 |
|
    |
 |
||
 |
|
|
|
|
|
|
|
|
Finally, the concluding stanzas of some hymns may call us to a commitment to Christ in response to what Christ has done for us. Isaac Watts's "When I Survey the Wondrous Cross" is a classic example:
John Bell's recent hymn, "The Summons," asks the question, "Will you come and follow me?" in the first four stanzas. The final stanza responds to Christ's summons:
Classic sequential hymns use endless variations. The list above is only illustrative. Cyclic songs. These also have many possibilities for worship. They are usually more textually and musically compact. Unlike the literary approach of sequential structures, cyclic forms may be sung with little or no reference to printed text or music once the song has become familiar to the assembly. Their brevity, and the oral or aural means of transmission, allow worshipers to move their bodies without being encumbered by books, and to observe other ritual actions as they sing. Congregations may sing, for example, while the offering is being taken, while communion is being shared, as families and sponsors come forward for baptism, or as the people welcome a newly baptized person. I have noticed that the level of congregational participation is much greater when people participate in liturgical actions unencumbered with hymnals. A common ritual action is bringing forward the congregation's offering, accompanied by a short, familiar song. In some traditions, the Bible, a symbol of the Word made flesh among us, is held high and carried in procession to the middle of the people before the reading of the Gospel. These are times when a brief cyclic song can gather the community around this important event to watch or participate as singers in the procession. One common misunderstanding about cyclic structures is that they are repetitive. While this may appear to be the case, I have observed that creative leaders of cyclic songs vary nearly every cycle in some modest way. Those who use cyclic structures effectively approach them more as theme and variation. They may change the instrumentation slightly, or sing some cycles unaccompanied. They may vary the text slightly, changing only a word or two. For example, "Father, I Adore You" uses this approach, with successive cycles naming the remaining persons of the Trinity. Varying the dynamic level from cycle to cycle is another way to add variety. Cantors may improvise separate parts over the congregation's ongoing cycle. Many Taizé chants use this technique. The cantor's part for the familiar Taizé song "Bless the Lord, My Soul" is based on verses from Psalm 103. This part adds variations to the basic cycle sung by the people. African songs in particular, though not all of them, use an additive approach to each cycle. A soloist may begin, followed by the choir, and finally all of the people. Through successive cycles the enlivener signals slight changes in the text, or sings with increasing energy a separate part above the congregation's cycle. Percussion instruments may be added little by little. Movement may begin minimally, and increase in intensity as the musical experience "heats up." Variations may be planned to some degree, but groups that work together over time learn to vary cycles spontaneously. This applies to congregations as well as instrumental groups, whether a West African drum ensemble, a Taizé group, or a praise team preparing contemporary Christian music. Cultural groups whose traditional music is cyclic seem to understand instinctively how these forms work. Others can learn to lead cyclic songs effectively, however, by becoming sensitive to the possibilities of the form. Refrain forms. The third musical structure combines aspects of both sequential and cyclic structures. The refrain reinforces the overall theme of a hymn. Recent hymns using refrains, many coming from Roman Catholic renewal music, have become popular. "I, the Lord of Sea and Sky" uses this form effectively: the stanzas speak from the perspective of God, and the refrain offers an opportunity for the people to respond, "Here I am, Lord," borrowing from Isaiah 6:8. A soloist or choir can sing the stanzas, while the congregation responds on the refrain. "Lord, You Have Come to the Lakeshore" ("Tu has venido") is similar. The refrain, beginning with "O Lord, with your eyes you have searched me," establishes a strong first-person perspective, drawing the singer into the story as participant. Refrains may be helpful when teaching a congregation new hymns. Beginning with the refrain when introducing the hymn, and using choir or soloists on the stanzas, allows the congregation to participate quickly while learning parts of the song by listening. Brian Wren's "Woman in the Night" is an example of a hymn that can be taught effectively by this method. Each of the stanzas reflects the perspective of a different female biblical character, and having various women sing the stanzas solo not only personalizes the story but also creates contrast when the people all enter on the refrain, "Come and join the song, women, children, men." Closely related to refrains are call-response forms. African American spirituals often use this approach. Not only does a call-response add variety to the musical presentation, it is a more authentic way of singing spirituals, as this pattern was used by African American during slavery. Here are some examples:
In many hymnals the call-response patterns may not be indicated. The leader will need to decide how to achieve this effect after examining the song. |
||||||
 |
||||||
|
Academics | Admissions | Alumni | Works | Listen | Look | Contact | Index | Home | Yale University
|