Teaching Your Vocalists to Sing Harmony

When I was growing up everyone in my Mennonite community sang harmony. We had no instruments in church, so voices filled out the parts.

Today finding a singer who knows harmony can be difficult.

So how can you teach your melody-centric singers to sing harmony?

A lot of materials have been published, but for now here are a few key building blocks for teaching harmony.

1. Always have a recording on which to base your harmonies so that your singers have a quality guide for practice.

2. Clearly notate the harmonies in the recordings. This way singers can learn to read music by comparing the written music and recording as they learn the song by rote.

This step is easier than it seems. Either use a source like Praisecharts or Paul Baloche’s charts, or find a college music student who needs cash and hire them to transcribe the melody and harmonies.

3. Teach these written out harmonies by rote for those who do not read music; those who read music will love having their exact part in front of then and will help you teach the other singers.

If you are a worship leader and do not read music, recruit someone your team who does read music to be the vocal music director for you. Then take a music theory course and beef up your skills.

4. Point out the harmonic choices you or the recording artist made in the arrangement so that your singers begin to understand how you think and what you are listening for.

Example: Please, for goodness sake, do not put a minor 7th in the harmonies unless you are singing southern Gospel or jazz! From the Inside Out is neither of these!

5. Do not just tell your singers to figure out the harmonies themselves unless you are in a hard spot. Even excellent singers who have sung with you for a long time will make different decisions than you would and you will end up wasting rehearsal time getting everyone on the same page.

Winging it and freestyle are nice with pros, but in the minor leagues of worship ministry you need to firmly direct your singers in learning harmonies. The result will be an extremely tight harmonic sound.

How do you teach harmonies to your singers?


What Kind of Music Charts Should I Use?

If you’ve spent any time with worship teams you’ve probably touched on the topic of chord charts and notated music. Musicians take this topic personally, so approach with care!

First of all, I want to clear up one thing: every worship team uses notation. The question is simply what kind of notation. “Notation” is a system of symbols designed to communicate to the musician what to sing or play. Chords over lyrics are notation. Chords over a notated melody line with the lyrics is notation. Exactly written out parts for violin, bass, drums, and so forth is another kind of notation.

If you are rolling your eyes with this “beginner” definition of notation, hang with me a moment. There is a method to my madness.

I compare musical notation with the primary kind of notation every single person on the planet uses: written language. The two are really no different. Authors use a specific collection of words and illustrations to evoke or communicate a truth or a feeling. Composers use a specific collection of symbols and lyrics to communicate truths and feelings through the medium of music.

So how do we choose? What is the deciding factor? Do we let dear Mary who loves playing the autoharp determine what kind of notation we use?  Uh, I don’t think so.  Or you don’t know me very well.

Here are a few things to consider.

Precision. How precisely do you want to communicate? If you are writing picture books you will only be able to reach a certain level of precision, but picture books are not meant to be precise. They are meant to be enablers for beginning readers and open to interpretation. In the same way chords over lyrics provide general direction with large amounts of room for personal interpretation. Chords over lyrics are also an easy step for beginning musicians. If, however, you are trying to specifically craft a musical moment, and especially if you are working with a large group of musicians, precision is going to require a more developed kind of notation.

Time. How much time do you have to prepare the music? If you have a several months to prepare a song and lots of rehearsal time for a rock band, less notation is going to be necessary.

How much time does your team practice each week? Do you even have a mid-week rehearsal? (If you don’t, quit reading this and call one. Now. You will get no where without one! And, no, Sunday morning does not count!)

If you do lots of music, you will need to choose between the following:

  • lots of easy music with simple charts
  • medium difficulty music with moderately complex charts
  • difficult music with complex charts
  • repeat the same tunes over and over and over so that you do not have to learn much new material.

If you have one shot to put something together in rehearsal, the chart needs to contain as much information as possible to assist the musician in preparation.

Ability. If your team is only learning to play their instruments and have no clue what it means to play together (You mean I have to listen to the other musicians?), it will not matter what you put in front of them. They are going to have their hands full starting and stopping together on Sunday, let alone providing interest throughout the song.

The team who is playing together well on standard worship repertoire (Tomlin, Brewster, Hillsong United) is ready to move to another level of notation and to reach another level of excellence in their musicianship.

Motivation. Eventually someone asks, “But why do I need to learn notation? Only the heart of worship matters, and when notated music is in front of me I can’t worship.” The kernel of truth here is that the heart of worship is what matters, but that is where the truth ends.

If your heart is all about worship, consider this. God calls each of us to give our very best to him as a sacrifice, something given not because it is easy but because he is worthy. If you have been at the same level musically for years, either you have reached the ceiling of your talent or you are staying comfortable.

If you have reached the ceiling of your talent, are you holding the team back from moving forward? If so, humbly admit it and decide if you should move on to allow the team to grow.

If you have not reached your ceiling, why are you not growing? This has everything to do with heart. Do not bury your talent. For the senior musician out there, God has no retirement plan. When your life purpose is finished he will take you home. Until then, keep growing.

Commitment. The final hurdle to taking growth steps in music can often be the musician’s level of commitment. Beware: challenging someone on their level of commitment is tantamount to asking them whether they have stepped out on their spouse. This is very personal, and you have to earn the right as a leader to speak about this. You also have to be modeling commitment. Otherwise, forget it.

Ultimately, a musician has to set aside extra time at home if he or she is to grow in their musicianship. If a musician says they want to grow but is unwilling to spend the extra time it takes, one of several things is at work. Either they truly are committed but their family life prevents them from spending more time, or they say they are committed but are change averse and refuse to put in the effort.

Vision. Ultimately, though, the decision comes down to you and the church’s vision. As a friend of mine used to say, does the church have a “minor leagues” or “all-stars” approach to arts? If they want all-stars, everyone on your team is going to have to step up or step down if you want to bring the church’s vision to fruition. If the church is about minor leagues and providing a place for everyone to serve and grow as long as they have a certain threshold of talent, then your approach is going to be completely different.

Conclusion. There is no silver bullet. Every situation is different, but I hope that you have a sense of the bigger picture when you are deciding what kind of notation to use. Don’t choose based on what is comfortable. Personally I will always lead my teams towards notated charts; I will talk about that later. I believe everyone can learn to read music, just like everyone can learn to read more than picture books (and once they do, they are usually glad they did!).