and another thing . . .

[Gwyn]

With you all the way, Sid.

[sidvicius]

Thanks. Developing this theme slightly, maybe it is worth asking if anyone knows of alternative methods or approaches to specific hymns which improves/augments their use?

I can think of "Love Divine, All Loves excelling" - played to a similar tune, but one in lilting 3/4 time, the other in more 'cheerful' 4/4.

Many hymns are written which can be played to several tunes - what a pity the beautiful lyrics of "Breath on me, Breath of God" are so often scourged to the tune 'Carlisle' played much too fast and loud, when (I am reliably informed) at least 15 other tunes are available for Hatch's verse. Yet the variants rarely appear listed in Hymnals, and the music may be even harder to find.

Music liturgists would do well to explore ways of delivering familiar material in a different way, if the existing tune or style is somehow failing in its objectives. To use a strangely mechanical analogy, if prayer in song counts as praying twice as hard, then it may wear out quicker if it isn't carefully maintained - and sometimes, it might be worth replacing a few parts.

Does anyone have a set of spiritual Spark Plugs for a c.1910 "Then Sings my Soul"? - reliable runner, but often misfires when damp. Offers?

[Gwyn]

Yes Sid, Carlisle is pounded to death. We use the tune Trentham by Robert Jackson for Breathe on me, breath of God, it has a lovely soaring tenor line, begs to be sung gently and if you can't track it down I can send you a copy via e-mail. It's absolutely delicious.

Soldier on.

[barca]

isn't that what the metrical index is for? (at least, in the more trad hymnals where such things are provided) With a few exceptions any hymn will fit any tune with the appropriate metre, but you have to be careful about the associations that the tune brings. A personal pet hate is a contemporary hymn (sorry can't remember the name) paired with Melita. Regardless of what their mouths may be singing, the congregational heads are thinking of Those In Peril On The Sea.

Love Divine is a bit unusual as singing it to Blaenwern involves pairing up the verses, turning it from six short into three long ones. I was once playing it to Love Divine when 'hurry up' vibes started arriving from the Celebrant so I omitted the final verse. Unfortunately, the congregation had the words formatted as for the other tune, so the effect was to stop them half way through a verse....caused quite an odd silence.

[Gwyn]

Love Divine is a bit unusual as singing it to Blaenwern involves pairing up the verses

Or "Blind Worm" as it's known locally.

[Dot]

An unusual thought with which to greet Easter morning - Happy Easter, Gwyn.

It's reassuring to know that, for some hymns, there really aren't any substitute tunes. Take two cracking Easter hymns:
Thine be the glory - any substitute for Maccabeus?
Battle is o'er - anything but Gregory Murray?
Go on, prove me wrong - the more absurd, the better!

Whilst feeling mischievous, I will share my equivalent of "Blind Worm" with you. When I was in a choir which regularly sang the Magnificat, it was affectionately known as "Mice Hole". Just as well it's not written in the first person plural..........

[Tsume Tsuyu]

.....and - if nothing else - had me singing with a smile on my clock, something I haven't done for quite a while.

I nearly always smile when I sing. In fact, I sometimes have to remind myself that the words don't really lend themselves to smiling because, somehow, I can't help myself! One thing that really irritates me is watching people sing 'Alleluia!' or 'Hosanna!' whilst looking as though they are about to burst into tears. The Easter hymns that Dot mentions - Thine Be the Glory and Battle is O'er - are wonderful, triumphant songs. How can we not smile as we sing them? And yet people don't. It's almost as if it's wrong to smile in church.

Smiling lifts one's singing voice and so lifts the song. We need to smile more. I've been to some music workshops where those leading make those taking part write the word 'smile' or draw a little face - - at the top of their music to remind them to smile. I find it sad that we need to be reminded but I suppose, if we are concentrating on getting the notes right, we sometimes forget. Perhaps, when we are practising, once we've nailed the tune, we need to remind ourselves that the words are just as important and, if the message is joyful, our faces should convey this.

There is nothing more uplifting than a smile. It welcomes, it includes and it invites. Perhaps, if those of us in choirs smile more, our congregations will respond. Perhaps they will feel more encouraged to join in.

I don't know if I'm right. All I know is that people notice when you smile. In my parish am less known for my singing voice (which is average at best) but really quite well known for being the one who "always smiles when she's singing!". Quite a nice way to be identified, I think.

TT

[Martin Foster]

A footnote. If I remember 'Love Divine' was written by Wesley to fit 'Fairest Isle' by Purcell - and it fits quite nicely. I even think there are parallels between the two sets of words

Martin