Leading Congregational Song

REPRINTED BY PERMISSION OF
CRC PUBLICATIONS
2850 KALAMAZOO SE
GRAND RAPIDS MI 49507

SO YOU’VE BEEN ASKED TO . . .
LEAD CONGREGATIONAL SINGING

By Revs. Randall Engle & Ron Rienstra

Introduction

Kenaniah the head Levite was in charge of the singing; that was his responsibility because he was skillful at it.
I Chronicles 15:22

Let the Word of Christ dwell in you richly as you teach and admonish one another with all wisdom, and as you sing psalms, hymns and spiritual songs with gratitude in your hearts to God.
Col. 3:16

So you’ve been asked to lead congregational singing! It is wonderful work to lead God’s people in worship, work you share with Moses and Miriam, Deborah and David. It is a calling that requires not only a level of technical skill, but spiritual maturity and discernment. Perhaps you are a pastor, a music minister, or an organist. Or maybe you’re a choir director, a youth leader, or the coach of a worship team. Perhaps you’re a young person asked to direct the evening song service at your congregation. Whatever the case, and whatever musical style in which your congregation worships, this brochure will give you some principles and strategies to guide your leadership. It will also offer some practical tips to help you lead singing more effectively. If you have been asked to do more than lead singing – to lead an entire worship service, you may find helpful the pamphlet “So You’ve Been Asked to… Lead a Worship Service,” also available from CRC publications.

Because your love is better than life, my lips will glorify you. I will praise you as long as I live, and in your name I will lift up my hands. My soul will be satisfied as with the richest of foods; with singing lips my mouth will praise you.
Ps. 63:3-5

The LORD your God is with you, he is mighty to save. He will take great delight in you, he will quiet you with his love, he will rejoice over you with singing.
Zeph. 3:17

Sing and make music in your heart to the LORD.
Eph. 5:19

Think for a moment about the activity of church singing in all its diversity – from Hebrew or Gregorian chant to spirituals; classical oratorios to praise choruses; hymn chorales to folk songs from Appalachia, Argentina, Ghana and Nepal. Whenever and wherever God’s people have gathered to worship, we have used songs to confess, to praise, to give thanks, to lament, to intercede, and to testify to God’s goodness. The scriptures even speak of God rejoicing in song! Music is the river on which the Church’s worship is carried. It offers us not only the God-glorifying experience of ear-pleasure; but more importantly, singing unites our minds and bodies and spirits in a way that enables us to bring our whole selves into worship, both individually and corporately, communicating at the deepest levels with our Creator.

Those who lead the Church in song are called to this fulfilling work: to invite God’s people to use the breath of our bodies to commune with the One who gives us breath.

PART I: SONG INTRODUCTIONS

I will sing with my spirit, but I will also sing with my mind.
I Cor. 14:15

PURPOSE
The purpose of a song introduction is, at heart, to introduce a song’s purpose. It’s much more than telling a congregation where to find the music they’re about to sing. Of course, people need to know some mechanics: key, tempo, lyrics, and so on. But singing in worship isn’t something we do while God listens. It is an encounter between God and God’s people in which both parties speak and act, renewing an ancient covenant of love. What congregations most need to know, then, before they begin to sing, is this: Why are we singing this song? And why are we singing it at this point in the service? Who is speaking and what is being said? What are we to think and feel as we sing it?

Some congregations offer cues in the bulletin to answer these questions. For example, one might find printed the words: “We give thanks to God with hymn #297, O Come My Soul” or “We confess our sin by praying with the song Change My Heart, O God.” However, in many services written cues are absent. In such contexts the introductions – both musical and spoken – help the congregation to understand what is happening, and thus invite them to enter more fully into the drama of worship.

PLANNING
Introducing any song then, requires significant preparatory work on the part of the leader. The leader (and the musicians, too!) should be familiar with the “personality” of a particular song or hymn. Is it a hymn of adoration? triumph? lament? thanksgiving? Does it tell a story? What are the contours of the text? Who is speaking and to whom? All these have direct musical implications. In the song Here I Am, Lord, for instance, the verses are in God’s voice, speaking to the congregation, and the chorus is the congregation’s response. The accompaniment for a statement like “I, the Lord of sea and sky…” will be quite different from that for the childlike simplicity of the chorus’ “I will go, Lord, if you lead me.”

Beyond the song itself, a musician must also take into account how and when the song is being used in the service. For example, the familiar hymn Amazing Grace can be rendered a number of different ways: triumphant as an opening hymn, reflective as a hymn of confession, or it may travel through many moods as a story of redemption. How a musician chooses to bring this hymn to life will depend on how and when it is used in the service. How does the song follow what’s just happened in the service? In what way does it anticipate or prepare for what comes next? Is it being used to confess, to intercede, to celebrate, to adore, to testify to God’s goodness?

Once this preparatory work is done, practical questions like “what do I say?” and “what do I play?” are focused more sharply by attending to the song’s purpose in worship. Thus, the question: “should there be a long or short introduction?” becomes “will an extended introduction to My Faith Looks Up to Thee help the congregation assume a penitential posture after what’s gone immediately before it?”

INVITING
The role of worship leader and musician is to lead worship, not to do worship for the congregation. It is to invite the congregation, as hospitably as possible, to worship in song with all their heart and mind. Once the invitation is offered, step aside so that the song, the congregation, and the Holy Spirit can do the rest.

Spoken Introductions
Stand tall and confident. When you speak, speak slowly and clearly. If you need to consult your notes or music, or if you need to make eye contact with other leaders, be sure you re-establish the connection with the congregation before speaking again.

Spoken introductions should not be chatty. Communicate items that are helpful to the worshipper and then get out of the way. You may wish to use a (very brief) selection of scripture to communicate the purpose of a song, or to voice a biblical invitation to confess, to praise, to give thanks, etc. For example, the first verses of Ps. 40 could be used to remind the congregation of God’s redemption and then invite them to sing “a new song.”

But usually you need only to provide the song’s name, purpose, where it can be found, and any special instructions as to how it will be sung. For example, “Let us join with all creation giving praise to God with Psalter Hymnal number four-three-one, All Creatures of Our God and King” or “On the back page of the bulletin insert you’ll find the music for Open Our Eyes, Lord. Let’s together pray for the Spirit to enable us to hear the Word as we read Scripture.”

Sometimes even this is more than you’ll need. Think as if you are introducing a friend to the congregation. Familiar songs need little to no introduction, spoken or musical – this is an old friend the congregation knows!

Musical Introductions
In a musical introduction, too, simplicity and self-denial are virtues to be sought. An over-long or overly complex introduction can overpower the congregation, leaving them unsure about whether their singing is even needed. Strive, too, for clarity and consistency. There should be no question in the minds of those in the congregation when and what they are to begin singing. Offer a clear melody, an obvious beat, clean articulation, consistent breaks between stanzas or a clear musical turnaround between the refrain and when the verse begins again.

These principles -- simplicity, clarity, and consistency -- apply no matter what instrumental or vocal support you offer the congregation. However, there are some unique things to keep in mind if you are accompanying with an organ, or a piano, or a praise band. What follows are applications of these principles, as well as some hints and practical advice for introducing songs in common situations.

WORSHIP TEAMS
When leading congregational song with a worship team, remember that your primary purpose is to invite the congregation to participate. There’s a lot of power in amplified instruments and voices – use it with care. You don’t need the whole band to play the introduction. It’s often effective to use a mid-range rhythm instrument (guitar or piano) on the intro, and then allow the bass and drums to come in with the congregation, or when the song is beginning to swell and the congregation needs more support. If you do use a guitar as the primary rhythm instrument, be sure another instrument – a violin, a flute, or some other solo voice – offers the melody so the congregation is clear about what notes they are to sing.

Often worship teams combine spoken and musical introductions, playing a song softly underneath a leader’s words. This can be effective, but be careful not to allow the music to drown out the speaker. Also, don’t have the musicians play a distinguishable melody. When that happens, the congregation hears the tune and their minds are drawn to the words of the song they’re hearing rather than the words being spoken.

You can use not only your words and your music, but your body, too, to invite the congregation to sing. Your face – and eyes especially – can model the emotions of a particular worship moment. Use your hands – not to direct the congregation as if they were an orchestra, but invite them to sing in a gentle palms-up gesture of vulnerability and openness.

ORGANIST
The organist commands one of the finest worship instruments ever created. As a wind instrument, the pipe organ evolved specifically to support the human voice—another wind instrument. Get to know the colors and capabilities of the instrument you play and then find creative ways and creative accompaniments to aid your congregation in singing their best.

Thousands of hymn intonations have been published to help you in this pursuit (see the reference guide at the end of this pamphlet). “Hymn intonation” simply means hymn introduction. Good hymn intonations are stylistically appropriate to the hymn, and capture the spirit of the song in musically creative ways.

For example, if Amazing Grace is sung as part of the service of confession the hymn’s tone will be one of penitence and humility. So introduce the hymn by playing the melody only with a “humble” reed stop, an oboe or dulciana. That’s all that’s needed. The congregation will respond to the simplicity and starkness. If, however, Amazing Grace is to be sung after the service of confession, try a rollicking gospel introduction or full organ to respond to the assurance of God’s grace.

It’s also important that it be crystal clear when the introduction is complete; any uncertainty will certainly be felt—and heard—by the half-hearted entrance of the congregation.

Another caution is not to get so elaborate in interpretation that one forgets the basics while playing the hymn. First and foremost, the organist needs to play with a solid beat, with clear articulation, with consistent breaks between the stanzas. These are basic ingredients to successful hymn playing. Creativity and elaboration should only be added insofar as they do not obscure the basic fundamentals of hymn playing.

THE PIANIST
The role of the pianist, like the organist, is to facilitate the singing of the congregation. The number one question of the pianist is “how can I more effectively lead the congregation’s song?”

The piano basically has one color, or timbre, unlike the organ, which can immediately change color by adding or subtracting organ stops. Hence, more attention needs to be given to bring differing styles alive on the piano. Understanding and working on these styles is a lot of rewarding work for the pianist.

Study the song. What is its mood? What style does it call forth? Outside of the worship service, practice improvising an accompaniment in differing styles. Many fine books are published to help the pianist develop this skill (see the resource guide at the end of this pamphlet).

PART II: DURING THE SINGING

When leading the congregation in song, the musician has a host of tools to encourage engaged worship. A song’s tune and text are given by the composer and author, but the musician can alter a song’s tone, tempo, texture, and dynamic level to evoke an appropriate emotion from the congregation and to invite more thoughtful singing. Significantly slowing down “Love Divine, All Love Excelling” allows more time to ponder the deep words of the text. Adding layers of instrumentation to a Taizé chorus is like discovering new levels of complexity to simple scriptural words: “O Lord, hear my prayer.” Working out varied organ registrations for each stanza of “All Things Bright and Beautiful” showcases the variety of creation sung about in the hymn. Let all your musical decisions foster a more profound appreciation of a particular song and its use in your particular worship setting.

ROLE OF THE PASTOR/WORSHIP LEADER
Remember that your role is to lead worship of the Living God. At all times your demeanor, your posture, and your expression need to point away from you. At a minimum, this means if you have invited the congregation to sing, you should be singing too. Try not to look at your notes to see what will happen next in the service. Balance your own worry about faithfully leading God’s people with your own heartfelt worship. Your confident and authentic presence will be the best invitation for people to join in worship.

WORSHIP TEAM
“Do not think of yourself more highly than you ought…”
Rom. 12:3

The biggest danger in leading congregational song with a worship team is the temptation for the team to become the focus of worship, to solicit and then absorb the congregation’s attention rather than re-directing it toward God. There are a number of things you can do to minimize this temptation. First, though it seems obvious, is this: pray for humility. Second, keep solo-ism in check by reminding each other often that “less is more.” Aim to fill in the musical holes, not the whole. Finally, don’t allow the musicians (especially the drumset, if you use one) to become a visual focal point. Move them to the side of the sanctuary, if you’re able. Remember, you aren’t performers, you’re prompters.

Balance the strength of your ensemble with a modeled vulnerability. Think of your leading as happening not so much from “in front” as from “underneath.” Sometimes the congregation needs you to play out and lead them in celebration. But sometimes they need to you drop out to lead them best.

Another tension for the worship team is between excellence and authenticity. Of course these two aren’t mutually exclusive. We should strive for excellence in all that we do – God always wants our best gifts. At the same time, music can be over-rehearsed and overproduced so that it lacks authenticity. Find a middle ground where everyone in the worship team is confident and competent, yet retains a bit of a spontaneous edge that acknowledges that at worship anything may happen!

ORGANIST
The number of ways to enliven congregational singing from the organ is endless. The biggest key to success is to prioritize hymn playing in a service, maybe even more than the prelude, offertory and postlude. To lead the congregation in song is your main job. Do it well!

During the singing of a song, concentrate on the basics of consistent tempo, clear cutoffs and entrances. Breathe with the congregation, and lift your hands during your breath. Try to listen to the congregation, but don’t let them slow the tempo.

When these basics are mastered, study the text. Does any stanza call for a special registration? For example, in Psalm 23, you may wish to begin verse 1 with a solo 4’ flute (a shepherd’s pipe?), but the verse about “yea though I walk through the valley dark as death. . . . “ might be pictured by playing on the swell, with a 16’ reed drawn.

Whatever you do, don’t be boring. Congregations led by an organist who is engaged in the text and is striving to bring the text alive musically will be drawn into the drama. The key, again, is this: prioritize hymn singing in your weekly preparation.

There’s also the matter of varied accompaniments and introductions. Alternative accompaniments and harmonizations can add a wonderful bit of spice to a particular stanza. Just make sure it is well-rehearsed, and that it does, indeed, attract the singer to the text, and not away from it. Hundreds of published harmonizations exist at all levels of skill. If you’re in doubt about your ability to solidly lead the congregation using a new harmonization, or are a bit hesitant because the new harmonization is a bit jarring, don’t use it. Better to play a hymn simply and well than try and be too elaborate and confuse the congregation. Less is more.

The best introductions are ones that set the mood of the hymn, while setting the tempo and tonality. Use variety in your introductions; never let your introductions become cliché by simply playing the first and last lines of the hymn using 8’ 4’ and 2’ stops. For an unknown hymn, a longer introduction may be needed; well-known hymns like Amazing Grace and O For a Thousand Tongues hardly need any introduction. Introductions are great opportunities to be creative because the need to carry the congregation’s voice isn't present. Try introducing Amazing Grace on an 8’ solo reed stop with no accompaniment; or mix up the phrases of a hymn; elaborate simple harmonies; simplify sophisticated harmonies—do whatever you can in the introduction to pique interest from the singer. If they hear a new “twist,” or sense the organist is really excited about this hymn, new energies and interest will be released in the singing of the hymn.

PIANIST
The pianist’s job during singing is to lead the congregation. Be clear in your attacks and releases, be consistent in your tempo. Be a gentle leader. Because of the percussive nature of the instrument, be careful not to “over play” the piano. Let its tones speak naturally and unforced.

If you are playing solo piano for a service you may have to play into the piano a bit more. Use variety by changing your touch and style. Try playing an entire stanza of a song up an octave, or carry the melody in the left hand. Vary staccatto and legato phrasing.

If you are playing the piano as part of an ensemble, the piano is less of a lead instrument and more of a partner, adding another texture to the ensemble. Maximize its strengths by playing in ranges where other instruments of the ensemble can’t.

If you are playing the piano as part of an ensemble, the piano is less of a lead instrument and more of a partner, adding another texture to the ensemble. Maximize its strengths by playing in ranges where other instruments of the ensemble can’t. The piano can also provide interesting effects with arpeggios--think like you’re playing a harp or guitar and listen to what happens!

If you are playing an electronic keyboard be judicious in the sounds you select. Again, if you are playing the keyboard as a solo instrument that needs to accompany a full congregation, you’ll need more sound that is distinct. If you are part of an ensemble, remember you’re providing another texture and select sounds that fit the ensemble. It’s important, too, like the organ, that after you select sounds for the keyboard you listen to them from the congregation. Have someone play for you while you go out and listen. You may be surprised how the sound changes just a few feet from the keyboard.

THE CHOIR
Historically the choir evolved in the worship life of the church in order to assist the congregation in singing its song. The same is true today. First and foremost, before the great anthems, the choir’s main role is to assist the congregation in singing their praise.

The choir can enliven a song by singing a stanza alone, with an appropriate accompaniment. Or the sopranos and tenors can sing a descant on a chosen stanza. The choir director can lead a hymn concertato; that is, a hymn specifically arranged and published for choir, congregation and instruments. The ideas are endless.

However the choir is used, and whatever the plan is for a particular song, be crystal clear in the introduction about the instructions for singing. Confident plans, clearly articulated and well-rehearsed, are the key to successful congregational song.

A one-person choir (“cantor” or soloist) can be helpful for hymn and psalm singing too. See So You’ve Be Asked To. . . . Sing a Solo for more ideas.

PART III: EVERYTHING THAT HAS BREATH….

Praise the Lord.
Praise him with the sounding trumpet,
praise him with the harp and lyre,
Praise him with tambourine and dancing,
praise him with the strings and flute,
Praise him with the clash of cymbals,
praise him with resounding cymbals.
Let everything that has breath praise the Lord.
Ps. 150:1a, 3-6

Leadership in the church should not be left only to the “professionals.” One of God’s most widely distributed gifts is musical ability. Survey your congregation and mine their talent in leading congregation’s song! Young people, especially, who are so eager to be part of a community that cares for them and needs them, can be given a place in a musical ensemble at church.

Some ideas:
- Guitar players add harmonic and percussive texture when playing with a keyboard, and many hymnals print chord symbols right in the hymnals, so guitarists are ready to go. For a more Spanish flavor, try having the guitar play alone. Have a string bass player and a trumpet? Presto! A Mariachi band to accompany Spanish folk music!
- Any “C instruments” (instruments whose score is pitched the same as a piano’s) can simply play along on the melody line, or create (improvise) a descant by playing other lines up an octave or two.
- Brass instruments are always triumphant additions, especially with organ. Brass fanfares and embellishments give a festive and regal pomp--especially on festival Sundays.
- Strings & other woodwinds offer a variety of voices, each with its own character. Make use of the different timbe each has. A soulful saxophone can effectively lead “As the Deer.” Have a bassoon or a viola lament “O Come, O Come Emmanuel. Use a soaring violin or flute or oboe for “On Eagle’s Wings.” Add a clarinet and a trombone for a “Dixie” feel on “When the Saints Come Marching In.”
- Adding just a few hand percussion instruments is a great way to add rhythmic interest and texture, especially when playing African or Hispanic music. Get a tambourine, a shaker, and some congas or a djembe, and you’re well on your way!
- Handbells are not just for handbell choirs! Use handbells along with instruments as accompaniments, or just try “free ringing” a set of bells in a chance pattern over the accompaniment. For free-ringing remember this rule of thumb: 1,3,5,6 (Use the Do, mi, so, la bells of the key you’re in for free-ringing).
- The ideas are endless. Use what you have. Adapt. But be sure to practice with any and all instrumentalists; don’t forget the introduction, and rehearse how long the pause will be between stanzas so that the consistency will enable the congregation to sing with greater surety and boldness.

PART IV: COMMONLY ASKED QUESTIONS

In a loud voice they sang: Worthy is the Lamb, who was slain, to receive power and wealth and wisdom and strength and honor and glory and praise!
Revelation 5:12

How do I know when to play the piano, and when to use the organ?

Usually, a cursory glance at the music will give the answer. Flowing arpeggios don’t come off on the organ well. And the piano can’t sustain whole-note block chords. If you’re still in doubt, try the song out on both, and make a decision based on which instrument will lead the congregation better.

What about a capella singing?
The solo voice of the congregation—without the aid of any instruments—can be one of the most thrilling ways to sing a song. In fact, this was the ideal of John Calvin himself. Certainly this is a great idea for any/all of a song, and an idea that’s too often overlooked. If you do decide to sing an entire hymn, or selected stanzas, without accompaniment, make sure it’s part of the plan and that all instrumentalists are cued and no one is surprised. Most congregations will go right on singing--if the musicians make it clear this is what was supposed to happen. Having the choir and worship leader cued in advance will also ensure success.

Our Pastor picks the hymns, and they’re always the same favorites! Help!
The pamphlet So You Been Asked To Plan A Worship Service has some great suggestions for worship planning, as well as how to create a worship planning committee. This committee can work with your pastor to ensure an even balance of hymnody. Give that pamphlet to your pastor and suggest the idea of beginning a worship planning team.

One of my professors once had as her guiding rule for each worship service, her “formula” for ensuring a well-balanced musical diet in each service she planned: “Something old, something new, something borrowed, something blue.” By this she meant a hymn from the church of the past (old), a new hymn of the church (contemporary), something “borrowed” from the world church (an African freedom song, a Spanish folk tune), and something blue she defined as something “jazzy” (Gospel, spiritual).

When a song is unfamiliar, how can we introduce it?
Familiar songs are like old friends – they need little introduction. But new songs need to be learned before they can be used most effectively in worship. One option is to familiarize the congregation with the melody by playing the new song as a prelude or during the offertory. Another option is to take a few minutes before the service to explicitly teach the song to the congregation. Young people pick up new music quite easily, and using them to teach your church a new song is a great way to make use of their ability and enthusiasm.

How often do we repeat a praise chorus? How do we know when we’re done repeating?
Praise choruses – short, simple-to-sing contemporary songs – often pack an emotional wallop, but don’t have enough textual or musical richness to warrant repeating them much more than twice.  Use a chorus to evoke an emotion, or bring the congregation to a particular emotional place, and then sing a hymn that anchors them there, or draws them deeper. For example, the chorus I Love You Lord can be used to enrich the wonderful hymn Beautiful Savior. Use overheads or ask the congregation to have both songs “ready to go.” Sing I Love You, Lord once or maybe twice, and don’t slow down at the end, but have the accompaniment go straight into the last line of Beautiful Savior. Both songs have the same pulse and are in the same key, so the transition can be smooth and seamless. Let the music indicate which song is being sung rather than speaking.

Other short songs, especially folk songs from other lands, are cyclical in nature, and need to be repeated many, many times for them to do their work. The worship leader can use gestures to indicate a return to the top of the song (a circular gesture with a fist or one finger raised) or its conclusion (one or both hands out with palms upraised or to the congregation).

RESOURCE LIST

Cherwien, David. Let the People Sing: A Keyboardist’s Creative and Practical Guide to Engaging God’s People in Meaningful Song. Saint Louis, MO: Concordia Publishing House, 1997. Written for a keyboardist, Cherwien reviews the fundamentals of leading congregational song from the piano and organ. Then he offers scores of ideas for introductions, accompaniments, and instruments as well as a valuable tutorial on improvising in varying styles.

Choral Settings of Hymns, Volumes 1-5. Minneapolis, MN: Augsburg Fortress Publishing House. This series uses different composers to set hymn stanzas for SATB choir.

Engle, Randall. “Let the Organ Sing!” Reformed Worship 29. More ideas for using the organ creatively to lead congregational song.

Ferguson, John. Worship Blueprints: Guide to Planning for Worship Music. Minneapolis, MN: Augsburg Fortress Publishing House, 1983. Ferguson provides a resource for inspiring congregational song. Helpful annotated collection of examples.

Hopson, Hal. The Creative Use of Choirs in Worship from The Creative Church Musician Series. Carol Stream, IL: Hope Publishing Company, 1999. Don’t let the expense of this volume (about $50) scare you away! Hopson has taken about 700 songs, alphabetized them, and gives creative ideas for each hymn, often including music for choir stanzas, alternative accompaniments, modulations and instrumental parts. A treasure trove of music and ideas.

Kraeuter, Tom. Worship Leader’s Handbook: Practical Answers to Tough Questions. Hillsboro, MO: Training Resources, Inc., 1997. A book of commonly asked questions about worship leadership and answers to them from a respected and experienced worship leader.

Little, Charles F. Praise Him With the Gospel available from Dove Music, Milwaukee, WI. Little has often been asked the question “How did you do that?” when he played gospel music on the piano. In these volumes, he hand wrote many of his accompaniments, and includes a listening cassette.

Siewert, Alison (editor). Worship Team Handbook. Downers Grove, IL: InterVarsity Press, 1998. This resource was written by the folks who first gave the Urbana conference worship a stylistic make-over in the early 90s. It’s filled with practical and tested ideas for leading worship with a team of leaders.

Winkles, Frank. How To…Introduce Worship Songs. In the quarterly journal Reformed Worship, issue 50, p. 45. Great examples of spoken introductions that help the congregation understand the purpose of a particular song in its worship context.