Monday, June 4, 2018

Hymn Form and the Congregation

by M. W. Bassford, from the "His Excellent Word" blog, originally published June 1, 2018, from hisexcellentword.blogspot.com/2018/06/hymn-form-and-congregation.html




When it comes to congregational worship, I believe these three things are true:


  1. Content is the most important characteristic of a sacred song.
  2. Structure makes content accessible.
  3. Most members of a congregation are not trained singers, so unfamiliar music hinders them in their worship.

Taken together, these three things indicate that the most useful songs for the congregation contain good content in a highly structured form with music that is as easy to learn as possible.  I don’t think it’s any accident that this description matches many of the best traditional hymns.

After all, traditional hymn form didn’t fall from the sky, nor was it defined by the Pope.  Instead, it evolved in response to the needs of worshipers.  Not surprisingly, hymns bear considerable formal similarity to secular folk song.  In both cases, the circumstances demand a lyrical and musical expression that ordinary people can easily sing together. 

Consider, for instance, the hymn standard “O Thou Fount of Every Blessing”.  Like all hymn texts that have survived from the eighteenth century, the lyrics are in a regular meter.  This is critically important.  Regular meter allows congregations to sing multiple verses with different content to the same four-phrase tune.  Without perfect meter, one of three things would happen to “O Thou Fount”.

  1. The tune would have to be through-composed, which (given the same three verses of content) would require the congregation to learn three times as much music to worship with equal content.  Frankly, why make non-singers jump through that hoop?
  2. The lyrics would have to contain lots of repetition to allow for musical repetition.  As long as you’re singing the same words, you can use the same music (which is why many contemporary praise songs are repetitive).  However, past a certain point, repetition limits content, thereby violating Rule 1.  If you’re not singing a sacred song for the content, why are you singing it?
  3. The tune would have to be an imperfect match to different verses with irregular meter.  Broken meter (when the meter varies from verse to verse) is kryptonite for congregational singing.  It causes problems even in otherwise excellent hymns such as “Follow Me”.  When severe, it can make hymns with strong content, such as “The Ninety and Nine”, practically unsingable.  Congregations much prefer to worship with hymns with regular meter because regular meter allows them to focus on content rather than rhythm, worship rather than singing.  

We see then, that the simple decision to use regular meter makes “O Thou Fount” economical in its musical demands on the congregation.  The tune, NETTLETON is similarly economical.  It’s written in rounded-bar form.  In other words, the first, second, and fourth musical phrases are identical, with the third phrase offering a musical variation.  As a result, in order to sing a full eight-line hymn (with multiple verses), the congregation only has to learn two musical phrases (one of which repeats itself three times).  Again, all other things being equal, a rounded-bar hymn tune will be twice as easy to learn as a tune of similar length with four dissimilar phrases.

As a result, “O Thou Fount” reduces musical demand both with repetition across verses and with repetition within verses.  Imagine again our one-verse, 24-line version of “O Thou Fount”.  To sing it, the congregation has to learn twelve phrases of music—six times as many as in the version we actually sing.  Song-introducers who demand that the congregation learn six times as much music for the same content clearly care more about music than content and have missed the point of worship.

The formula has worked for centuries, and it still works today.  Look at the work of Stuart Townend and Keith and Kristyn Getty.  What do you see over and over again?  “In Christ Alone”?  Regular meter, multiple verses, rounded-bar hymn tune.  “O Church, Arise”?  Regular meter, multiple verses, rounded-bar hymn tune.  “How Deep the Father’s Love for Us”?  Regular meter, multiple verses, rounded-bar hymn tune.  The same thing is true of “Jesus, Draw Me Ever Nearer” (Getty tune, lyrics by Margaret Becker).  Regular meter, multiple verses, rounded-bar hymn tune.  Congregations love these hymns because they are extremely easy even for non-singers to pick up, and the Townend-Getty circle has been smart enough to spot the pattern and exploit it.

Of course, the right form will get you only so far.  As a rule, Townend-Getty hymns have strong, appealing content to go with congregation-friendly form.  It’s possible to write vast numbers of hymns with regular meter, multiple verses, and a rounded-bar hymn tune, yet never produce anything the congregation wants to sing.  However, the farther one departs from the form, the more likely one is to write a sacred song that the congregation can’t sing (at least easily, sometimes at all), regardless of how much they might want to. 

If you’re a lyricist or a composer, write this way, or in another way that is similarly undemanding and economical.   If you’re a song-selector who is concerned with congregational singing, look for works written in this way or in a way that is similarly economical.  If you don’t, you are unwittingly building barriers between your chosen hymn and its enthusiastic adoption.


Speacial thanks to brother Matthew Bassford for giving me permission to reprint this timely (timeless?) article.
--J. Andrew Basford

Monday, April 9, 2018

Should I Lead ALL the Verses?

At the risk of seeming to be “tooting my own horn” (or sounding a trumpet before me as the hypocrites do, Matthew 6:2), I have recently been appointed as a deacon at the congregation where I am a member and, interestingly enough, have been put in charge of music and singing.  At one of my first elders-and-deacons meetings it was suggested that, among other things I should be seeking to do (like bring up new song leaders, help us learn new songs, etc.), I should try to encourage our song leaders to lead ALL the verses of the songs we sing; the song writers, poets, et al, went through a lot of work to pen these hymns and it would be a shame if we left something important out simply because we want to save time (we must be done with worship NO LATER THAN 11am, right? Gotta beat the Baptists to Cracker Barrel, after all).

Bear in mind, this was not a command from an elder, but, besides being a fellow deacon, he is elder to me (perhaps a more polite way to avoid saying "older than I") and thus deserving of my respect (Leviticus 19:32).  But is it truly necessary to sing ALL the verses of a hymn?

For one thing, a lot of hymnal publishers don't believe so.  There are many hymns in our books that (although we only see three, four, maybe as many as six verses) had beau-coup verses originally written for it. Sometimes it may be to save type setting space. In an article I wrote about the song "Come We that Love the Lord/Marching to Zion", I brought out that Isaac Watts originally wrote it under the title "Heavenly Joy on Earth;" you can read ALL TEN OF THE VERSES for it in my article, only FOUR of which we typically sing[!]. Other times, they may drop a verse or two because it is not so well know. Most hymnals I've seen omit the second of four verses to "It Is Well with My Soul" ["Though Satan should buffet, though trials should come...."], the fourth of five verses to "When I Survey the Wondrous Cross" ["His dying crimson like a robe...."], and even the third of four verses to "My Jesus, I Love Thee" ["I'll love Thee in life, I will love Thee in death...."].  As I like to think those are some of the more beautiful and often though-provoking verses of those hymns, it makes me wonder why the publishers did not use them (whether because they weren't well known or simply saving on type-setting as mentioned before). Other times, I can be grateful that a verse or two was omitted because it otherwise makes the song unscriptural and thus unprofitable for singing. The Praise for the Lord hymnal has a few examples of this where they attempt to make such songs more "palatable" by removing an offending verse.  Examples that come to mind include the original second verse of "Jesus is Coming Soon" ["Love of so many cold, losing their home of gold, This in God's Word is told, evils abound...."] and the final verse out of the original four of "Living by Faith" ["Our Lord will return to this earth some sweet day...."]. These are obvious examples where I welcome the discretion taken by the editor of the hymnal and encourage omission of such verses in your song books if they have not already been left out!

And I dare say many preachers who assign scripture readings for our young men do not seem to think we should read ALL the verses of scripture.  Out of over 31,000 verses in the Bible, I am grateful we do not try to read ALL OF THEM in one worship service.  In fact, as a smaller example, I remember one time when I was asked to read Luke 24:32.  It is the close of one of my favorite accounts of Jesus' resurrection, and I wanted to take it back to verse 13.  However, if I had gotten MY way on this, what the preacher was trying to get across, about how our hearts should burn when the scriptures are revealed to us, may have been lost in the rest of the account.

Of course, I can think of perhaps one more reason why songs originally composed with, say, ten verses usually don't have their full compliments published all at once.  Take the song "The Lord My Shepherd Is", words by Isaac Watts (unknown musical authorship, #643 in the Praise for the Lord hymnal): I enjoy the tune tremendously and Watts does a beautiful job of rewording the 23rd Psalm into more understandable English.  But we only have THREE verses (thus, this version of the song only covers Psalm 23:1-3, not the entire Psalm).  And although, Watts did reword the entire Psalm, I can see why we usually don't see all six verses published whenever I look at "The Lord's My Shepherd", words by Francis Rous and, although there are many composers who have penned music for this song, one of the more popularly sung versions I often hear is composed by John Campbell (#642 in the Praise for the Lord hymnal).  This song restates all six verses of the 23rd Psalm in only FIVE stanzas.  However, although Campbell's tune is beautiful, I find it a little wearisome when I get to the fourth verse.  Perhaps it is an example of a beautiful thought combating against a tiresome tune.

I might also mention that some verses in the songs we sing may also drive away from a point we may be wishing to make.  I enjoy all five verses of "Hallelujah! What a Savior!", but if I sing it before the Lord's Supper, often times I omit the final verse.  As we should be focusing on what Christ did for us in His sacrifice upon the cross, although the reason He did it was to help us return to Him and join Him in heaven one day, it seems distracting to me to sing, "When He comes, out glorious King, All His ransomed home to bring, Then anew this song we'll sing: 'Hallelujah! What a Savior!'"  Perhaps a good counter example would be "Only in Thee" which a fellow song leader led for the Lord's Supper.  However, he did it with only the first and LAST verses.  Considering that the final verse is the only one that even mentions the death of Christ, he could very well have gotten away with singing that verse alone!

Let me also interject one more thought on the whole issue of time, continuing from the introduction to this commentary.  I will admit that worrying about "getting out of worship on time" simply because we want to get to lunch at a decent hour can seem rather selfish (and perhaps unnecessary; the Lord told us not to worry about what we're going to eat, etc., Matthew 6:25-34).  However, there are time constraints that we might need to be aware of.  My sole example would be for one member at our congregation who is on oxygen and carries [more accurately, wheels] a portable tank with him wherever he goes.  Having relatives who have needed oxygen and having witnessed what they've gone through, particularly with only being able to "charge" their tanks for AN HOUR OR TWO, I can fully understand why this brother leaves the service every week like clockwork at 11am whether the sermon is finished or not: his LIFE DEPENDS ON IT.  I bring this up NOT to disparage the brother who leaves early for this reason or the preacher who is imparting the Word to us; it is simply something to consider for all involved.

I dare say that, yes, the poets and song writers of old went through a lot of work to create the songs, hymns, and spiritual songs we sing.  But singing ALL the verses they wrote may NOT be necessary, at least not ALL THE TIME.  I would venture to say that a song leader's decision on what (and how many) verses of different songs he is going to lead is mostly artistic license.  I do acquiesce to it possibly being a scriptural decision if there are verses of question, but for the most part, it is up to the song leader which verses he leads.  And if you recall what is said in what I have named "The Prime Directive" in many of these commentaries (in PHSS-101 and other places), as we worship in song, it is to be done in an orderly manner.  So, unless the song leader is doing something unscriptural or against doctrine, let the leader lead.



Friday, February 10, 2017

Five Variations on the "Just As I Am" Theme

I recently came to discover a YouTube channel that is called "Traditional Hymns" where the purveyor, a Mr. Elliot Bowman, has videos of some of the hymns we commonly sing in worship (whether you use Sacred Selections, Songs of the Church [sometimes better known as "The Blue Book"!], or the one we've been using for a couple of decades where I worship, Praise for the Lord).  The soundtracks are him singing all four a Capella parts while the video is of the words and music of the hymn displayed in Paperless Hymnal format.  I see this as an almost ideal way to teach and learn some of the hymns in our books, whether they be new ones, classic hymns that are "new-to-us", or classic hymns we may have been singing incorrectly; and it turns out that THAT was his original purpose in producing these videos.  I have to admit I had wanted to do something like this for some time but didn't have the time or equipment to do so, and am glad this man managed to do what I could not!

Not so long ago I found a video of his for "Just As I Am".  It's an older one of his but, then again, I only recently discovered this and still have quite a bit of the 108 videos to go through (as of the time of this writing).  I was intrigued by this video because normally Mr. Bowman follows the music rather strictly as it is written.  In this instance, during the final verse, he introduced a wee bit of improv from the tenor line.  If you listen to the video, when he sings "Now to be Thine, yea, Thine alone," when the tenor part sings "Thine, yea," the notes are written as B-flat and E-flat respectively (or "sol" and "do" if you do solfage/phonetics like I do); in his tenor improvisation, both notes are D-flat (a half-step below "ti"), thus creating a dominant-seventh or major-minor-seventh chord!

If you go to this song on YouTube, you can follow the conversation I had with Mr. Bowman about this improv.  He seemed grateful that I noticed the 7th and, interestingly enough, warned me not to make it a Major-7th if I try to sing this in worship!

Of course, THAT got me to thinking about some different variations on the "Bowman Improv", some of which he and I discussed further (he claims to have tried it on his keyboard...and cringed!), and I came up with the following:


(You MAY need to download each file to listen to them unless your browser has the right apps to play these midi files.)

  • "Just As I Am": this is the original arrangement of the song.
  • "Just As I Am_Bowman Improv": this arrangement incorporates the Bowman Improv that I discussed earlier, singing "D-flat - D-flat" for "Thine, yea", producing the Major-Minor-Seventh chord.
  • "Just As I Am_variation 1 of Bowman Improv": this arrangement substitutes Major-Sevenths (both D-natural, or "ti") for "Thine, yea".
  • "Just As I Am_variation 2 of Bowman Improv": this arrangement only inserts ONE Major-Seventh for the lyric "Thine", returning the "yea" lyric to it's original E-flat (or "do").
  • "Just As I Am_variation 3 of Bowman Improv": in both of the previous examples, by introducing a Major-7th into the mix, one hints towards a G-minor chord which combines some elements of the E-flat- and B-flat-major chords (although in the second example, it quickly shifts back to the E-flat-major or tonic chord).  In this third arrangement, the bass gets involved in some changes as well.  With the original music, the bass line remains on E-flat ("do") throughout the lyrics "Now to be Thine, yea'...".  Here, however, the lyric "be" is split up into an E-flat and F ("do" - "re") to help the bass shift to sing G ("mi") for the "Thine" lyric.  As the tenor is singing D-natural ("ti") on "Thine", a G-minor chord is no longer hinted, it's there.  Even though it is a minor chord, it seems to lend a slightly happier, more joyful sound referring to the state of now "be[-ing] Thine, yea, Thine alone[!]".  Of course, with the lyric "yea", everything shifts back to the original arrangement, returning to the E-flat-major or tonic chord.
  • "Just As I Am_with 4 Tenor Adjustments": this combines ALL FIVE of these files into one long music file, played in the order listed here.

 All of these were created using the Finale(TM) Notepad music transcription program which can also make midi sound files.


 --Andy (bas4d)

Friday, November 4, 2016

Pitch Pipe Apps: Use Modern Technology to Lead Your Song in the Right Key

It would be good, at this time, for us to review the Prime Directive behind this "course of study" called PHSS-101:
"[T]o let the Word of Christ richly dwell in us in all wisdom, teaching, admonishing, and speaking to one another in psalms, hymns, and spiritual songs, singing with grace and making melody in our hearts to the Lord (Eph 5:19; Col 3:16) in a decent and orderly manner (1Co 14:40)."


As was brought out in a previous post, all of the "courses" in this blog are written with that purpose in mind, but THIS one, "Song Leading Conventions", is focused mostly on the last part of that directive quoting 1 Corinthians 14:40: doing what we can to make sure that when we worship in song, particularly as we lead the congregation in singing, that we do so in a manner that is decent and orderly.

When leading singing, there are three things of which you need to be especially mindful: tempo, dynamics, and pitch.  As I brought up in "YOU Are the Leader: Keep It Going!", your task is keep everybody on tempo, get them to follow the dynamics of the song (any change in volume, tempo, etc.), and keep them on key.  But all this can be defeated if you don't begin the song in the correct key!

Granted, "the correct key" can be rather subjective.  I have noticed over the years, for instance, that most songs written in the key of F sound and feel much better in the key of G; raising a song by that great a distance (one whole step) can usually be troubling, but as I said, MOST songs in F seem to follow that pattern.  As you go along, you may find that some songs sound better when done in a different key; perhaps it's easier for your congregation to sing this song in D rather than E-flat since the altos seem to come out more.  But whether you strictly follow the notation in the music or simply remember what pitch sounds better, you've only got three ways to choose your pitch: having perfect pitch, having memory pitch, or using an outside aid such as a pitch pipe or tuning fork (there is a fourth option, but simply singing at some random pitch usually leads to disastrous results).

With all that we can do with our smart phones, it sometimes seems a wonder we were able to do ANYTHING before we had them!  Even pitch pipes are available through most sources (in my case, I scouted around the Apple App Store, but I'm certain there are some for Android and others as well).  This blog post will review some of the FREE pitch pipe apps that I found, all of them specifically noted for helping with A Capella pitch (I ignored anything specifically for tuning instruments such as guitar, violin, etc.).  As you will note, they seem to fall under two main categories: those that are plain, basic, simple pitch pipes; and those that have a few extra features included with them, some quite useful, some rather frilly, some that are...unrecognizable[!].  For each one, I'll give a synopsis of what features it has (basic or otherwise) and compare their pros and cons.

I had originally planned to review THREE of them and actually use them in worships services as I was planning out this blog post (took some people aback somewhat when they saw a sparkle of light reflected in my left ear from my hands-free device, which I used so that only I would hear the tone).  However, after doing so with ONE of these, I discovered FOUR more!  After experimenting with them outside the worship service, I found they all had enough similarities that I could avoid experimenting with them all individually and expedite the completion of this.  So, here goes:

Update [14-April, 2018]: MOST of these apps are rather difficult, if not downright impossible, to find anymore, at least on the iTunes App Store.  Most of them have not been updated for the newest version of iOS ("11" at the time of this update) and can not be used on my current phone [I would imagine if you have an iPhone or other device with an older iOS and can find these apps, you could still use them].  But I have labelled each one with notes pointing out if it is not supported by iOS-11, if it can no longer be found on the App Store, or even if it's still out there and simply not supported by the new iOS (there is ONE example of that, btw!) If anyone is an Android user or has access to any other app platforms out there, I would really like to hear from you regarding these apps as well as any other apps I have not covered.  I hope to work on an updated version of this commentary and have it ready in the near future to cover additional tuning apps that have been made available on various app stores (though I will be mostly covering those available on the iTunes App Store because that's the kind of phone I have and I like shiny things[!]).

Simple Pitch Pipes


There are THREE apps I found that were simply basic pitch pipes:

Pitch Pipe Buddy (from Claire Holmes)(No Longer Supported on iOS 11, older version still available on iTunes App Store)

"Pitch Pipe Buddy" is probably the simplest and perhaps most pleasing to work with of the three basic pitch pipes.  On the screen, it looks like a typical, physical, analog pitch pipe like you might purchase at a music store.  All the tones to choose from are laid out in a circular pattern with a sharp AND flat symbol where needed between all the correct natural tones (C-to-D, D-to-E, F-to-G, etc.), from C to B for one octave [almost].

Of the good features I find on "Pitch Pipe Buddy," one of my favorites is it's simple layout. It LOOKS like a pitch pipe.  And although it may seem antithetical to have something other than the usual tone (sounding like a harmonica) emanating from this, it's rather pleasing to hear the sound of a piano key being pressed and held till it fades away.  This is a more pleasing tone in my opinion, especially compared to how MOST if not ALL of the others employ a simple sine wave which sounds rather "meh!" to me.  Interestingly enough, while one tone is fading, you can press another tone so you can hear them both at the same time until fade-out.  This comes in handy when a chosen song doesn't begin on the same note as its key signature ("Our God, He is Alive", for example, is written in D-flat, but begins on A-flat; by pressing D-flat on the screen, you'll establish what key it's supposed to be in, and by pressing the A-flat while the other tone still sounds you can establish your starting note).  And as this is a free app, they have to make money somehow; ads come up, but they display in a very small area closer to the bottom of the screen.

Unfortunately, there no instructions that come with this app (in fact, almost none of these apps come with any).  So one almost has to experiment with it, like I did, to pick up on all the features.  In fact, there is a button included that turns on something labeled "Loop"; I did not notice any change of any sort when I activated the "Loop" so I didn't include this as an extra feature.  The only other bad thing I can find on this particular app is that every so often an "Alert" will come up on the screen asking you to "click an advert below to remove this message for a few days" (we all seem to be slaves to the advertisers!).  Other than these points about instructions and the pratfalls of the advertisements, this is an all around good app to use if you simply want to establish your starting note for a song.

Pitch Pipe! (from CodProd)(No Longer Supported on iOS 11, no longer on iTunes App Store)


This is an interesting one to work with.  It lists the tones you want almost like a list format except that each tone is represented by a 2-dimensional drawing of a musical pipe labeled with its intended tone, given various lengths to denote high notes versus low notes.  When you press one of the "pipes", the tone fades in and will either continue sounding before fading out in about 10 seconds or will deactivate if you press any tone on the screen.  There is even a small cloud that appears next to the "pipe" to conveniently indicate which one is playing (at first I found it rather backwards, thinking it was meant to represent the sound emanating from it, even though it was coming from the side one into which one would normally blow; taking a closer look, however, it looks more like wind going INTO the "pipe", so the representation doesn't break down too badly).

On the plus side, this app is fully functional as a pitch pipe.  Although it is a free app, there are no advertisements displayed, thus no distractions.

Unfortunately, there are no instructions with this app (same as mentioned before).  There is a small white circle with a lower case "i" on it, usually indicative of some additional information or something, but when you press it a pop-up box comes up saying "Coming Soon!  Settings coming soon!"  And if you push "Alright!" at the bottom of the box, you simply return to the pipe screen.  Also, all tones are listed as either natural or sharp (if your song is in the key of E-flat, you MAY NOT realize that D-sharp will get you the note you desire).  Besides all this, the tone sound also seems to be a cross between a sine wave and the ugly sound that comes from the plastic reeds of some of those cheap plastic toy instruments like you might find at the Dollar Tree store.  If you use this app, make sure you use a hands free device or ear buds, anything so that you (and only you) will experience the brunt of the noise sound from this tone.

Free Tuner (from J. William Studios)[now called Quick Pocket Tuner]


"Free Tuner" is another basic pitch pipe app that is fully functional.  It displays all the tone choices is a grid, not at all like an actual pitch pipe, but still a pleasant sight for the eyes.

One major thing going for this free app is that any advertisements that may show up are displayed in a discrete place at the top of the screen (although, honestly, I never saw any ads come up whenever I ran the app, just a small white bar that had a tiny "Ad" label on it).  Also the tones laid out for your choice include some flats as well as sharps.  Unfortunately, unlike the "Pitch Pipe Buddy", you are stuck to choosing between C, C-sharp, D, E-flat, E, F, F-sharp, G, A-flat, A, B-flat, and B.  Most of these are fairly common, but I'd think one might be more likely to look for D-flat than they would for C-sharp.  And, as has been par for the course so far, there are no instructions to go with this app.

Pitch Pipe Apps with Additional Features

Of the four apps that remain to be reviewed, I found THREE that had some additional features, some fairly useful, some at least interesting, others so beyond understanding..., well, just read the rest of the post:

Pitch Perfect (Digital Pitch Pipe)(from Depollsoft)


From their website:

Pitch Perfect is a utility app for the musically inclined. At its core, it’s a digital pitch pipe, allowing musicians to take an initial pitch before beginning or rehearsing a song. If you’re the type of person who struggles to match a key signature to the name of a key, the app provides visual aids to make it as easy as matching what you see on your sheet music with the image on your screen.  For singers who keep a list of songs and their keys, Pitch Perfect makes it easy!

With the Pitch Perfect app, you are given three screens giving different ways to choose your pitch (four, if you include the last screen where you can list your songs!).  It is simply a matter of touching the screen on the pitch you desire for how long you want to listen to it; no echo effects, no de facto chord production, simply let go of the pitch to deactivate.

This was the only app I actually used during a song service for this review (once I used it and figured it out, I supposed testing the other apps in similar manner wasn't necessary), and I enjoyed it.  This app offers FOUR ways to get your pitch depending on which screen you use:
  1. On the FIRST screen, all the keys are laid out as one would see on a physical pitch pipe (except in a square).  There is a switch in the middle of the notes that allows you to either go from C to B or from F to E.
  2. On the SECOND screen, all the pitches are listed in chromatic order (C, C#/Dd, D, D#/Ed, etc.; yes, THIS one lists each non-natural tone with sharps AND flats!), along with their Hertz value (how many cycles-per-second the tone actually is) over a range of EIGHT octaves [!] (almost like a piano!).
  3. The THIRD screen lists each key with a picture of its key signature as you'd see it noted on the music along with a listing of its name.  This list begins with G-flat (showing its 6 flat signs) and goes down the list with each "flat" key using one less flat till you come to F (with only ONE flat), then listing C with NO accidentals (sharps OR flats), then commencing with G with its ONE sharp and listing every other key based on the number of sharps it uses, going all the way to F# (with SIX sharps [I can honestly say, I don't think I have ever intentionally played ANYTHING in that key signature!!!]).  As an added bonus, at the top of the screen is a switch so that you can show them as major OR minor keys.  This is especially useful, I think, for anyone who is not as musically literate to have either memorized the key signatures or learned the trick to recognizing them (with flats, the second-to-the-last flat is the key of the song [except F where there is ONLY ONE flat; you just HAVE to memorize that one]; with sharps, take the LAST sharp listed and go UP one half-step [if the last sharp is C#, it's the key of D]).
  4. The FOURTH screen is probably my favorite.  You can list your songs along with their keys.  Now you can have your song list as you lead, and all you have to do is press the song to get your key (I normally use the AnyList app to list my song service and cross out each song and event [prayer, scripture reading, lesson, etc.] as I go along; if I had known how to use THIS feature when I ran my experiment, I would have used it to the fullest!)
Interestingly enough, there are three more features on this app which are the last that I have learned about.  On the top right side of every screen is a button marked with a square and an arrow coming from the middle and pointing to the top.  When you press that, you are offered: 1) "Toggle Notes": with this, you can press the tone and it will play until you press that same tone again (you can use this feature to make chords if you so desire).  2) "Wake lock": rather than going to your Settings menu on your phone and resetting it so as not to turn off after two-, three-, four-minutes (or more or less), you can activate this switch so that the phone will not go into sleep mode while you're using the app.  3) "Log in": you can log in to this app's creator via Facebook (facebook.com/pitchperfectapp, although, I have noticed they have not made any additional posts since December 2016 [!]) and back up your song list and settings and even synchronize them with your other devices.

There are some down sides to this app, unfortunately.  For one thing, being a "free" app, the developers have to make a living somehow, so these folks have ads that come up in a thin strip at the top of the screen; that in and of itself may not be so bad except for when some of the ads are animated and can be distracting (and if you're an iPhone user like me, your propensity is already set to liking and being attracted to shiny things!).  Also, the tone they use is your basic sine wave, which sounds rather "meh" in my opinion; fortunately, you only have to hear the sound as long as you are holding the note down on the screen (or until you tap the tone a second time as I mentioned last paragraph).  But I think all the great features on this app MORE than make up for its shortcomings, so all in all, not a bad app.

Pitch Pipe Now (from Ian Ritter)(No Longer Supported on iOS 11, no longer on iTunes App Store)


"Pitch Pipe Now" is an interesting little app to say the least, and it would simply be your basic pitch pipe app were it not for a couple of extra features.  When you open the app, it displays a "C Pitch Pipe", with the tones from C to C laid out in a grid pattern (similar to J. William Studios' "Free Tuner" except laid out height-wise rather than width-wise).  When you push the "Next" button on the top right of the screen you are presented with "Instructions" (about time!), "Record Warning" (which may come in handy [?] if you are recording with people and want to warn others of such), and "Pitch Pipe in F" which is just like the "C Pitch Pipe" (in the same grid fashion) but going from F to F.  When you push a tone, it holds it out for about two seconds which allows you to form some de facto chords if you wish (another application could be playing the key note [or the tonic note that the song is keyed in] and the starting note at the same time, such as "Our God, He is Alive"; while you hear it's key note of D-flat, you can simultaneously hear its starting note of A-flat).

Interestingly enough, all those features I listed are the "pros" on this app; as the instructions say, it truly is a "'No Frills'" app "for quick pitch referencing in the keys of C & F (chromatic scale)."  Beyond that, the tone they use is, again, rather "meh!", sounding more like a cheap plastic reed used on some toy musical instrument one might buy at the Dollar Tree Store [again!] (I THINK it's supposed to simulate an actual pitch pipe tone, though).  Also, you have to go through two screens to switch from F pitch pipe to C pitch pipe and back again.  This app also simply lists each tone as either natural or sharp, no flats listed, similar to the "Pitch Pipe!" and "Free Tuner" apps.  After working with the "Pitch Perfect" app, this one is a disappointment.

Pitch Awesome (from David Brownman)(No Longer Supported on iOS 11, no longer on iTunes App Store)


"Pitch Awesome" is another simpler pitch pipe app that has a couple of extra features added to it to make it more interesting.  Just as with "Pitch Pipe Now", the notes are lad out in a grid, but you can switch from a higher octave to a lower octave (and back again if you choose).  Also, with the pitch pipe side of this app, you must hold the tone down to hear it, it does not stay on until you press it again or hold out for a couple of seconds as in some other apps.  This app also includes a "Songs" list which you can list your song titles and what keys they are in.  And just like the "Pitch Perfect" app, you can press the song title to get the key for your song, and this time it holds the tone out either until it stops in a couple of seconds or you press the song again to shut it down.

On the downside, there are no instructions with the app (a recurring theme, for some reason!).  The tones are also laid out as naturals and sharps, again no flats.  Also, making a song list is a rather arduous process (at least by first-world-problems standards).  You begin by pressing the plus sign in the upper right hand corner and type in your title, then press "Done".  Then you press "Edit" at the upper LEFT side of the screen, select the song you are entering, THEN choose what key you are doing it in.  As I said before, after working with "Pitch Perfect", this app also leaves plenty to be desired.

Pitch Pipe Pro (Pitchpipe)(from Kaupang Studios, Inc.)(No Longer Supported on iOS 11, no longer on iTunes App Store)


I find it interesting that, with these apps, if they go beyond being a simple pitch pipe app, they tend to lose something if they add certain features apparently without thinking ahead (the "Pitch Perfect" app being the exception).  With the "Pitch Pipe Pro" app, we come to what is perhaps not only my least LIKED app of this group, it is the one that I least UNDERSTAND.

When the app starts up, the layout is atrocious to begin with.  With the app title featured at the top middle, to the right of it is a labeled volume control with a graduating meter fixed between a minus and a plus button.  To the left of the title is another plus- and minus-button pair that doesn't show what it does until you push one of the buttons, at which point you have octave control of your pitch, giving you the ability to go up or down an octave at a time, giving you a range of five octaves.  Towards the middle of the screen is an interesting layout of controls to select tone.  Shaped like the bottom of a dress shoe, the "heel" section (to the left) features a button marked "Pocket Tones".  Around the rest of the "footprint [?]" are the tones you can choose, from C to B, laid out clockwise.  The only noticeable "pro" on this is the fact that tones that are not among the natural ones are labeled between the naturals with a "#/b" sign, denoting it could be either sharp or flat (a welcome change considering most of these apps label them as all sharps!).

Beyond that, there's not much good to say about this app.  As usual, there are no instructions.  When you press a tone, it will continue to play until you either push another tone button or press the (previously undefined) "Pocket Tones" button to the left.  If you need to hear any tone after that, it will sound very softly and you'll have to press one of the volume buttons to return it to whatever volume you were playing it at before.  Beyond that, ads come up randomly but frequently and they cover the entire area of the screen where you will be working (imagine needing to get a pitch for "It Is Well with My Soul" and, rather than hearing the A-natural you were seeking, you find yourself in the "App Store" checking out a silly game app; it could happen!!!).  With so fancy a layout as is given to this app, one would think more thought would be put into making it to be functional in its design.  If all these apps were ranked in some hierarchy, this one would make being second-to-last look like a thing to be aspired!!!


To sum up my recommendations, "Pitch Pipe Buddy" is perhaps the best app to work with, particularly if you simply need a pitch pipe.  It sounds great and is very easy to use.  If you need some extra features to help with leading singing, then "Pitch Perfect" is the ONLY one to go with.  None of the others have near the versatility of this one (and I must say, they must have put a LOT of thought behind it, despite the ads and the tone being the only things I mentioned that I had problems with [although, to be fair, I did forget to mention that it, too, does NOT come with instructions; would have made it much easier for me to actually FIND all the extra features it has!]).

If you have any experience with these apps or have any additional ones to introduce, please pass it along, either in the comments section or via email.  Beyond all that, I hope this may help you in your quest to help and lead others to sing praise to the Most High and to teach and encourage each other in these psalms, hymns, and spiritual songs.


--bas4d

Thursday, September 29, 2016

Power Point™ Can Be Beautiful

By now, many of us have a projector in our houses of worship where we can see announcements before services, view a listing of the day's reading from God's everlasting Word, can take notes from bullet points from that day's sermon,...and actually see the psalm/hymn/spiritual song on the screen thus encouraging us all to sing out (as opposed to singing INTO the hymnbook[!]) and potentially making our worship in song stronger!  The "Paperless Hymnal" has made the rounds to many congregations and is a big help for most of the worshipers, including the song leader.  I only qualify that because there are some who are compelled to continue using the hymnal; I used to think there may be some who were so steeped in tradition they couldn't bring themselves to get roped into this "new-fangled high-tech" stuff; but more often than not, it is usually the eyesight of our brother or sister that prevents them from observing the projection screen during worship.

And yet, even with all the improvements in the technology, there may still be some problems a congregation, a worshiper, and a song leader may encounter.

  • The slides aren't changing when they're supposed to do so: at most congregations somebody is "running" the slideshow for the song leader (although it could be possible to do, I don't know of any instances where the song leader is moving from slide to slide while leading the worship, nor would I recommend it; with all the other things the leader has on his plate [keeping tempo, singing out, still worshiping while leading, etc.] that would be one more thing to add to his caseload and one more thing that could go wrong). Every now and then, there may be a delay with the switch to another slide, to the next part of the song, and this can lead to one of at least two potential disasters:
    1. The song stops at the slide (usually mid-verse): this has happened to me a number of times and it is terribly embarrassing! This brings up the good point that a song leader should take a hymn book* up to the podium with him in the event something like this happens.  This way, you can pick up where the song has stopped and continue leading unhampered. So even if the slide has stopped on "I know [I know] that my redeemer lives, And ever prays [And ever prays] for me" you can continue singing "I know [I know] eternal life He gives From sin and sorrow free" without stopping mid-verse.  One problem with this is it can be possible to focus too much attention on the book without realizing where the slide presentation is (you've skipped over to the third verse and the presentation has started on verse two), so be aware of both.  Another problem is that the layout of the verses are different from what is written in the book. Whereas "I know [I know] that my redeemer lives" fits nicely on one line on the PowerPoint slide, there may be more or less lyrics on the line in the book you're using.  Familiarity with the song can help with this, but again be aware of both.
      • *This is not to say it is compulsory to take a song book with you.  I used to have a modular system of sorts where I'd make paper copies of the songs I was leading and put them in order in a folder (this changed from time to time, so I was always updating the folder and keeping old copies in storage).  I've heard of people using different presentation programs on their iPads or other tablet devices.  At the risk of bragging, I did conduct one service where the songs I selected were ones I had committed to memory and could lead without the book anyway ("Hallelujah! Praise Jehovah", "Our God, He is Alive", etc.).  So long as you have some sort of back up in case the unthinkable happens, you should be okay.
    2.  Everybody continues to sing the song with a new set of words for the continuing melody..., and it's the words you just finished singing!:  this too is rather embarrassing because it shows that you are zoning and your mind is not as focused on the song as it should be.  Imagine singing the hymn I've demonstrated so far, "I Know that My Redeemer Lives", using the usual melody, but with these words: "I know [I know] that my redeemer lives, And ever prays [And ever prays] for me; I know [I know] that my redeemer lives, And ever prays for me...."  Obviously it fits, but hopefully you'd realize something is amiss when you read "that my redeemer lives" for the second time.  Obviously, keeping your mind on what you are singing is paramount (after all, you're not simply leading the worship, you are participating as well!).  But if the unthinkable happens (that you suddenly become unthinking as you "zone" through a song), calmly, professionally, stop where you are in the song and try to begin again, perhaps the beginning of the verse or back a page or two where a thought begins (inserting a brief apology before starting over again isn't mandatory, but it can't hurt).
    3. The slide changed too quickly!!: hopefully this does not happen frequently (if at all).  This can be especially concerting if you are leading a new song (whether new to you, new to the congregation, or new to everybody).  Best advice I can give you is to MAKE SURE you KNOW THE SONG.  So if the PowerPoint presentation goes haywire, in ANY of these three scenarios, you can keep everybody on kilter, on tempo, and continue in praise to the Lord.
  • I'm leading singing for somebody and I'm using their presentation: whether it's YOUR presentation or somebody else's, it would be in your best interests to double-check the presentation before you start.  Besides checking for errors (especially if these things are typically put together by the guys in the A/V booth), it would be good to know what the song leader, for whom you are subbing, had in mind to sing...and having a list of the songs may not be enough.  I know of an incident where a brother was subbing for another, using the songs chosen by the one for whom he was subbing [say that three times fast!].  The one who chose the songs has a tendency sometimes to do something like "sing all three/four verses before we sing the chorus at the end"; the brother filling in for him was not ready for some of that.  As the Boy Scout motto says, "Be Prepared!!!"
As I mentioned in another article on this blog, bringing a song book or some other aid with you to lead singing is a good idea, even if you can see the presentation screen or you have a monitor to view at the podium.  It could be a song book, it could be some of the songs photocopied and compiled for that particular service, it could also be scans of the song put together in a presentation that YOU can view on your tablet or other mobile device (I have personally done that, making scans of the songs and putting them in a PowerPoint presentation to view on my iPad; I have also heard about some hymn software, like some of the newer volumes of the Paperless Hymnal, where they have entire pages of songs with all verses together, as you see in the hymnal, to be downloaded by song leaders for this particular use).  Whatever you use, make sure it is handy in case ANY of these situations occur.

Keep leading us...!



--bas4d

Friday, April 1, 2016

YOU Are the Leader: Keep it Going!

As the Prime Directive of this PHSS-101 "course" states:


"[T]o let the Word of Christ richly dwell in us in all wisdom, teaching, admonishing, and speaking to one another in psalms, hymns, and spiritual songs, singing with grace and making melody in our hearts to the Lord (Eph 5:19; Col 3:16) in a decent and orderly manner (1Co 14:40)."


As the song leader, it is your charge to lead the congregation/devotional group/Bible study gathering in worship in song to the Almighty and to keep it orderly.  Some of the things of which you need to continue to be mindful include:

  • Pitch: this can be a bit tricky sometimes because you not only need to determine what the pitch of the song is going to be (will you go by the key signature? or will you go by what has felt comfortable for you in the past?), but it is your job to help keep everybody on the same pitch.
    • What key is this in? and in what key should I lead it?: If at all possible, it is usually best to lead a song within a half-step or so of the key in which it is written.  That being said, you may run into two problems:
      1. What key is it written in?: to determine that, you must look at the key signature of the song, which is that group of sharps or flats written behind the time signature [those two numbers that look like a fraction].  People who have been schooled in music at just about any level usually either have the signatures memorized somehow or have some sort of crutch they use to determine the key of a song.  Others may need to use a "cheat sheet" of some sort listing each one and relating what key it denotes (you can find such a help at "To Help You with Your Key Signatures" by Joseph Chase, along with other worthwhile information about establishing pitch for a song).
      2. How do I determine the key?: "Okay, teacher, I know that 'Our God, He is Alive' is written with a D-flat key signature, how do I get that note?" Well, I'd say there are four ways to find the key to sing the song in.
        •  Perfect Pitch: some people are blessed with the ability to know what "D-flat" sounds like and can reproduce it by singing it, even to recognize it when they hear it.  If the Good Lord has blessed you with this ability, use it to His glory.
        • Memory Pitch: I think this one may be in more common usage.  I personally can hear songs in my head from either the radio or what I used to play in high school band in whatever key in which they were pitched (if I am to lead "When the Roll is Called Up Yonder" in A-flat, I easily remember "Song of Jupiter" from my days in band in the same key!).  A fellow song leader at the congregation where I work told me he remembered the pitch from how he remembered hearing other people lead the song.  This is an equally good gift to have and I encourage you to use it to the best of your ability in service to and in glory of the Giver of Gifts.
        • Pitch Pipe or Other Portable Tuning Device: when in doubt, use "the pitch pipe".  These can be found at stores that sell sheet music and musical instruments and (at the time of this writing and to the best of the author's memory) can be bought for around $30 or more (check Amazon.com).  There are also apps available for many smart phones and other portable devices that can be used in a similar way.  [In fact, I hope to write a review of several of these apps in the future in this blog; keep an eye out for it.]
        • Guess: this option promises mixed results.  Although this may be what you are forced into when getting started in leading singing, I strongly suggest learning one of the other ways to determine pitch.  You'll feel better, and your congregation will be ever grateful for it
        • A Fifth Option: Years ago, before I knew how to work with my gift for memory pitch, I would sometimes ask somebody who had a pitch pipe handy if they could give me a pitch.  If this option is available, make sure you ask this person ahead of time if they are okay with you making these requests (and make sure they have their pitch pipe or other means ready at the time as well!).
    •  Keep the congregation on pitch!: this can be a tough thing to do as well.  Most groups of people singing together tend to start going flat in their collective pitch.  "When the Roll is Called Up Yonder" is written in A-flat, you may begin to lead it in A-natural to be adventurous (after all, it is a half-step higher), but likely the congregation will end the song in the key of F.  The possible reason is that everybody is trying to blend together and they hear their personal pitches at variance with the collective, so they will try to adjust so as to maintain harmony.  That's where YOU come in.  Hopefully your microphone is working well, you are using it to its optimum, and/or you are singing with enough volume for everyone to be able to hear you.  YOU should provide the basis they need in order to stay on pitch (the basses will thank you for not making them "sing in the basement", as it were!).
    • What if I want to change the pitch mid-song?: There are only two reasons to change the pitch of a song after you have already begun singing: 1) you pitched it too low or high, or 2) for artistic license.
      • If you have pitched the song too low or too high, the best thing to do is either keep on singing it in the wrong key or stop singing after you've finished the first verse.  Most of the time, if you stop and say, "Let's change the pitch on that," you end up singing it in the same key you did before and you're right back where you started.
      • If you are changing the pitch mid-tune for artistic purposes (hopefully at the last verse or something like that), make sure you communicate that change effectively.  There are two ways you can do that and I will draw from personal experience with two different songs:
        • I used to lead a song entitled, simply, "Jesus" (#595 in the Songs of the Church book from Howard Publishing).  I would lead the first two verses in the key in which it is written ("G"); then, on the last line of the second verse, "On Calvary, my Savior died", I would hold out the last word "died" and raise it a half-step to "A-flat" and begin singing the third verse (a little faster, louder, more triumphantly!): "Empty tomb, the empty tomb; Up from the grave on the third day; He lives again in Heaven to rain; Some golden day, He'll come again...."
        • One song I like to lead, and raise the pitch on the last verse, is "When I Survey the Wondrous Cross".  I will sing the first three or four verses in the key of "F", singing the third verse (and fourth verse if I include it) a little more silently.  Then on the last verse ("Were the whole realm of nature mine, That were a present far too small; Love, so amaizing, so divine, Demands my soul, my life, my all[!]"), on the first word and first note, I raise the volume significantly so people know I am moving the pitch up a whole step to the key of "G".
    • Tempo: it is important to establish at what speed we are singing the song. It is equally important to maintain that speed.
      • What tempo should I lead in?: That of course depends on the song.  Whereas "Our God, He is Alive" should be sung with a very lively, upbeat tempo, a song such as "'Tis Midnight and On Olive's Brow" should be sung with a more somber, slower tempo.  But even that is open to interpretation, and as the leader you should help everybody stay on whatever tempo you are using.  This is true if you maintain a constant, steady tempo for the song you are leading, but it is especially important if you are going to take artistic license and use a variable tempo.  For example, some folks at my congregation like to sing "Our God, He is Alive" in the usual upbeat tempo for all verses they sing followed by a chorus each time, but they repeat the chorus after the last verse and sing it very slowly with emphasis.  Another example would be something I've done with "O Sacred Head" where I will lead the first two verses slowly and reverently; the third verse, "What language shall I borrow To thank Thee, Dearest Friend, For this, Thy dying sorrow, Thy pity without end?", I lead with a more spirited, lively, thankful beat until half way through that verse when I return to a slower tempo to enunciate that gratitude even further.
      • Whatever tempo you wish to use, it must be communicated somehow: I used to be of the opinion that, when someone led singing, it was compulsory for them to use the standard hand motions used by many conductors, whether in educational settings or professional symphonic performances, much like the ones seen in this picture (adapted from http://scienceblogs.com/cognitivedaily/2008/08/21/what-conductors-are-doing-when/):
        For those who are interested in keeping such "tradition" alive, the 4-beat motion pictured is utilized on any time-signature using four dominant beats per measure (whether it be 4-4 [often referred to as "Common Time"], 4-2, or 12-8 time]; the 3-beat motion is utilized on any time-signature using three dominant beats per measure [3-4, 3-2, or 9-8 time]; and the 2-beat motion is utilized on any time-signature using two dominant beats per measure [2-4, 2-2, or 6-8 time]).  However, any simple wave emphasized by the hand will work, even if it is just a bouncing hand communicating a down beat every time, so long as it is effectively communicated to the group!  If it is hidden behind the podium, it does no good to wave your hand in any direction or similitude.  By the same token, if the motion of the hand distracts the group somehow (whether it be too flamboyant or some otherwise awkward gesture) another method may want to be sought.  Also, I have heard of using your whole body in leading singing, discussed in an article by brother Joseph Chase of the North Loop church of Christ in Gladewater, TX.  I have yet to see such a method demonstrated in a congregational setting and wonder if the constant movement might be more of a distraction than would the typical direction I have already discussed.  I am not condemning the practice yet, I simply wish to see it for myself before I "pass judgment" if you will (I truly am "from Missouri", after all).
      • Don't let the congregation drag you down: YOU are the song leader.  LEAD them.  Sometimes it may seem as though it is one versus several people, several dozens, or even several hundreds of people.  But this is NOT "you versus them"; this is "you leading them."  Just as you do your best to keep them from getting the pitch of the song too low and in the basement, do your equal best to keep them from dragging a lively song into a dirge.

    • Dynamics: the volume at which we sing a song is important as well.  Whereas it may seem funny to sing "Our God, He is Alive" in a very quiet, hushed tone, it would be absolutely strange to sing "'Tis Midnight and On Olive's Brow" in a very loud, almost bar room type of fashion.  Most songs seem to have a conspicuous volume at which they should be sung. Many others, fortunately, have markings on them to indicate variety (the chorus of "Hallelujah! Praise Jehovah!" is a perfect example, with its normal volume at the beginning, suddenly going quiet for the first "And His glory is exalted", getting less quiet for the second one, and finally almost shouting the final "And His glory is exalted far above the earth and sky!").  Pay attention to these markings and stress them whenever you can.  Also, be inventive with the dynamics; don't simply sing everything at the same volume or speed if you can liven things up without becoming irreverent.  For example, I like to lead "Night with Ebon Pinion" at a fairly normal volume for the first two verses.  But when I get to the third verse, I like to get us quiet as we sing a version of Jesus' prayer in the garden before His kangaroo trials and crucifixion. So we're quiet as we sing, "Abba, Father, Father, If indeed it may, Let this cup of anguish...."  Then we build up loudly to sing, "...Pass from Me, I pray!", almost as a demonstration of His agony for what was yet to come!  The volume may go down just a little bit as we continue with, "But if it must be suffered, By Me, Thine only Son,..."  At this point, we get quiet again to close it out with "Abba, Father, Father, Let Thy will be done."
    In the end, remember: as I said in the title and a few times throughout this writing, YOU are the song leader!  Keep us going! Lead us in our worship in song to the Lord!




    --bas4d

    Wednesday, June 24, 2015

    "Song Leading Conventions" Explained

    The Prime Directive in this PHSS-101 "course", again, is as follows:


    "[T]o let the Word of Christ richly dwell in us in all wisdom, teaching, admonishing, and speaking to one another in psalms, hymns, and spiritual songs, singing with grace and making melody in our hearts to the Lord (Eph 5:19; Col 3:16) in a decent and orderly manner (1Co 14:40)."


    It is the purpose of this blog on Song Leading Conventions to detail that final section quoting 1 Corinthian 14:40.

    It's interesting to note that, when Paul was writing to the church at Corinth, it was necessary for him to even write that statement in the first place!  To read some of the earlier verses, it seems that every one of them had a psalm, a teaching, a tongue, a revelation, an interpretation, etc. (verse 26).  It sounds as if a worship service in that church had one person singing a song, someone else speaking in tongues, somebody else prophesying, not many interpreters, it seems to have been similar to how we used to have to run Cub Scout Pack Meetings for my son years ago: like herding cats!

    And yet, similar things can happen during a singing service if one does not take care in how a song is led.  The entire congregation may be on the same page (whether it be the hymnal or a PowerPoint slide), but we still may be all over the place singing the song.

    As such, in this new series, I wish to talk about certain conventions in leading singing in the Lord's church.  I hope to draw attention to works from several different authors and authorities on the subject and hope you will follow along with me.

    The posted articles include:




    --bas4d