Praise God Congregational Praise Points

A recent writer to Methodist Musicians Listserv asked for alternatives to singing the traditional Doxology. He wrote that his congregation had always sung number 94 in The United Methodist Hymnal following the offertory, but that he found the music difficult to sing; and he didn't like the words. He also asked for suggestions of alternatives. Although both of his points are certainly open for debate, that is not the subject here.

What is the doxology? The broad dictionary definition might simply be a liturgical expression of praise to God. The related Greek roots are nouns for "opinion" and "glory" and verbs for "to seem" or "to seem good." In the hymnal and in liturgy, we Christians know it best in Thomas Ken's 1674 setting (UM Hymna l no. 95) for Trinitarian praise: "Praise God from whom all blessings flow. Praise God all creatures here below. Praise God above, ye heavenly host. Praise Father, Son, and Holy Ghost," using the OLD HUNDREDTH hymn tune. It is traditional and always appropriate to add a strong "Amen" following a spoken or sung doxology, a practice that we seem to be losing as we drop the amens from hymn singing. (See "Why Don't We Sing Amens Anymore?")

Hymnal Doxologies
In simple three-fold form of praise to the Trinity, there are the two doxologies that are so often used in worship at 94 and 95 in The United Methodist Hymnal. The Bourgeois tune at no. 95 appears only in its metrical version, but many United Methodists also are familiar with the non-metrical version that is sung in mostly even quarter notes with a slight fermata on the final word of each of the four phrases. The setting at no. 94, with its use of the LASST UNS ERFREUEN ("All Creatures of Our God and King") tune and its modified and expanded lyric, is an especially festive and strong setting. Older hymnals used to include a larger collection of doxologies than modern hymnals. You can find the nineteen doxologies that were included in the 1878 Hymnal of the Methodist Episcopal Church under Source Readings on this site.

Other Doxologies
There are many alternatives to the two doxologies in our hymnal. For a time, it was wildly popular to use the Avery and Marsh setting; and other contemporary settings have continued to be written. Some congregations enjoy changing the tune from OLD HUNDREDTH to other Long Meter tunes. (See the hymnal's Metrical Index under LM tunes, pages 926-927.) DUKE STREET works well, and O WALY WALY (GIFT OF LOVE) can provide a somewhat quieter, more contemplative setting. Young people seem to especially enjoy singing it to HERNANDO'S HIDEAWAY, with a sharp staccato "A-men!" on the end. On this website,you will find the Doxology set to familiar Advent and Christmas tunes for use in those seasons, as well as other settings. (Put "Doxology" and "Doxologies" in the search box to find them all.)

Final Hymn Stanza Doxologies
There are many hymns that include doxologies as their final stanza. See the listing under Service Music on page 951 of The United Methodist Hymnal. Many of these may be set to alternate tunes using the Metrical Index (pages 926-927).

The Gloria Patri
The Gloria Patri is another formula for Trinitarian praise similar to the Doxology. The original purpose of the Gloria Patri was to give a Christian ending to the reading or chanting of the Psalms. The Gloria Patri in spoken or musical version was appended at the end to "Christianize" the Hebrew Psalms. Sensitivities today may cause us to think again about this practice, perhaps preferring to use the Gloria Patri as an affirmation that the God of the ancient Jews is the same God that was incarnated in Jesus Christ.

Hymnal Gloria Patri
The ancient words from the third and fourth centuries are given two settings in our hymnal — nos. 70 and 71. This Gloria Patri is also known as the "Lesser Doxology," as distinguished from the "Greater Doxology" ("Glory be to God on high," nos. 82 and 83).

Other Gloria Patri
There are numerous alternative musical settings available in hymnals, anthems, and collections. Many will remember the more contemporary setting by Avery and Marsh from the 1970s.

Liturgical Use of the Doxology and Gloria Patri
In some churches, the use of the Doxology and Gloria Patri is ritualized. The Doxology is often sung as the congregation's offerings are brought forward in worship, and the Gloria Patri is often sung following the reading or singing of the Psalm or a Responsive Reading, following the Creed or Affirmation of Faith, and at the beginning or close of worship. But it has become much more common to use either at any time or occasion when a point of congregational praise and thanksgiving is needed. It was spontaneously sung on the floor of the 1988 General Conference upon acceptance of the new hymnal. It is often sung a variety of times at annual conference gatherings and upon the election of a bishop at jurisdictional conference. The Doxology is often used as a sung table blessing before a meal. Even in times of sorrow and distress, the Doxology is sung, as at funerals, or following devastation by a hurricane or earthquake. It is this use as a congregational praise point within the larger context of worship and daily life that we sing the Doxology and Gloria Patri today.