A “Selah” Between Stanzas

Written by KJC

I have been accompanying congregational singing regularly in churches for about three decades, and it has been my habit to go from one stanza to the next with nary a pause. I (always?) glance up at the songleader or lead musician to make sure I follow them for the first beat of the next stanza. In general, we plow in right away. However, I have recently observed a growing trend of adding a few bars of interlude between stanzas.

The more I hear this new “selah” or musical pause, the more I like it. My mind needs time to ponder what I just sang. I digest my spiritual food better if I can chew it a bit before swallowing. I also love the fact that I have more time to physically breathe between sections of a song.

I interviewed several music pastors in my supporting churches to learn how they are doing this and why.

Pastor Josh’s prepared interludes

Josh Sparkman at Farmington Avenue Baptist has composed 4-bar phrases for intros and turnarounds-interludes which sometimes include a modulation. He has found them to be extremely beneficial for the congregation for three reasons (and I quote):

Physically, it allows the congregation to rest their voices. Mentally, it allows the congregation to re-engage rather than trying to stay super focused for four unrelenting stanzas. Emotionally, it lets the accompaniment signal a change in tone for an upcoming stanza.

Pastor Eric’s practical tips

Eric Connors at Bethel Baptist started playing interludes when he began leading congregational singing from the piano bench. He needed a way to provide clear aural entrances and exits for the congregation. He explained to me when he finds interludes to be helpful, and when he decides they are unnecessary.

• 4/4 hymns that start on beat one: We have time to breathe between stanzas, so no interlude is necessary.

• 4/4 hymns that start with a pickup beat: A bar of interlude gives us time to breathe.

• 3/4 hymns with an 8th note pickup into beat 2 (many modern hymns like “My Jesus, Fair” and “In Christ Alone”): At least one bar of interlude helps us start the next stanza together.

What harmonic pathways can we follow? Eric proposes the following:

• Get to the V7 or Vsus4 chord

• End with a IV chord over dominant in bass

• Progress from I-IV-I

• Stay on I

Instrumental “selahs”

Pastor Eric also recommends giving accomplished instrumentalists the opportunity to play a whole stanza or section of a stanza, while the congregation reads a projection of lyrics and/or Scripture. He and a violinist recently did this kind of “selah” for one of the stanzas of the song “My Dwelling Place” from Psalm 91.

Interludes by a pianist-songleader duo

Pastor Todd Jones typically leads the singing at Morningside Baptist and cues entrances and cut-offs for the congregation. Fellow music/associate pastor Jeriel Ontoy accompanies on the piano.

They incorporate interludes on a regular basis in the following scenarios:

• Two bars between stanzas if songs are in 4/4 or 2/4 time

• Three bars if songs are in 3/4 time

Jeriel sometimes changes the tempo or the dynamics to signal a new mood for the next stanza. He usually ends on on the tonic, but sometimes he camps out on the V7. When they are introducing a new song, they go over interludes together ahead of time. For songs they have led many times, they enjoy communicating their intentions through non-verbal cues such as a gesture which signals, “Jeriel, take it away!” My initial experiments with interludes have gone well, particularly with songs that used to leave us gasping for breath. What about you? Could this practice be helpful for your congregation?

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