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SEPTEMBER/OCTOBER 2010 Volume 8, Issue 5
Israel Houghton • Kathryn Scott • Rend Michael W. Smith • The Museum • Lincoln Brewster
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Songchart: Open My Eyes • A Few Moments With… Carrying Others to Jesus
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Creative Spontaneity – A Bit of Risky Behavior
Just as it seems that everyone’s personal testimony is different, so it seems that creativity and how we use it is just as unique. Whether in word play, musical instrument exploration, vocalizing, social media, or any number of the arts, we all have the opportunity to be creatively spontaneous if we choose to.
vOL. 8, ISSuE 5
8 Product Review By Bruce Adolph Casio Privia Px3 Digital Keyboard
38 Authentic Worship By Michael Gonzales Rehearsing for Real 40 Guitar Grab Bag By Doug Doppler Experience of Being a Guitarist 42 The Band By Tom Lane Passion And Greatness 46 Product Review By Mitch Bohannon X-Tempo Designs POK 47 Camera By Craig Kelly So You volunteered as a Camera Operator At Church – uh Oh, Now What? Part 2 48 Tips for Tight Teams By Sandy Hoffman Three Ways to Worship Warm 51 Mandolin By Martin Stillion Broken thirds 52 Lighting By Greg Sisley Excellence in Lighting 54 A Few Moments With… By Tom Kraeuter
Sometimes our creative exploits are just for ourselves, our God, 10 From the Drummer’s and/or a close circle of family and friends. But sometimes they are Perspective presented to a larger grouping on a platform in a public setting. How we balance creative license – keeping ourselves in bounds, so to speak, so we don’t say or play something that is embarrassing, offending or just plain wrong – is a bit of a mystery. How to “keep it real,” as they say, is the challenge. Just watch the evening news for a short while and you are bound to see the fallout from someone 12 Keyboard By Ed Kerr saying or doing something “out of bounds” in a public setting.
By Carl Albrecht Drum Groove, Feel, Balance, & Dynamics
At our Christian Musician Summit conferences, a lot of the the Morning conversations we have during the announcement segments are unscripted, thus allowing for creative spontaneity. This is an opportunity to endear ourselves (hopefully) to the registrants so they 15 Bass By Gary Lunn can get a sense that we are “in the moment,” trying to guide this special event, but also having some creative fun while we are at it. Earning a Living Playing Bass-
Take Three PRv and Call Me in
Part 1: This being said, I have had the privilege of being able to say To Read or Not to Read some funny off-the-cuff remarks, and yes, (the two edged sword) I have made some bonehead statements. And once they are out of your mouth it is like spilt milk – you can’t seem to get them back in. 16 Vocals This impromptu creative process on a public platform is an interestBy Sheri Gould ing dynamic to say the least. Commitment
I have a habit of asking Judy to pray for me before I go onstage. She always says, “I will,” and faithfully proclaims to me, “Don’t 30 Record Reviews worry – you will do fine.” I appreciate her encouragement, but I By Heidi Todd still like to know that she is praying for me. I’ll also try and check in Israel Houghton with the Lord and then think through the main reason for me speakKathryn Scott ing at that moment in the first place before I walk out and “wing it.”
I take seriously what I do, but in the process of presenting something like a conference that could have a real significance to the audience, I can’t take myself too seriously while doing it. I prefer a “relaxed-fit jeans” type of approach stylistically, so that means I can allow for some creative spontaneity to help keep it light.
Lincoln Brewster Michael W. Smith Rend The Museum
Let creativity run alongside you while you go about your day; By John Mills we serve a very creative God! And mayStage Monitor and Feedback be, just maybe, you will have some hilarity along the way. Hopefully, folks will be 36 Ministry + Artistry = laughing with you! In His Grace… Bruce & Judy
34 FOH Engineer
20 Hillsong Live New Songs, Hungry Hearts and God’s Presence: One “Beautiful Exchange”
Profitability? Creating your MAP™ By Scott A. Shuford Should I be a nonprofit?
4227 S. Meridian. Suite C PMB #275 Puyallup, Washington 98373-5963 Phone: 253.445.1973 Fax: 253.770.0659 Email: email@example.com Website: www.worshipmusicianmagazine.com Publisher/Editor: Bruce Adolph Vice President: Judy Adolph Customer Service: Brian Felix firstname.lastname@example.org Design: Matt Kees Proof: Toddie Downs Production: Scot Herring / J&D Printing Advertising Sales: Bruce Adolph email@example.com • 253-445-1973 Worship Musician! is published bi-monthly by The Adolph Agency, Inc.
WORSHIPMUSICIANMAGAZINE.COM SEPTEMBER/OCTOBER 2010
By Bruce Adolph
Casio Privia Px3 Digital Keyboard
I knew something was up the moment I walked into the Casio exhibit booth in Nashville during the Summer NAMM Show. I saw two guys there I knew that used to work for another major keyboard manufacturer. What are you guys doing here I asked? They smiled and pointed excitedly to the Privia PX-3 keyboard. It seems that Casio (who has had tremendous success in the consumer arena of personal keyboards) has now entered into the professional keyboard category. are more like New York steak and Au • Gratin potatoes than your average fare. • • • Now when I managed a retail store back in the 80’s when you used a “mother” keyboard (also called a controller keyboard) it would take two of you to load it in an automobile. But it was worth it just so you can have control over your other MIDI sound modules and do your spilts and layering. With the Privia you can run four sounds simultaneously, either from it’s own sound engine, other MIDI sound genI walked up to the erators or both. The USB MIDI interface b o a r d also lets you work effortlessly with any Mac or PC. Let the loops begin! To make it truly useful they have add8 clavitones/vibraphone tones, 18 organ tones, 20 strings/ensemble tones, 10 guitar/bass tones, 20 other tones, 128 GM tones, 10 drum sets Playing styles: layer, split Digital effects: reverb (4 types), chorus (4 types), brilliance, DSP (2 channels, 64 types, editable), 4-band equalizer Acoustic resonance system: yes Type: demo songs: 4 songs SD card slot: supported SD card capacities: 2GB maximum registration memory data store/load, SMF (format 0, 1) card format, file delete, file rename (Number of songs and song data volume that can be sent from a computer for storage.
• • •
and as I was playing it I couldn’t believe the feel. Wow! You know how as a guitarist when you play a guitar with a very fast neck… you can play riffs that you normally can’t pull off? Well that was my experience with the PX-3. Man, I played a run that felt great and I know I couldn’t pull it off normally. The scaled weighted hammer action felt true as can be and the matte key finish just feels good on your fingertips. This is an 88 note keyboard with Tri-Sensor action that weighs in at 24 pounds! What? I picked it up and sure enough, light weight. The first thing I thought of was those pour musicians lugging around heavy keyboards in gig bags back and forth to their church services in rented school buildings etc. Those folks were going to love this board. OK, so what about the sounds? Remember, Casio is making a move into the pro keyboards arena and with that they will need good sounds to boot. No worries here. The PX-3 sports four layer dynamic stereo piano samples. You can edit the on-board patches and insert effects. You get your meat and potatoes sounds… lots of pianos (the piano sounds are worth the price of admission alone), electric pianos, organs, strings etc. But these sounds
ed the mod/pitch wheel. OK, all gloves are off now. This keyboard is a contender! So Casio has made a very good entrance into the pro keyboard world… the PX-3 has great action, easy transport, a • quality sound engine and “mother” keyboard sensibilities… now are you ready • for the kicker? The price is ½ of what you would expect it to be. Retail is $1,199.00 and it streets for just $799.00 No way! I know! • Here are the techno facts/specs for you… • • • • • • • Keyboard: 88-key, 3-sensor scaled hammer action keyboard (mat finish) Touch response: 3 sensitivity levels; off Type of keyboard: AIF (linear morphing) Maximum polyphony: 128 Number of tones: 250 Tones: 16 piano tones, 12 electric piano 1 tones, 8 electric piano 2 tones, • Capacity based on 1MB = 1,024KB and 1KB = 1,024 bytes) Display screen: Full-dot LCD with backlight Pedals: Comes with 1 pedal (SP-3), 2 terminals (damper, soft/sostenuto switching), 3-pedal unit support (when using an optional 3-pedal unit), half-pedal operation (damper) Key transpose: 25 steps (-12 semitones to 0 to +12 semitones) Tuning control: A4 = 440Hz ± 99 cents (1 semitone=100 cents) MIDI: GM level 1 compliant
Other functions/features: Tone select button; registrations: 8 banks x 8 sets (64 sets total); master keyboard function; mixer function; synthesizer; temperaments (preset scale): equal + 16 other types; octave shift; panel lock; pitch bend wheel (0 to 12 semitones); 2 assignable switches www.casio.com
SEPTEMBER/OCTOBER 2010 WORSHIPMUSICIANMAGAZINE.COM
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FROM THE DRuMMER’S PERSPECTIvE
By Carl Albrecht
Drum Groove, Feel, Balance, & Dynamics
Click starts… count off… and away you go! How does it feel in the first bar? Does it take a couple of seconds to get the time centered?? Not good. Or maybe after that fill into the second section the time moves a little bit. Not good either! Hm..? The feel or style you play for the tune doesn’t seem to capture the vibe you heard on the recording. What is it about your approach or sound that’s not getting the desired musical result? and feeling groovy is always serious business and it demands constant attention and practice. After playing in hundreds of situations through the years it’s still a learning experience… every time! Well… at least it is for me. Oh yea… and audio record yourself all the time. Go back & listen and look for where you can improve. Hearing a recording will tell you if the feel is working and if your fills are grooving. Record your practice time as well as your performances. Take note of what happens in both environments. Do you practice well, but then get uptight with the band and your sound is different. YES… it is different situation, but you should be solid and consistent in both! And you have to get comfortable in any setting. If you have the technology to multi-track your playing in a computer then you have a great tool to use to look at your playing “on the grid.” You can play to the click in the computer or record the one you use and then look at your “sound waves” against the click… VERY educational.
So what have I learned in over 30 years of drumming? Yes, keeping good time is obvious. Check! Being a team player. Check! Playing according to the acoustics of the room. Check!… But what are the “how to’s” of getting the job done well? What are the gold nuggets of drumThere are thousands of nuances that af- ming that will get your playing to a more fect the way your drumming feels. In any professional level. “Don’t just tell me to setting or style there are numerous chal- DO IT… but tell me HOW to do it!”… lenges. Especially in live worship events That is most often what I hear from stuit’s a huge task to keep your drumming dents. I think the same thing when I hear rock solid while flowing with the wor- the “drum gods” talking. ship leader, the rest of the band, and a congregation that’s usually pulling on the OK… Click starts… WAIT!… Don’t just team spiritually and musically. count off the tune. First, hear the song in your head. I often start singing before I Is it easy? No!! count. I may sing the first line, or maybe Keeping your the chorus. Whatever makes me “feel” drumming rock the song first is what I go for. I might start s o l i d moving my body, or even tap my lag with the sticks. This all happens very quickly. Once that click starts you’ve got to get into it with boldness and utmost confidence so that when the first fill or hit happens YOU ARE THERE!! Groove city, baby!!!!!!
OK… Drum fills. They should feel like the groove. I think of them as part of the groove. Not groove, groove, groove… OK FILL… groove, groove, groove. No, no, no! It all flows… it’s all groove… think of a continuous line through the time! **Groove..groove..groove… fill… groove… keep breathing… keep relaxing… groove… fill..groove. No stress.** This is how you build consistency in your playing. If you tense up at all your time feel will shift. That’s what I notice. I just try to come into a fill like it’s part of the groove. Hearing and seeing your work Make it an exercise at will help you to make adjustments in your home to start your click & sing set up, the way you play, how you move, the song at the tempo you have etc. etc. As you keep doing this you marked. **Note – write down all should notice more stability and control tempo markings of songs you play.** of your groove. Try to lock in from the first couple of clicks. Start “feeling” the tune right away. I also think of drumming in a “melodic” Don’t just think beeps or time, think of the way. Like I’m really playing notes that song groove and GO. Stay relaxed… are singable. Not boom, bamp, boom, breath… play with confidence… no ten- bamp!! More like (*singing)… La.. la.. sion… smooth motions all around the kit. LA… la.. La.. —DEE… da… dee… da… da… Dee… CRASH! Really smooth or How do you know you’re smooth & re- legato. Drums are a “musical” instrument. laxed?? Get a mirror! No… get several Think of your grooves as being melodic. mirrors, so that no matter which way you Especially when you do fills. Then it will look you can see yourself playing. Do you all gel together. look relaxed?? You should!! Seeing yourself is a real education and a great tool. The feel of songs is a mystery. What Videotape performances if at all possible. makes an old rock song different from a new pop rock style? … cool jazz, fusion, You can also buy a practice pad with country, hip-hop, heavy metal, latin… a built in metronome and beat analyzer. WOW! Every styles has it’s own nuances Even some of the digital drum kits have of sound. The equipment you use does them as part of their standard features. affect it, but it’s still more about how you They are awesome tools to actually see approach a song musically that affects how you play with the click. You don’t its feel. I will watch players in different have to guess. It will show you! Continued on page 53
SEPTEMBER/OCTOBER 2010 WORSHIPMUSICIANMAGAZINE.COM
By Ed Kerr
Take Three PRV and Call Me in the Morning
You’ve probably seen the infomercials by now. Take PRV Play this example, or listen to it on my website, audio exeach morning as part of a sensible breakfast and within weeks ample 2. Then listen to Paul’s original again in audio example you’ll be more alert, your scores on Wii golf will improve notice- 1. I think you’ll agree that this simple change in measure 3 of ably, and those extra few pounds you’ve wanted to shed will the intro is musically significant. vanish. But wait… One of the things that works so well about the PRV principle is Okay, maybe you haven’t seen the infomercials. As far as I that it is musically satisfying to hear similar melodic activity over know there’s not a pill called PRV. I thought I’d better google PRV changing chords. In Paul’s intro the chords change every four before plowing ahead with this article, though, and naturally beats. The melodic phrase that’s used is also four beats long. there were several entries for PRV. Here’s a good one: polycy- Each time the right hand’s activity is presented the melody’s thaemia rubra vera. You were probably talking about that one notes have a different function above the chord being outlined. yesterday. Not. Anyway, I’m moving forward with my thought This is an important aspect of the PRV principle, Melodic figures here. You can google PRV on your own later. are repeated though they might occasionally “rub” against the current chord. This definitely creates forward momentum. For my purposes, when I use the acronym PRV it represents the words It’s valuable to note what happens in bar 5 of the intro we’re examining here, audio example 3. The first 4 bars of the keyPresent • Repeat • Vary board part repeat as an electric guitar part is added. Using the concepts represented by this acronym won’t help your Wii scores, but they can significantly impact what you do as a keyboard player on a worship team. They can impact what the other players contribute as well. The logic behind PRV Like the keyboard part, this new part is “hooky”. Each meais this: When creating an intro, present a melodic idea, repeat sure has the same rhythmic pattern and melodic shape. Beyond that idea, then vary the idea. those similarities, each bar starts on a different pitch. Listen to Listen to the intros to 20 of your favorite modern worship how well the keyboard part and electric part complement each songs, and you’ll probably hear examples of what I’m going other. Audio example 3. to discuss. On Paul Baloche’s “Glorious” project, for example, Listen beyond the intro of “How Great Is The Love” to the listen to the intro for “How Great Is The Love”. Audio for all the examples in this article can be found on my website, kerrtunes. beginning of the first verse, audio example 4. You’ll hear the keyboard and electric guitar parts from the intro continue as vocom. In audio example 1 online, this keyboard part is heard: cals enter. Naturally the vocals add a sense of arrival at a new section, but having the melodies from the intro continue is a very satisfying use of melodies that have by now become familiar. Listen through the entire verse and I think you’ll be surprised how long the essence of the keyboard part is heard and how long the electric guitar line continues as well. A melodic figure is established in the right hand in measure 1. Nothing about this figure changes in bar two. The same melodic and rhythmic activity is heard in the top voice, and the F continues to drone below it. In bar 3, though, a slight change is made in the top voice’s melody, though the droning F doesn’t change. Then, in bar 4 the melodic and rhythmic activity of measure 1 is repeated. An important goal for us as players on worship teams should always be to make our music have linear interest or forward momentum, something happening in the arrangement that makes the passing of measure after measure interesting for the listener. Paul could have let that right hand in measure 3 of the keyboard part be a literal repeat of measure 1, as he did in measure 2, like this. In creating the arrangements for his songs, Paul and his band give lots of thought and creative energy to the melodies that they record. Think about what rehearsals are like with your team. Do you count off the song and have the whole band enter on the first downbeat, playing whatever random melodies come to mind at the moment? Or, like Paul’s arrangement of “How Great Is The Love”, is the journey toward the first verse, the first chorus and later sections made interesting by carefully structuring the instrumentation and melodic material you use? Always be listening for melodic ideas that could become a hook for your intro. Consider using the PRV principle when you repeat that idea. Spend time with your guitarists to create melodies that work well together. Paul and his band have done it effectively in this song. You can do it in the songs you present, too! As a songwriter Ed has written over 100 songs with Integrity Music. He has a Masters Degree in piano performance. Ed and his family live in Washington State. Ed plays a Yamaha’s Motif XS8. www.kerrtunes.com
SEPTEMBER/OCTOBER 2010 WORSHIPMUSICIANMAGAZINE.COM
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By Gary Lunn
To Read or Not to Read
Earning a Living Playing Bass-Part 1:
Gary is a session player/ producer/writer in Nashville, playing recording sessions and recording at his home studio. Find him on face book or at www.myspace.com/ lunnbass.
WORSHIPMUSICIANMAGAZINE.COM SEPTEMBER/OCTOBER 2010
By Sheri Gould
Seems to be a scary word these days doesn’t it? It kind of appears to me like commitment, or lack thereof, is a very common thread of discussion in the church today. I work with hundreds of worship leaders every year and this theme—lack of commitment-- is prevalent among those who serve in the local church. I would like to venture into this territory and make a case for why we need to be committed not just as people, but as singers. Committed to the Cause Most of you who are reading this article are serving in the trenches of your local church. When I was in college so many years ago, I remember hearing it said that ANY gig was better than a ‘church’ gig. Why? Because it was all volunteer. The term volunteer implied—less than committed. Moreover, there’s the underlying, unspoken aspect of no enforcement. Even if you got the always dreaded junior high school gig, you could at least punish your less than committed student through a variety of means - a flunking grade being one of them. Pretty much any musical venture you might choose to get involved with will require some sort of real commitment. If you break your commitment, there will be some sort of retribution.
Committed to Your Voice I also find that many members of worship teams don’t take the development of their own voice, or their musicianship very seriously either. I think this is another waste. We have so much to gain personally from personal growth of any kind, but in this case we can positively affect so involved with our music ministry at church, many people by getting committed to bewe are also making a commitment to our ing a better singer or a better musician brothers and sisters in Christ. If you are in general. involved in any kind of a team, you know that when one part of the team is missing, One of the benefits of learning more the team doesn’t function as well—some- about one’s own voice is the health and times it can’t function at all! When we longevity of your voice. There are many have any kind of a vocal group, the fo- “dangers” lurking out there in the world cus on getting our parts right, balanced, of singing, many of them wanting to steal blended and tight requires all members your beautiful voice and make it raspy, to be present. It’s impossible otherwise to hurting and no longer useful for the kingachieve those objectives. dom of God! But this need not be the case. With a little of the right information Time is of the essence in most of our and application, many of those dangers busy lives. This is all the more reason why are easily averted. Additionally, with a we need to be committed to our teams. little commitment to working out, your When 4 out of 5 people show up for a voice can become stronger, more beautirehearsal, it ends up costing those 4 peo- ful and gain an increase in range. If evple a lot of wasted time. Invariably, things ery singer on your team took the time to that are learned will have to be personally work on their own voice re-learned once the missing and their own musicianship party does show up, to (not to mention their own take his or her part into parts!) the team as a whole would grow and benefit. In turn, your congregation would feel the benefit as well. consideration now. This is so inconsiderate toward your leader and team members. No one has time to waste. The Price of Commitment Being committed to anything requires paying a price of some sort. When I committed my life to my husband I paid the price of “forsaking all others” and so did he. Not a bad deal at all for me actually, I’m so glad we did. We could never have the level of intimacy we have in our marriage if we hadn’t. It’s a price that many people today aren’t willing to make. Committing to a worship team (or bettering your voice) will undoubtedly mean forsaking other activities and this may be too high a price for some. Many blessings await those who are willing. Those are the ones I want on my team, how about you? Sheri Gould has a BS in Music Education (Vocal/ Choral) from the University of Illinois. A church music director (Choir/Worship Leader) since 1985, she also teaches vocal techniques at various workshops around the country. Send your questions to: firstname.lastname@example.org
I like to encourage worship leaders to strive for excellence in all they do. I’d like to encourage you as a singer to do so as well. I like to encourExcept in the church age worship leaders to require commitWith church involvement, we tend to ment of their team members. I even sugfeel we have no “right” to require any gest a covenant agreement between all kind of real commitment. We feel ecstatic team members, renewable each year. I just to have warm bodies most of the time. also suggest to team leaders to audition Well, I propose that there is an error in for their worship teams every year. This that kind of thinking. We need to realize helps to keep people on their toes. There that what we do in the music ministry at are far too many people on worship church has less to do with people and teams today who feel they have a “right” more to do with God. In other words, our to be there. They’ve forgotten that it’s a commitment is to GOD more than it is just privilege to serve. An audition each year our fellow man. Scripture has much to would help to remind them. It also gives say about honoring the commitments we others in the congregation the opportunity to serve. Too many churches have given make to God. off the persona that the worship team is a private club or clique that is nearly imCommitted to Each Other Although our primary commitment is to possible to break into. This would help to our Lord when we make a decision to get alleviate that problem.
SEPTEMBER/OCTOBER 2010 WORSHIPMUSICIANMAGAZINE.COM
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, HuNGRY HEARTS AND GOD’S PRESENCE: FuL EXCHANGE”
by Aimee Herd
Reuben Morgan and Ben Fielding provide a closer look at the latest Hillsong Live recording, and the unmistakable calling of Hillsong recording, by way of preparation, Church; a continuous stream of because I’m sure there’s a lot more to it than what people may imagine? fresh, new music.
Aimee Herd: Reuben, you’ve been with Hillsong for quite a while now... Reuben Morgan: I’ve been with the church nearly 16 years. I moved to Sydney from a town called Melbourne to study music, and Hillsong just became my church. I got involved as a volunteer playing guitar in the youth group, playing on Sundays and being part of a team, and eventually began writing songs for the church. It’s been an amazing journey by the grace of God. I deliberated and deliberated about moving and where I would study, thinking it was all about my studies. I had no idea what God had in mind, God’s plan is an amazing thing. RM: Well, these songs really start with church. Our friends and our family that come to church each week, these songs are to help them express their faith, to bring their experience into the community and give expression to their lives and their faith. So, these songs are very much from, and have come out of, the heart of our church. The background for these albums is that we’re writing, arranging and producing [them] for our congregation.
because] we do so many events for the church when we come together anyway. Ben Fielding: Yeah, it’s a real team process, taking a song from when it’s written to where we play it in church. The process is; we get in the studio, in a rehearsal space and start arranging the song, adding pop to it and flavor— bringing the song to life essentially. So, by the time we bring it to the church, the band has already done a lot of work, which is why the songs sound the way they do. And then, for the actual night [of recording] itself, we’ve got an amazing team of volunteers that are involved week to week at our church playing music, and helping with the worship team, and hosting at different venues that we have—it’s an amazing collection
For the actual Beautiful Exchange project, we recorded over two nights. And, it consists of our church coming together and we record all these songs that we’ve been singing together throughout the year. It’s a really great AH: A Beautiful Exchange is the 19th time for the band and for the team. Hillsong Live recording. Can you explain We’re working on arrangements and what goes into one of these nights of things, but [it goes pretty smoothly
20 SEP/OCT 2010 WORSHIPMUSICIANMAGAZINE.COM
AH: So, these songs have been written over a period of time, and sung in the church, and then you include them in a of people who are involved at the night of live recording...so they’re not church that make a night of recording new to the congregation or audience possible. Then, it’s an incredible night that night. when all our church from across Sydney RM: Right. That’s generally the come together. It’s something like 36 process. different services during a weekend, so all those people from all those services BF: Inevitably though, there are one come together on this night and it’s truly or two songs that kind of come in right one of the best times of the year for at the last minute. But, usually we write our church. Hopefully, that is what is all throughout the year, and that’s the captured in a recording. beauty of it. It’s been a strength for RM: One of the cool things about that process is that, with so many services (it’s quite a large number of people), so many different guitarists, keyboard players and drummers get their hands on these songs. The cool thing about the arrangements is we put a song there and let it breathe, and it takes shape... people add their creativity. In that way, the songs kind of morph into what they become on the album—it’s really cool. each of these projects. AH: Just so people can get an idea of the size and magnitude of the group that comes together as the congregation for a night of recording, how many people are we talking about? RM: It fills the whole center; I think it holds about 12,000. AH: Wow, huge! Let me ask you this
then, because a lot of churches are now doing live worship recordings (I think actually that Hillsong Church has sort of “fostered” something to that regard and it’s caught on); what are some of the most common challenges that crop up when attempting a live worship recording? I know we don’t have time for you to address them all, but pick a couple of the main ones and explain how you’ve dealt with them. BF: Well, I think for us, we’ve developed the culture of creativity, where bringing songs in is commonplace. That’s something that Hillsong Church has been a huge part of that has come from Brian and Bobbie Houston’s emphasis on—not just the heart of worship—but also the need for us to be bringing in new songs. With that emphasis, it’s created a hunger for that. Once we’ve done a song for a couple months in church, we’re really hungry for a new song (Laughing). It’s quite a natural process in that regard, but I think [for churches looking to do a live worship recording] it’s really the first thing that you want to establish; that culture of
SEP/OCT 2010 WORSHIPMUSICIANMAGAZINE.COM 21
HILLSONG LIVE: New Songs, Hungry Hearts and God’s Presence: One ‘Beautiful Exchange’
the song that sings the name “Jesus, Jesus.” You know, on a Sunday morning there’s nothing like singing the name of Jesus a few times. AH: One of the other songs that really caught my ear in listening to A Beautiful Exchange was The One Who Saves... RM: That one was all Benny. BF: I have a motto that behind every good song is Reuben! (Laughing) That song, for me, is quite personal. It’s talking about the hope we have in Christ, and it came out about the time that I received some bad news about the health of a close family member. I guess I was contemplating the fact that we have actually found there is projects—your new one, A Beautiful that peace and rest that comes from Exchange—the first single released on knowing Him, despite whatever it is that is Forever Reign. Reuben, you we’re faced with in the immediate. collaborated with Jason Ingram on that We’ve got a hope, a peace and a rest one? beyond that. And, if we’ve gotten off the course, He’ll lead us home and RM: Yes. That song is about God walk the way back to Himself. I just embracing us in everything—our love the concept that God is not just failings and our good—everything. It’s offering us hope, but He’s showing us about running to God’s arms, which will the way forward. Despite what we’re always be enough. God is inviting us facing, His love goes far beyond it. I’m to come... The opening line to the song grateful for that. is, “You are good when there’s nothing good in me; Your love on display...” I just hope that the song really inspires It’s totally all about God being God. people. Whether we come [to Him] well, or if AH: Ben, you and Reuben mentioned we come poorly, He never changes. the culture of worship developed AH: It brings hope. When you feel there at Hillsong where new songs like you’ve blown it, you remember that are continuously coming forth. Talk a the Lord is faithful no matter what. little about the Hillsong Worship and Creative Arts Team; explain what it is RM: Absolutely. There’s a section in and how it was put together.
bringing a song. It’s always better to have too many songs when deciding what to do for the weekend, than to not have enough. RM: Another important element in this kind of thing is that the church is passionate about its purpose. Projects will come and go, but we’re passionate about the people who are coming, and we’re passionate about helping them worship, and putting a new song in their mouth. The people who come to church, whom we get to know, are family now. The best projects flow out of that; flow from that heart. If we’re all about serving, then I think it pulls out the best in us. It’s not about the project, or worship leader or the pastor; it’s about the people and helping them to worship the Lord. AH: Now speaking of one of those
22 SEP/OCT 2010 WORSHIPMUSICIANMAGAZINE.COM
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HILLSONG LIVE: New Songs, Hungry Hearts and God’s Presence: One ‘Beautiful Exchange’
RM: Well it’s our worship team, but it covers our production team, and designers. A few times a year, collectively, we’ll all get together as a team—about 1,500 people—it’s a very good group. They’re mostly all volunteers except for a very small handful. I’m incredibly grateful for them. AH: Reuben, both you and Ben have been to the US. Have you noticed any differences in the way people worship here compared to in Australia; the hunger level or amount of participation of the worshipers? BF: That’s tough to answer, because I think whenever the Body of Christ gathers, and people are hungry and desperate for His presence, God shows up. He is faithful as we agree in His name. We’ve had amazing nights of worship in so many cities in America. There’s a real hunger stirring there. I’ve been really moved seeing the Church rise up in America.
really met me—He spoke to me and turned my life upside down. We see that every week at church, and we’re just believing that people will totally connect with God during these times [of worship]. God’s been doing amazing things at our church, and it feels like there’s something very fresh happening in the atmosphere and in the songs. So, we’re just believing that we’ll see that in every town we’re in—people connecting with God in a way that’s real, and fresh. In Ephesians, Paul prays for the Church that the eyes of their understanding would be opened so they can see all that God is. That’s totally our prayer for these nights. In a lot of ways, America and Australia We’ve been planning them for months, are similar countries where the Church and we’re very excited about what’s may have a lot of people, yet there’s a going to happen during that time. lot to be done still, in reaching others and those who are lost and in need AH: Hillsong has been all about of Him. My hope is that the Church raising up worshipers in each new and the worship nights here on our generation. So, when pursuing that end would really connect people with within a fellowship, what are a couple God. I think whenever the Church is of the most important things to grasp, doing that, whether in Australia or especially for a young person who is America, He’s the same God, the same feeling led to be a part of a worship Spirit. You can be on the other side of team? Can you leave us with a few the world, but when you’re with a body words of advice in that regard? of Believers who are seeking God and who are passionate about Him, it feels RM: I would say for that person to like home. just get involved in whatever area of worship you might feel called to, but be AH: Very true. By the time this article willing to help wherever. Be there early, is printed you’ll have been on tour, what support the leadership. For musicians; is the most important thing you hope to know all the parts, know the songs and communicate or to see happen during be ready, and when the time comes that this tour? you’re called on, be strong. Have a great attitude no matter what’s going RM: Well, we’re very passionate about on. I think one of the things you have seeing people connect with God and to learn as you go along on a worship have an authentic experience with the team, is to not let your heart get jaded love of Christ. My first encounter with or bitter, keep giving it [to God] and God, I was in my bedroom and God have an “open hand” about things. The other thing I’d say is never throw away your confidence—keep your confidence. Something about worship teams and about being deeply creative can greatly affect your confidence [and make you feel vulnerable]—keep your confidence. Get hooked up with more of Hillsong’s music and events by visiting their website: www.hillsong.com
24 SEP/OCT 2010 WORSHIPMUSICIANMAGAZINE.COM
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The Museum Let Love Win TRACKS (personal picks bolded) 1 Never Look Away 2 You Are Love 3 Let Love Win 4 My Help Comes From The Lord 5 Lost In You 6 Buy This 7 The Call 8 Allelujah 9 Radiance 10 The Only One 11 The Anchor Rend Collective Experiment
By Heidi Todd My standout favorite on this album is “Love Divine” a hymn written with solemnity yet highly personal. Heaven is our ultimate home and this song points the way. I’m looking forward to hearing more from this collective. Kathryn Scott We Still Believe TRACKS (personal picks bolded) 1 Let It Come 2 You’re Good 3 I Believe In Jesus 4 Deliverance 5 Only By Grace 6 Come Back Home 7 Child Of God 8 We Still Believe 9 There Is A Redeemer 10 Presence 11 Bonus Track - Hungry You can tell by the marks that I’m a fan of Kathryn Scott, but in all fairness, she has earned the marks. Not because she’s a personal favorite of mine but because this album meets all the criteria that we measure against for the purpose of Worship Musician. Always in the back of my mind is how these albums will relate to and connect with you, the reader. And beyond that, those you participate in worship with as well. This live release is lively and vibrant, especially considering the number of upbeat songs that aren’t exactly a hallmark of Kathryn’s writing. She did great with adding movement and vitality to this release. She didn’t write every track on this album, but included songs from Vineyard writer Marc Nelson as well as Melody Green (writer on many Keith Green tracks) and co-wrote with Tim Hughes. I’m glad she re-recorded “Child of God” which answers so completely the question of “what is it all for” that we can ask so easily as Christ followers. She pares it all down to the truth that at the end of it all, we are children of God and He is our soul’s sufficiency. She knows how to interpret lyrics with her voice and instrumentation and is no stranger to great writing. This latest offering is a surge of encouragement to the faithful - God is still good, He is our hope and still redeems. We still believe. Israel Houghton Love God, Love People TRACKS (personal picks bolded) 1 Love God Love People 2 Yahweh (The Lifter) 3 Love Rev 4 That’s Why I Love You 5 Others 6 You Hold My World
Continued on page 32
TRACKS (personal picks bolded) 1 Come On 2 Faithful 3 Movements 4 You Bled 5 Broken Bread 6 Exalt 7 God Is Near 8 Above Everything Else 9 Too Much 10 You Are Love 11 Thine Be The Glory 12 Love Divine The Museum, a band I hadn’t heard about 13 Find Your Kindness before, has made a great impression with This UK “collective” “Let Love Win”. They’ve written memorable, as they call themselves easy to pick up on melody lines peppered has an approach they with lyrics that hold your interest. Simple call “organic”. The chord structures are complemented by the idea here is that they mix and levels of the instruments and vocals. want the expression of These are clearly young guys but they have the music to be natural a confidence that comes through the cd. The lead vocals and background vocals are and not contrived or over-worked. You can tell as you listen that this is a group of people good, interesting and steady. who like each other, love the Lord and have The title track caught my attention so I spent plenty of time in their own personal worlooked at the liner notes and saw that Aaron ship. They have placed the priority on capturSprinkle (a staple writer in the Northwest) co- ing the honesty and earnestness of what they wrote the song and incidentally produced do, not the perfection of what they do. the album. I should have guessed. What a Nonetheless, they have done a good job great match with the rest of the writers on producing a release that is pleasant to listen this album. to and is encouraging spiritually. Some of the A remarkable aspect of the writing on this tracks can border on repetitive but then songs release is that it’s well balanced between like “Broken Bread” have creativity both in contemplative and fun. It’s so easy to list to melody and style. Gillian McCullough’s one side or the other too heavily, but they’ve voice on that track is light and sweet and taken themselves seriously without taking though it can almost get overpowered by themselves too seriously. It’s great to sit down the male vocal on the chorus, it still shines with an album that both challenges and through beautifully. refreshes you and they have accomplished The vocals on this album add to its strength this. - not because they’re especially polished but Some of the songs would work well for because they’re solid and relatable as if you congregational participation but moreover, were in the room with them. The appearance you’re likely to hear these songs featured in a by David Crowder on the second track is a service rather than sung along with. I would nice touch too of course. The instrumentation pop the cd in during a long drive so I could is also creative and varied with brass, wind absorb it without interruption. In the song and stringed instruments all working well to“Buy This” there’s a line that says “There is still gether. High marks for lyrical creativity and a story - it doesn’t end like this.” Amen to that integrity because of the anti-triteness they endeavor to pursue. There are some poets in -I hope they keep the story going because the group to be sure but I love the simplicity I’d like to hear the next few chapters. of the lyrics on “You Are Love”.
Overall impression Average person could learn/participate on the first hear Can be learned/adapted by a band of average skill Lyrical creativity and integrity
The Museum Let Love Win Rend Collective Experiment Kathryn Scott We Still Believe Israel Houghton Love God, Love People Michael W. Smith Wonder Lincoln Brewster Real Life
SEPTEMBER/OCTOBER 2010 WORSHIPMUSICIANMAGAZINE.COM
7 8 9 10 11 12 You Won’t Let Go Our God Mercies Surprises Name Of Love Hosanna (Be Lifted Higher) your mind as individuals instead of statistics with MWS groupies. You won’t want to, but and points to a God who loves and forgives. you’re going to find yourself enjoying and appreciating this album. If you’re reading I can’t think of anyone better suited to mix this, you likely haven’t heard this album yet, the multiple styles of music that can be found but you should give it a chance. on this album - there’s so much variety and it I’m giving away my all works. There’s a mixture of styles like funk, age a bit but I rememgospel, trance, club, and melodic songs ladber when MWS first en with strings. He’s a master and you should became a big Chrishave this album. tian recording star. He Michael W. Smith has been a staple in Wonder Christian music forever but I’ve never given into the masses; where TRACKS (personal picks bolded) I come from it’s not “cool” to like Michael 1 Save Me From Myself W. Smith. But dang it if he didn’t branch out 2 Take My Breath Away and reinvent himself and reach yet another 3 Run To You audience. And he’s done this in a way that 4 I’ll Wait For You doesn’t seem totally contrived, but is maybe 5 Forever Yours peeling back another layer and revealing 6 Welcome Home more of himself. This album reflects, drives, 7 Wonder (Not Far Away) inspires and dwells. 8 Rise 9 You Belong To Me Once you realize that you’re listening to 10 Leave him, you’ll recognize his distinctive voice, but 11 One More Time it’s all but hidden in a rougher, more gravelly 12 Take Me Over presentation. His Southern exposure comes through his voice at long last and it’s more Okay, let’s start with this: those of you who “down home” than we’ve heard before. He are die-hard fans of MWS will be saying “I has been working with a new band and it’s told you so” to all of the hold outs in your evident that he’s been encouraged to try new life. Those of you who fall into the hold out things vocally. He has added some new laycategory will begrudgingly have to agree ers to the tone and color of his vocals that on
I dare you to hold still while listening to this album. Israel takes it up a notch and if it was possible, adds an extra dose of soul and funk to this cd. These tracks are at home anywhere, as long as you have the musical chops to learn what his band does. So often songs that come out are easy to play but in that, they lack challenge. As an instrumentalist, this would be an exercise in challenge (with a little futility, let’s be honest). These players are at the top of the instrumentalist food chain. Some of the tracks like “Love Rev” that start with spoken lines like “right on, right on” probably won’t be sung in the average church on a Sunday morning, but don’t throw the baby out with the bathwater. Once you get over how good the music and presentation is, you’ll also be pleasantly surprised by great lyrics! Having been in so many countries around the world, “Others” is a great collection of the people’s stories that have moved Israel Houghton’s heart. He addresses the social realities all around us, keeps these people in
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By Heidi Todd previous releases was all too characteristic. replicate Lincoln Brewster’s prowess on lead I hear a little Springsteen influence here too, guitar. The fact that Lincoln Brewster is humwhich is always welcome. bly aware of his abilities is evident in that he has crafted these songs to be used by others. The track “Welcome Home” about letting The guitar parts, while they add so much to someone go in death, is personal (written the songs, don’t make the songs what they about a family member) and is such a com- are. Big props to Lincoln for always keeping fort through a time so easily overshadowed that in mind when he’s releasing songs meant by grief. He has let us into his heart, trouble for other people to add to their worship sets. and hope in Christ. This is a good mixture of worship songs to the Lord as well as songs The album starts off written to and about his family, including his with a few songs that wife on “Forever Yours”. I appreciate his vulare classic Lincoln – nerability. driving rock beats and lyrics that any youth Lincoln Brewster group would love to Real Life jump up and down to. He’s peppered these songs throughout TRACKS (personal picks bolded) the album but has added a level of reflection 1 Best Days not always associated with this guitar legend. 2 Reaching For You I’ve heard him play live many times and nev3 More Than Amazing er realized until this album what a range he 4 Real Life has vocally – not an octave range in particu5 So Good lar, but a range of color and expression. It’s 6 I Belong To You very enjoyable to listen to him take it down a 7 Whom Shall I Fear notch as he adds a reflective quality to some 8 Loved By You of these songs both vocally and lyrically. On 9 Made For More “More Than Amazing” he sweeps you up in 10 Shout For Joy his adoration of Christ and you can’t help but worship along with him. Let me start by saying that even though I said that the average band could learn these Most of the songs on this album are songs, that is only if they don’t attempt to geared to be used for worship but he has included a few songs that are more of a story quality as well. “Made For More” is a peek into his heart as a Christian musician, family man and worship leader, beautifully summed up in the line “never thought my gifts would seal my worth, I never wanted fans just wanted church”. If you’ve been around Lincoln Brewster at all, it’s very evident in his life and choices. Undoubtedly you’re going to want to add many of these songs to your worship repertoire as well as just listen to for your own enjoyment. One note I have to include: find the best stereo you can get your hands on and crank it. The quality and mix came through on my computer speakers, but whoa baby when I put it in my Bose car stereo. Regardless of the fact that Lincoln Brewster has never sought accolades or fans or fame, he’s a prime example of an artist who has earned people’s enthusiasm. Heidi’s background is primarily in worship ministry, joining her first team at age twelve. She’s been a part of the Puyallup Foursquare staff since 2001, with an emphasis on team building and live production. She enjoys and makes time for the ongoing learning process as well as presenting and speaking. You can email her at brentnheidi@ yahoo.com.
See what’s planned for 2011!
WORSHIPMUSICIANMAGAZINE.COM SEPTEMBER/OCTOBER 2010
By John Mills
Stage Monitor and Feedback
Stage monitor, wedge, fold-back monitor, and ugly eyesore, are just a few names that people use to refer to those speakers at our feet providing sound to the band and worship leaders. One of the most often misunderstood things in sound reinforcement is how to optimize the gain-before-feedback before reaching for the graphic EQ.
room acoustics, it is highly possible that you are getting too much of the microphone sound back into the microphone. Now if you will notice the pattern of a This is what happens right before you get super cardioid microphone, it would not full blown feedback. necessarily be the best thing to point the microphone directly away, since the patBut before we go into how to optimize tern is a good deal more sensitive directly there are a few things you have to under- to the rear. As you will note the best rejecstand. To understand wedge placement, tion on a super cardioid is a bit off to you must first understand a little about the side. Using two wedges, or angling While monitor wedges will work just what type of microphone you are using. the microphone more straight toward you about anywhere you put them, these tips would be more beneficial. are meant to educate and maybe help There are basically two types of microyou squeeze a few more db out of those phone pickup patterns, the omni direcIf you are unsure of just which pattern little eyesores hiding behind the fake tional and the unidirectional. The omni your specific microphone uses, all manuferns. directional microphone picks up sound facturers have this info on their website. at equal levels all the way around it and Some manufacturers even place the symEven if you aren’t experiencing feed- therefore is rarely used in a live environ- bol on the side of the microphone. back you may have a “hollow” or “funky” ment. The unidirectional microphone sound coming from your vocal micro- picks up only what it is pointed at. (See Quick tip: Need just a little more gain phones. While this could also be the Microphone Pickup Patterns.) for safety. Try inverting the phase: 1.) Try the Polarity switch on the offending mic or hottest mic in that mix. That will often help. 2.) Often time it might be better to try the whole mix. You can do this by swapping the + and – wires on the amplifier driving the wedge. I’ve made a few little jumpers to do just that so I don’t have to rewire a whole cord. This doesn’t always help, but often times will give you another 3 db. I don’t give you these tips to endorse higher stage volume. We all know we need way less of that. But, if you put this knowledge into practice you will have a better margin to avoid the inevitable feed back squeals that plague all of us. So until you talk the finance department into all new ear monitor systems, I hope this helps. Till next time, John John is an 18-year veteran of the road. He was a frustrated Electrical Engineer who hated college. Left school to pursue a career on the road as a drummer, ended up as a sound engineer, and after being blessed to work for many of the top level Christian worship leaders including Chris Tomlin, Lincoln Brewster, Shane and Shane, Paul Baloche, and many more, has landed at a job as an audio engineer for a design firm. He says, “I guess Mom was right, she always knew I’d finally got a real job.” Check out www.EliteMultimedia. com and www.TechTraining101.com for more about what John is up to.
We know that when we point a microphone directly at a monitor wedge, it will most likely squeal with feedback, so it should be somewhat obvious that the best position for a microphone is to be pointed directly away from a monitor wedge. This is true if you have a cardioid microphone. Take note of the heart shape of the pickup pattern, that’s where it gets its name.
SEPTEMBER/OCTOBER 2010 WORSHIPMUSICIANMAGAZINE.COM
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By Scott A. Shuford
Should I be a non-profit?
In the first article, I asked you to think about your Mission, to really own what that Mission is for you. What I’m about to say next really only applies to the mission of a ministry. If you want to be the next Switchfoot, P.O.D., or Thousand Foot Krutch in worldwide music, then for various reasons this next idea probably isn’t right for you $10,000 or more each month to operate from BEFORE you’ve sold anything to your fan base? Do we think God wants us to stress out and worry about how we are going to make ends meet every month? That message does not sound like the “god” I believe is our loving Father who sees us as His beloved If you are called to be a ministry, then you sons & daughters (Matthew 7.) Getting your should seriously consider the op- basic needs covered is a key to having a tion of setting your ministry up healthy ministry. as a non-profit. Can I smack down a lie for someone who As artists in ministry, I don’t is reading this right now? DO NOT buy into think that we have to be try- the lie that every dollar that comes into the ing to grind out sales to our ministry should go “to ministry” in the form fans in order to put food on of paying it out to help the target audience our tables. So far as I can tell, while somehow leaving out covering the the Levites were called by God to very tangible needs of the person doing the minister to His people, who in turn ministry: YOU! That’s an idea that needs to provided for them through their offer- go toe to toe with Mark Munoz for a little ings (Numbers 18.) UFC treatment. We should not be self-inducing our own poverty by thinking that our very real needs should be left out of our “ministry” unless God has directly called us to a vow of poverty. If part of God’s allowance for you is to have a family, then it’s pretty unlikely that he has called you to poverty. For some of us in that situation, our poverty may have more to do with our own decisions than with God’s. Certainly there are times of sacrifice. There are seasons of faith and famine. There are down times and attacks, but I don’t believe that ministry is a lifestyle of famine where God expects you to always be waiting on the ravens (1 Kings 17.) There is nothing As musi- wrong with allowing God to provide for c i a n s , your needs through the offerings and donaw h y tions that come into your ministry. a r e w e Setting up your business as a non-profit n o t takes an investment of time both in the prepathink- ration to obtain non-profit status and in the i n g general execution of activities under the a b o u t requirements of that status. You absolutely this and should talk to a lawyer and a CPA about r a i s i n g what is required here. I am neither a lawyer s u p p o r t nor a CPA, so I can’t tell you how to do it, for our min- but I have been through the process twice istries? You now, once for our own ministry My Broken should be able Palace (www.MyBrokenPalace.com,) and to raise a base again as a Board Member for the Christian level of support that Comics Arts Society (www.ChristianComiwill allow you to have cArts.com.) your basic life necessities met, first in part as you grow, Just as we raise money for foreign missionand later in full as the ministry aries or to take our families on mission trips, matures. Can you imagine hav- or just as anyone who works for organizaing a base of $3,000, $5,000, tions like Campus Crusade or e3 Partners, Are we not Levites in God’s Christian family? If God has called you to ministry, then I also believe that He has called others to recognize your ministry and support it. In fact, I think part of God’s confirmation over your ministry comes through the validation of others supporting it.
we should be raising support for our music ministry. I know this can make us feel awkward, especially in the beginning. It’s hard to ask people to support you. Actually, it’s not hard, it’s just very humbling… and it makes us accountable. Hmmmhh, humbled and accountable… does that sound like something that honors God? We’ve talked about Mission, Fan Development, and now the Non-Profit option. Next time we’ll talk about what I’ve seen across the years as God’s growth strategy for any ministry. BTW – a shout out to Jon and the guys in Hyland (Tooth & Nail Records) who are readying their first full length produced by Aaron Sprinkle. Thanks for the email about the Fan Development article. Blessings on you guys! Scott has led classes for us at NAMM and the Christian Musician Summit. He has been featured in Adweek and is the CEO of FrontGate Media, the #1 pop-culture media group reaching the Christian audience (www.FrontGateMedia.com) and is the co-founder of Creator Worship: online radio for worship leaders (www. CreatorWorship.com). Email your comments or questions to Scott@CreatorLeadershipNetwork.com.
Tune in now at www. CreatorWorship.com
Tune in Creator Worship Online Radio: Teaching & Training Hear it today… Use it tomorrow. Programming includes: WorshipTeamTraining.com Tom Jackson News from HearItFirst.com Rick Muchow (Saddleback Church) Richie Fike (Indie Extreme) Tech Talk with Wade Odum NewReleaseTuesday.com and more… Twitter: @CLNetwork Facebook.com/CLNetwork
SEPTEMBER/OCTOBER 2010 WORSHIPMUSICIANMAGAZINE.COM
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By Michael Gonzales
Rehearsing for Real
“Don’t let the plane get behind you.” I was so focused on so many other things, radio transmissions, charts, looking for other aircraft and visual markers I forgot to fly the plane. We are all human and we all get sidetracked by events in life, but one thing that I am still learning is to get control of my worship team and it starts way before a Saturday night or Sunday morning service. It starts with me rehearsing privately and learning new material.
One thing that impressed me about the now defunct TV cable Worship music is get- network Fox Reality show called The ting more complicated. Academy was whenever recruits would So, what alternatives run the instructors were running with them. does a worship leader The drill instructors planned a route, they have? One philosophy checked it out beforehand and plotted is, “Change is bad.” instructions for the soon-to-be deputies. Many worship lead- That’s the way it should be for a worship ers rely on the same leader. How can we be authentic worold dependable tunes. ship leaders when we wait until the last They are the sure shot minute, throw the old dependable tunes songs he or she can together and feel like we accomplished depend on. To that something. I know the feeling. I’ve done worship leader, they it many times. know those songs as well as Kobe Bryant can The other thing that is bad is when hit a three pointer. They some worship leaders don’t take into have practiced them so consideration how the audience reacts to much the frets on their the same material over and over again. guitars are worn from I know someone who is excited about playing the same chords church but I have heard her say, “I hope over and over again. he (the worship leader) doesn’t play the There are many reasons same songs he did last week.” She cona worship leader goes tinued that it appeared more and more back to those songs but the worship leader was rehashing songs one reason is a common under the pretext that the church needed enemy to us all—time. to learn these songs so he would “reinforce them” in the congregation’s collecSomehow we get tive mind. busy during the week and time has gotten beThe other side of the coin is you have hind us. When I took to be careful in introducing new songs flight lessons when I each week. Somehow that happens most was in trouble be- after the worship leader has attended a cause there was worship and arts conference. There are so much going in so many good tunes to select and human my mind, my nature gets a little anxious and wants our flight instruc- congregation to sound like the all the tor would worship leaders singing in tune, at full impress, volume, with the same enthusiasm. These are noble thoughts but sometimes a good pastor is also a good hip checker to make sure we don’t go too far off the creative deep end.
this is our burnt offering, our sacrifice of praise. Sacrifice doesn’t mean whipping something up at the last minute, it means giving up something of ourselves for Him. For me, a big part of that sacrifice is time. It means I need to learn to get out of the box and stop playing the same songs over and over. It means I have to discipline myself to become a better keyboardist. I do that by practicing. After I get a new song down, then I can go to the worship team. Some people have asked me, “What is best, rehearsing with the band and then rehearsing with the lead singers?” I say, whatever works best. You know your team best. You know everyone’s schedules. You know where there might be conflicts. Find the best solution to make it work. Also, you need to understand the musicality of your musicians. You cannot expect them to learn the most complicated Tommy Walker or Pastor Freddie Rodriguez’s tunes just like that. You have to work it in. Sometimes it might be good to go over those tunes for three or four weeks in rehearsal before even teaching it to the church. One of the worst things that happens is the worship team does fine until they see the CODA sign and then it is panic time. Where do I go from here? The bridge? Or was it the second verse? Remember don’t let these things get behind you. Rehearse the songs until everyone knows exactly where you are going. Another little thing to think about is, “Does the song have to be played exactly like the CD?” The correct answer is whatever you decide, everyone needs to be on the same page. You all need to know where the hits are, the breaks, the modulation, and solos. This too takes practice. Finally, rehearse as if it is for real. I mean play as if you are really playing it live before an audience. God deserves our best, even in rehearsal times when no one else may be taking notice. Being a worship leader is awesome. It can bring great joy to you and others. The sure shot to leading people into the presence of God is to play with confidence and stay together. Sometimes, near my work, I see the deputy recruits running and chanting in cadence. It is inspiring that they are so together and so dedicated. If your worship team is representing the Kingdom in unity, then your church will have a sense of awe as well. I want to be on that team where people make the worthwhile sacrifices, where God is first, and He is for real.
I like to think of rehearsal as another way of keeping things in balance. The first rehearsal time Michael Gonzales, Ph.D. should be time where we are alone with God. We are al- Professor, Biola University ready dedicating the service email@example.com to Him. We are recognizing
SEPTEMBER/OCTOBER 2010 WORSHIPMUSICIANMAGAZINE.COM
GuITAR GRAB BAG
By Doug Doppler
Experience of Being a Guitarist
Welcome to the first Guitar Grab Bag column! In the 40 years I’ve been playing guitar (yikes) I’ve never really seen a constant progression from point A to point B, but rather a gradual increase across a number of topics as my capacity for the instrument and music in general grew. Thus, I wanted to start a column that reflects the horizontal experience of being a guitarist. Regardless of where you play or the level you’re at, this column is intended to serve your needs. This month’s article might raise a few questions, so feel free to send them, and any other guitar related questions, to DougDoppler@ Hotmail.com. I’ll be more than happy to share my various musings about the ones that really grab me here! Thank you and God Bless… The Six Zones of Sound On the electric guitar DVD found in the second Conference in a Box, I talk a lot about a concept I describe as the Six Zones of Sound. The concept being that us guitarcentric folks tend to hear things from our perspective and are often not fully aware of what is happening with our sound as it bounces around the room. I’ve been blessed with the privilege to be able to tour all over the world and in lots of different sonic environments. The majority of secular venues are far better designed for sound than most Churches. Ideally, the mixing console is centered on the stage and mains to help the sound engineer better do their job. We can do a lot to help them out, and that includes entrusting them to be able to man the faders. Most Churches are blessed to at least have SOMEONE back there manning the faders, and making their job easier is a huge part of bringing unity to a service. Serving to me is all about staying humble, teachable, and working in unity – it’s so important to demonstrate unity from within the worship community. The Six Zones of Sound concept offers practical approach for working with the rest of your team to iron out a number of the divisive issues around sound. I hope this article offers some tangible tools for you and your team!
jectile nature of closed back cabinets, and by all means avoid pointing them at the Worship Leader and the Senior Pastor when and where possible. Zone Four The back wall behind the worship platform can be your best friend or your sound man’s worst enemy. I’m involved in an outreach ministry called Guitar Church that often has me playing at center court in school gymnasiums. In those situations I turn the rented 4x12 cabinet around to face the wall behind me to reflect sound into the room. If you think of shining a flashlight into a mirror you’ll get a really good idea of how loud monitors can really blow a mix for your sound man. If I’m using an amp and monitors, I try to keep it 30% amp and 70% monitors, so long as the volume stage manageable for the sound man, who I like to give at least 60% control of my overall volume.
Zone One The area around our ears is key to having a great worship experience. Whether you use in ears or not, there is a sonic sweet spot where things feel good. If you’re using an Aviom system I’d strongly suggest panning various instruments across the sonic spectrum as opposed to keeping everything dead center. Truth be told I will turn a number of things way down so I can be sure to hear the drums and the Worship leader really well. Zone Five The advantage of having a fellow team Zone Two member playing your guitar as you walk The area that our feet will normally trav- around the room is that you can really get el over the course of a service is a place a chance to hear what happens when we can really get it wrong - especially your guitar sound gets bounced around when using an amp or fallback monitor. the room – prepare to be shocked! What In working on the Get Killer Tone DVD we think we sound like FOH (front of series I’ve spent months (going on years) house) is often far from accurate! In genin the studio doing my best to accurately eral this is the most important area to be capture what is coming out of the speaker conscious of as you’re playing, which with a mic. That translates to either stick- really is a matter of partnering with your ing my head in front of a cabinet (careful), sound team to get this job done. pointing amps and cabinets directly at myself as I’m recording, or both. I’ve been Zone Six pretty shocked at how much I’ve had to As I mentioned earlier, a Church sound learn about what things really sound like man is often stuck in some bizarre locaon axis with the speaker. I’d suggest get- tion that has little to do with being the ting another player on your team to play best place to mix sound. If your cabinet is your guitar as you listen to your amp pointed at them or you are reflecting too from various vantage points, left much sound off the back wall, you can and right, up and down, near turn a really hard job into a nearly imposand far, both on and off sible one in terms of getting your guitar to axis with the sound great FOH! What works in Zones One and Two might be a nightmare in Zones Five and Six. Just as I’ve encourspeakaged you to explore the other areas of er (if you’re the room, get the team to play and invite using them). I’d say the the sound man up on the platform to hear biggest mistake guitarists make is pointing things from your perspective. This might speakers at the backs of their legs and be as insightful for them as your hearing blasting away - feels great, but after you what’s really going on outside of Zone get to know what your amp sounds like One. on axis, you’ll really see the folly of this approach. God Bless!!! Zone Three The area where the other musicians on the platform are is something that is another blind spot for guitarists. The volume cycle is driven by people not being more aware of what is happening as our individual sounds bounce, and ultimately blend together. The reflective nature of sound can at times be nothing short of shocking. Be really conscious of the pro-
Doug Doppler is signed to Steve Vai’s Favored Nations label and is currently in production on the Get Killer Tone DVD series. He and his wife Melissa live to serve the Kingdom and are members of Cornerstone Fellowship in the San Francisco Bay Area.
SEPTEMBER/OCTOBER 2010 WORSHIPMUSICIANMAGAZINE.COM
By Tom Lane
Passion And Greatness
Passion and greatness are inspiring and people are drawn to both. As a ship is steered by a rudder, we are certainly steered by passion. “Where your treasure is, there will your heart be also.” (Matt. 6:21) Greatness isn’t an absolute and is relative to the standard of measure we use. There are some artists that have achieved greatness and undoubtedly a very focused passion is what in part led them there. What I call great you could easily regard as NOT so great. So who’s standard do we rely on and esteem most? If I tallied up a few artists I think are great now versus when I was younger the list would look very different. Most I would still love and may even use the word great in conjunction with their names. But over time what stands out are the few who’ve truly laid down their own greatness in order to be used for God’s glory. Because the glory road is a harder road to Go and requires sacrifices that go completely against the grain of creative people. However, Glory shines bright through the one fueled by a passion that is bridled and fully surrendered to God. In the early days of Rock, music was by no means technically, sonically, or musically perfect. Guitars were out of tune, tempo drifted like the wind, vocals weren’t auto tuned to perfection, no beat detective, no cutting and pasting, etc. Yet the passion and raw expression was unquestionable and has proven for some to be timeless. In an age where technology rules and is more accessible than ever before, one thing is still true- you need the passion! Without it you don’t really have much. You have to create and capture the essence of something great for it to really become great. There was a time when record labels took years to develop their artists and their music. It wasn’t as easy as just sticking any and every one that could play or sing in front of people. Long before artists were seen they were heard. All the greats started somewhere and spent time honing and defining their passion into what we now know them to be, It wasn’t overnight and cost them something. With worship music now being a genre and career choice, there’s much more opportunity and possibility of foregoing proper development. For the 42 world, development is more about the music/image/market worthiness. For Christians, it is more about the heart, so to follow the worlds example is not our way. The criteria to be an artist, whatever title we wrap around it-even Worship Artist, should be about the quality or fruit of a ministry/life first. In my mind there are two roads creative people can run down. You can “go your own way” as Fleetwood Mac put it, or to put it as Elvis sang it, “I did it my way!” or you can do it God’s way. Many misguided christians have mistakenly attributed their success and fame to God, adding His name to their ministries and businesses as if that alone legitimizes whatever they do. What’s wrong with that is; what God has asked and requires of us, is in many ways backwards and in direct opposition to our own passion. Doesn’t mean He hasn’t given us the passion in our hearts; but the fullness is not attained by going our own way, doing our own thing, and being whatever/whoever we want or dream. It’s best summed up this way, “Seek Ye first the kingdom of God and His righteousness and all these things will be added unto you.” (Matt. 6:33) It’s the righteousness part we misunderstand or glide over if we’re not careful. We are not called to fame or riches, though we may have them and God does allow them. We are called to a priesthood and a lifestyle of holiness. Not many bands set out to be priests. Many have a history of some kind in the church but don’t seem able to maintain an obvious and dedicated passion, to bring glory to God. At some point usually it becomes about their glory whether intended or not. Wanna be clear that I am not picking on one side or the other, we are all human. Christians love, idolize, promote, exploit, and crucify their heroes just the same! Read the history books. What I am suggesting is that many whom God gifted and called have missed the road entirely though musically they are greatly revered. The beauty of art and music is, no one rule covers or applies to all creativity. It is a free gift from the Creator Who simply asks that we freely give it back to Him from our hearts. There
is a lot of freedom involved! At some point, because we have free will we have to choose whose glory we are going to invest in and pursue. For a band or artist to set their aim on being known or discovered can be a distraction and become an all engulfing pursuit. The more you chase and pursue, the more you become responsible for and feel you have to maintain. That pressure alone has driven many way off course from where they started. I’m not talking about the pursuit of a passion in the sense that you do all you can to create and improve. Striving for excellence is good; believing you have to be on a platform to really impact is not! By all means make your music as great as you can make it, focus and be diligent to steward the talent you have. But don’t let the talent lure you away from the calling of God on your life. It is not the end but a means to express devotion and love to and for God. God is passionate about people and their souls. The goal is always the same for Him, to seek and save the lost, commune with his people, and receive our lives as acts of worship. So if you are trying to find your vibe, your sound, your image, your look here’s what I pray. Be creative, be yourself, be diligent; but above all know, understand, and commit to being who you’re called to be first. And be able to articulate what that is! Don’t wait for others to tell you what you need to say and do in order to succeed and fill the role of Christian Artist, get it for yourself. God is not silent and is still speaking. When you’re on the stage it needs to be about more than just your music. Doesn’t mean it all has to be “worship” music or “Christian” music either, just don’t be nebulous or naive about the calling! Passion is a gift, greatness is a noble and worthy pursuit, but glory makes the difference! Aspire to live a passionate revolution centered around God’s kingdom and glory. Live sacrificially, serve the world, walk humbly with Him and trust him to thrust and propel you into spheres of influence and platforms as He sees fit.
Nashville, TN is home for Tom Lane though he is involved in ministry and music around the world. As a singer, songwriter and guitar player, Tom has been teamed with many worship leaders and artists. He continues to record his own work, lead worship, and writes regularly for various worship publications worldwide.
SEPTEMBER/OCTOBER 2010 WORSHIPMUSICIANMAGAZINE.COM
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By Mitch Bohannon
X-Tempo Designs POK
You’re a guitar playing worship leader. You’re a worship musician. You’re a music enthusiast working with DAW’s (Digital Audio Workstations). Or maybe you’ve just been wondering what those guys on stage have been punching into their MacBook Pro’s… Read on, this is for you… I’m assuming that you read my last review in the July/ August 2010 issue of Worship Musician. If so, you know that I’ve been using click tracks through the Aviom for our worship band. It’s made a world of difference, but it hasn’t happened without some road-bumps along the way. I’m here to help you jump over some of those! Taking one song at a time, running a click into our personal monitors tightens up the band, keeps us in sync, and helps us create a better feel in the entire sanctuary. (When your band is in sync, even nonmusical folks in the congregation notice… they just may not know what they’re noticing). The biggest hurdle comes with creating flow from one song to the next. Once you begin a click-track for
the computer, or when it’s not convenient to reach the mouse or computer keyboard to start/stop recording. Through the POK editor, it was easy for me to switch the programming to work with Ableton Live and assign the switches (they can be assigned for single and double click). For my application, I left one switch dedicated to Play/Stop. Then, I assigned t h e
I have my computer set up off stage (it works the same with Mac or PC). When I lead worship, my mic stand is This thing is in- about 20 feet away from my computer. I credible! It’s the set the POK right next to my microphone coolest thing to and away we go! I have to say, after the come out since first Sunday I used the POK, I received an the Cut Capo email from a random person in the con( s h a m e l e s s gregation commenting on how smoothly plug). The the song service went! POK (list The POK is a very ingenious piece of equipment that, for my worship platform, is a must have. I didn’t even mention battery life, which is almost ‘forever’… because the battery is not being used $499 with unless the switch is being pressed. I’ve case… street described the way I use it on the platform, price $349) is a wire- but realistically, if you use a DAW that less footswitch that controls utilizes assignable keystrokes, you can asDAW software through USB. The sign those keystrokes to this footswitch for unit acts like a wireless keyboard, send- hands-free application! ing keystroke signals to your software. a song, Pick one up and here’s what you get… Bottom line… freedom, creativity and you must The POK comes in a custom hard case flexibility. have at least one and has eight assignable switches (or measure, usually two, be- pedals). It’s a small, but sturdy unit, 12 x 7 fore the first downbeat. If there is inches. The wireless USB fob is the same Mitch Bohannon is the a delay between ending a song and size as a thumb-drive. The unit runs on Worship Pastor at First starting the next click, it can become a three ‘AAA’ batteries and has an LED that Baptist Church in Dayton, very awkward dead space! (been there). signals wireless sync, button-press, and TX. He helped develop the battery warning. The POK comes with an Short Cut Capo for Kyser I’m a guitar playing worship leader run- editor program on CD and it is set up Musical Products. Mitch and his wife, ning Ableton Live. I am not in a position that ready for use with Pro-Tools. This is help- Noelle, have the three most awesome I can have my Mac right next to me and ful for those recording some distance from kids in the world!
punch keys between songs. At first, I gave control, via a midi keyboard, to my drummer… later moved it to my drummer on percussion… later moved it to my lead guitar player. They all did a fine job, but there is latency between my “GO” signal and the actual downbeat! I can speak or pray or play segues between songs, but as the leader, when I think ‘go’ I want the computer to respond. Soon, I learned of the POK from X-Tempo Designs…
other switches to the number keys “1” through “7”. That gives me the ability to have seven songs that I can cue for worship. If I needed more cues, I could assign them to the same switches (double click).
SEPTEMBER/OCTOBER 2010 WORSHIPMUSICIANMAGAZINE.COM
By Craig Kelly
So You Volunteered as a Camera Operator At Church – Uh Oh, Now What? Part 2
In our first article, we learned some basic skills to learn as you head into your new position as camera operator at church – part of the Technical Arts Team or the Video Crew or the TV Crew or Production Team. All these terms are in- 6. terchangeable. 7. Now let’s look at the unlearned skills - These soft-skills are in your DNA. Important points to remember and strive for are; 8. • Great Attitude / Pleasantness • You represent the presenter and the 9. rest of the crew – be your best • Extreme professionalism / Good work ethic – you have it at work, shouldn’t you have it at church? 10. • Clear attentiveness / Promptness / Speed – even though it’s a volunteer position and it’s early, bring your best to the position • Process engagement / Forward thinking / Commitment to the project – don’t just wait to be told, try to 11. anticipate what is needed • Understanding of your place on the production team. Yes, your brother in law is the director but it 12. doesn’t mean that you’re entitled to watch as everyone else runs a new camera cable 300 feet over the sanctuary catwalks • Understanding of importance of the event – really try to remember that this is an important event for the audience 13. Here is a list of just a few practical live, multi-camera camera tips to help you get started. By no means is this a comprehensive list, it is a good start to get the ball rolling. 1. 2. 3. Practice - focus, zooming, panning, tilting Know what camera number you are and listen for instructions to you. Safety - double check that any and all handles, knobs, attachments, cables, platforms, lens, viewfinder, etc., are attached securely and will not come loose and hurt someone. Never trust that someone else has taken care of it. It’s your hands that are operating. Know which direction the focus knob works. Focus is distance - Look at the foreground or the background if you’re in doubt as to which way to focus. If the background looks in focus and the subject looks out of focus – then pull your focus toward you. If the foreground looks in focus and the subject looks out of focus then roll your focus away from you. Know which way the zoom control works. When in doubt, zoom it out - They wider you zoom, the less critical the focus will be and any unsteadiness will be less noticeable. Tight focus - Always focus on the subject’s eyes not their nose or their glasses or their collar – the eyes. Know where the tight and wide zoom limits are - never be surprised that you are at the end of your zoom. Zooming - start a zoom imperceptivity gentle and slow, pick up speed slightly and then softly feather-out the end. Imagine starting and stopping a car so smoothly that a passenger cannot feel it begin or end. Never just zoom straight in or straight out . Try to think of it as this – if any single frame was frozen, would you want that image as the cover of your portfolio? Composition / Framing - there are standards to remember, but it’s always the director’s choice to choose the nuances of framing. The director should NEVER have to tell you twice how much headroom they want, or how wide or tight they want the shot. Composition / Framing – Often, the rule of thirds works very well in composing a shot. Here’s an example – To find out common examples of this rule, do a little research on-line. Just remember….sometimes rules are meant to be broken. 15. the director gets to talk during the show e) Remember to turn your mic off before putting on or removing headset Check your lens for dirt, smudges or smears. They really can show on the video especially if light hits it just right Confirm that you have a working tally light in your viewfinder. Find out from your director if the external tally light should be on or off. Some pastors do not want to be distracted by the light and others want to know which camera to refer to. Chairs - Chairs are for wimps resting. Most events are only an hour long so, get in shape. Standing will keep your attention up. Ask the director what his expectations are of you in your assigned position. Do not leave your position unless given permission from the director.
Of course this is just a portion of your training. Ask for help, get in and practice on your own time, watch the pros on TV, read books and articles and buy my DVD. Television director Craig Kelly’s career has included over 3,500 live shows, events and concerts in broadcasting, corporate television, events and sports production since 1977. He is also involved in ministry based events and concerts, and has produced or directed internationally distributed DVDs. With a background as an international free-lance cameraman, he has shot national and local level sports and corporate video for over twenty years. These days he is often involved in speaking, workshops, writing and talking about Television camera operators and directing. He recently launched the blog ZoomIT.cam at craigjkelly.wordpress. com for new camera operators and has a training DVD in the works. You can reach Craig at firstname.lastname@example.org
14. Headsets – headset etiquette is a big deal to the crew a) Check for clear sound b) Check for side-tone (your own voice) – but never blow into or whistle into mic! c) Check for program audio d) Make sure headset mic is turned off during show – only
WORSHIPMUSICIANMAGAZINE.COM SEPTEMBER/OCTOBER 2010
TIPS FOR TIGHT TEAMS
By Sandy Hoffman
Three Ways to Worship Warm
“Worshiping warm” means spending time with God and maintaining musical discipline. Excellence always follows preparation! Some of the best opera singers in the world rest their voices for as many as three days before a performance. Olympic athletes carefully stretch every muscle before they compete, reducing injuries and increasing their chances for “the gold.” The virtuoso violinist Nicolo Paganini often practiced scales and exercises for up to 15 hours a day! Fifteen!! During his concerts he was known to purposely break as many as three strings and play the rest of the piece on the one remaining! This bit of showmanship allowed him to demonstrate incredible virtuosity, which he earned at the high price of personal discipline. As worshipers, we too need a disciplined, warmed up life! Our daily prayer should be, “Lord, get me out of the refrigerator of complacency and teach me Your ways to worship warm!” I believe that with regular, private offerings of these three: heart, hands, and voices to the Lord, we’ll be primed and ready for powerful public praise. #1- DEVELOP DAILY DEVOTION One of the greatest examples of the daily life of the worshiper is found in Acts 2:42-47. It lists five habits of the early church and the blessings that followed. By spending time in the Word, fellowshiping, praying together, giving and witnessing, the first century worshipers experienced the kind of life changing results we desire today. They spent time with God, and verse 47 says that as “they were praising [Him]” they enjoyed “favor with all the people.” We can expect to see this same spiritual fruit in our lives as we practice the worship lifestyle of daily devotion demonstrated by those early Christians. #2- ENERGIZE YOUR INSTRUMENT Once we’ve established that our first priority is to have our hearts devoted to the Lord, we can begin to examine the more physical aspects of worshiping warm. Take a look at your hands. They can be placed over your heart in allegiance, put to the plow, used to change a tire, burp a baby, scratch your head or sign your name. What a marvelous, versatile creation: the hand! We often think of the voice as the instrument of the Spirit, but in I Chronicles 25:1 we find the musicians prophesying with “harps, stringed instruments and cymbals.” They were skillful with their hands. They practiced, then worshiped warm! We may not have fifteen hours a day to spend like Paganini did, but every minute we invest in raising our skill level brings greater ease and flow to our corporate worship times. With ample attention, our instruments are energized.
down for those notes “in the basement.” The longer the pipe, the lower the note. And we should always be sure to wear loose clothing when we sing. Restrictive attire impedes the expansion and contraction of the diaphragm. To worship warm we must be able to breathe freely.
Now let’s consider the lilies of the field. They neither toil nor spin; but they sure do make many of us sneeze! Allergies can be seasonal or perpetual. As worship team members we must be mindful of those who wheeze, sneeze, cough, or completely clam up because of perfume, cologne, MINDING THE MODES after shave, and yes, those beautiful EasTo warm up the hands, I suggest a ter lilies. For some, it’s almost impossible simple modal exercise at the beginning to sing after just one whiff. Always prefer of each practice session. Play a basic “C other noses before your own. It’s Biblical! major” (Ionian) scale: C - D - E - F - G - A - B - C. Then, begin on the second scale VOCAL ROUTINE degree, “D,” and play D - E - F - G - A - B Worship singers should develop sen- C - D. This is known as “D, Dorian.” The sible habits which protect their voices from third scale degree in the key of C is “E, strain and pain! Here are just a few sugPhrygian.” Sound like Greek to you? That’s gestions that have proven quite effective: because each of the seven modes has a Greek name. Play E - F - G - A - B - C - D - 1 Hit the ground humming. As soon as E. Do you see the pattern? What about “F, you rise, begin to wander around Lydian?” It begins and ends with the note the house humming comfortable low “F.” “G, Mixolydian” with “G.” Then “A, notes which slowly warm up the voAeolian” and “B, Locrian” complete the cal cords. exercise. Once you’ve mastered the key 2 Vocalize with a warm up CD during of C, perhaps you’d like to try the modes your drive to church. in EVERY key. 3 Use a singer’s throat spray to coat and soothe the throat between serYour hands are sure to be warmed up vices. (Caution: some sprays contain after you spend some time playing ascendas much as 70% grain alcohol. We ing and descending scales in each of the jokingly refer to these “the joy of the seven modes. Lord in a bottle!”) 4 Drink lots of room temperature water. #3- VITALIZE YOUR VOCALS (Avoid those Sunday morning doughGiven the example of world class opera nuts and, you guessed it, coffee!) singers, perhaps getting enough sleep is 5 Sip herbal tea (caffeine free). There the most effective way to insure great worare many special teas on the market ship vocals. Nothing restores the vitality of which coat the throat and help to the voice like rest, rest, rest. eliminate problems from over singing. It’s also important for singers to watch what they eat! Uh, oh! That’s a tough one, HEART, HANDS AND VOICES considering it means no chocolate, no There’s an old Thanksgiving hymn which dairy products and (this is extremely pain- says, “Now thank we all our God with ful) NO CAFFEINE before singing! Choc- heart and hands and voices…” We can olate and dairy products coat the throat see from these lyrics that the wisdom of and restrict vibration. Caffeine constricts the ages hasn’t changed. Good worship the vocal cords. It’s best to go without sense always dictates that we spend daily for up to 24 hours before singing. (Now devotional time with God and offer Him we understand why opera singers are so the sacrifices of our musical discipline as sleepy!) we apply these ways to worship warm. To prevent injury to the vocal cords, we By the fire, should never clear our throats. The experts Sandy say, “simply swallow instead.” (Hmmm . . . Did I just hear you clear?) Sandy Hoffman serves Sit or stand as tall as possible when you The Grace Community sing. Back straight, top of the head high. Church in Santa Fe, NM, The large pipes of the pipe organ play where he is the Minister of the low notes. The small pipes play the Worship Arts. Check out high notes. Our voices work in much the his new instrumental acoustic guitar CD, same way. Never lower your chin to reach “Sereno,” at: www.EssentialWorship.com
SEPTEMBER/OCTOBER 2010 WORSHIPMUSICIANMAGAZINE.COM
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By Martin Stillion
I don’t do a lot of teaching (too busy with the day job), but I recently did take on a student who, as I once did, is coming to mandolin in worship music from a background in classical strings. For me, perhaps because I don’t do it often, teaching is in part a process of self-discovery. Before I can show my student how to do something, I have to remind myself how, where, and why I learned to do it. Melodic minor. G A, B flat, C, D, E, F# going up; same as natural minor coming down. (That’ll blow your gourd.) You can have even more fun with broken thirds by continuing to change the key signature. In addition to G and G minor, try this same pattern in the keys of D, C, F, E flat, and A flat. When that gets boring, change the G to a G sharp and add A, E, and B. (What you’re actually doing here is messing around with “modes”—for truth is, you should be able to play both parts either way—and if you can’t, then practice until you can. Thanks for your kind attention. In my next column I hope to explain the Platonic ideal of the 12-course mandolin and demonstrate that all mandolin chords are really just fragments of the one overarching überchord. Then again, maybe I just shouldn’t have had that third slice of pizza.
One exercise I’ve taught him is something I borrowed from my junior-high string orchestra teacher, Clarence Shaw (to give credit where it’s due). He called it “broken thirds,” which is as good a term as any. It’s a “two steps forward, one step back” concept: you simply play a scale by going up a third, down a second, up example, G to G in the key of C is G a third, down a second, etc. It’s a little mixolydian. But if all those Greek names more interesting than a standard scale, it make your head hurt, ignore them, and forces you to work on string crossing and just think of it as “G to G in C.” Your finthink in terms of intervals rather than steps, gers will still get the benefit of the exercise. and (as I discovered years after junior Broken thirds are also a great speed high) it forms one of the building blocks exercise. I’ve written it in eighth notes, but of melody and improvisation. back in junior high we used to start by As I’ve written it in G major, the exer- playing it through in half notes, then quarcise isn’t all that difficult. But the crafty Mr. ters, then eighths, and finally sixteenths. Shaw had ways of making it more of a Try that yourself. Use the slow part to challenge. Once we’d played it in G ma- practice making smooth note transitions jor to his satisfaction, he’d make us switch while playing tremolo. When it gets to one of three G minor scales (Google faster, switch to single notes and pay attention to your pick direction. I find it ’em): easiest to play the ascending Natural minor. G, A, B flat, C, D, E part starting on a downstroke (down, up, down, up, etc.) flat, F. and the descending part the Harmonic minor. Same as natural mi- opposite way nor, except that you use an F#. Songs in (up, down, up, G minor often have a D major chord in down), but the them, because their harmony is based on this scale. There is, however, a funky augmented second interval between E flat and F# that takes some getting used to.
Multi-instrumentalist Martin Stillion, a 15-year veteran of worship bands, plays at Seattle’s Bethany Presbyterian Church. In his other lives he’s a husband, father, writer, editor, Webmaster, composer, and musician. Learn more than you wanted to know about Martin at www.stillion.com/ martin or www.emando.com.
WORSHIPMUSICIANMAGAZINE.COM SEPTEMBER/OCTOBER 2010
By Greg Sisley
Excellence in Lighting
Recently our team was privileged to participate in lighting production at Creation West. The festival was held at the fairgrounds in Enumclaw (Ee-numb-claw) WA, a great venue with a fantastic vibe that really promoted community and inclusion. There wasn’t a bad seat at any of the stages, and the music, food, and friends were tops. Probably the greatest impact personally was seeing many first-time and re-up decisions to follow Christ during the week. I also came away from the week reminded of a few key concepts that are foundational to success in lighting in the worship world. First, expectations are high in regard to the production aspects of lighting, audio, and video. The American worship audience is not only educated about quality production; they are also discerning. I saw a definite desire for purposeful lighting; on one extreme, creating an intensely inclusive worship space, and on the other end, producing a high energy, in-your-face rock and roll light show. I was also impressed by the absolute necessity for healthy relationships, personal integrity, and professional follow-through among those who create and support worship environments. When everyone is focused and leaves their egos at home, the results are amazing. Lastly, I was reminded of the value of maintaining a student’s perspective. I saw many audio-visual professionals engaged in an approach of constant and intentional learning. It is vital to stay current with developing techs and equipment, understand and embrace trends and styles, and learn to model the positive personal traits demonstrated by our peers. Let’s take a little deeper look at these inter-related concepts. They have direct application in our roles as worship musicians and those that support them. Anticipate While preparing for the production of a music festival has some similarities to designing, rigging, or programming lighting for a Sunday morning service, I would really compare it to getting ready to do a dozen weeks of worship services simultaneously. Instead of one band or speaker, you will plan for several, with various members and gear. There is very good communication with some bands and almost none with others. All of it happens within a very compressed timeframe. Your job is to be prepared for what you do know, be flexible enough to adapt to any needs (including those that are unspoken or lastminute), and produce the elements without flaw. There’s no rehearsal. You get exactly one shot at it. In order to be successful, production staff actually over-prepared for the event. Let me give you one example.
en relationships by extending esteem and gratitude whenever possible. Look with intent for opportunities to provide hope, peace, and encouragement to those you serve with. Attitude is everything. Advance The last thing I was reminded of is how important it is to keep learning. Much more than simply acquiring technical know-how, a disposition to watch and learn continually is invaluable. Our team has learned to take notes as we go, and fix or improve lighting sets and cues between performances. It is routine for us to check-in with the production leads to ‘get inside their head’ as to their production desires, and find out what we can do better. We also intentionally build relationship by initiating conversation, asking questions of others and complementing observed effort and skill. We gain insight from their experience, and try to remain appropriately accessible to both production crew and curious onlookers.
We planned for multiple lighting shows in a single design. This gave the flexibility for almost any look or intensity. Because the performers might be almost anywhere on the stage, we combined fixed, pre-focused ellipsoids with moving lights for front spot. This single element took quite a bit of time to program because when a moving light is used as a front spot, you don’t want to see it move to a new location, focus, or color. All the changes are done “in the dark,” Don’t be afraid to improve your skill and and the light appears on cue and location. The point is, do whatever is necessary to knowledge. I encourage you to try everything. Keep what works and learn from get it right. your mistakes. Training is easily accessible I hope you and your team take a similar and doesn’t need to cost a lot. Workshops approach to supporting worship gather- and seminars are routinely hosted by lightings. By that I mean that you do everything ing manufacturers and most are free to possible to anticipate and plan for what attend. Regional multi-day training events you believe will occur, but you also ‘plan’ such as the Christian Musician Summit and for change and are prepared to modify as the Worship Arts Technology Summit will necessary. Take time for intentional thought take you on a systematic and thorough unby yourself and as a team about all the pos- derstanding of current lighting technology. sible variables. Just as the worship leader We will be lighting and teaching at the may change direction and mood, you will have the ability to adapt because of your Christian Musician Summit (CMS) held at preparation. Anticipating what could hap- Overlake in Redmond, WA the 12th and pen will help you light what does happen. 13th of November. If you have never attended a Summit or it has been a while, I really encourage you to make an effort Attitude Many of the same guidelines that apply to attend. CMS offers quality training for to production preparation and performance just about every conceivable area of the can be applied to us in how we prepare production of worship music and worship and conduct ourselves as we work, pro- environments. Plus, all your favorite Chriscess, and interact with other techs and mu- tian musicians will be there to do what they sicians alike. In a constantly time-sensitive do best. If you take your team to one event and fluid environment like a music festival, this year, consider the Christian Musician opportunities for stress and attitude break- Summit (christianmusiciansummit.com). down are everywhere. I saw potentially diIt is great to hear from so many of you. sastrous situations consistently circumvented by professional, calm, and yielding spirits. In response to your many questions, next The working relationship with the senior issue we’ll start an exciting, four-part series producer and the producer of our stage that will not only showcase the latest lightwas stellar, and our team was encouraged ing technologies, but will apply them to by the meekness they demonstrated. While foundational lighting principles. Hope to they were very driven and focused, we ex- see you at CMS in November. You can perienced kindness, clear communication reach me at email@example.com of goals, and a desire to mentor and teach us. Special thanks to Creation leads Harry, Bill, Denny, and Chris. Greg Sisley is on the pastoral staff at Faith in What a great example of servant lead- Kent, WA, where he leads ership for us to model as we serve weekly production and men’s minisin support of worship in our local churches. tries. He is also a member I encourage you to be both relationally sen- of the Lift Worship Team, specializing in sitive and professional. Reaffirm and deep- lighting design and production.
SEPTEMBER/OCTOBER 2010 WORSHIPMUSICIANMAGAZINE.COM
FROM THE DRuMMER’S PERSPECTIvE
an instrument too. Sometimes the groove & feel of the drums is working great, but you’re playing louder than everyone I’ve actually tried to back off of my else… or maybe even softer. Use your cymbals more. Because I like really bright ears in any situation to think of how it all cymbals I have to be very careful not to works together. hit them so hard. I listen to the balance of the whole kit. On jazz I’ll dig into the The drum chair might be in the back ride & hi-hat more for that swing feel. In of the stage, but its impact is like sitting heavier rock tunes I try to make the kick in front of the band. Everyone will react You don’t play everything the same & snare feel heavier, but I also want the to your time keeping, your feel, and your way. toms to cut through when I do a fill. Even sensitivity. Keep working your musicality in louder music I try NOT to overplay the as a player and pour your heart & soul Listen for how different elements push cymbals. You need to adjust according into every note. It does make a differor pull back within the time. Does the hi- to your equipment. If your cymbals have ence. hat drive a little more? Is the snare lay- a darker tone this may not be a problem ing way back or slightly on top (ahead) for you. Blessings on your groove! Carl of the beat? More importantly does the time swing a little or is it really straight. All of these little things will be adjusted Carl Albrecht has been a Be aware of the pulse (quarter note) and according to the feel or vibe of the song. the parts (subdivision). Are you feeling Playing the drums in a musically sensitive professional drummer & permore ¼ notes, 1/8th notes, 16th notes, and solid way will give the whole band cussionist for over 25 years. or triplets? Yea, I know… there are A LOT something great to build on. And the He has played on over 70 of details. whole experience will be better for every- Integrity Music projects; Maranatha Praise Band recordings & one… The listener too. numerous other Christian, Pop, Country, The balance and dynamics of your drum sound also can change the feel of Besides the balance between all of Jazz & commercial projects. He currently the music. I often hear from engineers the drum elements you need to be aware lives in Nashville doing recording sesthat drummers hit their cymbals too hard. of your over-all volume. Just like getting sions, producing, writing and continuing They can’t get a mix without hearing an your kit to sound balanced pay attention to do various tours & seminar events. Visit overwhelming amount of cymbals. Listen to how you blend in with the other instru- his website: www.carlalbrecht.com or ments on stage. Keep in mind the voice is send an e-mail to: firstname.lastname@example.org.
Continued from page 10
genres, and even try to emulate the way they look when they are playing. Something about attitude, body movement, the type of technique they use ALL have an impact on the sound of the music. So I have become more of a “parrot” when it comes to song interpretation. And YES, I will change accordingly!
carefully how hard you hit every piece of your set up.
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A FEW MOMENTS WITH…
By Tom Kraeuter
Carrying Others to Jesus
Some men came carrying a paralytic on a mat and tried to take him into the house to lay him before Jesus. When they could not find a way to do this because of the crowd, they went up on the roof and lowered him on his mat through the tiles into the middle of the crowd, right in front of Jesus (Luke 5:18-19). “During June a few years ago, I had the opportunity to worship God in the midst of heartache and chaos. On June 9, I was told at work that one of my close friends was on her deathbed, and I left to go see her. She was already in a coma by the time I got to the hospital, but I knew she had recently re-dedicated her life to the Lord. Sunday morning I was scheduled to sing on the worship team. While I was on my way to church, I got word that Wanda h a d But our leading of worship is for the people. Every week people come into your church, and mine, with hurts and heartaches that no one else knows anything about. Sometimes those pains are selfinflicted. Other times they are the result of harsh words from another person or situations over which they have no control. Maybe a son or daughter has declared they are leaving… and leaving their faith, too. Perhaps they have just received a negative medical diagnosis: cancer or some other serious ailment. Some of the things that trouble people can be minor and others can be life-threatening. All of them, though, are very real to the person who bears them. And just like the paralyzed man’s friends, you and I have the privilege of helping to carry that person to the Lord. Oh, we don’t usually physically carry anyone. Yet we get to, in a very real sense, lift that person before the Lord by guiding their eyes and heart and attention to Him. If we had an inkling of how often people are renewed in their spirits because of our ministry, we would jump for joy at the opportunity to be involved in worship p a s s e d ministry. We don’t get to hear all of the stories, but those people are out there, away. just like Julie Ann. “A couple Father, thank You for the amazing priviof weeks later, during a major lege of helping to carry people to You. summer storm that hit Remind me that at least part of what I am our area, a tree came doing is really no different than what the through our home, stop- friends of that paralyzed man did two ping just short of the interior. thousand years ago. Help keep me foThe electric was out and we were cused on the fact that what I do is a true displaced for an entire week. I went to service to Your people week after week. church the next morning to a candlelight Thank You for that opportunity. Amen. service. When the congregation began to sing “Amazing Grace” a cappella, I When it comes to the topwas undone. I was so grateful to know that my God was with me even in the ic of worship, Tom Kraeuter midst of no power, no immediate home, is one of the leading voices horrific heat that week, and a heart that in the Church today. This still ached for my departed friend. While article is adapted from a the immediate circumstances were un- recent installment of WorshipMinistryDecomfortable and frustrating, I had higher votions.com, a weekly devotional email for worship ministries. For more inforhope.” mation on Tom Kraeuter, his books, his If you ever wonder why you do what teaching or his Worship Seminars, conyou do with the worship ministry of your tact Training Resources, 65 Shepherd’s church, let Julie Ann’s testimony help keep Way, Hillsboro, MO 63050, 636-789you on track. Don’t misunderstand my 4522, email@example.com, or meaning here. Our worship is for God. www.WorshipSeminar.com
Sometimes worship ministry can begin to be a drudgery. Between the time for rehearsals and the early Sunday mornings, it can become timeconsuming and wearying. In this midst of this, I find it easy to become self-centered and focused on feeling used or taken advantage of. When this happens it’s time for a heart check to help me recognize that what I’m doing isn’t really about me at all. Some time ago I received an email from a woman named Julie Ann. She lives in the St. Louis, Missouri area. In her email she shared a great testimony. In part she said this:
SEPTEMBER/OCTOBER 2010 WORSHIPMUSICIANMAGAZINE.COM
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