Singing When You Can't Carry a Tune

There are those in our congregations for whom singing is a joy and celebration. They sing well. Perhaps they have had training or have actually studied music. Perhaps they have a natural gift. When they sing, they sing on pitch or in harmony, sometimes even inventing their own harmony part. They sing expressively, with feeling. Their faces and body language reflect the obvious joy they feel when singing.

Then there are those in our congregations — perhaps the majority of our people — for whom singing is not such a natural activity. They must work at it, and they do. They probably don't read music, although they may have had music lessons as a child. The notation scratchings in the hymnal are largely a mystery to them, although they have mastered the challenge of finding the hymn or other item in the hymnal, following the stanzas in order, and anticipating changes in tempo, volume, and mood. They are aware of the words they sing that may speak to their need or give voice to their own thoughts of thanksgiving and praise. They may enjoy it when the choir sings a descant or the organist does an alternate harmonization. But for them, singing is a conscious choice, a discipline, an effort they must put forth to function as part of the worshiping congregation.

And then there are the mutes. They are in every congregation. They do not sing. They do not pick up or open the hymnal. They listen politely to the choir, or they read their bulletin, mentally plan the dinner menu, or begin thinking about the coming work week. For them, music is not an act of worship; it is not even an enjoyable experience. Some of them are music haters, ridiculed as children by their parents or teachers when they tried to sing. While some may not be music haters, they may be aware of whatever limitations they have in singing. Some may even enjoy music, but are afraid of the sound of their own voice and intimidated by those around them who sing better. Perhaps they have been told they have no musical abilities and they have believed it all their lives.

As worship and music leaders in the church, what are our responsibilities to the mutes in our congregation? We plan and lead worship for the other two categories of worshipers, but we don't pay much attention to the mutes and music haters. But they are in our congregations. What can we do to reach out to them, to include them in worship and music? Here are some suggestions:

• Don't single out the mutes. Don't embarrass them. Don't call attention to their nonparticipation. Don't judge them. Don't mock them or allow them to become an object of laughter or scorn by others.
• Make an effort outside of worship to establish a relationship with them that is not based on music. Speak with them during the coffee hour or in the parking lot. Invite them to a Sunday school class. Sit next to them at a pot luck supper. Talk about their kids. Discuss jobs. Suggest they consider being part of a church committee, men's or women's group, or the church softball team.
• In worship, comment on the text of a hymn. Use the text in a sermon or a prayer. Quote a hymn in a litany or act of praise. Reprint the text on the bulletin cover (legally, of course).
• Introduce a hymn with a short historical or biographical note. Comment on why that particular hymn was selected for singing. Connect it to something else in the worship service — prayer, Scripture, offering, benediction — or to something in the morning newspaper. You may be able to stir an interest in the hymn, if not in actually singing the hymn.
• If there is a particular musical challenge in a hymn — some anticipated difficulty in singing — such as an awkward leap, a strange rhythm, dissonant harmonies, an exceedingly high or low note, a change in traditional language, say something briefly about it. Let the people know that it's coming. Ask the organist or pianist to play it once, ask the choir to demonstrate it, or even ask the people to rehearse it. Difficult surprises in singing can frustrate people.
• Have the congregation read one or more stanzas of a hymn in between their singing other stanzas. Read silently. Read aloud together. Read silently or aloud with musical accompaniment. Have a dramatic reading by a solo reader accompanied by dancers.
• Write a newsletter article about something related to hymn singing: a particular hymn, an author or composer, the hymnal, an explanation of the information on the hymnal page, how hymns relate to Scripture, why we sing the hymns we sing.
• Offer to teach a class or series of classes on hymns. Pick a theme: Wesley, contemporary hymns, praise choruses, spirituals, great hymns of the church, favorite hymns, Lenten hymns. Involve the people in study and discussion as well as singing.
• Offer a class on singing. Assess the need and interest of your people as you decide to include the mechanics of singing, elementary note reading, how to read and follow hymns, information on the hymnal page, contents of the hymnal, use of indexes, what the Bible says about singing. Invite families and children to participate, as well as youth, singles, and older adults. Be sure you have copies of all materials and hymnals so that each person can have and use his or her own; don't force people to share. If possible, use visuals — overheads, slides, screens, PowerPoint — to supplement the hymnals and handouts.

Singing is too important a part of worship and spiritual formation to allow people to opt out or give up on without making an effort. Our responsibility is to help people — the professionals, the warblers, the shower singers, and the mutes — to enter into the music at whatever level they are able and to allow them to grow in their singing experience. Some will remain resistant … and mute. Welcome them all in love and encouragement.