Choosing Choir Literature Based on the Size of the Choir

Based on my research, no more than 25 percent of church choirs in America have more than fifty participants. Even the major evangelical publishers are attuned to this fact because many offer choral music options for the smaller choir. I don’t see this trend in school choral groups, however, but the disconnect between school choral programs and church choral programs is REAL. I’ll write more on how we can bridge these relations soon.

Regardless of the size of the choir, there are non-negotiable traits of good, healthy singing. Tone, intonation, pitch, rhythm, tempo, articulation, expression, interpretation, etc. are some of the hallmarks of any good choral group. Having worked with both large and small choirs, I have noticed there are definitely some distinctions worth noting between the two sizes. Taking into account these difference can help the leader choose more appropriate literature for the size choir he or she leads. Here’s a selected list of some observations based on my own experiences:

Large Choir
1. Able to produce a large sound-especially if singing with orchestra
2. Less confident singers can find confidence in stronger singers/readers
3. Larger possible pool of soloists
4. Able to sing most songs with lots of divisi
5. Sing songs with more extreme ranges
6. Able to sing longer phrases (stagger-breathing becomes easier)
7. Easier to blend parts because no one has to “carry the section”
8. More difficult to sing especially rhythmic (syncopated) tunes (can be more difficult to get the train moving fast- so to speak)
9. Can have more strong sightreaders, which expedites learning

Small(er) Choir
1. Most have to pull their own weight, confident or not. (My first choir had excellent singer/sightreaders because the fewer singers had to step up and be confident)
2. Members feel more obligated to attend due to numbers–Greater chance of huge holes in sound if certain ones aren’t there
3. Can be more difficult to blend
4. Can be easier to sing more rhythmic tunes due to the weight of the larger number of singers
5. Literature choices can be limited by range, phrasing, etc.
6. Often part singing is limited based on availability. (We see this in the ever-present doubling of soprano and bass lines of popular church choral music geared for smaller choirs)

This is definitely just a start. What would you add to these lists? If 75 percent of evangelical churches with choirs have fewer than fifty participants, then how do we overcome obstacles the smaller choir has?  Let me hear from you.

 

 

Finding Value and Purpose for the “Builder” Generation in Your Music Ministry

Being an intergenerational music ministry means that we value and find places of services for ALL ages. While this sounds easy to write, it can more challenging than one might think. Folks from each generation are at different stages of life, which affect their ability to participate. The question that runs through my head for all on my team is: how can I make things easier for folks at different stages of life to participate and make a valuable contribution to the kingdom of God? This may mean helping the young mother who has to miss so much for her kids understand she is wanted and valued while she is away. This also means not making the older adult feel guilty because they have to miss so much for doctor’s appointments or illness. Someone once told me, people always make time for the things they love and are committed to. I’ve found making our people feel valued and appreciated means they’ll be here as OFTEN as humanly possible. We leaders must be open and embrace the strengths each generation brings to the table while learning to manage the weaknesses of each as well. For the next few posts, I want to highlight some perspectives from folks in our ministry from different generations.

In this post I want to share of the JOY it is to have music team members from the Builder Generation. Builders, as defined by Pete Menconi in The Intergenerational Church: Understanding Congregations from WWII to http://www.com, were born from 1925-1943. Our youngest Builders today are 75 years old. If what I found in Georgia is true, no more than about 10-15% of any music ministry is made of folks from this age group. Most have simply “retired” out of being in music ministry or, sadly, have been made to feel inferior and simply dropped out when they simply didn’t feel valued anymore. Issues folks from this generation face in music ministry include: sickness, loss of mobility (standing, balance, getting in and out of loft), breath support—vocal issues, etc. It’s our responsibility to help minimize and alleviate these issues as much as possible. Otherwise, they will simply drop out.

In our church we have several folks from the Builder Generation in our choir and orchestra. Today I want to share about one particular lady in our choir who God has used to encourage me countless times. It is a double blessing that she gets to sit next to her daughter in the choir…serving alongside. Here’s a bit of her story from her daughter’s perspective:

Mother grew up in a musical family so music is very much a part of her DNA.  As a child, she was attending “singing schools” led by her Dad.  He would lead and her mother would play the piano.  Part of the requirement of each singing school was that each participant got to lead the group as a music director.  Mother began doing that before she was a teenager. 

Music has been one of the dominant themes/patterns of her life.  She majored in music in college and has had piano students, vocal students through the years.  She has also served as pianist, organist and minister of music in many of the churches and military chapels.  Her love and passion for music makes her heart sing. Again, music is in her DNA and God has used that in her life.

She has and continues to dedicate herself to serving God.  As she is aging, there are many activities she can longer participate in and/or lead. The opportunity to sing in a choir again has allowed her to reconnect to her joy of music and her sense of value.  It is filling a void that existed since music is so much a part of her life.  Some comments she has made:

  • I am so thankful to be singing in a choir again.
  • I didn’t think I would ever get to do this again.
  • (to me) You don’t know how much this means to me that you make this possible.
  • I know all these songs! (She does know many due to her vast knowledge of music however not 100%!)
  • I prayed and prayed that God would allow me to sing in a choir again.
  • At least there still something I can do.
  • I bet I am the oldest one in the choir! (to which I have told her she is not!)

Will, I think I have shared with you that I was not sure how well she would do and if she could manage to keep up as she ages.  When she is in her seat with her folder, she is in her “sweet spot!”  Although she has difficultly following some of the scores (that’s where I come in as her guide!), she is spot on with diction and notes.  Her voice is not strong but it is on key. Being part of the choir reinforces her call to ministry and allows her to continue to serve God.  Not all choirs would welcome her (and others of her age) that you so willingly embrace. You find value where they are in their lives and in their musical experience. 

For me, it’s an honor to be a small part of how God is answering Mother’s prayers and seeing her engaged in what is so much a part of the very fabric of her life.  It has, for now, altered some of the ways I am able to engage and interact with others in the choir as I am her guide and support.  I am good with that.  I can only imagine there were many times when I was growing up that she was in the same place, sacrificing some of herself for me and my brothers for that moment in our times of growing up.  The fact that you embrace people where they are and find a way for them to fit is a leadership characteristic I value and appreciate about you.  It’s one of the many characteristics that sets you apart from your peers. 

I wept as I read this.

I have to tell you, not a week goes by that my Builder generation member doesn’t grab me lovingly by the arm and thanks me for letting her sing in the choir. She keeps me in check, friends. She reminds me we’re in this together till the end; we are spurring one another on, submitting our own needs to those who need it most for the sake of the gospel and the kingdom of God.

Shared Leadership

If any church claims to be truly intergenerational, her leadership must reflect the generational diversity of the church. To be clear, there is little need for an 8 year old with limited perspective to make unilateral, major decisions requiring a broader perspective of someone older. However, there are definitely ways that folks of all ages can be integral in shaping the vision and practices of many church ministries. The concept of “shared leadership” simply means that folks from all backgrounds (and ages) have the opportunity to lead (both in planning and execution of various ministry areas). Music ministry is a great way to implement the use of shared leadership. Here are are a couple of considerations when implementing this strategy:

  1. Implement worship leadership planning team(s) with members from all generations.  In this process those seasoned leaders invest in the younger, while the younger gives fresh ideas. This is potentially tricky, but allow those younger members opportunities to look at events, programs, and times of worship with fresh perspective. As a seasoned leader, ask questions of those younger members about their understanding of the worship experience and what might resonate with them to help them connect to God. You might be surprised at what you’ll find.

    My 10 year old son LOVES to doodle and draw during a sermon. Having plenty of room for notes (not always text notes—but pictures) allows him to stay focused and engaged. If your church doesn’t have room on your worship guide for this, consider having a separate worship guide for those creative types. In fact if the theme/scripture/application for the day may be added to this guide, that would help engage those (adults too) that are primarily visual and kinestetic learners.

  2. Develop musical leadership from all generations in your church. We value all our generations in worship so much, we regularly schedule time for our children and youth to share their gifts and talents in worship leadership. It’s a very intentional process. We don’t just teach them music performance, but also the importance of modeling worship behavior for participation. For our students that show great musical potential and feel the call of God to vocational ministry, we work hard to invest in them specifically. We do this by using the “Gradual Release Model,” developed by Pearson and Gallagher in 1983. This model (seen below) does exactly what the term suggests, it allows the “student” to assume responsibility as they get more opportunities to serve. Ultimately, it is our prayer is that the Lord will call some from our church to vocational music ministry and because they’ve been leading throughout their lives, they will already be equipped to lead elsewhere.

Obviously, the role of the “teacher” changes as the students are developed. This “passing the torch” approach is not without its difficulties. Obviously, the budding leadership still needs guidance along the way. Sometimes, for instance, the developing leader gets very excited about trying something new, but hasn’t considered the theological content or the context of the situation when giving leadership to planning and executing worship experiences.

Next week, I will discuss some of the tensions and struggles that may arise from developing nextgen leaders and how we as seasoned leaders can encourage without stifling the energy, creativity, and passion of these budding leaders.