you look, there is no shortage of variety or a new musician could reasonably assume there “accessibility” in the process. They tried wild
uniqueness to be found in this universe. God were only four notes in the western scale, and things, and yet they still wrote the best hooks,
shapes the chaos into order and gives form to not twelve. But there are twelve. And a lot of had the biggest hits, and got the people singing
the void. those other eight can be really powerful and along. Forever.
evocative when they’re given opportunity to
And we, who are made in the image of God,
occupy the same space.
But for some reason, when it comes to a
also make images.
church congregation, many think the best thing
As with the theme of my previous columns we can do is to assume the congregation is
As Image-bearers and image-makers, there dealing with lyric-writing, my abiding position incapable of understanding anything beyond a
are limitless color choices and combinations. here is simple: We can do better. few types of chord changes and melody styles.
And so, as a songwriter, it’s my goal to not
This simply is not true to what we see in the
automatically use blue or green if what is best I’m not arguing that all music should be world around us. We can have more faith in
for the song is actually turquoise. Or if the tone needlessly complicated, or complex for the what’s possible for many of our congregations.
I’m looking for is definitely blue, what kind of sake of complexity. I’m not suggesting everyone blue is it? Is it cobalt, navy, cerulean, lapis, should be writing Jazz or Neo Soul. And I’m People are capable of a lot when exposed to
indigo, or something else? Am I still just using definitely not advocating for worship music beautiful things and given the chance to reach
that standard D chord when what would really that is inaccessible to a congregation. But I am for them.
serve the song is D2/F#? saying that there is more to “accessibility” than many worship songwriters recognize. Great In my next article, we’ll continue to explore
These questions are seldom explored by songwriters throughout history have been some considerations and tools regarding chord
worship songwriters, whether writing alone or heroes of unique and refreshing approaches to progression, chord melody, reharmonization,
collaborating with others. Usually, someone just chord voicings and chord melody: The Beatles, and other helpful topics. Until then, be colorful
breaks out the box of crayons. When you sit The Beach Boys, Carole King, Stevie Wonder, in your writing, and be specific in the colors you
down to write a song with someone, perhaps Carly Simon, Queen, Michael Jackson, Neil choose.
there’s a lyrical idea floating around. Someone Finn, Elliott Smith, Rufus Wainwright, Pharrell begins to sing it, or explore phrasing it. And Williams, Charlie Puth, Billie Eilish… whether then come the chords: G… C… Em… D. these artists or hundreds of other examples,
the history of Pop music is chock full of people
These chords, or some variant of their order, who were masters of cleverly utilizing that
in any key. They’re everywhere. I IV vi V, some broader spectrum of color in their songwriting.
would call them. They’re pervasive enough that And here’s the kicker: They never sacrificed
January 2020
Kevin MacDougall
Worship leader, published and recorded songwriter,
musician, and podcast producer.
[email protected]
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