Praise to the Lord, the Almighty, the King of Cre-a-tion

This hymn has been included in the repertoire for many centuries, and is regarded by many as a 'classic'. The exact origin of this hymn tune 'Lobe den Herren' is unknown, other than that it came from the German region known as Stralsund, a trading centre that belonged to the Kingdom of Denmark in medieval times. It is quite possible this tune was a known folk tune before it was adopted as a chorale melody in the 1600s.

When the tune is allowed to stand on its own, much of its character is revealed. In triple time, it is less austere than many other old hymns, and suggests a dance-like quality.

Flavour
If you were to wander about the house singing this sing, you may well find it assumes a very different style and tempo than that we usually adopt. Traditionally this old hymn beats a grand and deliberate time, giving almost equal weight to each note and syllable. Try singing the opening now in the way your community commonly sings it, noting your pace and style.

Now try this: pick up the pace slightly, emphisising the first beat of each bar. Keep your singing light and dancy, skipping over the dotted rhythms in bars 2, 8 and 16. Clearly this old hymn has now taken on a new rhythmic character, invoking celebration rather than solemnity.

Re-thinking accompaniment
The rich chordal accompaniment is particularly beautiful, and yet to engage with this new style means the harmonic change on every note will hamper the flow. Give this hymn new life by adopting sparse accompaniment, thinking carefully about instrumentation. Brass instruments are grand, wheras tin whistle or recorder and bodhran will create an entirely different mood. By playing a simple rhythm on a hand drum, and a counter melody on tin whistle (you can use the tenor line for this) will reinvigorate this classic.

Breathing space
Now that we are all rollicking along in song we encounter a challenge. Singers will need some space at the end of the verse, similarly to that which a laong pause on the pipe-organ provided. But slowing down will damage the mood we are setting. Instead repeat the final four bars between each verse, or simply continue the rhythmic pattern on the hand drum. Songleaders can give clear non-verbal cues to the congregation for the next verse.

Introductions are vital
The purpose of an introduction is not only to remind people of the tune they are about to sing, but to set the mood and tempo. Don'tunder estimate the value of a great introduction which reveals the intention for the singing. When adopting an unfamiliar style, musical introductions become even more important. If not done with care, people will misunderstand the intention for the singing, and adopt the austere style. A short explanation at the appropriate time can alleviate confusion.

Shall we dance?
Consider using this song as an introit or processional song, and have someone dance the bible down the aisle. Consider whether the musicians themselves might be part of the procession. Don't assume this song will always be sung the same way, but refresh your approach.

Teaching the song
This is so well known and does not need teaching. As long as the instrumentalists and songleader are engaged in the style, a quick word about the different approach will be all that is required.

Let me know if you refresh this hymn in your community.

More like this in Revisting Old Treasures

About this hymn

History of chorales and use of folk tunes

For more on the region of Stralsund

How to teach a song in 4 steps

I used this method recently at the Opening Worship of Synod (Vic/Tas) in Melbourne to teach a new song. The teaching method was introduced to me and many others by John L Bell many years ago during a visit to Melbourne. It is simple, direct, and effective.

At the recent Synod meeting Were I the Perfect Child of God was to be taught prior to worship. After I had sung the melody once, I asked who knew the tune, but it was new to everybody, despite its folksong origins. I must admit I was not confident people would be sufficiently prepared when came time to sing the song after the preaching. I was pleasantly surprised. People sang robustly and confidently.

Here are the steps.

1. Make sure YOU know the song so well you can sing it in the shower.
2. Position yourself in a highly visible position and make eye contact.
3. Ask people to listen while you sing the tune (without words or instruments). Don't be tempted to double the melody with an instrument. This confuses things and is unneccesary if you know the song well.
4. Ask people to hum while you sing the tune again. Make sure they hum as this means they can still hear the correct melody from you, and enables self correction without embarrasment.

Thats it!
I am sometimes tempted to introduce the words for a once through at this stage, particularly for longer songs. But on the occasion I have refered to, we didn't use the words until the moment in worship when people were to sing, with no ill effects.

Were I the Perfect Child of God can be found in I Will Not Sing Alone: Songs for the season of love.

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Why don't the children sing?

Too often children who sing in bed after the lights go out, who hum while drawing, sing the national anthem, or a footy team song, fall silent in the worship context.

What is it about the worship experience that inhibits the song of children?
At what moment in our lives do we move from listening, to contributing to community singing?

Reflecting on your own situation, consider these questions:
1. Do you encourage children to sing?
2. Is the "children's song" understood as code that they are not to sing at other times?
3. Which songs do the children most enjoy? Do you know what they are?
4. Can they read the words?
5. Can they see the words?
6. Is there more than one instance each week where a song is accessible to non-readers?
7. Have they other opportunities to learn/sing the songs away from worship?
8. Is there a person in your faith community who encourages children to sing?
9. Has a culture of not singing developed?

Encouraging the voice of children
From what I have observed the principle barrier to the participation of children is the inaccessability of the songs themselves. We are big on words in the church, and lots of long and complicated ones which require definition. Using simple repetitive songs and chants can make a big difference.

A story to illustrate perhaps. One Sunday in my congregation we learnt Kyrie Eleison (Bridget) by John Bell. This particular Kyrie has a cantor/song leader singing a phrase, which is repeated by the gathered people. We sang it perhaps 5 or 6 times in the context of a spoken prayer. After worship had finished several families met at McDonalds for a birthday party. It was possibly 2 hours after the Kyrie had been sung, and silence had descended as the kids sat about eating their 'happy meals'. All at once one of the 5 year old put down his burger, looked around at his friends, and launched into the cantor's part - "Kyrie eleison" to which the other children responded, "kyrie eleison!" It was quite a moment. The children had all absorbed the song, despite its unfamiliar text, becasue it was repetitive, attractive to them and musically accessible. They had taken the song beyond the worship context and into their lives.

If all else fails....
- Regularly include short prayer responses, amens, alleluias and doxologies that children can sing well. 
- Teach the children a new song, and have them teach the congregation one Sunday morning. Not only will you have captive learners, but the rehearsal during the week will ensure the families are all on board too.
- If you must hand out percussion instruments (no I'm not a fan), do so only when the songs are inaccessible.
- Introduce actions, claps or stomps.
- Have children teach the adults the actions
- If you have a goodly number of children allocate them their own part in a round
- Expect them to sing - they are part of the worshipping body like everyone else.
- Enlist the 'help' of older children

What other tips do you have for engaging children in the sing?

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Getting gatherings to sing - a checklist for success

Having trouble getting your faith community to sing well?
Low confidence can lurk about for years on end unless the reasons are dealt with effectively. Try this list on for size. Hopefully over time you will see increasing engagement in the singing.

Seating - if people are spread across the space they feel exposed. Get with the strength and have people sit together to encourage greater confidence. Experiment with seating arrangements by making fewer chairs available. Circular seating can be more successful than a 747 set-up.

Teach songs well - simply playing a new song through and claiming to have taught it, is like telling some how to drive and handing the keys over. In order to learn, we have to have a go ourselves. Too often songs are introduced without space for the gathering to sing.

Is this a community song - not all songs are designed for community singing. Many are performance numbers for choirs, or bands, or soloists.

Simplify the accompaniment - if there is too much musical embellishment while a song is being learnt, people will be baffled and unsure of which notes to sing. An old lecturer of mine said the key was "KISS" (aka. keep it simple stupid).

Acoustics - this can make or break community singing. If a space is too reverberant, clarity is lost to mush, and rhythmic integrity is lost. If acoutics are too flat (often due to carpet, soft furnishings, low ceilings) the effort being by singers will be unrewarding.

Teach without instruments - the most effectve way to teach is to have a single voice sing without any instrumental accompaniment, no not even doubling the melody. Ask the gathering to sing back to you, also without instruments. Don't forget to listen. Only when you listen to what comes from the gathering will you know they have learnt the song.

Verbal and non-verbal cues - "I know you hate learning new songs but we have to do this one. You're not very good at new ones, but I want you to try your best...." (bleh!) There is nothing like negative introductions to dampen enthusiasm. "We have this great new song ...." or "here's a new song by the same person who wrote...." or "this song was written when....." Personalising the song can heighten its significance for people.

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Do you have a tip for others, or a story to share?
Please include your contributions here.