Using The Hymnbook

Using the Hymnbook
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https://www.lds.org/music/resources/using-the-hymnbook?lang=eng
The following material is intended to help you use the hymnbook effectively.
Included are explanations of the elements of the hymnbook; discussions on
using the hymns for congregations, choirs, and special groups; and
information for beginning music directors, organists, and pianists.
Elements of the Hymnbook

Hymns for Congregations
Hymns for Choirs and Special Groups
For Beginning Music Directors
For Beginning Organists and Pianists
Contents
The table of contents groups the hymns into 11 general categories. Hymns of similar subject and mood
are generally found in the same section. However, being listed in a certain category should not limit the
use of any hymn. For example, some hymns in the sacrament section, such as How Great the Wisdom
and the Love and I Stand All Amazed, may be used for other purposes, and selected verses of several of
the hymns in this section may be used for Easter. The index of topics will help you find hymns on
specific subjects.
Mood and Tempo Markings
The mood markings, such as Prayerfully or Resolutely, suggest the general feeling or spirit of a
hymn, although the mood of some hymns may vary according to the occasion or local preferences.
Metronomic markings indicate a tempo range (such as
= 6976) and are also given as general guidelines; the locale and context in which a hymn is used may
suggest greater flexibility.
Introduction Brackets for Pianists and Organists
Brackets
on each hymn suggest a suitable piano or organ introduction. Before playing a hymn, scan it to make
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sure you see the complete introduction. You may want to highlight the brackets in your personal
hymnbook, especially if the final phrase of an introduction does not happen to be at the end of the
hymn.
You may also wish to shorten or lengthen the suggested introduction. If the hymn is unfamiliar, playing
it completely through as an introduction can help the congregation feel more comfortable with it. If the
hymn is well known, the last line or phrase may be a sufficient introduction. When using a short
introduction, you may want to slow the tempo at the end to express a sense of completion.
Scriptural References
In early Christian tradition, most hymns were musical settings of adapted scriptural texts. Most of our
current hymns relate to a number of scriptures; some of the many possibilities are listed at the end of
each hymn. Using the Topical Guide and Index found in the Latter-day Saint edition of the scriptures,
you will find many more verses of scripture that enrich the messages of our hymns.
Indexes
The hymnbook contains seven indexes with brief explanatory notes for each one: Authors and
Composers; Titles, Tunes, and Meters; Tune Names; Meters; Scriptures; Topics; and First Lines and
Titles.
Unison and Part Singing

Although part singing (soprano, alto, tenor, and bass) has a strong tradition in the Church, the goal in
congregational singing is that all participate, no matter what their vocal ability may be. Because many
members sing the melody regardless of their vocal range, the hymns are in keys that accommodate
both unison and part singing. Some hymnsand parts of hymnsare specifically written for unison
singing.
Selecting the Right Hymn
The hymns you select should reflect the general character of the meeting and help establish the proper
spirit.
The opening hymn may be one of supplication or praise; it may express gratitude for the gospel, joy in
being able to gather together, or enthusiasm for the work to be done.
The sacrament hymn should refer to the sacrament itself or to the sacrifice of the Savior.
An intermediate hymn provides an opportunity for congregational participation and may relate to the
subject of the talks presented in the meeting. The congregation may stand during this hymn as
appropriate.
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The closing hymn is an opportunity for the congregation to respond to the spirit and content of the
meeting.
Not every hymn is suitable for every Church-related occasion. Some hymns may be more appropriate
for a youth gathering than for a sacrament meeting.
Selecting Verses to Be Sung
You need not feel compelled to sing all the verses of a hymn unless the message is otherwise
incomplete. However, do not routinely shorten a hymn by singing just the first one or two verses.
Singing the verses printed below the music is encouraged.
Achieving Balance in the Selection of Hymns
In addition to using hymns already known and loved, members are encouraged to become acquainted
with new or less familiar hymns. Try to achieve a good balance between familiar favorites and less
well-known hymns.
Hymns for Stake Conference
Standard, well-known hymns are often the best choice for stake conference, particularly if hymnbooks
are not available for the entire congregation. Here are a few such hymns:
Come, Come, Ye Saints

Come, O Thou King of Kings
Come, Ye Children of the Lord
Count Your Blessings
Do What Is Right
Guide Us, O Thou Great Jehovah
How Firm a Foundation
I Am a Child of God
I Know That My Redeemer Lives
Let Us All Press On
Now Let Us Rejoice
Praise to the Man
Put your Shoulder to the Wheel
Redeemer of Israel
Sweet Is the Work
The Spirit of God
We Thank Thee, O God, for a Prophet
You may copy the hymns on a printed program unless the copyright restrictions on the hymn state that
this is not permitted.
National Anthems
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A few patriotic songs have been included in the hymnbook; with priesthood approval, local national
anthems may be added. Members may stand for national anthems in Church meetings according to
local custom and priesthood direction.
Using Hymns for Choirs

In this edition of the hymnbook no distinction is made between choir and congregational hymns. Choirs
should use the hymnbook as their basic resource, selecting from the entire book. Choirs may also sing
other appropriate anthems and hymn arrangements not included in the hymnbook.
Some of the hymns labeled Choir in previous hymnbook editions have been transposed to lower keys
for greater congregational use. Choirs may want to keep copies of the past editions of the hymnbook to
take advantage of higher keys and the possibility of modulating from one key to another. If only one
copy of a previous edition is available, a hymn may be copied and used for this purpose, unless this is
prohibited by the copyright notice.
Altering Hymns for Choir Performance
Hymns from the hymnbook, sung without variation, are always appropriate as choir selections. You may
also vary your presentation of the hymns; however, use such variations sparingly, making sure they are
consistent with the spirit of the hymn. Here are a few hymn adaptations you may wish to consider:
Have the men, the women, or both sing one verse in unison.
Have the congregation join the choir on the final verse or chorus of a hymn. (This is one
way to help the congregation become more familiar with some of the hymns.)
Have the women sing one verse, as outlined below under Hymns for Women's Voices.
Have the men sing one verse, as outlined below under Hymns for Men's Voices.
Have the soprano and tenor sections sing a duet for one verse.
Have the tenors and basses sing the melody while the sopranos and altos sing the alto
part.
Have one section of the choir sing the melody while the rest of the choir hums the other
parts.
Hymns for Women's Voices
In the women's section of the book are hymns for women's congregations and hymns that have been
prepared for women's choirs and trios. In addition, the sisters can sing without adaptation most of the
other hymns in the book in two parts (soprano and alto) or in three parts (if the tenor part is not too
low).
Hymns for Men's Voices
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The hymns in the men's section of the book are divided into two categories: Men, for men's
congregations, and Men's Choir, for choirs and quartets. For a congregational hymn in priesthood
meeting, it is generally preferable to choose from the standard congregational hymns or from those
marked Men.
Several hymns are specifically arranged for men's choirs; in addition, many hymns for congregations
and those marked Men can be adapted for use by men's choirs and quartets:
Baritones:
Sing melody
1st Tenors:
Sing alto above the melody

2nd Tenors:
Sing Tenor
Basses:
Sing Bass
The main problem in adapting hymns for a men's choir is finding tenors who can sing as high as the
alto may go; some high notes may need to be adapted. You may also transpose the hymn to a lower
key, adapting the bass part.
For an example of an adaptation in the hymnbook, compare Should You Feel Inclined to Censure (no.
235), a congregational arrangement, with Brightly Beams Our Father's Mercy (no. 335), the same music
arranged for men's voices.
Another possibility in adapting a hymn for a men's choir is to have the alto part sung below the melody.
When this is done, the bass part is optional.
You will note that in the hymns arranged for men's choirs, a tenor clef symbol is used instead of the
usual treble clef symbol.
Tenor clef symbol
Treble clef symbol
You should generally play the right-hand notes of these hymns an octave lower than the treble clef. The
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result is a rich, effective accompaniment for men's voices.
Measures, Time Signatures, and Downbeats

A measure is the smallest musical unit bordered by vertical lines:
In the hymnbook, when a measure is carried over from one line of music to the next, the end of the first
line is left open to show that the measure continues on to the next line:
The time signature (two numbers, one above the other, such as
is found at the beginning of each hymn. The top number indicates the number of beats or pulses in
each measure. The bottom number tells what kind of note gets a beat or pulse. For example, a
time signature means there are three beats per measure in the hymn, and a quarter note (
) gets one beat.
As you direct the music, the first beat of your beat pattern (see beat pattern illustrations) should
correspond with the first beat in each measure. This first beat, called the downbeat, is the strongest
beat in each measure. You will note that many hymns begin on an upbeat, or pickup note, before the
first downbeat.
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Standard Beat Patterns

The purpose of beat patterns is to keep the congregation together rhythmically and to communicate the
mood and spirit of the hymn. Patterns should be kept simple, but may vary according to the nature and
mood of the hymn. The dots on the beat patterns show where the rhythmic pulses of the hymn occur.
The two-beat pattern (used for hymns marked
or
):
The three-beat pattern (used for hymns marked

or
):
The four-beat pattern (used for hymns marked

):
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The six-beat pattern (used for hymns marked

or
):
A
or
hymn with a slow tempo, such as Silent Night (no. 204), may be conducted with either the traditional
six-beat pattern or a double three-beat patternfirst a large one, followed by a smaller one:
A
or
hymn with a moderate tempo, such as Dear to the Heart of the Shepherd (no. 221), may be conducted
by omitting the second and fifth beats of the traditional six-beat pattern, and pausing at those points in
the pattern:
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A
or
hymn with a fast tempo, such as Master, the Tempest Is Raging (no. 105), may be conducted with a
two-beat patternthe first three beats go with the first stroke, and the last three beats go with the
second stroke:
When using the last two beat patterns, be sure to keep the rhythm or pulses of the hymn constant.
Some Hymns That Are Easy to Conduct:
The two-beat pattern:
Come, Rejoice
Come, Thou Glorious Day of Promise

God Speed the Right
Ye Who Are Called to Labor
The three-beat pattern:
Come, Follow Me
Do What Is Right
Glory to God on High

God, Our Father, Hear Us Pray
Teach Me to Walk in the Light
The four-beat pattern:
Abide with Me!
As I Search the Holy Scriptures

Come, Ye Children of the Lord
Did You Think to Pray?
For the Beauty of the Earth
Hark, All Ye Nations!
Hope of Israel
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We Will Sing of Zion
Adapting Hymn Accompaniments

Some hymns may have notes or passages that are difficult to play. Feel free to adapt such passages to
your own ability by dropping less-important notes from chords. You may want to mark your own
hymnbook for this purpose.
Hymns frequently have a space between the tenor and bass notes that is too wide to reach with the left
hand. Often the right hand can include the tenor note quite easily. You may want to mark such notes
with a bracket to remind yourself to play them with your right hand:
Some hymns and children's songs are written with the piano in mind. If the organ is used for these
songs, it is sometimes preferable to use manuals only, without pedals.
Cue Notes
A cue note, or small note, means that the note is optional. Following are examples of how cue notes
may be used:
1. A cue note may indicate that the notes are to be played and sung with some
verses and not with others, depending on the text of each verse:
2. Sometimes the music is complete even if the cue note is left out:
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3. Cue notes may also indicate music to be played by the pianist or organist but
not to be sung:
Some Hymns That Are Easy to Play:
Come, Follow Me
Do What Is Right
God Be with You Till We Meet Again

How Gentle God's Commands
I Stand All Amazed
Keep the Commandments
Let the Holy Spirit Guide
Now Let Us Rejoice
Redeemer of Israel
Sweet Hour of Prayer
Sweet Is the Work
Teach Me to Walk in the Light
We Thank Thee, O God, for a Prophet
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Using The Hymnbook

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Using The Hymnbook

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Using the Hymnbook

Elements of the Hymnbook