Music and Worship I.References II.Technical Development A. Musicology B. Beauty C. Physiology of Music III.Biblical Development A. Directive/Descriptive/Principle B. Textual Exposition IV.Sacred Music—Standards and Hymnody V.FAQs VI.Summary/Conclusion

Standards A.Content B.Arrangement C.Instrumentation

Arrangement A.Melodious B.Complementary of Content C.Edifying (vs. Entertaining) D.Emotions-sanctifying (vs. Emotions-indulging/inciting/inflaming)

“For those whose conception of music is still centered on words, harmless sound, entertainment, and meaningless communications, the question of how notes and rhythms could possibly become sensual might still be a burning issue. Human communication includes words, pictures, and sounds. Allow me to ask some very practical questions. Can vowels and consonants become either blessing or blasphemy? Certainly they can. Can an artist, with the raw material of pen and paper, create beauty? Yes. Can those same materials be used to create pornography? Obviously. Just as vowels and consonants can become blasphemy and pen and paper in the hand of an artist can become pornography, so notes and rhythm, in the hands of a composer or artist, can become sensual. Is the picture coming into better focus? Most can grasp the first two examples because they are more overt. Music is more subtle and much more powerful than either of the previously mentioned examples. Remember, it reaches the heart and soul.” p 100

Hymns can be one of the best ways to link between Traditional and Contemporary styles of worship, and they can become a great bridging tool to join worshipers together rather [than] seeing music as the great dividing force it so often becomes! The trick is to develop a skill for arranging traditional hymns in a more contemporary manner. That way hymns can become a highlight for both young and old, contemporary and traditional, evangelical and pentecostal. Over the years as a worship leader, I've come to appreciate the value of the deep and powerful words of many of the classic hymns. Depth of lyric is very rare quality among the contemporary choruses of today. Usually the arrangement is where the process breaks down, making hymns appear boring to the young, rock orientated audience. So, here's a few tips to help you integrate hymns successfully into your church... Introduction Hi There! Welcome to this free ebook from WorshipLeaderOnline.com. It is one of many resources that can help you lead better worship in your church.

harmony for the first three words, "Come Thou Fount", where a simple D chord would suffice, continuing on in this manner results in the very simple arrangement below. The original arrangement accounts for every melody note within the harmony. Since E is not in the D chord in bar 1 an A7 is used, the D chord for the F# in bar 3 etc. Try playing them as written, and you will soon become discouraged and possibly depressed, and it sounds terrible too. The key is to simplify. However in the simplified arrangement the notes outside of the triad's harmony are just considered suspensions or passing tones. Since the listener's ear has a memory for the key's tonic chord (D) these notes don't sound too "out" as long as the D chord is eventually reached. Some adjustment to the chords could be nice though. A G2 chord in bar 4 accommodates both the G note and the A note. It's easier to put a groove to the hymn if the chord structure has been simplified. Simplify The main key to making the old hymns sound more modern is to simplify. If you pick up a hymnal you're likely to see four voices for each word, soprano, alto, tenor and bass (SATB). And generally a new chord for each word as well. Hymn #2 in my Baptist Hymnal is Come Thou Fount, one of my favorites, starts out with a D-A7-D

chords are there to acknowledge the seventh in the melody, but in most every case a simple triad can be substituted. This will definitely modernize, because in modern music the arrangement is simpler, and there are far more natural chords. Chord Substitutions I have just mentioned simplifying the hymn, but most hymns contain more than just simple triads and as you analyze the chords you'll find 7th's, 6th's, 9th's, hybrids, stacked fourths and fifths, and any variation you can dream up. It's good music theory practice to analyze hymns because of the complex harmonies that reside within. Fact is, most musicians these days don't even know those chords, so again, simplify the actual chords for a more modern sound. Try substituting natural chords for the above. Minor seventh chords can often just become minors. 6ths, 7ths and maj 7ths can often be substituted with a simple chord, so C6, C7, or C maj7 can just become C. Toss the Seventh Chords Dominant seventh chords always give an old feel to a hymn. Classic old time hymns like the Old Rugged Cross and Because He Lives have tons of 7th chords. A seventh chord is a triad that contains a fourth tone a minor third above the fifth. A G7 chord would be G- BD-F, an E7 chord would be E-G#-B-D, for example. Usually these

As a guitarist ruling out the D means ruling out two of my favorite keys, G and D. Worshipers (mostly men) won't sing if the song is too high. But people always sing louder when they have to sing high, which aids the corporate worship experience. But there is a limit, so dropping the key down a step or two (transposing) can make it attractive to men and women, and to the sound overall. Groove Want to hip up that 100 year old masterpiece? Try using a groove from the radio to start the creative rearranging juices flowing. Don't make the mistake that hymns have to be done as they was writ. Far better to give a modern feel, maybe U2 or Jack Johnson, maybe Elton John or Phil Collins. Instantly the hymn sounds modern and the arranging will take care of itself. As a worship leader this is where I usually start. I just pick up my guitar and start messing around, trying things I've never tried before and soon I'm making the hymn my own, our congregation's own. Lower Keys Most hymns are written far too high, it's that simple. Add to that the tendency of wanting to modulate the tune for effect, and you have the congregation squealing as they try to reach the impossibly high notes! Personally I'll try to keep the songs between the range of the A an octave and a third below middle C to the D above middle C.

Add A Bar Hymns generally recycle back to the top as soon as the last word is sung, however a short one or two bar break helps to make it more singable. When I do Come Thou Fount I add two bars before going to second verse and four bars (2 in C and 2 in D) before going to the modulated third verse. Sure, some who know the hymn might jump in too soon, but soon they will learned the new arrangement, and probably love it. Add a Refrain I have added a refrain many times. It is acceptable to add a little bit to the classic hymns, making a striking theme which is particularly relevant for your congregation.

Rewrite Melodies are very indicative of the decade they are from. 60's melodies have certain things in common, as do 80's melodies and 1880's melodies and the melodies of today. So sometimes you may have to make subtle changes in the original melody to make it more universal today. I have recorded a version of When I Survey The Wondrous Cross which is to the tune of “The Water Is Wide”, which I heard on a Cliff Richard album. People are vaguely familiar with the tune, and of course the words, and they generally love the reworking of the song. Conclusion I trust that you will discover the joy of using hymns to worship together and pull people's hearts together, regardless of whether they are traditional, evangelical or pentecostal. The key is arranging the hymns in a modern, exciting manner, and hopefully these tips will really inspire you to greater worship in your church.

Arrangement A.Melodious B.Complementary of Content C.Edifying (vs. Entertaining) D.Emotions-sanctifying (vs. Emotions-indulging/inciting/inflaming)