It sometimes seems to me that worship leaders "ambush" the congregation by using unsingable ranges, or by changing the expected rhythms, or by switching the melody. It sends a message, "Your singing is not needed. Just listen to us real musicians."
And if you want your children to sing, range becomes even more important! (If it lingers much below middle C, they physically can't participate.) And if we don't intentionally teach our children to sing, and invite them to participate in corporate worship, they won't (be able to) do it as adults.
Great post Matthew. I think purging songs can be difficult because likely at some point, the song struck a chord (pun intended) with the congregation. And although it no longer hits like it once did for most, it still may be someone’s favorite. When that someone is the worship leader or the pastor, it can be impossible to purge the song. Not that I would know this from my own experience. I have this friend…
It's a great point, Trent. My contention is not about purging songs, but that for congregations trying to improve their singing, singing fewer songs more regularly would help. Does that make sense?
Oh absolutely! I concur completely. Of the items you suggest to improve congregational singing, I’ve simply found purging songs to be one of the most challenging for me. The feeling or memory of what God was doing in my life in a particular season when I first heard or started singing a song is often a place to where I wish to return. Obviously, that’s not always helpful in congregational singing, but it does help me to understand why others may have a particular affinity for a song or group of songs that aren’t necessarily songs I even like.
Love it, Matthew. This is full of practical and wise advice. I particularly love you defining the singable range. I never sing above a D consistently, but sometimes will venture down to G. I can't strongly sing a G into the mic, but most men and women are comfortable there, I've found. Glad to be reading your posts!
Thank you, sir! Choir directors know that some women sing higher (sopranos) than others (altos) and some men sing higher (tenors) than others (basses). It's only when everyone needs to sing the same thing that the ranges shrink to accommodate everyone.
It sometimes seems to me that worship leaders "ambush" the congregation by using unsingable ranges, or by changing the expected rhythms, or by switching the melody. It sends a message, "Your singing is not needed. Just listen to us real musicians."
And if you want your children to sing, range becomes even more important! (If it lingers much below middle C, they physically can't participate.) And if we don't intentionally teach our children to sing, and invite them to participate in corporate worship, they won't (be able to) do it as adults.
Great post Matthew. I think purging songs can be difficult because likely at some point, the song struck a chord (pun intended) with the congregation. And although it no longer hits like it once did for most, it still may be someone’s favorite. When that someone is the worship leader or the pastor, it can be impossible to purge the song. Not that I would know this from my own experience. I have this friend…
It's a great point, Trent. My contention is not about purging songs, but that for congregations trying to improve their singing, singing fewer songs more regularly would help. Does that make sense?
Oh absolutely! I concur completely. Of the items you suggest to improve congregational singing, I’ve simply found purging songs to be one of the most challenging for me. The feeling or memory of what God was doing in my life in a particular season when I first heard or started singing a song is often a place to where I wish to return. Obviously, that’s not always helpful in congregational singing, but it does help me to understand why others may have a particular affinity for a song or group of songs that aren’t necessarily songs I even like.
Love it, Matthew. This is full of practical and wise advice. I particularly love you defining the singable range. I never sing above a D consistently, but sometimes will venture down to G. I can't strongly sing a G into the mic, but most men and women are comfortable there, I've found. Glad to be reading your posts!
Thank you, sir! Choir directors know that some women sing higher (sopranos) than others (altos) and some men sing higher (tenors) than others (basses). It's only when everyone needs to sing the same thing that the ranges shrink to accommodate everyone.