As I understand it, for folks without formal training, guys (tenors) are more comfortable singing a few notes higher than is comfortable for most ladies although of course those tenor notes are a whole octave lower. Or maybe they have a lot more power at that range than ladies do. Much of the worship music written today is in a range that is quite difficult for ladies to sing (unless they sing in a high airy tone that doesn't work well with a contemporary sound). Maybe I could put it this way, I don't enjoy singing too high (even though I can hit the notes technically) because I want the freedom to sing out when I worship. I almost always drop to an alto line when it gets too high and if I'm leading - I lower the key because I cannot sing with any kind of strength on what is usually meant to be the strongest part of the song.
The other thing - if a guy is singing the bass line...that is lower but in worship music, most times the issue is where the melody is...a show is usually quite a different story because it's designed with parts that are comfortable for specific voices to sing and arranged for that specifically. Worship music works best when it's in a key that is generally comfortable for anyone to sing.
You guys have really got the point. The situation is same as you said. They cant sing hiogh in contemporary worship songs. But I want the reason why girls are not able to sing contemporary worship songs in high pitches, when you can see them singing high notes in many of the choirs
Can you suggest any solution to work around this problem....other than lowering the key...(or changing the singers LoL)
I don't think that it's a matter of not being able to sing the high notes but it's the tone that's really hard for us. I can sing with a flute-like quality to my voice up high. But it's all wrong for the song. Most worship songs have 'belt-it' out type choruses and there's no way I can belt out a note that's up high.
I'm not sure what your set up is... but assuming that either yourself or a guy on the team is the lead vocal:
Can the ladies drop to a harmony note below the melody? That's the easiest solution. If not, work with your sound and team to compensate. The gals may just need the freedom to go softly and gently on those high notes and let the guys carry the melody in those places. I often relax on those high notes if I'm working with a guy who can power through those areas and I can complement him - very often then I take the lead on the verses which are lower. I don't know if that helps at all but I've finally realized the limitation of my voice as well as the strengths of it and most girls just cannot give power to their voice at high pitches...but we can have a beautiful sound up there if not forced.
Well, in a choir the girls will be singing higher NOTES than the guys. Typical choral arrangement has the sopranos doing the melody, the altos singing below that, the tenors singing below that and the basses down at the bottom. So at a particular point in some song in the key of C, the sopranos might be singing a C, the altos the G below, the tenors the E below and the basses the C below that. In terms of harmonies, it's easy to think of the tenor "E" being "above" the melody, but the actual tenor person is singing a lower NOTE than the sopranos or altos.
This is true....but the problem is that the typical tenor can sing the E above middle C easier than the sopranos can sing the E that is an octave higher...for example. Yes the girls are always singing higher pitches (guys are an octave lower) but it's how the melody fits in a person's range regardless of which octave. Guys usually have the advantage of being able to sing a higher melody line because their typical range is slightly different than ladies - the issue of which octave they're singing is really not the relevant point. It's how well the melody fits in anyone's range that's important.
Your choir should try some Gospel stuff, (Brooklyn Tabernacle comes to mind...). In pretty much all of there stuff, the men sing the 5, the altos are are the 3 and sopranos on the 1, or sometimes the guys are on the 5, altos are on the 1 and sopranos are on the 3. Inversions like that sound SO COOL, but they are usually high pitches and difficult to do. I'd look into it though. (sorry, I'm a music theory nut, If this is pig Latin to you, please tell me and I'll think of another way to explain it (I am not assuming you don't know what I am talking about, i just like clarifying myself because I have been in many situations where I am just rambling on and I leave people thinking "hua?"))
As far as just worship music goes, I try and make it a priority to be inclusive for both male and female voices. For example, If i am singing "Let God Arise" by Chris Tomlin, I might Follow it up with "Hosanna" by Brooke Fraizer. Obviously if you are up there by yourself, that can be a difficult thing to do, so it might be good to invest in some female singers to step up and lead a song every once in a while. I have the advantage of just asking my wife to do it!
Sorry but that can't be true, unless 1,3,5 is code for soprano, alto , tenor
For example, if a root position C major triad moved to a 2nd inversion F major chord, the top note of the C chord (a G, and the 5 of the chord) would move to the top of the F major 2nd inversion chord (the A, now the 3 of the chord), therefore the top changed from 5 to 3.
A better way to think of it is: Soprano sings melody, altos sing below the melody, and tenors sing above the melody. That way they can find their parts by singing the melody, and then walking up or down from there. (Men are singing the melody on octave down.)