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The following material is intended to help you use the hymnbook effectively.
Included are explanations of the elements of the hymnbook; discussions on using
the hymns for congregations, choirs, and special groups; and information for
beginning music directors, organists, and pianists.
Elements of the Hymnbook
Contents
The table of contents groups the hymns into 11 general
categories. Hymns of similar subject and mood are generally found in the same
section. However, being listed in a certain category should not limit the use of
any hymn. For example, some hymns in the sacrament section, such as How Great the Wisdom and the Love and I Stand All
Amazed, may be used for other purposes, and selected verses of several of
the hymns in this section may be used for Easter. The index of topics will help
you find hymns on specific subjects.
Mood and Tempo Markings
The mood markings, such as "Prayerfully" or "Resolutely,"
suggest the general feeling or spirit of a hymn, although the mood of some hymns
may vary according to the occasion or local preferences. Metronomic markings
indicate a tempo range (such as 
= 69–76) and are also given as general guidelines; the locale and context in
which a hymn is used may suggest greater flexibility.
Introduction Brackets for Pianists and Organists
Brackets (   )
on each hymn suggest a suitable piano or organ introduction. Before playing a
hymn, scan it to make sure you see the complete introduction. You may want to
highlight the brackets in your personal hymnbook, especially if the final phrase
of an introduction does not happen to be at the end of the hymn.
You may also wish to shorten or lengthen the suggested introduction. If the
hymn is unfamiliar, playing it completely through as an introduction can help
the congregation feel more comfortable with it. If the hymn is well known, the
last line or phrase may be a sufficient introduction. When using a short
introduction, you may want to slow the tempo at the end to express a sense of
completion.
Scriptural References
In early Christian tradition, most hymns were musical settings of adapted
scriptural texts. Most of our current hymns relate to a number of scriptures;
some of the many possibilities are listed at the end of each hymn. Using the
Topical Guide and Index found in the Latter-day Saint edition of the scriptures,
you will find many more verses of scripture that enrich the messages of our
hymns.
Indexes
The hymnbook contains seven indexes with brief explanatory notes for each
one: Authors and Composers; Titles, Tunes, and Meters; Tune Names; Meters;
Scriptures; Topics; and First Lines and Titles.
Hymns for Congregations
Unison and Part Singing
Although part singing (soprano, alto, tenor, and bass) has a strong tradition
in the Church, the goal in congregational singing is that all participate, no
matter what their vocal ability may be. Because many members sing the melody
regardless of their vocal range, the hymns are in keys that accommodate both
unison and part singing. Some hymns—and parts of hymns—are specifically written
for unison singing.
Selecting the Right Hymn
The hymns you select should reflect the general character of the meeting and
help establish the proper spirit.
The opening hymn may be one of supplication or praise; it may express
gratitude for the gospel, joy in being able to gather together, or enthusiasm
for the work to be done.
The sacrament hymn should refer to the sacrament itself or to the sacrifice
of the Savior.
An intermediate hymn provides an opportunity for congregational participation
and may relate to the subject of the talks presented in the meeting. The
congregation may stand during this hymn as appropriate.
The closing hymn is an opportunity for the congregation to respond to the
spirit and content of the meeting.
Not every hymn is suitable for every Church-related occasion. Some hymns may
be more appropriate for a youth gathering than for a sacrament meeting.
Selecting Verses to Be Sung
You need not feel compelled to sing all the verses of a hymn unless the
message is otherwise incomplete. However, do not routinely shorten a hymn by
singing just the first one or two verses. Singing the verses printed below the
music is encouraged.
Achieving Balance in the Selection of Hymns
In addition to using hymns already known and loved, members are encouraged to
become acquainted with new or less familiar hymns. Try to achieve a good balance
between familiar favorites and less well-known hymns.
Hymns for Stake Conference
Standard, well-known hymns are often the best choice for stake conference,
particularly if hymnbooks are not available for the entire congregation. Here
are a few such hymns: Come, Come,
Ye Saints; Come, O Thou
King of Kings; Come, Ye
Children of the Lord; Count Your
Blessings; Do What Is
Right; Guide Us, O
Thou Great Jehovah; How Firm a Foundation; I Am a
Child of God; I Know That
My Redeemer Lives; Let Us All
Press On; Now Let Us
Rejoice; Praise to the
Man; Put your
Shoulder to the Wheel; Redeemer of Israel; Sweet Is
the Work; The Spirit of
God; We Thank
Thee, O God, for a Prophet.
You may copy the hymns on a printed program unless the copyright restrictions
on the hymn state that this is not permitted.
National Anthems
A few patriotic songs have been included in the hymnbook; with priesthood
approval, local national anthems may be added. Members may stand for national
anthems in Church meetings according to local custom and priesthood direction.
Hymns for Choirs and Special Groups
Using Hymns for Choirs
In this edition of the hymnbook no distinction is made between choir and
congregational hymns. Choirs should use the hymnbook as their basic resource,
selecting from the entire book. Choirs may also sing other appropriate anthems
and hymn arrangements not included in the hymnbook.
Some of the hymns labeled "Choir" in previous hymnbook editions have been
transposed to lower keys for greater congregational use. Choirs may want to keep
copies of the past editions of the hymnbook to take advantage of higher keys and
the possibility of modulating from one key to another. If only one copy of a
previous edition is available, a hymn may be copied and used for this purpose,
unless this is prohibited by the copyright notice.
Altering Hymns for Choir Performance
Hymns from the hymnbook, sung without variation, are always appropriate as
choir selections. You may also vary your presentation of the hymns; however, use
such variations sparingly, making sure they are consistent with the spirit of
the hymn. Here are a few hymn adaptations you may wish to consider:
- Have the men, the women, or both sing one verse in unison.
- Have the congregation join the choir on the final verse or chorus of a hymn.
(This is one way to help the congregation become more familiar with some of the
hymns.)
- Have the women sing one verse, as outlined below under "Hymns for Women's
Voices."
- Have the men sing one verse, as outlined below under "Hymns for Men's
Voices."
- Have the soprano and tenor sections sing a duet for one verse.
- Have the tenors and basses sing the melody while the sopranos and altos sing
the alto part.
- Have one section of the choir sing the melody while the rest of the choir
hums the other parts.
Hymns for Women's Voices
In the women's section of the book are hymns for women's congregations and
hymns that have been prepared for women's choirs and trios. In addition, the
sisters can sing without adaptation most of the other hymns in the book in two
parts (soprano and alto) or in three parts (if the tenor part is not too low).
Hymns for Men's Voices
The hymns in the men's section of the book are divided into two categories:
Men, for men's congregations, and Men's Choir, for choirs and
quartets. For a congregational hymn in priesthood meeting, it is generally
preferable to choose from the standard congregational hymns or from those marked
Men.
Several hymns are specifically arranged for men's choirs; in addition, many
hymns for congregations and those marked Men can be adapted for use by
men's choirs and quartets:
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Baritones:
Sing melody |
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1st Tenors:
Sing alto above the melody |
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2nd Tenors:
Sing Tenor |
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Basses:
Sing Bass |
The main problem in adapting hymns for a men's choir is finding tenors who
can sing as high as the alto may go; some high notes may need to be adapted. You
may also transpose the hymn to a lower key, adapting the bass part.
For an example of an adaptation in the hymnbook, compare Should You
Feel Inclined to Censure (no. 235), a congregational arrangement, with Brightly Beams Our Father's Mercy (no. 335), the same music
arranged for men's voices.
Another possibility in adapting a hymn for a men's choir is to have the alto
part sung below the melody. When this is done, the bass part is optional.
You will note that in the hymns arranged for men's choirs, a tenor clef
symbol is used instead of the usual treble clef symbol.
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Tenor clef symbol |
Treble clef symbol |
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You should generally play the right-hand notes of these hymns an octave lower
than the treble clef. The result is a rich, effective accompaniment for men's
voices.
For Beginning Music Directors
Measures, Time Signatures, and Downbeats
A measure is the smallest musical unit bordered by vertical lines:
In the hymnbook, when a measure is carried over from one line of music to the
next, the end of the first line is left open to show that the measure continues
on to the next line:
The time signature (two numbers, one above the other, such as  ) is found
at the beginning of each hymn. The top number indicates the number of beats or
pulses in each measure. The bottom number tells what kind of note gets a beat or
pulse. For example, a  time signature means there are three beats per measure in the
hymn, and a quarter note ( ) gets one beat.
As you direct the music, the first beat of your beat pattern (see beat
pattern illustrations) should correspond with the first beat in each measure.
This first beat, called the downbeat, is the strongest beat in each measure. You
will note that many hymns begin on an upbeat, or pickup note, before the first
downbeat.
Standard Beat Patterns
The purpose of beat patterns is to keep the congregation together
rhythmically and to communicate the mood and spirit of the hymn. Patterns should
be kept simple, but may vary according to the nature and mood of the hymn. The
dots on the beat patterns show where the rhythmic pulses of the hymn occur.
The two-beat pattern (used for hymns marked  or ):
The three-beat pattern (used for hymns marked or  ):
The four-beat pattern (used for hymns marked  ):
The six-beat pattern (used for hymns marked  or  ):
A
or
hymn with a slow tempo, such as Silent
Night (no. 204), may be conducted with either the traditional six-beat
pattern or a double three-beat pattern—first a large one, followed by a smaller
one:
A
or
hymn with a moderate tempo, such as Dear to the
Heart of the Shepherd (no. 221), may be conducted by omitting the second and
fifth beats of the traditional six-beat pattern, and pausing at those points in
the pattern:
A
or
hymn with a fast tempo, such as Master, the
Tempest Is Raging (no. 105), may be conducted with a two-beat pattern—the
first three beats go with the first stroke, and the last three beats go with the
second stroke:
When using the last two beat patterns, be sure to keep the rhythm or pulses
of the hymn constant.
Some Hymns That Are Easy to Conduct:
The two-beat pattern: Come, Rejoice; Come, Thou Glorious Day of Promise; God Speed
the Right; and Ye Who Are
Called to Labor.
The three-beat pattern: Come,
Follow Me; Do What Is
Right; Glory to God
on High; God, Our
Father, Hear Us Pray; Teach Me to
Walk in the Light.
The four-beat pattern: Abide with
Me!; As I Search
the Holy Scriptures; Come, Ye
Children of the Lord; Did You
Think to Pray?; For the
Beauty of the Earth; Hark, All
Ye Nations!; Hope of
Israel; We Will Sing
of Zion.
For Beginning Organists and Pianists
Adapting Hymn Accompaniments
Some hymns may have notes or passages that are difficult to play. Feel free
to adapt such passages to your own ability by dropping less-important notes from
chords. You may want to mark your own hymnbook for this purpose.
Hymns frequently have a space between the tenor and bass notes that is too
wide to reach with the left hand. Often the right hand can include the tenor
note quite easily. You may want to mark such notes with a bracket to remind
yourself to play them with your right hand:
Some hymns and children's songs are written with the piano in mind. If the
organ is used for these songs, it is sometimes preferable to use manuals only,
without pedals.
Cue Notes
A cue note, or small note, means that the note is optional. Following are
examples of how cue notes may be used:
1. A cue note may indicate that the notes are to be played and sung with some
verses and not with others, depending on the text of each verse:
2. Sometimes the music is complete even if the cue note is left out:
3. Cue notes may also indicate music to be played by the pianist or organist
but not to be sung:
Some Hymns That Are Easy to Play:
Come,
Follow Me; Do What Is
Right; God Be with
You Till We Meet Again; How Gentle
God's Commands; I Stand All
Amazed; Keep the
Commandments; Let the
Holy Spirit Guide; Now Let Us
Rejoice; Redeemer of
Israel; Sweet Is
the Work; Sweet Hour
of Prayer; Teach Me to
Walk in the Light; We Thank
Thee, O God, for a Prophet.
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Church Music 
