HARMONIC CONVERGENCE IN CONTEMPORARY BLACK-WHITE

CHURCHES: STYLE ELEMENTS OF MULTIETHNIC WORSHIP Paul Rumrill

In the first decade of the twenty-first century, large Protestant churches (with one

thousand or more in attendance each weekend) have trended towards multiethnicity. While five

and a half percent of such congregations exhibited multicultural demographics—a church

community consisting of a minority culture of twenty percent or greater representation—in 1998,

by 2007 that number had jumped to fifteen percent, and to twenty-five percent among large

evangelical churches.1 A number of these congregations exhibit a blend of African-Americans

and Caucasians; these black-white churches—often employing worship repertoire from

Lakewood Church, Bethany World Prayer Center, Brooklyn Tabernacle, FaithWorld Church,

Prestonwood Baptist Church, and various artists and songwriters from Brentwood-Benson and

Integrity’s Hosanna Music—exhibit a number of charismatic practices in the services, regardless

of denominational affiliation.2 Some of these churches use a hybridized music language-family

synthesizing elements of urban praise and CCLI-based praise and worship. While this worship

approach is somewhat challenging to analyze musically, there are melodic and harmonic

elements that can be identified as part of the cultural-worship style of a number of the

contemporary black-white churches operating in this present day.

MELODIC AND HARMONIC ELEMENTS OF LWM’S WORSHIP

Congregational singing range during my later years at LWM (approximately 2003 to

2008) was approximately that of an eleventh, from about a Bb to an upper Eb. In certain

Western urban popular musics, however, a prime unison melody above middle C is sometimes

employed, where male singers in the choir and congregation are expected to sing the exact notes

as females in a mix of chest and falsetto-head registers. This is a feature used frequently in

songs popularized by Lakewood Church of Houston, Texas, such as in the bridge of Israel

Houghton’s You Are Good or the verses of Better Than Life [see Figure 1, next page], a

collaboration by Cindy Cruse-Ratcliffe and Houghton. At LWM we employed prime unison in

these songs at and in other contemporary gospel works such as Kurt Carr’s In the Sanctuary and

Jonathan DuBose’s We Praise Your Name.

Most often, the harmonic color used to outline many of LWM’s pieces involved the blues

scale, the mixolydian (flat-seven) scale, and various pentatonic scales. Analytically, LWM’s

songs often had diatonic major/minor or mixolydian harmonic progressions, with choral singers

1 See the introduction to DeYmaz and Li’s Ethnic Blends: Mixing Diversity into Your Local Church. Grand Rapids,

MI: Zondervan, 2010, 15-16. 2 See Chapter Three of Emerson and Woo’s People of the Dream: Multiracial Congregations in the United States.

Princeton, NJ: Princeton University Press, 2006.

moving in linear motion up and down the same scale system. At the same time, instrumentalists

played pre-set riffs and fills that outlined various pentatonic scale divisions or the blues scale,

depending on the temperament of the drum/bass patterns and the content of the lyrics.

Figure 1. Combination: Pentatonic-blues melody, blues-scale riffs, and mixolydian-blues harmonic motion,

from the opening phrase of Better Than Life, by C. Cruise-Ratcliffe and I. Houghton.

Minor dominant chords or dominant sevenths with augmented fifths and sharp-nine

colors were often employed, as were major sevenths and ninths to tonic, subdominant, and

submediant chords. Supertonics and flat-seven chords were considerably embellished, as well;

one could find the gospel signatures of diminished passing harmonies and tritone substitutes in

most services somewhere in the songs and transition times. Andrae Crouch’s The Blood Will

Never Lose Its Power illustrates these signature chord colors within stepwise, linear motions in

the bass. Such sequences—often within triple meter, swing impulses—are part of the aural

language of gospel, and church musicians working towards black-white multiracial ministry will

need to internalize the kind of energy that these phrases evoke [Figure 2].

Specific harmonic progressions are common to black-white multiethnic worship, and at

least one chordal instrument (piano, Rhodes, Hammond B3-type organ, electric guitar, acoustic

guitar) in the ensemble needs to be able to play these within the context of songs and transitions.

Some of the more commonly used alterations and extensions of the tonic, supertonic, and

dominant are notated in Figures 3a through 3d, below.

{Reduction of worship band}

{Prime unison}

Figure 2. Linear harmonic motion, second half of the verse, The Blood Will Never Lose Its Power by A.

Crouch.

Lead musicians need to be familiar with these harmonic alterations of the first, second,

fifth scale degree chords in all twenty-four major and minor keys in Figures 3a through 3d.

Musicians approaching multiracial worship from a jazz background will want to practice

progressions capturing the dorian, lydian, and mixolydian modes.

Figures 3a-3d. Alterations and extensions common to contemporary, multiracial, black-white worship.

Figure 3a. Tonic alterations/extensions.

Figure 3b. Tonic alterations/extensions in minor key.

Figure 3c. Supertonic alterations/extensions.

{Harmonic reduction}

Figure 3d. Dominant alterations/extensions.

CHORD PROGRESSIONS AND REHARMONIZATIONS

Certain progressions are common to black-white contemporary worship harmony. Linear

motion upwards in the bass line is a signature sound, especially with the use of diminished and

half-diminished chords [Figure 4]:

Figure 4: Linear motion between diatonic harmonies by the use of diminished and half-diminished chords;

scale degree harmonies of C Major emphasized on downbeats as destination points.

Two-five-one progressions, often referred to as ―turnarounds‖ in jazz vocabulary, are also

frequent motions in contemporary Christian/gospel mixes. The supertonic (two) is usually based

on the minor-seven or half-diminished seven sonority; the dominant has either a dominant seven

or an augmented seven core. This is true even when the two-five-one progression is a secondary

motion, briefly tonicizing another chord within the key [Figure 5]:

Figure 5: Secondary two-five-one progressions, with scale degree harmonies indicated.

It would be unusual for multiracial worship teams to tonicize the seventh scale degree, but it is a

fairly common practice to create a secondary resolution upon the flat-seven harmony, after a

two-five-one motion on the subdominant. Such progressions are notable moments in Bill

Gaither and Richard Smallwood’s collaboration in Center of My Joy and Joe Pace’s Holy Are

You Lord [Figure 6].

Figure 6: Secondary resolution to the harmony on the flat-

seven scale degree.

Tritone substitutions—where the bass note substitution for the altered dominant chord is

a tritone away from the fifth scale degree—are common to jazz, R&B and gospel, particularly

during instrumental interludes [Figure 7]. Tritone substitutions can be found in such multiracial

worship songs as Joe Pace’s Holy Are You Lord and We’ve Come to Worship You by Cruise-

Ratcliffe/ Houghton. It was not unusual for me to cue the electric and bass guitar players to play

a tritone substitution unrehearsed, instead of a dominant chord, during the service without prior

rehearsal. Such a decision would be made for reasons of harmonic color and ministerial

spontaneity.

Figure 7: Comparison of two-five-one progression and a tritone substitution (reharmonization), indicated in

the second chord within each example.

Tritone substitutions are one of many examples of the process of reharmonization. Chord

substitutions can evoke colors that allow for musical bridging, especially if employed within a

worship culture attuned to these choices. Sometimes only a few chords need to be added or

altered to align a song closer to another popular musical sphere. In the Caucasian (HillSong)

worship song Emmanuel by Reuben Morgan, a reharmonization where the minor-two chord

moves to flat-seven (D major ninth chord) before the first-inversion dominant [Figure 8b, first

measure] sets greater dissonance and tension between the melody note and the bass. The whole-

step motion in the last two measures of 8a defines a classic four-five-six progression, frequently

found in white popular music. The addition of a secondary diminished chord (B-sharp

diminished seventh) in 8b at the same location places it within territory more akin to black

church music’s chromatic motions.

Reharmonizations of white praise songs employing secondary progressions can set a

sound environment even closer to black gospel or R&B sound than a simple addition of an

extension or chromatic connection. The four-chord sequence of the original praise song in 9a

changes harmonies on every downbeat, while the secondary progressions in 9b hasten the

( )

Figure 8a. Original harmonization, part of the chorus of Emmanuel (God With Us) by Reuben Morgan.

Figure 8b. Reharmonization, part of the chorus of Emmanuel (God With Us) by Reuben Morgan.

Figure 9a. Original harmonization of the opening phrase for Jesus, Lover of My Soul, by D. Grul, J. Ezzy, and

S. McPherson.

Figure 9b. Gospel-style reharmonization of the opening phrase for Jesus, Lover of My Soul, by D. Grul, J.

Ezzy, and S. McPherson.

{Harmonic reduction}

{Harmonic reduction}

{Harmonic reduction}

{Harmonic reduction}

harmonic rhythm of the song considerably. 9b’s gospel sound uses a secondary two-five-one

progression to E minor seven in measure two and a tritone substitutionary motion in measure

three to move to C major nine. In each example, the melody line is unchanged, illustrating how

different a portrayal a song can have based on the merits of harmonic substitution alone.

Reharmonization is a potent tool for forming sonic elements of multiracial worship ministry—

particularly when the ministry aims to minister to contemporary, black-white congregations.

Generally, music leaders at black-white multiracial churches will need to build harmonies

that speak this musical vernacular from the melody note downward. Almost any functional

possibility in diatonicism can happen under a single note in a given melody. Here are some of

the harmonization possibilities [Figure 10]:

Figure 10: Harmonization possibilities under the melody note A4.

Musicians developing in contemporary-worship, black-white multiracial churches need to

be committed to developing cross-cultural competence, intracultural relationships, linear-

harmonic skill, and polyrhythmic engagement. While the examples above only capture a certain

type of contemporary worship style in these churches, they are given in hopes of illustrating

patterns and tendencies that can help musicians get started in attempting to engage in multiethnic

worship ministry.

ADDENDUM: REPERTORY OF LIVING WORD MINISTRIES IN 2005

This lists the songs ministered during services at LWM in 2005 (not including Christmas

songs, Christmas specials, or instrumental songs during the offertories). For clarification,

occasionally the composer (or arranger of a traditional song) is included in the listing;

predominant stylistic approach or church tradition will be mentioned, as well. The

categorizations might seem a bit oversimplified to some, but hopefully will serve in showing

some of the repertory ministered within a multiracial church.

AFRICAN-AMERICAN CHURCH MUSIC CULTURE-INFLUENCED SONGS:

All the Way Black Gospel--Traditional Choir

God Is Still Doing Great Things Black Gospel--Traditional Choir

Holy Are You, Lord (Joseph Pace) Black Gospel--Traditional Choir

Holy Is the Lamb (Oleta Adams) Black Gospel--Traditional Choir

Praise the Lord With Me Black Gospel--Traditional Choir

Thanks (I Give You Thanks) Black Gospel--Traditional Choir

The Blood Still Has Miraculous Power Black Gospel--Traditional Choir

Yes, We All Agree Black Gospel--Traditional Choir

New Jerusalem Black Gospel--Traditional Choir / Blues

All I Desire (arranged) Black Gospel Mass Choir

Blessed Be the Lord (Brooklyn Tabernacle) Black Gospel Mass Choir

Blessing and Honor (Judy Jacobs) Black Gospel Mass Choir

Come Let Us Worship Him Black Gospel Mass Choir

Favorite Song of All (Brooklyn Tabernacle) Black Gospel Mass Choir

Give Him the Glory (Marc Condon) Black Gospel Mass Choir

Great Is Your Faithfulness Black Gospel Mass Choir

High and Lifted Up Black Gospel Mass Choir

I Came To Magnify Black Gospel Mass Choir

I'm So Glad (Jesus Lifted Me) Black Gospel Mass Choir

Jehovah Reigns Black Gospel Mass Choir

Jesus, I'll Never Forget (traditional, arranged) Black Gospel Mass Choir

Let Everything That Has Breath (Gary Oliver) Black Gospel Mass Choir

Let Us Rejoice (and Sing Praise to Our God) Black Gospel Mass Choir

Lift Up the Name of the Lord Black Gospel Mass Choir

Lift Up Your Hands (Psalm 134) Black Gospel Mass Choir

Lord, You're Holy Black Gospel Mass Choir

Midnight Cry Black Gospel Mass Choir

My Help (Psalm 121) (Brooklyn Tabernacle) Black Gospel Mass Choir

Now and Forever Black Gospel Mass Choir

Praise Him All Ye People Black Gospel Mass Choir

Psalm 150 (Praise Ye the Lord) (Brooklyn Tabernacle) Black Gospel Mass Choir

Sacrifice of Praise Black Gospel Mass Choir

Take Up Your Cross (Brooklyn Tabernacle) Black Gospel Mass Choir

Thank You, Lord (Jernigan, arranged) Black Gospel Mass Choir

The Blood Will Never Lose Its Power Black Gospel Mass Choir

Up From the Grave He Arose Black Gospel Mass Choir

We Have Come Into This House Black Gospel Mass Choir

Worship the Lord (Make a Joyful Noise) Black Gospel Mass Choir

Majesty (Your Majesty) Black Gospel / Jazz hybrid

Bless Your Name (Clint Brown) Urban Contemporary Gospel

Blessing and Honor (O God) (Fred Hammond) Urban Contemporary Gospel

Glory to Glory to Glory (Fred Hammond) Urban Contemporary Gospel

Holy Spirit, Have Your Way (Tim Johnson) Urban Contemporary Gospel

I Surrender (I Am Yours, O God) Urban Contemporary Gospel

In the Sanctuary Urban Contemporary Gospel

I've Come To Praise You Urban Contemporary Gospel

Jubilee Urban Contemporary Gospel

Let the Praise Begin Urban Contemporary Gospel

Lift Him Up (Give Him the Highest Praise) Urban Contemporary Gospel

My Redeemer Lives (I Know) (N. Mullen) Urban Contemporary Gospel

Praises, Praises Urban Contemporary Gospel

Strength (Strength to Make It) (Fred Hammond) Urban Contemporary Gospel

The Lord Inhabits Praise Urban Contemporary Gospel

Trading My Sorrows (Darrell Evans, arranged) Urban Contemporary Gospel

Victory Chant (arranged) Urban Contemporary Gospel

We Lift Up Your Name Urban Contemporary Gospel

We Praise Your Name (Jonathan DuBose, Jr.) Urban Contemporary Gospel

When the Spirit of the Lord (I Will Dance) Urban Contemporary Gospel

Your Name is Great (Houghton) Urban Contemporary Gospel

HYBRID SONGS WITH NOTABLE AFRICAN-AMERICAN AND CAUCASIAN TRADITIONS:

Again I Say Rejoice Contemporary / Gospel hybrid

Awesome God (arranged—Helen Baylor) Contemporary / Gospel hybrid

Better Than Life Contemporary / Gospel hybrid

Bless the Lord (At All Times) Contemporary / Gospel hybrid

Come Into This House Contemporary / Gospel hybrid

Days of Elijah (arranged) Contemporary / Gospel hybrid

Everything Contemporary / Gospel hybrid

Friend of God Contemporary / Gospel hybrid

Glorify Your Name (Bilingual) Contemporary / Gospel hybrid

God Is Here Contemporary / Gospel hybrid

Hallelujah (Your Name Be Praised in All the Earth) Contemporary / Gospel hybrid

Highly Exalted Contemporary / Gospel hybrid

Holy Holy Holy (Praise Him and Lift Him Up) Contemporary / Gospel hybrid

Holy You Are Contemporary / Gospel hybrid

I Worship You (Jonathan DuBose, Jr.) Contemporary / Gospel hybrid

Jesus, Lover of My Soul Contemporary / Gospel hybrid

Let Your Glory Fill This Place (Gary Oliver) Contemporary / Gospel hybrid

Show Me Your Ways (arranged) Contemporary / Gospel hybrid

Sing Contemporary / Gospel hybrid

Sweeter Contemporary / Gospel hybrid

We've Come to Worship You Contemporary / Gospel hybrid

You Are Good Contemporary / Gospel hybrid

You Reign (You're the Holy One) (Marc Condon) Contemporary / Gospel hybrid

CAUCASIAN TRADITIONAL CHURCH MUSIC INFLUENCED SONGS:

Amazing Grace Trad. Anthem / Early Gospel Song

America the Beautiful Trad. Anthem / Early Gospel Song

Battle Hymn of the Republic Trad. Anthem / Early Gospel Song

God Bless America Trad. Anthem / Early Gospel Song

He Is Lord (He is Risen From the Dead) Trad. Anthem / Early Gospel Song

Holy Spirit, Thou Art Welcome Trad. Anthem / Early Gospel Song

Joy Unspeakable Trad. Anthem / Early Gospel Song

My Jesus, I Love Thee Trad. Anthem / Early Gospel Song

Oh Happy Day Trad. Anthem / Early Gospel Song

Oh, How I Love Jesus Trad. Anthem / Early Gospel Song

Healer in the House Southern Gospel

Something To Shout About Southern Gospel

CAUCASIAN CONTEMPORARY CHURCH MUSIC INFLUENCED SONGS:

I Love You, Lord Early Praise and Worship Chorus

I Stand Amazed (In Your Presence) (Don Moen) Early Praise and Worship Chorus

I Will Come and Bow Down Early Praise and Worship Chorus

On Bended Knee Early Praise and Worship Chorus

Psalm 3 (Thou Oh Lord) Early Praise and Worship Chorus

Something About That Name Early Praise and Worship Chorus

Take Me In Early Praise and Worship Chorus

To Him Who Sits On the Throne Early Praise and Worship Chorus

We Exalt Thee (I Exalt Thee) Early Praise and Worship Chorus

You Deserve the Glory Early Praise and Worship Chorus

Agnus Dei (Michael W. Smith) 80s&90s CCM/Hsna-Mrntha-Vinyrd

All Honor 80s&90s CCM/Hsna-Mrntha-Vinyrd

Ancient of Days 80s&90s CCM/Hsna-Mrntha-Vinyrd

Awesome In This Place 80s&90s CCM/Hsna-Mrntha-Vinyrd

Breathe (This is the Air I Breathe) 80s&90s CCM/Hsna-Mrntha-Vinyrd

Can't Stop Praising His Name 80s&90s CCM/Hsna-Mrntha-Vinyrd

Come Into the Heavenlies 80s&90s CCM/Hsna-Mrntha-Vinyrd

Come, Now Is the Time to Worship 80s&90s CCM/Hsna-Mrntha-Vinyrd

Draw Me Close 80s&90s CCM/Hsna-Mrntha-Vinyrd

Even Now 80s&90s CCM/Hsna-Mrntha-Vinyrd

Every Move I Make 80s&90s CCM/Hsna-Mrntha-Vinyrd

Grace Flows Down 80s&90s CCM/Hsna-Mrntha-Vinyrd

Hallowed Be Your Name 80s&90s CCM/Hsna-Mrntha-Vinyrd

Here In Your Presence (Bilingual) 80s&90s CCM/Hsna-Mrntha-Vinyrd

Holy and Anointed One 80s&90s CCM/Hsna-Mrntha-Vinyrd

Holy Is the Lord (E. Gregory) 80s&90s CCM/Hsna-Mrntha-Vinyrd

I Bow My Knee 80s&90s CCM/Hsna-Mrntha-Vinyrd

I Came To Worship You 80s&90s CCM/Hsna-Mrntha-Vinyrd

I Could Sing of Your Love Forever 80s&90s CCM/Hsna-Mrntha-Vinyrd

I Stand Amazed (In All of Your Glory) 80s&90s CCM/Hsna-Mrntha-Vinyrd

I Stand in Awe 80s&90s CCM/Hsna-Mrntha-Vinyrd

I Will Worship You (Matthew Ward) 80s&90s CCM/Hsna-Mrntha-Vinyrd

I Worship You (I Live to Bless Your Name) (Rumrill) 80s&90s CCM/Hsna-Mrntha-Vinyrd

I Worship You, Almighty God 80s&90s CCM/Hsna-Mrntha-Vinyrd

In the Secret 80s&90s CCM/Hsna-Mrntha-Vinyrd

Jesus, Lord To Me 80s&90s CCM/Hsna-Mrntha-Vinyrd

Joy of My Desire 80s&90s CCM/Hsna-Mrntha-Vinyrd

Let It Rain (Open the Floodgates) 80s&90s CCM/Hsna-Mrntha-Vinyrd

Let the Rain of Your Presence 80s&90s CCM/Hsna-Mrntha-Vinyrd

Lift Your Voice and Sing (Bilingual) 80s&90s CCM/Hsna-Mrntha-Vinyrd

Lord of All (Carman) 80s&90s CCM/Hsna-Mrntha-Vinyrd

Lord, I Lift Your Name On High 80s&90s CCM/Hsna-Mrntha-Vinyrd

More Love, More Power 80s&90s CCM/Hsna-Mrntha-Vinyrd

More Than Enough (Rumrill) 80s&90s CCM/Hsna-Mrntha-Vinyrd

Most Holy One (Rumrill) 80s&90s CCM/Hsna-Mrntha-Vinyrd

Not By Power 80s&90s CCM/Hsna-Mrntha-Vinyrd

Only You 80s&90s CCM/Hsna-Mrntha-Vinyrd

Open the Eyes of My Heart 80s&90s CCM/Hsna-Mrntha-Vinyrd

Rejoice (All Creation Worships You) 80s&90s CCM/Hsna-Mrntha-Vinyrd

The Lord On High Is Mighty ("African" elements) 80s&90s CCM/Hsna-Mrntha-Vinyrd

There Is None Like You 80s&90s CCM/Hsna-Mrntha-Vinyrd

Via Dolorosa (Bilingual) 80s&90s CCM/Hsna-Mrntha-Vinyrd

We Behold You 80s&90s CCM/Hsna-Mrntha-Vinyrd

We Will Worship the Lamb of Glory 80s&90s CCM/Hsna-Mrntha-Vinyrd

Where You Lead Me 80s&90s CCM/Hsna-Mrntha-Vinyrd

Who Can Satisfy? (Bilingual) 80s&90s CCM/Hsna-Mrntha-Vinyrd

Worship the King 80s&90s CCM/Hsna-Mrntha-Vinyrd

You Are Mighty 80s&90s CCM/Hsna-Mrntha-Vinyrd

You Are My Everything (Like the Air I Breathe) 80s&90s CCM/Hsna-Mrntha-Vinyrd

Your Name Is Holy 80s&90s CCM/Hsna-Mrntha-Vinyrd

You're My Refuge and My Strength 80s&90s CCM/Hsna-Mrntha-Vinyrd

You're Worthy of My Praise 80s&90s CCM/Hsna-Mrntha-Vinyrd

Can't Stop Talking ('Bout Everything He's Done) HillSongs--Contemporary

Everything That Has Breath (Praise the Lord Forever) HillSongs--Contemporary

Exceeding Joy (My Soul Magnifies the Lord) HillSongs--Contemporary

Faithful To the End HillSongs--Contemporary

Father (Amazing Love) HillSongs--Contemporary

For All You've Done HillSongs--Contemporary

God Is Great HillSongs--Contemporary

Hallelujah (Saved By Your Mercy) HillSongs--Contemporary

I Give You My Heart HillSongs--Contemporary

I Will Never Be the Same Again HillSongs--Contemporary

Jesus, What a Beautiful Name HillSongs--Contemporary

Joy in the Holy Ghost HillSongs--Contemporary

Let the Peace of God Reign HillSongs--Contemporary

Lord of All (All of Creation Sings Your Praise) HillSongs--Contemporary

Lord of the Heavens HillSongs--Contemporary

Love You So Much HillSongs--Contemporary

My Hope (Is In the Name of the Lord) HillSongs--Contemporary

My Redeemer Lives HillSongs--Contemporary

Praise His Holy Name HillSongs--Contemporary

Shout To the Lord HillSongs--Contemporary

Sing of Your Great Love HillSongs--Contemporary

Stay (Here I'll Stay Forever) HillSongs--Contemporary

That's What We Came Here For HillSongs--Contemporary

Touching Heaven, Changing Earth HillSongs--Contemporary

You Are Holy, Holy HillSongs--Contemporary

You Said HillSongs--Contemporary

All About You 21st cent. Contemporary Pr&Wshp

Forever 21st cent. Contemporary Pr&Wshp

Here I Am To Worship 21st cent. Contemporary Pr&Wshp

Into Your Presence We Come 21st cent. Contemporary Pr&Wshp

Let My Words Be Few 21st cent. Contemporary Pr&Wshp

No Sacrifice (Jason Upton) 21st cent. Contemporary Pr&Wshp

Wonderful 21st cent. Contemporary Pr&Wshp

Wrap Me In Your Arms 21st cent. Contemporary Pr&Wshp

Your Love is Extravagant 21st cent. Contemporary Pr&Wshp

MISCELLANEOUS MUSIC TRADITIONS:

He Set Me Free (arranged) Blues

I Walk By Faith Blues

Bless the Lord (Bilingual) Corito

Renew Me, Lord (Bilingual) Corito

Search Inside of Me (Psalm 139) (Bilingual) Corito

Your Name Is Like Ointment (Bilingual) Corito

Demos Alabanzas (Spanish) Latin / Salsa-like

Doxology (Shout Unto God With Joy) (Bilingual) Latin / Salsa-like

Montaña (Spanish) Latin / Salsa-like

We Offer You Praise (Bilingual) Latin / Gospel hybrid

WORKS CONSULTED

Davis, Ken L. ―Designing Worship for Multiethnic Churches (Part 1).‖ Journal of Ministry and

Theology (Spring 2004), 108-133.

DeYmaz, Mark and Harry Li. Ethnic Blends: Mixing Diversity into Your Local Church. Grand

Rapids, MI: Zondervan, 2010.

DeYoung, Curtis Paul, Michael O. Emerson, George Yancey, and Karen Chai Kim. United By

Faith: The Multiracial Congregation as an Answer to the Problem of Race. Oxford:

Oxford University Press, 2003.

Dougherty, Kevin D. and Kimberly R. Huyser. ―Racially Diverse Congregations: Organizational

Identity and the Accommodation of Differences.‖ Journal for the Scientific Study of

Religion (2008) 47(1):23–43.

Emerson, Michael O. People of the Dream: Multiracial Congregations in the United States.

Princeton, NJ: Princeton University Press, 2006.

Emerson, Michael and Karen Chai Kim. ―Multiracial Congregations: An Analysis of Their

Development and a Typology.‖ Journal for the Scientific Study of Religion 42:2 (June

2003), 217-227.

Emerson, Michael O. and Christian Smith. Divided By Faith: Evangelical Religion and the

Problem of Race in America. Oxford: Oxford University Press, 2000.

Jenkins, K. E. ―Intimate Diversity: The Presentation of Multiculturalism and Multiracialism in a

High-boundary Religious Movement.‖ Journal for the Scientific Study of Religion 42

(2003):393–409.

Marti, Gerardo. A Mosaic of Believers: Diversity and Innovation in a Multiethnic Church.

Bloomington, IN: Indiana University Press, 2005.

Marti, Gerardo. ―Fluid Ethnicity and Ethnic Transcendence in Multiracial Churches.‖ Journal for

the Scientific Study of Religion 47:1 (2008), 11–16.

Maynard-Reid, P. U. Diverse Worship: African-American, Caribbean, and Hispanic

Perspectives. Downers Grove, IL: InterVarsity Press, 2000.

Nairobi Statement on Worship and Culture. Prepared by the Department for Theology and

Studies of the Lutheran World Federation, 1996. Accessed from the Lift Your Hearts

website (http://www. worship.ca/docs/lwf_ns.html) April 28, 2010.

van Biema, David. ―Can Megachurches Bridge the Racial Divide?‖ Time January 11, 2010.

Yancey, George. One Body, One Spirit: Principles of Successful Multiracial Churches. Downers

Grove, IL: IVP Press, 2003.