Okay enough sarcasm and "sinicism" - I want to focus on some of the right ways to lead others in worship. Here are some thoughts from Bob Kauflin, author of the book Worship Matters:
There’s a wide variety of opinions
when it comes to what’s an “appropriate” key for congregational singing. My
basic approach is to keep songs from a low A to a high D, but there are
certainly exceptions and other aspects to consider. The strongest range for the
congregation seems to be between G and D. That’s where a lot of up tempo
choruses end up (Blessed Be Your Name, for example). Here are some thoughts I
hope are helpful, in no particular order.
Listen
How do you know if you’re singing songs in keys that are too high?
If the men in your church regularly switch to a lower octave, if people look
like they’re straining trying to hit the notes, or if half the congregation
drops out at the chorus, you should probably think about dropping the key. Your
key is too low if it’s difficult to hear the congregation on the lower parts of
the song. Of course, most of us have members in the congregation who will
gladly let us know if the songs are too high or too low.
Tempo
Slower songs with a narrow range (less than an octave) can work
fine in lower keys because they don’t require as much energy. So “Here I am to
Worship” (range of a 5th) could be done in C, D, or E. On the other hand,
uptempo songs naturally require more energy and people can often belt out the
higher notes without a problem.
Range
The widest range a song will go is usually an octave and a fifth,
the same range as The Star Spangled Banner. In those cases, I opt for a range
of G to D or A to E. Shout to the Lord is an octave and a fourth, so A is a
good key, although it can also be done in Bb. The hymn Jesus Paid it All has
the range of an octave, but Kristian Stanfill’s version makes it an octave and
a 4th. So I do that in A or Bb. It can be done in C, but the bridge briefly
hits an F.
Repetition
If much of the melody stays within a certain range, I’ll factor that into the
decision. So if a song has a chorus that stays up around a D, I often drop the
key of the song a step, as long as it doesn’t make it too low in other parts.
So I typically do Beautiful One by Tim Hughes in the key of C. Hark! the Herald
Angels Sing has a range of a 9th, but the chorus hits the high note six times.
So I’d generally choose the key of F over G, making the high note a D.
Modulation
For hymns or hymn-like songs, it’s also possible to modulate on
the last verse or two. That way people are only singing the highest notes for a
brief time, usually when their hearts are full of faith and it’s easier to sing
higher. So we start “In Christ Alone,” which has a range of an octave and a
4th, in D, then modulate to E between the second and third verses. That makes
the top note an E, but we only sing it 2 or 3 times.
Serving the Church
Finally, I have to choose, I want to sing songs in keys that are
comfortable for the congregation, not me. Ideally, we haven’t gathered simply
to listen to my voice, but to each other’s. I want the energy to come from the
congregation, not me. That doesn’t mean I can’t do a solo in a key that works
for me. But when we’re singing together, I want to serve the congregation. If
I’m more comfortable in a higher range, I can always add harmony or vocal fills
in strategic places.
While churches can genuinely worship
God with songs that are too high or too low, the right keys can help people
express their faith-filled praise in ways that are effective, encouraging, and
enjoyable.
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