Good music will never substitute for a bad sermon. Music might be called a secondary subject, so keep it there. It can, however, mightily assist in an evangelistic endeavor. A meeting should be a unit. Use music to weld the separate parts into a whole. The motive behind our use of music should be that which actuates all our service, that is, the glory of God. With these principles in mind, let us divide our subject into four main sections: (1) Community Singing. (2) Special Music. (3) Congregational Singing. (4) Music and the Ministry.
1. Community Singing
The Leader.—The leader should know his chorus books.* He should be well acquainted with all the choruses he uses, both words and music, and be able to exploit the possibilities of both. He should be ready with brief, apt introductions to emphasize the message of each chorus.
Eliminate cheap competition, the pitting of one side against another, and continual exhortations as, "Come on, you can do better than that !" The audience is not a choir and does not need much stick waving. It needs a strong vocal lead and simple, definite guidance in expression. (The left hand should not beat time in unison with the right. It should be reserved to indicate expression only.)
The Audience.—The audience needs training. Some are not used to choruses, and others are repelled by them; so be cautious. The audience has tastes largely developed by early environments—Salvation Army, Methodist, atheist, Church of England, etc. The audience has likes and dislikes. Take account of them. Ask for favorite numbers. Never cater to bad tastes or try to satisfy cheap desires through music.
Choice of Chorus.—The chorus song should be evangelistic in character—different from those selected for church use or workers' meetings. It should have a message in itself and not be a vague expression of sentiment. It should be complete in itself. (Choruses lopped off hymns are not usually the best.) It should be self-propelling—not heavy or difficult to move. It should be within normal vocal range. Transpose if necessary.
Analyze your selection under headings, according to type—opening songs, second coming, salvation, name of Jesus, aspiration, consecration. Keep your selection balanced and thus provide variety. Include "expressive" choruses, that is, those that provide a wide range of expression. For example, "Coming Suddenly, Coming Soon," with its range of fortissimo to pianissimo. Remember, the choruses are to benefit the congregation, not the leader; so choose accordingly.
A word of caution: Few people would be lost if we eliminated chorus singing. But many could be lost by its abuse.
II. Special Music
There are two distinct types of special music for program purposes—instrumental and vocal. (See Ps. 33 :1-3; 144:9.) If we use instrumental numbers we should be sure they are rendered in such a way as to give a spiritual uplift. Too often such music is merely entertainment. It is not clever technique that we need, but rather spiritual interpretation.
Instrumental music plays an important part in campaign and church services, for preludes, offertories, and postludes. Well-chosen selections provide the reverent atmosphere in which a solemn message receives a better hearing. But do not leave the choice of such music entirely to the instrumentalist. Know what is needed, and then study the program with the one who is to play. If a good pianist is not available for special numbers, voluntaries, and offertories, his place can be filled by amplified records. The apparatus and operator should not be visible to the congregation.
It is through singing or vocal music that special music can contribute to the spiritual influence of the meeting ; so concentrate on vocal music when arranging for special items. Here are a few precautions which may help to avoid many unfortunate situations:
1. Always have an audition before arranging for singers. Never go by hearsay.
2. Do not be satisfied with mediocre talent, for it will reduce your meeting to that level in the eyes of your audience. Have a musical standard of which you are unashamed; then never drop below it.
3. Study the proposed solo, duet, or anthem, giving special attention to the words and the message. Eschew "high-falutin" numbers—we cannot compete with operatic stars, nor do we wish to. A simple hymn, well sung, does more good than all the "professional warbling" that money can buy.
4. Bring the soloist and accompanist into sympathy with the spirit of the meeting. A disdainful, detached air will be felt by the audience.
5. Supply soloist and accompanist with a program, so that each may know his place in it.
6. As a general rule, have the special music before the address. Allow as little as possible to intervene between the sermon appeal and the close of the meeting.
7. Make sure of a sympathetic accompanist, especially if a pipe organ is used. (Many organists drown the soloist in a sea of sound.)
8. Wherever possible, employ Christian singers.
III. Congregational Singing
In congregational singing the singing evangelist is the leader, first to the instrumentalist, second to the congregation. The contact begins with the choice of the song or hymn. If there is a lack of songbooks, song sheets can be printed at small cost. It is well to get the people to buy their own copies of songbooks, but be prepared for some losses.
When choosing hymns remember that we like best what we know best, especially in the realm of music. Since most people dislike learning new hymns, choose the standard favorites for opening meetings and introduce new hymns slowly, though deliberately.
The next step is the vocal lead that must be given by the evangelist. This should be sure, strong, and musical. Some of us may not have suitable voices, but we can develop them and acquire sufficient knowledge of music to sing the right note at the right time. A thorough course in evangelistic music should be a part of every college graduate's training. Evangelism is suffering because such a course is too often lacking.
The position of the hymn in relation to the rest of the program needs some attention. It is good to have a break between community singing and the opening hymn. It is also well to avoid having special music followed by a hymn. Space the musical items. Consider the vocal preparedness of the audience when choosing hymns and when assessing its musical responses.
Thought must also be given to the length of the selected hymns. Four eight-line stanzas form a long hymn. Six four-line stanzas take about the same time. The inclusion of a chorus often doubles the time. Note these points and, if necessary, omit some stanzas. Use care, however, not to destroy the sense of the poem. The omission of stanzas is rather like a surgical operation—so do not cut right across a joint!
IV. Music and the Ministry
The music used in the public meeting usually represents the evangelist's musical standards. All will admit that these standards need raising. We have been careless in the past. Music has taken a back seat, and our meetings have suffered. Welcome signs of reformation are appearing. Let us encourage these and aim to offer God a more acceptable 'sacrifice of praise."
Some of us may not have natural gifts in music. Are we beyond hope? By no means ! Let us acquire elementary musical knowledge. It is as important for us to possess a working knowledge of music as it is for us to know history, the correct procedure at communion, or the way to balance our budgets. Music is part and parcel of our job. Let us neglect it no longer.
One of the simplest and most immediately profitable ways of becoming musically awake is to cultivate acquaintance with our church hymnal. Many good hymns are almost entirely neglected. A good church hymnal is really an interesting textbook, and we do well to become better acquainted with its major poets—Watts, Wesley, Doddridge, Lyte, Bonar, and Montgomery ; make friends with Dykes, Barnby, Mason, Sullivan, Smart, Croft, and Steggal; then, too, we have a number of gifted composers in our own ranks. These names, with others, are hallmarks of quality. Our evangelistic and church life will be richer as our acquaintance with them deepens.
We are handicapped if we limit our knowledge of hymns to those contained in our own book. We shall profit by becoming acquainted with the hymnbooks of other denominations. Some knowledge of these will enable us to understand the hymnodic background of the people who attend our meetings, and will place us in a position to help them more readily.
If Jesus were here today, He would possess a cultured taste in musical matters. The music in His meetings would offend none and help all. Should not His servants follow in their Master's steps?
