For trumpet, clarinet, and French horn players, transposing is a normal part of playing their instrument. For singers, violinists, pianists, and flute players, on the other hand, it may seem like some strange secret code. Instruments that have their notes written differently than they actually sound? Up a step? Down a fifth? What’s that all about?
This article continues the conversation begun in RW 84 by Martin Tel on the state of congregational song. —JB
Martin Tel’s article “They Just Don’t Sing Like They Used To” (RW 84) outlines several cultural and architectural challenges to congregational singing.
First, our culture has turned music into a commodity that is professionally produced and passively received.
Choosing the right choral music has got to be the single most challenging task I have faced in the 35 years I have directed church choirs. I dread the idea of buying sixty copies of something that will not work well in the service; and I don’t want to spend even twenty minutes rehearsing an anthem that will not be edifying for the body of believers.