VOCALS
SONGS IN TWO OCTAVES ? REALLY ? | Sheri Gould
I ’ ve been frustrated over the last few years by the continued use of songs , for a congregation , that are presented in two octaves . How about you ? Many of my students are put in compromising vocal situations due to leadership requests by pastors and others who unwittingly are asking more than most vocalists can give . They are being asked to sing songs that are way outside a comfortably singable range . Many of my students are not professional singers and yet they serve wholeheartedly as worship leaders , worship pastors , music ministers , background vocalists , etc . They are striving to serve God , their congregations , and their leadership . Ignorance is making it difficult for may of them to serve in a way that ’ s best for everyone . I ’ d like to address that .
WHAT ’ S HAPPENING ? The problem I am encountering more and more is the request to sing a song first in one octave ( typically quite low ) and then to raise the song up an octave higher and sing it again . This seems to be culturally specific . Historically songs were not sung in two different octaves . Most singers have about an octave and a half of reasonably useable range . Although most singers can actually sing approximately two octaves , not all of their range has ever been considered “ useable ” -- as in worthy of singing in public . By singing a song in one octave and then singing it again in another , we are often requiring the singer ( s ) to sing a total of at least 2 full octaves and often more , depending on the song .
This necessarily puts the singer in the position to sing the song firstly in the very bottom part of his / her range . So , the first part is most likely too low to sing well . Then the singer is supposed to jump up an octave and sing the song an octave higher . Typically , it ’ s the higher range that has to be accommodated which is why the song will almost always start out very low . This then puts the singer in a position to sing at the top of his / her range for an extended period of time . This is usually quite stressful vocally . Even if the singer can pull it off , it can cause stress to vocal cords and ultimately damage . However , your average person ( non ” singer ”) in the congregation , will be lucky to have comfortable access to an octave range . This is how we came up with the notion of keeping congregational songs in the “ C to shining C ” range .
And we wonder why our people aren ’ t singing ?
Historically , you don ’ t find many examples of songs being sung in different octaves . Often songs could encompass a wide range , but rarely if ever required a singer to attempt the song first in one octave and then in another . Even if you could find an example of this , regardless of the genre , one might have expected a professional , gifted singer to try and pull it off . Not your local worship leader . And certainly not your local congregation !
AH , BUT THE BIG CHURCHES ARE DOING IT ! Many of the worship songs we sing today have become popularized through studio recordings and music videos . These are productions . They have been affected in all kinds of ways that the average local church simply can ’ t replicate . There are often vocal effects added , either by the singer or the available technology , to help make the extended range of the singer sound more palatable . Additionally , many of the singers you hear may have had specific training ( although , sadly , vocal damage is often easily detected already in their voices ). These productions often make for great listening and wonderful times of personal worship but , in my opinion , they are not always appropriate for corporate worship .
If it ’ s not appropriate for corporate worship , then it begs the question - why sing it that way ? Often today ’ s worship songs are quite simple . Simple chords . Simple lyrics . Simple melody line . So , to add more “ power ” to the impact of the song something must be added . Traditionally , this was done through vocal and instrumental arrangement ( which admittedly takes some time and skill ).
In live worship now , we often use visual effects to improve or add to the overall impact of a song … smoke , lights , power points , etc . In addition , rather than writing a more complex aspect to the song , a simpler thing to do is jump up an octave and sing it there . The effect is most likely one of greater passion and intensity . It would be fine if it could work . The problem is that most of the time it doesn ’ t .
One thing is for sure , your congregation isn ’ t joining you in both octaves .
At that point it really just becomes a point of showcasing the lead singer ’ s ability . Is this what we truly want ? Is this what we ’ re supposed to be striving for as leaders of worshipping God ? How does this draw a person into a closer relationship to Him ? It more likely gives the congregation the opportunity to hear a gifted vocalist nail it or a regular vocalist struggle . Neither of these is our intended goal for Sunday morning worship .
IN CONCLUSION I ’ d like to encourage you to pick congregation friendly songs . Congregation friendly keys . Have we forgotten our purpose ? We are there to serve others and help lead them into the presence of God . Try using harmony , dynamics , and creative instrumental arrangements to help add power and intensity . We are not tasked to put on an amazing vocal performance . When you choose your songs , please remember your priorities , and take it easy on your singers .
Sheri Gould Sheri is an internationally acclaimed vocal coach . She ’ s been helping artists and worshipers find their voice for over 40 years . For help and resources visit her site . www . SheriGould . com