The following suggestive interpretative outline for "Rock of Ages" (No. 654 in "Christ in Song") should be impressive. It contains variety, new treatment, and strangeness. The hymn's existing grip on the spiritually minded opens a gate for new depths of meaning.
The hymn is written in three-two time. The general tendency is to sing it too slowly. Be sure to give the notes their correct value without making the chord progression stiff and mechanical. There is a two-measure phrase in the middle which is immediately repeated. Try to change the vocal effect by making it either louder or softer, or slower or faster, than the phrase it repeats. The words should be the guide for the choice.
See that the words are well pronounced. Check careless tendencies, and do not permit the ever-increasing leaning toward slurring, or carrying the vowel across the interval on full voice. Both of these bad habits have the elements of "yell" in them. One voice misbehaving like this will ruin a whole choir.
Instrumental Prelude.—Very frequently, where preludes are not written, you will find it possible to play the first phrase and follow it with the last. It is quite essential, even where the accompanist is capable of improvising an introduction of his own, that the prelude partake of the melodic content and the rhythmic element peculiar to the number about to be sung. Foreignness should always be avoided. The choir should have a foretaste of the selection in the prelude, particularly with "Rock of Ages."
Stanza One.—Endeavor to select a tempo that will match the thought of the words. This is a prayer. Dragging is no less a crime than is too much speed. Both destroy the effectiveness of the song. Therefore study the hymn carefully to discover the appropriate tempo. The phrase following the third whole note might be sung softer and slightly slower. Keep the idea strongly in mind that you are pleading, but do not let the voice show any signs of doubt. Let assurance of answered prayer add the necessary firmness to the plea. This stanza should be sung in the major key —as written.
Interlude.—Have the accompanist play the key change (according to accompanying arrangement) from major to minor. This will establish the key feeling for the choir before the next stanza is sung.
Stanza Two.—This stanza may be used as a two-part song for the sopranos and altos, with but a few slight changes. At the close of the second complete measure, in place of "g" and "a" in the alto, use the "e" and "f" of the bass. This will place the pleasing interval of the sixth in the two-part arrangement. The interval of the fourth is not good in two-part singing, especially in a succession of fourths. Intervals of thirds and sixths are always desirable. The other intervals are best used as passing notes to more pleasing combinations. A spot at the beginning of the last phrase exactly duplicates the one mentioned above, and may be treated in the same way. In the last line of this stanza, have the singers breathe after "save." Do not drop the final "n" of "alone" too abruptly.
Stanza Three.—The instrumental interlude for changing the minor feeling to the major feeling should be noted here. This stanza may be given in the major key. For greater variety, a solo voice may take this stanza, using the choir for a harmonic background, with humming. Encourage the greater freedom usually found in solos. Slight separation of "naked" and "helpless" should be given. The effect is more natural if the second syllable of each of the foregoing words is spoken without a feeling either of hurry or of prolonging it. The same treatment should be given a similar spot in the last poetic line.
Stanza Four.—The interlude which creates the minor-key feeling should be used. This stanza may be used as a two-part song for the male voices, using the same notes suggested for the women's voices in stanza two. If desired, the whole choir may sing this section. The gray of the minor is intensified, however, by using this for two-part male voices. The male voice is darker and produces a different effect from that given by the same tones sung by women's voices. The general idea is best carried out by a slower tempo and a softer tone. The tenors take the higher tones (the melody), while the basses carry the alto within easy rang of their voices. The phrase following the third whole note may be retarded somewhat, holding the tone on "throne."
With a slight break of absolute silence, both instrumental and vocal, the parts resume their regular tone channels as the whole choir changes to the bright major key for the rest of the song. This should be sung firmly and joyfully, retarding toward the close of the final phrase. A short pause after "myself" makes a clean word, and places the final consonant where it belongs. The last two words become more impressive by being thus separated from it. It adds considerably to use the Amen cadence (reading from bass to soprano) "f," "a," on the bass clef, "f," "c" on the treble clef, followed by a chord similar to the final one of the hymn.
