By Robin G. Jordan
After the Service. The
practice of singing a hymn after the Blessing is traceable to Elizabeth I’s
authorization of the singing of a metrical psalm before and after the services
in the 1559 Book of Common Prayer. Before that time the singing of a hymn after
the communion service was unknown.
The end of the communion service, like its beginning and the
Offertory, is one of the three places in that service, which accumulates the
liturgical equivalent of clutter. The rubric of the 1928 Prayer Book before the
Blessing is “crystal clear.” The priest,
or the bishop if present, is to let the people “depart with this Blessing” (p.
84). The people are directed to kneel for the Blessing—a late medieval
practice. (In the early Church the deacon would have directed the people to bow
their heads for the Blessing.) The Blessing is the sending out of the people
and marks the conclusion of the service. Everything that follows the Blessing
is not a part of the service. Of all the things that are done after the
service—the saying of various prayers, the reading of the first fourteen verses
of the Gospel of John, and the ceremonial extinguishing of the candles, only
the ablutions and the singing of a hymn have the color of liturgical
authorization. Everything else is a part of clutter that has accumulated at the
end of the service in a particular church. It is superfluous.
If a special prayer is needed, it should be said within the
communion service itself. In their discussion of the 1928 Holy Communion
Service in The American Prayer Book: Its
Origins and Principles (1937), Edward Lambe Parson and Bayard Hale Jones
note:
“The desire for special ‘votive’ intercessions (hitherto met by interpolating collects after the Collect of the day or before the Blessing) was provided for by permitting special prayers after the Creed or at announcement time, and special Biddings prefixed to the General Intercession.”
They go onto to write:
“The present Prayer Book has some entirely new and really organic provisions for the use of special intercessions. But though the rubrics are perfectly clear, they do not seem so far to have been very well understood in practice. On p. 71, the direction after the rubric on Notices, Here, or immediately after the Creed, shall be said the Bidding Prayer, or other authorized prayers and intercessions, plainly means that any desired special prayers should be used at the reading desk at announcement time at a principal service where there are formal Notices before the Sermon; but that they may be read at the altar directly following the Creed at a “low celebration”. But on p. 74, Here the Priest may ask the secret intercessions of the congregation for any who have desired the prayers of the Church, certainly indicates special Biddings – not interpolated Collects – prefixed to the Bidding of the General Intercession.”
They further note:
“It may be mentioned that the use of the Bidding Prayer is hardly desirable at a celebration of the Communion, for it constitutes an absolute duplication of the substance of the General Intercession which follows so closely in our rite. The Bidding Prayer may however be admirably employed in connection with the ‘Ante-Communion.’ [We may note that the use of a Collect or Invocation before sermons is a survival of the traditional use of the Bidding Prayer at that point before the Reformation.]”
With perhaps the exception of a final hymn, which exception
is open to question, nothing should be allowed to keep the people from departing.
The service has concluded. They have been dismissed. Ite missa est! The Mass is over! After they have sung the last
stanza of the final hymn, they are free to depart. Indeed they are free to
depart after they give their assent to the words of the Blessing with their
Amen.
The rubric that provides for a hymn before or after any
office in the 1928 Prayer Book is permissive. It does not require the singing
of hymn before the communion service or after it. The hymn may be sung only
occasionally or omitted altogether. It is not essential. As Marion J. Hatchett
points out in Commentary on the American
Prayer Book (1981) the use of any text after the Blessing makes the text of
the Blessing seem less important or valuable.
A postlude may follow the service. If the hymn has been
omitted, the ministers may depart during this music. The ceremonial exit of the
ministers may be organized in the same way as their entrance. The ministers may
prefer to depart informally after the ablutions. The ministers may also depart
in silence.
As we have seen, the Blessing serves as the dismissal in the
1928 Communion Service. Lionel Dakers points out in Choosing—and Using—Hymns that to sing a hymn after the dismissal is
to backtrack. The people have been dismissed to go forth into the world and the
singing of a hymn delays the process. On the other hand, if the prelude is
begun immediately after the dismissal—the Blessing in the 1928 Communion
Service—the sending out of the people is “made more real, even dramatic” and
the people are, as it were, are propelled on their way.
A traditional Anglican church is not any less traditional if
a hymn is not sung after the Blessing and the ministers depart during the
postlude or in silence. The tradition of singing a hymn after the communion
service goes back 456 years, to the 1559 Injunctions of Queen Elizabeth I. The
tradition of not singing a hymn after
the communion service goes back as far as the fourth century if not earlier.
Most of the more recent Anglican service books have
withdrawn permission to sing a hymn after the dismissal. They make provision
for a hymn somewhere between the communion of the people and the conclusion of
the service. This ensures that the communion service moves to a swift
conclusion as did celebrations of Holy Communion during the early centuries of
the Christian Church. Their faith invigorated and strengthened by the
sacrament, the people of God are sent out into the world without needless
delay, there to serve Christ.
This kind of movement is eminently possible after the
communion of the people in the 1928 Communion Service once all the clutter
after the Blessing is pruned away. The rubrics make provision for a hymn after
the Post-Communion Prayer—the Gloria in
excelsis or a “proper hymn.” The prelude may be begun after the Blessing.
The ministers may exit in the same way as they entered—with cross and
torchbearers. The people may depart after the ministers depart. The priest is
at the back of the sanctuary and may greet people as they depart. He may direct
newcomers to the parish hall or its equivalent for the coffee hour. The servers
take the cross and the torches to the sacristy and one of them unobtrusively
extinguishes the candles. The servers can be instructed to use a side aisle
when they go to the sacristy from the back of the sanctuary.
One of the advantages of ending the service in this manner
is that people with bad knees are not forced to kneel and people with bad backs
to crouch for extended periods of time.
In a small church, indeed in a church of any size, it makes
good sense to maintain a high degree of flexibility about how many hymns will
used in a particular service, where they will be used, and when. In regards to
the number of hymns that should be used in a service, Lionel Dakers makes this
important point:
“In reality, the sum total of hymns is surely of far less relevance than the right choice for the right occasion. This is what makes the lasting impression and increases the memorability of any church service.”
Whether the final hymn is sung after the Post-Communion
Prayer, the preferred practice, or after the Blessing from force of custom, it
should be fairly short, should sum up the service, and send the people out into
the world in no uncertain way.
Here is a sampling of hymns that work well as a final hymn
and whose tunes are listed in the Gulbransen Digital Hymnal DH-100 CP’s Master
Index:
All who would valiant
be ST. DUNSTAN'S, MONK’S GATE
All you works of God
bless the Lord! LINDSTEAD
Arise, O God, and
Shine RHOSYMEDRE, DARWALL/DARWALL’S 148TH
This hymn was originally published in William Hurn’s Psalms & Hymns (1813).
1 Arise, O God, and shine
In all Thy saving might,
And prosper each design
To spread Thy glorious light;
Let healing streams of mercy flow
That all the earth Thy truth may know.
In all Thy saving might,
And prosper each design
To spread Thy glorious light;
Let healing streams of mercy flow
That all the earth Thy truth may know.
2 Bring distant nations near
To sing Thy glorious praise;
Let every people hear
And learn Thy holy ways.
Reign, mighty God, assert Thy cause
And govern by Thy righteous laws.
To sing Thy glorious praise;
Let every people hear
And learn Thy holy ways.
Reign, mighty God, assert Thy cause
And govern by Thy righteous laws.
3 Put forth Thy glorious power
That Gentiles all may see
And earth present her store
In converts born to Thee.
God, our own God, His Church will bless
And fill the world with righteousness.
That Gentiles all may see
And earth present her store
In converts born to Thee.
God, our own God, His Church will bless
And fill the world with righteousness.
4 To God, the only Wise,
The one immortal King,
Let hallelujahs rise
From every living thing;
Let all that breathe, on every coast
Praise Father, Son, and Holy Ghost.
The one immortal King,
Let hallelujahs rise
From every living thing;
Let all that breathe, on every coast
Praise Father, Son, and Holy Ghost.
“Arise, O God, and shine” may also be sung after the
Post-Communion Prayer and before the Blessing.
If the hymn is sung to RHOSYMEDRE, the last line of each
verse is repeated.
Be thou my vision
SLANE
Blessed be the God of
Israel FOREST GREEN, KINGSFOLD
FOREST GREEN may be sung as a round or a canon, normally at
a distance of one or two measures and a space of one octave.
Blessed be the God of
Israel MERLE’S TUNE, KING’S LYNN, ELLACOMBE
Christ be my leader SLANE
Christ who called
disciples to him RHUDDLAN, KOMM, O KOMM, DU GEIST DES LEBENS, WESTMINSTER
ABBEY, SICILIAN MARINERS, REGENT SQUARE (Smart)
Church of God, elect
and glorious ABBOT’S LEIGH, NETTLETON, LUX EOI
This hymn may also be sung as a sequence hymn, offertory
hymn, or post-communion hymn.
Crown Him with Many
Crowns DIADEMATA
If a shorter version of this hymn is desired, stanzas 1 and
5 may be sung without mutilating the sense of the hymn.
Father, who in Jesus
found us QUEM PASTORES
Forth in Thy Name, O
Lord, I Go SONG 34, DUKE STREET
Forth in the Peace of
Christ LLEDROD, DUKE STREET
God Is Working His
Purpose Out PURPOSE
PURPOSE may be sung as a round or a canon, normally at a
distance of one or two measures and a space of one octave.
God of mercy, God of
grace LUCERNA LAUDONIAE, IMPACT
God, Our Author and
Creator NALL AVENUE, PLEADING SAVIOR
Go Forth and Tell! O
Church of God NATIONAL HYMN
Go, Tell It on the
Mountain GO TELL IT
This hymn is an adaptation of
a North American traditional spiritual, published in the Church of Ireland’s Church Hymnal – Fifth Edition (2000).
The new text transforms a song that is related to Christ’s birth and which is
sung during the Christmas Season into a song related to the Church’s witness
and mission and which may be sung throughout the year.
Go, tell it on the mountain,
Over the hills and everywhere
Go, tell it on the mountain,Over the hills and everywhere
That Jesus Christ is Lord.
1O when I was a seeker
I sought both night and day,
I asked the Lord to guide me,
And he showed me the way.
Refrain
2 He made me a watchman
Upon a city wall,
To tell of his salvation,
That Jesus died for all.
Refrain
3 Go tell it to your neighbor
In darkness here below;
Go with the words of Jesus,
That all the world may know.
Refrain
Go to the world
SINE NOMINE, ENGELBERG
SINE NOMINE may be sung as a round or a canon, normally at a
distance of one or two measures and a space of one octave.
He who would valiant
be ST. DUNSTAN'S, MONK’S GATE
I Danced in the Morning
LORD OF THE DANCE/SIMPLE GIFTS
While this hymn is a trifle long—five stanzas, it works
surprisingly well as a final hymn due to the liveliness and rhythmicalness of
its tune, which move the hymn forward at a brisk tempo. It is published in a number
of hymnals, including Church Hymnal,
Fifth Edition, Complete Anglican
Hymns Old & New, Hymns Ancient & Modern New Standard, Hymns Old and New: New Anglican, Together in
Song: Australian Hymn Book II, and Worship
and Rejoice.
I Have Decided to
Follow Jesus ASSAM
Jesus, Good Above All
Other QUEM PASTORES
Jesu, Jesu, fill us
with your love CHERAPONI
Jesus our mighty Lord
MONKS GATE, ST. DUNSTAN
Jesus shall reign
DUKE STREET
Lead On, O King
Eternal LANCASHIRE
Leaning on the
Everlasting Arms SHOWALTER
Let all creation
bless the Lord MIT FREUDEN ZART
Lift High the Cross
CRUCIFER
Lord, dismiss us with
thy blessing SICILIAN MARINER
Lord, make us
servants of your peace DICKINSON COLLEGE [O WALY WALY/THE WATER IS WIDE]
Lord of the Church,
We Pray for Our Renewing LONDONERRY AIR #109
Lord, You Give the
Great Commission ABBOT'S LEIGH
Now Let Us from This
Table Rise DEUS TUORUM MILITUM
Now thank we all our
God NUN DANKET
O Breathe on Me O Breath
of God ST. COLUMBA
O God of Love, Enable
Me ST. PETER
O Jesus I have promised
NYLAND/KUOTANE, MUNICH,ANGEL’S STORY
O Zion, Haste, thy
mission high fulfilling TIDINGS
Praise the Lord, rise
up rejoicing ALLES IST AN GOTTES SEGEN
Rejoice, the Lord is
King DARWALL’S 148TH, GOPSAL, LAUS REGIS, JUBILATE
Savior, like a
shepherd lead us SICILIAN MARINER
Send Forth Your Word,
O God PROCLAMATION
Sent Forth by God's
Blessing ASH GROVE
Shine, Jesus, Shine
SHINE
So Send I You
TORONTO
Tell All the World of
Jesus FAR OFF LANDS
This hymn may be sung ELLACOMBE, LANCASHIRE, and other
suitable 76.76.D tunes
.
Tell It Out with
Gladness HYMN TO JOY
The Spirit Sends Us
forth to Serve LAND OF REST, CHESTERFIELD/RICHMOND(Haweis)
LAND OF REST may be sung as a round or a canon, normally at
a distance of one or two measures and a space of one octave.
We All Are One in Mission
KUOTANE/NYLAND
We turn to Christ
anew LEONI
What Wondrous Love Is
This WONDROUS LOVE
Ye Servants of God,
Your Master Proclaim HANOVER, LYONS, PADERBORN
Ye that know the Lord is
gracious HYFRYDOL
The tune of the postlude “should ideally derive from that
hymn or text that best sums up the service.” The postlude, like the prelude,
may also be used to familiarize the people with a new tune intended for use in
the future. Whatever tune is selected for the postlude, the full range of instrumental
settings of the digital hymnal player should be considered in playing it.
Conclusion. A
small church’s monthly celebration of Holy Communion should be its brightest
service of the month. It should not resemble a weekday Eucharist celebrated in a
chapel without hymns, service music, or a sermon. The music of the worshiping
assembly, even a small one, is not just hymns. It is also the Kyrie, the
Sanctus, the Great Amen, and the Gloria or some other suitable hymn of praise.
Most small church congregations are able to learn at least
one setting of these liturgical songs. If they are not able to master a setting
of the Gloria in excelsis, they
generally are able to learn to sing one or more suitable hymns of praise in its
place.
The settings for each liturgical song may come from a wide
variety of sources. The most important consideration is that the congregation
is able to master a particular setting. The Anglican and Lutheran Churches have
long traditions of composing and using metrical versions of the Gloria. Kyrie,
Sanctus, Lord’s Prayer, and Agnes Dei and in the case of the Anglican Church
even the Decalogue. The Lutheran chorale Mass is composed entirely of
chorales—service music as well as hymns. There is no rule—written or
unwritten—that a congregation must learn and sing non-metrical settings.
One of the advantages of a small church congregation adding
several metrical settings of the Prayer Book canticles to its repertoire for
use in services of Morning Prayer is that these settings may also be used as
hymns at celebrations of Holy Communion. A metrical setting of the Venite such as “O come and sing to God
the Lord” or a metrical version of the Jubilate
Deo such as “All people that on earth do dwell” may be used as an introit
hymn. We have already seen that the metrical Te Deum laudamus, “Holy God, we praise your name,” in its shorter
version, may be used as a sequence hymn. In its longer version as well as its
shorter version it may be used in place of the Gloria after the Post-Communion Prayer.
It is extremely important to identify what hymns and hymn
tunes a small church congregation knows. This enables worship planners to
determine the extent of the congregation’s repertoire and its strengths and
weaknesses. It also permits worship planners to evaluate the usefulness of the
hymns and hymn tunes in the congregation’s repertoire. A list should be made of
the hymns and hymn tunes familiar to the congregation and then the hymns sorted
by how they may be used in Sunday morning worship. Having a list of familiar
hymn tunes enables worship planners to introduce new hymns by using hymn tunes
of the same meter that the congregation knows and which fit the rhythm and mood
of the hymn. It also enables worship planners to be more deliberate in introducing
new hymn tunes to the congregation. A congregation’s repertoire of hymns, hymn
tunes, and service music should never be allowed to develop by happenstance,
which unfortunately is too often the case. Any additions should be carefully
planned. New hymns and new hymn tunes should be selected with their
accessibility and liturgical usefulness the first considerations.
Sunday morning is not about picking and singing the
congregation’s favorite hymns. This does not mean that favorite hymns do not
get sung but that they must take second place to the musical needs of the
particular service on Sunday morning. They are sung when they are suited to a
particular place in the service on a particular Sunday or occasion. They should
be balanced with less familiar and hence less popular hymns and hymn tunes as
well as new hymns and hymn tunes.
Hymns and hymn tunes become congregational favorites due to
a large extent to three factors—musical attractiveness, accessibility, and
repetition. While the first two factors are important, repetition is the most
important factor. If new and unfamiliar hymns and hymn tunes are to join the
congregation’s list of favorite hymns and hymn tunes, they must be repeated
over and over again and at every opportunity. For this reason I tried to select
a hymn that could be used at more than one place in the service or a hymn tune
that could be used with more than one hymn when I chose a new hymn or hymn tune
to teach the congregation at St. Michael’s.
To broach a sensitive subject, small church congregations
are notorious for their proclivity to resist change. This tendency can be both
a strength and a weakness. When they resist any reinterpretation of the clear
teaching of the Scriptures and any dilution of the Gospel or addition to its
message, it is a decided strength. When they baulk at making even modest
changes in the way they do things in order to ensure their ecclesiastical
survival, it is a definite weakness.
Two of the areas where small church congregations are likely
to show the most resistance to change is the worship music and where it is used
in the worship service. Consequently, any changes in the worship music and
where it is used in the worship service must be introduced incrementally with
sensitivity to the church’s past history. This may be done in a number of ways.
A good place to start is the service music. If a
congregation has in the past sung the Kyrie, Sanctus, Great Amen, and Gloria
and no longer uses these familiar settings due to the lack of an accompanist, it
may be open to learning new settings if they are not too difficult. The Merbecke Kyrie and the Merbecke Sanctus may already be
familiar to members of the congregation of a traditional Anglican church
because these two settings have enjoyed wide use, not only in Anglican and
Episcopal churches but also churches of other denominations.
If the congregation has not previously sung the Great Amen
after the Prayer of Consecration, the history of the practice of singing the
Great Amen should be briefly explained to the congregation and then the Danish Amen introduced to them.
The Alleluia before the Gospel should introduced in the same
manner as the Great Amen, first an explanation of the history of the practice
and then the introduction of the setting itself.
Each setting should be introduced in the order it will be
sung on Sunday morning—Kyrie, Alleluia, Sanctus, and Great Amen.
If the Merbecke Kyrie
and the Merbecke Sanctus are already
familiar to some members of the congregation, the familiarity of the two
settings will facilitate the learning of the two unfamiliar settings.
On the other hand, the members of the congregation, if they
have attended Disciples of Christ, Lutheran, Presbyterian, United Methodist ,
or Roman Catholic services, may already have been exposed to the setting of the
Alleluia and the Great Amen. They may also have heard the Danish Amen in traditional Baptist services. It is published in 39
hymnals, including at least two hymnals used in Baptist churches.
The keyboard accompaniment of “Halle, halle, hallelujah” is on the United Methodist Church’s The Faith We Sing CD Accompaniment Edition. It is a lively traditional Caribbean tune. The Danish Amen is in the Gulbransen Digital Hymnal DH-100 CP’s Master Index.
The new service music could be learned and practiced during
Lent and then used for the first time during Easter. It may facilitate the
learning process to explain to the congregation that one of the reasons that
they are being asked to learn and practice new service music is to properly
celebrate Easter.
Easter is also not just one Sunday. Easter is an entire
season. See Early in the Morning Our
Songs Shall Rise: The Music and Conduct of Morning Prayer for ideas for
festal Matins on Easter Sunday.
I have given some thought as to how to graciously retire
“Thy gospel, Jesus, we believe” from service as a sequence hymn. At the
celebration of the Holy Communion on which it is to be retired from that use, a
new sequence hymn, “The prophets spoke in days of old,” would be sung as a solo
before the Gospel. “Thy gospel, Jesus, we believe” would be introduced it in
its new role as a hymn before the Communion, also as a solo. An instrumental
version of ST. STEPHEN would be played during Communion, using one of the digital
hymnal’s instrumental settings.
The use of the hymn before the Communion would help people
understand what the hymn is really saying. We come to the Eucharist, believing
the Gospel and trusting Christ. We beseech Christ to work in us through the
sacrament of the Lord’s Supper, through the grace it imparts, to enable us to
live a life worthy of the Gospel, to be doers of the Word and not just hearers.
It might also be wise to use a different setting of the
hymn. A number of hymns once sung to ST. STEPHEN are now sung to MORNING SONG.
“When a text is linked with a new and less familiar tune,” Lionel Dakers points
out, “it serves to make us sit up and think in a new way about the meaning of
those words.”
An instrumental version of MORNING SONG could be played
during Communion instead of ST. STEPHEN.
I have put together four sample services, using The Gulbransen
Digital Hymnal DH-100 CP as the hymnal and applying the principles discussed in
this paper.
A Sunday in Lent
Prelude: BOURBON (Instrumental)
Omit Introit Hymn
Threefold Kyrie: Lord have mercy upon us MERBECKE
Sequence Hymn: My faith looks up to thee OLIVET (Stanzas 1
and 2)
At the Offertory: Take up your cross, the Savior said
BOURBON (Solo)
Sanctus: Holy, holy, holy Lord God hosts MERBECKE
Great Amen: Amen DANISH (Sing 3x)
Before the Communion: Let us break bread together on our
knees LET US BREAK BREAD
During the Communion: LET US BREAK BREAD (Instrumental)
After the Post-Communion Prayer: Glory be to Jesus CASWALL
Postlude: ST. FLAVIAN
A Sunday of the Great
Fifty Days of Easter
Prelude: AVE VIRGO VIRGINUM (Instrumental)
Introit Hymn: He is risen, he is risen UNSER
HERRSCHER/NEANDER
Threefold Kyrie: Lord have mercy upon us MERBECKE
Gospel Acclamation: Halle, halle, hallelujah HALLE HALLE
At the Offertory: Now the green blade riseth NOEL NOUVELET
(Vocal Ensemble)
Sanctus: Holy, holy, holy Lord God of hosts MERBECKE
Great Amen: Amen DANISH (Sing 3 x)
Before the Communion: At the Lamb’s high feast we sing
SALZBURG (Omit Stanza 2)
During the Communion: ROSEDALE (Instrumental)
After the Post-Communion Prayer: The day of resurrection,
tell it out abroad ELLACOMBE
Postlude: VRUECHTEN (Instrumental)
A Sunday in Ordinary
Time
Prelude: DARWALL (Instrumental)
Introit Hymn: Ye holy angels bright DARWALL
Threefold Kyrie: Lord have mercy upon us MERBECKE
Gospel Acclamation: Halle, halle, hallelujah HALLE, HALLE
At the Offertory: O WALY WALY (Instrumental)
Sanctus: Holy, holy, holy, Lord God of hosts MERBECKE
Great Amen: Amen DANISH (Sing 3 x)
Before Communion: Bread of the world in mercy broken WAYFARING STRANGER (Solo)
During Communion: WAYFARING STRANGER (Instrumental)
After the Post-Communion Prayer: All glory be to God on high
MIT FREUDEN ZART
Postlude: SINE NOMINE (Instrumental)
A Sunday in Ordinary
Time
Prelude: BUNESSAN
Introit Hymn: When morning gilds the skies LAUDES DOMINI
Threefold Kyrie: Lord have mercy upon us MERBECKE
Gospel Acclamation: Halle, halle, hallelujah HALLE, HALLE
At the Offertory: All you works of God bless the Lord
LINSTEAD
Sanctus: Holy, holy, holy, Lord God of hosts MERBECKE
Great Amen: Amen DANISH (Sing 3 x)
Before Communion: Be known to us in breaking bread DOVE OF
PEACE (Vocal ensemble)
During Communion: DOVE OF PEACE (Instrumental)
After the Post-Communion Prayer: From all that dwells below
the skies OLD HUNDRETH
Postlude: LINSTEAD (Instrumental)
A final thought.
Recruit girls as well as boys to serve as crucifers and torch bearers.
The Roman Catholic Church uses girl servers as well as boy
servers. Being a server is no longer viewed as a first step to the priesthood.
The torches may be placed on stands on either side of the
Holy Table and serve as lights on Morning Prayer Sundays when it
customary to leave the altar lights unlit.
The servers do not need to sit on the chancel platform.
They can sit in the front pew. As far as vestments go, all they need is
a plain white alb with cincture.
Seeing older children as servers might encourage visitors
with older children of their own to give the church a try. At St. Michael’s we
involved the older children in the congregation in a variety of ministries.
They were ushers, servers, lectors, instrumentalists, gift bearers, and
choristers. My oldest niece was a server; her youngest sister followed in her grandmother’s
footsteps and sung in the choir. She had a good voice and on occasion we
persuaded her to sing a solo. She sung in her school chorus.
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