The Problem of Insensitive Leadership

Transcription

1 2014 Barry Liesch ch14 Finding the Right Key 1 Chapter 14 Finding the Right Key 7 pages 14 examples R indicates an audio recording accompanies the example Several problems with contemporary worship seem to be occurring with regularity. Worship leaders truly desire heart-felt, full participation by the people a good thing! but often their musical decisions are counter-productive. This is especially true concerning the issue of finding the appropriate key for congregational singing. OUTLINE The Problem of Insensitive Leadership Doxology Potential Problems with Guitar Keys Transposing Exercises REPERTOIRE Doxology May the Mind of Christ My Savior Fairest Lord Jesus High-profile, worship leaders today are tenors with spectacular upper ranges. Their CDs pitch songs in high keys suited to their voices not the congregation's. What's the upshot? dynamic energy and an inspiring CD listening experience. However A problem arises when the local worship leaders unthinkingly imitate CD recordings, and use the recorded key in a congregational context. It's much is too high for the capacities of the average person. People become weary from the strain of a steady stream of high notes and simply stop singing. The result? The high key substantially weakens, discourages even kills congregational participation. The Problem of Insensitive Leadership An illustration. Recently, at a college worship service, a dedicated, committed student of mine with a terrific tenor voice insensitively pitched the Doxology in this key. Example 14.1 The Doxology (in C Major) Praise Godfromwhom all bless-ings flow.praise Him, allcrea-tures herebe-low. Praise Him a -bove,you heav'n-ly host. Praise Fa -ther,son, and Ho - ly Ghost. 1

2 2014 Barry Liesch ch14 Finding the Right Key 2 I listened. After a phrase or two, everyone around me gave up singing exhausted from the high notes. The repetition of the song several times further accentuated their exhaustion! Let's examine the problems. Observe that one note, the high G, is extremely high! Not only is the piece pitched high overall, but certain phrases contain repeated, high notes (see the four consecutive E's accented for easy identification below). High repeated notes tend to wear out average singers. When high pitches are sustained over a couple of phrases or the entire song, the piece is said to have, technically, a "high tessitura." Example 14.2 High Tessitura Discourages Congregational Singing!!! bless-ings flow.praise Him,allcrea-tures here be-low. HIGH TESSiTURA Praise Fa-ther,Son,andHo-lyGhost. HIGH TESSITURA Overall, the piece has a range of an octave (from G to high G). C is the "home base" note (or the "tonic"), as below. Example 14.3 Octave Range However, the major part of the song is set in a high range (C to G). Example 14.4 G C G C G Think of E as a critical turning point. Notes pitched on E or higher (as below), usually create major singing problems for congregations. A single E in a song may be singable, but when a high tessitura is maintained, several E's become unsustainable for the people. Example 14. E G DANGER ZONES! 2

3 2014 Barry Liesch ch14 Finding the Right Key 3 But you may ask, "Haven't you chosen an extreme example? Surely high keys like this are not picked very often." You'd be surprised how often it happens in our university campus services! Someone with a high voice will teach a new song, and will place it in a very high key that is comfortable for him or her, but not for the people. If you are a tenor or soprano, keep in mind that half the people in the congregation are altos or basses. Especially when the people are trying to learn new songs is this is doubly bad doubly counter-productive. It reveals a lack of understanding of the dynamics of good worship leadership an insensitivity that is certainly unintentional. Instead, place new songs (even temporarily) in a low, relaxed key that will encourage response. You can "up" the key later when the song is learned and the people are more confident. So what is a safe range? C to C is definitely safe. An acceptable range is A to D. Example 14.6 Safe Range Example 14.7 Acceptable Range C C A D More leeway exists below middle C than above high C, especially when the song is ballad-like or meditative, only requiring the congregation to gently touch the low notes. Other factors are important. If the worship space is acoustically dry, without much reverberation, lower keys may be more effective. Similarly, if the worship space is half or one.-third full, and people are widely dispersed rather than compacted tightly together, lower keys may encourage greater congregational response. On the other hand, if the people are jammed together, expectant, and determined to worship, a higher key could elicit a much more powerful, overwhelming response. Listen! Watch! Adapt! Doxology The Doxology is pitched in C major. Transpose it to a better key for congregational singing. Write in the chord symbols. Use one or two chords per measure. Example 14.8 Transpose the Doxology. Use no more than two chords per measure Praise Godfromwhom all bless-ings flow.praise Him, allcrea-tures here be-low. Praise 3

4 2014 Barry Liesch ch14 Finding the Right Key 4 Him a -bove,you heav'n-ly host. Praise Fa - ther, Son, and Ho - ly Ghost. How would you indicate the fermatas (held notes)? Would you have the band play them for two or three beats? Now test your result. Then fashion a Nashville Numbers chart. 4/4 time Doxology Potential Problems with Guitar Keys Guitarists like to play in keys with open strings (that is, mainly keys with sharps). The keys of E and A are two favorites. However these keys can pose problems for congregation singing. Can you guess why? Worship songs frequently encompass an octave (eight notes) or slightly more. An octave range in E major will look like this. Example 14.9 Key: E E E Unfortunately, the top note is that risky E! Of course, in some cases a melody in E major may rise only to C# instead of E. Example Key: E C# C# A C# 4

5 2014 Barry Liesch ch14 Finding the Right Key However, in the key of E major, the melody will typically emphasize a high E, as in David Crowder's Come Thou Fount, and Lincoln Brewster's Let the Praises Ring. Key of A. If the melody has a range of an octave, the lowest and highest notes likely be E's. Again we have that borderline note, E, as our highest note. Example Likely Octave Range in Key of A Major Key: A E A E Key of G. Conversely, the key of G tends to be less problematic. Example Typical Octave Range in Key of G D G D Caution! This discussion is not intended to counsel you away from ever playing in the keys of E and A. Rather, be aware that the melody may reach borderline notes. The range limitations we have been discussing do not apply to non-congregational music. There is nothing wrong with using high keys on recordings, or for live church worship involving specialized ensembles or choir pieces as well as vocal or instrumental solos. Transposition Exercises Instructions. Provide Pop chord symbols. Transpose the following pieces to a comfortable guitar key suitable for congregational singing. Recall that guitarists favor sharp rather than flat keys. Employ one or two chord changes per measure. Example Transpose. Use no more than two chords per measure. 1 May the mind of Christ my Sav-ior, Live in me from day to day,

6 2014 Barry Liesch ch14 Finding the Right Key 6 By His love and powercon-trol- ing All I do and say. 9 Test your result. Let the words sink into your heart. Then fashion a Nashville Numbers chart. 4/4 May the Mind Example Transpose. Use no more than two chords per measure. 1 Fair - est Lord Je - sus Ru - ler of all na - ture, O Thou of God and man the Son; Thee will I cher - ish 6

7 2014 Barry Liesch ch14 Finding the Right Key 7 11 Thee will I hon - or, Thou mysoul'sglo-ry joy and crown. Test your result. Fashion a Nashville Numbers Chart. 4/4 Time Fairest Lord Jesus How Much Do You Desire Active Participation? We have focused on hymn tunes. However, the principles in this chapter apply equally to all contemporary worship songs and choruses that are sung congregationally. Foundationally, our constant motivation must be to provide an opportunity for undistracted, Spirit-led worship. And if we really want full participation, should we not prayerfully consider every factor that makes dynamic worship possible? This must include careful consideration of the keys you choose. Take a moment to pray right now. In the presence of the Holy Spirit, ask for an faithful heart that leads faithfully whether in spiritual fullness or dryness. Only to sit and think of God, Oh what a joy it is! To think the thought, to breath the Name; Earth has no higher bliss. Frederick W. Faber 7