A Perfect Singing Storm

It was a large ecumenical gathering of pastors, musicians, church leaders, staff and laity, drawn together for an annual event that celebrates worship and music. In past years, the singing has been truly magnificent -- spirited and enthusiastic, expressive, heart-warmed, full of joy. From the opening hymn this year, I knew it was going to be different.

When congregations sing, it is not a simple matter of people opening their mouths in song. It is actually a complex activity involving a number of participants variously leading, following, and contributing to the end result. Here is how the participants at one event came together in a perfect singing storm.

• The Room: The event was held in a large downtown church, which was a stone structure with a high ceiling and hard surfaces in the sanctuary. Sanctuary seating could hold two thousand or more in semicircular configuration around the chancel; a full three-sided balcony was all around. The modern four-manual organ had pipe chambers in front plus an antiphonal, designed for traditional organ literature and exceptionally capable of leading and supporting congregational singing. The large console was located off to the front and side of the chancel in full view of chancel, choir, and congregation. The room and organ were ideal for great singing.
• The Organist: The organist was well-known and serving in a major academic teaching and performing position. She pushed the organ to its capacity in volume and tone, playing loudly and with full, heavy registrations. Her solo offerings were excellent, but her hymn accompanying betrayed a lack of church experience. She played the hymns too loud and too fast, all the time. She shortened note values, especially at the ends of phrases, in order to push the next phrase quicker and sooner. She ignored the song leader's visual and vocal direction, going about her own way. She ignored the congregation, which often will work to find its own style, tempo, and phrasing as it sings. She was oblivious to any expressive nuances of the hymn texts that might have contributed to singing style. She was clearly in charge of congregational singing, and there was no consistency or spirituality in her leadership.
• The Song Leader: The song leader was called a "cantor" in the bulletin and in his introduction. He led choirs and singing at a large local Episcopal church and obviously attempted to use his techniques and mannerisms that worked so effectively in his church in this ecumenical setting. His physical motions were spare, usually nothing more than a lifted hand to signal the congregation to begin singing. There was no eye contact or interaction between the song leader and the organist. His pleasant tenor singing voice, despite being amplified through the house sound system, was completely lost in the volume of the organ and congregation. His musical leadership in this setting would have been weak even if not for the liveliness of the room, the power of the organ, and the aggressiveness of the organist.
• The People: The congregation was mostly clergy, mostly non-musical, but with a good number of musicians and singers. It was the kind of group that thoroughly enjoys singing hymns and songs of praise and revels in the pure delight of such a large room, large group, and festival occasion. They sang lustily and with good courage, sometimes with puzzled looks at the activity of the organist who, it seemed to me, understood the congregation as a force to be subdued so it could be led by the organ.

When these four main players came together in congregational song, it was with mixed results. The room did its best -- as it could do none other. The organ sounded with great power, as it was instructed. The song leader ineffectively led in a manner that had not failed him before. The organist performed and subdued. And the people, sometimes inspired, sometimes confused, often aggravated by the conflicting participants in their act of singing, did their best, while some gave up and quit singing. At times, it was glorious; at others, frustrating. Some continued to sing, oblivious that there was any problem.

The problem, of course, was not unique to this once-a-year event. It is one that many local congregations must confront weekly: Who is in charge? In far too many situations, no one person is in charge; and there are dueling leaders -- organ, piano, band, pastor, song leader, organist, choir, praise team, people, a prima donna choir singer. In such a situation, usually the loudest, most powerful voice ends up controlling the singing, most often the organ. A strong song leader with a powerful microphone, however, might also prevail.

It would be a great gift to the people by the chief musician and pastor if they would take charge in such a conflicted situation and calm the stormy musical waters by putting a strong leader in place to coordinate, encourage, and lead all the participants and contributors to congregational song. The event I've described desperately needed such coordination, but it never was put in place. Great congregational singing results from great leadership as much as from great participation.

See also: "Accompanying Hymns: Who's In Charge?" - Music Musing 14.