EVANGELICAL THEOLOGICAL COLLEGE

OF THE PHILIPPINES- LUZON, INC.

Lot 1 Block 1 Valley Hills Subd., Valley Golf, Cainta Rizal 1900

SESSION 9: HYMN SINGING

Objectives:
1. That the students may have a basic knowledge of HYMN singing and how to lead the
congregation with in Hymn singing
2. A deep appreciation of Hymn singing in the church

I. Leading Hymn Singing

Song/hymn leading is an important skill that can make an enormous difference

to the way a congregation sings. If the song leader is primarily a vocalist, there are a
number of qualities that are important for success: having enthusiasm for singing;
being able to establish a good rapport with the congregation; being comfortable
with your own voice; having accurate pitch and a pleasing vocal quality; being
excited about introducing new ideas and repertoire. These attributes will help
ensure a good singing experience for both the leader and the congregation.

Song/hymn leaders use a variety of approaches when leading the congregation,

and no single approach or style is “right”. What is important is to develop a style
that is unique to your own personality and comfort level. The following are some
things to consider:

A. Essentials in Leading Hymn Singing

a. Energy & enthusiasm

b. Building Rapport - Be open, be friendly, be accepting, and remember to

make eye contact.

c. Vocal Delivery - Whether you are a soloist or not, work on your own
vocal production. It’s important that you feel comfortable with your own
voice so the congregation can relax and simply try to emulate what
you’re doing.

d. Doing what feels natural - You need to find gestures and body
movements that feel natural to you, and that the congregation responds
to.
This may mean using simple movements like snapping your fingers,
keeping time unobtrusively with one hand, or gently swaying. Do
whatever works in order to keep the rhythm going, and to provide clear
cues for verses, harmony parts, etc. Keep it simple, unaffected, and
inviting.
 EVANGELICAL THEOLOGICAL COLLEGE
OF THE PHILIPPINES- LUZON, INC.
Lot 1 Block 1 Valley Hills Subd., Valley Golf, Cainta Rizal 1900

e. Present yourself properly and respectfully in front of the congregation –

It will show how serious you are and how prepared you are in leading
them to worship.

B. Basic Conducting/Leading Hymn Singing

Basic Musical symbols and notations

Clef on the music sheet

 EVANGELICAL THEOLOGICAL COLLEGE
OF THE PHILIPPINES- LUZON, INC.
Lot 1 Block 1 Valley Hills Subd., Valley Golf, Cainta Rizal 1900

C. Learning the beats and rhythm

The first step in reading rhythm is finding the beat. The beat in music is steady,
like your heartbeat or a ticking clock. The rhythm in a piece of music is based on
a constant fundamental beat that you can hear and feel.

In written music, beats and notes are grouped into measures. Measures are
divided by bar lines.

D. Counting the beats

Counting the beats correctly will help you read rhythm better. Count the beats in
each measure of the examples below, starting at one again after every barline.
 EVANGELICAL THEOLOGICAL COLLEGE
OF THE PHILIPPINES- LUZON, INC.
Lot 1 Block 1 Valley Hills Subd., Valley Golf, Cainta Rizal 1900

E. The Time Signature

You can find out the number of beats per measure for any hymn or song by
reading the time signature at the beginning of the music. The time signature is
made up of two numbers, one above the other:

F. Time and Tempo

The number of beats per measure and the time signature usually stay the same
from the beginning of a song to the end. Another aspect of rhythm that usually
stays the same throughout a hymn or song is tempo. The tempo is the speed of
the fundamental beat and should stay even from beat to beat.
 EVANGELICAL THEOLOGICAL COLLEGE
OF THE PHILIPPINES- LUZON, INC.
Lot 1 Block 1 Valley Hills Subd., Valley Golf, Cainta Rizal 1900

G. The Downbeat
Each beat in a measure is important, but the first beat, the downbeat, is the
strongest. Although it is felt more strongly, it is not usually played or sung more
loudly. Clap the following lines, emphasizing the downbeats.

H. Notes and Rhythm

On the page, beats are written as musical each kind receives a different value or
number notes. There are several kinds of notes, and
of beats. Time signatures with four as the bottom number give notes these
values:
 EVANGELICAL THEOLOGICAL COLLEGE
OF THE PHILIPPINES- LUZON, INC.
Lot 1 Block 1 Valley Hills Subd., Valley Golf, Cainta Rizal 1900

I. Practicing the Rhythmic Names

Clap a steady beat while saying the rhythmic names of the notes below. Asterisks
(*) show when to clap. Review and practice the rhythmic names until you know
them well.
 EVANGELICAL THEOLOGICAL COLLEGE
OF THE PHILIPPINES- LUZON, INC.
Lot 1 Block 1 Valley Hills Subd., Valley Golf, Cainta Rizal 1900

J. Combining the Rhythmic notes

The four notes you have learned can be combined in several ways within a
measure. These combinations give each piece of music its distinct rhythm. Clap a
steady beat while saying the rhythmic names of the notes below. Note the
double bar at the end of the line. Double bars should be placed at the end of
every piece of music.

Draw barlines to divide the following lines of notes into measures.

The top number of the time signature will tell you how many beats to put in each
measure. End each line with a double bar.

K. Reading the Rhythm of the Hymns

Read music like you read a book—from left to right. When you come to the end
of a line, begin on the next line without pausing. Clap a steady beat and say the
rhythmic names of the hymns on the following pages. (e.g Amazing Grace)

L. The Hand Gesture

There are only two gesture patterns that need to be learned in order to properly
lead the songs in our hymnal. There is another pattern that is used in some other
songs that may encounter, so we are also including it.
 EVANGELICAL THEOLOGICAL COLLEGE
OF THE PHILIPPINES- LUZON, INC.
Lot 1 Block 1 Valley Hills Subd., Valley Golf, Cainta Rizal 1900

Figure A. The Two beat pattern

This pattern is a simple down – and up stroke, with a slight arc to the right.

Figure B. The Three beat pattern

The next pattern of gesture are those for rhythm using three beats. This is done
with the downstroke for the first count, a stroke to the right for Number 2 and
then an upstroke for Number 3. These stroke form an irregular but somewhat
graceful triangle.
 EVANGELICAL THEOLOGICAL COLLEGE
OF THE PHILIPPINES- LUZON, INC.
Lot 1 Block 1 Valley Hills Subd., Valley Golf, Cainta Rizal 1900

Figure C. The Four beat pattern

The last pattern is for rhythm of four beats. It is a little more complex than the
others. The first stroke is (as always) a downstroke, stroke Number 2 is toward
the left, stroke 3 to the right passing over the midpoint to approximately an
equal distance to the right, then an upstroke completing the pattern with the
beat Number 4.

Cardinal Rule:
One cardinal rule must always be remembered is that, each measure must start
with downbeat. Notice that each of the patterns in Figures A, B and C start with
downstroke.