A Gospel singer who attempts to sing a solo without spiritual preparation should not face a congregation. Vocal and spiritual preparation are essential, for the singer sings not only with his voice but from his heart. The prayerless singer is a powerless singer. Too many solos are sung without true expression of the message of the song. The effect of the song is increased immeasurably if the soloist sings-from the heart.
A simple hymn well sung touches hearts and does far more good than all the professional classical numbers could ever do. We must avoid the show-off singing, which is the aim of secular singing. Instead of bringing glory to ourselves, we must give glory to God. We have a mission —a message to sing to save souls.
"It is not loud singing that is needed, but clear intonation, correct pronunciation, and distinct utterances. Let all take time to cultivate the voice, so that God's praise can be sung in clear soft tones, not with harshness and shrillness that offend the ear."—Testimonies, Vol. 9, P. 144.
A well-produced tone must come from the region of the diaphragm. This not only results in a warm, rich tone but eliminates the strain on the throat. A well-placed tone that is lodged in the hearts of the hearers will come from the heart of the singer.
A solo is effective if: (I) the song fits your -voice; (2) the song fits your personality and appeals to you ; (3) the song is sung from memory without eyes glued to songbook ; (4) the song is only two stanzas long rather than too many stanzas long; (5) your facial expressions are not irritating ; (6) it climaxes the appeal of a sermon.
SOLO SELECTIONS. Do not think that you can sing just any song. Someone else may sing a song beautifully that you would make a failure on. Pick out the songs that especially appeal to you and that fit your voice. It may be that you will have to raise or lower the song by transposing it. Sometimes it is surprising how much more easily you can sing a song in another key. Do not pick out a song to sing as a special which you do not "feel" from your heart. Look everywhere for new songs. Obtain every songbook you can. If you find only one good song in a book, it is worth it, for good sacred songs for specials are hard to find.
When you find a good song, why not tear it out of the songbook, trim the edges, and paste it on a sheet of notebook paper, 8 by 52. Get two copies—one for you and one for the accompanist. Then put them either in the notebook or in a file. I prefer the file. An accordion type bank case file, size
II by 6, with alphabetical sections, is the best I have found yet. These can be obtained at almost any stationery store. After filing your songs under alphabetical sections, make an index of what you have. Make separate lists of your special solos, your regular solos, your appeal songs, your duets, and even quartets. Then when you are looking for a special, refer to the index, make your choice, and your song can easily be pulled out of the file.
When you find a new song that appeals to you as a good special, do not present it immediately. Try it over occasionally. Sing it while going about your other duties. Let it grow on you; let it become part of you. Learn the words and melody so that you can present it without the music.
I have had some new songs in my file for six months before presenting them publicly. During that time I have had a chance to absorb the song, feel its message, and make it part of me. Then when I sing it, the message of the song touches the hearts of the people because it comes from my heart. My love for Jesus will then be reflected in the song that I sing.
May we have such a close communion with our Saviour that every song we sing will cause some soul to decide for Christ. Music is a gift from God; let us use it to His glory.
