A vocal soloist can function in much the same way as a choir, leading the people’s song and presenting additional music that may be required by the structure and theme of a given order of service. This article addresses several practical concerns related to this role.
Do solo singers have a place in our worship services today? In recent years many Christians have struggled with that question. Some insist that soloists are superfluous, unrelated to the heart of true worship. Others are convinced that soloists call attention to themselves rather than lead the congregation in worship through music. Still, others believe that all parts of the worship service should be marked by participation rather than observation and that hymns, which involve the worshiping people directly, are therefore more appropriate than solo numbers.
All these objections have validity. But they reflect the need not to rid our services of soloists but rather to find ways to use them more appropriately.
The chief vocal music used in our worship services should be congregational, but a choir can also fill an important role in worship. Congregational singing, of course, is an integral part of every worship service we attend. Not so with choral music. Sometimes a choir is not available. At such times one can view the solo singer as a “one-person choir” (C. Halter and C. Schalk, A Handbook of Church Music).
Of course, our worship should never be interrupted by solo singers singing “special music”—solos that call attention to the singer and add nothing to the fabric of the liturgy. The solo singer, like the choir, has an obligation to lead the congregation in worship, directing thoughts toward God, building up the body of Christ. If a vocal solo is chosen carefully, performed well, and integrated into the service, it can be a valuable addition to the worship service, providing variety when choral music is not available or even, on occasion, used in addition to choral music.
Important Considerations
Placing the Musicians. Deciding where to place musicians can have an impact on how the congregation views their contribution to worship. For example, placing the organist and soloist in the balcony, out of view of the congregation, tends to focus attention on the music itself rather than on the musicians.
If a singer must sing from the front of the church, it is important that personal appearance in no way distract from the dignity of the service or bring undue attention to the singer. Some churches provide a robe for soloists to discourage the congregation from focusing on appearance and behavior.
Selecting Music. It is also important for soloists to choose material that is well within their range of expertise and for the songs to be well prepared and rehearsed with the accompanist before the service. Furthermore, soloists should keep in mind the congregations for which they are singing. A simple but well-chosen hymn may be best for a congregation whose accompanists have limited skills and whose members are not familiar with more complex styles of sacred music. Poorly performed music or material that upsets the congregation calls attention to the singer and does not contribute to the worship of God.
In his book The Practice of Sacred Music, Carl Halter suggests three considerations that musicians should keep in mind when selecting music for the worship service:
1. Its value for the praise of God; since worship is God-centered, not people-centered.
2. Its suitability for the particular service in which it is to be used.
3. Its ability to communicate to the hearers.
Halter sees the third consideration as a problem of language rather than quality since “not every group of people will be able to understand every worthwhile musical language [or style].” He continues, “It is the duty of the musicians patiently and lovingly to develop the needed understandings by the use of the best examples of whatever language is employed” (Halter, p. 37).
Conscientious singers will find material that is not too ornate. If a composition is filled with operatic tendencies toward virtuosity, the singer, rather than the message of the song, again becomes central.
Deciding on a Text. A song has two parts: text and music. The text of a song is extremely important and must be consonant with Scripture in order to belong in a worship service. Perhaps the best texts come from Scripture itself, but versified Scripture or well-crafted poetry that is in harmony with Scripture may also be very edifying to a congregation and worthy praise of God. In Music and Worship in the Church (p. 126), Lovelace and Rice mention four tests for determining whether a text is appropriate for worship:
It is necessary to study the text of every anthem, even it is scriptural, to determine if it is theologically acceptable, profound in its message, beautiful in its expression, and meaningful to the listener of today.
These tests apply not only to anthems but also to every hymn, psalm, and Bible song—to any words that are sung during worship, by the congregation, choir, or soloist.
Evaluating Music. It is more difficult to formulate tests to evaluate the music we use in worship. In his preface to A Well-Appointed Church Music (pp. 12–13), Howard Slenk writes,
In church music more than any other facet of worship, the idea of entertainment or performance has done the most damage. “Play what the congregation likes” is only one of the frequent comments that show the encroachment of the entertainment world into worship. The idea of word and music as an offering to God rarely exists. We forget that worship is not entertainment but participation. Worship requires an active congregation, not an audience. The question “Will they like it?” must be replaced by “Will he accept it?” The question “Does this music please me?” is not as important as “Is this music worthy of God?”
Appropriate for the Occasion
The soloist who chooses excellent music and fitting language for the congregation will have done much to ensure that his or her offering is a meaningful addition to worship. But fine music and a pleasing text are not the only considerations the musician must keep in mind. It is equally important that each selection is appropriate for the occasion and fitted into the worship service so that it does not appear extraneous.
Several possible positions for a solo are the call to worship, response to Scripture reading, call to prayer, response to prayer, or benediction.
Soloists may also contribute to the liturgy of other services, such as weddings, funerals, and prayer services as well as to more informal programs and meetings in the church. Although the music used at weddings, funerals, and other services should be subjected to the same tests that we use for music in our Sunday services, selections sung for more informal and nonliturgical gatherings need not be evaluated by such rigorous standards.
For example, although I often sing Max Reger’s “The Virgin’s Slumber Song” for adult fellowship groups at Christmas time, I would never sing that song for a public worship service. Why? Because I judge that this text, while poetic and devotional, is merely a lullaby to baby Jesus and, as such, is not suited to a liturgical setting.
Special problems may arise for the solo singer at weddings and funerals. Often the family has certain preferences for music, and many times their choices are not appropriate liturgically. It often takes a great deal of tact and firmness to refuse to sing songs that are either inferior in quality or inappropriate for the setting. Some churches wisely have attempted to eliminate this problem and to preserve the dignity and liturgical nature of weddings and funerals by setting guidelines and rules for the music used in these services.
Sources for Solos
In choosing vocal music for worship, the soloist can use a wide range of sources. First is the hymnal, which can often provide meaningful and useful music for the service (and can also help the congregation learn new and unfamiliar hymns). Other sources include vocal solo repertoire with sacred text, written originally as independent solos; the large repertoire of oratorios and cantatas that sometimes provide movements that can be used separately; and the unison anthem, which frequently makes an excellent vocal solo.