Occasionally, in working with worship teams, the subject of keys comes up, in the sense that the original key used on a CD, or the key in which the piano music is written, is very impractical when it comes to using the piece with a congregation. I have also had officers tell me that, very often, the key that our tune books and brass accompaniments are using are very high for their musically untrained congregation. So for those of you who find yourselves in sympathy with the above scenario, here are some practical guidelines when looking at keys and chorus melodies.

 First, it’s important to know that men and women are generally in a different vocal range, especially when it comes to the average musically untrained congregant. In most cases, women are mezzo-sopranos, and men are baritones. In other words, women are most comfortable singing when the melodic range is centered between the Bb below middle C, and A above middle C. Men, on the other hand, prefer a center range between E (below middle C) and D above middle C. What this means is, that a key that is comfortable for women is too low for the men, and keys comfortable for men are too high for women.

Secondly, it’s important to note the energy of the piece being played. If the piece is high energy (toe tapping, a “clapper”) then the center range of the melody should be more geared to the “men’s” range,  because the buoyancy of the piece naturally conjures the energy needed in order to hit the high notes. Also, high notes are easier to hit by the average singer when they are allowed to sing them loudly. As a side note, if the melody is placed too low, it becomes difficult for singers to sing with much volume or punch.

 Conversely, if the piece is much more worshipful and quieter, as at appeal or prayer time, then it is much better to put the key in the women’s natural center, which is lower and requires less energy to produce. This necessity is magnified if the congregation is sitting while singing --- it is much harder to produce the energy needed to sing high notes from a sitting position than a standing one, unless one has had training in proper breathing and vocal techniques.

 My general rule of thumb is this: The melody of most pieces should be centered between low “Bb” and high “D”. If the piece is high energy, than most of the melody should be based in the upper part of the octave. If the piece is slow and quiet, the melody should be mostly based in the lower part of the octave.

 There is a third thing to consider: If the piece is being accompanied by a brass band, it is easier for the congregation to sing higher. This is because a brass band is naturally quite loud, forcing the congregation to sing louder so they can hear themselves. As they sing louder, they expend more energy, making it easier to hit the high notes. However, if the only accompaniment is piano or a guitar, the congregation will naturally sing softer, making it much harder to sing in a higher key.

 There is a fourth consideration when it comes to contemporary music. Most of the male recording artists are high tenors. Thus the songs recorded by them are in keys too high for the average woman. “Trading my Sorrows” is a prime example. Darrell Evans’ original key is “A”, putting most of the melody between G# (above middle C) and high C#. The problem is that when women sing that high, they sound very operatic, which comes across sounding very ‘silly’ in the contemporary genre. Simply by lowering the key one tone to G, one can make the melody a little more accessible to women, while still retaining the energy the piece requires.

 Even a piece such as “Agnus Dei”, which has a more classical, operatic sound, is still very high in its original key of C (see diagram below), and is a real strain for most congregants. By lowering the key to “A”, its lowest note is still no lower than C# (a semitone above middle C), and the chorus is now centered between high “A” and “D”, reachable for all congregation members, but still high enough to produce the soaring glorious sound that the piece demands. As a bonus, true sopranos can now add a descant on top of the melody, one third higher, for a lovely choral effect.

Agnus Dei in "C"

 Agnus Dei in "A"

It is true that one has little choice about keys if restricted to a brass band or piano arrangement. Thankfully, most of the online music sites now offer transposable keys when downloading music. If your musicians are guitarists, or keyboardists playing at a digital piano, using a capo or the transpose button on a keyboard will also resolve the issue.

To purchase sheet music online, try the following websites:

www.worshiptogether.com

www.praisecharts.com

www.musicnotes.com

All three sites offer music in transposable keys.