Response to "Prayer in C"

Today I thought I would share some thoughts, music theory, and theology from a song written by my friend Dora. Her song title "Prayer in C" is a response to the original song "Prayer in C" by the band Lilly Wood and the Prick.

The original lyrics speak of resentment toward God for His perceived silence and lack of involvement in the world. I was struck by the song's repeat lines "don't think I[singer] could forgive you[God]" and "don't think I could believe you."

In response to this catchy but cynical song, Dora wrote her own "Prayer in C". I love this idea. Too often when we encounter something we do not like: song, movie, philosophy, etc. we want to criticize or mock it; to play by the same rules which govern Junior High. Instead Dora created a new song. She did not agree with the ideas being told by original lyrics so she wrote her own to tell a different story. We need to engage with our culture, the arts, and the narratives we are being told.

(Scroll to the bottom to see the lyrics and chords to Dora's song)

Soteriology represented by F(major), a(minor), and e(minor)

Dora's song is written as a monologue to God and structured as two verses, chorus, a second two verses, and a repeat of the chorus. The first pair of verses and the chorus use the pronouns "You" (God) and "I"(the singer) to speaks of singer's personal experiences, while the second two verses shifts the first-person "I" to the plural "We" and addresses broader issues of the human condition.

The contrast between the verses and the chorus, created by alternating of these two sections, is further developed by lyrical distinction. The verses describe the thoughts of someone who, like the singer of the original song by Lilly Wood and the Prick, feels alone and abandoned by God while trying to make sense of life in this world. The first two verses begin with candid acknowledgment of the broken state of the world, whether considering either the spiritual or the natural realities. They also speak of a sense of, and perhaps desire for, independence and "to solve things myself". The lyrics also describe what such a self-sufficient mindset will inevitably result in. The first verse ends with "on my own strength I just got more blind," and in the second verse we see this leads to "learn[ing] to ignore you[God]." Building off these thoughts of the first set of verses, the second pair of verses discuss the condition of humanity apart from God. The lyrics assert that without God we lose our sense of identity, and our freedom 'to do as we please' becomes a prison.

The chorus talks of new life and hope found in God. The problems lamented in the verses, blindness and hardness of heart, are seen to be healed by God in the chorus. Unlike the verses which culminate with the words "there's no point to be", the chorus ends with the declaration God "truly changed my life." This contrast between the verses and the chorus, life with and without God, is further developed by the chords and the music theory of the song. The entire song is composed of only six chords: e minor, G Major, a minor, C Major, d minor, and F Major. These six chords are neighbors and relative Majors/minors around the circle of fifths (which is like the periodic table of elements for Music Theory).

Circle of 5th

By examining the chords of the song and comparing them with the lyrics, we see certain theological parallels emerge. We discover the F Major chord is the tonal focus of the song; it is the musical resolution which we are yearning for. The first occurrence of F Major happens on the first downbeat (strongest beat of a measure) of the chorus. Whereas the chords of the verses are predominantly minor and only weakly resolving, this first F Major in the chorus is the first strong resolution of the song. F Major is only found in the chorus, and in conjunction with the lyrics, represents our wholeness in God. After slogging through the confusion and unfulfilling tones of the verses we at last taste completion in F Major.

We also see that if F Major represents our fulfillment in God, e minor represents alienation from God. Of the six chords in the song, e minor is the chord furthest musically from F Major both around the circle of 5ths and by mode (Major/minor). E minor is also the most repeated chord in the verses, but is not present in the chorus. Throughout the verses we see chord pairs resolving toward e minor, and implicitly away from F Major. The progression from d minor to e minor in the second line of each verse presents us with a false attempt of resolving to G Major/e minor instead of F Major.

If F Major and e minor represent relationship and estrangement from God, respectively, then the a minor chord represents our current reality. A minor is the first chord of the song, the first and last chords of each verse, and the last chord of the chorus. It is present throughout the song,  and while it shares 2/3 of the tones with F Major chord (an a minor chord is composed of the notes A, C, and E but an F Major chord is constructed of F, A, C) it lacks the critical F pitch and instead contains an E pitch which is the leading tone (see note 1.) for F.

The chorus begins with F Major, a taste of fulfillment in God, but ends with a minor, reflecting our desire which is partially attained but not yet fully reached. We see throughout the song in the chorus, verse, and even the end that the song does not completely resolve. Just like each verse and each repetition of the chorus, the end of the song leaves us with a minor. We have experienced resolution, we have found what we sought in F Major, but we are not yet at rest there. Instead the song concludes unresolved, with us tempted to fall back in e minor and still yearning and struggling to find our home in God and F Major.

note 1. The leading tone is the note which wants to resolve to the tonic. This tension is what tonal music is based upon. Imagine singing a musical scale and then stopping on the second to last note, before returning to 'do'.

Prayer in  C 

 by Dora 

Verse 1            Am                              Em It’s a dark place where I come from                 Dm                Em I was searching for light                 C                     Em I had no help, on my own strength                 G             Am I just got more blind Verse 2  Am                Em I got angry couldn’t hear you Dm                    Em had to solve things myself C                    Em Slowly learned to ignore you G             Am but it made no sense    Chorus F                               C            You gave me new sight G                             Am convinced my heart F                              C your Word comes alive G                             Am it brings me new life F                              C You showed me your love G                             Am talked to my heart F                              C my only Lord my God G                             Am truly changed my life

Verse 3 Am                Em We can argue we can blame you Dm                    Em we can pretend not to see C                    Em we can’t catch you we don’t know who G             Am we’re meant to be  Verse 4 Am                Em we can all do what we want to Dm                    Em we think we break free C                    Em in our prison there’s no freedom G             Am there’s no point to be