4. Choose “congregational” rather than “performance” songs.
Here is a general (not absolute) principle: The more a song depends on the musical accompaniment and cannot be sung by a couple of children in the car on the way home, the more performance-oriented and less congregational it probably is.
Congregational songs tend to have singable and memorable melodies. Just because a Christian artist has created something wonderful does not mean it is appropriate for the congregation.
The melody may not be very melodic. It may be too high, too low, or wide of range. It may be too rhythmic, perhaps syncopated in a way that’s difficult for untrained singers. It may be too complex through bridges, tags or multiple keys.
Such music might sound wonderful with the recorded accompaniment. Maybe the praise band can perform it just fine. But the more a congregation needs the musicians up front to get through a song, the more you can expect them to mouth the words while watching the band do its thing.
5. Please, oh please, turn up the lights.
Keeping stage lights bright while dimming lights among the people turns the people into an “audience” and everyone on stage into performers. It makes the whole event mimic the movie theater or the concert hall.
Keeping the entire room lit up, however, suggests that everyone is called to participate in the “performance” before an “audience” of one—God.
6. Please, oh please, turn down the musical accompaniment.
You don’t want your electric guitars or your organ, your drums or your microphoned choir, to drown out the sound of the congregation singing. We might even say the loudest sound in a room should be the congregation.
Lead singers might sing loudly on the first verse of a song, but then pull back a touch on subsequent verses.
Good accompaniment accompanies. Facilitates. Encourages. It does not attract or overwhelm.
If a small group or choir is leading, they should be an aural microcosm of the congregation. Let their volume be natural and without too much amplification. If they have prepared the hymn in rehearsal, they will “lead” by their sound.
7. Consider the dangers of performance rehearsals, “excellent” music and heavy instrumentation.
There is a place for musical rehearsal. But why are you rehearsing? To what end?
Musical rehearsals often involve the insertion of creative elements that make for good performances but not for congregational singing. Musicians and singers should use any rehearsal time to ask themselves how to best facilitate congregational singing, not be impressive.
The common focus on “excellence” and “quality” can, ironically, distract musicians from seeking to serve the congregation because “excellence” is unthinkingly defined in terms of performance.
What would it instead mean to aim to facilitate excellently, not to perform excellently. By the same token, elaborate instrumentation can sometimes squelch congregational singing. Mere and acoustic instrumentation tends to help singing.
