WELS Hymnal Project

Project Blog

Insights, analysis, techniques, opinions, and experiences from the team behind the WELS Hymnal Project.

WELS Congregations Sample Service Materials for the New Hymnal

Apr 23, 2018 by Jonathan Bauer

Last year, one-third of WELS congregations were invited to sample and review service materials for our synod’s next hymnal (the other two-thirds had been previously invited to participate in sampling either hymn or psalms resources).

135 congregations participated in this field testing effort, sampling materials from September through November of 2017. Congregations were first asked to introduce a new service text and progression, using canticles that were already familiar to their congregation. After familiarizing themselves with the text and progression of the service, congregations were asked to introduce a new set of canticles by composer Ricky Manalo. At the conclusion of the testing period, feedback was sought from pastors, musicians, and congregation members.

Feedback on the Service Text

In developing the service materials for the new hymnal, it has been the goal of the Rites Committee to provide both clarity and consistency among the services used for the congregation’s main weekly services. We want people to know the function of each element of the service and for each service element to serve the same function in each service.

In response to sampling this revised service text and progression, congregations expressed appreciation for the consistency and clarity it provided. For example, the canticle “Lord, Have Mercy” (Kyrie) will not be connected with the confession of sins but will be a series of petitions on the basis of God’s mercy following the absolution. The Verse of the Day will now be called the Gospel Acclamation and people will stand prior to it, making it clearer that this service element is not a sung response to the Second Reading but rather serves to prepare us for the hearing of the Gospel. Worship leaders and worshipers responded favorably to these elements of the service.

Perhaps the part of the service where the response was most negative was related to the post-Communion conclusion of the service. The “Song of Simeon” (Nunc Dimittis) was not included as a standard element of the service but was replaced by a note indicating the optional inclusion of a hymn or canticle following distribution. The Rites Committee will revisit this issue as they finalize the services for the new hymnal. While it remains to be seen how many and which specific ones, we can say with certainty that musical settings of the Song of Simeon will be included somewhere in the new hymnal - even if it is in a separate “Canticles” section and not within the services themselves.

Feedback on the Service Music

It has also been the goal of the Rites Committee to provide both familiar and new musical settings for the orders of service. As mentioned above, one of each was provided as part of this testing effort. There were a variety of reactions to the new canticles that were provided. For example, one respondent said, “Excellent tunes. Best available that I've heard,” while another offered, “the canticles remained a struggle to the end of the field test.”

To some extent, this mixed reaction is to be expected any time someone is asked to learn something new. The specific canticles that were provided, while certainly accessible, have elements that take some time to fully master. It should be noted that the same characteristics that cause a canticle to take longer to learn also keep a canticle from becoming stale over the lifetime of a hymnal.

Our current plan is to include three main orders of service in the printed hymnal (besides other services like Morning Praise and Evening Prayer). One of those orders of service will include canticles already familiar to WELS worshipers and two will include new canticles. Additional canticles, including ones already familiar to us, will be made available digitally.

We sincerely thank all the congregations that participated in this field testing effort for their time, effort, and feedback. The feedback we receive from testing efforts like this is very valuable as we finalize the patterns of worship that will assist the next generation as they gather around life-giving Word and Sacrament.

God's Love: Our Song Forever (Part 9)

Mar 2, 2018 by Michael Schultz

The following article appeared in the February edition of Forward in Christ. It is is the eighth article in a nine-part series on hymns and their use in our churches.

There’s a storage box in my basement that contains my high school and college football jerseys. My dear wife has inquired a number of times about whether or not we are still going to keep that box of old stuff. Each time she has been lovingly informed that we will hold onto the contents of that box as long as I am still breathing air.

There’s a group of hymns that seemingly fall into the same category: (1) been around a long time; (2) not seeing much use; (3) holding onto them may seem rather questionable. They typically come from 16th- or 17th-century Lutheranism. Examples from Christian Worship (CW) would be Luther’s “In the Midst of Earthly Life” (CW 534) or Gerhardt’s “I Will Sing My Maker’s Praises” (CW 253). They are sometimes nicknamed “heritage hymns.” Some have wondered if we should preserve them under that name in a hymn category of their own. Others wonder, “Are we really going to print them, again, in the next book?”

Fact check

Among the things people sometimes say about these “old Lutheran hymns” is that they are “too sad-sounding,” “too strange-sounding,” or just “too hard to sing.” There may be some truth to these statements, but it isn’t necessarily the whole truth.

  • “Sad-sounding”—Of 192 German chorales in Christian Worship, only 45 are in a minor or minor-sounding key. Music in a minor key can certainly be appropriate for serious themes such as contrition and cross-bearing, but it is not sad by definition. “What Child Is This” (CW 67) and “The King of Glory Comes” (CW 363) are both in a minor key, and we probably wouldn’t call them sad.

  • “Strange-sounding”—Our 21st-century American ears sense that something’s different when hearing the music of “Our Father, Who from Heaven Above” (CW 410). Of 192 German chorales in Christian Worship, 24 use what is known as modal music (as do some Star Wars themes and any number of Beatles songs). With its different scale of tones, it’s not what we’re accustomed to listening to, to say nothing of singing. And yet we do! Just not consistently. “What Wondrous Love Is This?” (CW 120) and “In Peace and Joy I Now Depart” (CW 269) are both written in the same musical mode, but WELS congregations sing “Wondrous Love” 12 times more frequently than “Peace and Joy.”

  • “Hard to sing”—In a side-by-side comparison, musicians would conclude that the melody of “Evening and Morning” (CW 430) should be noticeably easier to sing than that of “Wake, Awake, for Night Is Flying” (CW 206). Yet WELS congregations sing “Wake, Awake” 20 times more often than “Evening and Morning.” You may have never sung or even heard of “Evening and Morning.”

Tenure

In the hymnal in which I write all my notes, “Wake, Awake” has a note that says, “TT 1599.” That’s shorthand for “this text and tune have been paired together since 1599.” For “From Heaven Above to Earth I Come” (CW 38), it says, “TT 1539.” You do the math.

Our next hymnal will include a good number of hymns written and composed in the 21st century, but something has to be said for a melody and a text that have been sung together for more than two centuries before the United States became a nation. If 20, even if 40, of the seldom-sung heritage hymns appeared in the next hymnal, there will still be 600 others to choose from if worship planners wish to bypass the “not easy” ones. What has to be said, though, is that such hymns have demonstrated their worth.

The heart of the matter

Songwriter Harlan Howard is quoted as saying, “All you need to write a country song is three chords and the truth.” That will always be at least half true of these classic Lutheran hymns. They will have the truth of the gospel, but seldom will they be a three-chord song. The composers were craftsmen, well-trained in their musical trade. The authors treated rich biblical themes that were not always in the shallow end of the pool. Stashing these hymns away in their own nostalgic hymn category—perhaps to be used on special occasions, perhaps not—falls short of what they deserve. What W.G. Polack (author of The Handbook to The Lutheran Hymnal) said of one of the more difficult heritage hymns really applies to all of the musically challenging ones: “The congregation that masters this tune possesses a treasure of which it will never grow weary.”

While I’ve enjoyed hearing it on the radio, I’m guessing people may not be singing Blake Shelton’s “I’ll Name the Dogs” three hundred years from now. But something good happens when worship leaders and musicians lay out plans, invest the time, and do the work of teaching the congregation solid Christian hymns that have already lasted that long. And that’s what’s most true of the “not easy” hymns—they need to be taught.

Even the chorale has to be taught to people before they can appreciate the lessons it teaches. A fundamental understanding of the chorale, as the sung Word of God and a confession of faith in music and poetry, can only exist in the realm of theory unless the people are encouraged to learn and sing chorales in practice (“The Chorale: Transcending Time and Culture,” Robin Leaver).

There’s no great benefit in pulling those old football jerseys of mine out of storage, even if I still plan to keep them. There is, however, a boatload of benefit in hearing and singing the gospel-rich heritage hymns of Lutheranism. While more frequent use of them does not make the pastor who selects them or the congregation that sings them any more Lutheran, we encourage leaders to take up the task of teaching them because we have no plans to be the hymnal project that lets them go. They are one slice of many hymn resources we are working to make available.

Introducing Older Hymns

When it’s time to roll one out one of these heritage hymns, remember to: (1) use announcements, articles, and classes to educate people about its upcoming use in worship; (2) let children or adult choirs learn it and teach it to the congregation; (3) sing the same one several weeks in a row to give people a chance to learn it.

Christian Worship: Handbook is one resource for interesting information about these hymns’ backgrounds, authors, and composers. For example, consider the fascinating story behind CW 574. Access the story by going to Christian Worship: Handbook, p. 581, or by visiting welshymnal.com/cw574.

We invite your feedback as we work on finalizing which of the more than 700 hymns from Christian Worship and Christian Worship: Supplement will be included in the new hymnal. Every month we will post a segment of our current hymn list, indicating which hymns are slated to be kept and which are slated to be cut. You can view the monthly list and, if you want, choose up to 10 hymns from the cut list that you would like to see kept in the new hymnal. The deadline for submitting feedback is May 1, 2018.

View Cut Hymns List

God's Love: Our Song Forever (Part 8)

Jan 30, 2018 by Jonathan Bauer

The following article appeared in the February edition of Forward in Christ. It is is the eighth article in a nine-part series on hymns and their use in our churches.

“The people barely sing along.” “The congregation sings poorly during the service.” “The pastor complains of low participation by the congregation in singing.”

Have statements like these ever been heard in your congregation? You might even assume that they come from the lips of 21st-century lifelong Lutherans who are saddened by the fact that congregational singing isn’t what it used to be.

But these laments came out of church visitation programs conducted in Germany during the decades following the Reformation. Some of them describe congregational singing well over a century after the Reformation began.
Yes, Luther said, “Next to the Word of God, music deserves the highest praise” (Luther’s Works, Vol. 53, p. 323). His efforts to put the gospel back on the lips of the people is one of the reasons the Lutheran church is often referred to as “the singing church.” But for the first hundred-plus years, the Lutheran church’s journey to earning that title apparently got off to a pretty rough start.

Serving new treasures

From the beginning, Luther’s efforts to restore congregational singing included the production of new hymns. In a one-year span from 1523 to 1524, Luther wrote 24 hymns. Some of them found their way into the first Lutheran hymnals, which were published in 1524.

This sudden production of new hymns is understandable. Luther and the other Reformers wanted the theology of Scripture to be implanted deeply into the hearts of the people. But it was not easy. One might wonder why they didn’t stop since it was difficult to get people to sing these hymns.

We can be thankful that they didn’t. Luther and the others continued to write new hymns. As a result, we celebrate the Reformation singing “A mighty fortress is our God, a trusty shield and weapon” (Christian Worship [CW] 200:1, written by Luther in 1528 or 1529).

New songs appeared even after Luther’s death. As a result, we confront our own mortality, singing, “Lord, let at last your angels come; to Abram’s bosom bear me home that I may die unfearing” (CW 434:3, written by Martin Schalling around 1567).

As the years went by, new songs helped Christians sing God’s truth. We remember our Savior’s passion, singing, “A Lamb goes uncomplaining forth, our guilt and evil bearing, and, laden with the sins of earth, none else the burden sharing. Goes patient on, grows weak and faint, to slaughter led without complaint” (CW 100:1, written 100 years after Luther by Paul Gerhardt and first published in 1648). In addition, we approach the Lord’s Table for Holy Communion singing, “He who craves a precious treasure neither cost nor pain will measure, but the priceless gifts of heaven God to us has freely given” (CW 311:3, written by Johann Franck and first published in 1649).

And we have new songs to sing from our own time. We take up the task Jesus has given his church, singing, “Preach you the Word and plant it home to those who like or like it not, the Word that shall endure and stand when flow’rs and mortals are forgot” (CW 544:1, written by Martin Franzmannn and first sung in 1973). We also exit God’s house on Sunday, singing, “Go, my children, sins forgiven, at peace and pure. Here you learned how much I love you, what I can cure” (CW 332:2, written by Jaroslav Vajda in 1983).

Our Lutheran forebears put into practice what Jesus said to his disciples: “Every teacher of the law who has become a disciple in the kingdom of heaven is like the owner of a house who brings out of his storeroom new treasures as well as old” (Matthew 13:52).

Hymns are one way to teach. We have old hymns that teach God’s truths, and we have new melodies and words too. We will use the old hymns, but the Holy Spirit will continue to move God’s people as he has always done to create new hymns to praise God and teach his truth. The musical feast will have such variety.

Serving them well

If the early Lutherans encountered frustration for more than a century as they strove to promote congregational singing, we ought not expect things to be different today. Odds are every person reading this article has experienced the frustration of trying to use a new treasure brought out of the storeroom of Christian hymnody.

Let’s assume that our synod’s next hymnal has two hundred “new” hymns. Those new hymns don’t need to all be served to God’s people within the first year. Our church body’s next hymnal presents us with the opportunity to bring out new treasures to God’s people for an entire generation.

In the last few years I’ve experienced the joy of doing so. More than 20 years after Christian Worship was published, I’ve still been able to give people an opportunity to sing new treasures, not because the treasures themselves are new but because they are new to people. I’ve enjoyed listening to my youngest walk around the house singing, “A mighty fortress is our God, a . . .” (she doesn’t have the second line down quite yet). I’ve enjoyed watching my congregation acquire a taste for treasures like “Lord, When Your Glory I Shall See” (CW 219), which is by no means easy to sing the first time around.

Learning our next hymnal’s new hymns isn’t a race. It’s a feast. Let’s sit back, slow down, and savor every bite.

Respectfully making room

What exactly does it mean that our next hymnal will have two hundred or more new hymns? “New” means a variety of different things. In some cases, it simply means it’s new to us. It might be a hymn that has been around for many years but is finding its way into our hymnody for the first time. It might be a hymn from previously-used resources like The Lutheran Hymnal.

In other cases, new will mean repackaged or repurposed. It might mean that the translation was altered or different stanzas selected. It might mean that the text was paired with a different tune.
In other cases, new will mean new. There will be recently written hymns from today’s batch of talented hymnwriters God has raised up for his church.

A taste for some of these new hymns will come almost immediately. A taste for others will take time to acquire. In both cases, our prayer is that future generations will agree that a great many of them are treasures.

We invite your feedback as we work on finalizing which of the more than 700 hymns from Christian Worship and Christian Worship: Supplement will be included in the new hymnal. Every month we will post a segment of our current hymn list, indicating which hymns are slated to be kept and which are slated to be cut. You can view the monthly list and, if you want, choose up to 10 hymns from the cut list that you would like to see kept in the new hymnal. The deadline for submitting feedback is May 1, 2018.

View Cut Hymns List

God's Love: Our Song Forever (Part 7)

Jan 5, 2018 by Aaron Christie

The following article appeared in the January edition of Forward in Christ. It is is the sixth article in a nine-part series on hymns and their use in our churches.

It was the season for high school musicals. The long months of winter rehearsals were finally at an end. The curtains cracked open for a packed house to a production of The King and I. After three hours of sights and sounds, the senses were most certainly satiated—or saturated!

One of the songs that always received thunderous applause was “I Whistle a Happy Tune.” Governess Leonowens whistled her happy tune to her son Louis when they arrived in Siam fearful of their future in a new home in an exotic country. The lyrics aren’t exactly Shakespeare, but the tune certainly is sunny.

Thirty years later, I can still hear the whistling.

More than a tin-whistle hymnody

When it comes to the tunes and harmonic settings of the hymns in Christian Worship (CW), people haven’t always whistled for joy. As it turns out, one person’s “whistler” is another person’s “groaner.” The Hymnal Committee has received significant feedback on the musical elements of the project. Some comments come from trained musicians with significant experience. Other comments come from brothers and sisters without musical training. Their comments often involve the difficulty of some hymn tunes.

On the other hand, even if the thought is rarely stated, each comment also comes with a personal preference attached. There are 375,000 WELS members who know what they like and like what they know. And here we face a musical temptation. We need to be wary of stopping with what we like and know. Worse yet, we need to be careful of projecting our preferences on a denomination of people.

Dr. Martin Franzmann pokes this tendency in the eye: “Another argument might be called the ‘tin whistle’ argument. Its essence is something like this: ‘After all, a man can make music on a tin whistle to the glory of God, and God will be pleased to hear it.’ True, true, true—if God has given him nothing but a tin whistle; but God has given us so infinitely much more. When He has given us all the instruments under heaven with which to sing His praises, then the tin whistle is no longer humility but a perverse sort of pride” (Ha! Ha! Among the Trumpets, p. 92). What is true about tin whistles and trumpets is also true about the notes that those instruments play.

God has given WELS much more than a tin-whistle hymnody. He’s given us two thousand years of singing the Savior’s story! What does Christian music sound like? It sounds like Gregorian chant (“Oh, Come, Oh, Come, Emmanuel,” CW 23, the most sung hymn in WELS according to surveys!), the folk music of Europe (CW 369) and America (CW 379), the cathedrals of England (CW 594), and the mission chapels of Africa (Christian Worship: Supplement 719). It sounds like the chorales of Luther (CW 200). Our music is as old as the psalms and as recent as tunes and settings composed this year. In short, the Holy Spirit does not create Christian monotones!

Music to bring Christ-centered texts

Unlike Governess Leonowens, it is not enough for confessional Lutherans to whistle happy tunes to convince themselves that they aren’t afraid. Instead, we want our tunes to carry Christ-centered texts that drive out fear. Our tunes need to touch not only our emotions but also our minds. Lutheran tunes are often less, so that hymn texts may be more.

This ministerial view of music is at least as old as the ancient church father St. Augustine: “Without committing myself to an irrevocable opinion, I am inclined to approve the custom of singing in church, in order that by indulging the ears weaker spirits may be inspired with feelings of devotion. Yet when I find the singing itself more moving than the truth which it conveys, I confess that this is a grievous sin, and at those times I would prefer not to hear the singer” (Evening in the Palace of Reason: Bach Meets Frederick the Great in the Age of the Enlightenment, p. 49).

In other words, is this a piece of music that carries the gospel to my heart and thereby leads me to the heart of Jesus, or does it lead me to the music? Both are emotional experiences. Only one, however, is a Christian worship experience. Music must be content to remain the text’s servant, never the text’s master.

Tunes that touch the heart

Our tunes are also meant to serve hymn singers. This does not mean that every tune will be immediately accessible. Why? Because music that is immediately accessible often makes for music that is quickly expendable. No one had to teach children born in the ’60s and ’70s the theme song of Gilligan’s Island. Its music is immediately accessible. We had to work a bit, however, to learn the melody of the national anthem. Thirty years from now, the national anthem will still be taught and sung. The theme song of Gilligan’s Island will remain a childhood curiosity and most likely be forgotten.

Our tunes also serve singers by giving sound to the entire panoply of human emotions. We grieve over our sins (CW 305) and rejoice in God’s forgiveness in Christ (CW 390). We struggle with the ever-present difficulties in life (CW 444) and rejoice that in Christ we have the ultimate victory (CW 428). There are times in life when we are called on to stand up for Jesus (CW 474) and fight the good fight of faith (CW 457). There are other times where it is best to be still and know that our Lord is God (CW 415). Some tunes are happy, others sad; some tunes lead to grieving, others to rejoicing. Why? Because all of these emotions—and many more—are felt by the family of believers this side of heaven. Tunes that are only and always light and happy can lead to a Leonowens-esque view of the Christian life—all happy, all the time. The book of Psalms puts the whole spectrum of human emotions on our hearts and lips.

Thank God that Lutheran music is never an exercise in “whistling past the graveyard.” Instead, we sing the gospel of the One who conquered the graveyard. Our music is never an effort in happy-sounding self-deception; instead, it serves as a vehicle for the gospel. God has blessed us with so many wonderful sounds through the centuries. Our century and our new hymnal will be no exception!

We invite your feedback as we work on finalizing which of the more than 700 hymns from Christian Worship and Christian Worship: Supplement will be included in the new hymnal. Every month we will post a segment of our current hymn list, indicating which hymns are slated to be kept and which are slated to be cut. You can view the monthly list and, if you want, choose up to 10 hymns from the cut list that you would like to see kept in the new hymnal.

View Cut Hymns List

God's Love: Our Song Forever (Part 6)

Dec 2, 2017 by Michael Schultz

The following article appeared in the December edition of Forward in Christ. It is is the sixth article in a nine-part series on hymns and their use in our churches.

Thinking I’m not the most charming conversationalist to begin with, it was doubly challenging for me to visit Betty at her home once a month. A stroke had taken away a fair amount of her ability to speak, but then a subsequent series of mini-strokes robbed her of what little speech she had left. Delivering the devotion and saying the prayer were easy; it was the small talk that was challenging. It wasn’t like having a conversation with myself; it actually was.

Until, one December, I sang a Christmas hymn with Betty. There was no doubt that she had learned the one about the herald angels singing. Her face lit up; she knew every word. I could hear her singing the words of the hymn far more clearly than any spoken response she had made in recent years. “God and sinners reconciled! Glory to the newborn King!”

As surprising to me as that particular case was, I know it’s not all that uncommon. Hundreds of pastors tell dozens of similar anecdotes of elderly Christians clearly recalling hymns they learned decades earlier. But will there continue to be those kinds of stories, and if so, what will be the hymn lines that those aging Christians recall?

Hymns tell the story

From the home of an elderly shut-in, the scene changes to a large body of water in Egypt. What if you had just stepped onto the other side of the Red Sea without getting your feet wet? If Egyptians who were intent on killing you were instead washing up dead on the shore and God was fully responsible for your deliverance, what might you say? What might you sing? “I will sing to the Lord, for he is highly exalted. Both horse and driver he has hurled into the sea” (Exodus 15:1). You might sing about what God had just done for you. You might sing it over and over again until you know it by heart.

Good hymn texts tell that story, the story of God’s deliverance through Christ. Like Christ-centered, law-gospel sermons that are fresh and energetic, good hymn texts tell the story of God’s love for the unlovable, and they come at it from every scriptural angle imaginable. They speak of how the Father sent his only Son to take our place, how Christ suffered indescribable agony to purchase us, how Christ rose to take the sting out of our death. They tell of how the Spirit preaches forgiveness and faith in Christ into our hearts through Bible truth, how he pours those blessings over us in Baptism, how he feeds those blessings to us with our Savior’s body and blood.

Hymns that do that are going to last. They are going to be published in one Lutheran hymnal after another. And, with God being gracious to us, over and over again we and our descendants are going to sing about “the wonders God has done, How his right arm the vict’ry won. How dearly it has cost him!” (Christian Worship [CW] 377:1).

In a memorable way

Christian recording artist Fernando Ortega wrote: “It’s easy to write a chorus that says, ‘God, you are a holy God. I need your grace to see me through. I need your mercy to make me new. Let me live each day for you.’ I just made that up in 2 minutes and there’s nothing wrong with it. It would fit easily and competitively among the hundreds of worship songs that are available to choose from.”

Ortega went on to compare his quickly written chorus to a well-crafted, Christian hymn (“Come Down, O Love Divine”), which he described as “timeless.”

But how does the hymnal committee determine which hymns will become timeless? We try to do that through comparative evaluations—thousands of comparative evaluations.

There’s a reason Betty still knew that Christmas hymn. I can remember the comfortable smile on her face when I read her the Luke 2 Christmas account. The Christmas hymn, however, also included rhyme and meter and music. The combination made the truths of the incarnation all the more memorable for her. Hearing and singing that hymn in her childhood home and in the Lutheran congregation of her youth had anchored it in her heart.

With the long-lasting impact hymns can have, throwing some lines together or using “any old text” just won’t do. Which lines would you want, would I want, would we want to usher us into old age, to remain in our brains when our brains may be losing track of other less memorable, less important things?

Out of hundreds, here are a couple that have made a deep impression on me:

“When he shall come with trumpet sound, Oh, may I then in him be found, Clothed in His righteousness alone, Faultless to stand before the throne” (TLH 370:4; CW 382:4; ________).

“And then from death awaken me That these mine eyes with joy may see, O Son of God, Thy glorious face, My Savior and my Fount of grace” (TLH 429:3; CW 434:3; ________).

I’ve quoted the texts as I first learned them in The Lutheran Hymnal, but also with their Christian Worship citations. The blank space represents our next hymnal. There are, of course, plenty of things to sing about other than death and resurrection and judgment day, but none more important. Betty never had her eyes set on living in an oceanside mansion with an infinity pool that looked out over a dazzling sunset every evening. Her eyes were aimed at the mansions in the house of her heavenly Father, where she is today, free from the limitations of a stroke-riddled body and brimming with joy. She is, in fact, standing on the shore that’s far better than the far shore of the Red Sea, the shore where the saints in heaven raise the hymn of how God has delivered them from every enemy. She’s singing the song of Moses and the song of the Lamb (Revelation 15:3).

The examples above are the kinds of texts that are worth singing, worth learning, worth preserving. In many cases, they are hymns from centuries past and have already appeared in hundreds of hymnals. In some cases, they are from this century and are just starting to show up in a handful of hymnals. In every case, we are taking a close look at the words, making sure that they faithfully and accurately reference God’s gracious deliverance in Christ and that they do so in a well-crafted way. We want such texts to make a lifelong impression in the hearts and minds of God’s people, right down to our own youngest children and a generation yet unborn.

We invite your feedback as we work on finalizing which of the more than 700 hymns from Christian Worship and Christian Worship: Supplement will be included in the new hymnal. Every month we will post a segment of our current hymn list, indicating which hymns are slated to be kept and which are slated to be cut. You can view the monthly list and, if you want, choose up to 10 hymns from the cut list that you would like to see kept in the new hymnal.

View Cut Hymns List