Sounding "Like the Record" Isn't Always the Best Choice

If you're part of a worship team that does a pretty good job of making things sound "like the record," then you're in good position for leading the congregation in singing.

You're able to pull off all the correct chords, melodies, rhythms, and presence to help other people connect to the message of the lyrics...

...but what if you could make it better? 

Benefits of Sounding "Like the Record"

To be clear: There's nothing wrong with replicating parts from a record when leading live music for a congregation. Here's what you get:

• A clear presentation of melody, lyrics, and form.

• A familiarity that's already built-in if you're using a popular recording as reference. (Think radio/streaming singles.)

People can latch on immediately because they already know the song, and when you play it like the record, nothing catches them off-guard—they know what to expect. 

There are also benefits for the band:

• Parts that are replicable (most of the time). 

• Recordings are accessible for reference. 

• Familiarity with popular recordings makes things easier to learn. 

• There's a "by rote" aspect that helps the band lock in the right sound. 

All in all, you wouldn't be in a bad spot if you solely played parts just like the record for congregational worship. But when done right, you CAN deviate from the recording to elevate the experience even more. 

Case Study: "There's Nothing That Our God Can't Do"

There's this song from Passion called "There's Nothing That Our God Can't Do" that has been sung by churches all around the world since it debuted in 2020. Here's the official live version:

As far as CCM/worship, it's pretty standard: attention-grabbing intro, build-up of dynamics to the first chorus, more intensity as the song moves along, and by the end, there's a resounding loop of the title lyric as an anthem for the moment. 

The arrangement of parts is fairly standard, too: male lead vocal with male and female BGVs, not prominently mixed in relation to the rest of the group, instruments play fairly smooth, with driving parts save for the tutti (all together) hits after the bridge. 

Now, here's another version of the same song, but arranged completely different for a gospel choir and piano:

Immediately, the vibe is different. The female lead vocal takes more liberty with the melody of the lyric, stylizing much more personally with melismas and alternative note choices from the original line. The piano underscores the mood more delicately, which makes the personalized message of the song even more personal and individualized—it's more intimate. 

My favorite part comes in the second verse, when the choir sings in unison on alternating lines of text: 

Just one word... just one touch...

This is artistic genius, where the choir accentuates the word "one" with the unison approach, and the weight of the number of voices singing only those lines gives greater emphasis and distinction for the listener to experience. 

Or, take this version of the same song:

The drummer, Abel Orta, Jr., really took the energy of the song up from the original recording while preserving its essence. There's more activity in his rhythmic lines, more interest in his fills (especially how he fills in between the tutti band hits after the bridge), and it never compromises or distracts from the collective experience. 

The Takeaway

If you were to take anything from these examples, it's that you should feel full license to make the arrangement your own, injecting your personality, influences, and creativity—as long as it serves the song and the people. I've seen and heard some groups over-insert themselves into the music in an effort to stand out, and indeed, they DID—but not in a good way. 

Approach your arrangements with tact and thoughtfulness; these personalizations should daw people in even further and closer together in unity as they lift up our God with their song. 

Be blessed 👊✌️