Giving New Life to Old Hymns: Part I

I am so grateful for the abundance of hymnody that has been passed down to us throughout the ages. I am also grateful for the resurgence of these hymns through groups and ministries like Indelible Grace and Red Mountain Music. I really feel that one of the reasons this resurgence has some real oomph behind it is that reviving hymns accomplishes two important things at once: On one hand it establishes a real connection with our Christian forefathers and on the other it is immensely authentic.

The connection to the past is obvious, but I say that this reviving of hymns is authentic because it gives our congregation a real voice. We are able to say the same thing that Isaac Watts said but in our own context. The ability to take the texts of these old hymns and give them new life in the midst of our congregations is an amazing gift to the modern church. And again, while I am grateful that there are groups and churches out there doing this, I want to encourage the local church worship leader to begin doing this as well. As talented as Matthew Smith is, he ultimately doesn’t know your congregation like you do. You have your finger on the pulse of your congregation; you know their needs and what they need.

Beyond Re-Tuning
Much of the focus of this resurgence of hymns has been writing brand new tunes to old hymn texts. Though it is hardly a new concept, I’ve heard this idea cleverly called a Re-tune. This is the most obvious way hymns are being used in this resurgence, however the idea of giving life to old hymns doesn’t always have to end with a new tune. For local worship leaders the goal shouldn’t be writing a new tune, the goal should be serving your congregation with this ancient treasury of hymns. There are a variety of ways we can use hymns to serve our congregation aside from writing a brand new tune. I want to offer a few other suggestions beyond Re-tuning that will allow you to tailor hymns to serve your people.

Tailoring and Tweaking our Treasured Hymns
Inspired by the phrase Re-tune I have categorized a few ways we can tweak, tinker with, and tailor this massive treasure of hymnody we have at our disposal. Aside from a complete Re-tune I have come up with four ways in which we can do this: Rearrange, Rewrite, Replace, and Redeem. Some will overlap, but I believe we can utilize each one for the glory of God and the edification of our churches. We’ll look at two of these today and two in a later post.

Rearrange
One very easy way to give a hymn new life is by rearranging it. I find that this has worked best for me with some of the old familiar gospel songs that often have a refrain after each verse. A simple way to rearrange this type of song is to not sing the refrain after every verse. For example, for the song “The Solid Rock” you might begin with the refrain:

On Christ the solid rock I stand
All other ground is sinking sand
All other ground is sinking sand

Then sing Verse 1 followed by Verse 2. Only after Verse 2 would you sing the refrain once more. This is only a slight change but it will be breath of fresh air to a congregation who has sung it the same way for most of their life. Compare the arrangements side by side:

Normal      Rearranged
Verse 1       Refrain
Refrain        Verse 1
Verse 2       Verse 2
Refrain        Refrain
Verse 3       Verse 3
Refrain        Verse 4
Verse 4       Refrain
Refrain

The trick however in rearranging is to not mess up the logic of the original text, so you likely wouldn’t sing “Come Thou Fount of Every Blessing” in reverse or in a mixed order. But you can still rearrange a hymn by repeating a verse or portion of a verse at the end of a song. Use it as a tag to reinforce the theme of the hymn or to expose a particular truth that you want to drive home. In this case, at the end of “Come Thou Fount” you might repeat the middle of the last verse:

Prone to wander, Lord I feel it
Prone to leave the God I love
Here’s my heart, oh take and seal it
Seal it from Thy courts above

Rewrite
Rewriting is the opposite of Re-tuning. This is taking a familiar tune and writing brand new words to it. Perhaps a tragedy has taken place in the church and you cannot find the words to say in any particularly familiar hymn, nor does the congregation have the time to learn a new song during their heartbreak. Penning new lyrics to an old tune can be a powerful tool to serve your congregation well. If you are able to give your congregation new words to sing in a familiar way that meets them where they are, there is likely no better way a worship leader can serve people in a time of grief. This can be done for many different seasons in the life of a local church.

Rewriting can also be used to reinforce a certain theme or a particular truth that the pastor might be preaching on. This is a good way for you and your pastor to team up for the cause of the gospel. Again, familiarity with the context of your local congregation is key.

Rewriting can also be a good starting place for you and for those interested from your congregation to begin re-tuning your own hymns. Instead of worrying about an original tune, begin with a familiar tune. This instantly gives you a way to see if the words you write are singable and at the same time automatically provides a particular mood for your song. Perhaps you will be content to simply sing your new song with the old tune, but don’t be afraid to branch out every now and then and try a new tune. This is a great first step in hymn writing.

Below is an example of a Rewrite I did earlier this year with “Pass Me Not O Gentle Savior”. I must admit it is only a partial rewrite because I only rewrote the refrain based on the verses. The reason for this rewrite is because I felt like this song had become a one trick pony. The only time we broke it out was after the sermon, and then we only sang the first verse and refrain. I had always felt that the remaining three verses were more powerful than the first, but the refrain always pulled us away from the truths explored in those verses. So I ditched the first verse and rewrote the refrain section based on its preceding verse. Instead of a constant refrain pleading to Jesus “Do not pass me by” there is now a logical progression that runs through the song from unbelief and sorrow, to salvation and grace, to eternal joy through Jesus. The tune remained the same, but now the song has been set free and we’re able to use this song in a more meaningful and purposeful way in our service. The verses are original and the italicized refrains are my additional rewrites.

Let Me at Thy Throne of Mercy
(to the tune of “Pass Me Not O Gentle Savior”)

Let me at thy throne of mercy
Find a sweet relief
Kneeling there in deep contrition;
Help my unbelief
Jesus, Jesus help my unbelief!
Glorify the Father through my
sorrow, loss and grief

Trusting only in thy merit
Would I seek thy face
Heal my wounded, broken spirit
Save me by thy grace
Jesus, Jesus, save me by thy grace!
Through the cross have mercy on all
sinners in this place

Thou the spring of all my comfort
More than life to me
Whom have I on earth beside Thee?
Whom in heav’n but thee?
Jesus, Jesus; More than life to me!
Endless pleasure! Joy abounding!
All are found in Thee

In my next post I’ll discuss two more ways in which we can use the treasury of hymns to serve our congregation. In the meantime I hope that this post has encouraged you to begin not only selecting hymns, but utilizing them in skillful ways to serve your church.

Matthew Smith, Indelible Grace, and My Hymn Seminar Notes

Yesterday I attended a seminar on Hymns with Matthew Smith from Indelible Grace Music. If you are unfamiliar with Indelible Grace I would encourage you to check them out immediately. Indelible Grace is a group that Matthew Smith has participated in for about 10 years and they are rooted in the college ministry of the PCA called Reformed University Fellowship (RUF). They are doing something the church has done for a long time, which is putting hymn texts to modern music. It sounds simple enough but the practice, for the most part, has fallen by the wayside in our day and age of modern, cutting edge, happy-clappy worship songs. They are a driving force in the resurgence of hymnody today.

At the seminar Matthew Smith gave a brief history of his life as a worshipper and how he got involved with Indelible Grace. I was struck by how similar our stories are. He grew up in a Christian home, led worship for the youth group, and felt like a failed worshipper. Much of his guilt and feelings of failure were a direct result of the songs they sang and what he falsely thought worship should be. Matthew said he had a hard time explaining this feeling but I knew exactly what he was talking about. In some ways he felt as if worship meant that he had to ‘disconnect’ in some since and ‘attain’ a certain ‘level’ of worship for worship to actually occur. The songs they sung (as did I) were songs that said, “I want to” and “I will do” and he felt the weight of failure on his shoulders. Then he discovered RUF in college and was intrigued by two things; the acoustic guitar folk rock music caught his eye first, but what really kept him and drew him in were the hymns they were singing. The hymns placed all the emphasis on Jesus rather than on himself. Matthew had found that which released him of his feelings of guilt and failure in worship; instead of the world becoming a fuzzy disconnect that he always thought it should be, the world actually became more real, it became clearer and sharper in focus. I don’t know if this resonates with you but I completely understand where he is coming from, and so I found much encouragement and confirmation in my own story after hearing his.

After this Matthew gave a brief, but loaded presentation about why we need hymns and why he and Indelible Grace love the hymns so much. Before he began he made clear that when he talks about Hymns he uses the word ‘hymn’ as being distinguished from what many people consider as hymns, such as the Gospel Songs of the late 19th and early 20th centuries, Gather Music, etc.

I’ve listed the notes I took below. I summarized a bit but all of it is derived from what Matthew said.

Hymns engage our:

Imagination – Hymns paint a picture and they can be both personal and universal at the same time

Intellect – Hymns make you think about what you are singing – they help people engage or participate in worship more fully – the over all theme of a hymn should be understood after singing it once, but it needs to be sung over and over to better understand it.

Will – Hymns make you want to live differently rather than telling you to live differently – they have a shaping quality that assists the singer to change certain beliefs – Hymns say things you don’t want to say

Emotions – Hymns effect our emotions without being emotionalism and without manipulation – When you cry to a country song, it’s because the songwriter wanted/intended for you to cry. When you cry to a hymn it is because the hymn writer is crying with you. We share the emotion with the writer. (Matthew used the country song example because he knows of artists in Nashville that do it.)

Hymns are:

True – Hymns tell the truth about who we are and who God is

Good Theology – Hymns contain good (sound) theology – Kevin Twit says “Hymns are theology on fire” which means that hymns convey theology not in a stoic or stagnant kind of way, but it gives theology life and it spreads and is efficacious

Beautiful – Hymns are not just a tool to be used for practical purposes, ie. Just to teach, or for evangelism, etc (I tend to be guilty of this) – Art that is only practical is propaganda – ‘beauty’ does not equal ‘pretty’, beauty can be ugly – bad art lies and at it’s worst lies about the human condition

(As a side note I would add on my own that Hymns are also authentic. In that they were written most often for the hymn writer’s local congregation to aid in worship rather than written to be sold as a product to consume. I wish I would have thought of this during the discussion time to hear Matthew’s thoughts…anyway, back to the notes.)

Good Writing and Bad Writing

CS Lewis – he referred us to what Lewis had to say about the difference between good and bad writing. Although he didn't quote it, this is the quote he was referring to:

'In writing. Don’t use adjectives which merely tell us how you want us to feel about the things you are describing. I mean, instead of telling us the thing is “terrible,” describe it so that we’ll be terrified. Don’t say it was “delightful”; make us say “delightful” when we’ve read the description. You see, all those words (horrifying, wonderful, hideous, exquisite) are only like saying to your readers “Please, will you do my job for me.”'

Bad Writing tells you how to feel (ie. That woman is beautiful)

Good Writing describes and displays the woman in such a way that the reader can only come away with the conclusion that the woman is a knockout.

According to this criterion, hymns would be considered “Good Writing” whereas most modern day praise songs would likely be considered “Bad Writing”. Where a modern praise song might say, “Jesus is amazing” a hymn would take three or four lines (or maybe the whole song!) describing and displaying Jesus in such a way that the singer can only come away with the conclusion that Jesus is amazing.

Then we moved into a Q&A/Discussion time that produced some great food for thought:

When asked what makes a hymn a hymn (as in distinction to modern songs) Smith said it has much to do with the form of the hymn. The secret weapon/advantage of the hymn is that it is Verse, Verse, Verse, Verse and develops a thought without interruption (the interruption typically being a chorus). But he was quick to point out that the chorus in many songs are not bad, but the verses of these songs tend to point only to the chorus so the development of thought isn’t always as strong as a hymn.

When discussing archaic language Matthew was not against changing language so that modern readers might understand, but he also felt it was perfectly fine to leave archaic language as it was written just the same. In doing so the singer will have to think and learn. He said he doesn’t have a rule about it because a hard and fast rule such as this destroys art.

The best part of the discussion was when the topic became sadness or darkness (in a sad since) in hymns as opposed to happy, peppy, chipper songs. Before I attended this it was a strong conviction of mine that the church must sing songs that prepare people for suffering, and sing them every week, and after listening to this discussion I am even more encouraged and fully strengthened that my conviction is valid. Here are four quotes that I wrote down during that discussion:

- When planning a service or when selecting songs: “Never aim for happy—always aim for joy.”

- “Mournfulness in songs doesn’t equal Mopey-ness.”

- “Jesus was a Man of sorrows and acquainted with grief. If your songs don’t reflect that you’re picking the wrong songs.”

- In discussing how people at an A.A. meeting can often times be more honest than at church and how the church is a place for broken people: “The church should be a place where if you boast in yourself you should look stupid. Go play golf stupid.”

Following the seminar was a concert with Matthew and the Indelible Grace band. These guys not only love hymns and make a great case for them, they make excellent music for us to sing them to. I praise God for Indelible Grace and others who continue to put great music to great hymn texts.

Dead Air: Making the Most of the Inevitable Silence

As I pour over magazines, articles, and books for advice in leading worship, one thing I constantly run into is the subject of what to do in between songs. It is a common topic for discussion amongst song leaders as this must be dealt with every Sunday. There are all sorts of ideas that I have read about but each one boils down to one thing, and that is this; Do something! Do anything! But make sure there is no dead air!

There are countless reasons behind this, and many of them are even good reasons:

Silence is awkward.

If there is no ‘flow’ then dead air leaves a ‘stop/start’ feeling to worship.

People will become quickly bored.

A lack of smooth transition indicates a lack of excellence and God deserves our best.

But for the most part, the reasoning can be pretty much summed up like this: If there is silence in between songs then people are uncomfortable and therefore distracted and unable to worship.

Fill It In!

So the worship ‘experts’ then offer us ways to fill in this ‘dead air’ (which is just a code word that places a negative spin on the word ‘silence’). From my reading the most preferred method seems to be transitioning one song to the next without a pause in the music. When done right, this can be very smooth and pleasing to the ear. It also allows the leader to connect one theme with another quite seamlessly. I utilize this when I feel it is necessary, but it becomes impractical in many situations. Every Sunday just cannot be a five song medley.

So the next best ‘method’ is to fill the silence in with talking. This can be done in a variety of ways. Two of the better ways are Scripture readings and prayer. But most often, from what I’ve personally seen and read (and unfortunately, done myself) is spontaneous chatter. Some have called this ‘The Mini Sermon’, others have called it ‘Worship Cheerleading’ but most call it ‘Annoying.’

Fill It In?

The problem I have here is not the desire to have a smooth transition. I find nothing wrong with Scripture being read in between songs. But what bugs me is that these ‘fillers’ become nothing more than a ‘solution’ to silence. Instead of a 15 second pause between one song and the next, the popular advice is to ‘fill’ it with something. Eradicate and exterminate all forms of silence because, I am told, it makes people uncomfortable, distracted, and it hinders worship. Well I’m here to say it’s not true.

I’ve bought into this type of thinking for too long. Many times I have found myself standing awkwardly on stage in between songs, looking slightly fidgety awaiting the introduction of the next song. I’m sure my presence didn’t help the congregation feel any less awkward. But my thinking was always aiming to end the silence. And awkward silence, as I have found, will make a talker out of a mute. And talking simply to fill in the silence leads to unnecessary rambling and idiotic phrasings that edify and glorify no one. Well, I’m done with that. As I strive to increase my understanding of sound doxology I just cannot continue to participate in this game. Silence is inevitable and I aim to make much of Christ through it. I believe that the benefits of silence in between our songs can far outweigh our feeble efforts to fill it. I also believe that these benefits can prevail over the common concerns of awkwardness, distractions, and the inability to worship.

The Benefits of Silence in Worship

The first benefit is Authenticity. What is more fake than conjured spontaneity? As I pointed out above, in my experience, it just comes off as awkward. There are appropriate times for leaders to talk in between songs, but in between every song is unnecessary. If the Spirit is moving, I'm sure He can move just fine without me talking compared to whenever I open my sin filled mouth. If there are a few moments of silence while the musicians to end one song and start the next then so what? If it takes a couple seconds to turn the page to prepare for the next song, big deal! Is it less excellent to pause for a few moments rather than to play seven songs without stopping? Why should our music at church imitate a concert or a radio station? Imitation is the antithesis of authenticity! Authenticity through silence can serve as another reminder to us and our people that we are not professionals and we don’t aspire to be. That doesn’t mean we fail to plan or rehearse, but it means we make the most of the inevitable silence to come and not try to shoehorn in our often unnecessary noise.

A second benefit silence provides is Reflection; a time to think and a time for prayer. How many times do we as ministers provide opportunities in the worship service for the congregation to meditate and reflect on what they have just heard or sung? If you sing one song after another, without a break, and then seamlessly start the sermon, the congregation has never had time to ponder what they just sang. Many times the few brief moments of silence between each song might be the only silence available for the church to reflect. Mark Dever’s church has embraced the silent times in their service. He says, “We LIKE "dead air space." "Dead air space" gives us time to reflect. To collect our thoughts. To consider what we've just heard or read or sung. The silence amplifies the words or music we've just heard. It allows us time to take it all in, and to pray.” (Read Dever's full post here)

With that in mind, ‘dead air’ is also an opportunity for Participation. Instead of doing something to break the silence, do your best to participate in that silence. Dever continues, “Everyone works to be quiet. People stop moving their bulletins or looking for something in their purse. There's no movement. We, together, hear the silence. It engulfs us. It enhances our unity. It is something we all do together. Together we consider what we've just heard. Together we contribute to each other's space to think.” Active participation in silence actively works to get rid of distractions. Which makes me wonder when people say that silence itself is a distraction!

Lastly, another benefit of silence, and I believe the most important, is Worship. In fact, any benefit derived from this silent time should culminate in worship. Everyone talks about Psalm 46:10, “Be still, and know that I am God,” but that’s exactly just what everyone does, talk. Rarely do we see this put into practice. The silence between one song and another is a perfect time to obey this command. In light of this passage it is quite telling to me when the ‘experts’ say that ‘dead air’ hinders worship. What that tells me is that either their understanding of worship is skewed or that they don’t understand what worship really is. If not, then they should really consider the logical outcome of their claims. To make the claim that ‘dead air’ causes people to not worship God is evidence that our faith resides in our methodologies rather than the Creator of silence. It is also a sign to me that many believe worship to be a product that can be manufactured or manipulated to produce an anticipated outcome, which is often called the ‘worship experience’. Many times this is based solely on feelings and nothing else.

One thing to be aware of is that just because silence takes place doesn’t mean that worship takes place. We need to train our people (and ourselves!) in the discipline of silence. And the best way I know how to train is to teach it and practice it. Instead of just expecting the congregation to ‘get it’, take a couple minutes and explain how the church can make the most of the silent times during worship. Explain how worship is not like any other venue in our culture and how silence can enhance reflection. Encourage participation. Take time to worship God when the opportunity of silence presents itself during the week. Even if it is for a few moments.

So instead of constantly trying to fill in the silence, make the most of it when it comes our way! And, most importantly, continue to measure everything we do in our worship services with Scripture to ensure sound doxology. Even the little things like the silence between our songs.

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Update 3-26-10: Bob Kauflin at Worship Matters has posted a three-part series called "What Do You Say When You Lead Worship?" He provides some humor as well as great advice.
Part 1
Part 2
Part 3