Range for hymns

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Why is it you think that most tunes in hymn books are based on C-C? Even with Gregorian chant this is so. I went to a sing-along and they went down even to A (so I couldn’t sing but I was told that most men and women like lower keys).
Why is it you think that hymn book base the range on C-C? It does sound high when women sing (but not when men sing). I guess it become lower if the Priest does the chant, eg Sanctus, without a church musician present.
What are your thoughts on this?
 
All I know is that I’m an alto, and I’m lucky to have a one-octave range… so it makes a big difference where that starting note starts as to whether I’ll be able to stick around for the whole thing! 😛
 
I’ve played in music ministries for 35 years.

The main answer is simple - most people can’t sing… 🙂

I’m half-joking, though. It’s not really that people can’t sing, but the hymnals are written to be as simple as possible to be as inclusive as possible.

On a more serious note, when I am in church, and I hear someone who cannot sing singing, I dont mind at all. Everyone loves a good show, but the devil came through the choir. We’re not in church to show off. Hymns are prayers. And, if someone cannot sing - but is making a sincere effort - I say, all the more power to them. Let them make a joyful noise unto the Lord or to sing a song of lament. So, too, if a hymnal is of modest quality, it helps facilitate the audience by accommodating the one singing - or, what is the same, praying.

Another (less well-known) reason for the structure of hymns was the architecture of old churches, cathedrals and monasteries. The drone sounds and loose rhythms of older pieces was less rigorously defined as something like a Mozartean concerto, so the very drone notes could reverberate throughout the church. More intricate pieces are usually best played in a salon or a chamber where there is less reverberation, so you can hear the intended effect better. This was usually a deliberate choice and collaborative effort between both musicians and architects (so important was the matter to them back then); and, in fact, we still have this “collaboration” between musician and architect today, even in secular venues, such as when a heavy metal guitarist might have trouble with playing fast solos in an large arena, or a hall where different social events echoes so much you can’t tell what a speaker is saying because diction and clarity tends to get lost in reverberation.

That is not to say there are not more elegant works. Not by far. But, if you wish to hear elegant sacred music, you kind of have to pursue it yourself. I love to listen to old masses and sacred pieces by Mozart, Bach, Beethoven, Faure, Gorecki and on and on… They are a side to Catholicism which few people know and understand, which is very sad because Catholicism sometimes gets a “rep” by the general public for being a dirge… The granduer, joy and exaltation the works of the old Masters brings elevates one’s conscience to the Glory of God all loves excelling by many of today’s perceptions.

Blessings,

Wm
 
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Why C-C you think?
At sing-alongs the range seem to be a bit different from hymn singing.
 
This came up a while ago, I go from Barry White to robin Gibb and it’s onerous. I think two hymns are in my normal range, that’s all.

I remember reading somewhere that the organist should test the congregation to find the optimal range. That sounds a bit odd now but I’d take part willingly in such a test.
 
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When I read your question the second time around, it made no sense, but - when I realized what you are asking - I laughed so hard…

First, I should say, it is a fair question, but it is not a simple one. In other words, the answer to what you are asking has a second half… Based upon the title, which specifies RANGE, I thought you wanted things to be made known specifically with respect to why mainly within an octave, for that is what range is… But the body of your question further specifies KEY, which is why you asked what appears to be the same thing a second time around…

Key is different from range, and it is a far more complex subject… To try to form an answer, I’ll assume that what you mean in your most excellent question is, “Why in the ‘key range’ of C4 (middle C) to C5?”, which is normally what you read in the hymnals…

So here is the answer: If the first rule is, hymnals are written within the range of an octave because people cant sing, then, the second rule is, hymns are often performed in the Key of C because people cant play…"

What that means requires you to understand a few things about diatonic harmony and instrumentation…

With respect to diatonic harmony, there are 12 Keys, and C is the easiest to play on a keyboard… It’s pretty much standard fare for beginners and simple explanations… kind of like when someone is doing math and they put everything in terms of whole, natural numbers (like 1 or 10’s) instead of integers (which include numbers lower than zero) and/or rational numbers (like decimals and fractions)… By analogy, what you are asking borders very closely on veering into a discussion of music in terms of integers and rational numbers, whereas most singers and instrumentalists in the congregation simply wont know…

To make matters much worse - the official instrument of the church is the organ; and - of all the instruments in the orchestra - the organ is the hardest to play… Some churches just have pianos or guitar, and you’ll find scores adapted to these instruments, but the master volume of the hymnal should be written for the organ…

Let’s not go into the details of how to change keys on a keyboard on the organ, but - suffice it to say - if you dropped everything down a half step on the keyboard from a hymn in C Major (within the range of C4-C5) to B Major (within the range of B3-B4)… what you would likely end up with is one very despondent organist… tons of errors… and a very angry congregation…
 
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So C-C is a bit high for you?
What range do you prefer?
 
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My point is - given the range of talent available to churches - who usually rely heavily upon volunteers, you’re unlikely to find someone who can just skip keys on the organ or piano without a sufficient amount of prior practice… Thus, just as the range is limited to an octave to accommodate the singers, it is easier just to keep things in the key of C to accommodate the instrumentalist(s)…

The lesson here is - some people are ultra particular about their music - but music is just the way something is said, not what is said… In church, we prefer to look at what is said in a hymn, namely the prayer behind it… not how it sounds…

Harmony is a shared phenomenon, especially in the graces of our poor church, where our humble brethren gather to pray… if a soul wants to hear a wider range of octaves and/or modulations through different keys, try it yourself first - lest you judge the beam in your brother’s eye… And, if you cannot play or sing as such - but you think it is worth it, then, what I tell myself is, go to school’ learn how to do it, and then you can give God the glory…

And, while you are in lessons, watch your teacher… considering the fact that your teacher has a grace that allows them to patiently sit through one student after another who cannot play a note at first, and ensembles who all disagree with one another (because they cannot play either)… And, yet, something keeps that teacher in focus all the while… That gives rise to a much more profound question - “Wherefore comes this grace which gives rise to such beauty?”

I reply “Naught else but Love”.

I hope this helps answer your question. Pursuing the answer has been, is, and always will be full of blessings.

Thank you for asking. 🙂

Wm
 
Interesting. As a pianist and accordionist I can relate to how transposing is harder than you think. I was told by a pianist that C is the hardest key to play in. Btw, C-C can be the key of F.

My question was mostly about why the range is based on C-C and not A-A? At the sing-alongs I have visited the keys were lower than in the hymnals. I am just interested in the fact that we sing in a higher range at church.
I like C-C as I am more of a tenor than baritone.
Why not sing A-A at church? Women dont naturally sing one octave higher than the men. Sopranos might, I guess.
And then not all men like C-C. Most men seem to like A-A, it seems.

And when I listen to Gregorian chant it seems to be that they like higher keys. I like higher keys.
No basses in the Gregorian choir?
I am mostly looking at the practical implications of this. I am a musician but not that of an expert.
 
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I sing in the key of G. 🙂

So as long as that C-C is actually from G-G, I’m good. Our former pianist has been chronically ill for years, and we occasionally get a guitarist whose songs consist of a few chords strummed over and over, but usually, it’s just the congregation making its way as best we can. 🙂
 
The forward to the hymn book Catholic Worship Book II has on page ii by Archbishop Hart:
“Catholic Worship Book II is approved and endorsed by the Australian Catholic Bishops Conference. It is the official liturgical music resource for the Catholic Church in Australia.”

The Editorial Introduction has on page x:
“In order to place the melodies within the comfortable singing range of the Assembly, hymn tunes have been transposed where necessary so that the compass does not rise above D an octave above middle C in the treble clef.”
 
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