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Text – The first consideration for a new song is always text. If the song's text is not both theologically accurate and true to the lives of your congregation, it should not be sung even if it has a good tune. However, closely following the text's importance is the importance of the tune. The tune must be singable, learnable with minimal repetition, and strongly supportive of the text.

Appropriateness – The song should be appropriate for the group that will sing it, fit within the season and worship theme, and have a place in the service or liturgy of the day. It should also fit with the other elements of the day (there are some themes and musical styles that cannot easily co-exist in the same service) and have the potential to be appropriately presented and led. You should also give careful consideration to how the song will be used in the future. If the song has very limited thematic and liturgical use, another song with broader appeal may be more beneficial.

Leadership

Congregations have different traditions regarding the leading of congregational song. Congregational song may be led by an organist who uses the organ to lead the hymns, by choir (visible or unseen), ensemble (usually visible), or by a leader who is clearly visible in front of the group. More and more congregations are opting for some type of visible leader(s). They view the leader as a possible way to inspire and ensure confidence in congregational singing. While this practice is not new for some congregations, it is novel for others. Whatever the leadership style, it should be unobtrusive (any of the above types have strong potential for focusing the attention on themselves). Any leader of the congregation has to be a leader. Having the appropriate skills does not make you a leader, because leadership is always earned. When the title is not earned but is given to you, you may not be the leader even if you go through the motions each week! Leadership involves many characteristics; however, the one non-negotiable quality of a good leader is love. You will not lead church people anywhere without first loving them and the church. For a discussion of leadership, see the section on, "Developing as a Leader," at the end of Chapter 2.

Organist – There will be more to come regarding accompanying congregational song; however, the organist must be a respected, involved member of the congregation if congregational involvement is to be maximized. The organist must interact with the congregation and must build rapport. Only when the sounds coming from the instrument are heard through the filter of a real person will congregational song be at its best.

Choir – The role of the choir goes beyond supplying the anthem and/or singing parts of the liturgy. The choir's primary role is to offer support for congregational song. The placement of the choir affects its ability to enhance congregational song. Choir placement is discussed in the section on "Worship Facilities" in Chapter 8.

Ensemble – Many churches utilize an ensemble to lead in congregational music. Because of its size and the musical skills of its members, an ensemble can often offer flexibility and provide opportunities for innovation.

Individual Up-Front Leader – An individual who leads congregational song, often known as the "worship leader," should be positive, personable, enthusiastic (with control), focused, and confident. He/she should discover the fine art of leading without bringing attention to him/herself. The person should have a pleasing voice, good facial expressions, and be able to establish rapport with the group through eye contact or by other means. If the person uses conducting gestures, consider the following:

1) Gestures should be accurate and easily read by accompanists and others.

2) Gestures should be sized according to the size of the person leading, the group, and the size of the room. Always understate conducting.

3) Cut-offs and preparations should be given special attention.

4) Don't feel the need to conduct at all times. If the tempo is secure, just sing. If an ensemble is also singing, join them for some songs.

5) Conduct with your right hand. Save the use of the left hand for special situations such as extreme change of tempo, ritards, or augmenting an ending. Subtly you will train the congregation to watch carefully when you use your left hand.

6) Conducting should always reflect the music.

Introducing New Songs

There are many effective ways to introduce new music to the congregation. One of the most common is by sharing something about the text, the circumstances of its having been written, the author, or a scripture passage that supports the text. This information may be presented verbally or may be written in the worship folder or church newsletter. While a new text can be challenging to the congregation, the tune will most often present the greater challenge. If either the tune or the text is familiar, the congregation will learn the song much more quickly. The following suggests several ways to introduce new songs:

Utilize Preview Opportunities – In anticipation of introducing a new song, use the song as the prelude, postlude, or other service music, or have the choir or a soloist sing it. This will allow the congregation to hear the song and will make it much easier for them to sing in the service.

Congregational Rehearsal

– Prior to the beginning of the service, take a few moments to rehearse any music that is new in the service. This will allow people to be confident during the actual worship.

Within the Service – When a song is introduced for the first time within the service, a soloist, ensemble, or the choir should sing the first stanza or section. The congregation should repeat this section and continue through the rest of the song. The instrumental introduction to the song should contain a complete hearing of the song; furthermore, the melody should be emphasized or singled out.

Follow-Up – Many times we introduce new songs never to return to them again. New songs should be sung again within the next month and should be repeated several times within the next several months. Most congregants will have to sing the song several times before they feel confident. In order for the song to truly impact worship, the congregation must assume ownership of the song.

Accompaniment

The skill of playing a service as an organist, pianist, or any other instrumentalist deserves much attention and careful planning. Many good resources are written on this subject, and those who play for worship regularly should be familiar with these. The following may serve as a good beginning:

Tempo – The ability to maintain a strong sense of the beat is essential for good congregational singing in any style. Once the tempo is established, it should be kept steady except when changed for musical or textual emphasis. Choosing the correct tempo is also very important. Correct tempos are never absolute. They will vary according to the room, size of the group, type of accompaniment, familiarity, time of day, and other factors.

Breathing – The accompanist, especially the organist, must breathe with the congregation. Organists should always sing (at least to themselves) and simply lift the fingers when a breath should be taken. Singing the hymn is also a helpful way to establish an appropriate tempo.

Registration – Organists should pay careful attention to registration choices. Registrations should change from stanza to stanza and within the service. Registrations should be chosen to accentuate the text and musical setting. When other instruments are used, all accompanying forces should be "orchestrated" to achieve maximum results.6

Piano – The role of the piano will vary greatly depending on whether it is used alone or with other instruments. If the piano is used with organ, the instruments may trade out being the "lead instrument," although the piano has traditionally been an embellishing instrument when used in this combination. If the piano is used with guitar(s), it may serve as the rhythm section. The role of any instrument (including organ) will change according to how it is used in the ensemble.

Enhancing Congregational Song

Ideas for enhancing congregational song are numerous, and many good resources are available. Ministers of music should become familiar with as many of these as possible. The following suggestions should serve as an introduction:

Special Accompaniments – There are many good books and octavos that contain excellent accompaniments for congregational music. These may be written for piano, organ, synthesizer, brass quartet, orchestra, or any other combination of instruments. Collect as many of these as you can. They should be immediately accessible when the need for them arises.

Enhancements – These include modulations, interludes, free accompaniments, descants, and tags. Instrumental and vocal descants can often be interchanged, and choral anthems can serve as excellent sources for modulations, interludes, and free accompaniments.

Be Creative – Use a solo on the first stanza or an interior stanza, vary who sings on different stanzas, vary the accompaniment from stanza to stanza, sing a cappella, use different instruments (strings, winds, percussion, brass, Orff, autoharp, or handbells), and use all spaces within the room for variety (balcony, congregational space, or narthex).

Rehearse with all Leaders of Congregational Song

Whether the congregational music is led by the organ, piano, choir, ensemble, praise band, or some other choir or ensemble, all aspects of the worship should be carefully planned and rehearsed.

6 For a thorough yet brief treatment of organ service playing see, Alice Parker, "Thoughts on the Playing of Hymns," The American Organist, vol. 29, (August 1995), 38.

All introductions, alternate harmonizations, and interludes should be heard ahead of time. In order for worship leaders to participate confidently in worship ourselves, we must be free from as much stress as possible. When we are confident with all aspects of the worship, worship leaders have the possibility of genuine worship.