Prepare the Way Worship Series, week 1: STAND
December 2, 2018 — First Sunday of Advent

The following selections are congregational songs (most of which are chosen from this week’s Hymn Suggestions) with notes on key, tempo, and instrumentation, along with some practical and creative considerations in singing.

O Come, O Come Emmanuel

Source: The United Methodist Hymnal, 211
Recommended Key: E minor
Tempo: 108–116 bpm
Instrumentation: a cappella (unison or parts), organ, piano, or band
Notes: Very few Advent songs will be sung as well by congregations as this hymn. The tune is old (15th century), but the text is older (9th century)! Join in singing a song embraced by the church for ages as a theme song throughout the Advent season. Because of the key, there are numerous possibilities for instrumental accompaniment, including keyboard instruments, or any variety of bands or ensembles. Create a zimbelstern effect with a handbell random ring on one or more stanzas. The “O Antiphons” are included on the opposite page of the hymns, and they also work well as complementary liturgical pieces for worship.
Resources: History of Hymns
VENI EMMANUEL Doxology

Even So Come

Source: CCLI #7036288
Recommended Key: E♭–F
Tempo: 52–55 bpm (dotted quarter)
Instrumentation: Full band, guitar, or piano
Notes: This modern favorite would also make a great theme song throughout the season of Advent. The line, “Even so, come, Lord Jesus, come,” will stick in the ears and minds of parishioners through the week. Conversation needs to be had in your context around some of the language in the song, however. Even though the use of “bride” and “bridegroom” is scriptural, the context of a “bride waiting for her groom” may need some attention for worship planning teams. See the CCLI Top 100 Project lists and rationales (found in resources below) for more information.
Resources: CCLI Top 100 Song Lists and Rationales

Lift Up Your Heads, Ye Mighty Gates

Source: The United Methodist Hymnal, 213
Recommended Key: D
Tempo: 80–88 bpm
Instrumentation: Organ or piano
Notes: This hymn makes for quite a regal text and tune, and the allusions to Psalm 24 are notable. The addition of brass always makes this a great choice, should you have a brass ensemble at your disposal. An alternate harmonization and descant can be found in The United Methodist Hymnal Music Supplement.
Resources: History of Hymns

Wounded World that Cries for Healing

Source: The Faith We Sing, 2177
Recommended Key: G
Tempo: 80–84 bpm
Instrumentation: Piano or organ; flute or violin doubling melody
Notes: One of the best elements of Shirley Erena Murray’s hymns is the opportunity to sing words and phrases you may not expect to encounter in hymnody. One example of this is the way she paints image-driven pictures that fit the message of the hymn (In this case, “wounded systems, bruised and bleeding” to illustrate the pain of systematic brokenness). Be sure to choose a tempo that allows four-measure phrases if possible, even though the textual phrasing of this hymn can also be supported with two-measure phrases.
Resources: History of Hymns

Beams of Heaven as I Go

Source: Songs of Zion, 10 (titled “Some Day”); The United Methodist Hymnal, 524
Recommended Key: E♭–F
Tempo: 56–64 bpm
Instrumentation: Organ or piano
Notes: Charles Albert Tindley penned this dramatic song of hope near the beginning of the twentieth century, and the yearning for liberation holds true today. The melody sings easily, although the length of the hymn and the high tessitura at times requires a good bit of congregational stamina. If necessary, have a soloist sing the stanzas, and invite the congregation to sing the refrain only.
Resources: History of Hymns

Freedom Is Coming

Source: Zion Still Sings, 110 ;The Faith We Sing, 2192
Recommended Key: G
Tempo: 96–102 bpm
Instrumentation: a cappella with percussion (djembes, shakers, other hand drums); keyboard only if needed
Notes: If your choir is interested in singing global song, this is a great place to start. This song offers a repetitive rhythm and SATB parts. Make note that since the song comes from apartheid-era South Africa, however, that this poignant origin needs to be made known to the choir and the church so they can work to fully understand the suffering and oppression in its original context. See the History of Hymns article for more information.
Resources: History of Hymns

I Want to Walk as a Child of the Light

Source: The United Methodist Hymnal, 206
Recommended Key: D♭–D
Tempo: 124–132 bpm
Instrumentation: Organ, piano, or guitar
Notes: Many organists would not choose to play in the key of D♭, but that is easily remedied with this song. Just instruct your organist to play it as if it were written in the key of D, with the G naturals played as G sharps. This may win you some points with your organist! The key of D also works well with guitar. With this hymn’s origins in the folk genre, keep the tempo light, with emphasis on beat one of each measure (instead of heavy emphasis on each quarter note). Let it dance with a gentle lilt.
Resources: History of Hymns

Until Jesus Comes

Source: Worship & Song, 3050
Recommended Key: F
Tempo: 84–92 bpm
Instrumentation: Piano or organ
Notes: Dean McIntyre created this tune to be played in a gospel style, with heavy emphasis on each quarter note and a stride pattern in the left hand of the piano. Because of the brevity of the text, it would make a great call to worship or song of sending during the season of Advent.
Resources: Hymn Study