Introduction to “When in Our Music God is Glorified Tenor Part?
“When in Our Music God Is Glorified” is a beloved hymn with words by Fred Pratt Green and commonly set to the tune Engelberg by Charles Villiers Stanford. It’s often performed in SATB choir settings, sometimes with organ, brass, or handbells. Notably, verse three and four are often set in four-part harmony, and in some arrangements—particularly concertato settings—the tenor line receives a separate descant or counter-melody in the final stanza. This article explores the tenor’s musical responsibilities, vocal challenges, and interpretive insights within this hymn.
The Role of the Tenor Part in Standard SATB Arrangements
H3: Harmonization and Melodic Function of the Tenor Line
In most standard a cappella or organ-accompanied versions, the tenor part weaves harmonically with alto and bass beneath the soprano melody, providing mid-range support and inner voice movement. While the hymn is largely sung in unison or two-part texture in early verses, the third and fourth stanzas introduce full four-part harmony. Tenor lines often contain stepwise motion or supportive thirds and fifths that enrich the chordal structure.
H3: Descant or Tenor Counterpoint in Concertato Versions
In select arrangements, including those by William Rowan and others, the final stanza features a tenor descant that soars above standard harmony—creating a radiant and climactic effect as the choir and potentially congregation join. Tenor singers may be invited to project a soaring line that highlights the text’s celebratory theme, reinforcing the hymn’s call for music to glorify God.
H3: Singing Challenges and Vocal Range Considerations
Tenor parts often lie between B2 to G4, placing demands on both low chest register and upper lyric range. Choir directors advise focusing on blend, vowel consistency, and careful tuning—especially during harmonically rich verses. In descant passages, tenors may need stronger head voice stamina and projection skills to stand out above the choral texture without overpowering other voices.
Musical Structure: Tenor Line Across Verses
H3: Verse One and Two: Unison or Light Harmony
The opening verses in most arrangements focus on congregational unison singing, with minimal SATB divergence. Tenors join the soprano melody closely or provide simple harmonic support with altos and basses. This textual simplicity emphasizes the hymn’s prayerful reflection, and tenors must listen closely to maintain clarity and pitch without overwhelming subtle dynamics.
H3: Verse Three: Introduction of Four-Part Harmony
As the hymn progresses into the third stanza, tenors become a critical harmonic voice in four-part choral texture. Their part moves more independently, often emphasizing text lines such as “When in our music God is glorified” with harmonizations that support the modal shift. Choir directors suggest emphasizing dynamic shaping and careful legato singing to allow tenor lines to contribute to the tonal progression.
H3: Verse Four: Climactic Counter-Melody and Final Doxology
The final stanza often includes a descant line for sopranos and tenors that soars above the congregation or choir. In arrangements like Rowan’s concertato version, tenors may sing in parallel motion with sopranos or in independent contrapuntal motion to reinforce the celebratory alleluias. This section requires confident high singing and clarity in diction to highlight the concluding praise text.
Notable Arrangements and Editions Featuring Tenor Focus
H3: Stanford Harmonization and SATB Settings
The foundation for many choral editions is Stanford’s harmonization of the tune Engelberg, which includes straightforward tenor lines that support congregational singing and organ accompaniment. Publishers like GIA Publications offer accessible SATB octavos that emphasize balanced voice leading and clear harmonic motion.
H3: Rowan’s Concertato Edition with Tenor Descant
William Rowan’s arrangement stands out for featuring a tenor and soprano descant on the final stanza, elevating the musical impact and giving tenors a featured singing role. This version is popular in festival or special worship services where the final verse becomes a high point of corporate praise
H3: More Recent Versions by Contemporary Arrangers
Other modern editions—such as those by Emily Crocker or Marty Haugen—offer fresh stanza settings and flexible voicing, sometimes incorporating brass or instrumental interludes. While tenor parts are often supportive, select variants offer optional counter-melodies or descants aligned with modern festival arrangements.
Performance Tips for Tenors Singing This Hymn
Tenors should approach this hymn with awareness of text placement, line movement, and choir blend. In early verses, accurate pitch and unified vowel shaping are paramount. When verse three introduces harmony, tenors must balance independence with ensemble cohesion—listening to basses and altos to anchor intonation. In descant passages, focus on breath support and lyric clarity: the lines often span higher tessitura and sync with soprano melodic contour. Register transitions should remain smooth, and dynamics carefully shaped to align with text emphasis such as “God is glorified” or the final “Alleluia.”
Rehearsals may benefit from isolating tenor descant parts with part recordings or piano doublings to help the section internalize timing and tonal balance. Choir directors often assign tenors to sing in duets or thirds during descant rehearsal to foster confidence before full ensemble integration.
Conclusion: The Tenor’s Contribution to Worshipful Expression
The tenor part in “When in Our Music God Is Glorified”, whether in foundational harmony or featured descant roles, plays a vital part in realizing the hymn’s musical theology. Tenors contribute melodic support, harmonic foundation, and occasional featured lines that elevate the hymn’s message of praise.
Arrangements such as Stanford’s SATB harmonization, Rowan’s concertato version with tenor descant, and modern festival settings each offer varying levels of tenor engagement—from supportive inner voices to soaring climactic lines. With careful rehearsal, attention to intonation, and expressive connection to the text, tenors help transform this hymn into a powerful celebration of music offering glory to God.
