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Revitalizing Congregational Song

An African proverb says that the Spirit will not descend without song. The church needs to learn from this proverb. Singing is to worship as breathing is to life. It sustains and supports it. It may even define it. As we worship, our singing helps to bring life to the liturgy. Singing our prayers allows us to express those thoughts and words that would remain unexpressed if they had to be spoken. Singing can strengthen the delivery of the spoken word and facilitate its hearing and understanding. In worship, liturgy, prayer, and sacrament, singing can unite us so that the Spirit will descend.

But for many congregations, singing is less than vibrant, vital, and worshipful. It has become just one more thing that we do in worship, singing the same songs, at the same time, in the same manner, week after week. (See "Music Musing #66: Fifty Ways to Guarantee Poor Congregational Singing.")

What can we do to revitalize congregational singing so that we can truly welcome and experience Spirit-filled worship? Here are some suggestions:

  1. Sing a new song — one unknown to your people. Many churches sing the same songs over and over. Introducing something unfamiliar can cause singers to become more physically involved in the act of singing and mentally involved with the text. Give the new song an introduction: Why are we singing it? What does it mean? How is it different? How does it relate to our worship today?
  2. Sing an old song — to connect to your heritage. When we worship, we are not just one isolated body of believers. We are connected to all Christians, including those who have gone before us. Singing a great traditional hymn of the faith helps establish that connection and gives insight to who we are today and how we came to be. Singing an old song that is familiar to your older members is an act of hospitality and ministry to them and an act of education to some of your younger members.
  3. Sing with new accompaniment. If you usually sing with the organ, change to piano, or guitar, or brass. John Wesley was fond of accompanying singing by playing only his flute. If you are accustomed to having a praise team and band, switch to piano or organ. Such a change will lead the people out of their normal pattern and expectancy so that they become aware that this is something new…we're doing something different here. It can cause them to focus more on singing.
  4. Sing without accompaniment. Singing a capella can lead to a number of positive results. The people will not be able to use the accompaniment as a crutch. They may naturally sing louder in the absence of instruments. They will hear for the first time the voices of their neighbor singers. The strongest voices heard will be those singing the melody, reinforcing what each singer should be singing. The spontaneous harmony that may come from congregation and choir will have a wonderfully new and appealing quality to it, not covered over by instruments. The people may pay more attention to the song leader for support and instruction, both verbal and visual, since they can't rely on the instruments.
  5. Sing with movement. Singing can be quite a cerebral activity; but much more than that, it is a physical activity. It involves, yes, the brain, but it can't take place without also involving the lungs, vocal cords, lips, teeth, tongue, mouth, face, neck, chest, eyes, and ears. But if we stop there, we've limited the act of singing. It should also include arms, legs, feet, hands — the entire body. In some African languages, there is no word equivalent to our word "singing." The African word also includes movement, even dancing, and the word may even be the same for "singing" and "dancing." To sing without movement restricts singing to a less expressive, less emotional act. It is more unnatural to sing without movement than with movement. The movement may be as subtle as closing one's eyes, dropping or raising one's shoulders, smiling, or a modest shifting of weight on the feet. Or it might involve raising hands, clapping, tapping or stamping feet, walking about, dancing, swaying in sync with others in the pew — many possibilities. Singers and congregations will find what works best for them.
  6. Sing with rhythm. Some accompanists and song leaders cultivate a smooth, seamless musical style. If there are syncopations in the melody or accompaniment, they "fix" them. If there is a natural rhythmic pattern related to a particular cultural musical style, they remove it. If the text has been set so that it emphasizes a particular rhythm, it is squared off. Well-written hymns and songs will bring the text to life, not only melodically, but also rhythmically. Learn the rhythms that go with certain cultural music. Much African music emphasizes a strong downbeat, while most African-American music emphasizes a strong off-beat. Gospel music often uses strongly dotted rhythms in long-short pattern. Contemporary music often moves the initial syllable forward one-half or one beat prior to the downbeat. Many chorales and Psalm tunes place their accents entirely according to the emphasis of the text and often have no regularly recurring beat pattern. Much chant is seamless and flowing, without strong emphasis. Sing the music as it was intended. Celebrate the variety.
  7. Sing expressively — let the text mood guide tempo and volume. If the text is celebrative, so should be the singing. If the text is meditative, so should be the singing. Sing stanza three of "How Great Thou Art" quieter and more meditatively than stanza four. Don't think that good singing is always loud and fast.
  8. Sing silently. Read a stanza, with or without accompaniment. Have it read by a reader. Have it read by the people in unison. Have it read by the people silently. Do the same with an entire hymn. Concentrating on the words alone may result in greater understanding and retaining of meaning.
  9. Sing responsively. Use call and response with song leader or choir, making singing interactive and conversational. This is already built into some songs and musical forms, such as the spiritual, gospel songs, and much global music. Pay attention to who is actually speaking the words of a hymn and play that out in the singing. For instance, if a particular stanza or portion consists of the words of Jesus, have a soloist sing them.
  10. Sing the style with integrity. Your congregation's repertoire of singing styles should match its song repertoire. When you sing a gospel song, it shouldn't sound like a Bach chorale. Taizé chants should have the flowing, moving, unaccented qualities of chant. Spirituals should have the characteristics of rhythm, melody, harmony, movement, and freedom that come with much of that musical style. Traditional Euro-American hymns have their style traits, as do contemporary praise and worship songs.
  11. Sing with all ages. Welcome and value all ages within your congregation by singing their special and loved songs. Recognize the value of children, youth, adults, and older adults by including them and their favorites in your singing. Include hymns and worship songs in children's and youth choir rehearsals. Learning the music preserves the heritage and helps to form them in their own faith.
  12. Sing outside of Sunday worship. Bring music to Sunday school, youth gatherings, church meetings, weddings, funerals, staff training, charge conference, picnics, retreats, and staff meetings. Sometimes it is in these places outside of congregational worship that new songs and singing styles can be tried and learned, then later introduced into Sunday or congregational worship. Singing in these situations can promote a spirit of community and participation.

These dozen suggestions for revitalizing congregational singing are only a beginning. They say nothing about selecting songs, hiring and training musician leaders, worship planning and leading, the role of the choir or praise team, instrument placement, architecture, and so much more. But they are a beginning, and they are general enough so that most congregations can find something here to try.

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