Bringing the Church Back Together-Part 3-Practical Application

In my last two blog posts (Bringing the Church Back Together- Part 2- First Steps and Bringing the Church Back Together- Part 1- Biblical Foundations) I discussed the biblical foundations of intergenerational worship and the importance of buy-in from the staff and the key leaders of your church. In this post I will speak specifically to the music/worship leader who will have to deal with the musical conundrum of bringing multiple music types together in a unified approach. It will be a challenge to some degree, but it can be done. I hope you’ll find these practical applications helpful. As always, I’m sure there are many more I could add to the list.

  1. Pray! Again, I cannot emphasize this enough. Music and style is often a passionate subject for many in the church. Often, it’s the non-musician who is the most hesitant to any change in the church. Be assured there will be push-back, but pray the the Holy Spirit would cause you to response in gentleness and love as you explain thoughtfully of the plan to integrate the services.
  2. Find a common “set-list.” Many churches with multiple services have at least some common tunes that are sung in each service. Begin by using these songs when the services come together whenever possible. Obviously there will be modifications to the instrumentation or “style” of the song depending on who is leading, but at least find some common ground.
  3. Aim to use players and singers from all teams together. This may be pretty difficult practically and relationally, but remind those how important each person is to the integration of the services. If you have redundancy on instruments, set up a schedule for all to play. If you’re going to integrate the choir into the new service (and if you have one, you should) they will need appropriate time to learn newer songs to help teach the congregation. If you used orchestra in one and only a praise band in another, you must find “charts” that allow all to play together. This process will stretch your players on both ends. Those used to “rocking it out” may feel stunted by the charts they now have to play. On the other hand, the less contemporary service might feel things are “louder” and too “rocky!” Be prepared to alter and make changes as you get started. Remember to keep your personal feelings in check. Listen carefully to the suggestions you hear. Some will be worth altering, while others will just be complaining. Be careful to make all feel valued and use grace as you respond to each comment.
  4. Introduce/Re-Introduce songs carefully and slowly. There are fantastic new songs and timeless hymns that probably have been ignored in the services when they were apart. Pick “new” songs to introduce that are lyrically sound, melodically and harmonically interesting, and memorable. When I’m confronted from time to time about new songs that “no one knows,” I simply say, “I understand we don’t know it well right now, but I believe this song is strong textually and will endure the test of time.” I’m careful to say this because I also know there will be something in just about EVERY service I plan that has something most people are familiar with. In short, FAMILIARITY is more important than labeling something traditional or contemporary. What people want, truly, is something familiar…find that common ground first and work from there.
  5. Remember your church is NOT like the one down the street. I cannot emphasize this enough. Do not try to emulate everything you see working for the church that you perceive to be “doing it right!” You must contextualize carefully. Know your church–be careful to study her history, the demographics, the musical worship expressions over time, and the talent level of the musicians. Also, know your community. Things work differently in a county seat town in rural GA than they do in the white collar suburbs of Metro Atlanta. Study your people. Push them out of their comfort zones when appropriate, but don’t completely eradicate Southern gospel from a church that’s had that embedded in their history for 100s of years just because you don’t like it. The church I am serving is vastly different from most of the churches in our area. We know who we are and what we do well and we capitalize on that. It’s create a niche for us that has allowed us to be who God has called us to be without trying to emulate other churches in our area—who, by the way, do the things they do VASTLY better than we ever could.
  6. Give up your personal agenda and work as a team. You are not the star of the show, worship leader…God is. He likes it all. He LOVES to hear his children worship in spirit and truth. He is not stylistically pulled one way or the other. He just wants authentic praise, offered with all the excellence we have to offer. That said, remember that part of being an intergenerational family means we ALL serve…not just the uber-talented. We are a team; we work together for the goal. This concept will be harder for some than others. You control freaks out there will struggle given up control to others, but it’s necessary. Remember the goal of being intergenerational is that we try to value all and give them a role of importance. This means being very intentional about including “budding” singers and players. It might cost you some in the “excellence” you may be striving for, but if we only use our A-list players and singers, we will lose on on developing new ones. Someone one invested in us when we weren’t so great—we must do the same. Basically, create a culture that aims to nurture rather than simply “perform.”

 

 

Multi-generational or Intergenerational?They DO NOT mean the same thing.

I’ve written on this before at length (What does it mean to be Intergenerational?), but I continue to read and hear some very well-intentioned people use the term multi-generational in the same way as intergenerational. They are not the same. While both celebrate generations, one means there are many generations present, while the other means they are doing something together. I am careful to make the distinction because while the terms are not mutually exclusive, the term intergenerational is a step beyond being a multi-generational congregation. Let me explain further:

*Multi-generational (multi-gen) simply means what is says: multiple generations are present in your church/worship service etc. However, it does not imply that they are interfacing in any way. You must be multi-generational to be intergenerational, but you can be multi-generational without being intergenerational.

*Intergenerational differs from that of multi-generational in that while a church might have multiple generations present in worship services, the generations may never interact with those from other generations.

I would agree that most churches, to some extent or another, are multi-generational. Some might even celebrate the fact that there is much generational diversity present. You may wonder why I want to make the distinction. I believe it’s in the inter-relatedness of the generations that we find the most biblical definition of community. All local churches should ask themselves: in what ways will these generations have the opportunity to interact in mutual activities with those from other generations?

Intergenerational churches (ministries) should meet the following criteria:

  1. Two or more adult generations should be present regularly in mutual activities (ministries).
  2. These activities should encompass a broad spectrum of experiences such as worship, fellowship, study, missions, outreach, etc.

From my reading, research, and study on the subject, I devised a list of “must haves” when it came to being considered not only an intergenerational church, but having intentional intergenerational worship services. I consider these churches to be a “pure” form of intergenerational. Intentional intergenerational churches with intergenerational worship must meet the following criteria (based on the above definition):

   1. Must have multiple adult generations represented. Really, three is the minimum. It’s easy to meet this criterion if you have Boomers, Xers and even older Millennials.

   2. These multiple generations must be engaged in mutual activities. Once you get them together e.g. in worship, it’s actually EASY to do this. If they’re singing, studying the Word, participating in the Lord’s Supper together, then they are engaged in mutual activities. Make sure multiple generations are serving on your worship teams (music—especially the choir and orchestra/AV/ushers).

3. All generations in the service must be valued and understood to be equally important. This one can be tricky because it might be harder to know if everyone feels valued or important. However, as a leader you MUST be continually listening to all generations as they share their thoughts and figure out ways to value each generation. This goes beyond just listening to your choir/music team and orchestra/band members. Listen to the congregation. Make sure they feel valued and understood (listen)!

When I did my research on choirs in intergenerational churches, the leaders I interviewed shared what they did to ensure those from various generations felt valued and important. Here are the top four answers (1 being the most frequently offered):

4. Soloists and Praise Team members are intentionally selected from various generations. I cannot stress the importance of this as an easy tool to incorporate multiple generations in worship leadership. If your congregation has multiple generations, then the “face” of the music ministry should mirror them as well.

3. Encouragement from the leader (verbal and written). The people with whom you serve and those you serve need to know that you appreciate them—all of them!

 2. Treat all the same. Don’t show favoritism based on age. This can be harder than it sounds. The young, attractive singer is easy to use, but is it the “best” choice for the context you’re in? Conversely, don’t try to “appease” older members to the degree that the younger generations feel that their own “voice” is not heard.

 1. Use of varied literature. Easier to write and less easy to implement in some cases. While it makes sense that different generations will have certain song choices that speak to them, it shouldn’t be the main influence on your literature choices. In a nutshell, base your song choices on clarity of text and always, always figure out what is the “voice of your congregation.” There are songs that every congregation is drawn to…find them and use them along with excellent new things.

4. If multiple weekend services are offered, not counting separate services such as a Sunday night service, they must be mirrored in terms of content and musical style, rather than offering separate services based on style.  I discuss this one at length in another blog article you may read here: Intergenerational yet have multiple styles of services. Is it possible?

The distinction is important not because of syntax or academic “rightness,” but because of the biblical command to live in unity (commUNITY). It’s only through the engagement of all generations in the mutual, unified work of the gospel that we line up with the Lord’s plan for the church (ekklesia).

Are Solo-Driven Choir Songs Anti-Intergenerational?

Have you thought about how many songs your choir sings that feature a solo that “drives” the song you are singing? I don’t mean a simple verse solo or a small section in the song, but a full-song solo where the choir essentially takes a “back-up” choir role. If you are in my choir, you’ll sing plenty of these types of tunes. There are a few reasons this is the case in my choir and possibly yours as well:

  1. Some of the most popular songs for choirs today have solos that drive the song. I’m not in a popularity contest, but there are some great church choral songs (new and not so new) that have solos in them. I want my choir to learn lots of great things that have great texts and are solid musically.
  2. I can because I have lots of soloists. Having lots of great soloists makes it easy to present these types of songs, especially when you have some that really communicate the message in a special way…like Spencer in the feature photo here.
  3. Sometimes they are easier or faster to learn because the soloist has the bulk of the song. Sometimes the hardest part of learning a choral song are verses because of the variances of texts and rhythmic structures that can be tricky. If the choir is learning choruses only, which often repeat, the process of learning the song is expedited.

While we enjoy the flexibility to do lots of solo-driven choral literature, I am often conflicted about over-using these types of songs because of my commitment to value the contributions of all the singers in my choir. It’s a constant battle; one I’ve been contending with for years. When I researched intergenerational choirs in Georgia in 2014, I asked the leaders of those choirs how much of their own choral literature was solo driven.  Here are some results:

  1. Over half of them indicated that they only used solo-driven choral literature in about 20 percent of their anthems.
  2. About another 25 percent of those interviewed said they used solo-driven literature up to 40 percent of the time. 
  3. Smaller church choirs sang fewer solo-driven anthems than the largest church choirs.

A couple of observations from this data…

  1. Solo-driven literature does not “generally” dominate the choral offerings of churches that are intergenerational.
  2. Small church choirs probably have fewer soloists than the largest church choirs. Therefore, it’s plausible that more soloists could possibly equated with more opportunities to sing solo-driven literature. 
  3. There were no indications that age of leader or choir members had any bearing on the percentage of solo-driven anthems used.

One area that seemed to have a bearing on how much solo-driven choral literature was sung was the publishers frequently used. Those leaders who frequently purchased from more traditional publishers rarely used solo-driven anthems. Conversely, those who used only one or two publishers from the evangelical side reported much higher use of solo-driven anthems.  My personal observations (a quick count at any current choral pack from any publisher will reveal) Prism, Word, and Brentwood-Benson publish more solo-driven literature than other evangelical publishers (Lifeway, Lillenas, Praisegathering). I love, and use music from, each of these publishers, so do not think I am speaking negatively about any one publisher. I am simply commenting on what I see when I open their choral club packets/boxes.

The long and short of it? Broaden the number of publishers you listen to as you search for choral music for your church choir so you may find all types of songs—especially if you find yourself leaning towards solo-driven literature all the time.  This it is often hard to achieve, but necessary for balance if your goal is to create an atmosphere where all members of the choir feel valued and important.

Personally, I am guilty of relying on solo-driven literature at least 40 percent of the time, sometimes more. We sing tunes from every one of the above publishers and I love the variety of music types that can be found, but often I find some of the best tunes I can find (in my opinion) are solo-driven. But, since I firmly believe that valuing all in my music ministry is important, I know I must be careful to look for balance, which includes purposely looking for choir only literature that fits our context.

As a side note: thankfully, some solo-driven songs can be adapted to include more of the choir. For instance, verses that a solo would normally sing could be sung by the women or the men. I’ve done that on several songs and it has worked very well.