University of Southern California Dissertations and Theses

Music of reformed worship: a guide and resource for organists, choirs, and congregations

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Music of reformed worship: a guide and resource for organists, choirs, and congregations

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MUSIC OF REFORMED WORSHIP:
A GUIDE AND RESOURCE FOR ORGANISTS, CHOIRS, AND CONGREGATIONS

Pamela Compton
May 2013

ii

Dedication

To Andrew:
Your encouragement of this entire project has been overwhelming and inspirational.
Thank you for your unconditional love and support.

To Hannah and Mia:
Your smiles and hugs were always a welcome relief from writing.
Thank you for the joy and laughter you bring to my life.

To Joseph and Linda:
Your support and prayers from afar have given me great encouragement.
Thank you for loving the music of the church and for teaching me to do the same.

To Kent and Jane:
Your countless hours of babysitting have made the completion of this project possible.
Thank you for your kindness and generosity.

iii

Contents
List of Figures ................................................................................................................................. iv
Abstract ............................................................................................................................................ v
Preface ............................................................................................................................................ vi
Chapter 1: Accompanying Congregational Song ............................................................................. 1
Introduction .................................................................................................................................. 1
Registration .................................................................................................................................. 1
Articulation ................................................................................................................................ 10
Harmony .................................................................................................................................... 13
Interludes and Modulations ........................................................................................................ 20
Introductions .............................................................................................................................. 31
Amens ........................................................................................................................................ 33
Tempo ........................................................................................................................................ 34
Phrasing...................................................................................................................................... 41
Verse Transitions ....................................................................................................................... 48
Descants ..................................................................................................................................... 60
Marking a Hymnal ..................................................................................................................... 64
Chapter 2: A Case for Liturgical Choir in Reformed Worship ...................................................... 65
Introduction ................................................................................................................................ 65
Misuses of Choir in Reformed Worship .................................................................................... 66
The Proper Use of Choirs in Reformed Worship ....................................................................... 68
Chapter 3: Choral Resources ......................................................................................................... 71
Music for the Call to Worship .................................................................................................... 72
Music for The Law/Confession of Sins ..................................................................................... 86
Music for The Apostles’ Creed .................................................................................................. 98
Music for Prayers ..................................................................................................................... 100
Music for The Lord’s Supper ................................................................................................... 110
Music for The Offertory ........................................................................................................... 116
Music for The Benediction ...................................................................................................... 120
Additional Resources ................................................................................................................... 134
Collections ............................................................................................................................... 134
Hymnals ................................................................................................................................... 134
Books ....................................................................................................................................... 135
Bibliography ................................................................................................................................ 136

iv

List of Figures
Figure 1: “Praise, My Soul, the King of Heaven” ........................................................................... 3
Figure 2: "Sing Praise to the Lord" .................................................................................................. 5
Figure 3: "O God, Our Help in Ages Past" ...................................................................................... 7
Figure 4: "Now Thank We All Our God" ...................................................................................... 12
Figure 5: “HYFRYDOL” ............................................................................................................... 14
Figure 6: "My Faith Looks Up to Thee" (standard harmony) ........................................................ 16
Figure 7: "My Faith Looks Up to Thee" (improved harmony) ...................................................... 17
Figure 8: "Come, Thou Almighty King" (standard harmony) ....................................................... 18
Figure 9: "Come, Thou Almighty King" (improved harmony) ..................................................... 19
Figure 10: "Come, Thou Almighty King" ..................................................................................... 22
Figure 11: "Man of Sorrows - What a Name"................................................................................ 24
Figure 12: "God, in the Gospel of His Son" .................................................................................. 26
Figure 13: "Be Thou My Vision" ................................................................................................... 28
Figure 14: "All Glory Be to Thee, Most High" .............................................................................. 30
Figure 15: "Day of Judgment! Day of Wonders!” (slower harmonic rhythm) .............................. 35
Figure 16: "Day of Judgment! Day of Wonders!" (faster harmonic rhythm) ................................ 36
Figure 17: "Blessed Jesus, at Your Word" ..................................................................................... 38
Figure 18: "Blessed Jesus, at Your Word" ..................................................................................... 39
Figure 19: "For the Beauty of the Earth" ....................................................................................... 43
Figure 20: "Holy, Holy, Holy! Lord God Almighty"..................................................................... 45
Figure 21: "God, in the Gospel of His Son" .................................................................................. 47
Figure 22: Jesus, Lover of My Soul" ............................................................................................. 51
Figure 23: "O God, Our Help in Ages Past" .................................................................................. 53
Figure 24: "Rejoice, the Lord Is King" .......................................................................................... 55
Figure 25: "Holy God, We Praise Your Name" ............................................................................. 57
Figure 26: "O Worship the King" .................................................................................................. 59
Figure 27: "Let Thy Blood in Mercy Poured" (standard four-part version) .................................. 61
Figure 28: "Let Thy Blood in Mercy Poured" (alto line an octave higher creates a descant) ........ 62
Figure 29: "Let Thy Blood in Mercy Poured" (played on one manual) ......................................... 63

v

Abstract

This dissertation fills a gap in resources for lay church musicians in the Reformed
tradition. First, it provides detailed guidelines for organists regarding the accompaniment
of congregational song. Second, it provides direction to lay choir directors, consistories,
and congregations concerning the implementation and execution of choral music in
Reformed worship. Third, it includes reproducible choral music suitable for use in a
historic Reformed liturgy.

vi

Preface

The United Reformed Churches in North America (URCNA) is currently in the
process of preparing its first Psalter Hymnal. The Psalter Hymnal committee recently
released a proposed version of the hymn section to be reviewed by leaders (ministers and
elders) and lay members of the URCNA. In reviewing the proposed hymnal, the present
writer became aware of the need for a supplemental handbook, something that would be
useful to the lay musicians of the URCNA.
The URCNA is a young federation, formed in 1996, but its doctrine and practice
are rooted in the sixteenth century Protestant Reformation, particularly in the theology of
the Genevan Reformer, John Calvin. While Calvin’s musical distinctives (i.e., exclusive
Psalm singing, unaccompanied, in unison) are not the convictions of the URCNA as a
whole, his influence is still very much felt. The emphasis on Psalm singing remains, yet
hymns are also commonplace. Congregational singing is generally accompanied by
organs and pianos, and some URCNA congregations even have (or desire) choirs,
soloists, or other ensembles, but are not sure how to implement them (if at all) in
Reformed worship.
Historically, the Calvinistic branch of the Protestant Reformation has not treated
the role of church musician as a legitimate, necessary, or worthy vocation. Hence, the
majority of URCNAs do not have church musicians as paid staff; lay volunteers serve as
organists, pianists, and choir directors. Though URCNAs have always valued the job of
minister as a vocation (theologians are required to earn advanced degrees, learn original
Bible languages, undergo comprehensive written and oral examinations, and are paid
vii

accordingly), church musicians have no such standards placed on them, nor are they
typically paid more than a small gratuity.
This interesting double standard has recently surfaced in the Psalter Hymnal
committee’s written correspondence to the churches. In one particular letter to the
churches, the committee sought “gifted musicians and astute theologians” (present
writer’s emphasis) to review some hymns. The adjectives suggest innate ability in
musicians, yet trained skill in theologians. (Why did they not seek astute musicians and
gifted theologians?) In another letter, the committee sought additional committee
members, requesting individuals who had “Biblical and theological knowledge” as well
as those with “musical ability: a working knowledge of music and (preferably) artistic
talent”. (Why did they not seek those with a working knowledge of the Bible and
[preferably] theological talent?)
Until the new Psalter Hymnal is complete, the official songbook of the URCNA
continues to be the 1959/1976 Psalter Hymnal of the Christian Reformed Church in
North America (CRCNA), the denomination from which the URCNA split. Although
most URCNA congregations use this hymnal regularly in worship, many others, for
better or for worse, do not. Some have chosen to use Psalm books for singing. Others
have opted to use another denomination’s songbook, such as the 1990 Trinity Hymnal of
the Presbyterian Church in America (PCA) and the Orthodox Presbyterian Church
(OPC). Still others have chosen a completely eclectic approach, drawing on hymns from
several sources, even those outside the Reformed tradition, and publishing them in their
weekly bulletins through CCLI licenses.
viii

Because of the general lack of musical knowledge and training amongst the laity
of the URCNA, there exists a tendency towards aesthetic relativism, i.e., everyone’s
musical opinions are deemed equally valid. The unfortunate result has been a lean
toward either nineteenth century hymns in the revivalist tradition or contemporary
“Praise and Worship” choruses of the last few decades. Interestingly, neither of these
two camps reflects the theological and historical identity of the URNCA, but due to this
music’s availability, accessibility, and familiarity, these two genres serve as musical
default categories. Of course, both of these options disappoint the small minority who
recognize the disconnect between confession and practice. Nevertheless, the minority are
not equipped to steer the music in a different direction due to their lack of training, skills,
and resources.
It seems reasonable to say that the URCNA is experiencing somewhat of a
musical identity crisis and, as such, could benefit greatly from musical leadership. As a
member of a URCNA church and as a professional musician, the present writer is in a
unique position to offer guidance and expertise to these congregations. Thus, this project
is presented with the desire to assist all those who participate in the musical leadership of
the church.
1

Chapter 1: Accompanying Congregational Song

Introduction

Accompanying congregational singing is both a great privilege and a daunting
task. In the Reformed tradition, it is also the priority of the church organist. Where does
one begin with such an important responsibility? A musician’s inclination is to begin
with the music. However, when accompanying congregational song, one must initially
set aside the music and begin by studying the text. “Good hymn playing is good text
playing.”
1
A thorough understanding of the text is crucial to all musical decisions made
by the organist. From the introduction to the “Amen”, the driving force is the text.

Registration

Textual interpretation determines registration; conversely, registration
communicates textual meaning. Good registration choices portray the unique personality
of each hymn text and foster meaningful singing of it. A disregard for registration does a
disservice to the text, as well as to those who sing it. The organist, unlike other
musicians, has a multitude of registrational possibilities at his/her disposal, and each stop
should be used with intentionality, giving much consideration to which one accomplishes
the task (of interpreting the text) most effectively and efficiently.

1
Austin Lovelace, The Organist and Hymn Playing (New York City, New York: Abingdon Press,
1962), 39.
2

As textual ideas progress and change from verse to verse, so also should the
organist’s registrations vary from verse to verse. The following hymn, “Praise, My Soul,
the King of Heaven”, contains verses of contrasting textual sentiments. Verse 3 requires
a modest registration that communicates tenderness and care, while verse 4 requires a
robust, regal registration, communicating grandness and vastness:

3

Figure 1: “Praise, My Soul, the King of Heaven”

4

Registrations may even change within a verse, if the text demands it. In the
following example, “Sing Praise to the Lord”, verse 3 presents an excellent opportunity
for text painting via registration. Phrases one and two of this verse might be played by a
Principal Chorus. Phrase three lends itself well to reeds, including a 16’ in the manuals,
to portray “loud organs” and “deep tone”. For phrase four, the registration can go back to
the Principal Chorus, but with the melody played by a solo trumpet on another manual.

5

Figure 2: "Sing Praise to the Lord"

6

When accompanying very short hymn tunes, it is advisable to err on the side of
fewer registration changes. For example, “O God Our Help in Ages Past” may sound
disjunct if registrations are changed prior to every verse. Furthermore, verses 1 and 2 are
a single sentence. Verse 1 is strictly salutary; in verse 2, finally, the verb of the sentence
occurs. Note the proper punctuation between these two verses: a colon separates them,
followed by a lower case letter. This sentence, though divided into two verses, is best
depicted by a single registration.

7

Figure 3: "O God, Our Help in Ages Past"

8

Any registration change, whether between verses or within a verse, should foster
hearty participation of the singers. If registration changes cause the singing to falter, the
registration choices must be re-evaluated. Unless the text clearly calls for it, registration
changes ought not to be overly dramatic: an unexpected drop from ff to pp is jarring and
might leave the congregation feeling unsupported. A registration change that only draws
attention to itself rather than to the meaning of the text is certainly to be avoided.
It is impossible to give hard and fast rules about registration for hymn
accompaniment. Each organ is different, and even similar organs sound vastly different
depending on the spaces in which they reside. Therefore, the best way to make decisions
regarding registration is simply to listen. While textbook descriptions and formulas are
helpful, they must never replace the musician’s ears. Likewise, a composer’s registration
suggestions may give a good starting point, but they too must be used discerningly, not
necessarily literally. There is no substitute for the musician’s trained ear.
One pitfall of church organists is “If some is good, more must be better.” With
regard to registration, however, “less is more” is often the better approach. For example,
when registering the organ for hymn accompaniment, begin with the Great division’s 8’
principal (or “diapason” or “octave”). This single, simple sound can make for a fine
introduction to a subdued hymn. If more sound is desired, add the 4’ principal, followed
by the 2’ principal (along with corresponding pedal stops to balance). Listen to the
clarity of this simple Principal Chorus. Resist the temptation, initially, to couple all the
other divisions’ principals to the Great; this kind of coupling likely won’t increase the
volume much but may muddy the tone. If a brighter sound is desired, add a Mixture. If a
fuller sound is desired, try adding a substantial flute to the Principal Chorus, or
9

experiment with a reed in the texture. Don’t pull stops just for the sake of pulling; make
sure they’re accomplishing the intended purpose.
“Full Organ” is a deceptive term. It does not mean that every stop is pulled, or
that the crescendo pedal is wide open. Since certain stops are intended for particular
effects only, they should be absent from a Full Organ sonority. For example, strings, solo
stops (such as a clarinet), and tremolo should not be included in the organist’s Full Organ
registration.
Reeds, used discerningly and sparingly, are a wonderful registrational tool. A
Reed Chorus may be paired with a Principal Chorus to create an invigorating Full Organ
registration for the final verse of a hymn of praise. To aid the congregation in learning a
new hymn, a strong 8’ reed may be used as the melody solo, accompanied by an 8’ and 4’
principal. On a verse in which only men sing, a 16’ solo reed can play the melodic line,
matching the vocal range of the men. The timbre of certain reeds wonderfully portrays
texts about the devil, thunder, and earthquakes!
When accompanying a verse in which only treble voices sing, a light registration
is often ideal – perhaps a light 8’ and 2’ in the manuals with an 8’ (no 16’) in the pedal.
When accompanying a verse in which only men sing, try an 8’ principal and a light 8’
reed in the manuals with a 16’ pedal. The change in texture of these two verses,
especially when they are back-to-back, is a welcome and pleasing contrast.
Keep in mind that the location of the organ bench is often the worst seat in the
house, in terms of hearing accurately the overall sound. If possible, the organist should
occasionally sit in the pew and listen while another plays. It is important that the organist
know how the organ sounds where the congregation sits.
10

Articulation

Organists do not have the luxury of words as vocalists do, or the touch sensitive
keys and sustaining pedals available to pianists, nor the flickering tongues and fluctuating
airstreams of woodwind and brass players. However, the organist is certainly able to play
musically, with great sensitivity, through proper articulation.
Articulation serves the music, certainly, but in hymn playing articulation also
serves the text. Proper articulation is crucial in the organist’s pursuit of interpreting the
text and conveying textual meaning. Articulation gives the illusion of light/heavy,
accented/unaccented, and legato/staccato/marcato. This illusion is created through
duration, both of sound and silence, and it is the means by which the organist can
emphasize (or deemphasize) certain syllables and words according to their syllabic stress
and importance.
For example, the opening melodic line of “Now Thank We All Our God” (see
Figure 4) contains three consecutive notes of the same pitch and duration. However,
these quarter notes (on “now”, “thank”, and “we”) will each be played differently on the
organ. “Now” functions as a pick-up note to the downbeat “thank”. To create emphasis
on “thank”, a bit of space (silence) is required just prior to its sounding. That bit of space
is borrowed, mostly, from the previous note’s time. Consequently, the quarter note
“now” is shortened slightly in order to create the illusion of a longer and more substantial
“thank”. Continuing along in the phrase, “we” falls on a weak beat and does not need
emphasis; therefore, extra space prior to it is not necessary. In fact, the space prior to it
should be minimized.
11

The next three words (“all”, “our”, and “God”) contain two strong beats (“all” and
“God”) and a weak beat (“our”). To emphasize “all” and “God” the organist must create
the tiniest bit of space (silence) just prior to their sounding. In other words, the
movement from “we” to “all” and the movement from “our” to “God” cannot be purely
legato. To deemphasize “our”, the organist must diminish any space (silence) between
“all” and “our”; the movement from “all” to “our” must be as legato as possible.
Good articulation on the organ is not intuitive. Notice that the articulation
described above is contrary to what the organist would naturally play. Paying no
attention to articulation, the organist would lift between all identical pitches (in order to
make them each sound), but he/she would naturally connect notes of differing pitches.
The result of disregarding articulation is (emphasis in capital letters): “NOW THANK
WE all OUR god.” With proper articulation the result is (emphasis in capital letters):
“Now THANK we ALL our GOD.”

12

Figure 4: "Now Thank We All Our God"

13

Harmony

Another way in which organists depict text is through harmonic alteration. The
church organist’s default, correctly so, is to play a hymn’s harmony exactly as it is
presented in the hymnal, allowing the congregation the opportunity to sing in parts.
Certain circumstances, however, prompt the organist to prepare and play a harmony other
than what is on the hymnal page.
Most often, textual interpretation is the reason for a change in harmony. The
sounds and colors of harmony assist the organist in communicating the meaning of the
text. The discerning organist, then, uses harmony carefully and intentionally, in order to
help the congregation sing with understanding, conviction, and vigor.
“Love Divine, All Loves Excelling” is an example of a hymn which lends itself to
a change in harmony for textual reasons. Howard Helvey’s harmonization (Figure 5) is
particularly suited to verse 4: the change in texture (cluster chords in manuals only) in
measures 17-24 depicts the text “changed from glory into glory….”.
2

2
Howard Helvey, Free Harmonizations for Hymn-Singing: 25 Free Hymn Accompaniments for
Organ (Columbus, Ohio: Beckenhorst Press, 1995), 25.
14

Figure 5: “HYFRYDOL”

15

When selecting alternate harmonizations, the organist must consider not only the
harmony’s ability to depict the text, but also its ability to foster good singing from
untrained voices. The alternate harmonization must allow for the melody to be sung
unhindered. If the congregation has to struggle to maintain the melodic line, the alternate
harmony should not be used. Harmonies to be avoided are those that stray so far from the
original hymn that it is unrecognizable, those that force the melody into constant
dissonance with the harmony, and those that contain awkward and unconventional chord
progressions. Also, in general, avoid playing alternate harmonies on hymns with which
the congregation is unfamiliar.
Alternate harmonies must be thoroughly rehearsed so that the organist is able to
play the alternate harmonization as accurately as, and in the same tempo as, the hymn
itself. An important part of the organist’s preparation is writing the words of the hymn
into the alternate harmony score, or, at the very least, indicating breaths in the alternate
harmony score.
Occasionally a change in harmony is warranted for reasons other than
interpretation of text. Music containing less than ideal part writing and/or chord
progressions might spur the organist to play a slightly modified harmony, not to paint the
text, but simply to improve the quality of the musical composition. The 1987 Psalter
Hymnal of the Christian Reformed Church in North America (CRCNA) is an excellent
resource for improved harmonies of well-known hymns. Compare the following pairs of
hymns (Figures 6 and 7, Figures 8 and 9), the first of each pair taken from the CRCNA’s
1957 Psalter Hymnal and the second of each pair taken from the CRCNA’s 1987 Psalter
Hymnal.
16

Figure 6: "My Faith Looks Up to Thee" (standard harmony)

17

Figure 7: "My Faith Looks Up to Thee" (improved harmony)

18

Figure 8: "Come, Thou Almighty King" (standard harmony)

19

Figure 9: "Come, Thou Almighty King" (improved harmony)

20

Any deviation from the hymnal’s harmony should be communicated to the
congregation in advance of the hymn singing. Nothing is more frustrating for the part-
singer than to begin singing his/her part, only to clash with the organ’s harmony. A
simple, effective, non-intrusive way to communicate the necessity for unison singing is
by indicating such in the bulletin. There are a variety of ways to accomplish this. An
example of the most succinct is as follows:
Hymn of Praise: Psalter Hymnal #246:1-4, vs. 4 in unison
Another way, less succinct but perhaps clearer, is to list the verse numbers and
instructions vertically:
Hymn of Praise: Psalter Hymnal #246
vs. 1: harmony
vs. 2: harmony
vs. 3: harmony
vs. 4: melody in unison

Keep in mind that one can achieve variety without actually changing a hymn’s
harmony. For example, passing tones, pedal tones, and descants can all add interest
while still preserving the congregation’s liberty to sing in parts.

Interludes and Modulations

Interludes, like alternate harmonies, are used to aid the congregation in their
singing of hymnody. As a general rule, it is the text that determines whether or not a
musical interlude is warranted. Certain texts lend themselves to being set apart
musically, or, perhaps more accurately, “set up” musically. A doxological verse, for
example, is often added on to an otherwise complete hymn text. In the case of “Come,
21

Thou Almighty King” (Figure 10), the first three verses address each person of the
Trinity in turn. The final doxological verse acts as a doxological summary; hence, setting
it apart via an interlude is appropriate.

22

Figure 10: "Come, Thou Almighty King"

23

Some hymns contain two consecutive verses that are contrasting in thought, and
an interlude serves as a musical bridge between the two contrasting ideas. “Man of
Sorrows – What a Name”, for example, demonstrates a contrast between what already is
(verses 1-4) and what will be (verse 5). An interlude between verses 4 and 5 is textually
fitting as it represents the time between this age and the age to come. An interlude of this
type should gain in musical momentum and propel singers to a more vigorous expression
of praise.

24

Figure 11: "Man of Sorrows - What a Name"

25

Other interludes should do the exact opposite, i.e., they should dispel musical
momentum and usher in a more modest expression of reflection. “God in the Gospel of
His Son”, for example, contains a sharp contrast between verses 4 and 5. Verses 1-4
build on each other, culminating in thoughts of the new heavens. Verse 5, however, is a
prayer and quiet plea. The interlude between these two verses must bring the singer’s
thoughts from future hopes to present realities.

26

Figure 12: "God, in the Gospel of His Son"

27

Some interludes are modulatory, i.e., they move the music from one key to
another. A modulatory interlude is warranted only if the text is conducive to it, but even
then, the music itself might preclude it. For example, a hymn with a wide melodic range
(a tenth or more) may not be able to accommodate a key change without putting the
melody out of range for most singers. The following tune, SLANE, has a melody that
spans an eleventh. This does not leave much wiggle room for key variance.

28

Figure 13: "Be Thou My Vision"

29

A hymn with a high tessitura, despite a narrow range, may not be conducive to a
modulation. The following example, ALLEIN GOTT, has a range of only a sixth, yet
because the tessitura is fairly high, a modulation would not be advisable.
3

3
Some modern hymnals have published ALLEIN GOTT in F Major. In this case, a modulation
up to G would be acceptable.
30

Figure 14: "All Glory Be to Thee, Most High"

31

On rare occasions an interlude can be inserted not because the text calls for one,
but simply because the singers need a vocal rest. Excessively long hymns can be taxing
on untrained voices, and a brief vocal pause is helpful in order to help the congregation
finish the hymn with energy.
Of critical importance is exactly when an interlude should begin. It must never
begin on the pulse in which the congregation anticipates the next verse’s entrance.
Rather, the interlude must precede this pulse, in order that it be recognized as an interlude
and not the subsequent verse. The interlude may begin on the final chord of the verse or
on any pulse during the congregation’s holding of that final chord. Whatever the choice,
it must be thoroughly practiced in advance, as well as made fully clear in the moment.
Any hesitation on the part of the organist will inevitably result in a lack of confidence
amongst the singers, defeating the whole purpose of the interlude.
Interludes and modulations should not be overused. Played purely for their own
sake, they become cliché and lose impact.

Introductions

The hymn introduction serves several important purposes. The most obvious is to
get all the voices of the congregation to sing the same thing at the same time. This is no
small feat! Singers may be separated by half a football field, and, unlike a chorus, they
have no visual cues given them by a conductor. The congregation’s cues are strictly
aural. What exactly do singers need to hear, then, in the hymn’s introduction?
32

First, the congregation needs to hear a steady tempo throughout the introduction.
The organist must know this tempo before playing the first chord. Avoid an excessive
ritardando at the end of the introduction. The last phrase can, of course, be phrased and
played musically, which will likely mean a slight sense of relaxation, but as a general
rule, an obvious ritardando at the close of the introduction simply introduces uncertainty
into the congregation’s mind. Even if the organist is able to play a tempo at the
beginning of the next verse, the congregation likely won’t sing a tempo.
In addition to telling people when to sing, the introduction is also an opportunity
to tell them how to sing. The introduction should be played in the spirit of the text of
verse one. Is the overall affect of verse one jubilant and triumphant, or meditative and
modest? The introduction to “O Come, Let Us Sing to the Lord” from Psalm 95 will
demand a more robust registration than Psalm 51’s “God, Be Merciful to Me”. Is verse
one’s articulation detached and marcato, like the opening phrase of “Crown Him with
Many Crowns”, or is it legato like “O Sacred Head, Now Wounded”? The organist’s
introduction should communicate both the overall affect and articulation. Although
subsequent verses may have a contrasting affect and/or articulation, the hymn
introduction should still foreshadow verse one.
The introduction also indicates where singers are to breathe during verse one.
The congregation that is cognizant of this listens carefully to the phrasing of the
introduction and sings verse one accordingly. Keep in mind that the breaths of
subsequent verses will likely be different than the breaths of verse one. Regardless, the
introduction is to foreshadow the phrasing of verse one.
33

Because of all that the hymn introduction must communicate, a strong case can be
made for playing the hymn tune in its entirety as an introduction. Although some
elements can be communicated by playing just a phrase or two (tempo and mood, for
example), other elements (phrasing, breaths, and articulation) cannot be communicated if
the introduction is cut short. The organist should take advantage of the opportunity to
play the hymn tune in its entirety for the purpose of teaching the congregation what
he/she has already discovered and decided about the hymn. In other words, the
introduction serves as a teacher: the organist’s interpretation is presented to the
congregation.
Only a few circumstances warrant brief introductions. Service music that is sung
weekly (the “Gloria Patri” or “Doxology”, for example) may be sufficiently introduced
by just a phrase or a single chord. If the hymn’s first verse is to be sung by the choir or a
soloist, the introduction may be omitted entirely.

Amens

Just as the introduction is played in the spirit of the text it precedes, so also the
“Amen” is to be played in the spirit of the text it follows. When a congregation sings
“Amen”, they are saying “indeed” or “so be it” in response to the words they have just
sung. Thus, the overall affect (including articulation, registration, and tempo) should
remain the same as the preceding phrase.

34

Tempo

One of the organist’s most important and difficult decisions is tempo. A good
tempo choice can invigorate congregational singing; a poor tempo choice can greatly
hinder it. How should an organist arrive at a decision about tempo? First, it is important
to remember that there is no one “right” tempo for each hymn. A hymn’s tempo cannot
be defined by or confined to a single metronome marking. It is more accurate to speak of
a “good” tempo or a “singable” tempo, rather than the “right” tempo. A range of tempi
can be suitable for a single hymn. The organist’s particular choice depends on many
factors.
One factor in tempo selection is harmonic rhythm. Hymns whose harmonies
change frequently, especially hymns rich in chromaticism, will generally need to be
played slower than hymns whose harmonies change infrequently. Compare the following
two hymns with identical text but different music (Figures 15 and 16). The harmonic
rhythm (or rate of harmonic change) is slow in Figure 15, and is conducive to a sprightly
tempo. The rate at which the harmony changes in Figure 16 is fast, and therefore requires
a slower tempo.

35

Figure 15: "Day of Judgment! Day of Wonders!” (slower harmonic rhythm)

36

Figure 16: "Day of Judgment! Day of Wonders!" (faster harmonic rhythm)

37

The following hymn (Figures 17 and 18) demonstrates another important factor in
selecting a tempo: the hymn’s predominating rhythmic values. A hymn consisting of
mainly half notes and quarter notes will usually be played faster than a hymn containing
many eighth notes, especially when the eighth notes function as chromatic passing tones
or suspensions.

38

Figure 17: "Blessed Jesus, at Your Word"

39

Figure 18: "Blessed Jesus, at Your Word"

40

A third factor to consider when deciding on a tempo is the hymn melody. What
tempo fosters correct phrasing? A hymn of mostly two-measure phrases may need to
move slower than a hymn with all four-bar phrases. Choose a tempo that allows adequate
time for breathing between phrases.
When deciding on an appropriate tempo, the organist should take into account
non-musical factors as well. The hymn’s text, for example, will likely influence tempo
choice: a somber text will sound insincere if played too quickly, while a jubilant hymn of
praise will sound lackluster if played sluggishly.
4
Congregational custom and tradition
might also influence the organist’s tempo decision: how fast/slow is the congregation
accustomed to singing this particular hymn? Hymns that are new and unfamiliar to the
congregation may warrant a slower pace. And finally, the organist should take into
account the acoustical character of the building when deciding on a tempo.
After evaluating all the musical, textual, and contextual factors, the organist is
able to make an informed decision about a hymn’s tempo. At this point it is also
reasonable for the organist to ask the simple, subjective question: “How does this tempo
feel?” If it feels right, plays well, and sings comfortably, carry on. If not, evaluate why
and try again.
Perhaps the most important aspect of tempo is consistency. Whatever tempo the
organist chooses must, as a general practice, remain constant through the entire hymn.
One exception to this rule would include slight tempo variations between verses only for
the most compelling textual reasons. Another exception to this rule would be the final
verse (or the last phrase of the final verse) which might broaden slightly. Resist the

4
Compare “Ah, Holy Jesus, How Hast Thou Offended” with “Christ the Lord Is Risen Today”.
41

temptation to ritardando at the conclusion of every verse; even if the organist is able to
play a tempo at the beginning of the subsequent verse, the congregation may have
difficulty getting back to tempo immediately. The organist must make it a habit to
practice the hymn in the tempo in which he/she intends to accompany it. Repetition of
the desired tempo, just like repetition of correct notes, sinks into one’s mind, fingers, and
feet. Hence, the desired tempo is much easier to recall if it has been played that way
consistently in rehearsal.

Phrasing

One area of hymn singing that is ignored by many organists and congregations is
phrasing, or breathing. Singers tend to breathe (and organists tend to lift) wherever it’s
comfortable, regardless of whether or not the text and/or music are conducive to it.
Sometimes hymns are straightforward: breathe/lift every four bars on every verse, for
example. But certainly there are numerous exceptions, and the organist must observe
them in the hopes of getting the congregation to observe them too. Granted, some hymn
texts and tunes are not paired well, making phrasing very awkward. Even so, it is the job
of the organist to make the best of the situation, not ignore the situation. Remember,
“Good hymn playing is good text playing”.
5

The organist must be mindful of the fact that musical cadences do not necessarily
indicate a break (or breath) in text. For example, the refrain of “For the Beauty of the
Earth” (Figure 19) must be played and sung as a four-bar phrase. Though the

5
Lovelace, p. 39
42

congregation will want to breathe after “raise”, this is not a textually appropriate place to
break. If a four-bar phrase (in one breath) is not attainable by the singers, then a small lift
(or “catch-breath”) after “all” or “this” is an acceptable option.

43

Figure 19: "For the Beauty of the Earth"

44

The phrasing of “Holy, Holy, Holy” (Figure 20) is complex because of the way
the breaths vary from verse to verse. For example, though congregations will want to
breathe on the final beat of measure 14, this is fitting only for verses one and four. The
text of verses two and three do not allow for such an interruption. Here, the congregation
should sing a four-bar phrase on one breath, or they may breathe where the commas are
(on beat two of measure 14).

45

Figure 20: "Holy, Holy, Holy! Lord God Almighty"

46

Another example of phrasing that is contrary to what singers want to do naturally
occurs in “God, In the Gospel of His Son” (Figure 21). In verses 1, 2, 3, and 5, the text in
measure 12 is conducive to a lift (breath) at the comma. The congregation, however, will
want to breathe on the half notes that precede and follow it instead, even if it be in the
middle of a word.

47

Figure 21: "God, in the Gospel of His Son"

48

Verse Transitions

One very difficult aspect of accompanying congregational singing is transitioning
from one verse to the next. A space of silence between verses is necessary to allow the
singers to breathe and the organist to change registration. The wrong amount of space,
however, is detrimental to congregational singing: too much space causes the singers to
feel uncertain, yet too little space makes them feel rushed.
Finding that right amount of space is certainly possible though, so long as the
organist is committed to keeping a steady beat even while holding the last chord of each
verse. The final chord cannot be treated as an arbitrary fermata. Rather, it must be
viewed as rhythmically alive, i.e., having an underlying pulse, despite its being sustained
in pitch and duration.
In general, the correct amount of space, or silence, between verses is one pulse.
This pulse is usually borrowed from the final chord’s duration. For example, if the final
chord is a whole note, it will likely be played (and sung) as a dotted half note followed by
a quarter rest. During the quarter rest, the congregation breathes and the organist lifts
(and changes registration, if necessary), and all enter together on the downbeat of the next
measure, which is beat one of the following verse. Notice that no extra beats are added,
and no beats are left out. The hymn flows easily and logically and steadily from verse to
verse as the pulse is maintained.
Though the formula described in the preceding paragraph is technically accurate,
more must be said. Verse transitions played exactly as described above will likely sound
metronomic, robotic, and breathless. The organist’s goal, however, is a musical verse
49

transition. To achieve this, the organist must be aware that the space of silence between
verses is not merely a preparation for what is to come, but also a musical resolution of
what precedes it. If the organist has played the last phrase of the hymn tune musically,
there most likely has been a slight relaxation of tempo (though not an obvious
ritardando). This sense of relaxation should carry over into the silence. The first chord
of the subsequent verse is a tempo, but the silence between verses should remain in the
character of the preceding phrase. This results in a feeling of spaciousness that is neither
divorced from the pulse, nor married to the metronome.
If the organist desires to change his/her registration during the verse transition, it
is helpful to make the change (i.e., push the piston or pull the stop) on a subdivision of
the pulse of silence. Since the gesture itself is a rhythmic activity, it is best that it not
occur ambiguously. The underlying pulse is more easily maintained by the organist if the
physical motion coincides with a subdivision (either the eighth or sixteenth) of the beat.
Some verse transitions are somewhat complicated due to the compositional nature
of the music. In hymns whose final chord falls in the middle of a measure, it is usually
necessary to lengthen the duration of the final chord. Again, the underlying pulse is
maintained even while the final chord is being sustained. The organist determines how
many additional pulses to sustain based on where he/she wants the next entry to occur. If
the subsequent verse occurs on a strong beat (i.e., if it is a downbeat) the organist must
lift/rest on a weak beat. If the subsequent verse occurs on a weak beat (i.e., if it is an
upbeat) the organist must lift/rest on a strong beat. In the following example, the final
chord is a half note, occurring on the third and fourth beats of the last measure. To
achieve a comfortable transition, the final chord should be treated as a whole note, which,
50

in transition, is played as three sustained pulses followed by a rest/lift. Notice that the
rest/lift occurs on a weak beat because the congregation must re-enter on a strong beat.
(See Figure 22, ossia.)

51

Figure 22: Jesus, Lover of My Soul"

52

Verse transitions for hymns in 4/4 meter with a pick-up beat are particularly
challenging. If the hymn is slow and stately the final chord may need no lengthening.
For example, the final chord of “O God, Our Help in Ages Past” (Figure 23) can simply
be held for two pulses. The third pulse is the rest/lift, and singing/playing resumes on the
fourth pulse (which is the pick-up beat of the next verse).

53

Figure 23: "O God, Our Help in Ages Past"

54

If, however, the hymn in 4/4 with a pick-up beat is quite sprightly (felt in two
rather than four), the final chord may need to be lengthened by a full measure. In the
following example, the organist would sustain the final chord for six pulses, lift/rest for 1
pulse, and then re-enter with the pick-up beat of the subsequent verse.

55

Figure 24: "Rejoice, the Lord Is King"

56

Verse transitions in hymns with 3/4 meter also require careful consideration.
Significant relaxation of the final phrase will allow for the transition to occur as written;
no extra pulses are necessary. However, minimal relaxation of the final phrase will likely
require the extension of the final chord’s duration, usually one measure’s worth of pulses.

57

Figure 25: "Holy God, We Praise Your Name"

58

Hymns in 3/4 meter with a pick-up note nearly always require the final chord to
be extended by a full measure.

59

Figure 26: "O Worship the King"

60

All decisions about verse transitions must be carefully planned and thoroughly
rehearsed. It is often helpful to notate the transition directly onto the hymnal page. In
performance, be consistent; never experiment on the congregation from verse to verse.
The organist may change his/her mind, of course, but it is better to implement the change
for the future than in the moment.

Descants

Descants are usually associated with trumpets and sopranos, but they can also be
effectively played by the organ, either with a solo stop or on the same manual as the other
voices. Descants can certainly be newly composed, but sometimes an easy descant can
be created by playing an interesting alto or tenor line an octave higher. In the following
example, the alto voice is used as a descant on the fourth verse.

61

Figure 27: "Let Thy Blood in Mercy Poured" (standard four-part version)

62

Figure 28: "Let Thy Blood in Mercy Poured" (alto line an octave higher creates a
descant)

63

Figure 29: "Let Thy Blood in Mercy Poured" (played on one manual)

64

Marking a Hymnal

A carefully marked hymnal is an immensely helpful and time-saving resource for
the church organist. After acquiring a thorough understanding of a hymn through study
and practice, the organist should take the time to record on the hymnal page his/her
discoveries and decisions. To avoid an overly cluttered page, mark only what is
pertinent, necessary, and helpful, such as difficult fingerings/pedalings, unusual
phrases/breaths, important registration changes, non-intuitive articulations, verse
transitions, etc…. In addition to marking the music, make note of other pertinent
information in the margins: suitable registrations, appropriate alternate harmonizations,
preferred tempo, descants, introductions, etc….
A thoroughly marked hymnal does not mean that the organist will play the hymn
the same every time it is sung in corporate worship, nor does it negate the need for future
practice. Rather, it allows the organist to have a starting point in his/her future
preparations; there is no need to start from scratch with every hymn at each rehearsal.

65

Chapter 2: A Case for Liturgical Choir in Reformed Worship

Introduction

For several centuries following the Protestant Reformation, choirs were
intentionally absent in Reformed churches, yet today choirs are commonplace in
Reformed worship. The gradual inclusion of choirs into Reformed worship is explained
by Dr. Emily Brink, senior research fellow of the Calvin Institute of Christian Worship,
adjunct professor of church music and worship at Calvin Theological Seminary, and
founding editor of Reformed Worship: “The truth is that we let choirs into our services
not because we came up with some theological position on the role of music in worship,
but, rather, because we liked what we observed in other traditions. We started borrowing
practice before thinking theory. That’s how change usually happens.”
6

The earliest type of choir in the Reformed church was what Dr. Brink calls the
“church choral society”. It was not exactly a church choir, as they were not permitted at
first to sing in worship; rather, this choir was a group of church members who enjoyed
singing together and occasionally presented music to the congregation in a program after
Sunday evening worship.
The second type of choir to develop was the “anthem choir”. This group worked
regularly on preparing anthems for presentation in worship. These anthems were inserted
into the existing liturgy. They were an addition to the liturgy, but did not play a liturgical
role. The music they presented became known as “special music”.

6
Emily Brink, “Choirs in Reformed Worship,” Reformed Worship, (December 1986): 7
66

The third type of choir, the “service choir”, is a fairly recent development in
Reformed churches. The music of this choir is not an addition to the liturgy, but rather a
musical replacement to an otherwise spoken liturgical action. For example, instead of
the minster reading a Psalm for the Call to Worship, the choir might sing a Psalm for the
Call to Worship. Or, instead of the congregation reciting a Prayer of Confession, the
choir might sing a Prayer of Confession. The choir is not adding a new element to the
liturgy, but is simply carrying out the existing liturgy by means of music.
All three types currently exist in Reformed churches. However, there is much
debate over which type, if any, best suits Reformed worship. The remainder of this
chapter is dedicated to “thinking theory” about our current practices. A case is made for
the third type as most suited to Reformed worship.

Misuses of Choir in Reformed Worship

Before making a case for the proper inclusion and use of choir in Reformed
worship, it is helpful to identify several ways in which choirs should not be used. First,
in Reformed worship, choirs should not be used as forums to display musical talent.
Certainly talent and skill within the chorus is necessary and appreciated, but the choir
itself does not exist for the members to showcase their abilities. The choir’s participation
in Reformed worship is not a performance for them, nor is the choir entertainment for
those who listen.
Second, choral music in Reformed worship should not be perceived as a time for
the congregation to take a break. Music is not a mental pause. Listening is not passive or
67

removed. Rather, listening is active and participatory, though silent. In worship, when
the minister prays, the congregation is not merely listening to him pray; they are praying
his words too. Likewise, when the choir sings, the congregation is not merely listening to
them sing; they are participating in the music as they listen. The words being sung by the
choir are the words of all present.
Third, choirs in Reformed worship should not seek to provide “special music”.
Dr. Paul S. Jones, organist and music director at Tenth Presbyterian Church in
Philadelphia, Pennsylvania, addresses several problems related to the issue of “special
music” in his book Singing with Understanding: Issues in Church Music Today:
“Special music” is the inaccurate, nonspecific title given to solo pieces, choral
anthems, ensemble selections, and various other musical events…To call
something “special” is to set it apart as unique, unusual, or extraordinary. Not
only is it inappropriate for some service music to be exalted in this fashion over
other (e.g., the soloist over the congregational hymn), it is rarely a true description
of what is actually heard. Further, if it occurs in the service every week, not much
about it could be considered unique, unusual, or extraordinary (unless those
concepts apply in a pejorative sense). We would do well to eliminate “special
music” as a regular title for service music of any kind….
7

The term “special music” is unhelpfully nondescript. In a Reformed liturgy
events are titled according to function. The minister’s preaching, for example, is called a
Sermon (not “special words”) and the sacraments are labeled “Baptism” or “Holy
Communion” (not “special activities”). Why then is a choral anthem or an instrumental
piece labeled “special music”? Instead, music ought to be labeled according to the
liturgical function it serves -- an Instrumental Prelude or a Choral Benediction, for

7
Paul S. Jones, Singing and Making Music: Issues in Church Music Today (Phillipsburg, New
Jersey: P&R Publishing, 2006), 63.
68

example, but never “special music.” If music does not serve a particular liturgical
function, it has no place in corporate Reformed worship.
Though “special music” is a problematic term, even more alarming is “special
music” as a concept. Music in Reformed worship ought not to be ranked. To elevate
some musical events (solos, small ensembles, choirs) over others (congregational songs,
organ music) is a misunderstanding of the role of music in Reformed worship. The solo
sung during communion is not any more “special” than the congregation’s weekly
singing of the doxology. Similarly, the Organ Prelude is of no less importance than the
Choral Call to Worship that follows it.
What, then, is the function of a choir in Reformed worship? If it is not to
showcase musical ability, give worshippers a break, entertain, or provide “special music”,
what exactly is the choir supposed to be doing?

The Proper Use of Choirs in Reformed Worship

The purpose of a choir in Reformed worship is to sing the liturgy. Their task is
twofold: primarily, the choir is to aid the congregation in the congregation’s singing of
the liturgy; secondarily, the choir is to sing portions of the liturgy as a solo choral
ensemble. Thus, the choir functions in either role as a Liturgical Choir.
Since the choir’s primary duty is to aid the congregation in the congregation’s
singing of the liturgy, it is imperative that the choir actually rehearse all congregational
music. “Rehearse” implies much more than simply singing through the hymns. In order
69

for the choir to lead the congregation’s music with intention, nuance, and beauty, the
details of the Psalms/hymns must be thoroughly prepared in advance.
This detailed preparation of music is the responsibility of the choir director and
the organist. Together, and in advance of the choral rehearsal, they must thoughtfully
and intentionally plan each Psalm/hymn’s presentation: On which verses will the choir
sing melody? On which verses will they sing in harmony? Will any verses be sung a
cappella? Will the choir sing any verses alone? If so, how will that be communicated to
the congregation? Will the sopranos sing a descant? How does the phrasing/breathing
differ from verse to verse? What is the mood and dynamic of each verse? What is a good
tempo for the Psalm/hymn? What will the hymn’s introduction be? How will the
organist transition from verse to verse? Will any alternate harmonizations be used?
The choir’s secondary responsibility is to prepare and sing portions of the liturgy
as a solo ensemble. The choir may sing any liturgical element that is already in the
established Reformed liturgy,
8
with the exception of those elements that belong uniquely
to the ecclesiastical office of Minister of Word and Sacrament (such as the sermon,
absolution, etc...).
In this secondary role as a solo choral ensemble, the choir has much freedom
regarding music selection. Liturgical sacred music compositions abound! However,
choir directors should also use extensively their most available and obvious resource: the
church’s own Psalter Hymnal. There are multiple advantages to using Psalms and hymns

8
A typical Reformed liturgy includes: Call to Worship (Psalm), Invocation, Reading of the Law,
Confession of Sin, Absolution (also called Assurance of Pardon), Creed, Scripture reading, Sermon,
Prayers, The Lord’s Supper, Offering, and Benediction, interspersed with Psalms, hymns, and service
music (such as the Doxology and Gloria Patri).
70

as the basis of Liturgical Choir’s repertoire: many are already in the public domain, they
are musically short yet textually rich, they are accessible, they are adaptable to unison or
harmony, they are appropriate for every occasion, they can accommodate varied skill
levels, and they can be used to teach the congregation how to be better Psalm/hymn
singers.
Since the Liturgical Choir does not perform the liturgy for the congregation, but
instead sings the liturgy along with them, it is ideal for the choir to sing from the rear of
the congregation. This allows the choir to be out of sight (reinforcing the non-
performance emphasis of a Reformed church choir), and it also allows the choir’s voices
to move in the same direction as the congregation’s voices (for optimal leading of
congregational song). If a balcony is available, this is an ideal location for the choir, so
long as the accompanying instruments are also in the balcony. For churches that are
accustomed to seeing the choir up front, a move to the back will be an adjustment. Dr.
Jones reminds us, however, that “music is meant to be heard; but it does not need to be
watched.”
9

Music is indeed meant to be heard, and in Reformed worship it is also meant to be
clearly understood. For this reason it is crucial that all choral texts be provided in print to
the congregation. Texts should be printed in the bulletin within the liturgy itself, not on a
separate page or insert. Inclusion of texts within the liturgy not only ensures that the
choir’s sung words are intelligible, but it also reinforces the concept that all music in
Reformed worship is liturgical music and serves an important liturgical function.

9
Paul S. Jones, Singing and Making Music: Issues in Church Music Today (Phillipsburg, New
Jersey: P&R Publishing, 2006), 17.
71

Chapter 3: Choral Resources

The following scores are in the public domain and may by freely photocopied and
performed.

72

Music for the Call to Worship

73

74

75

76

77

78

79

80

81

82

83

84

85

86

Music for The Law/Confession of Sins

87

88

89

90

91

92

93

94

95

96

97

98

Music for The Apostles’ Creed

99

100

Music for Prayers

101

102

103

104

105

106

107

108

109

110

Music for The Lord’s Supper

111

112

113

114

115

116

Music for The Offertory

117

118

119

120

Music for The Benediction

121

122

123

124

125

126

127

128

129

130

131

132

133

134

Additional Resources

Collections

Boice, James Montgomery, and Paul S. Jones. Hymns for a Modern Reformation.
Philadelphia, Pennsylvania: Tenth Presbyterian Church, 2000.

Childs, Edwin T. Songs for the Journey. Set I. Houston, Texas: Alliance Music, 1994.

Childs, Edwin T. Songs for the Journey. Set II. Houston, Texas: Alliance Music, 1995.

Childs, Edwin T. Songs for the Journey. Set III. Houston, Texas: Alliance Music, 1995.

Childs, Edwin T. Songs for the Journey. Set IV. Houston, Texas: Alliance Music, 1995.

Jacques, Reginald, and David Willcocks, ed. and arr. Carols for Choirs, Vol. I. New
York, New York: Oxford University Press, 1961.

Jacques, Reginald, and David Willcocks, ed. and arr. Carols for Choirs, Vol. II. New
York, New York: Oxford University Press, 1970.

Hymnals

Lutheran Service Book. Saint Louis, Missouri: Concordia Publishing House, 2006.

Psalter Hymnal. Grand Rapids, Michigan: CRC Publications, 1987.

Rejoice in the Lord: A Hymn Companion to the Scriptures. Edited by Erik Routley.
Grand Rapdis, Michigan: Eerdmans Publishing Company, 1985.

Trinity Hymnal. Suwanee, Georgia: Great Commission Publications, 1990.

135

Books

Brink, Emily R., and Bert Polman, editors. Psalter Hymnal Handbook. Grand Rapids,
Michigan: CRC Publications, 1998.

Gordon, T. David. Why Johnny Can’t Sing Hymns: How Pop Culture Rewrote the
Hymnal. Phillipsburg, New Jersey: P&R Publishing, 2010.

Jones, Paul S. What Is Worship Music? Phillipsburg, New Jersey: P&R Publishing,
2010.

Routley, Erik. Church Music and the Christian Faith. Carol Stream, Illinois: Agape,
1978.

Routley, Erik. Christian Hymns Observed: When in our music God is glorified.
Princeton, New Jersey: Prestige Publications, 1982.

136

Bibliography

Brink, Emily. “Choirs in Reformed Worship.” Reformed Worship, (December 1986): 7-
8.

Choral Public Domain Library: www.cpdl.org

Helvey, Howard. Free Harmonizations for Hymn-Singing: 25 Free Hymn
Accompaniments for Organ. Columbus, Ohio: Beckenhorst Press, 1995.

Hymnary. www.hymnary.org

Jones, Paul S. Singing and Making Music: Issues in Church Music Today. New Jersey:
P&R Publishing, 2006.

Lovelace, Austin. The Organist and Hymn Playing. New York City, New York:
Abingdon Press, 1962.

Psalter Hymnal. Grand Rapids, Michigan: CRC Publications, 1987.

Psalter Hymnal. Grand Rapids, Michigan: CRC Publications, 1959.

Trinity Hymnal. Suwanee, Georgia: Great Commission Publications, 1990.

Abstract (if available)

Abstract This dissertation fills a gap in resources for lay church musicians in the Reformed tradition. First, it provides detailed guidelines for organists regarding the accompaniment of congregational song. Second, it provides direction to lay choir directors, consistories, and congregations concerning the implementation and execution of choral music in Reformed worship. Third, it includes reproducible choral music suitable for use in a historic Reformed liturgy.

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Asset Metadata

Creator Compton, Pamela S. (author)

Core Title Music of reformed worship: a guide and resource for organists, choirs, and congregations

School Thornton School of Music

Degree Doctor of Musical Arts

Degree Program Choral Music

Publication Date 05/12/2013

Defense Date 03/20/2013

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag choir,hymnody,John Calvin,OAI-PMH Harvest,organ,Reformation,Reformed,United Reformed Churches of North America,worship

Format application/pdf (imt)

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Scheibe, Jo-Michael (committee chair), Strimple, Nick L. (committee member), Thomas, Ladd (committee member)

Creator Email pamcompton@juno.com,pscompto@gmail.com

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c3-253897

Unique identifier UC11292721

Identifier etd-ComptonPam-1681.pdf (filename),usctheses-c3-253897 (legacy record id)

Legacy Identifier etd-ComptonPam-1681.pdf

Dmrecord 253897

Document Type Dissertation

Format application/pdf (imt)

Rights Compton, Pamela S.

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the a...

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA