songs intended for congregational singing , there seems to be two most-common yet very different approaches :
1 ) We should choose keys for songs so that the leading vocalist is able to sing the song as comfortably and confidently as possible . If we do that , the congregation responds to the leader ’ s vocal confidence and are most likely to sing along . - or -
2 ) We should choose song keys that allow the melody to fall within a comfortable vocal range for the highest proportion of the congregation as possible , even if that ’ s not the ideal key for the leading vocalist .
Which is best ? Well , I would say that ’ s all about context . I favor the first approach in certain situations and the second in others .
KEY CHOICE FOR THE LEADING VOCALIST
A few months back , my pastor asked me to form a youth band . We ’ d never had a youth band before ! One of the biggest challenges I faced was finding anyone from our small youth group - anyone at all ! - willing to sing in the band . Eventually I managed to convince three fifteen-year-old girls to fill the vocal role . None of them had ever sung publicly before . Never even used a microphone !
For them , I use approach number 1 . This has to be a great experience for them . I choose keys for the songs that allow all three girls to rely only on their more familiar chest register , even though I know that some men in the congregation will find the songs - or at least parts of the songs - too low for them . With this being so early in the young women ’ s experience as singers , this is not the time to challenge them with head register . They ’ re doing the best they can to cope with more than enough new things as it is . They don ’ t need another challenge … yet .
I would say that well-known female “ worship artists ” generally choose keys for songs using the first approach too . It ’ s apparent to me that many large churches - where the line between providing a concert-like experience and congregational singing seems intentionally blurred - do the same . Songs keys are chosen for the leading singer . I agree with and support that approach in those situations . There ’ s no way I would suggest that Kari Jobe or Jen Johnson should apply “ C to shining C ”.
KEY CHOICE FOR THE CONGREGATION
But for the rest of us regular vocalists who lead congregational singing as an expression of worship in regular churches from one Sunday to the next , I strongly recommend the second approach . Choose keys for your congregation . “ C to shining C ” ( and maybe dipping as low as the A below or even the C # or D above ) is the way to go . More about why I believe this can be found in my article
“‘ C TO SHINING C ’ - THE IDEAL VOCAL REGISTER ”.
I am convinced that every man woman and child in a congregation is most likely to sing any song we are leading if the melody falls from “ C to shining C ”. If we choose keys where the melody falls within the octave C to C - or as close to that as possible - the highest possible proportion of regular people will feel able to join in . This would be where the men - whether they be basses or tenors - could comfortably sing between C3 and C4 ( also known as middle C ) and the women - whether they be altos or sopranos - could sing from C4 to C5 .
So let ’ s sing - all of us together - as an expression of worship to Almighty God .
Grant Norsworthy founder of MoreThanMusicMentor . com