At the close of the sermon the hearts of the people will be glad to express themselves either in Smith’s “The morning light is breaking,” or in Watts’ noble Christianized version of the seventy-second Psalm, “Jesus shall reign where’er the sun.” For once the organist can pull out all his stops and play a brilliant but not flippant postlude without disturbing the mind and nerves of thoughtful and devout people.
In these suggested programs it has been evident that the unity is one of feeling and not of logic. This gave room for the interest which the unexpected supplies. There must be progress of feeling as well as of thought. The long prayer or the music after it, be it organ or choir or hymn, should be the climax of emotion. It should be allowed to subside a little during the announcements and offering, in order to rise to a still higher climax in the sermon and closing hymn.
In a tender, sympathetic service there is more danger of not taking the audience with you. If the music and the feelings suggested by the hymns are too quiet and depressing, there is danger of its acting as a lullaby, putting the people to sleep. Many a preacher wonders why some of his hearers are asleep before his text is fairly announced. In nine cases out of ten, it is due to the depressing character of the music used in the devotional part of the service.
III. IMPORTANCE OF THE TUNES
As has been incidentally suggested in the course of the illustrative progress, no small importance is to be attached to the selection of the tunes to be used with the hymns. The preacher cannot always afford to trust the compiler of the hymnal which he uses. That learned gentleman does not know what tune the preacher’s people can sing with a given hymn to the best advantage. He has to meet the difficulty of providing every hymn with an appropriate tune without having well-known and effective tunes enough to go round; he cannot repeat them over and over, but must use less popular tunes. Who shall judge him harshly, therefore, if in this dilemma he occasionally follows his own personal taste rather than the vaguely conceived needs of miscellaneous congregations.
But the minister must study the tunes in his hymnal lest he limit his song service to the small number he happens to know well. To use a dozen or so tunes again and again will cut the nerve of musical interest in his musical helpers and in his congregation as well.
Hence, it is the minister’s task to re-edit the hymnal in part, remating hymns and tunes in order to secure the greatest results with his own people. Nor need he suffer with a sense of presumption. The important consideration is the results of the singing of hymns in an effective way, not loyalty to his church hymnal at the expense of those results.
Chapter XXI
THE ANNOUNCEMENT AND TREATMENT OF HYMNS
I. THE ANNOUNCEMENT OF HYMNS
It may seem quite superfluous to give any attention to the mere announcement of hymns; but in many cases the spiritual success or failure of the congregational song is determined there. It is generally assumed that any one can announce a hymn and initiate its singing, but probably the least successful work of ninety-nine out of a hundred ministers is their management of the service of song in their churches. The writer remembers one minister who would baldly announce the number and then turn round and stare at the choir and organist until they began to sing. The awkwardness and helplessness of the man invariably produced a most unfortunate effect upon the congregation. Many ministers announce the number and read the first line. It makes no difference whether the first line is complete in meaning or not; they have identified the hymn.