20 (New Year) Resolutions for the Church Musician

Most New Years come and go before I've made a decent resolution. This year I am determined to be better prepared. Here is a list of suggestions you might like to run past your faith commmunity, family, actual friends and facebook friends. They are not limited to the institutional church, but extend into everyday.

1. Sing to a child
2. Listen attentively to a child singing
3. Invite everyone you know around for a singalong (just for the fun of it.)
4. Have a fundraising drive to boost the music budget
5. Clean out the music cupboard
6. Buy a new contemporary music source
7. Book a course to extend your skills
8. Recruit a new member to the church band or choir
9. Say "well done you" to another muso
10. Use an instrument you haven't tried before (harmonica, tin whistle, banjo, recorder)
11. Delegate... and trust it will be done.
12. Don't look so busy - leave the packing up until later
13. Sing in places other than the shower, just because.
14. Invite an older person (than you) to play their instrument in worship.

15. Organise an event where instrumentalists of all ages can strut their stuff.

16 Buy a really great drum (toms, djembe, bohran are all great choices)

17. Learn how to drum properly

18. Have a massage, light an aromatherapy candle, breathe deeply. 

19. Learn about and listen to a style of music you don't like

20.Sing an really ancient hymn unaccompanied all the way through.

Got another idea?

What is your musical resolution for 2011?

You may also be interested in Into the New Year: Remembering the Past and Looking to the Future

Advent & Christmas Brainstorm

Perhaps it is the busiest time of year, and yet in Advent and Christmas the most creative ideas come to the fore.

Share what you're planning, or perhaps what you have done in past years, by posting a comment. All ideas are welcome no matter how simple or how grand. you may also wish to scatter thought-seeds around, and invite the embellishment (or otherwise) of others.

Wonderful Singing Moment

One of the best characteristics of this time of year is surprise. Ironically, spontaneity often takes a little organisation, but it is these unexpected moments that memories are made of.

Watch this wonderful Flash Mob stunt performed recently in a New York shopping centre.
Have an adventurous Advent!
Flash Mob - Halleluia Chorus in a Shopping Centre

A Cappella Advent

Keeping a lid on Christmas
For worship leaders everywhere, keeping a lid on Christmas celebrations can feel like holding back the tide. End of year festivities, summer holiday preparations (in the southern hemisphere), extra worship services and activities close to Christmas day mean self-reflection and spiritual preparation often take a back seat.

This year, consider having an A Cappella Sunday during advent. Such an approach can provide a stark contrast in the midst of a busy December lifestyle.

Hints for Selecting A Cappella Songs
I have provided a dozen suggestions as a starting point. Be sure to make at least two selections your community know well. Plan to have one sung in unison, one as a canon/round, one in simple parts, and one for which people can invent their own harmonies (eg: Kum by yah)  I am certain there will be other songs you will recall as you plan. Your suggested additions to this list are welcome and may be made by means of a post comment.

What is A Cappella Sunday?

May I wish you an adventurous advent!

The Beginnings of a List

• Come all you people - Come All You People or All Together Whatever 
• Glory, Glory Glory (Argentina) - All Together OK
• Be Still and know - Come All You People, As One Voice 2
• Jubilate Deo (there are many, including Jubilate Servite by Jacques Berthier to be sung in two part canon)
• Christ the Worker - All Together Everybody
• There is a line of women - One is the Body 
• Children go, I will send you (African American Spiritual)- There are numerous word versions of this song. I have been unable to find the version i learnt as a child, so have provided what I believe are more seasonally appropriate lyrics here. 
• Kum By Yah - Come All You People, and many other sources
• O come, O come Emmanuel (plainsong melody from the 15th century which is wonderful sung unaccompanied, or with a bass drone added throughout) - many hymnbooks.
• The Peace of the Earth (This is a beautiful four part vocal song that might be offered by a quartet as a blessing)- There is One Among Us
• Father bless us as we go - All Together Now, Together in Song

How is the Church Accompanying Song in 2011?
What is A Cappella Sunday?
How to teach a song in 4 steps
View other Advent and Christmas material on this blog

Song: 'Oh God Today' by Craig Mitchell

The supremely talented (and very handsome) Craig Mitchell has provided access to his song, Oh God Today, just in time for Advent. Check out the words, and the manuscript, then listen to the funky band backing provided.

Oh God Today by Craig Mitchell (lyrics and manuscript)

Oh God Today (band backing)

Twinkle Twinkle Christmas Star / We know that Jesus came at Christmas

Come Christmas season churches enjoy the interest of people who are not especially regular attenders. Many of these folks are unprepared for a new Christmas repertoire, expecting instead to be singing the oldest of carols.

One of the limitations of the older carols is inaccessibility where young children are concerned. Apart from one or two of the best known ones, the text of these centuries old songs is simply too difficult to read, let alone understand. Contemporary songs, on the other hand, may prove a simpler reading exercise, but the tune may be unfamiliar. Too often participation is hindered.

By using a very familiar tune, and apply seasonal words, songs can become accessible to young children and non-readers alike. Try these two on for size. Twinkle twinkle Christmas star is intended for pre-school children, while We know that Jesus came at Christmas may appeal to 6-12 year old children.

Twinkle twinkle Christmas Star.
Its familiar tune is copyright free (thanks to a young Mozart), and universally recognised.

We know that Jesus came at Christmas
This is set to the tune of See ya later Alligator, by Bill Haley and The Comets from the rockin' 50s.

Find more Advent and Christmas resources

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Advent: Memorable Musical Moments

You are invited to recall a memorable music moment in Advent past. You can do this in the left column under "Get Answers". As we begin preparing for this high time in the liturgical calendar, it is often helpful to reflect on why particular moments hold significance.

Let me get the ball rolling.

Each year on Christmas Eve people connected with my faith community gather to sing carols in local nursing homes, and to less mobile members of the community. The singing is unrefined and we can be quite blase about it all really. Yet, there are moments over the years that stick. We have sung to dear friends with debilitating illnesses, to those who are preparing to die, or who have farewelled their life-partner.

One year we visited a feisty and passionate woman who was close to death. She was dearly loved, a determined social justice advocate and faithful friend. She could no longer speak, but listening to our imperfect singing with tears trickling down her face. It was last time I saw her. She died within the week. It was such a privelege to be reminded that life is a gift, and to remember how this grand lady had lived life fully, in the moment, and for others.

Share a memory you have in the "Get Answers" box.

Percussion Perspective

Contemporary culture puts great store on the latest technology and trends. Paradoxically, the traditional church has a tendency to scorn new ideas, instead clinging to tried and tested practices.This poses particular challenges for contemporarily minded musicians.

An Historical Perspective
Are those highly valued traditions really that old anyway? Pipe organs, for example, were unheard of for the first 1,500 years of Christendom. Prior to that church bands and a cappella singing were the order of the day. And in the early church scholars believe song was predominantly accompanied by percussion instruments.

But those old hymns were written for pipe organ, weren't they?
On the contrary, many of the oldest hymns are settings of old dance tunes, drinking songs, popular songs and patriotic anthems. Be Thou my vision (Slane) is Gaelic and hails from the 8th century (no pipe organs then my friend) and may be best accompanied with tin whistle and bodhran. Many other hymn tunes of Gaelic origin might be considered in the same light. All Creatures of our God and King (Lasst uns Erfreuen) and Praise to The Lord (Lobe den Herren) are thought to have originally been dances from northern Europe (think dancing and singing around a campfire here folks). Famously, Silent Night was written for guitar accompaniment after mice ate through the cathedral organ's bellows. But I digress!

The Trouble with Hymnbooks
Put a song into a hymnbook and you can be sure of one thing: many people will ignore its origin, assume the accompanying instrument should be the organ, and play at cathedral pace. Consequently many of our hymns are inapproprately hyper-harmonised in the traditional mould, diminishing one of the great strengths of our repertoire - global diversity.  God sends us his Spirit hails from Ghana. How many pipe organs do you think there are are in Ghana?

Using Percussion to Enlivening the Singing
Accompanying sung voices with percussion is the most effective way of ensuring the sung words are dominant. The more notes that are played by instrumentalists, the less weight is given to the sung text. Not only does harmonisation alter the mood of the song, but it also tends to slow its tempo or pace. Keep in mind that cathedral pace, neccesarily slow because of the reverberant acoustic in a cathedral, is irrelevent in most worship spaces. 

Advantages of Percussion Accompaniment

1. Most People Can
Most of those who come to worship can tap in time, and by extension will be able to play a simple beat. Fewer people, but still a goodly number, can play a simple complementary rhythm. It doesn't need to be complex. A simple beat on the first beat of the bar can be surprisingly effective. Most people will need to devote their entire attention to their percussion part, and refrain from singing.
 
2. Portability
There is no need for electricity and so percussion instruments have obvious advantages for stations of the cross, carol singing, worship-on-the-move, camps, and worship in the open air. Many larger drums can be hung across the body of their player by drumming straps.
 
3. Inexpensive
OK, so they can be very expensive, depending on what you choose to purchase. Claves, tone blocks and maracas are easily found at reasonable prices. A maraca egg can be bought for just a dollar or two. A quality tambourine or cabasa is a little more expensive, and good quality drums can set the heart rate apace!

However, fairs and fetes, local music shops and e-bay are great places to pick up a bargain. Washboards can occasionally be found in second hand shops - and I'll wager there are plenty of older folks who have an old one lying around in their shed.  Consider making your own instruments for a fraction of the price. Start by acquiring a great drum, the deeper the better, and build from there.

Getting Started - What to Play
I am not a fan of the everyone-pick-up-an-instrument-and-whack routine. We can do much better than that! Rather have two or three well-rehearsed people accompany a song with well-chosen rhythms. One person might simply beat a drum on the first beat of each bar, providing stability to the ensemble. A second could choose a brief and interesting rhythm from the song and play it several times throughout, leaving plenty of space inbetween. To get started, have a gander at my percussion suggestions for using The King of Glory Comes and Praise to the Lord. Better still, find out how to have a full-on A Cappella Sunday.

And another thing...
For drummers, faith communities can be a tough crowd, particularly those with a traditional music heritage. Take a look at this article, The Challenge of Playing Drums in Church by John Schmidli which offers practical solutions to some common pitfalls for young drummers.

You may also be interested in
Poll: How Does the Church Accompany Song in 2011?
Psalm 107 with Drum

Visit Spirited and Singing on Facebook

The Shepherd's Rap

About this Rap
This participatory rap was written for the children's Advent Workshop program at Ringwood Uniting Church, Australia in 1993. It is still fun. Its participatory nature requires the gathered community to join the refrain. While originally written for children, subsequent use has proved there are many young-at-heart folks in churches.

You will need: 
2 shepherds (dressed appropriately) who can carry off the rap
3 people, each to lead one of the community parts (dressed variously as an angel, baby and sheep)
A drum beat in four, using live musos or drum machine

Notes for presentation

• There are no breaks between the spoken lines. Each line should last the same number of beats (count four for each line) flow effortlessly from one to the next. The spoken rhythm of each line will vary.
• The only space where drumming is exposed for a bar or two is during the introduction and after each verse and refrain to allow breathing space.  
• Be prepared to rehearse. Shepherds, angel, baby and sheep should be under no illusions about the need for preparation. 
• As with all drama, memorising parts always produces a superior result. 
• Divide the community into three groups: angels, babies and sheep. Rehearse the refrain beforehand.Please feel free to omit some stanzas in the interest of brevity.

This rap may be used freely for worship and Christian education purposes, with due acknowledgement.
Please send any filmed renditions for inclusion on this site. Have fun with it!

Print the rap (page 1)
Print the rap (page 2)
What is rap?

You may also be interested in The Rap of the 3 Travellers. There are 3 pages to copy.
page 1, page 2, page 3
More Resources for Advent and Christmas

Poll on practice.

You are invited to add your voice to the new poll about rehearsal habits on the left side of this blog.

10 Key Selection Criteria for Church Musicians

In employment circles these days, applicants for jobs are required to address what is known as Key Selection Criteria (KSC).

Consider the role of church musician. It may not be one that enjoys any financial reward, and yet there are a group of skills that can ensure the musical life in faith communities is neither elitist, exclusive or stagnant.

Here's my KSC for church musicians. What would yours be?

1. Team player with a big picture perspective.
2. Willing to sit out and let others play.
3. Prepared to practice individually.
4.Committed to rehearsing with others.
5. Willing to learn new material.
6. Prepared to attend workshops and share newfound knowledge.
7. Commitmed to developing positive relationships with people other than musicians.
8. Able and willing to accommodate wide variety of music styles.
9. Able to discern musical skills in others which contrast with their own, and encourage them to get involved.
10. Observant, with big ears and thick skin!

What have I forgotten?
Please add your own KSC to this list.

You may also be interested in
How to Teach a Song in 4 Steps.
Why We 'Like' Those Who Share Our Musical Taste
Poll : How does the Church accompany song in 2011?

Visit Spirited and Singing on Facebook

The King of Glory Comes

'Christ The King' Sunday
When planning for 'Christ the King' Sunday, consider using The King of Glory - a great choice for young bands. Its tune originates from a traditional Israeli melody, and has just enough rhythmic invention to make it interesting, and not so much to perplex those singing it. The key of the song is user-friendly. E minor is a simple key, with only an F sharp in the key signature. While a single G sharp appears for the final chord, those playing the bass notes, much of the accompaniment, and the entire melody will be untroubled by troublesome "black notes" (if you'll excuse the pianist's terminology!).

Instrument-Friendly
In the verses recorder players will find the range accessible, as will flautists. The notes to be played are among those first learnt on these instruments.

The Bass
Bass instruments could play a simplified bassline: E-B-E-B in the refrain, and G-D-G-D etc.. in the verses, but that can sound a bit oompah! Instead try sustaining a single bass note (E (for two bars) then C-D-E in the refrain (twice). For the verse, bass players can underpin the accompaniment simply by sustaining a G until the refrain comes around again. Thats a total of 4 different notes. Simple!

Percussive Ostinato
Chose a motif (eg: "na-tion re-joi-ces") and allocate the rhythm to claves, tambourines or hand drum, to play whenever that rhythm occurs in the song. In this case, the identical rhythm comes with "lift up your voices", and both phrases occur during the refrain.

Mixing it Up
As the rhythm is quite repetitive I'd suggest alternative instrumental treatment from refrain to verse. For example you may engage drum, guitars, bass instruments and hand percussion in the refrain, and make a contrast by utilising recorders, keyboard and triangle for the verses. The advantage of this 2-edged approach for a young band is the playing is not so relentless, there is less for each player to learn, and the result is varied for the singers/listeners.

I suspect variety is the intention behind the suggested note that a cantor sing the verses and the gathered people render the refrain. While some songs by Joseph Gelineau, for example, have verses which are rhythmically and melodically varied from one to the next, it is not so here. I see no reason for this instruction, other than the provision of contrast. An alternative suggestion for those without instruments is to alternate the verse singing between left and right side, women and men, or children and adults.

Final Refrain
As the origins of the music are from Israel, it is quite legitimate to repeat the refrain several times over, gradually increasing the speed. What an exhilarating way the prepare for Advent.

Now if you could just get the congregation to dance...WOW!

For more on accompanying hymns creatively with integrity, visit Revisiting Old Treasures

More Resources for Advent and Christmas

Music Games for Church Meetings

The Last Shall Be First
Here's a game to engage the most reluctant of players. Divide the meeting into 2, 3 or 4 teams. Post butchers paper on the wall in front of each team and a texta. The aim of the game is for teams to list as many songs as they can in three minutes. (Optional: Give each team 3 minutes to list as many songs as they can to get them started. They will probably exhaust the list quickly once the game gets underway, at which time spontaneity will come into play).

Each team lines up behind the first competitor, in front of their paper. On your "go" the first competitors from each team write the name of a song. When complete, they dash back to pass the texta on, and then stand at the back of the team. The second player must write the name of a song which begins with the last word of the song before. Team members can help each other out by calling out their ideas.

For example:
1st player - There was an old woman who swallowed a fly
2nd player - Fly me to the moon
3rd player - Moon River
and so on.

Or
Lord of the Dance
Dance with the Spirit
Spirit of the living God
God has chosen me etc...

If players are unable to continue the thread, the team may cross the last song out and replace it with a title that can be built upon.

Have Fun!

You many also be interested in Virtual Music Barriers

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10 Ways to Improve the Church Band by Next Sunday

How's the band sounding? Enliven your musical output by adopting one or more of these ideas.

1. Rehearse before Sunday!
2. At rehearsal get all band members to sing the song before playing - this is a great for getting the right speed.
3. Ask everyone to practise at home before the joint rehearsal.
4. Tune up properly - spend time on this step, until you get it right.
5. Position the band at the back of the worship space, because change is as good as a holiday, and listen to the singing lift.
6. Those who can play while standing, should be standing.
7. Rehearse introductions and endings several times over for each song. Make sure they improve each time you rehearse them.
8. Record the band playing at rehearsal then play it back - ask them how they (personally and corporately) can improve the result. Make sure they act on their own advice.
9. Use stable music stands
10.Don't play the melody - that's the singer's part.

You may also be interested in the short course for song leaders - Songmakers

Visit Spirited and Singing on Facebook

Song for Advent/Holy Week: Shine A Candle

Shine a candle was originally written to accompany the lighting of Advent candles, but may also be of use during Holy Week. It is a song of gentle longing. This song may be sung any number of times, as required. The final refrain may be underlined by singing the line, "till the day when Christ arrives", three times..

How to Play it

The manuscript indicates guitar chords, and also bass notes. The bass brings gravity to the accompaniment, providing equal doses of tension and resolution - such is the suspense of Advent.  Without the bass, the song can be insipid. If you have no bass instrument, the piano can provide this element in octaves.

Tempo

Pace is important. Please note the metronome speed marked.

Shine a Candle is freely offered here for use in worship and for Christian education purposes, with due acknowledgement. Please let me know if you make use of it.

View/Print a copy of the song

More resources for Advent and Christmas 

Song: And it was very good

And it was very good is a retelling of the creation story in Genesis.

It was originally written for a group of primary aged children on a weekend campout at Euroa in 2001, but has wide appeal. It is bright and lively and easy to learn.

The song is freely available for use in worship and for Christian education, with due acknowledgement.
Please let me know if you make use of it.

Print the lyrics
Print the music

Musicians now "Ministers" in Canada

Musicians in the United Church of Canada are rejoicing after being given the opportunity to be recognised as ministers, alongside Congregational Designated Ministers and Lay Ministers. 

In the UCC, musicians have previously had four levels of involvement: volunteer, fee for service, contract, and part time/fulltime employment. Now an further three options have been developed with increasing pastoral, liturgical and educative responsibilities attached.

This reform is as a result of a decade of work by support body Music United, and its predecessor, in the United Church of Canada.

Printed on the brochure outlining the reforms, is this wonderful statement of affirmation: 

The Music of Worship 

Music is not inserted into worship; 

rather worship is inherently musical. 

We are a singing people. 

How we sing together 

and what we sing together 

reflects our faith, 

our church, 

our union with fragile creation, 

our thoughts and our feelings about one another, 

and our attitudes toward all humanity.

Adapted from 'A Theological Statement of Music in the United Church of Canada' (July 2008)

Find out more about the new ministry structure here Making Music Together Brochure

What do you think?
Make your views on our poll, or by adding your comment here.

Make Your Own Instruments

Banish Budget Woes
Music budget a bit tight?
Not to worry.
With a little time and energy, and the ability to follow instructions, your faith community can build up a collection of instruments in no time using easily obtainable materials.

What to Make
A casual visit to your local carpet dealer could see you with the makings of carpet tube bongos. PVC offcuts can be transformed into a nifty xylophone, and pipes. The possibilities are endless, and the costs are low. In northern Victoria some years ago, I know of one man who recovered road kill to make his djembe drums - not everyone's idea of a good time.

Gather a bunch of people together and make a day of it.

Here's a sample of 'make your own instruments' sites available.

Planet Green
Includes rain sticks, balloon drums, pipes and more, with video footage to assist in the crafting.

DSO Kids
Make claypot chimes, maracas and even a xylophone using PVC pipe.

Mudcat
Includes a gourd rattle and carpet tube bongos.

Bushwahzee
For an Aussie bush flavour this site includes instructions for making a lagerphone, washboard and box bass.

How to Tan a Leather Hide
Not for the faint hearted!

6 Sound Innovations for Worship

Music in worship is too often limited to community song. Sound can be utilised in most aspects of the liturgy, although it would be a brave worship leader who detemined to use all of these innovations in a single week! Let's take a look at some common liturgical elements and consider how music might enrich each of them.

Entering - sound effects
Consider how people are greeted as they enter your particular worship space.Are they confronted with the last minute rehearsal of the instrumentalists. If there is music playing, is it merely there for entertainment value, or to fill an uncomfortable silence? Surely not! Sound can help to centre thoughts, and focus our purpose.

Consider how you might help to focus the thoughts of people as they arrive. Instead of music, you may choose to amplify a soundtrack of wind blowing or crackling fire (Pentecost). A journeying theme might be enhanced with the sounds of shoes on gravel, or the sound of crashing waves (calming the storm, crossing the Red Sea), bird calls (celebrating creation), kitchen sounds (Mary and Martha) or crowd noise (Palm Sunday, Christmas Eve, Feeding the 5000). Entering the worship space should be far from ordinary. Engage people with the unnexpected.

Processional
If your community processes bible, water, candle or communion elements, it could be time the shake it up a little. Rather than carrying the elements at waist height, they can be presented more dramatically held above the carriers head. Perhaps a dancer can 'dance' the bible in, or a trumpeter walk the aisle with a solo fanfare. Perhaps the musicians can join the procession with portable instruments, or as a singing ensemle. Each of these possibilities will elicit a different response from the gathered people, and will set the tone of anticipation for worship to follow.

Praying with eyes wide open
Sung prayer responses are very common: following a spoken prayer, the gathered people join in a sung response. Consider too that some songs can stand alone as prayers, and are in fact written in the language of prayer. Perhaps a sung response can be interspersed with images, gestures, dance, or silent reflection rather than spoken words, leaving space for the personal prayers to be offered.

Prayerscape
A prayerscape can be made by providing candles, windchimes, gongs, triangles, large cymbals (with soft mallets) at several points around the worship space. People are invited to make their unspoken prayer by lighting a candle, striking a gong or stroking chimes. Musicians may play some unobtrusive music as people move around the space. Prayerscapes are most effective where varied sound sources are provided at multiple places.

Teach a Song - Proclamation
No I am not about to suggest that the sermon should be sung - never fear ye clergy folk! But have you consider engaging the community in a conversation about song text, its meaning and implications? We can sing songs for years without fully considering what is being espoused. Perhaps we will find, as we converse with others, that the meaning they derive from a song is quite different to ours. These encounters offer opportunity to discuss faith with those we are sitting close to, perhaps being tounched by a line or two we had never considered before. When you've talked about the text, sing the song together.

Create a soundscape
Soundscapes are an effective way of enhancing bible readings. By using sounds to accompany spoken words, they may become more engaging and memorable. More on soundscapes....

You are welcome to share your own innovative ideas with others by reply to this post. Let me know if you use any of these ideas, and what you learnt/gained/experienced by using them.

Music Director Wanted

Western Heights Uniting Church (Victoria, Australia) is hunting for a new Music Director. The position is for 9hrs per week in a congregation of "all ages". It involves taking primary responsibility for making sure that music presented on a Sunday morning is of good quality (ie practice/develop/nurture musicians & singers). To find out more phone the church office (03) 5229 2681.

The Music Instinct (second episode)

Last week on tele I watched the first episode of this two part documentary titled, The Music Instinct.

The program's goal is to explore and explain humanity's link to music, and its effects/influence on the human brain.

The first episode was a patchwork of scientific research and personal anecdotes. I was particularly interested when the program delved into the universality of emotional responses to particular musical elements.

While I felt the first episode pursued too much in a short length of time, I will be tuning in for the second round tonight. The link to abctv is provided for those of you interested in having a look-see.

You may also be interested in links to scientific research and music.

a cappella sunday

Imagine your faith community singing in four part harmony, without any instrumental accompaniment. Sound impossible? Don't you believe it - I've seen it work well. Engaging your community in harmony singing for an entire worship service is worth the effort, and not as difficult as you might think.

Preparation
1. Enlist the help of others who are keen to promote the idea and get involved.
2. Organise a short rehearsal for the community after worship the week before your planned A Cappella Sunday, and have your helpful others encourage people to get involved. Be sure to emphasise you are not forming a 'choir'. A Cappella Sunday is about encouraging the whole community's sung voice.
3. Select songs (see note below)

Selecting Songs
A Cappella Sunday is not about using fully-fledged four part (SATB) hymns or anthems. This notion will not only ensure a focus on 'experts', but will fail to involve the whole gathering.On A Cappella Sundays I have tried to ensure accessibility by including one of each of the following:
- a round (canon)
- a short 3 or 4 part chant
- an echo song
- an old hymn in pentatonic tonality that can be sung in canon
- a familiar song in which people may invent their own invented harmonies.

Setup and Seating
Arrange your seats in a circular formation if you can, with soprano, alto, tenor and bass parts to be seated in section facing the centre. Have those who attended the rehearsal sit in the second and third rows, so that those who are less familiar with the songs are sitting in front of them, in amongst the action and not on the outer. This also means they will be 'hit in the back of the neck' with their vocal part.

On the Day
Ask rehearsers to arrive a little earlier so they can be seated in the appropriate seats. Enlist help from several people who can greet at the door and assist decisions about where to sit. Ask them whether they have a high or low voice, rather than use the terms soprano, alto, tenor and bass. Consider walking them to their seat so they don't feel too exposed.

The Songleader
The songleader plays an important role, bringing in each section as required, and perhaps running a teaching time prior to the beginning of worship. The circular formation enhances the feeling of community - we are all involved, and no-one is really up-the-front. It also assist the songleader in communicating with the whole community. For tips about intoriducing new songs see How to teach a Song in 4 Steps.

Give it a go, and let me know what you sang.

Resources for A Cappella Sunday
Use pentatonic hymns and songs like Were you there, Be thou my vision, Kum by Yah, Standing in the need of prayer, which all invite people to make their own harmonies. Delve into the vast resources available including the following publications: 
There is One Among Us
Many and Great
We walk his way

Come All you People

Visit Spirited and Singing on Facebook

You may also be interested in
A Cappella Advent
How's the Singing at Your Place?
8 Tips for Getting the Blokes to Sing

virtual music barriers

All congregations have virtual barriers when it comes to music. I'm not talking here about musical taste so much as a set of assumptions. For example, some communities limit themselves, closing off multiple possibilities by appealing for an organist, choiur master, pianist or guitarist, rather than being open to the gifts present within the community. 

Take a moment to consider your community. How many people here do you think learned a musical instrument in years past? Probably more than you realise. In my own congregation, I once jotted down 42 people I knew played instruments, let alone those I was to discover later.

Here are some ideas you might like to consider as a starting point to realising greater potential:

1. Find out who learned an instrument as a child or young person.
2. Find out who sings in the shower, or whistles in the shed.
3. Who knows how to play a recorder - the recorder has been widely taught in classrooms for decades now.
4. Who has taught themselves an instrument?
5. Welcome players of tuba, bagpipes, banjo, autoharp, harmonica, african drums, electric guitar and piano accordian into your instrumental mix.
6. Find out who has connections to musicians/artists beyond the faith community.
7. Focus on the missing demographic within your musical leadership
8. Who has an instrument in the attic or under their bed that can be utilised by someone?
9. Who would be willing to contribute musically once a month, or twice a term?
10. Who are the people preparing for music exams? Are there VCE music students in your local community who need an audience? Can they be invited to play for offering, or communion distribution this week?
11. Run a confidence building session for interested parties, and enlist the help of a local music teacher at the congregation's expense.

12. Consider if your musicians are leaving themselves open to a level of criticism no flower arranger would ever be expected to endure.

You may also be interested in Why We 'Like' Those who Share our Musical Tastes

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song: psalm 107 with drum

Although Psalm 107 with drum  is associated with the season of Lent, it's a song of gratitude for any time of year. 

How to use this song
This song was originally written for those congregations with very limited musical resources. The key to success is that the songleader leads with confidence in the learning stages. All you really need is voices and a hand drum of some sort (the deeper the better), to beat a consistent pattern throughout. 

A simple drum ostinato adds gravity to the song. A guitar is great, but a drum is essential.  It is vital the songleader is very familiar with this song, making continual eye-contact with the community without peering into music. Guitar chords are provided for those with a band set up.
 
What rhythm does the drum play? 
Some suggestions for rhythms are to emulate a simple rhythmic ostinato from the rhythm of the text (eg: "Sat-is-fied").

A skilled percussionist ""all the marvellous" repeated over and over as a rhthmic ostinato is very effective. 

The simplest drum ostinato is often the most effective. Try striking the drum on the first and third beats of each bar, with a flourish to mark the end of the song. An extension of this ostinato would be to insert quavers between the first and third beats. Using the opening sung text as a guide, the drum would play LET - THANK THE LORD - HIS ENDUR -  etc...

What kind of drum?

Any type of hand drum is fine. The deeper the better. It is likely the drummer will need to concentrate on the ostinato, and refrain from singing to retain the integrity of the drum part.

The song may be used freely for worship/christian education with acknowledgement.

Please let me know if you use it in your faith community.

Print the music

How to read rhythm

How to teach a song in 4 steps

Praise to the Lord, the Almighty, the King of Cre-a-tion

This hymn has been included in the repertoire for many centuries, and is regarded by many as a 'classic'. The exact origin of this hymn tune 'Lobe den Herren' is unknown, other than that it came from the German region known as Stralsund, a trading centre that belonged to the Kingdom of Denmark in medieval times. It is quite possible this tune was a known folk tune before it was adopted as a chorale melody in the 1600s.

When the tune is allowed to stand on its own, much of its character is revealed. In triple time, it is less austere than many other old hymns, and suggests a dance-like quality.

Flavour
If you were to wander about the house singing this sing, you may well find it assumes a very different style and tempo than that we usually adopt. Traditionally this old hymn beats a grand and deliberate time, giving almost equal weight to each note and syllable. Try singing the opening now in the way your community commonly sings it, noting your pace and style.

Now try this: pick up the pace slightly, emphisising the first beat of each bar. Keep your singing light and dancy, skipping over the dotted rhythms in bars 2, 8 and 16. Clearly this old hymn has now taken on a new rhythmic character, invoking celebration rather than solemnity.

Re-thinking accompaniment
The rich chordal accompaniment is particularly beautiful, and yet to engage with this new style means the harmonic change on every note will hamper the flow. Give this hymn new life by adopting sparse accompaniment, thinking carefully about instrumentation. Brass instruments are grand, wheras tin whistle or recorder and bodhran will create an entirely different mood. By playing a simple rhythm on a hand drum, and a counter melody on tin whistle (you can use the tenor line for this) will reinvigorate this classic.

Breathing space
Now that we are all rollicking along in song we encounter a challenge. Singers will need some space at the end of the verse, similarly to that which a laong pause on the pipe-organ provided. But slowing down will damage the mood we are setting. Instead repeat the final four bars between each verse, or simply continue the rhythmic pattern on the hand drum. Songleaders can give clear non-verbal cues to the congregation for the next verse.

Introductions are vital
The purpose of an introduction is not only to remind people of the tune they are about to sing, but to set the mood and tempo. Don'tunder estimate the value of a great introduction which reveals the intention for the singing. When adopting an unfamiliar style, musical introductions become even more important. If not done with care, people will misunderstand the intention for the singing, and adopt the austere style. A short explanation at the appropriate time can alleviate confusion.

Shall we dance?
Consider using this song as an introit or processional song, and have someone dance the bible down the aisle. Consider whether the musicians themselves might be part of the procession. Don't assume this song will always be sung the same way, but refresh your approach.

Teaching the song
This is so well known and does not need teaching. As long as the instrumentalists and songleader are engaged in the style, a quick word about the different approach will be all that is required.

Let me know if you refresh this hymn in your community.

More like this in Revisting Old Treasures

About this hymn

History of chorales and use of folk tunes

For more on the region of Stralsund

Charles Wesley: hymns for labouring women and everyday suffering

It seems there was more to Charles Wesley's hymns than most of us realise. Hymns for women in labour, for smallpox sufferers, and those facing execution were amongst his collection of more than 6 000 hymns.

The reasons why these hymns of suffering dropped off the church's repertoire is the subject of a new book by Deakin University academic Dr. Joanna Cruickshank. Pain, Passion and Faith: Revisiting the place of Charles Wesley in Early Methodism.

In an era of no pain relief, such hymns may have helped to ease physical suffering in a world where women frequently died in childbirth, and fatal diseases meant a significantly shorter life expectancy than those living in the United Kingdom enjoy today.

Understanding the healing potential of music is not a new subject. Despite numerous scientific studies on the link between music and health, it remains an under-utilised practice.

Dr Cruickshank talks on radio national

More about Dr Cruickshank's book

For more on music and health, contact Australian Music Therapy Association

Starting a Band (and avoiding instrumental cacophony)

Some years ago I was invited to kick start a new church band in a tiny rural congregation in Victoria. It was a faith community that had previously been dependent on a small organ. When I arrived the prospective band members were waiting. It was possibly the most unusual instrumental combination I'd ever encountered: acoustic guitar, piano accordian, euphonium, pipe organ and clarinet.

Acknowledging the Challenges
The encounter raised some significant musical and theological challenges for me. The musicians were nervous. They had never played together before, and their previous public 'performance' experience could be recorded on one hand. The age-range of the particpants was vast, with the youngest in primary school and the oldest over 70.

Questions pinballed about in my brain as I listened to them talk:
Is it even possible to combine these instruments in a satisfactory way?
Is it possible to include people in musical leadership with such limited experience?
Is the musical result more or less important than engaging these musicians in the church's life, particularly as some had virtually no connection with the congregation in the past?
What is the minimum skill level advisable for participation in musical leadership?
When and how and should we say 'wait awhile' to those learning their instrument?


Getting Started

Learning to sit and wait for answers does not always come easily, but it often turns out to be quite fruitful. I decided to find out what each of them imagined their contribution would be. It is not unusual for the 'musical director' to have quite a different vision to that of the players. Rather than the process being director-driven,  the opportunity was offered for input from others.

We talked about the willingness and availablity of the musicians to rehearse together and to practise at home. They were all willing to work on improving their musical skills.

We explored the notion of being prepared NOT to play. For some songs, the piano accordian and clarinet would team up, for another the guitar would lead, and in the next the organist and euphonium. These various combinations not only enabled variety on accompaniment for the congregation, but meant the musicians only need to practise up one or two songs each week.

I encouraged them to make further connections with their local primary school and to invite participation from those in the school community.

What about you? 
How do you go about deciding who can and can't (yet) offer musical leadership in your faith community? How do you balance the theological imperative to encourage the developments of gifts, with the responsibilities that come with any form of leadership?
How does the musical life in your faith community reflect 'Kingdom' values?
How does your community blend unusual instruments?
Are there any instruments you regard as unacceptable for use in worship?

What to Play
For tips on how to use The King of Glory with a young band click here.

You may also be interested in
Virtual Music Barriers
How to Improve the Church Band by next Sunday

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World Music Day: singing the global church

Concerts and performances in 350 cities worldwide next Monday, will mark World Music Day (Fete de la Musique). Held June 21st each year, the festival aims to enhance the scope and diversity of all musical genres with an invitation to free and spontaneous music making. It encourages performance in non-traditional performance spaces such as museums, corporate foyers and public transport facilities, and is a non-profit enterprise.

The Global Church
Many congregations work intentionally to acknowledge their commitment to the global community through music and song. It is a powerful reminder that while our faith communities exist in a local area, they are part of an extensive network. Indeed, the irony of World Music Day is that the principles of participation, non-profit, musical diversity and spontaneity  and inclusivity are, or a least should, be the aspiration of all faith communties. Where these values are espoused, people of varying skill and expereince gather together in an spirit of generosity and goodwill, to make provision for and engage in participatory music in their faith community.


Music of the Global Church
If you'd like to recognise your community's connection to the global church, there are many music resources available. Here is just a sample:
Songs from World Council of Churches 9th Assembly (Brazil)
Global Worship Music
Freedom is Coming
For Everyone Born
Global Praise Music
Wild Goose Publications

Using Current Resources
Alternatively a leaf through any hymnbook will turn up songs of diverse origin. The key is to present these songs not as though they have western roots, but to recognise the song's origins principally by instrument choice. In other words, if you are sing a chant from Ghana, strong vocal leadership with rhythmic accompaniment on drum is preferable to a pipe organ!

In Your Community
Which songs of other lands do you sing?
How do you accompany them?
Are the songs you sing reflected by all the nationalities in your community?
Let me know how you enagage with the global church in your place.

You may also be interested in Exploring a Theology of Gratitude in the Land of Entitlement

EVENT NEXT WEEKEND - Hands, Feet and Voices

Those in Melbourne next weekend may like to register for
HANDS, FEET & VOICES
featuring Trish Watts

kicks off Ordinary Arts6pm Friday 18 June
Centre for Theology and Ministry
29 College Cres, Parkville, 3052
Melways Ref: 2B D3
Gather in the café at 6.00 pm for a movable feast of performance through the spaces of the Centre.
The following Ordinary Mortals will perform in various spaces through the building:
Jennie Gordon will speak her everyday poetry
Cameron Semmens presents
The Sweet Splendour of the Everyday
a moving meditation by Ian Ferguson
Katrina Dowling and Tony Toppi present cool,
contemporary music from Gordon Jacob’s Suite for Piano and Treble Recorder: English Dance, Lament and Burlesca alla Rumba.
Embodying the Ordinary by InterPlay® Melbourne
Julie Perrin Dog Hairs and Dressing Gowns
and featuring... Trish Watts Soul Voice
Book now by phone on 9340 8815 ASAP.
Tickets: $15.00 or $25.00 double
Enquiries info@ctm.uca.edu.auHands, Feet & Voices

New blog design

Hi Everyone,

Yes it is still 'Spirited and Singing' only I've given it a facelift.
Its a trial at this stage so let me know what you think. I reckon it a clear improvement. You will probably find some of the formatting is skewhiff. I'll be doing my best to sort this out as soon as poss.

Cheers,
Lucy

how to write a soundscape

Soundscapes are an effective way of entering into read text such as bible reading, prayers and reflections.

Choosing a text

Choose a reading that suggests concrete sounds people will readily identify with. Epistles are not going to work, but many of the parables and action stories will remain in people's memories after an effective soundscape. 

Getting started 

Type the text out for yourself.
If I am working on a bible reading, I like to allocate a separate line to each verse. This can be time consuming, but it helps me focus on parts of the text I didn't notice in my reading. It also helps to ensure sounds are spread well throughout.  

List the sounds you 'hear'.
This is not about dialogue, but other background sounds such as wind, water, footsteps, chains, crowd, animals, building etc..)  

Identify one unifying sound.
This sound may not be present the whole time, but may begin and end the soundscape. This sound is your starting point.  

Choose several other sounds from your list.  

Find a way to represent each sound.
Please don't resort to musical instruments - very few sounds will be effectively represented in this way. For example, claves (rhythm sticks) sound nothing like footsteps, but wearing shoes on your hands and 'walking' in a sandbox does. Raid your cutlery drawer, the shed, the toy box and see what you can come up with. Once a group of children I was working with used a couple of teapot coasters which, when clapped together, sounded just like wet sails on the Sea of Gallilee! Be ruthless. If it doesn't sound like the real thing, it will be a distraction.

Get rid of half your sounds
At this stage you will probably find there are some unsuccessful sounds. Lose half of them so that you have about four in total. Less definately IS more. Remember soundscapes are about leading people into the reading, not distracting them from it.

The Players
Work out how many players you will need. The reader should not play anything but should rehearse with the players, so that mutually agreed timing is decided.

Amplification
Work out how you will amplify the sounds  

Rehearse with amplification.  

Modify your plans as required.

Questions to ask

• Is the soundscape balanced?
• Do any sounds overpowering the reading.?(Remember this is not about making "sound effects".)
• Do any of the sounds detract from the reading? If so, they have to go! Be ruthless.
• How will you introduce the soundscape in the worship context?
• Where will he players be situated? My view is that soundscapes work best when the sounds are kept out-of-sight. This avoids the problem of people looking for the source of the sounds instead of engaging in the experience.

You may also be interested in Sounds Outside the Square

10 Ways to Fertilise Your Community's Musical Life

This list is a starting point, which will hopefully grow into a much more extensive list. Let's have your ideas.

1. Talk to people, and not just the musicians.
2. Don't make assumptions about which instruments can be included in the music program.
3. Find out what else your current musicians can do: can they play a second or thrid instrument, break-dance, juggle, balance-the-books, give a great massage, grow organic vegetables, fly light aircraft?
4. Run a poll to find out which songs are the community favourites.
5. Postpone the packing up and go for coffee.
6. Insist on rehearsal, resisting the time immediately before worship which impedes creativity or practice.
7. Find out who else plays a musical instrument in your faith community, or who learnt when they were younger. It can be a revelation!
8. Engage the whole community in larger musical undertakings like a sing-a-thon or a singing protest.
9. Use the money raised at the aforementioned sing-a-thon to fund a musical internship for a someone in your faith community. Perhaps a term of lessons for someone?
10. Encourage singing at meetings.

You may also be interested in Exploring a Theology of Gratitude in the Land of Entitlement

How to teach a song in 4 steps

I used this method recently at the Opening Worship of Synod (Vic/Tas) in Melbourne to teach a new song. The teaching method was introduced to me and many others by John L Bell many years ago during a visit to Melbourne. It is simple, direct, and effective.

At the recent Synod meeting Were I the Perfect Child of God was to be taught prior to worship. After I had sung the melody once, I asked who knew the tune, but it was new to everybody, despite its folksong origins. I must admit I was not confident people would be sufficiently prepared when came time to sing the song after the preaching. I was pleasantly surprised. People sang robustly and confidently.

Here are the steps.

1. Make sure YOU know the song so well you can sing it in the shower.
2. Position yourself in a highly visible position and make eye contact.
3. Ask people to listen while you sing the tune (without words or instruments). Don't be tempted to double the melody with an instrument. This confuses things and is unneccesary if you know the song well.
4. Ask people to hum while you sing the tune again. Make sure they hum as this means they can still hear the correct melody from you, and enables self correction without embarrasment.

Thats it!
I am sometimes tempted to introduce the words for a once through at this stage, particularly for longer songs. But on the occasion I have refered to, we didn't use the words until the moment in worship when people were to sing, with no ill effects.

Were I the Perfect Child of God can be found in I Will Not Sing Alone: Songs for the season of love.

You may also be interested in
Songmakers Course
8 Top Tips for Getting Blokes to Sing
Why don't the Children Sing?
How's the Singing at Your Place?

No church musicians? What's your story?

I am looking for stories from congregations of less than 50 people to be considered for possible inclusion in a book for congregations who have no/few musicians in their number. Stories about how your faith community sustains a musical life, connections with community, innovative ideas, new discoveries and signs of hope are most welcome.

If you have a story to tell, please post under "Stories from Congregationland" on this blog.

Many thanks.

8 Top Tips for Getting Blokes to Sing

Getting men in your faith community singing can be challenging. Unless a strong singing culture already exists, and a decent number of blokes are present, men often feel their voice is too exposed, and resist singing with anything like great gusto.

Some years back, in my own congregation, the collective voice of men became so reticent, despite their significant number, that I set about trying to identify the problems. After listening to what they had to say, the 8 Top Tips for Getting Blokes to Sing emerged quite effortlessly.

Getting the voice of men going is an ongoing adventure. However, one delightful observation has been that on the week "Blokes Vocals" lead the singing in my congregation, the eyes of the boys shine as they too attempt to lift the roof.

1. Use male song leaders

Chances are your male musicians are not leading the singing, but contribute on piano, guitar, bass or drums, with a female offering the vocal lead. What this can often mean is that men in the congregation perceive the song is "too high" because the songleader is singing an octave above.

2. Check the pitch of your songs

It has to be said, many of our community songs are too high. It seems to be an area often neglected by music publishers. I suspect the key of most songs is chosen because of its accessibility for instruments, or that it sits comfortably for the individual who wrote it. As a rule of thumb, I consider any song exceeding a high D, or E flat at the most, to be prohibitive. Many will even find that D too difficult to handle, especially first thing in the morning.

3. Include songs with male imagery

Consider the text of some of the songs we sing, and you'll understand why they confront the masculine. To use an oldie as an example, "If I were a butterfly" is a phrase no self-respecting 16 year-old man will add his voice to. Just as we have become conscious about using feminine images in worship, so too should we ensure there is music that resonates with men and boys.

4. Use bass instruments in your band

 If your instrumental combination is top-heavy with treble instruments, men may feel unsupported. Try doubling the bass on piano or keyboard, or using other bass instruments.

5. Encourage blokes to sit together

For reasons similar to tip 4, men fell particularly exposed when surrounded by treble singers - this may include their partner and children. If you can devise ways of bunching blokes together, it will bolster confidence and participation.

6. Flush out their favourites

Find out which songs the men in your congregation like. The revelations can help ensure there is at least one winner each time. It may also help to inform new song choices.

7. Get the guys together

In my faith community, a few years back. we decided to get a bunch of guys together to lead the singing one Mother's Day. I enlisted one of our male keyboard players to run the rehearsal, beacause I wanted it to be a men's thing. His main fear was that the outcome would be akin to a footy team singing the club song at the end of the game. Sure, the results are unlikley to be top-notch, but the positives are many.

Whenever our "Blokes Vocals" lead the singing the corporate voice is as uplifting as I have ever experienced. Everyone sings their heart out, with a grin on their face. People regularly report how uplifting iot was, and report shivers down the back of their neck. Yes, it IS that good. "Blokes Vocals" is often enlisted to introduce new songs, as it ensures on the occasions they sing within the community, they will offer a strong lead.

8. Use songs with men/boy's parts

This is one way of getting men and boys linked in to each other's voices. Sing songs with a women/girls part and a men/boys part. Any two-part thing will do. Have a leader for each part up front, and observe the results. If you get a boy to lead the part, most men will make a second effort.  In a standard community song, it is also great to have females sing a verse, and males to sing another.

I'd love to hear what you have tried and tested in your faith community.


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Why don't the Children sing?
Virtual Music Barriers

Sounds like Pentecost

Pentecost is one of my favourite times of the year, not least because we get to go crazy with colour and sounds.

Beyond the long list of great songs for Pentecost lies the possibility for pushing the images further using music as an illustrative tool as well as a means for community singing. What with the sounds of dry bones, wind, crackling flames, and many languages, this season has the potential to be the most interative and artistic of the lot.

As I was driving my son to school this morning I noticed someone has left a large coil of discard plastic tube on their nature strip. It's the kind you see on vaccuum cleaners with the concertina surface. I plan to go and pinch it for myself, because this stuff is fantastic for making a wind-whistling sound.

Cut off a long length, perhaps 1.5 meteres or more, and swing it around your head lassoo style. The sound I am expecting to make is a haunting whistling. This was something I observed others doing in an elective at one of our conferences. The mix of sound, physical energy and spectacle was something quite memorable, so much so that it was the first thing that popped into my head as I drove past the coiled pipe this morning - some 13 years later.  I am imagining several people walking the aisle ahead of the bible spinning this above their heads, calling people into worship and evoking thoughts of the Holy Spirit.

What creative sound feast will be created in your congregation this Pentecost?

You may also be interested in
What's Happening for Pentecost?
The Bright Wind is Blowing 
How to write a Soundscape. 

Why don't the children sing?

Too often children who sing in bed after the lights go out, who hum while drawing, sing the national anthem, or a footy team song, fall silent in the worship context.

What is it about the worship experience that inhibits the song of children?
At what moment in our lives do we move from listening, to contributing to community singing?

Reflecting on your own situation, consider these questions:
1. Do you encourage children to sing?
2. Is the "children's song" understood as code that they are not to sing at other times?
3. Which songs do the children most enjoy? Do you know what they are?
4. Can they read the words?
5. Can they see the words?
6. Is there more than one instance each week where a song is accessible to non-readers?
7. Have they other opportunities to learn/sing the songs away from worship?
8. Is there a person in your faith community who encourages children to sing?
9. Has a culture of not singing developed?

Encouraging the voice of children
From what I have observed the principle barrier to the participation of children is the inaccessability of the songs themselves. We are big on words in the church, and lots of long and complicated ones which require definition. Using simple repetitive songs and chants can make a big difference.

A story to illustrate perhaps. One Sunday in my congregation we learnt Kyrie Eleison (Bridget) by John Bell. This particular Kyrie has a cantor/song leader singing a phrase, which is repeated by the gathered people. We sang it perhaps 5 or 6 times in the context of a spoken prayer. After worship had finished several families met at McDonalds for a birthday party. It was possibly 2 hours after the Kyrie had been sung, and silence had descended as the kids sat about eating their 'happy meals'. All at once one of the 5 year old put down his burger, looked around at his friends, and launched into the cantor's part - "Kyrie eleison" to which the other children responded, "kyrie eleison!" It was quite a moment. The children had all absorbed the song, despite its unfamiliar text, becasue it was repetitive, attractive to them and musically accessible. They had taken the song beyond the worship context and into their lives.

If all else fails....
- Regularly include short prayer responses, amens, alleluias and doxologies that children can sing well. 
- Teach the children a new song, and have them teach the congregation one Sunday morning. Not only will you have captive learners, but the rehearsal during the week will ensure the families are all on board too.
- If you must hand out percussion instruments (no I'm not a fan), do so only when the songs are inaccessible.
- Introduce actions, claps or stomps.
- Have children teach the adults the actions
- If you have a goodly number of children allocate them their own part in a round
- Expect them to sing - they are part of the worshipping body like everyone else.
- Enlist the 'help' of older children

What other tips do you have for engaging children in the sing?

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How is the Church Accompanying Singing in 2011?


  

Getting gatherings to sing - a checklist for success

Having trouble getting your faith community to sing well?
Low confidence can lurk about for years on end unless the reasons are dealt with effectively. Try this list on for size. Hopefully over time you will see increasing engagement in the singing.

Seating - if people are spread across the space they feel exposed. Get with the strength and have people sit together to encourage greater confidence. Experiment with seating arrangements by making fewer chairs available. Circular seating can be more successful than a 747 set-up.

Teach songs well - simply playing a new song through and claiming to have taught it, is like telling some how to drive and handing the keys over. In order to learn, we have to have a go ourselves. Too often songs are introduced without space for the gathering to sing.

Is this a community song - not all songs are designed for community singing. Many are performance numbers for choirs, or bands, or soloists.

Simplify the accompaniment - if there is too much musical embellishment while a song is being learnt, people will be baffled and unsure of which notes to sing. An old lecturer of mine said the key was "KISS" (aka. keep it simple stupid).

Acoustics - this can make or break community singing. If a space is too reverberant, clarity is lost to mush, and rhythmic integrity is lost. If acoutics are too flat (often due to carpet, soft furnishings, low ceilings) the effort being by singers will be unrewarding.

Teach without instruments - the most effectve way to teach is to have a single voice sing without any instrumental accompaniment, no not even doubling the melody. Ask the gathering to sing back to you, also without instruments. Don't forget to listen. Only when you listen to what comes from the gathering will you know they have learnt the song.

Verbal and non-verbal cues - "I know you hate learning new songs but we have to do this one. You're not very good at new ones, but I want you to try your best...." (bleh!) There is nothing like negative introductions to dampen enthusiasm. "We have this great new song ...." or "here's a new song by the same person who wrote...." or "this song was written when....." Personalising the song can heighten its significance for people.

You may also be interested in
How to Teach a Song in 4 Steps.
Songmakers: short course for songleaders

Do you have a tip for others, or a story to share?
Please include your contributions here.

A little something to amuse choir leaders.

Immoral, impossible, God only knows
(Tune: St. Denio)

1. Immoral, impossible, God only knows
how tenors and basses, sopranos, altos
at service on Sunday are rarely the same
as those who on Thursday to choir practice came.

2. Unready, unable to sight-read the notes,
nor counting, nor blending, they tighten their throats.
The descant so piercing is soaring above
a melody only a mother could love.

3. They have a director, but no one knows why;
no-one in the choir deigns to turn him an eye.
It's clear by his flailing, he wants them to look,
but each singer stands there with nose in the book.

4. Despite the offences, the music rings out.
The folks in the pews are enraptured, no doubt.
Their faces are blissful, their thoughts appear deep,
but this is no wonder, for they are asleep.

Notes:

* Verse 1, by Austin Lovelace.
* Verses 2-4 added by Ron Hodges (choir of St. Mark's, Palo Alto, California, USA) for the church's 50th anniversary in November 1998.
* If your choir rehearses on a day other than Thursday, freely make the requistite substitution in verse 1.

Copyright © Austin Lovelace and Ron Hodges. May be used freely for non-commercial church-related events.

How's the singing at your place?

Community singing is counter-cultural. For most people occasions for such an undertaking can be recorded on a three fingers: "happy birthday to you", national anthems, and football team songs if we are lucky enough to enjoy a victory.

Just 40 years ago community singing was a common source of entertainment at the pub, around the pianola, in the car or school bus, around the campfire, and even in church meetings. These days it is something of a spectator sport.

One wonderful memory I have is of a time my family travelled to Europe in 1980. We were in Wales, and the sun was setting, when a dozen miners walked past our campervan on their way home, singing in four-part harmony at the top of their lungs. Gorgeous.

These days singing, and perhaps music generally, is regarded as a specialist activity to be undertaken only by those with sufficently attractive voice or instrumental proficiency. It is a state not helped by the rise of television shows such as "Australia's Got Talent' and Australian Idol', which invariably invite viewers to pass judgement on another's ability. The church, and perhaps the primary school and kindergarten, are the last remaining bastions of community singing.

In my childhood, I remember the singing in church to have been fantastic, with people, often the men, adding harmony parts to the mix. In many cultures this is still the case.

And yet, harmony parts aside, the confidence of the faith community's sung voice is also less enthusiastic than it might be. I believe this is largely because of a lack of confidence.

Do the people in your faith community sing with enthusiasm? Is there a performance culture, or are all assured of a welcome in the corporate song? How are people welcomed into the song? How is the singing at your place?

You may also be interested in
Virtual Music Barriers
Why don't the Children Sing?