For the past seven years I have been associated with a number of evangelists. I have observed in these years that the ministers.who were having the greatest success were those who were supported by a strong singing evangelist and were giving music its rightful place in their program. I believe that lack of good music leadership is one of the weak spots in our over-all evangelistic program.
Some years ago when I was sent to work as a singing evangelist with a certain man, I was severely shocked when he told me that I could have only fifteen minutes on a Sunday night for my song service, while he was consuming a half hour for his preliminaries and a solid hour for the sermon. When I suggested that we have a choir, he replied, "No, I feel that the time you would spend in organizing and training a choir would be more properly spent in visitation." I felt all through the campaign that this man looked upon music as merely something to fill in the time while the people were arriving to hear his sermon. The singing evangelist labors under extreme difficulty in such cases.
Singers, like preachers, are both born and made. In other words, God gives us talent, but He expects us to cultivate and develop that talent. Therefore, I say that it is necessary for the successful singing evangelist to have time to practice his choir, perhaps take lessons from some good voice teacher, and plan his program. This does not say that he should not do some preaching and visitation, for he should. I am merely saying that the music of the effort should be the first concern of the singing evangelist.
It is said that the greatest room in the world is the room for improvement. We are living in an age of progress. We must be constantly improving and looking for better methods. We face keen competition on every side. Therefore we must develop a presentation of gospel music commensurate with the glorious message that God has given us. We need to be seeking out men of musical talent and consecration, and urging them to train for this important work.
We need more strong evangelistic teams to work in many large cities.
It is my conviction that one of the strongest assets that any evangelist can have is a trained singing evangelist by his side, carrying in sermon and in song the message of a crucified, risen, and soon-coming Saviour to the whole world. This should not be someone picked up at the last minute just before the campaign starts, but rather one who has consecrated his life for such work, who is both qualified technically and spiritually for the task, whose personality and dignity command the attention of the audience, and who holds their attention until he leaves the platform. I am convinced that there are definite reasons for our failure in training and retaining singing evangelists. Most of those who so enthusiastically start out upon such a career eventually go in for theology, because in the past we have failed to recognize the distinctive place of the singing evangelist.
Variation in the Song Service
The Kind.—I have attended some so-called "singspirations" where the singing evangelist merely called off the songs and their numbers, without any break—no comment between stanzas, no specials interspersed, and no' variation in the program. Such a service will wear out the people before the evangelist enters, and that is just the opposite of wit we are seeking to accomplish. Our purpose is to relax the audience, break down reserve, and create a receptive atmosphere.
Too often the songs chosen are not familiar to the audience. It is well to ascertain upon entering a new field what the favorite songs are, because they will vary in different sections of the country, with the exception of certain universal favorites. It is well when introducing a new song or chorus to do so by using the choir or quartet. If you have neither, sing it over first yourself.
I find that the people sing much better if they do not have their eyes riveted to a book, which serves as a barrier between them and me. That is why I use many choruses. They are easy to learn and to remember, something that they will carry home as a reminder of the meetings.
There is a distinct advantage in having the eyes of the audience both in preaching and singing. Thus the audience catches the inspiration and enthusiasm of the leader, a condition which will make for a much better "singspiration." If you find that things are dead or lagging, introduce a rousing chorus at that point.
If there is one thing that is paramount in this respect, it is a capable pianist or organist. I sometimes use both. Instruct him or her to set the proper tempo in the introduction. And let it be understood that the pianist is to follow the singing evangelist, and not the other way round, as is sometimes done.
To avoid formalism, plan the service well, yet in such a way that it will appear impromptu. This will have a telling effect upon the audience. Above all, keep things moving. We are living in a fast age, when people are fidgety and everything is keyed to the moment. There must be no lost time. Once we have secured the attention of the audience and their interest, we must hold it. Their thoughts must not be left to wander. What would you think of a preacher who stopped right in the middle of his sermon and began to look for a text, and kept the audience waiting in abject silence while he was trying to locate it? I attended an effort some time ago where, during the song service, the evangelist interrupted the singer between songs to tell him something. Silence followed for about two minutes. Needless to say, the interest and the attention of the audience were lost. This should never happen. Something worthwhile must be going on constantly from the time the singer enters until the benediction is said.
When emergencies arise, and they will, be master of the situation. The lights may go off or someone may faint or the pianist's music may blow away. Fill in with something. Tell an appropriate story or quote a text, but by all means keep things going.
I believe it pays to use the old-time, soul-stirring gospel songs. The people love to hear and sing songs they know. They tell me over and over again how disgusted they are with the empty, unsingable hymns so devoid of a message to their souls, which they are accustomed to hear in their own churches. As a general rule I do not use the sheet music or anthem type unless it bears a special evangelical message and leads the people to the cross. This is seldom the case. Do not be afraid to appeal to the emotions of the people. If we can first win their hearts, it will not be so difficult a little later to change• their religious thinking.
Special Music.—I have often been pained as I have listened to some performances that have been wished off upon the listening public under the title of "special music." I have heard many of our leading evangelists say how hard it was for them to do justice to a sermon after their spirits had been dampened by the mutilation of some otherwise beautiful song. And I am quite certain that the effect upon the audience is much the same. I believe that the success of the sermon depends to a large degree upon the manner in which the music as a whole is rendered.
Someone asks, "What if you were in a place where there was no talent ?" If I could not locate any talent, or hire any, or sing myself, I would do one of two things. I would either put on a recording or have all congregational singing. I believe that no special music is better than poor special music. The very word special implies something extraordinary. Then let us strive to make it such. The Spirit of prophecy has something to say on this. I quote from the Signs of the Times, June 22, 1882.
"I have often been pained to hear untrained voices pitched to the highest key, literally shrieking the words of some sacred hymn of praise. . . . I long to stop my ears or flee from the place. And I rejoice when the painful exercise is ended."
Never should special music by unknown singers be tolerated in our meetings merely on the recommendation of some good church member. I have done this, and have fotind myself greatly embarrassed. Since that time, I have auditioned the singers once or twice if I have not heard them on a previous occasion.
To encourage the people to come early, it is well to have some music while they are arriving, preferably organ music, soft and melodious, such as "Meditation" from Thais. And while they are leaving, use something more triumphant, such as "The Hallelujah Chorus" by Handel. If you have no organist, an organ recording will serve the purpose.
