There’s sometimes an audible gasp from the class after singing REDEEMING GRACE, THE HUMBLE PENITENT, or Allison Blake Steel’s arrangement of HICKS’ FAREWELL. Why the surprise? A lifetime of listening and performing music conditions us to expect that a song will usually end on its tonic chord—the chord that functions as a “home” for that song’s major or minor key. In these songs, the bass ends on the expected note, but a note sung by some other part creates a chord other than the home chord. We are left with an unanswered expectation of return.