A key, often overlooked part of the MD role is what we’re playing when worship is not the main focus. This could be during announcements, tithe messages, behind a preacher, etc.
Choosing and Communicating What To Play
An important part of incidental music is communicating what and when we’ll be playing. Most MDs use the time during the Preview to go over what we’ll be playing for announcements and tithe.
It’s wise to draw from a specific song that everyone knows, even if it’s a non-worship song. When all musicians know the timing of the original version of a song, it gives them context, and they immediately know the feel and timing of the chord changes. When we only say a “2 4 1 5” progression, it doesn’t answer how often the chords change (if the chord changes are every 2 beats or every 4 beats or if any of the chords are pushed). Instead, it would be wise to say something like, “Ok, for announcements, let’s play the chorus of ‘Paradise’ by Coldplay. Key of A, 74 BPM, progression is 2 4 1 5.” then describe the specifics if necessary. That way, during announcements, if you feel anyone getting off time, you can speak/sing a line or two to lock everyone back into the progression instead of describing the changes. Another great option that’s used across the campuses for announcements is the 5 6m 4 1 progression from Maverick City’s Jireh.
It’s also important to note that during announcements, playing in the original key of whatever song you’re playing is much less important than playing in the key of the next song in the set or flow moment. Most of the time, there’s a song before the preach after announcements, but if the runsheet is different, always be looking ahead to what we could potentially be singing next.
Tension-filled vs Resolved Progressions
We always want to reflect and amen the vibe happening on stage, and the chords we use can help tell that story. Throughout the Bible, music-shifting atmospheres are shown, especially where there is musical excellence, so understanding why chord progressions will or won’t fit the vibe is important. Sometimes, a chord progression might not be wrong; it just might not be the most appropriate for the moment. These are details that don’t escape a great MD!
One of the main things to navigate regarding which chord progression would be appropriate is whether a tension-filled or resolved progression should be used. Generally, if the 1 chord (aka the tonic) is in the progression, it’ll feel more resolved. Even the non-musical listener subconsciously wants to hear this chord as it gives a sense of satisfaction to hear a resolved progression.
If the moment is more victorious, celebratory, or playful, a more resolved progression (especially ones that involve the 1 chord) conveys that vibe better. The 1 chord is like a breath of fresh air—it’s a sigh of relief. Progressions with the 1 chord are great for playing behind announcements for this reason. Something like 6m 4 1 5 works well for this.
If it’s a more contemplative, introspective, or emotional moment, removing any straight 1 chords from the progression will give a bit more tension-filled, emotional backdrop. A tension-filled progression subconsciously has people lean in and sets an atmosphere that the stakes are high and the topic is important! A 1/3 is a great alternative chord instead of a straight 1 chord, so 4 5 6m 1/3 is a great one for this.
Also, how fast the progression moves sets different atmospheres as well. Break Every Chain and the chorus of Victory Is Yours have the exact same progression (6m 4 1 5), but because Break Every Chain’s chords change twice as often as the Victory is Yours progression, the speed of the chord changes don’t make it an ideal progression behind a soft moment in a service like when a keys player is first starting to fade in behind the preacher.
