When we pitch songs in keys that are too high, the congregation will stop singing, tire out, and eventually quit, becoming spectators. The people we are leading in worship generally have a limited range and do not have a high range. We are singing in keys too high for the average singer. There are lots of great, new worship songs today, but in the vast pool of new songs, many are not suitable for congregational singing by virtue of their rhythms (too difficult for the average singer) or too wide of a range (consider the average singer-not the vocal superstar on stage). We are singing songs not suitable for congregational singing. People worship best with songs they know, so we need to teach and reinforce the new expressions of worship. I advocate doing no more than one new song in a worship service, and then repeating the song on and off for several weeks until it becomes known by the congregation. Indeed, we should be singing new songs, but too high a rate of new song inclusion in worship can kill our participation rate and turn the congregation into spectators. With the release of new songs weekly and the increased birthing of locally-written songs, worship leaders are providing a steady diet of the latest, greatest worship songs. Worship is moving to its pre-Reformation mess.
Simply put, we are breeding a culture of spectators in our churches, changing what should be a participative worship environment to a concert event. What has occurred could be summed up as the re-professionalization of church music and the loss of a key goal of worship leading – enabling the people to sing their praises to God. At first, this advance in technology led to more powerful congregational singing, but soon, a shift in worship leadership began to move the congregation back to pre-Reformation pew potatoes (spectators).
With the advent of new video technologies, churches began to project the lyrics of their songs on a screen, and the number of songs at a church’s disposal increased exponentially. The evolution of the printed hymnal brought with it an explosion of congregational singing and the church’s love for singing increased. The Reformation gave worship back to the people, including congregational singing which employed simple, attainable tunes with solid, scriptural lyrics in the language of the people.
#Come see me lyrics the easters professional
The music was performed by professional musicians and sung in an unfamiliar language (Latin). Prior to the Reformation, worship was largely done for the people.
In case you’re not a Taylor Swift historian, check out the Easter eggs you might’ve missed from the “ME!” music video ahead.Worship leaders around the world are sadly changing their church’s worship (often unintentionally) into a spectator event, and people aren’t singing anymore.īefore discussing our present situation, let’s look back into history. #TS7 was kicked off last night with “ME!”, and we can’t wait to find out what’s next. It’s been less than two years since Swift’s last lead single, “Look What You Made Me Do”, in 2017, but fans are already hungry for the singer’s next era. And though we don’t know what the album title will be, we can assume, based on Swift’s heart and butterfly-filled Instagram and her candy-coated music video, that it will be a lot lighter than her previous album, Reputation.
“ME!”, featuring Panic at the Disco’s Brendon Urie, is the lead single off the 29-year-old singer’s upcoming seventh album. But before we talk about the “ME!” music video and what the song’s lyrics could mean for Swift’s next era, let’s talk basics. So what are Taylor Swift’s “ME!” video Easter eggs, hidden meanings and clues? Well, like any Swiftie knows, there are a lot of them. Last night saw the release of Taylor Swift’s newest single, “ME!”, and fans are knee-deep in theories on what the song’s music video and lyrics could mean.
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