall, STOWMARKET IP14 3DJ; tel. 01449 737978, fax 01449 737834,
e-mail:kevinmayhewltd@msn.com.
Office for Worship, Church of Scotland, 121 George Street, EDINBURGH EH2 4YN; tel. 0131 225
5722, fax 0131 220 3113, email: swilson@cofscotland.org.uk
21
The duties of ministers, musicians and congregation
- extract from Songs of the People of God, Wesley Milgate,
Collins Liturgical Publications 1982
reproduced by permission
The musical duties of clergy include getting to know the contents of a hymn book (including the
preface), using hymns as illustrative material in preaching, selecting hymns to continue or underline
themes of sermons, introducing hymns helpfully, not misleading the congregation by his/her own
singing and of course the opposite, selecting hymns in advance, being innovative in the choice of
hymns so that the same 'favourites' are not returned to again and again.
The obligations of organists, musicians and choirleaders, apart from the duties usually expected,
include also the need to get to know a hymn book well, the willingness to introduce new tunes, the
arrangement of occasions when new material can be learned, 'playing over' the hymn tunes in such a
way that assists the congregation towards a better performance, and accompanying hymns so that
the congregation is helped to sing intelligently and with meaning, and the selection also of voluntaries
and other performed music which may relate to the hymns being sung or the theme of the service.
The congregation, for their part, should read through the hymn book and play the tunes if they can
and thus become more open to improvement to the repertoire, be willing to try and follow the melody
line where provided, listen to the organ or other instrumental music being provided and the way the
hymn is accompanied so that the singing is both meaningful and together - and not speak to the
organist or performers while they are playing!
Ye holy angels bright,
Who wait at God's right hand,
Or through the realms of light
Fly at your Lord's command,
Assist our song,
Or else the theme
Too high doth seem
For mortal tongue.
(Richard Baxter 1615-1691)
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