This time of year, this blog focuses big time on Christmas carols—their histories, the theory behind them, their compositions, etc. One of the great joys in my life is playing and singing these carols. They are sweet but powerful musical retellings of the Birth of Jesus.
One thing I’ve noticed, though, is that churches have taken these classics and, in an attempt to check the “contemporary Christian music” box, added unnecessary and musically-boring codas to them. This past Sunday, my parents’ church’s praise team was leading the congregation in a stirring singing of “O Come, All Ye Faithful“—and then tacked on a needless extra chorus written in a modern style. The additional chorus was okay, but it paled in comparison to the majesty and tunefulness of the carol it amended. The church went from a lusty chorus of socially-distanced congregants to a few people mumbling along to the tuneless new chorus.