HARMONIC CONVERGENCE IN CONTEMPORARY BLACK-WHITE CHURCHES: STYLE ELEMENTS OF MULTIETHNIC WORSHIP Paul Rumrill In the first decade of the twenty-first century, large Protestant churches (with one thousand or more in attendance each weekend) have trended towards multiethnicity. While five and a half percent of such congregations exhibited multicultural demographics a church community consisting of a minority culture of twenty percent or greater representation in 1998, by 2007 that number had jumped to fifteen percent, and to twenty-five percent among large evangelical churches. 1 A number of these congregations exhibit a blend of African-Americans and Caucasians; these black-white churches often employing worship repertoire from Lakewood Church, Bethany World Prayer Center, Brooklyn Tabernacle, FaithWorld Church, Prestonwood Baptist Church, and various artists and songwriters from Brentwood-Benson and Integrity s Hosanna Music exhibit a number of charismatic practices in the services, regardless of denominational affiliation. 2 Some of these churches use a hybridized music language-family synthesizing elements of urban praise and CCLI-based praise and worship. While this worship approach is somewhat challenging to analyze musically, there are melodic and harmonic elements that can be identified as part of the cultural-worship style of a number of the contemporary black-white churches operating in this present day. MELODIC AND HARMONIC ELEMENTS OF LWM S WORSHIP Congregational singing range during my later years at LWM (approximately 2003 to 2008) was approximately that of an eleventh, from about a Bb to an upper Eb. In certain Western urban popular musics, however, a prime unison melody above middle C is sometimes employed, where male singers in the choir and congregation are expected to sing the exact notes as females in a mix of chest and falsetto-head registers. This is a feature used frequently in songs popularized by Lakewood Church of Houston, Texas, such as in the bridge of Israel Houghton s You Are Good or the verses of Better Than Life [see Figure 1, next page], a collaboration by Cindy Cruse-Ratcliffe and Houghton. At LWM we employed prime unison in these songs at and in other contemporary gospel works such as Kurt Carr s In the Sanctuary and Jonathan DuBose s We Praise Your Name. Most often, the harmonic color used to outline many of LWM s pieces involved the blues scale, the mixolydian (flat-seven) scale, and various pentatonic scales. Analytically, LWM s songs often had diatonic major/minor or mixolydian harmonic progressions, with choral singers 1 See the introduction to DeYmaz and Li s Ethnic Blends: Mixing Diversity into Your Local Church. Grand Rapids, MI: Zondervan, 2010, 15-16. 2 See Chapter Three of Emerson and Woo s People of the Dream: Multiracial Congregations in the United States. Princeton, NJ: Princeton University Press, 2006.
moving in linear motion up and down the same scale system. At the same time, instrumentalists played pre-set riffs and fills that outlined various pentatonic scale divisions or the blues scale, depending on the temperament of the drum/bass patterns and the content of the lyrics. Figure 1. Combination: Pentatonic-blues melody, blues-scale riffs, and mixolydian-blues harmonic motion, from the opening phrase of Better Than Life, by C. Cruise-Ratcliffe and I. Houghton. {Prime unison} {Reduction of worship band} Minor dominant chords or dominant sevenths with augmented fifths and sharp-nine colors were often employed, as were major sevenths and ninths to tonic, subdominant, and submediant chords. Supertonics and flat-seven chords were considerably embellished, as well; one could find the gospel signatures of diminished passing harmonies and tritone substitutes in most services somewhere in the songs and transition times. Andrae Crouch s The Blood Will Never Lose Its Power illustrates these signature chord colors within stepwise, linear motions in the bass. Such sequences often within triple meter, swing impulses are part of the aural language of gospel, and church musicians working towards black-white multiracial ministry will need to internalize the kind of energy that these phrases evoke [Figure 2]. Specific harmonic progressions are common to black-white multiethnic worship, and at least one chordal instrument (piano, Rhodes, Hammond B3-type organ, electric guitar, acoustic guitar) in the ensemble needs to be able to play these within the context of songs and transitions. Some of the more commonly used alterations and extensions of the tonic, supertonic, and dominant are notated in Figures 3a through 3d, below.
Figure 2. Linear harmonic motion, second half of the verse, The Blood Will Never Lose Its Power by A. Crouch. {Harmonic reduction} Lead musicians need to be familiar with these harmonic alterations of the first, second, fifth scale degree chords in all twenty-four major and minor keys in Figures 3a through 3d. Musicians approaching multiracial worship from a jazz background will want to practice progressions capturing the dorian, lydian, and mixolydian modes. Figures 3a-3d. Alterations and extensions common to contemporary, multiracial, black-white worship. Figure 3a. Tonic alterations/extensions. Figure 3b. Tonic alterations/extensions in minor key. Figure 3c. Supertonic alterations/extensions.
Figure 3d. Dominant alterations/extensions. CHORD PROGRESSIONS AND REHARMONIZATIONS Certain progressions are common to black-white contemporary worship harmony. Linear motion upwards in the bass line is a signature sound, especially with the use of diminished and half-diminished chords [Figure 4]: Figure 4: Linear motion between diatonic harmonies by the use of diminished and half-diminished chords; scale degree harmonies of C Major emphasized on downbeats as destination points. Two-five-one progressions, often referred to as turnarounds in jazz vocabulary, are also frequent motions in contemporary Christian/gospel mixes. The supertonic (two) is usually based on the minor-seven or half-diminished seven sonority; the dominant has either a dominant seven or an augmented seven core. This is true even when the two-five-one progression is a secondary motion, briefly tonicizing another chord within the key [Figure 5]: Figure 5: Secondary two-five-one progressions, with scale degree harmonies indicated. It would be unusual for multiracial worship teams to tonicize the seventh scale degree, but it is a fairly common practice to create a secondary resolution upon the flat-seven harmony, after a two-five-one motion on the subdominant. Such progressions are notable moments in Bill Gaither and Richard Smallwood s collaboration in Center of My Joy and Joe Pace s Holy Are You Lord [Figure 6].
Figure 6: Secondary resolution to the harmony on the flatseven scale degree. Tritone substitutions where the bass note substitution for the altered dominant chord is a tritone away from the fifth scale degree are common to jazz, R&B and gospel, particularly during instrumental interludes [Figure 7]. Tritone substitutions can be found in such multiracial worship songs as Joe Pace s Holy Are You Lord and We ve Come to Worship You by Cruise- Ratcliffe/ Houghton. It was not unusual for me to cue the electric and bass guitar players to play a tritone substitution unrehearsed, instead of a dominant chord, during the service without prior rehearsal. Such a decision would be made for reasons of harmonic color and ministerial spontaneity. Figure 7: Comparison of two-five-one progression and a tritone substitution (reharmonization), indicated in the second chord within each example. ( ) Tritone substitutions are one of many examples of the process of reharmonization. Chord substitutions can evoke colors that allow for musical bridging, especially if employed within a worship culture attuned to these choices. Sometimes only a few chords need to be added or altered to align a song closer to another popular musical sphere. In the Caucasian (HillSong) worship song Emmanuel by Reuben Morgan, a reharmonization where the minor-two chord moves to flat-seven (D major ninth chord) before the first-inversion dominant [Figure 8b, first measure] sets greater dissonance and tension between the melody note and the bass. The wholestep motion in the last two measures of 8a defines a classic four-five-six progression, frequently found in white popular music. The addition of a secondary diminished chord (B-sharp diminished seventh) in 8b at the same location places it within territory more akin to black church music s chromatic motions. Reharmonizations of white praise songs employing secondary progressions can set a sound environment even closer to black gospel or R&B sound than a simple addition of an extension or chromatic connection. The four-chord sequence of the original praise song in 9a changes harmonies on every downbeat, while the secondary progressions in 9b hasten the
Figure 8a. Original harmonization, part of the chorus of Emmanuel (God With Us) by Reuben Morgan. {Harmonic reduction} Figure 8b. Reharmonization, part of the chorus of Emmanuel (God With Us) by Reuben Morgan. {Harmonic reduction} Figure 9a. Original harmonization of the opening phrase for Jesus, Lover of My Soul, by D. Grul, J. Ezzy, and S. McPherson. {Harmonic reduction} Figure 9b. Gospel-style reharmonization of the opening phrase for Jesus, Lover of My Soul, by D. Grul, J. Ezzy, and S. McPherson. {Harmonic reduction}
harmonic rhythm of the song considerably. 9b s gospel sound uses a secondary two-five-one progression to E minor seven in measure two and a tritone substitutionary motion in measure three to move to C major nine. In each example, the melody line is unchanged, illustrating how different a portrayal a song can have based on the merits of harmonic substitution alone. Reharmonization is a potent tool for forming sonic elements of multiracial worship ministry particularly when the ministry aims to minister to contemporary, black-white congregations. Generally, music leaders at black-white multiracial churches will need to build harmonies that speak this musical vernacular from the melody note downward. Almost any functional possibility in diatonicism can happen under a single note in a given melody. Here are some of the harmonization possibilities [Figure 10]: Figure 10: Harmonization possibilities under the melody note A4. Musicians developing in contemporary-worship, black-white multiracial churches need to be committed to developing cross-cultural competence, intracultural relationships, linearharmonic skill, and polyrhythmic engagement. While the examples above only capture a certain type of contemporary worship style in these churches, they are given in hopes of illustrating patterns and tendencies that can help musicians get started in attempting to engage in multiethnic worship ministry. ADDENDUM: REPERTORY OF LIVING WORD MINISTRIES IN 2005 This lists the songs ministered during services at LWM in 2005 (not including Christmas songs, Christmas specials, or instrumental songs during the offertories). For clarification,
occasionally the composer (or arranger of a traditional song) is included in the listing; predominant stylistic approach or church tradition will be mentioned, as well. The categorizations might seem a bit oversimplified to some, but hopefully will serve in showing some of the repertory ministered within a multiracial church. AFRICAN-AMERICAN CHURCH MUSIC CULTURE-INFLUENCED SONGS: All the Way God Is Still Doing Great Things Holy Are You, Lord (Joseph Pace) Holy Is the Lamb (Oleta Adams) Praise the Lord With Me Thanks (I Give You Thanks) The Blood Still Has Miraculous Power Yes, We All Agree New Jerusalem All I Desire (arranged) Blessed Be the Lord (Brooklyn Tabernacle) Blessing and Honor (Judy Jacobs) Come Let Us Worship Him Favorite Song of All (Brooklyn Tabernacle) Give Him the Glory (Marc Condon) Great Is Your Faithfulness High and Lifted Up I Came To Magnify I'm So Glad (Jesus Lifted Me) Jehovah Reigns Jesus, I'll Never Forget (traditional, arranged) Let Everything That Has Breath (Gary Oliver) Let Us Rejoice (and Sing Praise to Our God) Lift Up the Name of the Lord Lift Up Your Hands (Psalm 134) Lord, You're Holy Midnight Cry My Help (Psalm 121) (Brooklyn Tabernacle) Now and Forever Praise Him All Ye People Psalm 150 (Praise Ye the Lord) (Brooklyn Tabernacle) Sacrifice of Praise Take Up Your Cross (Brooklyn Tabernacle) Thank You, Lord (Jernigan, arranged) The Blood Will Never Lose Its Power Up From the Grave He Arose We Have Come Into This House Worship the Lord (Make a Joyful Noise) Majesty (Your Majesty) Bless Your Name (Clint Brown) Blessing and Honor (O God) (Fred Hammond) Glory to Glory to Glory (Fred Hammond) Holy Spirit, Have Your Way (Tim Johnson) I Surrender (I Am Yours, O God) In the Sanctuary I've Come To Praise You Jubilee / Blues Black Gospel / Jazz hybrid
Let the Praise Begin Lift Him Up (Give Him the Highest Praise) My Redeemer Lives (I Know) (N. Mullen) Praises, Praises Strength (Strength to Make It) (Fred Hammond) The Lord Inhabits Praise Trading My Sorrows (Darrell Evans, arranged) Victory Chant (arranged) We Lift Up Your Name We Praise Your Name (Jonathan DuBose, Jr.) When the Spirit of the Lord (I Will Dance) Your Name is Great (Houghton) HYBRID SONGS WITH NOTABLE AFRICAN-AMERICAN AND CAUCASIAN TRADITIONS: Again I Say Rejoice Awesome God (arranged Helen Baylor) Better Than Life Bless the Lord (At All Times) Come Into This House Days of Elijah (arranged) Everything Friend of God Glorify Your Name (Bilingual) God Is Here Hallelujah (Your Name Be Praised in All the Earth) Highly Exalted Holy Holy Holy (Praise Him and Lift Him Up) Holy You Are I Worship You (Jonathan DuBose, Jr.) Jesus, Lover of My Soul Let Your Glory Fill This Place (Gary Oliver) Show Me Your Ways (arranged) Sing Sweeter We've Come to Worship You You Are Good You Reign (You're the Holy One) (Marc Condon) CAUCASIAN TRADITIONAL CHURCH MUSIC INFLUENCED SONGS: Amazing Grace America the Beautiful Battle Hymn of the Republic God Bless America He Is Lord (He is Risen From the Dead) Holy Spirit, Thou Art Welcome Joy Unspeakable My Jesus, I Love Thee Oh Happy Day Oh, How I Love Jesus Healer in the House Something To Shout About CAUCASIAN CONTEMPORARY CHURCH MUSIC INFLUENCED SONGS: I Love You, Lord I Stand Amazed (In Your Presence) (Don Moen) Southern Gospel Southern Gospel
I Will Come and Bow Down On Bended Knee Psalm 3 (Thou Oh Lord) Something About That Name Take Me In To Him Who Sits On the Throne We Exalt Thee (I Exalt Thee) You Deserve the Glory Agnus Dei (Michael W. Smith) All Honor Ancient of Days Awesome In This Place Breathe (This is the Air I Breathe) Can't Stop Praising His Name Come Into the Heavenlies Come, Now Is the Time to Worship Draw Me Close Even Now Every Move I Make Grace Flows Down Hallowed Be Your Name Here In Your Presence (Bilingual) Holy and Anointed One Holy Is the Lord (E. Gregory) I Bow My Knee I Came To Worship You I Could Sing of Your Love Forever I Stand Amazed (In All of Your Glory) I Stand in Awe I Will Worship You (Matthew Ward) I Worship You (I Live to Bless Your Name) (Rumrill) I Worship You, Almighty God In the Secret Jesus, Lord To Me Joy of My Desire Let It Rain (Open the Floodgates) Let the Rain of Your Presence Lift Your Voice and Sing (Bilingual) Lord of All (Carman) Lord, I Lift Your Name On High More Love, More Power More Than Enough (Rumrill) Most Holy One (Rumrill) Not By Power Only You Open the Eyes of My Heart Rejoice (All Creation Worships You) The Lord On High Is Mighty ("African" elements) There Is None Like You Via Dolorosa (Bilingual) We Behold You We Will Worship the Lamb of Glory Where You Lead Me Who Can Satisfy? (Bilingual) Worship the King You Are Mighty
You Are My Everything (Like the Air I Breathe) Your Name Is Holy You're My Refuge and My Strength You're Worthy of My Praise Can't Stop Talking ('Bout Everything He's Done) Everything That Has Breath (Praise the Lord Forever) Exceeding Joy (My Soul Magnifies the Lord) Faithful To the End Father (Amazing Love) For All You've Done God Is Great Hallelujah (Saved By Your Mercy) I Give You My Heart I Will Never Be the Same Again Jesus, What a Beautiful Name Joy in the Holy Ghost Let the Peace of God Reign Lord of All (All of Creation Sings Your Praise) Lord of the Heavens Love You So Much My Hope (Is In the Name of the Lord) My Redeemer Lives Praise His Holy Name Shout To the Lord Sing of Your Great Love Stay (Here I'll Stay Forever) That's What We Came Here For Touching Heaven, Changing Earth You Are Holy, Holy You Said All About You Forever Here I Am To Worship Into Your Presence We Come Let My Words Be Few No Sacrifice (Jason Upton) Wonderful Wrap Me In Your Arms Your Love is Extravagant MISCELLANEOUS MUSIC TRADITIONS: He Set Me Free (arranged) I Walk By Faith Bless the Lord (Bilingual) Renew Me, Lord (Bilingual) Search Inside of Me (Psalm 139) (Bilingual) Your Name Is Like Ointment (Bilingual) Demos Alabanzas (Spanish) Doxology (Shout Unto God With Joy) (Bilingual) Montaña (Spanish) We Offer You Praise (Bilingual) Blues Blues Corito Corito Corito Corito Latin / Salsa-like Latin / Salsa-like Latin / Salsa-like Latin / Gospel hybrid
WORKS CONSULTED Davis, Ken L. Designing Worship for Multiethnic Churches (Part 1). Journal of Ministry and Theology (Spring 2004), 108-133. DeYmaz, Mark and Harry Li. Ethnic Blends: Mixing Diversity into Your Local Church. Grand Rapids, MI: Zondervan, 2010. DeYoung, Curtis Paul, Michael O. Emerson, George Yancey, and Karen Chai Kim. United By Faith: The Multiracial Congregation as an Answer to the Problem of Race. Oxford: Oxford University Press, 2003. Dougherty, Kevin D. and Kimberly R. Huyser. Racially Diverse Congregations: Organizational Identity and the Accommodation of Differences. Journal for the Scientific Study of Religion (2008) 47(1):23 43. Emerson, Michael O. People of the Dream: Multiracial Congregations in the United States. Princeton, NJ: Princeton University Press, 2006. Emerson, Michael and Karen Chai Kim. Multiracial Congregations: An Analysis of Their Development and a Typology. Journal for the Scientific Study of Religion 42:2 (June 2003), 217-227. Emerson, Michael O. and Christian Smith. Divided By Faith: Evangelical Religion and the Problem of Race in America. Oxford: Oxford University Press, 2000. Jenkins, K. E. Intimate Diversity: The Presentation of Multiculturalism and Multiracialism in a High-boundary Religious Movement. Journal for the Scientific Study of Religion 42 (2003):393 409. Marti, Gerardo. A Mosaic of Believers: Diversity and Innovation in a Multiethnic Church. Bloomington, IN: Indiana University Press, 2005. Marti, Gerardo. Fluid Ethnicity and Ethnic Transcendence in Multiracial Churches. Journal for the Scientific Study of Religion 47:1 (2008), 11 16. Maynard-Reid, P. U. Diverse Worship: African-American, Caribbean, and Hispanic Perspectives. Downers Grove, IL: InterVarsity Press, 2000. Nairobi Statement on Worship and Culture. Prepared by the Department for Theology and Studies of the Lutheran World Federation, 1996. Accessed from the Lift Your Hearts website (http://www. worship.ca/docs/lwf_ns.html) April 28, 2010. van Biema, David. Can Megachurches Bridge the Racial Divide? Time January 11, 2010. Yancey, George. One Body, One Spirit: Principles of Successful Multiracial Churches. Downers Grove, IL: IVP Press, 2003.