Most of the songs we now use to gather Christ’s body together in praise and worship are not written for that specific purpose – for singing together. Rather, they are written to be performed and recorded (for God’s glory), while satisfying the vocal range of an experienced soloist, who most often has a fairly high male (tenor) voice. The melodies are therefore shaped and situated in a vocal range that few of us can manage. Sure, we can sing along with the best of them on our iPods, but unconsciously we do a lot of octave jumping, or harmonising, so that we can sing along. This doesn’t work too well when the congregation is singing together.
Choosing the right key is quite tricky. The default or original key on SongSelect rarely works well. It can end up with a really high melody section in the chorus that no one can sing (bar the tenors) or else the whole thing is too low when you jump down an octave. This low singing equates to really quiet singing, and when we can’t hear each other we are discouraged from singing at all.
You also have to consider the musicians: is this great key the guitarists are happy to play in one which will induce a mild psychosis in the keyboard player, as they scamper around playing on only the black notes?
Here are just four rules of thumb that I find work well when selecting singable and playable keys for church singing (on SongSelect (CCLI) or a similar website).
1. Keep the vocal range between A (below middle C) and D (8 notes above middle C). Remember that D signals Distress for many people, so ensure the transposed melody only has a few passing notes of the high D (and the low A as well, for that matter). If the song ends up with a low G as the anacrusis note in the melody of the verse then teach it as a B instead (it should fit the chord, and won’t really be noticed).
2. Try to maintain the original shape and development of the song, starting with low verse notes and moving to higher chorus notes. If you sabotage the ‘chorus lift’ by a poorly chosen key, or by forcing people to jump down an octave, it can all fall seriously flat.
3. Don’t choose keys that have too many sharps or flats. Stick to maximum of four sharps (E major) and max 3 flats (Eb major). There are a few major keys that work well for both guitar and keys: C, D, E, G and A major. Keyboard players generally don’t mind keys with flats (one flat F major, two flats Bb major), but these will probably make your guitarists unhappy. This leads to my next point.
4. Understand Capos and get your guitarists to understand and use them. The keyboard and the guitarists can play in different keys quite effectively. A guitar capo effectively shortens the guitar strings and produces a higher sound. This enables the guitarists to play in comfortable keys (mostly ones with sharps) while the pianist can play in a key with flats that may mean a better vocal range for the congregation.
For example, if I want to use Matt Redman’s Ten Thousand Reasons in a flat key (Eb major, with three flats), then the guitarists can play in D (with their music in key of D) and capo on the first fret. (Each fret raises the guitar’s pitch by a semitone. So, the guitarists playing in D major want it to sound Eb major. Placing the capo on fret one moves the sound up by a semitone. Success! It sounds in Eb major but they don’t have to play in a key with flats.)
Another example would be Trevor Hodge’s No Other Name (Listen below!) in Bb, which has two flats. The guitarists can play in G major, but sound Bb by placing the capo on fret 3. There are 3 semitone steps to get from G to Bb (go check a keyboard) which is why the guitar must use capo three.
Remember that the guitarist needs to be playing in a key slightly lower than the keyboard player, so that the capo will bring their sound up to pitch, and they will only need to use capo 1, 2 or 3.
Next time: let’s look at a case study and decide what to do with Tomlin’s ‘Jesus, Son of God’ which has a huge vocal range! I’m still working on this one myself.