Worship Renewing worship for the 21st century



Leading the Church's Song: Technique

The music of Christian song is, as we shall see, a grand and richly varied world. Each locale within that world has its own vocabulary and syntax: we sing and lead each in different ways which will be treated under "Performance Practice" in each chapter. Yet all these styles of song are united in important ways. They help people to speak the faith. They are true to themselves and to the Word. And because their language is that of music, they possess basic elements that don't change from one style to another. It is those common aspects of leading congregational song that are addressed in this chapter.

Tactus

Life is rhythm: the beat of the heart; the rising and the setting of the sun; the turn of the seasons; the church year. Life is rhythm and all God's creatures have it! It is rhythm that gives music its life.

  
Internalizing the Pulse

The ability of a musician to produce a reliable, steady pulse in a hymn is essential if anyone is to sing along. Unfortunately, we don't always know if we are prone to erratic pulse in playing. The solution? Tape a service and listen to the hymns. If your hymn playing suffers from unsteadiness, the tape recording will tell you. If so, make a habit of practicing the hymns with the metronome, not so that you will play them rigidly and unmusically, but so that you can play them steadily and with the reliable pulse that every hymn needs. It is critical to understand that a hymn usually is not over when you reach the bottom of the page. Although a slight stretch may be needed, the internalized tactus must remain present even when moving from the end of one stanza to the beginning of the next. (This transition is addressed in Chapter 4 of Leading the Church's Song.)


Of all technical rhythmic considerations, none is more important to leaders of the congregation's song than that of tactus, more commonly called the "beat." Tactus (pronounced TAHK-toos) is the pulse that propels melody and harmony in time. Depending on the style of music, the tactus may be experienced very differently, from the subtle pulse of chant to the beat of a drum, but it always governs the movement of a piece.

The key element regarding tactus is dependability. A dependable and steady beat sets the structure that allows the congregation the freedom to participate. A dependable tactus fosters trust between singer (on both individual and group levels) and leader. The musician gains the congregation's trust by setting and maintaining the tactus appropriate to the particular stylistic and cultural considerations of a piece. A congregation that trusts its musician sings.

Tactus is the life of congregational song. From the book of Genesis to the present, life is breath. The congregation is made up of people who need to breathe. When the leader (especially a keyboard player) hasn't taken this into consideration, the person in the pew is often left feeling either rushed or dragged. Breathing is a natural process, and singing is (or should be) a natural process as well. Songs should virtually float out of people with their breath. Those leading the song need to learn how to breathe with the congregation in much the same way a good choral conductor breathes on his or her preparatory beat. For those who lead from instruments, this does not mean singing along with the congregation, which actually impedes the leader's listening and responding role. Rather, it highlights the necessity that the musician understand each piece's phrasing and know the places where a subtle "give" in the tactus might facilitate corporate breath.

The Singing Voice of the Assembly

When we read a volume such as this, we might at first consider the leadership of congregational song to be the function of instruments. But if we review the history of Christian music, we note that much more often than not, Christian ritual music existed — even flourished — as unaccompanied communal song. Christians inherit the musical tradition of the synagogue in which the gathering is led by the solo voice of the hazzan, the cantor. Early Christians battled over the inclusion of instruments in the liturgy at all, much less to accompany singing. As congregations influenced by the reforms of Martin Luther sought to wrestle corporate singing back from the domination of the choir, they appropriated the prevailing communal folk song style of the day — a rugged, rhythmic, and unaccompanied lied. The organ was used first as an accompanying instrument as late as the last half of the sixteenth century. Prior to that, the organ introduced the hymn and interpreted selected stanzas of the hymn in alternation with the unison and unaccompanied congregation. Even the term we use regularly for unaccompanied singing — a cappella — derives from the method of singing "as in the chapel."

When Christians gather we become the very body of Christ. Our assembly constitutes church — ecclesia — and our communal expression becomes the very breath of the living God. Communal singing is seen then to be the living voice of Christ in our midst. At its most natural state, unencumbered by instruments and harmonies, the unison sound of corporate song contains a unique power. However, our recent fascinations with harmonies and vocal perfection have had a tendency to displace this power and fool us into thinking that we need accompaniment for assembly song to exist. Perfect recordings made through a series of takes and edits condition our ears to surreal sounds with which we simply can't compete, so we shame ourselves into silence. The national anthem is piped into the ballpark, the television replaces song in the home, and boom boxes fill our lives with endless, mindless tunes that leave us mute. In order to reclaim the voice of the church we are invited to rediscover the core musical expression of the assembly: unaccompanied communal song.

Good unaccompanied assembly singing depends on several factors. First, it must be led by a voice or voices that lead with grace. Just as in any good instrumental accompaniment, leadership in this case will first need to establish a tempo, tactus, and determine the tonality. To begin a strophic metrical hymn that will be sung a cappella, the cantor or choir might sing one selected phrase that will indicate the regular pulse of the hymn that the assembly will count on to remain regular and establish the key center. Once the assembly enters, modifications may happen naturally to conform to the space, acoustic, and community. Rather than fight such modifications, the leadership ought to lead with grace, bending where necessary and leading as needed.

Second, all congregational singing, accompanied or not, depends on good acoustics. Rooms with carpet, cushions, porous walls, and "acoustical" tiles dampen corporate sound. Placement of vocal leadership will also enhance the assembly singing. A cantor or choral voice that envelops the sound from behind or around the congregation seems to work best for this purpose. At times, however, visual as well as audible leadership may be required which may draw the leader to the front. Avoid the tendency to amplify the leadership meant for unaccompanied singing. Such electronic means drives the sound "at" people rather than "with" people and draws connections to pop culture's performance methods which simply don't encourage participation.

Assemblies who are unaccustomed to singing without accompaniment will need help to find their "solo" voice. Begin with the simple dialogues of the liturgy such as the preface dialogue to the eucharistic prayer. Psalm tones work quite well, perhaps even best, without any accompaniment. A stanza of a hymn might be selected on occasion for unaccompanied singing. Ostinato (repeated) chants such as the ones from the community at Taizé are also fine places to begin. In all of these, expectations of singing in harmony should not be imposed, but allowed to occur freely. There is exquisite beauty in a full assembly singing in unison.

Finally, good assembly singing, accompanied or not, depends on trust. The community must trust that the leadership will not "leave them comfortless" but will support and lead as needed. And in such days of media perfection a word of consolation to any congregation engaged in unaccompanied singing that welcomes their imperfections and vocal flaws will be necessary. Praise the effort of the community, charge the choral leadership with the stewardship of all communal song, and work diligently to lead in a way that fosters trust, support, grace, and love.

Tempo

Tempo is another rhythmic factor to consider in leading the congregation's song. It is the responsibility of the leader not only to set a steady and dependable beat, but also to determine at what speed the beat will move.

Few factors are more deadly to congregational singing than a leader who makes only limited use of the spectrum of tempo possibilities. Hymns, songs, liturgical responses, psalm settings, the musical portions in which the congregation participates through singing — all are bound to texts. The music to which a text is set is intended to reflect the character of that text. Some texts are more inward and contemplative in nature; others are merry and joyful. Just how much can this all be reflected in the congregation's participation in the text, that is to say in their actual singing? A fair amount! Next to awareness of the function of a steady tactus, setting the tempo should be one of the music leader's foremost concerns. Reflection on text is the starting point.

  • What is the text saying? An analysis of the content of the text's message, imagery, character, position, and use within the context of the service is always in order.
  • How does the text make you feel? How does the text sing?
  • Are there any words or phrases which do not roll easily off the tongue? (The word "baptism," for example, is always hard to sing!)
  • How would you sing a given text and tune? Try it. Try to capture the character of the text in your own rendition. Think about the speed at which you're singing. Think about the way you're singing. Are you using legato (connected) or more bouncy, detached phrases? See how you can make the text come alive just by means of the tune.

Next, look at the character of the melody. Is the marriage of text and tune a good one? Does the tune capture the text's message? (Sometimes it is appropriate to substitute a different, more suitable or more familiar tune that has the same meter and stresses.) Considering the tune alone, what tempo might work best? Adding the words and imagining your congregation and setting (size, acoustics, instrumentation, familiarity), what tempo would best serve the situation as a whole? Imagine the congregation singing the piece without any accompaniment. Would this tempo work?

One function of an introduction, whether instrumental or vocal, is to help the congregation determine the tempo at which they are going to sing. In presenting the introduction, the leader must already have the corporate voice of the congregation in mind. The first two measures the congregation actually sings are the most vital. They have heard the introduction; now they actually open their mouths, the vocal cords begin to vibrate, and the song of the people begins, either tentatively or with assurance. The tempo of those first measures must be solid and unwavering. Trust in the tempo is determined by the introduction and those first measures.

The tempo is set during the introduction. Whatever the content and form of the introduction, the tactus must be clear and unwavering during the introduction so that the congregation begins the hymn at the speed the leader has determined. The player who introduces a hymn at lightning speed, only to play stanza one at a decidedly slower pace, has defeated both hymn and congregation. The organist who spins out a beautiful, subdued, improvisatory reverie as an introduction, only to throw on big sounds and play the hymn faster at the outset of the first stanza also has missed the mark.

Leaders of song are interpreters of song, and interpretation calls for research. In their sermon preparation most preachers try to determine the message of the scripture on which they will be preaching. To do so they use a process called exegesis in which they may translate the section from original Greek or Hebrew, making note of key words or word plays. They then study what passages precede as well as follow the portion in order to put it into context regarding the larger picture. The preacher then asks the question, "What was the original speaker (or writer) trying to convey to the original hearers or readers?" Another immediately follows: "Who were those listeners, readers, and what was their situation?" This is called determining the scripture passage's Sitz im Leben or "life setting." It is only after such preliminary work that a preacher sets about determining what the message of the text is for us today and how, if at all, our setting differs.

Musicians in the church who are entrusted with the people's song can benefit by doing the same type of study and preparation. This can be helpful especially in determining things like tempo. We can begin by asking questions concerning a tune's Sitz im Leben.

  • Who is the composer of the tune?
  • When was it written?
  • Was it written specifically for this text?
  • How does this tune relate to other music written by this composer?
  • Is there anywhere I can go to hear other music by this composer?
  • What type of musical instrument or ensemble may have accompanied the tune at the time of its first appearance?
  • How does the melody move — mostly in a stepwise fashion (which tends, for the most part, to be easier to sing) or by leaps?
  • Is it memorable? (That is, will it be easy for the congregation to remember its contours after the introduction and maybe one stanza?)
  • Was it conceived as a vocal piece (for one singer), a choral piece (a part song for many singers)?
  • Was it most likely sung in harmony or unison?
  • Does the melody relate to any other type of music popular at the time (e.g., dance tunes, ballads)?
  • Are there any repeated motives that deserve attention?
  
Chorale Preludes as Introductions

A simple, straightforward hymn introduction will give the congregation necessary information on key, tempo, and style of a hymn. But an honored tradition especially in the Germanic churches is the chorale prelude — generally a longer, more elaborate form of hymn introduction. The genre includes everything from the small-scale masterpieces of Bach's Orgelb?chlein to a tonally challenging contemporary piece. What is the place of such works within today's worship?

The answer to that will depend in large part on the history and character of each congregation. St. Bartholomew's may value chorale preludes, even insist on them, as helpful frameworks particularly for principal hymns in the service. The assembly is quite willing to allow the extra time required so that they may consider the commentary provided by the composer. However, across town at Lord of Life Church the regular use of chorale preludes within the service would feel like an imposition, the organist grabbing the spotlight. The congregation wants to have the hymn tune identified simply and then begin singing.

Often in church music this matter requires sensitivity. If chorale preludes within the service are undesirable they may still add much as pre- or post-service music. If they are used to introduce hymns, the organist needs to balance artistic considerations with the liturgical character of that part of the worship. What sort of piece would work well here? Does this prelude work with this text? Are the keys the same? If not, how will I deal with that? Perhaps the most important consideration is whether the tune is clearly presented in the prelude so that at its conclusion the hymn can simply begin. If not, the organist should play the last phrase of the hymn to help the assembly. Similarly, if the tempo of the hymn is not obvious from the prelude, the organist needs either to play a phrase of the hymn for the congregation's reference, or at least deliberately play the first few notes of the hymn.


Delving into such research might even change your opinion about how a piece might be done, regarding tempo or otherwise.

The position of the piece within the context of the service also may play a role in determining the tempo at which it will be sung. Does it serve as a reflection on something that has just happened liturgically? What was the spirit of that specific action? Worship is alive and fluid, never static. In the course of a service the congregation experiences and participates in many different functions, each with its own specific mood or flavor. These might include praise, prayer, reflection, or proclamation. Tempos should reflect these accordingly. Because it is the function of the introduction to set the spirit, the place of a piece in the service will undoubtedly have some influence on the way it is introduced.

Another consideration regarding tempo is the harmonic movement of a piece. Compositions that have predictable harmonic structures are often easier to sing, even when the harmony is relegated only to instrumental accompaniment, the voices singing in unison. More complex harmonic structure will have some bearing on tempo, as will the congregation's familiarity with the piece.

The leader must be aware of the general musical ability of those making up the gathering.

  • Are these people here gathered used to singing at all?
  • What is the level of musical literacy?
  • How can I, as one called here to facilitate them in this endeavor, help them find their voice?

Musical literacy does not necessarily equal ability to sing just anything at any given tempo. A group that has done much singing together, although individually not strong readers, may rise to surprising challenges. Get to know the people in the pew. Gain an idea of what to expect and make appropriate decisions.

In view of all the variables, there is no "ideal" tempo for any given congregational piece. Factors to consider include:

  • the number of worshipers
  • the acoustics of the worship space
  • the musical leadership — ensemble, solo instrument, voice
  • the time and nature of the gathering.

The tempo of a joyous hymn of praise sung by a group of ten worshipers in a chapel with little reverberation and no instrumental accompaniment may be very different from the same hymn sung by hundreds in a large, reverberant cathedral, supported by organ and brass. Even so, the spectrum of tempo possibilities can (and should) be narrowed as much as possible. It's most likely that the group in the chapel will be able to progress at a much brisker tempo than the cathedral congregation. The reverberant acoustics of a large space would advise against swiftly moving group song. An appendix with suggested tempo ranges for some common hymns is provided in the back of Leading the Church's Song.

Is there a difference between the sense of tempo employed for hymnody and that for liturgy? One would hope not, yet that is always a danger in congregations that regularly use particular liturgical settings. Familiarity with these texts and tunes sometimes gives way to "liturgical time" in which the leader and congregation make mad dashes through the responses and canticles, all sung at the same pace. The liturgy is not something simply to rush through for the sake of accomplishing it. As in hymnody the text is the governing factor. Does the singing of the Sanctus conjure up Isaiah's great vision of God's majesty (Isa. 6) or are these simply words and tune to tear through in order to get to the Words of Institution? Is the Kyrie sung at the same speed as the Gloria? They differ greatly in both function and content. Does the opening dialogue of the Great Thanksgiving ("The Lord be with you. And also with you.") actually embrace the characteristics and rhythm of a spoken dialogue? Is the natural rhythm (and mode — spoken or sung) of the minister's part consistent with the congregational response?

Flexibility

Once the pulse is established, is it inviolable? Of course not. In the case of most hymns the most obvious "give" in the tactus is the relaxation that occurs naturally at the end of the final stanza. A judicious rallentando is nearly always in order at this point. Sometimes it should be grand, other times modest. This slowing down gives the hymn a sense of finality and completion. Most of us do this instinctively. To prove it try accompanying a hymn all the way through with no tempo relaxation whatsoever at the last stanza's final cadence. It just does not work and leaves the singers feeling as if they have hit a concrete wall. (Note: Plainsong hymns are an exception to this practice.)

A few hymns call for tempo fluctuations within a stanza, specifically where rhythmic intricacy and/or angular melodic lines require a bit more time and effort for the assembly to execute. For instance, in the case of the tune GRAFTON ("Now, my tongue, the mystery telling" — The Hymnal 1982 331), what may seem a reasonable tempo at the beginning suddenly becomes unworkable in the penultimate bar on the third and fourth beats. (See example 2-1.)



Example 2-1

The inverted triad outlined by the tune's three ascending, slurred eighth notes is followed immediately by the drop of a fifth along with a new word (or syllable) to sing. This presents a challenge even for experienced singers. The sensible solution is to slightly relax the tempo for those two beats only, resuming normal speed for the last bar of the hymn.

Accent and Articulation

If tactus and tempo together provide the heartbeat of music, it is articulation that brings the spark and rhythm of life to the rest of the body. Articulation is the key to movement, to helping a piece, either individual or corporate, instrumental or vocal, take on life and color. Basically, articulation is the connective tissue between notes in a melody or chords in a harmonic progression. It is the contextual relationship of one note to another. Movement from one note to another may be accomplished in a smooth, even fashion without any break between the notes (legato). It may

  
Performance Anxiety

A common challenge in setting the tempo is performance anxiety. All musicians deal with nervousness now and then. When nerves take over, the result can be a hymn that is too fast, hard driven, and unsingable. Before you start the hymn take a few seconds to be still, quiet, and prayerful. Focus on God rather than on the altercation you may have had with a disgruntled choir member before the service. Let go of any anger and honor your calling. Then take a deep breath and begin.


be marcato, accented and stressed. It may be staccato, detached, with each note separated from the next by quick releases. Some notes may be more accented than others. Some may achieve greater stress (or weight) by being "leaned into." In general the overall articulation of a specific phrase may appear fairly uniform, legato for example. The actual movement from note to note, however, may be comprised of a rich mixture of subtle nuances (some notes more detached, louder, softer, etc.). Again, but in another way, the text, rich in word accents, vowel colors, and natural flexes, serves as the best guide.

Vocal Leadership

Those who lead the congregation vocally (song leader or choir) most likely do so by example. Through vocal leadership a congregation can learn what it means to sing sensitively with an eye to the text. This type of leadership is usually simultaneous, occurring while the congregation is actually singing. As cited in the discussion concerning the setting of tempo, the first measures are vitally important. The solo leader or choir set the stage, giving the congregation cues as to the spirit, tempo, dynamics, and flow of the piece.

Vocal leadership has nothing to do with singing out "over" the congregation or with overpowering them. Vocal leadership should be conceived as coming from within the group. It's like the elementary school teacher who speaks in a whisper in the midst of a noisy classroom so the children have to quiet down in order to listen. It's learning to be community. It involves learning to listen, both on the part of the leader and on the part of those in the congregation.

  
Nurturing Articulation

It is in the area of articulation that the leader of the congregation's song can be most nurturing. The leader, having read the text and thereby having become more familiar with its mood and flow, can set the scene for the congregation's participation. The leader must understand in advance the climaxes of each musical sung phrase, of the melody and text as a whole. The leader understands how to magnify these elements to make use of them, thereby sharpening the congregation's sense of text and tune and, in fact, heightening their participation. This is the way the notes and text on the page become a living entity.


Instrumental Leadership

For those who lead from instruments (keyboard or ensemble) the task is somewhat different. They face a challenge: how can this type of leader, without the luxury of words or explanation but simply by the way in which they play, communicate to the congregation the sense of the piece as a whole, particularly its spirit and flow? How can they actually take what the congregation is producing (singing) and simultaneously, by means of articulation, heighten their awareness of the magic that is happening in that production, the mystical union of text and tune, of composer and performer, of creator and creature, of art?

Articulation at the keyboard is a helpful tool indeed. Outside of its coloring properties, the way in which a keyboard player articulates a phrase can do much to assist the congregation in the way they are singing. It is by means of articulation that the person at the keyboard can provide real leadership in very subtle ways. Sometimes it becomes necessary for the leader to highlight a specific element or area of the music, such as tempo, ritards, or dynamic climaxes. On instruments which are dynamically touch sensitive (piano and some synthesizers) this can be accomplished by means of employing accents, of playing some notes harder (hence louder) than others or by placing more space between the notes. On keyboard instruments that are not dynamically touch sensitive (organ, harpsichord, some synthesizers), expression comes through an entirely different approach. Since on these instruments the way in which a note is struck (attacked), firmly or lightly, has no effect on the way it will sound, the secret of articulation here lies in how the notes are released. This has bearing on the way the following note will sound. Playing a melody at the organ and making it come to life involves varying degrees of separation with great attention to the notes' endings. Just how much space, if any, is placed between the notes gives a phrase character as well as clarity. (This is covered in more detail in Chapter 4.)

  
Dancing with Voices

Leadership through articulation is showing the congregation how to dance with their voices. The steps may vary — some higher, some lower, some faster, some slower — but they all constitute vocal movement.


Keyboard players can learn much about articulation from bowing techniques on stringed instruments and tonguing techniques on woodwind instruments. An oboist or flutist achieves flavorful phrasing by tonguing (creating a "stop" by executing the syllable doo) on important notes while slurring (no tonguing) others that are less important. Bowing provides a safeguard concerning phrasing on stringed instruments. The way in which the hair of the bow grips the string, the sound it makes when changing directions, and the different quality between up and down bow aurally resemble the process of breathing. If a hymn is played with the same degree of separation between each note the result can be monotonous. Again, music needs to breathe. Players, especially players who do not make use of their own breath (keyboard and string players), need to be aware of this. Articulation is breath.

  
Hymn Helps

Where does the conscientious hymn leader go to learn the history, the Sitz im Leben, of hymns? Hymnal companions or commentaries are excellent sources. Most major hymnals have had companions published for them. These will often provide essays on various types and eras of hymnody as well as specific notes on each hymn tune and text. In most cases, they are available from the same publisher that issued the hymnal itself. A list of major hymnal companions is included in the bibliography at the end of this book.

Another helpful font of information (as well as a place to order hymnals and companions) is The Hymn Society in the United States and Canada. The Hymn Society publishes a journal, The Hymn, and holds annual conferences — both of which address a wide spectrum of hymn-related issues. For more information, phone 800-The Hymn, or send e-mail to hymnsoc@bu.edu, or write to:

The Hymn Society
Boston University School of Theology
745 Commonwealth Ave.
Boston, MA 02215-1401


"I don't know what you did today to help us sing like that, but thanks!" is the highest compliment any music leader in a congregational setting can receive. The way in which we support and lead congregational singing through sensitive articulation can be our greatest gift to that community. Subtle nuances in articulation are valuable tools by which we can help propel the congregation to new levels of musicality, of textual awareness, of community. Then, we can get out of the way and let them "do their thing!"

Accompaniment

The type of instrumental accompaniment the leader employs to support congregational singing affects the way the congregation sings and influences their participation. The foremost question always should be, "Will this accompaniment serve to help and support the congregation in their corporate song?" Of course, the words help and support are relative. The leader should always begin with the idea of unaccompanied singing as the model for all congregational song. When a congregation is asked to sing without the aid of instrumental forces, the individuals making up the congregation listen to themselves and to others. It is here that the congregation can best become aware of and find its true voice. Something happens when a group of people joins their voices in song, especially in unison song. Voices, each with their own character and timbre, come together. Barriers drop. The individual gives way to the corporate. The singing takes on a life of its own. The group "gels." This is the goal of the leader of the people's song.

The leader's role is never to overpower or lead by means of force, dynamically or otherwise. The operative terms here, again, are support and guidance. Certain things we do (dynamic or timbral variations, for example) can serve to heighten the emotional connection experienced by those in the congregation. But experiences enhanced by emotion always depend on some mode of participation. It is the leader's task simply to take what the group is doing and help them do it better.

  
Your Best Ally — the Choir

Church choirs exist to lead God's people in worship. Every church choir director should be clear on this, and take every opportunity to remind their choirs that this is their primary calling and most important business. No matter how polished an anthem may be, if the hymns and liturgical music in a service do not have the choir's full attention and commitment, they haven't fulfilled their mission.

Before any service the music leader should decide how each hymn is to be rendered. Choices about which stanzas will be sung in unison, harmony, with descants and so forth, should be made by the director and communicated to the instrumentalists and choir. Then, a portion of every Sunday morning choir warm-up should include adequate rehearsal on the hymns so that the choir can lead the congregation competently. Hymn rehearsals should cover phrasing, punctuation, treatment of tactus between stanzas, and anything else that will contribute to the assembly's ability to sing a hymn well. Remind the choir of any unaccompanied stanzas or phrases and that its leadership role then becomes doubly important.

Too many choir directors neglect or ignore the hymns assuming that they will take care of themselves or that they are not worth the same care and effort as the choral pieces. They may even think that the thoughtful rehearsal of hymns with the choir would be lost in the midst of congregational singing. This is a serious mistake. Corporate worship demands and deserves only our best efforts. Nothing in a service should ever be considered "throw away" or unimportant, particularly the hymns. The choir is in a unique position to support the instrumentalists in bringing the hymns to life.

Insisting on a conscientious approach to the hymns also brings fringe benefits. The musical concepts that every director wants to impart to the choir — phrasing, intonation, word painting, rhythmic vitality, dynamic control, blend, and subtlety — are available in the pages of a hymnal. Hymns provide wonderful teaching tools for building the skills of choir members. This is particularly true with children or singers of limited experience.

The choir that is well rehearsed on the hymns enables a congregation to soar to new levels in their singing. Everyone is enriched, and God is praised.


In choosing the type of accompaniment best suited to a certain group singing a specific piece, several factors need to be taken into account:

  • the size of the group, the spatial setting, and the acoustical environment
  • an inventory of the instruments that are or could be used
  • some exegesis of the piece, determining its Sitz im Leben, including original instrumentation
  • deciding what kind of accompaniment would best bring out the character of the tune, of the text
  • the possibility and advisability of recasting the accompaniment for a fresh take on the hymn — a sixteenth-century chorale, for instance, sung in unison with a jazz-style accompaniment of a flute and string bass might simultaneously jar, enlighten, and uplift.

    Then, we face accompaniment questions centered on the topic of harmony.

  • What is the character of the tune — long, floating lines? Rhythmically energetic phrases?
  • Is it better sung in unison or is sung harmony a necessary element?
  • Is the printed harmony singable or is it intended for keyboard?
  • Might the group want to sing in harmony?
  • Might singing in harmony intimidate some and hinder the song?
  • What kind of accompaniments might be possible if the group sings in harmony or in unison?
  • Could I do something in my accompaniment — playing the harmony up an octave, for example — that might help the group's endeavor to sing in harmony?
  • Might the congregation even be able to "go it alone," sing without any instrumental accompaniment?

In recent years some hymn tunes have suffered because the harmonies with which they were published do nothing to support congregational singing. In fact, these harmonizations sometimes get in the way of congregational singing. Supportive harmony provides a sense of predictability and of movement. In a strophic (multi-stanza) piece that is sufficiently familiar, alternative harmonies can refresh, surprise, and enlighten successive stanzas. This is, in fact, a basic principle for more orally-conceived genres like African and gospel. Strong, supportive harmonizations must be the norm, providing the groundwork. Leaders from the keyboard especially need to be aware of this. Those who lead from instruments that are capable of producing harmonic accompaniments other than the keyboard (guitar, autoharp, accordion) also need to be aware of this, although it is less of an issue because these instruments, by design, are grounded in primary and root chordal structures. Although chordal inversions and more complex structures certainly are possible, when leading group singing these instruments tend to utilize root position. When leading group song, for example, the guitar is often strummed. Even if it is picked, the chordal structure, based on fret harmony, remains fairly solid.

  
What You Have

Work with what you have. Just as in Jesus' parable of the talents, we have been given certain gifts. What we do with them is up to us. We may or may not have wonderful musical resources at our disposal. For every grand and glorious organ there are a dozen that are less than adequate. For every trained professional choir there are thousands of modest ones with fewer than a half dozen voices. Yet within every limitation lurks opportunity. The challenge is to get the most out of what we have. Stretch yourself. Demand high standards from your choir. Challenge your congregation. Take them all as far as you think they can go without breaking them.

Some of the most wonderful hymn singing comes from small congregations in out-of-the-way places with only humble organs to lead them. Even with a dismal instrument there are ways to bring out a hymn's full potential. Perhaps there are at least a few stops that blend well together. If the pedal sounds are pale, consider more frequent "manuals only" hymn stanzas. Consider working with a good high school instrumentalist and write a simple obbligato for the last stanza. Encourage your choir to take their rightful leadership role in the hymn singing. Train your congregation to sing unaccompanied on a stanza or part of a stanza now and then. It can be thrilling when a congregation can hold its own without the aid of accompaniment. They will love it and their singing will improve dramatically over time.


Most hymns, psalms, spiritual songs, and liturgical settings are published with keyboard accompaniments. Some harmonizations are more supportive to the singer than are others. Again, those harmonizations that are predictable in their harmonic movement and exhibit a firm grounding in the rules of music theory offer the greatest support. In instances where printed harmony actually hinders the song of the group the musician should not hesitate to reharmonize or search out more supportive, exciting harmonizations. The keyboard leader should never feel bound by the book (even a denominational hymnal!) if the harmony printed in it doesn't offer adequate support. The leader should feel free to find a harmonic setting that does give support, or create one's own.

Acoustic Versus Electric

As previously stated, congregational song is, by nature, participatory — a group of individuals singing together. Since the dawn of civilization communities, especially those drawn together for the purpose of ritual, have joined their voices in some type of chant or song. Sometimes chanting served communication in settings too expansive for spoken word. Chanting — speaking on pitch — is more easily projected and heard. Children know this instinctively when they make themselves heard by voicing a descending minor third (often set early on to the word Mommy!). Is it any wonder Gregorian chant developed the way it did? Unison chant helped propel the sound of both voice and text in the cavernous, reverberant architecture of great medieval cathedrals and churches.

The advent of electronic amplification and technology revolutionized communication. With relatively little effort an amplified singer or speaker could be heard even in extremely large spaces. Electronics have played a major part in the evolution of music in general. The wind chests of pipe organs are filled and sustained by means of electrified motors. The tones of some instruments are generated totally by electronic means. Electronic organs, electric guitars, synthesizers all offer new sounds with which we can experiment. By means of sequencers and MIDI, the church musician's palette of colors has broadened enormously. New sounds blend with old, old songs take on new sonorities. Even a congregation that doesn't own congas or a marimba nor have in its membership anyone available to play the guitar or string bass can experience these sounds by means of electronics. A hymn from Japan might be accompanied by organ and synthesized koto; a South American refrain could be orchestrated for piano, guitars, trumpet, and synthesized marimba; computer-sequenced loops of multi-layered African drum patterns might underlie a Tanzanian hymn; we are bound only by our own creativity.

  
Unison Singing

Because it is completely bound to the Word, the singing of the congregation in its worship service, especially the singing of the house church, is essentially singing in unison. Here words and music combine in a unique way. The freely soaring tone of unison singing finds its sole and essential inner support in the words that are sung. It does not need, therefore, the musical support of other parts. The Bohemian Brethren sang: "With one voice let us sing today, in unison and from the bottom of our heart." "So that together you may with one voice glorify the God and Father of our Lord Jesus Christ" (Rom. 15:6). The essence of all congregational singing on this earth is the purity of unison singing — untouched by the unrelated motives of musical excess — the clarity unclouded by the dark desire to lend musicality an autonomy of its own apart from the words; it is the simplicity and unpretentiousness, the humanness and warmth, of this style of singing. Of course, this truth is only gradually and by patient practice disclosed to our oversophisticated ears. Whether or not a community achieves proper unison singing is a question of its spiritual discernment. This is singing from the heart, singing to the Lord, singing the Word; this is singing in unity.

— Dietrich Bonhoeffer


Great care must be taken, however, lest electronic synthesis or amplification in any form interfere with or worse, supplant the voice of the people. Synthesizers can be useful tools, or they can become toys that divert the leaders and the people from their fundamental song. Sequenced music, whether percussion or organ, is lifelike but not alive. Such technology has its place in church, but calls for careful discernment from those who facilitate the people's song. We will see in the chapter on African music how electronic instrumentation can, in some instances, be antithetical to the people's song.

Similarly, in both corporate speech and musical vocal leadership, amplification has the power to make the role of the people superfluous. Have you ever been in a service in which a congregational reading or prayer is "led" using a microphone? In situations like this, members of the congregation often do not participate with the enthusiasm they may have had they been left to their own capabilities. Rather than participating, they find themselves listening: the leader's voice has become primary, usurping the role of the people. This does nothing to nurture the community to respond on its own, with its own voice. One solution might be to make use of a small group of unamplified singers, even two or three, to serve as a nucleus around which the voices of those in the larger assembly can gather. The small group can model group singing or verbal response acting as "leaders" for the larger group.

Conclusion

Tactus, tempo, articulation, vocal and instrumental, unison and harmony singing, the role of electronic amplification — these are the sorts of issues that need to be addressed for any type of church song. Clearly,

  
Harmony

The melody of congregational song is prime. Harmony acts as its nurturing cradle, facilitating leaps, rhythm, and flow.


some questions will be more urgent for some styles than for others. (Amplified Gregorian chant, for instance, is scarcely imaginable!) But even when the answer seems obvious it can be beneficial to ask the question. For example, "At what tempo should I play this hymn?" A fresh look at it, a slower or faster tempo, might be just the thing to give it new life. This sort of continual reexamination takes energy, but in approaching church song of all forms, we would do well to heed the advice of the apostle Paul: "Do not lag in zeal, be ardent in spirit, serve the Lord" (Rom. 12:11).

Reprinted from Leading the Church's Song. Copyright 1998 Augsburg Fortress.