My wife Jan is a poet at heart. She has been writing poetry since she was a little girl, and it just oozes out of her.  Her facebook friends are treated daily to a new take from her, and she has a way of finding rhythm and grace in life’s most mundane circumstances.

Not me. Although somewhat artistic by nature, I tend to look at life more prosaically. Thus, I am rather proud of the fact that the following line appears in the “God’s Singers” book: “The silence hung in the air like the descending blade in Poe’s The Pit and the Pendulum.” I do believe it to be the only more-or-less poetic line in the whole book.

In our house, conversations tend to be a give and take between the artist and the pragmatist.

There is this kind of back-and-forth pendulum swing in the worship life of the church, too. For a time, lasting usually a decade, the music of the church will be characterized mainly by songs of great artistry which are best experienced in the context of “performer-listener.” Then, someone of influence will decide that the congregation is kinda getting left out, and songs which can actually be sung by ordinary people will begin to show up and tip the balance.

Right now, we seem to have entered a new ‘artist-driven’ season.  Many newer artist songs have a musical range of an octave and a fifth, starting low in the verse and going high on the chorus. That just happens to be the same range as “The Star Spangled Banner,” a song notoriously difficult for even accomplished singers to navigate.

Predictably, what tends to happen when one of these songs is offered for congregational participation is a lot of performing (onstage) and listening (in the pews).

I am all for artistry in the Church. Bring on the amazing soloists who rend our hearts. Bring on the Rock bands whose songs contain notes and rhythms which get our bodies moving in praiseful dance (sorry, my more conservative friends). Bring on the “Glee”-influenced vocal groups whose fresh sounds (fresh?  This is the music I cut my teeth on…) remind us of God’s creative, artistic Personality. Bring on beautiful Bach chorales singable only by accomplished, classic choirs.

Just don’t pretend that these can substitute for the participative worship of the congregation. Remember the lessons we have so painfully learned over the last decade or two. As Pastor Jack Hayford has said, “the congregation is the most important choir in the church.” Each member needs to pour his or her heart out to God in worship and praise. And that can only happen when they are able to sing songs which lie in their vocal range, with words they feel comfortable using, led by a worship leader whose highest aim, after touching the heart of God, is to touch the hearts of the people, and enable them to fully enter His presence.
The pendulum needs to swing again. And, somehow, it needs to stay swung.

This is a reprint of a response I posted on an internet group I subscribe to.  The post was something about helping a singer who is challenged in the area of hearing and reproducing various pitches. Sorry it’s a little long…

Hi, gang.  This is my first post, so be gentle with me…

If a person is challenged in the area of pitch perception, trying to get them to hear half steps is a rough place to begin. They don’t encounter chromatics very much in the music they hear from day to day, and can become discouraged quickly. So take a longer view…

Like anything else, it’s important to build their confidence (“See? I CAN do that…”) before attempting something more outside their box. I tend to start by having them successfully sing familiar hymns, or well-known commercials.  If they can navigate those, move to major scales.  I’ll begin by singing along with them in unison, and if they demonstrate the ability to do that, then I’ll sing in 3rds along with them. When a person has to sing alone in front of you, the knee-knocking will be so great that the brain often stops functioning almost completely.

That serves as the entry point. After that, some of the techniques you’ve posted can be helpful, I feel. The age-old one about the perfect 5th being the opening to the “Star Wars” theme, or the 6th being “My Bonnie Lies Over the Ocean” etc, is great, because again, you are relating it to something in their experience which they can easily apprehend.

I’ve also found that typically, 90-95% of just about any choir can use work on this, and in some choirs (where rehearsal time permitted) one technique I have used to good effect was to spend about 5 minutes at the beginning of rehearsal doing little drills, all built around major scales (but as you progress, there’s no reason for excluding minor scales, I just never did use them). In that exercise, I will sing a pitch (a capella) and call it “One.” I usually would begin on a C. After I sing it, I have the choir sing it, “One.” Progressing, I will sing “One, Five, One.” Choir: “One, Five, One.” And so forth.  What I sing gets increasingly complex, always singing the number of the note in the key and scale, rather than using solfege, which is a new language to have to learn. Singing numbers is instantly assimilated, since it is already part of people’s language and understanding.

After doing this for a while, I will go around the room a bit and ask people to shout out their phone number.  I will repeat the number. Then we will sing “5-5-5-1-2-1-2″ or whatever. A ‘zero’ becomes a ’10.’ You can speed up and slow down as necessary. Sometimes a complex set of jumps needs piano reinforcement. Choirs have fun doing this…it doesn’t feel like work, rather like play, if you as the director treat it that way, and they look forward to it.

Later, during music rehearsal, if an interval is a challenge, I will stop the rehearsal momentarily, sing the interval (“2-7-9-3″) and ask the section to sing those notes with those numbers.  After they sing them, I’ll ask them to sing the same notes with the words of the lyric. They will have all those phone numbers, etc., to fall back on as they do this, and it does seem to help, ultimately working in somewhat the same way as the “Star Wars” example, because of the increased familiarity.

When using this technique to deal with intervals not in the major scale (let’s say the pitch jump is 1-b5, a tri-tone) I can demonstrate (and have them sing) “1-5,” then “1-4″ and finally “1-b5″ right in the middle, maybe reinforcing it on the piano so there is no chance that a perceived inaccuracy in my voice will throw them off.

Finally, as they sing, insist on accurate intonation. This way, it also can be a good exercise to reinforce in-tune singing, though there are maybe some better exercises involving singing harmonies, if you have time in your rehearsal to do them.

Grace, blessing, and encouragement to all of you!  I love and respect you, and admire the way each of you is walking out the Call of God!

Dave Williamson

I recently taught in Atlanta, Georgia, at an event hosted by my friend Scott Revo, who owns Pine Lake Music. Part of my teaching was about appropriating various musical styles, and after the class, a woman who was a choir director approached me with this question: “Is it OK to substitute the word ‘meh’ for the word ‘me’ in a choir piece?” It was pretty clear that she found the thought distasteful.

Since I had just finished stressing my belief that in pop music, much of the ‘right’ kind of pronunciation is kind of ‘conversational,’ I was tempted to say, “Of Course.” That’s what I really wanted to say. I was feeling a little like rattling her cage. Frankly, I get this kind of question a lot, from those classically schooled in the finer points of choral presentation. But I thought about it, and my more carefully considered answer was the always safe statement, “It depends.” It seemed like a bigger issue might be involved.

I think we can all agree that the bottom-line in worship is to ‘worship the Father in spirit and truth.” (Jesus, John 4).

What comes next?

Many church musicians would say, either in word or through practice, that the next most important thing is in fact musical integrity. I recently heard of an American choir director who believed it was his duty to celebrate Mozart’s 250th birthday in 2006 by doing a new Mozart piece in worship each week for a year. Nothing else mattered. And those pieces had better be presented accurately!

Well, I agree with the ‘accurately’ part. What I don’t agree with is the need to focus unnecessarily, at least outside of Salzburg, on the legacy of a single musician, no matter how skilled or popular in his day. It’s not about Mozart, or anyone else.  It’s about Jesus.

In the book “God’s Singers,” I make a point of stating my belief that it is a worship leader’s responsibility to become fluent in his or her congregation’s musical language(s).  Here’s why that’s vital:

Our second goal, after worshiping the Father in spirit and truth, ought to be most about providing our congregation with a musical language which they can understand, relate to, and use fluently in worship.  It ought to feel like a natural part of them.

What I’m trying to say is, the integrity of our congregation’s worship before God is more important than the integrity of our musical presentation, although they are not necessarily mutually exclusive. But the one is unarguably more central than the other, and needs to be considered first.

Therefore, the question of whether to use a pronunciation or a song style–whether classic or pop–gives way to this more weighty one: How will our congregation process this? Will it seem foreign or natural to them, deep inside where they really live? Will it be an honest declaration, or something which makes no sense, seeming out of place–a hindrance to a heart expression of worship? That is where the answer lies.

So, it depends. Keep the main thing, the main thing.

In the book, God’s Singers, the assertion is made that members of a choir (or any worship leaders) need to come to see themselves not merely as people whose talents enable them to fulfill a role.

We all need to come to grips with God’s call upon our lives.

For it is only through understanding this Divine Call that men and women can see the task they’ve been given in the light of His purposes, not merely as a job they can choose to do, or not (Romans 11:29).

Particularly in choirs, I have found that many if not most people decide to join because 1. they happen to go to this particular church, and 2. they like to sing.

Naturally, those things will be true whether or not a person realizes his/her calling.  But, if I am truly called of God, what does that look like? The book itself takes an in-depth look at this question.  Here are a few additional thoughts.

First, a worship leader who is truly called of God will realize that ultimately, God calls us to things which are BEYOND OUR ABILITY TO ACCOMPLISH apart from Divine enabling. Leading people into God’s very presence in worship is definitely near the top of that list. God doesn’t waste His call on the mundane or merely human endeavor.

Second, when activating the call (as in singing in a choir) a person will experience great  and sometimes inexplicable JOY as he or she follows God’s plan and calling. This is often true even in situations where the circumstances surrounding them are less than joyful.

Third, as a person walks in God’s call, things tend to HAPPEN beyond our capacity to influence them. People are led deeply in worship, for instance, maybe even on days when you don’t feel you’ve done your best job; and those people might even tell you so, to your amazement. God is, in fact, at work, and through His empowerment, He TRANSCENDS our normal expectations and abilities.

Fourth, when we carry out God’s call, He engenders a PEACE within us which is not dependent on normal circumstances. We feel “right” in deep places inside of us, where ‘deep calls unto deep’ (Psalm 42:7).

Since this is a blog and not a book, we won’t take it further.  But I’d encourage you to pray about these four measuring sticks as you consider your role as a worship leader.

For, if you are truly called of God, it gives birth to a whole different motivation for everything you do, whether it’s showing up for a rehearsal or a worship service, or whether it’s being a caring kind of friend to those around you.
Remember–they are called, too.

I recently read a friend’s blog in which he was asked by a doctoral student his opinion on the need for the existence of the choir.  His response was both insightful and wise, but as you will read, I felt the need to disagree with a single statement he made.  In a spirit of transparency (although his name is NOT “Eustace”–I just watched the latest “Narnia” film) I thought it might be interesting to share my response with you.

Dear Friend Eustace:

Having just read your blog in response to the doctoral student who wanted to interview you and publish your responses, I agreed with nearly every one of your observations as usual. However, I feel the need to take issue, in a friendly sort of way, with one statement you have made.

You suggest that the choir is biblical in just the way that the ‘trumpet’ is biblical. Not more nor less so. Meaning, as I take it, that the Bible is not to be seen as ‘prescriptive’ for the existence of the choir, in your view.

I would hold that there is significantly more in favor of the choir than that trumpet comparison.

You are well familiar with my teaching on the subject–hence, I am guessing that you have weighed my arguments and found them wanting.

Why put the choir in a separate category than that of the biblical trumpet?

First, the familiar-by-now scriptures in 2nd Chronicles which I have taught from for years: 2 Chronicles 5, and 2 Chronicles 20. In those stories, the choir is used by God in a pre-planned way to both usher in His presence, and to go before the armies in battle. As you know, I don’t see this as an accident. I see it as evidence that God values and has intended use for the choir beyond just the cultural and ‘accidental’ appearance in these settings.  I see the choir as being God’s idea, suggesting that it has an assumption of permanence!

Second, my argument in favor of the choir is not that it be the exclusive nor even necessarily the primary worship leader of the congregation, just that it not be legislated out of existence.

Third, while various instruments come and go in the history of worship (the biblical trumpet being a ‘shofar’, a ram’s horn), and it would be hard to make the case that shofar-driven worship should be part of every church’s experience in the 21st century, the human voice in all of its flexibility, and with its obvious inclusiveness, remains a constant. The choir is but one biblical use for the voice, true, but it is an important and intentional one. While I see the concept of the ‘trumpet’ in worship being continued by not only the modern-day trumpet, but also strings and woodwinds and guitars and drums and whatever (Psalm 150, by extension), only the voice can carry on for the voice. And a massing of voices as in a choir is a unique thing, both biblically and practically, in potentially nearly every musical context. Simply put, I don’t see a distinct parallel between the choir and the shofar-trumpet.

I am surely open to correction.  For instance, there is evidence to suggest that the choirs of both 2 Chronicles 5 and 20 were made up exclusively of men’s voices.  But then in Ezra 2:65 the Bible talks about men and women singers returning from Babylon, and Solomon mentions both in Ecclesiastes 2. So I guess it’s OK to include the gals.

I want to dig deeply into this, but I fear I have an arranging deadline which cannot wait.  I must admit that my heart was somewhat stricken to read your words, because they felt a little like “et tu, Brute?” as I read them. Nonetheless, I value your opinion, and count you as a friend, so I felt free to offer this little slice to you. If you’d like to continue the dialogue, by all means do so.  I’d welcome it.

Blessings, friend.

Dave

It was a Sunday like most any other. I walked into the doors of Grace Chapel in Leiper’s Fork, Tennessee (ah, Southern names…) about 15 minutes late for the service. And while I felt bad about being delayed, since worship there lasts the better part of an hour each week, I knew I could catch up.

I made my way up into the balcony, knowing the bottom floor would be packed out as usual. Spying a couple of seats near the back, my daughter Kara and I ‘scuse me’d’ ourselves into the row. But even before we got there, my ears were tingling–in a good way.

Eschewing the regular (normal-for-them) musical approach of a worship leader with guitar, hot rock band, and three worship team singers, my friend and Grace Chapel worship leader Jonathan Allen had opted that week to replace the three singers with a 27-voice choir. Nothing gigantic, but purposeful. Nary another ‘praise team’ singer was to be seen. Just 27 choir singers on risers with a couple mics thrown up in front.

The effect was magnificent. Twenty-seven young-to-middle-aged voices singing their hearts out to God, in rock ‘n roll worship! Even as I heard those first notes, my heart was drawn to join them in praise. And I noticed, so were the hearts of those in the congregation, even beyond their normal enthusiasm.

There is a good reason all of this was effective: A congregation of any and every age will naturally follow and join the sound of many voices much more readily than it will join the sound of just a few. There is a compelling ‘come on’ in all that vocal sound, and even more in the visual image of a large group of people pouring their hearts out to God.  Dare you not to sing along!

I guess I want to be quick to say that this would decidedly NOT have worked with a choir of seniors (I know, I am one) in front of this congregation of 30-somethings, singing more ‘classic’ choir anthems. But we can’t let ourselves get hung up on our preferred music stylings. This choir, in this church, was the most powerful worship leader imaginable!

I spoke with Jonathan and choir director Amy Lowry the following week, and they told me that it was the very first time that they had used a choir without the on-mic, praise team singers–and that they much preferred it. Jonathan was as excited about the results in worship as I was, if not more so. He even asked me if I’d be available to help a bit along the way, which excites me very much!

So, if you happen to be driving just south of Franklin, Tennessee some Sunday morning, and you hear about 4000 voices joining in worship with a hot rock band and a great little choir, stop in and worship with us. As Dan Aykroyd said so often in the “Blues Brothers” movie, “We’re on a mission from God!”