How much do you tap into your music theory when planning your worship? One of the ways that I like to incorporate music theory is by using the circle of fifths.
http://en.wikipedia.org/wiki/Circle_of_fifths
In music theory, the circle of fifths (or circle of fourths) shows the relationships among the twelve tones of the chromatic scale, their corresponding key signatures, and the associated major and minor keys. More specifically, it is a geometrical representation of relationships among the 12 pitch classes of the chromatic scale in pitch class space. Musicians and composers use the circle of fifths to understand and describe those relationships. The circle’s design is helpful in composing and harmonizing melodies, building chords, and moving to different keys within a composition. (Dummies.com. “The Circle of Fifths: A Brief History.” 23 Feb., 2009.)
So we have this circle of fifths, which, starting at C and going around the circle in a clockwise fashion (which is up a fifth each move) yields the following keys: C, G, D, A, E, B, Gflat, Dflat, Aflat, Eflat, Bflat, F and back to C. Moving counter-clockwise back around the circle (which is down a fifth each move) yields the exactly opposite results. The interesting thing is that traveling down by a fifth is the same as going up by a fourth, and traveling up a fifth is going down a fourth.
According to Goldman’s Harmony in Western Music, “the IV chord is actually, in the simplest mechanisms of diatonic relationships, at the greatest distance from I. In terms of the [descending] circle of fifths, it leads away from I, rather than toward it.” (Goldman (1965), p. 68) Thus the progression I-ii-V-I (an authentic cadence) would feel more final or resolved than I-IV-I (a plagal cadence. Goldman (Goldman (1965), chapter 3) concurs with Nattiez, who argues that, “the chord on the fourth degree appears long before the chord on II, and the subsequent final I, in the progression I-IV-viio-iii-vi-ii-V-I,” and is farther from the tonic there as well. (Nattiez (1990), p. 226.)
So maybe right about now you’re screaming, “SO WHAT???” Well, I hope to shed some light on my thoughts if I can.
Basically, there are two different ways in which I use this theory.
1) The relationship between chords within a song are important in that they move us by their very relationships and the emotions they evoke. Take, for example, the song “Amazed” by Jared Anderson. The last line in the chorus goes “Lord I’m amazed (Em), by You (Asus) , how You love me (D).” Those three chords are Em, Asus, D. In the key of D they are the ii, V and I. Implementing the ii, V, I is called the “ii-V-I turnaround” and it is a common end-phrase chord progression that strongly and neatly ties up a phrase. It brings resolution to the phrase and lulls the listener, allowing a release of musical tension.
The same effect can be created in the song “You are my King” by Billy Foote. The actual chords at the end of the verse are “Because (G) You died (A) and rose again (D).” But one can substitute an Em (the ii chord in the key of D) for the G (IV) chord to artificially create a classic ii-V-I turnaround. The same chord pattern is either found or can be created in many classic and contemporary worship hymns and songs.
2) The key relationship between songs in a song list is also important. Let’s say your song list (let’s call it list A) is something like this: “Come, Now is the Time to Worship” in E, “Holy is the Lord” in G, “Breathe” in G, “Here I am to Worship” in E, and “How Great is Our God” in C. So the key progression of your song list goes E, G, G, E, C. In my opinion, there is no effective relationship between those keys. There’s nothing wrong with those songs in those keys in that order per se, but perhaps choosing songs in keys that relate to each other can help yield a deeper worship experience by choosing songs in keys that have a more meaningful relationship to each other.
For example, I like to write down my circle of fifths before I choose my songs. So I’ll write on my page (from top to bottom) E, A, D, G, C, G, D, A, E. From E to C is four jumps or down a fifth (up a fourth) between songs, which builds musical tension with each key change. If you don’t care for the word “tension,” how about “excitement?” In the opening few songs of a song list I like to build tension/excitement if I can. So perhaps I’ll choose songs (let’s call this list B) like “Come, Now is the Time to Worship” in E, “Meet with Me” (or “Trading my Sorrows”) in A, “Beautiful One” in D, “How Great is Our God” in C. For the second half of the set I’ll ease off the tension and help the worshiper relax into a more meditative frame of mind by going clockwise around the circle of fifths from C to E, which is four jumps up a fifth (down a fourth). Each step down a fourth releases tension. So I may choose songs like “How Great is Our God” in C, “God of Wonders” in G, “Amazing Love” (or “Revelation Song”) in D, “Draw Me Close” (or “The Stand”) in A, and ”Here I Am to Worship” (or “All that I Want”) in E.
You may not get what I’m trying to say without actually playing these song lists for yourself. First, try playing list A. Perhaps just start and end each song, then start the next song, being sensitive to your own state of mind and any gain or relief of tension that is created by going from song to song. Next, play through list B, again just playing the beginning and ending of each song, and again being sensitive to your own state of mind and any gain or relief of tension that is created by going from song to song.
In my experience, most people have never thought of putting together song lists in this way. And most of the time people are impressed or even blown away by the effect it has on them!
Now, I’m no genius. I didn’t make this stuff up–it’s been around for centuries. In fact, it’s been this way forever, because… well… God Himself is the One who created music! He is the One who created the circle of fifths. He is the One who designed us to respond as we do to the circle of fifths. Wonderful, isn’t it?
I’ve had people ask me if I’m not just using this whole circle of fifths (as well as other bits of theory and formula) to evoke a planned response out of people. And, well… yes. I am. I am using the tools that God has given me to perform the ministry to which I am called. I use these tools in the same way that we all use bold, italics, ALL CAPS and !!!exclamation marks!!! to evoke a response from our readers. It’s the same as preachers whispering, yelling, pausing…or pounding on the podium.
And to me, the beauty is that God created all of it. I believe He created it to help us lead His people in higher praise and deeper worship of Him.
Praise God from whom all blessings flow!
Theoretically (ii) yours (V),
Scott Jasmin (I)
