Singing The Faith has a wealth of wonderful hymns for Passiontide and Easter. As well as singing them, I want to encourage you to read them, to respond to them through body movement and to take time to reflect on what Christ’s death and resurrection really means. Here are a few suggestions from Valerie Ruddle.
Hosanna, hosanna (Carl Tuttle) - 263
Percussion instruments can add effectively to a palm waving procession. Aim for a varied rhythm, playing at the rests rather than a steady beat throughout.
Make way, make way (Graham Kendrick) - 264
Set the scene with suitable words before the congregation leave their seats ‘to travel towards Jerusalem’. Stand still to sing the verses, move on during each refrain.
Come, wounded Healer (Martin Leckebusch) - 271
Choose from the lilting unison tune or the one with SATB, depending not only on singers available but also on where and when it is to be sung. Whichever you use, take it slowly and quietly, perhaps seated, in a reflective mood. Don’t always sing loudly!
Jesus, the carpenter, hanging on Calvary (Marjorie Dobson) - 275
Read the verses, perhaps as the tune is played softly in the background by a solo Instrument, then sing the refrain. The refrain only may be enough new music for the congregation.
My song is love unknown (Samuel Crossman) - 277
A beautifully told story to a lovely tune but seven verses can become wearisome. Sing the first two and last two and ask six people to read four lines each of verses 3, 4 and 5 as dramatically as they can.
What kind of love is this? (Bryn & Sally Haworth) - 286
This song could effectively be sung as a solo or read as the tune is played. It would also suit a simple liturgical dance. Three or four dancers might move freely one by one towards a central cross and form a tableau at the end.
When I think about the cross (Mark & Helen Johnson) - 288
What do you think when you meditate on the cross? People may like a chance to offer their own thoughts by writing short pieces of verse or prose to be read, each of which could be followed by the singing of this beautiful single verse.
When you prayed beneath the trees (Christopher Idle) - 339
I am not sure that KELVINGROVE really suits these words. Try Ian Howarth’s EFFINGHAM (450ii). To make It was for me, O Lord really personal, use two solo voices (two lines each) for the first half of each verse.