Websites for Anglican hymnody

Oremus was an invaluable resource for comparing Anglican hymnals around the world, but last year they gave up because they were being hassled to death over supposed copyright concerns. (I have considerable knowledge of copyright and fair use, and they seemed to be very much on the side of being legal).

Over the last decade, Hymnary has gotten much much better, with good funding, a college and paid staff behind it. (It didn’t hurt that the federal government gave them a big grant to scan 2,000 hymnals from a college library.) It lists the hymn titles and tunes for all the American hymnals, as well as key Church of England hymnals of the past 150 years.

It has various layers of complexity: the searching by hymn, by hymnal, by tune and the ability to download CSV files of some of the data. I can't claim to be an expert on it yet, but would like to post a tutorial once I understand it better. However, I have consistently felt that (as in Oremus) when I pull up a hymn text, I have no assurance that the text I'm seeing matches the specific pew hymnal (in terms of verses and wording changes) in front of me.

During my field research for my next church music paper, I heard about some other resources that seem very useful.

The Episcopal Church’s Church Publishing Inc. has a website RiteSeries, which includes RiteBrain for liturgy and RiteSong for hymns.  In many ways, CPH is emulating what Concordia Publishing House (CPH.org) does for the larger (Missouri synod) Lutheran denomination. However, RiteSeries only includes the most recent full hymnal (Hymnal 1982) and its supplements (Wonder Love & Praise), as well as the 1979 prayer book (and supplements such as Lesser Feasts and Fasts), and omits mention of liturgies that have been officially deprecated for the past 35 years. This is unlike CPH, which emphasizes its 2006 worship book (hymnal+prayer book) but still sells its 1982 and 1941 books, and even offers some resources for the older books.

Still, in this era of putting all the music (or at least lyrics) in the service booklet, both Hymnal 1940 and Book of Common Praise 2017 need resources like this. Hymnary has page images for much of Hymnal 1940, so that's a start.

Finally, my research interview yesterday with a long time choir member in Houston — who grew up with the 1928 prayer book and 1940 hymnal and never left — she pointed out SmallChurchMusic.com. It has MP3 files for Hymnal 1940, Hymnal 1982 and The English Hymnal. It also lists the 2006 LCMS hymnal and the 1990 Presbyterian hymnal, and several Methodist hymnals. For each tune, there are multiple MP3 files that list how many verses and what keys they are in. It also provides its own PDF of a score, its own standard lyrics (not specific to a hymnal), and links to pages on TheCyberHymnal and Hymnary for the hymn.

Like so many out there, I appreciate the work these individuals (or not-for-profits) are doing to make these resources available for those of us who still value hymns and hymn-singing in America.

21st century hymnals come to Waco

For the past three years, as part of the Forward in Faith church planting task force, I’ve been working with Fr. Lee Nelson, SSC, the founding vicar (now rector) of Christ Church Waco in the ACNA Diocese of Ft. Worth.

The church has been growing by leaps and bounds, from two dozen to more than 200 today. On March 25 (Palm Sunday), CCW transitioned from a series of rented spaces to its own building, a 100-year-old downtown church that it purchased from a dwindling ELCA parish.

Today’s services will mark another milestone — CCW’s first ever with printed hymnals. The parishioners will be singing with the Book of Common Praise 2017. Last week, it took delivery of the hymnals, purchased from the publisher’s second print run. The Reformed Episcopal Church had reserved the first two print runs for REC parishes, but with the decision to go to a third printing, it released the remainder of the second print run for purchase by other churches.

CCW evaluated both Hymnal 1940 and Hymnal 1982, but instead chose the newer 2017 hymnal. It offered hymns missing from the 1940 hymnal, a few hymns newer than the 1982, but without the inclusive language of the 1982 hymnal.

Update: for this first service, the hymns from the hymnal included "Live divine" (Hyfrydol), "Take my life and let it be", "Rock of ages", and "It is well with my soul."

Below is the rector’s explanation of the importance of hymns and hymnals to the worship of an Anglo-Catholic parish. It seem very relevant to both this blog and the issues that readers are facing today.

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Why Sing Hymns?

NB: This Sunday, new hymnals will make their debut at Christ Church. Although we will still sing a good many songs not featured in this hymnal, we will use it every Sunday. Christ Church has been a parish which has upheld a wonderful culture of congregational hymn singing. Here, I explain why.

“From the spiritual hymns, however, proceeds much of value, much utility and sanctity, for the words purify the mind and the Holy Spirit descends swiftly upon the mind of the singer. For those who sing with understanding invoke the grace of the Spirit.”
John Chrysostom

Shortly after his conversion, C.S. Lewis refused to go to church on Sundays. Later, he realized that it was the “only way of flying your flag,” but still grumbled a bit, because to his literary mind, Christian hymnody was nothing more than “fifth-rate poems set to sixth-rate music.” As he continued on, he was broken of his conceit. It began to “peel away,” as he came to know ordinary people who would sing the hymns with devotion, people whose boots he wasn’t worthy to clean. It’s funny today to think that hymn-singing could ever be viewed as the activity of ordinary Christians, because the norm has become something of a performance - worship music performed by experts. Surely, something has been lost in this. Something which we should try to recover.

Hymnody as a Cure to Spiritual Pride

Lewis was quite right to say that Christian singing was a cure to his own conceit. In the initial phases of conversion, so much hinges on our objective experience of things. But, if we are to grow in Christian discipleship, we must take on a new vocabulary, one not our own. We must relocate that subjective experience within the living witness of the Church. To do so requires lending our voices to others, both in supporting their voices, but also in singing their words. When we sing the words of John Wesley, or Isaac Watts, or even the Getty’s, we say for a moment, we submit our own understanding to the wisdom of the whole communion of Saints.

We have to consciously work to blend our voices, keeping our own at bay. This requires a degree of humility and attention to the whole body of gathered believers.

Hymnody as Theological Exercise

Some people have mentioned to me through the years that singing hymns takes work - the engagement of the mind, the voice, and the body in worship. Modern worship choruses tend to be rather easy-going. They’re easy to sing. They don’t require much thought. And musically, they’re designed to be led by people with only a basic musical ability. Hymn singing done well, with four-part harmony and strong accompaniment, requires the ability to read music while simultaneously contemplating challenging theological themes. It takes practice!

If you can’t read music, perhaps follow the melody line - make note of the shapes of the notes and their intervals. Most hymn tunes are familiar, and singing hymns is a great way to learn to read music. If you have trouble staying on pitch, practice matching pitch with the radio or a keyboard (even a simple keyboard app will do). Maybe even take some monthly voice lessons! When I was in seminary, every student had to take church music and learn to sight read hymns. The professor of church music took great delight in finding the inner musician in people who thought they couldn’t carry a tune. And they, in turn, took great delight in finding that they could join in the Church’s worship in a way the didn’t think possible. It takes exercise and practice, but it shows us something even greater - that practice, habits, and exercise are the very things that are necessary to the spiritual life, in which we meet God, and in which we come to know His constant love.

Hymnody as a Sign of the Visible Church

It’s a sad fact, but it’s true, that Sunday mornings are just about the only time when ordinary people come together and sing. We know that Jesus sang with His disciples after breaking bread with them on the night before He was crucified. (Matt. 26:30) We know that Paul and Silas sang hymns while in prison and that Paul commended hymn singing to the churches (Ephesians 5:19). Hymns are a sign of a people who are at peace with each other, a people in whom the word of Christ dwells richly, overflowing with thanksgiving and praise. When people of various backgrounds, incomes, and educations sing together, it is an eschatological sign, not only of what will be, but of what God has done now, what has been realized among believers today.

The idolatry of the Holy Screen

Last month I attended a blended service that uses the ACNA liturgy, Hymnal 1982 hymns and praise songs. As blended services go, it was probably the most tastefully done that I’ve seen — either because of the sensibilities of the music director, or because he (and the rector) don’t think hymns should be second class citizens.

So with blended worship done well, what was jarring was the projection screen. I’ve seen plenty of them (alas even in churches), but I’ve never been a member of a church that uses them every week.

One of the limitations is the one that I remarked previously: hymnal-free is harmony free. I knew one of the hymns well enough from memory to (more or less) sing the harmony without music, but otherwise I felt cheated of a chance to sing praise to God utilizing the gifts He has given me (and also staying within my vocal range).

The other limitation is one that I’d only briefly noticed before. As the Gospel reading was processed to the center of the church, it is customary for the congregation to turn and face the Gospel and the deacon (or in this case, the priest). However, as at home, everyone’s attention was firmly fixed on the screen for the duration of the gradual. (As it turns out, they were also fixed on the screen for the text of the Gospel reading — I didn’t notice because I tend to focus on the reader and not on reading the text).

So to our 21st century sanctuaries we have brought the key cultural artifact of  online culture. Instead of the Word or the Cross, we now turn our attention and adoration to the Holy Screen. This might seem harsh — but just watch how the H.S. changes the worship experience.

The screen was supplemented with a four page (two sides of one piece of paper) handout that included the text and music for the Gloria (H82: S280), the gradual hymn, and the four-part offertory. People could have used the handout to face the Gospel book, but only some of the congregation picked it up beforehand.

I talked to the music director afterwards, and have a little more empathy for his difficult choices — both on distributing the text and (someday) the music. The handout doesn’t include everything to save money, and those who don’t read music probably won’t pick up the handout (so he needs to provide lyrics some other way).

Long term, they use too many praise hymns to get by with just a hymnal. He would like to put together a booklet of hymns and praise songs, but the musical canon of this young church is still (at least somewhat) evolving.

I am used to the hymnal + prayer book fumbling and find it strangely comforting. However, it really only works if you’ve memorized the service music as fumbling for three (or four hymns) is different from going back and forth between the prayer and the sanctus etc.

As Anglican churches continue to attract both non-Christians and non-liturgical Christians, I understand the need to make the service more approachable to visitors. I would argue that having a regular member help the confused visitor next to them is a better solution than any paper or technology.

That said, I do think my church (and other similar churches) have come up with the most reasonable compromise:

• Fixed service booklets (perhaps different ones for Ordinary Time, penitential and festal seasons) that include both the prayers and the service music (words and notes)
• A weekly insert of 4-8 pp. that includes the collect, Scripture readings and the hymn numbers — and a copy of any hymns not in the hymnal
• A hymnal for most (or all) of the hymns

If a church had a booklet instead of a hymnal, it could substitute for the latter. Personally, I hope to continue at a hymnal church for another 30-40 years, but we will see.

Longer term, some have suggested we should have e-books instead of paper books, booklets or inserts. It might work with a 6-10" screen, but the 4" screen of the typical cellphone is not very practical for this purpose. There is also the question of whether we want to further privilege the Holy Screen in our worship, or to say to newcomers without phones that they are not welcome.

So today’s use of screens for music and liturgy seems to be a short-term expedient, particularly for churches who can’t buy a set of books, don’t want to drag them each week to a temporary rented space, or are unwilling to commit to singing the same music two years in a row.

We will have a more elegant technical solution by the end of this century, but for now I think this compromise is a reasonable one.

11 Reasons to Keep Screens out of the Sanctuary

Blogger Jonathan Aigner at the Ponder Anew blog this week posted a list of 11 reasons why churches should not use projection screens in their sanctuaries.

Several of these points tie back to earlier points in this blog:

• “5. Screens have hastened the decline in musicianship in the church. …  those of us who can read music are limited by not having access to it.” Even if people know the melody, as I noted almost seven years ago, the lack of a hymnal means the lack of musical harmony for all but the privileged members of the choir.
• “7. Screens open the door to theological disunity.  Denominational hymnals contain songs that are considered, examined, and vetted for adherence to their theological tradition. ” Or as I said in 2010:

• “This is also another reason why hymnals are important: a hymnal codifies a church’s doctrine and minimizes deviations from doctrine. It doesn’t matter whether the hymnal is photocopied, oversewn or a PDF: what matters is that it has been vetted the same as any other part of the liturgy. As Anglicans, we don’t allow just anything to be read as scripture or prayer, so of course the hymn selection should be put to the same test.”

• “8. Screens have cost us an awareness of our common hymnody. Printing songs in a hymnal gives them legitimacy and permanence, especially when they’ve been included in volumes for decades or even centuries. Even when we don’t sing them, they remain there, and we encounter them in the pages. … Before long, we may lose the best of our musical heritage completely, simply because nobody’s ever seen them, let alone thought of recording them.” This is exactly the point I’ve been making since the beginning of this blog, emphasizing the importance of timeless hymns that provide “continuity across generations and the centuries.”

Aigner (and others) have predicted the imminent decline of praise music, but I doubt that the persistent rants of a few of us traditionalist bloggers will be enough to turn back decades of CCM. Still, the same principles that cause baby boomers to reject music largely from the 15th through 20th centuries would presumably mean that each generation would reject the previous — thus rendering obsolete the music that the boomers fought so hard to bring into the church.

Liturgical choices for new parishes

In visiting various Schism I and Schism II parishes this year, I have gotten a clearer idea of what the various alternatives are for those planting new Anglican churches. For today’s Anglo-Catholic church planting session at ICCA 2015, I thought I’d write down these alternatives for prospective church planters.

Some important choices are front and center, such as which diocese (or province) to affiliate with, stances on key theological issues (e.g. women’s ordination) and calling your first rector (vicar); these are beyond the scope of today’s effort. Instead, let me lay out a few less obvious ones, particularly those that apply to new Anglo-Catholic leaning parishes.

1. Physical Infrastructure

New churches have to make basic choices related to the physical infrastructure:

• Permanent or weekly setup. The proverbial school gym is available in any community, but requires weekly setup; an existing church will already be setup, but not available at prime time on Sunday morning (unless you find an abandoned church). Later on, parishes can have permanent setup on Sunday morning if they can afford to build or rent their own dedicated facilities.
• Altar and linens. Is there an existing altar setup or do you bring your own? Do you have colors to cover all the seasons? Do the color shades match your vestments?
• Kneeling. Will your service include kneeling — either for every prayer (ala 28 BCP) or at key points (confession, thanksgiving, before communion). If so, will there be permanent kneelers or temporary prayer cushions? (There’s the related issue of pews or chairs, but in my experience this is decided once you choose the site).
• Public address. Do you want to amplify the spoken liturgy? If so, is there a public address system (e.g. at a school or church) for the clergy or lay readers – with wireless mics – or do you bring your own?
• Musical infrastructure. Is there a mechanical piano, traditional organ, or electronic piano or organ? How does this tie into the PA? Does its placement allow conducting of (or by) the choir?
• Liturgy distribution. Prayer book, service booklet, or weekly printed order of service?
• Music distribution. Similarly is there a printed hymnal, hymns printed in the weekly bulletin, or projected on a screen? (By 2020, I expect some churches will be using real-time transmission to smartphones and tablets).

This does not count the infrastructure for the other six days per week: where do the rector (vicar) and parish staff hang out when there’s no worship service?

2. Liturgical Choices

The other key choices relate to worship and liturgy:

• Preferred Bible translation. The churches I visit tend towards ESV or RSV, but there may be some KJV, ASV, NIV, NRSV or other translations being used instead. (The CoE has listed 7 translations as being suitable). Are there printed books in the pews? (A good sign) Are they used? Do you need the Apocrypha — if so, it’s not available for the NIV or NKJV.
• Prayer Book. For US readers, I’m assuming the choices are the 1928 Book of Common Prayer or Rite I of the 1979 prayer book (the latter so flawed it prompted Schism I); to these two I’d add the 2003 REC prayer book which combines elements of the 1662 and US prayer books†. Some may consider the 1662 CoE BCP or — at the other extreme — the recent ACNA trial use liturgy, and some parishes will use a mixture of services.
• Alternate Variants of Key Prayers. In some liturgies, there are choices to include or omit passages, such as the General Confession vs. Confession Lite. Some congregations insist on reciting “we believe” in the Nicene Creed while others adhere to centuries of tradition and shared theological understanding.
• Lectionary. ACNA does not yet have its own lectionary, so the most likely choices seem to be Cranmer’s one-year lectionary (as embodied in 1549, 1552, 1559, 1662, 1896 and 1928 BCP), or the three year lectionary of the 1979 prayer book or the RCL.
• Hymnal. For US Anglicans, the choices seem to be Hymnal 1940, Hymnal 1982 or none. (I have seen parishes that use third party hymnals such as the Celebration Hymnal). The Anglo-Catholic parishes (with 1928 or Rite I) choose H40, while the parishes that split Rite I/Rite II (50/50, 60/40 or 40/60) parishes go with H82, and the rock band churches don’t need one at all.  To date, there is no service music exactly aligned to the ACNA liturgy, although in principle the changes for the contemporary H82 service music should be minor.
• Chanting (Service Music). Holy Communion potentially includes sung versions of the Kyrie (English or Latin) or Trisagion, Gloria, Psalm, Nicene Creed, Sanctus/Benedictus, Lord’s Prayer and Agnus Dei (not counting the Sursum Corda and other responsorial sentences). Which ones will be spoken, which ones chanted — and for those, what setting do you use? H40 has four (later eight) settings of the Kyrie+Gloria+Sanctus+Agnus Dei while H82 has four for Rite I and many more for Rite II. However, more important than matching the hymnal is having a familiar and stable set of choices (probably no more than 3 different liturgies in 12 months).

Of course, these have implications for the paid and volunteer staffing: priest(s), deacon(s), acolyte(s), lay readers, musicians, and others involved in the liturgy. My experience has been it’s virtually impossible to put on a traditional high mass (sung service) without a pianist or organist. (The Substitute Organ Service is designed for vacation relief and is not cost-effective for weekly use).

Defining Your Vision

When I spoke to veteran Anglo-Catholic church planter Fr. Chris Culpepper, he says he wish he had this list when he started his first parish in January 2008. IMHO, any church founder (lay, clerical) needs to decide personally which of these choices are essential, which are desirable and which are open. For example, in my own mind — and many that whose counsel I respect — the availability and use of kneeling is essential for creating a church that is contemplative, reverent and prayerful.

Once you have your own list, the planting team needs to bring their ideas together to discuss their corresponding hopes and vision. It is impossible to move forward unless this team can come to a common position on the nature of the church they are planting — and not only agree, but fully support the vision rather seek to undermine it or re-open key choices.

In talking with church planters, this part of an articulated vision going forward as the church grows and evolves. (That’s not to say that such choices are the entire vision, only key practicalities of defining what sort of church is being planted — and what will be needed to implement that church.)

At the same time, there is an important constituency not at the table: the future members who make the parish a success. WW II Archbishop of Canterbury William Temple (1881-1944) said: “The Church is the only institution that exists primarily for the benefit of those who are not its members.” The vision should allow for flexibility, modification and extension to meet the needs and desires of the future members. For example, a H40 parish will use hymns from H82 (such as Amazing Grace or  Bread of Life) and many 28BCP or Rite I parishes offer a modern language service.

Conclusion

I don’t know that these are all the questions, but this list seems to cover most of the alternatives facing the teams that are launching a new parish from scratch.

The case of new TEC exiles is slightly different. In my travels, it appears that congregations that have lost their building tend to carry over #2 from their TEC days, while making new choices for #1 based on their budget (and sometimes an attempt to re-create what they once had).

† Note: corrected per feedback from Rev. Daniel Sparks.

Too much of a good thing

At a recent service, we sang “I bind unto myself this day,” (H40: 268) the traditional St. Patrick’s Day hymn. The Hymnal 1940 Companion helpfully notes:

[The hymn] is attributed by legend to St. Patrick [and] is first found in two eleventh century mss. ... Whether actually by St. Patrick or not, it has many element of a Druid incantation, superstitions of a sort which have long survived in Ireland and elsewhere.
...
The translation, or rather metrical paraphrase, was made by Cecil Frances Alexander for use on St. Patrick’s day in 1889. It was printed in leaflet form and sung throughout Ireland on that day. It first appeared in the [US] Hymnal in 1916.

The setting we use combines St. Patrick (or St. Patrick’s Breastplate) as the tune for most of the verses, and Deirdre for the penultimate verse — a combination created by Vaughan Williams for The English Hymnal (#212). H40 and H82 (#370) have the same seven verses, while the New English Hymnal (#359) moves verse 6 to a separate hymn (#278) with a different tune (Gartan).

I like this familiar hymn, but when we were singing the hymn, I must admit I got bored really quickly. Each verse (except #6) is long and slow, and there were six of them (plus the interlude). TEH would have been worse with nine verses.

Fortunately, both H40 and H82 indicate that verses 3, 4 and 5 — after the introduction of the melody and before the interlude — are optional. In most cases (outside Christmas or maybe Easter) I think five verses are enough, and in this case (IMHO) the music director should have omitted the extra verses. I’d especially take the cut in order to add other music (say a 2nd communion hymn) elsewhere in the service.

So with 3 or less verses, there is no need to mark optional verses, but otherwise — or with particularly long verses — they are merciful for both the singers and the congregation. I’ll keep that in mind if I ever serve on a hymnal committee.

Update: An unusual coincidence: this is the closing hymn of the first communion mass (Tuesday at noon) at next week’s International Catholic Congress of Anglicans. So nearly 300 of us will be singing all 7 verses.