I use one hundred of the songs found in Gospel Melodies in my singing evangelism. I have classified these numbers according to the way I like to use them. I can say that my appreciation for the book grows each passing week, thanks to the good taste, patience, and perseverance of its music committee. I have segregated these hundred songs to make seven groups. These seven groups are distinct and play their part in the evangelistic program. My classification, together with the numbers used in each case, are as follows:
- Gospel songs (Nos. 24, 27, 37, 41, 71, 74, 76, 77, 78, 166, 174).
- Gospel melodies (Nos. 8, 9, 62, 85, 92, 94, 128, 142, 143, 184, 187, 202, 210, 220).
- Gospel hymns (NOS. 2, 13, 16, 28, 89, 109, 110, 115, 116, 118, 125, 129, 134, 136, 198, 236).
- Choir numbers (Nos. 18, 59, 93, 117, 121, 123, 124, 126, 135, 211, 217, 218, 220).
- Solos with choir (Nos. 8, JO, 42, 70, 195, 198, 203, 204, 205, 209, 214, 219, 220).
- Decision numbers (Nos. 34, 39, 51, 14, 53, 41,44).
- Gospel choruses (Nos. 14, 42, 48, 51, 61, 66, 72, 79, 87, 108, 152, 153, 164, 175, 181, 189, 190, 197, 233, 235).
After the theme song I use two gospel songs, as listed in group 1. These are purely evangelistic in nature. I reserve Nos. 24, 166, and 574 to be sung just by the choir. From this group of three I choose one each night to be the first number after the theme. This sets the tempo for the meeting. Upon completion of this song, I announce the second evangelistic number. With the audience joining in on this song, there should be a rousing response.
The gospel song magnifies the cross. It is martial in tempo. Its nature is stirring and startling. Its purpose is to clash against the worldly frame of mind of our audience and thrust home the reality and saving power of the blood spilt at the cross. "Jesus Saves," "At the Cross," and "Redeemed," are of this nature.
I follow this evangelistic challenge with the quiet expressed in the choruses. I sing them in their numerical order, connecting each chorus with the one that follows by a few words about the invitation it suggests. For instance, at the conclusion of No. 14 "'Only believe !' What should you believe? Believe that Jesus is standing at your heart's door. Now you can sing the words of No. 42 with me. 'Into my heart, come into my heart, Lord Jesus.'"
As a transition for the next: "Believing He comes into my heart brings peace. And you ? Did you not invite Him in? Oh, we had better sing the words of No. 48 now : 'Pass me not by!'"
The next phase of the program I devote to specials—a choir number, a solo, an instrumental number, a solo with the choir, a duet. The choir numbers I have segregated are listed in group 4. Through the stanza and refrain the choir is asked to hum as a background, with a continuous "oo" effect. The second time we sing the words. "0 Let Me Walk," "I Would Draw Nearer," "Break Thou the Bread of Life," and "Beyond the Sunset" produce a calm, meditative effect.
Solos with choir numbers are listed in group 5. The choir hums with these nurabers. In addition the second soprano section hums a duet or trio part at the close of each phrase as the singer pauses. One voice will sustain the melody, another the tenor or alto an octave high.
What time is left before the next theme I occupy with gospel melodies. (See group 2.) There has been the evangelistic appeal, the invitational appeal, the meditative effect produced by the specials, and now, the inspirational appeal from such songs as "Living for Jesus" and "My Prayer."
This brings us to the time for the second theme. The announcements follow. Then just before the lecture, in order that the people might stand for a change of position, there is opportunity for the gospel hymn. These songs are of slower tempo. They are hymns of praise and worship. The effect they produce is one of awe and reverence. (Group 3.)
Group 6 is devoted to songs of appeal for decision. I see four stages of appeal in these songs : (I) "Softly and tenderly Jesus is calling." I must come "Just as I am." (2) A few are hesitating. Friends, "Open the door" and believe. (3) Some are still lingering. "Have you counted the cost?" "Let Jesus come into your heart." (4) On this fourth stanza, "Just now my doubtings are o'er." "Lord, I'm coming home." These stages fit in progressively as the meetings continue and more urgent appeals are pronounced.
I am enabled to carry this classification of songs right with me all the time by using a 2 by 4 inch cellophane folder such as is found in some wallets. Four such folders on a spiral binder accommodate the different classes, with two back to back. This permits ready reference in planning the program, as well as knowing what songs to use in any emergency, particularly while the appeal is being made.
Attention, Evangelistic Song Leaders
The long-desired and greatly needed opportunity for brief, intensive training in evangelistic song leadership and church music is about to be realized. In the past, a number of our song leaders have gone with profit to the Rodeheaver School of Music at Winona Lake, Indiana. Much help was obtained there under able and experienced teachers, but without,our distinctive denominational emphasis. Some of those experts will now join able musicians from our own ranks in an intensive four weeks' specialized course at the Seventh-day Adventist Theological Seminary, here in Takoma Park, this summer, under the co-ordinating chairmanship of R. Allan Anderson, of the Ministerial Association.
The date is May 15 to June 8. The course will include The History of Church Music, The Place of Music in Congregational Worship, The Place of Music in the Evangelistic Audience, Basic Principles of Song Leadership, Gospel Song Interpretation, Building the Choir, Harmony and Composition. Evangelistic Song and Hymn Playing, and Voice Training. The instructor personnel will be of gratifying caliber. If you desire help, plan to attend. It is just what you need. More complete announcement will be made in our next issue. If you are interested, write D. E. Rebok, president of the Seminary, or R. A. Anderson of the Ministerial Association of the General Conference, and make application to your conference preSident. This is part of an approved long-range plan.
"The Coming King" (Cantata)
This is a cantata on the second advent, with words selected from the Bible, and music written by Burrel Van Buren, a musician of wide experience. Brother Van Buren has made a very appropriate selectiOn of words or messages, taken directly, without alteration, from the pages of the Bible. He has built into this production a logical presentation of the second coming of Jesus, and has given it a musical setting which is equal and superior to many published cantatas of today. It has the virility and strength an extensive number needs.
The composer has tried to strike the middle of the road of difficulty between the smaller, less experienced choirs, and those of broader musical training. This cantata leans strongly toward the difficult. His object was to provide a cantata which could be used effectively within the church, or by volunteer groups whose ambition was to assist an evangelistic effort in a musical way.
The ambitious choir will find plenty to coax out their best efforts. For those less qualified to handle the heavier sections, there is opportunity for the rendition of separate numbers which are complete in themselves.
There are solos for tenor, baritone, soprano, and alto, the vocal range in each voice remaining within the reach of the less trained singer. The choral sections are numerous—sufficiently so to protect the ca7ntata from long sieges of recitative and aria which are monotonously heard in the frequent oratorios.
The composer makes no effort to compete with Handel, but has tried to fulfill a need for presenting the second coming of Jesus in song. He makes no other claim than his endeavor to match the ability of the general volunteer choir, and still to satisfy the demands of more experienced singers. A work is largely what a choir makes of it. Simplicity always displays the best musicianship. It will sound best with a singing group of about forty or more. It needs choral support from many voices to obtain the most impressive rendition.
Given in its entirety, this cantata will take about one hour and a half. In its presentation there opens an opportunity for singing evangelists to climax a series of meetings with a musical review of the Scriptural support of Christ's second coming. (Obtainable from Burrell Van Buren, St. John, Kentucky.)
