The best choir songs from the vast Walter Hawkins collection

Walter Hawkins, singing with the Hawkins Family and with the Love Center Choir, has brought us so many essential gospel choir songs that it’s difficult to narrow down a list of favorites. But here’s my list of the very best of his contributions to the choir repertoire.

 

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Changed


Changed

“He changed, my life complete

And now I sit, I sit at His feet . . .

A wonderful change has come over me”

Lead singers love this song, but I think the best part is the gorgeous choir harmonies. The harmonies and rhythm on the verses were a departure from what everyone expected from gospel music at that time. And so beautifully done.

Tempo: Slow

Key: Ab

Resource links:

Difficulty level:

  • For singers: 4 / 5
  • For musicians: 4 / 5

Lead singer required? Yes

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God Is Standing By

 

“Everywhere you go, there is trouble

Everywhere you go, there is strife . . .

God is standing by, no need to cry”

This is the old-school gospel blues sound that we all grow up with. And so well done.

Tempo: Moderate

Key: Bb

Resource links:

Difficulty level:

  • For singers: 2 / 5
  • For musicians: 2 / 5

Lead singer required? Yes

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Goin’ Up Yonder

Going Up Yonder

“I’m goin’ up yonder

Goin’ up yonder

Goin’ up yonder, to be with my Lord”

A classic selection for funerals.

Tempo: Moderate

Key: Db

Resource links:

Difficulty level:

  • For singers: 2 / 5
  • For musicians: 2 / 5

Lead singer required? There are two terrific lead verses, but sometimes choirs will just sing the verse in unison.

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I’m Going Away


I’m Going Away

“I’m going away . . .

To a place prepared just for me

A special place, I’ll live eternally”

I especially love this one as a piece of songwriting. Some progressive harmonies for his time. Another good choice for funerals, too.

Tempo: Slow

Key: Db, then Gb

Resource links:

  • Lyrics for I’m Going Away
  • Chords for I’m Going Away

Difficulty level:

  • For singers: 4.5 / 5
  • For musicians: 4 / 5

Lead singer required? Yes

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Jesus Christ Is the Way


Jesus Christ Is the Way

“When I think about

The hour

Then I know what I must do . . .

I will open up my heart

To everyone I see

And say, ‘Jesus Christ is the way'”

I love the message of this song. Sweet, but purposeful at the same time.

Tempo: Slow

Key: Gb

Resource links:

Difficulty level:

  • For singers: 3 / 5
  • For musicians: 3 / 5

Lead singer required? They have one on the original recording, but it’s optional.

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Thank You


Thank You

“Thank You, Lord, for all You’ve done for me”

I wrote a whole web page about “Thank You” because it’s one of the most important songs in the gospel choir repertoire. A lot of people would consider this to be Walter Hawkins’s masterpiece.

I was at a convention once and one of the bishops just started singing the verse out of the blue. Even though we were not his choir, he just knew that we would be ready to back him up. Even if there isn’t a choir in the stand, you could start this one up and the congregation would do the choir part for you, probably in harmony and everything. Every choir should know this one.

Tempo: Moderately fast

Key: Ab

Resource links:

Difficulty level:

  • For singers: 3.5 / 5
  • For musicians: 3 / 5

Lead singer required? Absolutely.

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There’s a War Going On


There’s a War Going On

“There’s a war going on

And if you’re gonna win

You’d better make sure that you have Jesus

Deep down within”

The interplay between the lead and the choir on this song is really good. Some interesting harmonies, too.

Tempo: Fast

Key: F

Resource links:

Difficulty level:

  • For singers: 3 / 5
  • For musicians: 2.5 / 5

Lead singer required? Yes

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Until I Found the Lord


Until I Found the Lord

“Well, I cried and I cried

I cried all night long

I cried and I cried

Until I found the Lord”

An energetic one with a great groove.

Tempo: Fast

Key: Eb

Difficulty level:

  • For singers: 3.5 / 5
  • For musicians: 2.5 / 5

Lead singer required? Yes

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When the Battle Is Over


When the Battle Is Over

“Don’t wait till the battle is over, shout now

You know in the end, you’re gonna win”

You hear people quote this song all the time in church, so it’s clear that the message has impacted a lot of people.

Tempo: Fast

Key: Ab

Resource links:

Difficulty level:

  • For singers: 3 / 5
  • For musicians: 3.5 / 5

Lead singer required? Yes

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What is your favorite Walter Hawkins choir song?

Photo from Wikimedia Commons

Photo from Wikimedia Commons

Growing as a gospel choir singer

Tips for increasing your knowledge and skill in choir singing

” . . . add to your faith virtue; and to virtue knowledge” II Peter 1:5

If you’re a member of your church choir, I hope and pray that the reason you joined the choir is because of your love for God and your desire to worship and serve Him. You have the faith part already, and the virtue (righteousness) part is between you and God (or, at least, if you have issues in that area, you need to be seeking help from someone other than me 🙂 ). The purpose of this page is to help you in adding knowledge that will help you in your ministry as a choir member.

Learning how music works

Music is something that comes to us naturally, just like language. As toddlers, we learn to talk long before we learn reading, writing, spelling, and grammar. In the same way, we learn to hear music and sing it without knowing anything about tonality and scales and meter.

keyboard_picBut if you never learned how to read and spell, you would miss out on much that the English language has to offer (great books, magazines, the internet). Similarly, learning a little about the technical aspects of music can enrich your experience of music as well as making it easier for you to perform as a choir singer and do more advanced types of music.

That’s what we’re going to talk about here.

Understanding music: Keys and scales

What does it mean when we say a song is in the key of C or B-flat or whatever else? It’s something that’s become a part of all of us as we grew up listening to music. When you hear a piece of music, you can tell that there’s one note that’s the foundation of the tune. That’s the note that everything is leading to. When you reach that note, you feel like the tune has come to a resting place. Listen to this example:

Phrase 1

Does it feel like it’s finished yet? It’s still hanging, isn’t it? Here’s the next line:

Phrase 2

Now it feels like it’s come all the way home. That last note is the key note for the song. In music terms, it’s also called the tonal center or tonic. In the clips you heard, the tonic was an E note, so the song was being sung in the key of E. We can sing the song with a different tonal center and make the same melody. Here is the tune in the key of A-flat:

Verse in Ab

(That song, by the way, is Jesus, the Son of God written by Bishop G. T. Haywood.)

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A scale is the series of notes that are used in a particular key. In the key of C major, the notes that make up the scale are:

C – D – E – F – G – A – B – C

These notes are the scale tones for the C major scale. If you sing them in order, they sound like the familiar “do-re-mi” song: C major scale

Numbers are assigned to each scale tone. The tonic gets the number 1, the next note in the scale is 2, and so on. So in the key of C major, tone number 1 is C, number 2 is D, number 3 is E. There are seven scale tones in a normal scale, and after number 7 then you’re back to number 1.

In other keys, different notes make up the scale. In the key of E major, the notes of the scale are:

E – F-sharp – G-sharp – A – B – C-sharp – D-sharp – E

The tonic is E, the 2nd is F-sharp, the 3rd is G-sharp, etc.

If you sing those notes, you get the same scale, just in a higher key: E major scale

If we go back to the song we were using, we can express the notes in the first line by using the scale tones:

5 – 3 – 2 – 3 – 2 – 1 – 1 – 1 – 6 – 1 – 6 – 5 – 1 – 1 – 1 – 3 – 3 – 2

No matter what key we’re in, those scale tones in that order will produce that melody.

As you practice singing and listening to music, you’ll start to get a feel for what the scale tones sound like. This will help you understand and remember your choir parts. For example, on a particular song, the sopranos might be starting on the third, the altos on the tonic, and the tenors on the fifth. If you understand that, it will help you keep your place and know where you’re going.

A tip for hitting that first note right

Sometimes when singers are coming in with their first notes of a song, I will hear them start on a note that’s close to the right one, but not quite there. Then they have to slide up to the real note.

One way to avoid this is to sing the note to yourself very quietly, or even just sing it in your mind. It really will help you get that first note straight on. Try it!

Tutorial video on singing high notes

Everybody can profit from this. Here’s another instructional video from Eric Arceneaux. This one is about hitting high notes smoothly without screeching.

World Children's Choir

The World Children’s Choir with President and Mrs. Geroge W. Bush — Photo from Wikimedia Commons.

Choir decorum

Elisha Mitchell has a nice list of suggestions about choir etiquette. Some of them are practical tips, others are spiritual.

Some of my favorite practical suggestions from the list:

  • If you know you need extra help, bring a portable tape player. Record the rehearsal so you can practice at home.
  • Try singing music from a different era or style. This may be challenging but it serves to reach a diverse audience. And sometimes an “oldie but goodie” is right on time.
  • Whenever possible, a lead singer should test the microphone before a program. If this is not possible, you can also hear what it sounds like when someone else is using it. Then you’ll know how far away to hold it or whether to use it at all.

And some of my favorite spiritual points:

  • Sing the song you aren’t particularly fond of with a good attitude. It may be exactly what someone else needs to hear.
  • Harping on someone else’s inability will reduce the choir’s overall effectiveness to minister. Edify or hush.
  • Open your heart to be a channel for God to minister to others. To have that focus is especially helpful when you’re asked to sing a song–again!

Here’s the full list.

Vocal warmup tips – A video series from Eric Arceneaux

This is something we can all work on together. I need to strengthen my vocals as much as anybody.

In these videos, Arceneaux talks about warm-up exercises that can help develop your singing technique. In this first one he spends some time introducing the series and then gets into the first exercise. Check out his whole series.

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“Thank You (Lord, for All You’ve Done for Me)” — A gospel choir standard

Everything you need to know to teach “Thank You” by Walter Hawkins to your choir.

“Thank You (Lord, for All You’ve Done for Me)” by Walter Hawkins and the Love Center Choir, was a part of the “Love Alive IV” album that was released in 1990. The song is immensely popular with gospel music fans and is a standard in the gospel choir repertoire.

Everybody knows this song and everybody loves it. As I said on my web page about Walter Hawkins songs: “Even if there isn’t a choir in the stand, you could start this one up and the congregation would do the choir part for you, probably in harmony and everything.”

What’s great about “Thank You”

What makes it one of the best choir songs around?

The message of “Thank You” is an easy one to love. Being grateful for the simple blessings of life

It’s a modern-sounding song, with references to the problems that are often faced in today’s society. The song was released in 1990, just in time for the recession of the early ’90s, so people identified with the line that says “the economy’s down, people can’t get enough pay” and “folks without homes living out in the street”. But in all of the intervening years, times have never been so perfect that the song no longer felt relevant, especially in the black community.

Lead singers love this song! The melody on the lead verses is simple but lends itself well to bending and intonation to let a singer mold it to their own style and be expressive. And the chord progression starts out very laid back and builds tension as it gets to the end of the verse where the singer and the musicians can all let loose on the last line — “Thank You Lord, for all You’ve done for me”.

Choirs love it too. The choir part has an easy groove to get into and the parts are easy to learn — even though you might not be doing it exactly the same as it is on the album. It doesn’t go too high or too low, and it’s an easy song to sing expressively.

Buy the song!

Actually, you’ll have to buy the whole album. “Thank You” isn’t sold as a single.

Overview of “Thank You”

“Thank You” was originally done in the key of Ab. It’s written for three choir parts — soprano, alto, and tenor — and a lead singer. On the original recording the choir it is accompanied by a standard gospel band.

Songwriter and publisher info for “Thank You”

“Thank You” was written by Walter Hawkins, one of the most important gospel choir songwriters of all time.

According to BMI, the publishing rights are held by LEEODD MUSIC, MALACO MUSIC COMPANY, and PEERMUSIC III LTD.

Mechanical licenses for “Thank You” can be obtained through the Easy Song Licensing.

How does the bridge really go?

The part where the lead starts with “It could have been me . . .”

I’ve heard different choirs sing that middle section different ways, and they all sounded good. But what are the real notes?

After listening repeatedly to the original Hawkins recording, this is what it sounds like to me. The top line is the soprano part, the next line is the altos, and the bottom line is the tenors:

Bb —- Bb —- Bb — Bb — Bb — Bb — Bb — Bb

Gb —- Gb — Gb — Gb — F —- F —– F —– F

Db —- Db —- C —- C —– C —- C —– C —- C

Thank You – Thank You – Thank You – Thank You

 

Bb —- Bb —- Bb — Bb — Bb — Bb — Bb —- Bb — C

F —— F —— F —- F —- Ab — Ab —- G —– G — Ab

D —— D —— D —- D —- Db — Db — Db —- Db — Eb

Thank You  –  Thank You – Thank You – Thank   You  Lord

 

Bb —- Bb —- Bb — Bb —- C —- C —- Db —- Db

Gb — Gb —- Gb — Gb — Ab — Ab — Ab —- Ab

Db —- Db —- C —– C —- Eb — Eb —- E —– E

Thank You –  Thank  You – Thank You –  Thank  You

 

So if you look at that, combined with the bass line from the instruments, these are the chords that the choir is making:

Ebm7 – Ab9 – Db6maj7 – Db6maj7

Bb – Bb – Ebsus7 – Eb7 – Ab

Ebm7 – Ab9 – Dbmaj7(9) – Bb 1/2dim

Pretty cute!

 

How to play “Thank You” – A video tutorial from Jarreau24 on YouTube

PART I

PART II

Richard Smallwood – A songwriter’s songwriter

Smallwood stands unchallenged in his niche as a creator of gospel music. He brings classical elements to black gospel music in a way that incorporates the best of both traditions. A lot of his music is not for novices, but for experienced singers and choirs, he inspires us to work harder, refine our skills more, and bring ourselves up to the level of this splendid music.

The songwriting of Richard Smallwood

His style of songs

One of the things I mentioned on my Andrae Crouch fan page is that much of Crouch’s music adapts well to singers and musicians of all different skill levels. Well, Smallwood stakes out a different territory. His best songs are challenging ones, the songs that you have to take some serious time rehearsing. Hearing an inexperienced choir attempt a Richard Smallwood song when they’re not ready can be painful. But when a choir is prepared and executes well, it’s a transcendent experience.

He has songs that make classical styles sound soulful and others that make gospel and blues styles sound elegant. And every composition he writes makes it clear that he understands music inside and out.

Sheet music for Richard Smallwood songs.

Sheet music is available for a lot of Smallwood’s songs, especially his later work. Sadly, some of his older songs are not available in sheet music form.

Check out his music on MusicNotes.com

I think sheet music also sends a message to directors like me about what Smallwood wants for his music: Don’t guess at how the song goes. Do it right.

 

Richard Smallwood majored in piano performance at Howard University.

During his time at Howard, Smallwood and some of his classmates staged a protest.

They took over the Fine Arts Building for two weeks, demanding that Howard start including spirituals, gospel music, and jazz into their music curriculum. (McCoy)

“There is good and bad music in every genre.”

Richard Smallwood

Richard Smallwood’s musical background

The influence of many different styles of music are clearly heard in Richard Smallwood’s songwriting.

As a child, his mother took him to classical concerts frequently. Meanwhile, his stepfather made him learn and practice hymns to play on the piano at church. Richard was also listening to soul and R&B music, but that was a secret from his parents at the time (they didn’t approve of “worldly” music). Smallwood states that there is good music and bad music in every genre, there is no type of music that is all good or all bad. He never makes a conscious effort to incorporate particular musical styles into his writing. He just immerses himself in music that he loves, and it naturally flows out in his work. (McCoy)

I admire that mindset. I hear music sometimes where it sounds like the artist is trying a little to hard to write in a particular style in order to prove how sophisticated or intellectual or hip they are. It feels very self-conscious. Richard Smallwood’s example to us is to just dig into as much music as we can, follow our passions, and see what comes of it.

Richard Smallwood’s eighth-grade public school music teacher was Roberta Flack!

He says that her approach to playing the piano was a great influence on him. (Joy97)

A glimpse into Smallwood’s writing process

Here’s what Smallwood says about what makes for a good song (McCoy):

  • A song should be singable.
  • It should be memorable.
  • It ought to have a “hook” (some musical element that will stick in your mind when the song is over).
  • It should be structurally sound (have a beginning, middle, and end, just like a story).

I think one way that Smallwood follows the “singable” ideal in his music is the fact that he writes almost everything in 3-part harmony. I’m certain that he would have the knowledge and talent to write things for four-part choir with full classical counterpoint any time he wanted to (remember that last line on “Calvary”?). But he knows his target audience. He’s writing for church gospel choirs. In those choirs, the singers are used to singing in three parts, and all the harmonies go in similar motion.

One of the things I’m always curious about with other songwriters is the “chicken and egg” question — Which came first, the words or the melody. Here’s what Smallwood says: “It can come either way. Many times I’ll get a melody or a musical phrase that I’ll elaborate upon and then the lyrics will come. Other times I’ll get a lyric or a theme and then the music will come.” (GospelFlava)

Another aspect of his songwriting — “I am sort of a perfectionist, and I probably throw away more stuff that I write than I keep. I’ll go through three or four versions of a song before I get to the final version and then if I don’t like it I dump the song” (GospelFlava). I can definitely relate to that. For me, the process of songwriting includes writing lots of weak materiaI on the way to writing the one that will be a keeper.

Here are a few songs that showcase Smallwood’s songwriting talent:

Total Praise

“Total Praise” is considered by many (myself included) to be Smallwood’s masterpiece. The harmonies in this song are like no other. Through most of the verse (the parts that come before “You are the source of my strength”), every single syllable of the song makes a different chord.

Smallwood shared that he wrote the song when he was going through a very difficult time in his life, and it’s about faith triumphing over sorrow. (BostonFab)

Calvary

The studio version of “Calvary” is better than the live one, but either way it’s an unforgettable song. The blues influence beautifully complements the theme of the crucifixion.

Smallwood is on the piano in this performance.

Bless the Lord

On “Bless the Lord”, Smallwood drops some classical-sounding counterpoint right in the middle of the song in a very fun way.


Bibliography

I found several interviews with Richard Smallwood that provided first-hand descriptions of his musical philosophy and process. These are the references: