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JULY/AUG 2011 Volume 9, Issue 4
Matt Redman l Vicksburg l The Classic City Collective l Jake Hamilton l Aaron Keyes l Benji and Jenna Cowart
A Few Moments With... Branon Dempsey
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I have been hanging out in Psalm 51 for my devotional reading. And just so you don’t think more highly of me than you ought to – what that sentence means when decoded, is that is where the bible in the bathroom has been flipped 10 From the Drummer’s Perspective open to for the last week or so… both Psalm 50 written by By Carl Albrecht Asaph, and Psalm 51 by David – side by side. Two very The Calling of a Worship interesting reads. Now folks, I am no bible scholar by any stretch of the imagination; but I do know that I personally need to read 12 Keyboard the word and try to see what the Lord is saying to me as a By Ed Kerr follower of Jesus.
Is “Random Reading” Really All That Random?
VOL. 9, ISSUE 4
8 Product Review By Mitch Bohannon Fly Worship Software
40 Guitar Grab Bag By Doug Doppler When Good Just Won’t Do 42 The Band By Tom Lane Be Salty 43 Lighting By Greg Sisley Use It Or Lose It 44 Camera By Craig Kelly Over, Under, Sideways, Down 46 Tips for Tight Teams By Sandy Hoffman One, Two, Three, Four (A Simple, Sample Song Arrangement!) Part II 50 Mandolin By Martin Stillion Playing the Mandolin: Shall We Gather at the River? 54 A Few Moments With… By Branon Dempsey Running on Empty
Since the Psalms are in essence, “songs”, I find them especially appealing. I like that David wrote a lot of songs 15 Bass (often to the tune of another song, I might add). I really like By Gary Lunn how he would sit down and write no matter what kind of In the Zone mood or situation he was in. If he was happy – you would know it. If he wanted God to smash his enemies – you heard 16 Vocals about it. David wore his heart on his sleeve (or robe, as By Sheri Gould the case may be), and in Psalm 51 it was a time when To Belt or Not to Belt? David was coming to God right after Nathan the Prophet had busted him for some serious crimes.
Do You Hear What I Hear?
David opens with “Have mercy on me, O God, because of your unfailing love. Because of your great compassion, blot out the stain of my sins.” Good opening line wouldn’t you say? He goes on deeper into it to say the classic repentant line of “Create in me a clean heart, O God. Renew a right 26 Songchart spirit within me.” And then another deep request, “Do not “You Bled Your Heart Out” banish me from your presence, and don’t take your Holy Rend Collective Experiment Spirit from me. Restore to me the joy of your salvation, and make me willing to obey you.” Wow! Here is a guy who realizes that God wants us all to have that sacrifice of a 30 Record Reviews By Heidi Todd broken and repentant heart towards God. Our own pride Matt Redman can sure rob us of that, and rob us from walking in His presence like we are capable of. Vicksburg When reading this passage I always think of the old Maranatha song “Create in Me” which teaches us some of the words to this Psalm. It is powerful how songs can do that. I jump back and forth from Psalm 51 on the right side of the
Continued on page 52
18 Product Review By Michael Hodge TEO SS-12 Mando 12-String Guitar
20 Rend Collective Experiment... an interview by Aimee Herd
The Classic City Collective Jake Hamilton Aaron Keyes Benji and Jenna Cowart
34 FOH Engineer By John Mills Practical Mic Techniques in Live Audio - Part 1: Guitar Amps 36 Ministry + Artistry = Profitability? Creating your MAP™ By Scott A. Shuford Promotion: Advertising 38 Authentic Worship By Michael Gonzales Enhancing Worship Through Leadership
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WORSHIPMUSICIANMAGAZINE.COM JULY/AUG 2011
By Mitch Bohannon
This past year I began teaching a new class at the Christian Musician’s Summit dealing with how to create and use click-tracks on the worship platform. I can testify to how this improves musicianship and really raises the bar for the worship team/band. However, not every platform provides in-ear monitors, which are necessary to use a click-track. the band in or out. This enables us to stay creative and follow the Holy Spirit as we lead worship rather than be forced to only play with a straight recording. During the song, if I feel I need to repeat a section (verse or chorus), I simply step on the Bruce just asked me to check out the loop pedal and at the end of new software from Fly Worship… I the last phrase, the music seamlessly really am impressed. I sure wish I repeats! The fade pedal allows us to had this twenty years ago when my be creative with dynamics in the song. roommate and I played some youth Like a click-track, the rhythm track in Fly events in college! We might could have Worship gives a two-bar count in and earned more than Chicken Fried Steak! keeps the TIME throughout the song. Not that we lead worship for money, but Each track in Fly Worship is already on the flip-side, sometimes the phrase, broken into song-sections, whether the “you get what you pay for” stands true! verse, chorus, interlude, or bridge. In a nutshell, Fly Worship is a software Certain sections have been pre-selected program with a fully customizable to be ready to loop. But, we can still go band, ready to follow you as you lead into the settings and assign any section worship. The program comes loaded we want. Also on the settings page, with twenty of the top CCLI songs... get we’re able to move sections around this, YOU get to pick the twenty songs or remove them entirely. Beyond that, from tracks like… Lead Me to the Cross, songs can be customized as to what God of this City, and Revelation Song. instruments are being used per song, as Tracks beyond the initial twenty are well as the volume at which they play $10.00 each (you’ll get each track in and the rates of fade in/out. three different keys). The Fly Worship tracks were recorded specifically for this software by studio musicians and truly sound like a live band. Included with the program is a USB 3-port pedal board that allows you to control the flow of worship. The pedals allow you to 1. Start/stop, 2. Loop, and 3. Fade
Worship computer, and a 1/8” to XLR cable to lead music for the Wednesday night youth service. It was a great experience! I was able to have a full band sound with only what I brought with me! In the first song, I looped the intro to give me time to encourage the students and get them involved. I faded the band out when we hit the second verse to create some dynamics, and again in the last chorus as an acapella ending.
A friend of mine is considering going to a small church in Oklahoma to lead worship. The church currently has no band and limited equipment. I just recommended to him that Fly Worship would be an excellent tool to bring the feel and quality of a good, full band to the worship experience of that church. Some additional features include: the Just because we have limited equipment ability to project lyrics directly from and volunteers serving does not mean Fly, which will automatically change to we need to have mediocre worship!! the appropriate song part as the track The Fly Worship software has an progresses; the ability to save a specific mix for each song so that the songs MSRP of $350.00 (including the USB within your set play exactly as you’ve foot-pedal controller and 20 tracks customized them to; and a loop engine of your choice in 3 keys each). More that snaps to measures and/or beats information can be found on their per minute to allow for fine-tuned editing website, www.flyworship.com and looping. And let’s not forget the “link track” feature, which allows songs to be seamlessly transitioned from one Mitch Bohannon is the to the next without any interruption in Worship Pastor at Life Church in Sulphur, LA. the flow of worship. Mitch helped develop the Last week, I had the perfect opportunity Short Cut Capo for Kyser. He and his to give Fly Worship a try. The youth wife, Noelle, have the 3 most incredible group at our church has been without kids in the world… truly! a band, so I took just my guitar, the Fly
JULY/AUG 2011 WORSHIPMUSICIANMAGAZINE.COM
FROM THE DRUMMER’S PERSPECTIVE
By Carl Albrecht
The Calling of a Worship Drummer
It’s a great privilege to play music for the Lord. I believe musicians and singers are the gatekeepers to His presence for the church and the whole earth. All believers are called to be worshipers, but the artists have a significant role in being the leaders. We are not better people, or God’s favorites. We were just made to “create a space” where we can all meet with the Lord. That’s our job, our calling. (REV. 5:10 “…You have made them to be a kingdom and priests to serve our God.” / 2 CHRON. 34:12-13 “… The Levites – all who were skilled in playing musical instruments – had charge of the laborers and supervised all the workers from job to job.”) People often ask what I feel during worship. What is going on that stirs such joy and celebration, or sometimes intercession and supplication? So I will dig deep to see if I can explain the experience that is so beyond words. Help me, Lord! The training for church musicians should be two-fold. Both technical and spiritual disciplines are a must. (I CHRON. 25: 7 “…all of them trained in music for the Lord…”) So besides the hours of practice and study it takes to hone your musical skills, we also need to pursue spiritual disciplines. I know for a musician this can seem like a big responsibility. You may be thinking, “Hey Carl, I just want to play drums. Give me a break!” But stay with me here and I believe you’ll find something in your playing that perhaps you’ve never experienced before. My technical training involves practicing new ideas. I buy new drum books, videos, and CDs. I go to all the drum and percussion clinics I can fit into my schedule. I like working on new grooves, new songs, and just have fun learning more about the gift the Lord has placed in me. The spiritual study is just as important. I’ve just finished reading Bill Johnson’s book called “When Heaven Invades Earth” and “God Songs” by Paul Baloche, and Jimmy & Carol Owens. One book is about spiritual issues; the other discusses songwriting concepts. Both of these books, as well as others I read, stir something deep in my spirit about the calling God has on my life as a worship drummer/ musician/ priest in the house of the Lord. I continue to look for material that stirs my gifts, including Bible studies. You are also “called” to this if you are playing for any worship event. There are no accidents in the kingdom of God. The Lord has given you an assignment. to the Lord about what He would like to see happen. Even as I prepare my drums and music, I have my “spiritual antenna” up trying to sense what’s going on in the atmosphere. Sometimes the Lord convicts me of something and I have to repent. There are times I feel intercession rise up in me because there is a battle raging in the spirit realm. I’m also listening to the lead worshiper. How do they feel today? It’s also critical to stay involved in a What do they want to accomplish in the local church or fellowship group. Don’t worship time? How is the rest of the team just hide out at home reading the Bible. doing? Everyone is important! So you Being personally disciplined is good, but see, there is a lot happening before the stay connected to the “body of Christ” music even begins. at large. There are things we only learn When the music starts and we’re while in relationship to other believers. “flowing in worship” I have a sense of The sense of community and covering being “on guard.” Yes, I’m doing the are vital in surviving the journey of life. job of a musician… checking the song My wife, Leann, and I love being in list, checking my equipment, setting click worship services with our church family, tracks, and listening to the other musicians; hearing the Word of God preached, and but there is so much more. Don’t miss your rejoicing when the testimonies of God’s primary purpose while attending to the faithfulness are shared. Is the church mechanics of music. WORSHIP GOD! perfect? No. And neither are we. Just As the worship continues I listen to find a place where the Lord plants you any prayers that come forth. Maybe the and flourish there. Sometimes my “artsy” worship leader pauses because they friends say I’m the “church guy.” But I’ve sense something from the Lord. I go there seen too many talented people flounder with them in my heart. I start to pray for because they had no “spiritual family” them; pray “with” them. I’m asking the to help them. I know this could lead to Lord to help us meet Him where He is and further discussion, but let’s just say - Don’t do as He pleases. If a pastor comes up to be a “lone ranger.” pray or read, I stay engaged. I listen and The spiritual life of a musician affects how they worship. If you are just playing the instrument and not pressing into the presence of God, then you are only doing half of the job. I personally believe if you are not pursuing the Lord like the “lead worshiper”, you could be dead weight in a worship band. I know that’s strong talk, but I’ve seen it happen. Musicians and singers who don’t join the worship leader in the pursuit of God seem to wear them out. When you are pressing into the worship experience something happens. Worship leaders have said to me, “Carl, it feels like you’re pushing or compelling me to go after God deeper when you’re playing. What is that?” I’m not totally sure. All I know is that I’m as desperate for the presence of God as they are. watch carefully for anything that is stirring in the spiritual atmosphere of the meeting. What are the leaders and the other team members doing? Is something “stirring” in the congregation? Stay alert!!!
Before worship starts, I’m praying. I talk
Musically, I have no idea what I will do next if we’re moving beyond the song list. As I’m playing, all of a sudden sounds will rise up out of me, like the groaning of the spirit in prayer. A loud cymbal crash, a thundering tom fill, or maybe a light tap of a cymbal or triangle, or… who knows … maybe I’ll just keep a steady pulsing groove moving along. It’s like I’m playing the lyrics of a song, the words of a prayer, or I just undergird what’s happening at the moment. The actual notes or techniques of playing are no longer a concern. Yes, I’m “in tune” and unified with the team.
Continued on page 48
JULY/AUG 2011 WORSHIPMUSICIANMAGAZINE.COM
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By Ed Kerr
Do You Hear What I Hear?
I know it’s nowhere near Christmas, but the title of that song resonates with me right now. It resonates because in our rehearsals for worship at my home church my teams are starting to hear things they hadn’t heard before. Me, too. There’s a good reason for this. We’ve been using a PreSonus StudioLive 16.4.2 mixer that I was sent to evaluate. What an asset it’s been to us. By hooking up the mixer via FireWire to my MacBook Pro I’m able, with a couple of mouse clicks, to create a multi-track recording of the rehearsal. There have been many “aha” moments for us when we listen back to what we’ve just recorded. The most common is that we realize we are overplaying. I’ve considered how best to counsel someone when this is the musical dilemma they’re facing and have finally figured out what to tell them. Stop it! Profound, huh? It’s actually one of the most important bits of advice I’ve been given or given away. Through the years I’ve found, again and again, that I need to keep this in the forefront as I create a keyboard part. I, like many of you, have extensive classical training. In playing many pieces from that discipline both of my hands are busy. Really busy. The music is technically demanding and immensely satisfying to play, but the parts you and I are called on to play on worship teams, generally speaking, will rarely be as busy. Watch your hands when you play “Mighty To Save” or “Forever Reign” this week. If you’re reminded of your favorite Chopin etude or the opening movement of a Mozart sonata, remember my earlier advice: Stop it! Compare your playing to what you hear on recordings of the songs you’re playing, and in many cases you’ll hear a much simpler part than what you’re playing. You could attribute your busy part to the fact that the energy of the crowd got you all energized or you were interacting with a guitarist who was especially animated. Okay. That’s good to know. Still, stop it! Here’s when having something like the StudioLive mixer is especially important. The best way to get a realistic sense of how your keyboard part is working within your worship team is to listen to it. The same is true of your drummers, bass players, guitarists and vocalists. Record your rehearsals and your church services. Then spend some that immediately follows the chorus the time listening to the recordings. This is instrumentation becomes full again. especially valuable in rehearsals. It’s here where you can most readily apply what You needn’t copy this dynamic roadmap you glean from listening to the recordings. in what you do as a team, but I hope you’ll consider it. The bottom line is Don’t let yourself be discouraged into that it’s essential that you listen to what thinking that you can’t really do what I’m you’re playing. Listen intentionally. Listen suggesting because your worship team for conflicting parts. If an electric guitar doesn’t have equipment as sophisticated player has created a dominant part with as the StudioLive mixer. I suspect that lots of 8th or 16th notes, be careful that somebody involved in your worship you don’t play lots of similar note values ministry has a smart phone or iPod touch or in your keyboard part. laptop that can make an audio recording. Listen for “pushes”, chords that land on Pick up a voice memo recorder. There th th are many affordable devices that can an 8 or 16 note in a measure rather make decent recordings. You might not than on one of the beats. Are your use them to record your newest song for drummer and bass player hitting the release on iTunes, but you can definitely pushes together? Are guitarists catching make a recording that will allow you and the pushes? Are you? Highlight the your fellow musicians to evaluate how pushed chords in your chord chart so you’ll be sure and play them. Encourage effectively you are playing. other musicians to do the same if they’re I’m creating a checklist for you to use missing a push consistently. when evaluating what your team is doing musically. You can visit my website, Another thing we’ve done when kerrtunes.com, and download the recording our rehearsals lately is to play checklist. Make copies and give them to along with a click/metronome/loop. the your worship team members at your Many of you use click in your services. Awesome. Some of you may only use it next rehearsal. in rehearsals. There’s still great benefit in Among the items on the checklist is using the click there. Some of you may dynamics. Simply stated, dynamics are not use click at all. the loud and soft extremes of our music. Regardless of what you do with a click, Wise use of dynamics can make the journey from the downbeat to the last or with recording your rehearsals, be chord of each song rewarding for you willing to make an honest assessment as musicians and for your congregation. of how the music your team presents Listen to your rehearsal recording and ask is coming across. Prov. 14:23 says, yourself if the dynamics of what you play “All hard work brings a profit, but mere are defining the sections of your song talk leads only to poverty.” Each of us, well. Is your intro the same volume as regardless of the position we play on your first verse? Is there a build into your the team, has areas in which we could grow; and by growing, contribute more first chorus? effectively to the music. Download the Now this doesn’t mean that you can checklist. Do the work. And be ready to only build into choruses. One of the see God bless your efforts and minister things I love about many of Hillsong powerfully through your teams! United’s arrangements is that they utilize dynamics so well to create significant “arrival points” when they play their first As a songwriter Ed has written over chorus. They might have had relatively full 100 songs with Integrity Music. He has instrumentation and activity in the verse a Masters Degree in piano performance. that precedes the chorus. Then when they Ed and his family live in reach the chorus suddenly they reduce rather than build the dynamic. This lighter Washington State. Ed plays instrumentation really showcases the Yamaha’s Motif XS8. www.kerrtunes.com lyric of that chorus. Then in the section
JULY/AUG 2011 WORSHIPMUSICIANMAGAZINE.COM
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By Gary Lunn
In The Zone
Flowing In Improvisational Moments During Worship
I recently had an experience in worship that only happens rarely for me. I felt that the energy, flow, and “vibe” of the worship truly ministered to everyone: each member of the band, the worship leader, the congregation, and, most importantly, ministered to the Lord. Since this time in worship, I have pondered over why and how this happens, and I feel led to try my best to share what, why, and how we got there, from my perspective as a bassist in a worship team. I hope that this may help to teach you how to really “plug and play” in the spirit of the (worship) music and to know what to prayerfully prepare for and expect as times like these happen for you during worship. Again, please keep in mind that this is from a bass player’s perspective in this experience. instruments in an orderly, yet spontaneous fashion. No one was trying to “out-do” the other or compete in any way. We were very sure that our music never overpowered the prayers being prayed or the ad-libbed lyrics being sung. We As we vamped softly the guitar player seemed to follow the level of intensity of began to introduce subtle melodic themes the prayers and the lyrics, almost ahead and ideas. I began to focus in on them, of time. Sensitivity was the key element at work here. That element is as essential as they were very inspiring. to this sort of environment as your bass I quickly ascertained which notes in the playing skill level. scale he was playing off of, and I began to echo parts of his lines by melding them into transitions between chords. I was In Comparison always careful to “land on”, or represent, A good way to familiarize yourself with the root of the chord that I was leading to, this kind of flow is to listen to different unless the keyboard player was playing instruments soloing in jazz music. You will in a higher octave. In that case, I might notice that typically at the beginning of intentionally “land” on the 3rd or the 5th a solo the music starts softly and builds of the chord, depending on where I was throughout the solo as the intensity of the What It Takes in the scale of the answering melody that soloist’s lines rise and fall. This occurs The musical and emotional ingredients I was playing. I was always careful not to because the musicians are listening to that are involved in the next section are be too expressive and was mindful to stay each other very closely. They’re doing all of the things that I have talked about on the “less is more” side. their best to support the soloist at the same in past articles: humility, confidence, The keyboard player began to notice dynamic level that he/she is playing. This knowledge of scales, keen awareness what was happening, and without even can only happen by having knowledge of intervals, ear training (dictation skills), so much as looking up, he began to of scales, keen awareness of intervals, sensitivity, practice, good gear, a great echo and answer back and forth with ear training (dictation skills), sensitivity, tone, dynamics, etc. These all come into us in a kind of musical conversation. He practice, good gear, a great tone, and play. The summation of these qualities would occasionally offer different chords dynamics. Your mastery of basic skills will allows the emergence of excellence. and extensions as he was leading off really come into play in this environment When the entire band is comprised of of melodies played by other members and you’ll be glad you spent time honing musicians possessing these qualities, of the band - played tastefully and those skills. along with freedom of expression, there’s sparingly. The drummer began changing a good chance that something great is from playing his drums with sticks, to One More Thing . . . going to happen. The other night during brushes, or just playing percussion only, worship, something very special did depending on the level of intensity in Compared to earlier in this article, happen. the music. Everyone’s ideas began to the ingredient that I left out of this list of change, and different lead-melody ideas requirements is humility. 1 Peter 5:5 says, began coming from each one of us with “Yes, all of you be submissive to one The Flow no specific timing. another, and be clothed in humility, for The first few songs were a little bumpy. When the prayer time went back into God resists the proud, but gives grace to There were some unsure cues to the band more of a song form, there seemed to be the humble.” No matter how great of a from the worship leader that led the band a strengthened unity amongst the players. musician you are, in worship, humility is astray a few times, creating minor train Toward the end of the service, the music what gives us the grace that helps us flow wrecks here and there; but nothing that rose to a higher level dynamically, that together in worship. the worship leader couldn’t gracefully felt almost “out of body.” I truly believe dispose of with a humorous, “Aren’t we that happened because of a combination Gary is a bassist/studio just great?” comment. of the musical exchanges going on, the musician in Nashville. For comments, questions, or to As we entered into a simple, repetitious level at which it was happening, and contact him regarding session vamp on a set of chords from the verse the hearts of everyone in the band. work, email him at garylunn@ section of the song, the band began to Each one of us had the same desire: to me.com, or find him on Facebook. worship God with all of our hearts on our
WORSHIPMUSICIANMAGAZINE.COM JULY/AUG 2011
dynamically rise and fall together in a very unified manner. At the same time, a person from the audience began praying on a microphone. Their prayers were prayers of proclamation for healing in the church as well as healing for our nation.
By Sheri Gould
To Belt or Not to Belt?
There is an answer to this question, but before we get to it, I would like to muse over some thoughts with you. For those of you who are parents, you know that list of questions you WISH your kid would ask? You know the ones…”What can I do to help?” & “Hey mom, can you just relax tonight and let me handle dinner and the dishes?” or “Is it wrong that I just can’t put my bible down?” For you non-parent readers out there, how about questions from your parents that you wish you could have heard, like “What color of brand new Mustang would you like for graduation?” or “Would you like to invite all of your friends to just hang out and spend the weekend while your dad and I go away? Or “Here’s the credit card, why don’t you go buy whatever you’d like at the store?” Ahhh…the musings of a troubled heart. And why am I troubled you ask? Because I keep having to answer the wrong question. The right question would be—“Is it safe for me to ‘belt’?” To that question I have the short simple answer – no. (most likely not anyway). The longer answer would be – maybe, (if you know what you’re doing). But unfortunately, not enough people are asking that question. The question they are asking is “Can you teach me to belt high (notes)?” with no care as to what harm they are dong. They simply want to emulate a popular sound— regardless of the consequences. And the consequences are available to see all over the place if one is willing to look. One of the most obvious places to look is at who is missing: Who you DON’T see still singing. Those teeny-bopper belters don’t last long. How many “belters” over 30 do you find still “belting”? Not many. Vocal damage is rampant today. I run into it almost on a weekly basis. I get concerned when some of the real reasons behind the damage are continually not addressed. Contemporary vocal coaches want to make their students happy by telling them what they want to hear instead of the truth. Your vocal cords are designed to last you a lifetime, and they will if you use them correctly. Here’s the truth: you can’t scream with your vocal cords on a regular basis and expect them a good display of emotion). At about 0:57 (57 seconds) you can listen to her shift into her signature “belt”. But there’s something very different here from what you hear Demi doing. Celine goes very nasal. She shifts her registration to a high forward and very nasal quality—just BUT! You say…what about those few for the “belt”. This shifting in registration “older” ladies who are out there “belting”? takes the pressure off the vocal cords and They have learned some tricks that anyone yet allows her to get a good amount of can learn. The problem is that most don’t. volume and power. Note that as she goes Most people try to emulate what they higher she does NOT “flip into a head think is going on and end up basically voice”. She simply shifts registration screaming. I like to use two examples in and resonance. It’s important to note the my classes when I talk about this. One is difference. Demi Lovato singing “The Star Spangled Many people feel that the only way to Banner”. (http://www.youtube.com/ watch?v=tmz_FFrPZ5c&feature=related) sing powerfully in an upper range is to try When she first starts out singing, you can and take a “chest voice” up higher. This already hear her shaky vibrato as her is what ultimately turns into a scream and undeveloped voice is being pushed to is damaging to the vocal cords. This is the max. The rest needs no explanation. not at all what she does. The only other She just goes on to scream, to the delight alternative that most (female) singers seem of the crowd. This whole scene saddens to have available is to allow the cords me because she is being encouraged to to split and to sing in what is commonly sing in this destructive way. Worst case called (and is very misunderstood) a scenario? She’ll ruin her voice and we “head voice” which of course lacks won’t hear much from her after age 25 the power and tone they want. It often (or younger). Best case? (if she continues becomes the equivalent of a male to sing like this but with some coaching) falsetto for female singers, but instead of she’ll continue on with a vocal limp much doubling their range (like a male falsetto like Christina Aguilera has. Christina used does for men) it cuts their range in half to belt out her high notes with apparent leaving them seriously handicapped. ease, and now can’t seem to sing above I’ve addressed this concept before in my a “C#” (although it sounds like she’s column but would be happy to redress singing much higher because it’s the top this for anyone who is interested (email me). of her range). to remain healthy. Most of the “belting” that the average singer today is doing is nothing more than screaming on pitch. This kind of belting is devastating to the cords and should never be done – never! The saddest thing to realize is that this is all so unnecessary. When did vocal gymnastics replace beautiful tone? Why are we obsessed with trills and screaming instead of beautifully developed tone quality? Can we not have the best of both words? YES! Yes we can!! I contrast Demi’s voice with that of the seasoned singer Celine Dion. Celine Dion, Whitney Houston, and Mariah Carey are a few of the ladies that have learned some tricks along the way to add power to their voices without doing the damage of belting. If you check out Celine singing “Alone” on you tube: (http://www. youtube.com/watch?v=diQpMjq-lhQ) you’ll notice that she does a great job of delivering her song with meaning (and Powerful, beautiful and SAFE upper tones are available with the right training, proper placement, and breath support. Without training, damage awaits those who try to reach those higher notes by simply belting them out. Please sing safely—I want to see you singing for a lifetime! God bless, and keeping singing for God’s glory. 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: email@example.com
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By Michale Hodge
The TEO SS-12 Mando
The TEO SS-12 Mando is a very unique instrument, to say the least. Imagine a 12-string electric guitar, but an octave up. You now have a whole new palette of tone colors at your fingertips! Speaking from the world of session guitarists, it’s safe to say that having a lot of tonal options is a huge deal. Collecting pedals, amps, and different guitars is all part of the job. A 12-string electric ringing out in a track is so cool; it’s pretty much a “must have” instrument. But if you don’t have one, then having a 12-string Mando is a really sweet alternative. adds a special v o i c e to a track that is unlike anything else. The neck pickup is warm, yet still chimey. The bridge pickup is bright and finds its place easily in a mix. I had great results when using it as an overdub instrument. This guitar is simply impressive. The intonation is nailed. I’m sure this is largely because of the stiff neck, Gotoh bridge, and Zero fret. In a live setting, I found the Mando to be very usable. You could play it either in a whole set like a dedicated Mando player, or grab it for special moments. It’s very nice to pull out something that sounds unique and adds a special vibe to the band.
Low output Tele neck pickups. Both pickups on the review model are Noiseless Tele-style neck pickups. I would suggest going noiseless for both studio and live. The volume and tone pots are tight and smooth. The pickup switch is like a high quality Tele switch.
I must say, the paint job on this model is top notch. It is not lacquer, but a glassy smooth finish like custom car paint. The The TEO SS-12 Mando is custom-built by base model comes with an ash body Terry E. Ousley in Indiana. It is patterned with a Tung Oil finish, and for a small after the old Vox 12-string Mando. It’s up-charge you can get a transparent, like a mandolin in register, except it’s in sunburst, or sparkle metallic finish in CONCLUSIONS a standard guitar tuning and has twelve almost any color. I think the custom color is well worth the upgrade. There are also strings instead of eight. The TEO SS-12 is a wonderfully handseveral other pickguard and hardware crafted instrument. It proves itself useful in AT FIRST SIGHT options to choose from. the studio as well as in a concert setting. Right out of the case this guitar will String Gauges for the TEO-12 are as The sound and workmanship are Custom turn some heads. The review model is follows 10-10, 13-13, 17-17, 26-13, shop quality. Players Buddy Miller, who bright lemon yellow with a gold metal 36-17, and 46-26. I have played quite is on tour with Robert Plant, and Lyle pickguard. The retro body style, small a few 12-strings, and this guitar is very Workman both love it. The prices are size, and bright color can draw a crowd playable considering the small size. The presently in the six hundred dollar range of both curious and jealous onlookers. I action comes low and playable. I didn’t for a basic model, upward to a thousand received a lot of “What in the world was have any fret buzz issues. The balance of dollars or so when you add all the nice that?” emails after playing it at church. the guitar was well thought out, and the options. They are well worth the price. I strap knobs are in good positions. believe this guitar will hold it’s value for WORKMANSHIP years to come. If you have considered a THE SOUNDS The TEO-12 is meticulously crafted. Mando style 12-string then this is, in my The neck is made from quarter-sawn Looks are sweet, but the bottom line is opinion, the one to get. You can find out maple with an East Indian rosewood always the sound! This guitar rocks big more at http://www.teoguitars.com fingerboard. Though similar to a time! I knew it was going to sound good Hammertone, Terry uses a straight/flat when I played it acoustically and was peg head (with no tilt back), and also floored at how loud it was. I recorded Michael Hodge is a inserts the nut directly into the fingerboard it acoustically with an AT4033 mic, and producer, engineer and like a telecaster. This approach does it was very nice in the track. That was a recording artist. something special with the tone that I welcome surprise. What I love about this He’s a guitar player on missed on the Hammertone Mando. guitar is how many cool things it can do. staff at Lakewood Church There is also a zero fret that further helps Typical 12-string lines sound wonderful in Houston TX. He and his amazing wife Carrie with intonation. The review model’s neck and clear. Mcdowell Hodge record and lead is rock solid stable and doesn’t move at together at conferences all. This is a huge plus for intonation on a I plugged it into my studio pedal-board worship and was excited about the possibilities. internationally. Their passion is for the 12-string. All the hardware is pro quality. nations and to stir up the next generation The tuners are chrome Gotoh Kluson The chain was an Aphex compressor, Klon of worship leaders both singers and Centaur, a Tim overdrive, followed by a vintage style. The bridge is a high quality, musicians . Michael is in constant pursuit of great fully individually adjustable chrome Gotoh DD20 delay into a 1962 Vox AC30. I 12-string bridge. The body is made of was very impressed at how usable the tones and great gear! solid Alder. A standard model comes with Mando is for distorted lines and chords. It
JULY/AUG 2011 WORSHIPMUSICIANMAGAZINE.COM
EVENTS for CREATIVE TYPES to IMPROVE SKILL & INSPIRE TALENT for GOD’S GLORY
September 16 & 17, 2011 Cornerstone Fellowship, Livermore, CA featuring Peter Furler, Lincoln Brewster, Brenton Brown & others...
October 14 & 15, 2011 Scottsdale Bible Church Scottsdale, AZ, featuring Peter Furler & others
October 8, 2011 Calvary Community Church Westlake Village, CA featuring Brenton Brown & band, Dwayne Larring, Tom Brooks & more
November 11 & 12, 2011 Overlake Christian Church, Redmond, WA featuring Peter Furler, Phil Wickham, Lincoln Brewster, Paul Baloche, Christy & Nathan Nockels, Doyle Dykes, Zoro & others
“Rending your hearts,” a community effort and walking in faith are the ethos behind one of the most creative musical offerings rising out of Ireland today; The Rend Collective Experiment. Their unique blend of Irish folk and rock— rooted in faith—is quickly carving a place in the hearts of Believers and nonBelievers alike.
Aimee Herd: You’re not the typical five or six member band; how many players make up Rend Collective Experiment and who are they? Gareth Gilkeson: There’s a core of the band which would be the four boys; myself, Will Herron, Chris Llewellyn and Patrick Thompson. Then there is Will’s wife Bridget, and my wife Alison. We’re the core of the band and the six of us tour. But whenever we’re at home, the idea of “collective” in terms of a bigger number would take place. It’s hard [to do that] when we travel, but
when we’re at home, sometimes we’ve had 13 or 14 people playing with us on stage. But, the heart of Collective is that it’s not just about music, but relationship and the spiritual evolution of the band...i.e.artwork, etc. AH: So, as you’re touring with just the six of you—thinking back to all the instrumentation that has gone into your album—how hard is that to replicate? GG: It’s fine because there is a lot of brass on the album that’s controlled by an instrument called an EWI (pronounced “eewee”). We have four brass players on the album, but all four brass players are controlled by this instrument. It’s kind of like a clarinet
JULY/AUG 2011 WORSHIPMUSICIANMAGAZINE.COM
but it’s electronic. And then my wife AH: So, how did this band come plays all the percussion and that fills up about, as well as it’s name? all the quirky sides of it. GG: Well, “Rend” was a student One of the unique things about the movement that a friend and I started band is that we have two lead singers. 10 years ago. We had noticed that, It really is the heart of Collective; in the Church, when kids got to be everyone wants to find the one person about 17 or 18 many times they would they can ascribe the glory to, but we drift away. Although they’d been like to put across a real community and brought up in youth fellowships, they’d team effort. drift away to secular styles of a band So, on the tour it’s a lot fun. And it’s because there was nothing really in actually a little easier to play with less the church for them. So, we started people, so the [group of] six people is a student movement—I was 21 at the time—it was called Rend. We had probably my favorite to play with. about 150 people coming to it which AH: I can understand that, but it must is really quite large. They were coming be pretty powerful when you have as from different places and eventually it many as 14 musicians on stage and the became a community where we’d meet song is building with everyone coming every Sunday night to worship and in... pursue God. GG: Yeah, that’s right, it is a lot of Then we’d do community work during fun—sometimes unmanageable—but the week; mission work in our own it’s good fun! (Laughing) home town. That’s where the name of AH: Sounds like the Christian life; a the band started from—the two lead little unmanageable at times, but good singers in the band were the worship leaders for that, and the whole band fun. sort of grew from leading worship in GG: (Laughs) That’s right. that context. Those were very informative times where we learned a lot more about serving God and serving our community, and the cost of what it meant to serve
Christ—that it wasn’t just a Sunday idea but an entire lifestyle change. Then the “Collective” part of the band came about four or five years ago— because we’d all grown up and were pursuing jobs or were in ministry—and we decided that we would make a collective out of all the people who took part in Rend as worship leaders and other parts of the worship. That’s really what the band is. Sometimes we don’t use the last part of the band name; “Experiment.” But the reason it’s there is we have found that sometimes in the Christian community we can expect life to be simple, and it’s a good reminder to us that when Jesus calls us out in faith that it IS an experiment, and that it’s not necessarily something that has been done before. We may not know what the results will be, but we step out in faith, take the risk and trust Him. AH: I love the creativity and the
WORSHIPMUSICIANMAGAZINE.COM JULY/AUG 2011
Rend Collective Experiment - an interview by Aimee Herd
done, and it encourages a spirit of Family Hymnal, each song is kind of its collaboration, rather than a spirit of own rich tapestry. Pick a couple that competition. hold a lot of meaning for you and tell For example; I may write a song and us about them. bring it to the other three guys and they might say, “Oh yeah I like that, but here’s a line I’ve written that would sound better...” So, the four of us work together—the larger group doesn’t take part in the songwriting but they would take part in the musical side. AH: I can see where that would just foster that community spirit. GG: Yeah, and I think that’s more important than anything. Each member of the band knows that they are valued and that they’re a massive part of the team. AH: You talked a little before about the instrumentation with the brass, but there are so many layers to your music; what was the recording process like unique sound that Rend Collective has. for this debut project: Organic Family Was that the way it was during the Rend Hymnal? worship times and it just morphed into GG: The recording process was a the album then, or was it a conscious little like the rest of our lives—a bit of a objective to pursue a certain creativity. mess! We recorded in a castle... GG: There was always a quirky AH: Wow! element to everything we did, I think GG: ...in the north of Ireland. I have a because we are just quirky people! In our home churches where would have background in recording, and a friend been just the normal worship band, of mine also, and we went to a castle and though we took part in the regular and recorded it in the mountains for a services, we always wrote music and few weeks. Then we came back and played music that was just a little bit did the rest of it in my house—which quirkier. The thing is, what we write is isn’t a big house at all. We did that what makes sense to us. And, I suppose because we wanted to have the organic the important thing to remember with feel. We controlled everything, it didn’t worship music and in glorifying God is go into the studio with producers, we that there are many voices and many produced it ourselves. The plan was to ways to worship Him. We’re just trying just throw it all in the pot and not to to worship in the way that makes sense have any rules, and see what happens. to us, because of who we are. AH: (Laughing) I’m still getting over AH: That’s the thing; it’s artistic and yet the castle thing—I guess castles are it’s still really worshipful. As musicians, pretty common in Ireland... you haven’t limited yourself to the GG: They’re not normally common for boundaries of any particular sound. recording though... And, on that note, does “collective” AH: No! So, how did you work that, also refer to the writing process, how did you need to bring in generators for does that go? electricity? GG: Yes it does. There’s a model in GG: No, this castle had been worship music where the songwriter refurbished on the inside—it’s a few is typically the leader of the band, it’s that way for practical and financial hundred years old but it’s had work reasons. But, for us as a band, we done on the inside so we could stay made the commitment that we would there as well. split our publishing between the four AH: Oh (Laughing) see I was picturing boys—Chris, Patrick, Will and myself— these ancient ruins... so the four of us, the core of the band, are the songwriters. It doesn’t matter GG: Oh no, no... but we do still have who writes the song, but everything castles that are a thousand years old is split 25 percent. It’s a model that standing. U2 or Coldplay, bands like that have AH: On your debut album, Organic
GG: The first track on the album, Come On; that was actually written while we were recording the album. It’s a song we did on the staircase in the castle at about 3AM. It’s a real call to worship, we play it everywhere. When we start off, the room feels relatively cool to us, but by the end of the song I think people are “listen up” enough. The idea of the song is to make people aware that they are there to worship God. Psalm 103 says, “Bless the Lord o my soul.” We need to speak to ourselves and prepare ourselves—we can’t just wander into the presence of God and expect to connect with Him. I love playing that song; it’s so raw as well, live and on the YouTube video. On that video we do the song around a campfire with some friends, and it’s got that sort of raw, rootsy, passionate feel to it. As far as other songs... there’s a track called Movements, and for us it’s a happy song. There’s joy in it and celebration, but the lyrics are actually about commitment in whatever the situation is going to look like. That we’re making a commitment to God. And then the chorus is an acknowledgment that although we’re making a commitment to Him—the only reason we can do that is because He’s the movement and fight in us. It’s a song of real abandonment, but with joy and celebration in the fact that no matter whether life’s great or bad, whether we’re running to God or crawling to Him, that we’ll keep making movements to Him. And, maybe one more; the track You Bled is probably the song we do a lot in just normal congregational stuff. The middle of the chorus just repeats “yes Jesus loves me”—it’s a very simple idea, and almost an embarrassing idea because it’s so simple. Sometimes people could see that as silly. But for us, it’s a point we came to where we just humbled ourselves and said, “Y’know, we’ve made faith complicated; we’ve struggled with a lot of things and we’ve asked a lot of questions, but when it comes down to it, the simplicity of the fact that “yes Jesus loves me” is very powerful. It’s actually the gravity that holds our faith together. AH: That’s so true! We get so caught up in theological discussions... GG: Yeah, so when we do that live, that has a power to it and a liberty to it, which people seem to get on board with.
JULY/AUG 2011 WORSHIPMUSICIANMAGAZINE.COM
Rend Collective Experiment - an interview by Aimee Herd
the difference whenever worship and the Word partner together. It’s been a great experience and we’re making a lot of friends. AH: And what about at home? How is Rend Collective received there in Northern Ireland, because it seems like there’s a real creativity that God’s been pouring out there and throughout the UK.
AH: There’s always a well to draw from... GG: (Laughing) Yeah, a well, or a ditch. I’m not sure which one! AH: Early on you mentioned the EWI that you use to control the brass sounds; talk a little about the rest of your gear... GG: I play drums, and occasionally my wife plays [besides other percussion] the trash can. Some people have read a little into it and said “what man meant for garbage, God meant for glory...” we were like, “Oh well there ya go; we never quite thought of that, we just thought it made a good sound.” (Laughing) So, we use that and things like the glockenspiel, mandolin and more folky instruments. And, because of the Irish element, we do have a reasonable folk element to what we do.
GG: Yeah, and I suppose one area the UK is maybe ahead of the US is that the UK—in any terms of music—is not always all that polished, like you maybe haven’t got the best musicians. But then they seem to major on AH: I just have to add, on the song the creative side rather than the God Is Near—that vocal part at the end technical side. And in the US there are sounds like angels singing. I believe amazing, unbelievable musicians [but I’ve actually heard angels sing a couple maybe not as much creativity]... I guess AH: But it doesn’t really sound times and it sounded a lot like that. that’s one of the differences between Celtic... there’s the UK element, but it’s not necessarily Celtic sounding. GG: Ah yeah, it’s very angelic; it’s the two sounds. a lovely moment when we play that But, at home in Ireland we’re well GG: We’ve taken the bits of our and then just the acknowledgment that received, we lead worship at the biggest culture, which we love for the folk God is right there. And you do see youth festival there is, and it gives us a element, and we’ve left the other parts— it in people’s faces whenever they’re chance to try different things as well. like the pennywhistle, and fiddle, which listening to the lyrics and taking part We’ve tried worship events at a normal we feel is a bit cheesy—behind. With in the song—the awareness. God’s music venue/pub sort of thing, which secular bands like Mumford and Sons, always here, but sometimes the is something you can only really do there’s been a revival of folk music awareness isn’t, we can be completely back home in Ireland. It doesn’t seem in the UK and it’s nice to be part of and utterly numb to that fact. to be culturally the same in America. what music’s doing rather than the AH: It must be kind of cool when One of the things that makes me most way Christian music often seems to be you’re playing it and you begin to encouraged about back home and in behind the times. see that awakening on people’s the UK is that people here who aren’t AH: It’s nice to be on the cutting faces. I also really like the song Above Christians like our music too. That’s edge... Everything Else, with the children singing because we, or other Christians, have GG: Right. And in September, the and the brass at the end, it brings me relationships with them, and though the words may not be their cup of tea, band is releasing a single of the song to tears. people are really into the music. So, Be Thou My Vision. We’ve re-translated GG: Ah, but it’s a bit crazy isn’t it?! I’m encouraged about that. it from the Gaelic Irish. The modern We did that the other night in Colorado translation of “be Thou my vision,” Springs. We do just the ending, “King AH: Are you guys looking ahead to a gives to the singer the idea that we’re Jesus” section quite a lot rather than the second project? asking God to be those things for us, whole song. We did that the other night GG: Funny you should say that, as but the actual Irish intention was “God at a student thing, there were about soon as we get home from the Tomlin You are these things to me.” So, we’ve 400 students there and the sermon tour, we have a week in Europe, then re-translated it and the song is called was on Christ’s entry into Jerusalem on it’s straight back and will be starting to You Are My Vision. a donkey. We started singing “King record our second album. AH: That just kind of changes the Jesus, You are victorious”... the place whole tone of it. AH: Wow, that’s fast. went electric! GG: It does, and it’s very powerful. AH: So, how has this tour been, GG: Well, the album you have just released in the States is about three or We’ve done it on the tour. It’s a lot you’ve been touring with Chris Tomlin more Irish, very folky and upbeat and in the States? Is this your first time four years old. It released in America in September of 2010, but it had released people seem to like it. So, hopefully touring in America? in the UK in January of 2010. And, we’ll have that done and released for GG: This is our first time doing a the songs and recordings were actually September. major US tour. It’s been fantastic. The done about two years before that. Find out more about The Tomlin team have really made us part Before we were signed to a record label Rend Collective by visiting their of the family; Chris has been amazing we had two independent EP’s which we website: to us. It’s been good too because Louie then put together, re-recorded some Giglio has been on team with them so and put them on the album. Because www.rendcollectiveexperiment.com whenever they do their thing, it feels like there are four songwriters, there are church-on-the-road. And it makes all always songs coming out.
JULY/AUG 2011 WORSHIPMUSICIANMAGAZINE.COM
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YOU BLED YOUR HEART OUT
Jesus loves me G D Bm F m7 Em7
Rend Collective Experiment
Verse 1: Bm G You bled Your heart out, Bm D F#m7 Now I feel love beat in my chest; G D How wonderful. Bm G You gave Your beauty Bm D F#m7 In exchange for my ugliness; G D How wonderful. Em7 G D D2 You left Your perfection Em7 G A D F#m/C # And embraced our rejection, oh. Chorus: Bm G How marvellous, how boundless D A Is Your love, is Your love. Bm G How wonderful, sacrificial, D A [1/3 & last x. Bm Is Your love for me. Verse 2: You put on our chains, Sent us out through the open door; How wonderful. You took our sadness, Crowned us with joy and real peace; How wonderful. You left Your perfection And fought for our redemption, oh. Mid section: G D Yes, Jesus loves me; Em7 A Yes, Jesus loves me, how wonderful. G D Yes, Jesus loves me; Em7 A This is love: You gave [2° gave] Yourself.
Copyright © 2009 Thankyou Music/Adm by worshiptogether.com songs excl. UK & Europe adm by kingswaysongs.com firstname.lastname@example.org. Used by permission.
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By Heidi Todd
MATT REDMAN 10,000 Reasons 1. We Are The Free 2. Here For You 3. Holy 4. 10,000 Reasons (Bless The Lord) 5. Fires 6. Never Once 7. Where Would We Be 8. We Could Change The World 9. Magnificent 10. O This God 11. Endless Hallelujah Matt Redman and his strength in worship music have been a big benefit to the church for a long time now. We’ve been stirred up by his songs and have been singing them across the world with passion (no pun intended) for years. If you’ve been a believer for a long time, you can probably relate to the ebbs and flows of your zeal and fire for God. Matt has been serving and following the Lord for a long time himself, and has invited us into the story once again. This album has an intensity that surprised me a bit. Even the piano-driven beginning of “Holy” sets up the feeling that something is about to happen...and it does. The live element of the album makes it even that much more personal. It’s easy to picture worshipers by the thousands, joined with angels by the millions, focusing on and exalting God. Recently I was in a church whose worship band was full of capable, energetic, well-meaning band members. While they delivered the music and lyrics, the one time they became enthusiastic in worship is when the music got revved up; but it was the music, not the passion for God that revved them up. This has not been, nor it is now, an issue for Matt Redman. He has exuded a maturity paired with passion that is pure gold for a worship leader to possess. And even though he is a worship leader who is very much associated with leading our younger generation of worshipers, he doesn’t dumbdown or diminish the power of the Word and the pursuit of God’s presence. As far as instrumentation goes, he includes the basics - drums, guitars, piano, keyboards, strings. Throughout the album you can hear inventive but sparing use of those instruments as well as a couple others that you might not
expect. I don’t want to spoil it, but there’s a subtle nod to a certain famous rock band on the drums in “O This God”. The vocals reflect the uniqueness as well; in particular, the backing vocals. There are times when they’re hovering or swooping in and out that is both unexpected but appropriate. It’s a fine line for an artist to keep things fresh musically without allowing that to overshadow the purpose of the songs - to bring attention to the Lord. The bottom line: I’m eager to get a chance to start introducing the songs on this new release into future worship sets. Regardless of the fact that I don’t have Matt Redman’s band to travel around with me, the songs will stand on their own two feet and will still translate in even the humblest of musical settings. Can’t wait! VICKSBURG We’ve A Story 1. The Good And Only King 2. We’ve A Story To Tell To The Nations 3. Victory 4. Speak 5. Love Is Killing Me 6. Hallelujah (What A King) It’s typical for us to review music that is sent to us from major labels. They continue to send one great album to us after another, so we never run out of material. This release is a bit of an exception, in that it was sent to us from a self-proclaimed “no-name” worship project who produced their own album. They were recently featured on a SongDiscovery disc and stepped out a bit to see if WMM would review this album. After a brief skimming of their blog, I started to hear their hearts long before hearing their music. Their commitment to be authentic caught my attention, and it was great to hear the music tell that story. But don’t let their seeming obscurity fool you; with former members of Future of Forestry, this is not their first time around. But it’s as fresh as if it were. They’ve managed to add some drippingwet effects without outpacing their content and substance. The sound and feel of the music moves back and forth between simple lightheartedness and restrained intensity. This is one of those bands whose instrumentation Overall impression
isn’t merely a backdrop, it sings and soars with the same legitimate worship as the vocals. In that regard, “Victory” reminds me of one of the songs released by the band The Listening where the vocals and instruments took turns voicing praise. That’s rare, and when it happens right, it’s a beautiful thing. Even though they’re so adept in the recording studio, this is a recording project that reflects many a quiet hour in private worship and reflection. I can’t recommend it highly enough. No, not every song will be the kind that the ‘average Joe’ at church will be able to jump right into in a corporate worship setting. Nor should it be expected of every song on every worship album. But there’s no question that this is heart-pounding, adoring worship to God - and that is appropriate everywhere. There are only six songs on this release, which if it was vinyl, would soon become worn out from overplaying. There’s an authority and a tenderness that we can’t get enough of in a digital, sometimes impersonal Facebook age. I believe this band would be equally as comfortable in a large hall as they would the local coffee shop - no wonder I appreciate it so much. THE CLASSIC CITY COLLECTIVE Leave Your Guns With The Usher 1. In The Arms Of Love 2. No Greater Love 3. God On High 4. A Mind At Perfect Peace 5. Darkness Turns Around 6. Set My Mind On Truth 7. At Your Feet 8. All Rejoice 9. My Offering 10. Love’s Left Standing 11. Great Is Thy Faithfulness 12. You’ve Had What You Need Okay, I have to admit - you had me at “leave your guns with the usher”. If I was ever going to be a sucker for a great album title, this would be the time. This is another one of those albums that popped up out of nowhere - a third party recommendation. But again, yay! If you know people who are putting good music out, please do them a favor and pass it on for review (I’m a little scared that I just said that). But bring it on! Back to The CCC. I’m not sure what to attribute all of these sudden bursts of originality and freshness to, but I’m so glad it’s happening in worship music. It’s
Average church congregation could learn/participate on the first hear Can be learned/adapted by a band of average skill Lyrical creativity and integrity
Matt Redman 10,000 Reasons Vicksburg We’ve a Story The Classic City Collective Leave Your Guns With the Usher Jake Hamilton Freedom Calling Aaron Keyes Dwell Benji & Jenna Cowart Letters to the Church at Buffalo
JULY/AUG 2011 WORSHIPMUSICIANMAGAZINE.COM
ell w D
Aaron’s gifts are brought to the surface: his unique ability to weave Biblical truth with heart-felt worship, to create melodies that hang around for days and lyrics that resonate across the generations.
Dwell’s tracks contain an exciting new sound with heavy drums and an electronic influences. Like Aaron himself, these songs are rooted in the local church, dealing with everything from transformation and forgiveness to the nature of God and the mandate of the local church to build the kingdom.
Available June 21
WORSHIPMUSICIANMAGAZINE.COM JULY/AUG 2011
JAKE HAMILTON Freedom Calling not that this band has reinvented modern music or anything, it’s just that they have a personality. And not so much so that it lacks depth or spiritual significance. It’s interesting, but not hard to digest. It’s skillfully produced, but without stripping it of the rough and real quality of the people invovled. One look at the album cover and all of those people and you may wonder if they’re all jockeying for position, or overplaying/ oversinging. Nope. They make plenty of space for each other. And it’s not because they’re seasoned veterans with stacks of albums and decades of experience behind them. I couldn’t quite figure out how they pulled this together so wonderfully until I read their Facebook a little and discovered that these people spend a TON of time together. They’re heavily involved in their church, Classic City Community Church, but they also love to hang out in their spare time. Their ability to fit so many thoughts and ideas into their songs is reflected remarkably in the interesting way fairly basic instruments are made to sound like they each have their own story to tell. One of the things that I love so much about this band is their ability to weave emotions into unexpected but welcome places in the songs. One of the merriest sounding songs I’ve heard, “A Mind At Perfect Peace”, usually leaves me brimming with tears. It’s such a reassuring message of Christ’s love - “nothing can separate us and there’s nothing to be afraid of.” Simple, profound, enjoyable, and meaningful. I also enjoy the theatrical approach to some of the song like “Darkness Turns Around”. It’s so over-the-top that you just don’t want to take it seriously. It’s full of attitude and authority; definitely not designed for a singa-long, but I’d love to see this done live within the context of a church service. I was recently asked to sing “A Mighty Fortress Is Our God” and was surprised to rediscover how focused it is on the overcoming of a real and dark foe. There aren’t many songs that we sing that give much attention to our enemy (for good reason), but there’s a time and a place for this kind of defiance. And that’s why I think a song like this would be so appropriate in a church service - we are overcomers, and we’re due for a reminding. I love these guys in all their dissonance and diversity and will be a fan for a good long time. They are consummate musicians and inspiring worshipers. Okay, I’m done. . . but seriously, do yourself a favor and go grab a copy! 1. War Drums 2. New Song 3. Supernatural Revolution 4. You 5. Take It All 6. It’s A Garden 7. Looking For One 8. Breakout 9. Freedom Calling 10. Darkest Before The Dawn 11. Hallelujah This album comes on hard, with its first track, “War Drums”, pounding away as if provoked. Immediately I noticed something that was a funny ‘full-circle’ moment. In quieter moments, Jake’s voice takes on a bit of a Caleb Followill (of Kings of Leon) sound, which is ironic because of the little-known fact that a strong vocal influence early on for Caleb was Russ Taff, a former heavy-weight in the Christian music scene. Just thought you’d like that bit of trivia. Of course, that’s where Caleb and Jake part ways - Jake Hamilton, also with the group Jesus Culture, unapologeticly and unreservedly has thrown his powerful voice into heavy worship. ‘Heavy’ in the sense that the first track includes scripture reading out of Revelation (not light reading to be sure) as well as floor toms that sound like they’re being hit by two-by-fours. The bass is heavy, the guitars are driving, and you’ve entered Jake’s world with an almost tenminute, full-force worship song. This is not your granddaddy’s worship album. Or is it? Jake and his band venture into the occasional flare of Southern-style guitar licks bordering on twangy country tones. And the baffling mixture of styles doesn’t end there. There’s spoken word interlaced with music that evolves in and out of various eras and genres. There is no need (or way) to pigeon-hole Freedom Calling into one type of anything. Just when you think you’ve been able to, the next track will come along and throw you off. Personally, I think Jake’s voice shines brightest on track 9 “Freedom Calling” and it’s coupled with smooth Pink Floyd guitar foundational stuff with some crazy lead guitar way up high. I can’t figure this guy out, but that’s part of the fun of it all. I liked the God-centered, God-glorifying focus of the album as well as the inventiveness in which it was packaged. Where Jake sometimes lost me was on the many long-running track lengths, and a couple of glimpses of indulgence of creativity, or passion over substance. Just be ready to be challenged and confronted by Jake’s commitment to individualism and
his rally cry. And...you’d probably feel most at home wearing combat boots while you listen to this album. AARON KEYES Dwell 1. O My Soul 2. I Am Not The Same 3. Sovereign Over Us 4. Song Of Moses 5. Dwell 6. In The Name Of God 7. Only Just Begun 8. Sinless Savior 9. Life Without My God 10. Raised Me Up 11. Every Knee Will Bow Down 12. Hope Is Dawning 13. Lavish It’s been just a few weeks since I saw Aaron Keyes live. And it wasn’t your typical live experience; he was the main worship leader for my denomination’s annual convention for several days. He led worship each evening, which was great; but where I saw Aaron’s strongest vein was in his ability to facilitate powerful, anointed, and poignant moments of altar time. The thousands of attendees at our convention are primarily pastors and church leaders, and in the years I’ve been attending, I haven’t seen such a vulnerability and tenderness in the corporate worship until this year. Aaron and his team are sensitive to the Holy Spirit and to the leadership they are backing. He had a hand in many hearts being changed in very lasting ways this year. Throughout the convention, he constantly encouraged the pastors and leaders with scripture and promise. This guy knows the Word, and his knowledge of the Word is mature and respectable - I believe this was an aspect of his leadership that helped him to connect quickly to that room filled with pastors. I first met Aaron in 2010 at another conference, and after hearing one song I knew we needed to review his album for Worship Musician Magazine. . . so we did. The first time I saw him he only led a couple of songs, and the album that came in the mail far exceeded my expectations. There was something deeply personal within the album that I hadn’t picked up on in person. Oddly, in this release I’m having the equal but opposite reaction. I feel less connected to Aaron on this album, in part perhaps because of the higher production value. It’s a good album, don’t get me wrong, but the raw personal connection from his last album wanes a bit on this one. This caught me off guard after having such God-encounters under his
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JULY/AUG 2011 WORSHIPMUSICIANMAGAZINE.COM
By John Mills
Practical Mic Techniques in Live Audio
Part 1 - Guitar Amps
If you are looking for the technical side of how and where to place a microphone, then this month’s column will frustrate you. If you are looking for some tried and true “field engineering” techniques, then hopefully you’ll find something of use. live systems are going to show that much of a difference, in my opinion, to justify those dollars. And… keep in mind… your system is only as good as the weakest link. If you have a twenty thousand-dollar Over the next few installments we are soundboard and a fifty-dollar speaker going to focus on the extremely practical system, and are considering buying a side of mic placement that I’ve found very thousand-dollar mic, your brand new useful over the years. Whatever mic you thousand-dollar mic will still only sound choose; most of these placement ideas like fifty bucks. I’m about to share will help out. Due to Which mic? space limitations we are only going to When choosing a mic it’s a good idea be able to cover mic placement for guitar amps in this issue. So go ahead and to understand its pick-up pattern. The drop me an email so I know what you pick-up pattern describes what the mic guys really want to cover in future issues. “sees.” A mic with an omni-directional pattern will hear everything around What microphones? it, as shown in figure 1. A cardioid I know I’ll get a good deal of email configuration narrows that pattern down about what mics to buy for this instrument, to mostly what is directly in front of, or or that instrument, so to try and head to the side of the mic, as shown in figure that off, I’ll just tell you what I use and 2. A super-cardioid does a great job of provide pictures of them in use. I’ve rejecting anything that is not pretty much tried many different brands and models directly in front of it, as shown in figure 3. over the years, and Dynamic mics are much simpler in have settled on design, and therefore are usually more these being the best durable as well as more affordable. sounding for the best Condenser mics, on the other hand, are dollar value. Can more complicated in design and often you get cheaper cost considerably more; but generally are mics? Yes. But when also more articulate and capture more of I’ve taken those out the lows and highs. and used them, Let’s keep in mind that no matter which I’ve often found that microphone we use, most of them are by the time I have them repaired, or pretty much just going to do their job: To replaced, I should amplify what it hears. Therefore if the have paid just a little actual singer, amp, drum, or instrument more on the front doesn’t sound good without a mic, it side, and gone with probably isn’t going to sound much better the better quality with a mic on it. mic. Guitar Amps ‘What about more Here is a tricky little instrument. I say expensive ones?’ ‘instrument’ because really good guitar you might ask. Well, players can make amps sing. There is they are no problem nothing like a well-tweaked amp with a to find. There are great guitar player plugged into it. So many companies let’s try and really capture what the player that have big price is doing. tags on their mics. The biggest tip for a good sound with So, if you’re loaded, only one mic is to place the mic right then go ahead; but honestly, not many on the line between the dust cover and
the speaker cone. This will give you a pretty tight sound that will work well for everything from clean to distorted sounds. If I only have one mic or channel available, I generally go with a condenser. It’s more articulate, but I can always ‘dumb down’ the eq to make it fit in a tight mix. Whereas with a dynamic, it’s hard to get a really pretty top end if the mic has not captured it. See figure 4. The more you move a mic toward the center of the speaker, the brighter it will sound. On the other hand, the more you move it toward the edge, the duller it will sound. If you have a player whose amp is pretty thin or too edgy sounding, then try moving the mic more toward the edge of the cone to tame those highs before you reach for the console eq. My favorite thing to do is double-mic an amp (see figure 5). I use a Shure KSM27 condenser about 1 to 2 inches away
Continued on page 48
JULY/AUG 2011 WORSHIPMUSICIANMAGAZINE.COM
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MINISTRY + ARTISTRY = PROFITABILITY? CREATING YOUR MAP™
By Scott A. Shuford
Over the last few columns, we’ve been talking about Promotion. Last time, we walked through a brief overview of Public Relations, otherwise known as PR. Now we are going to talk about Advertising. My philosophy on advertising is that in most cases, the goal of your ads should be Data Capture. You can read my blog on that topic at http://tinyurl.com/ WhatYourAdShouldDo. The key to all of advertising is to answer the following question for your target audience: What’s In It For Me? The person viewing your ad is fully tuned into WIFM. Your message has to answer that question with something of value to the end user. Period. If you don’t do that, then your ad will not be effective. Many ads in our industry simply say “Available Now” which is ok if you are someone like Hillsong or Chris Tomlin where fans are literally excited just to know that something new is out. However, for most of us that is not the case. Give your targeted ad viewer something of value to respond to so that you can capture their contact information. Music sells because people hear it and like it. Just about every music ad should at least invite the viewer to “hear it now,” watch it now,” or “free song download now.” You don’t need to say it exactly that way, but that should be part of your message. Be sure to capture their contact info in this process!
worship artists should be considering Worship Musician. To move into the national arena, you really need an advertising strategy rather than just putting out a couple of ads, which is part of what the team at FrontGate Media does for the entire Christian music community. Contact or printed ads. Advertising in its broadest us for a free consultation before you pay sense can include everything you do for an ad anywhere. It’s what we’ve been from your email newsletters, to what you doing for 10 years. say on stage, to what’s on your trailer So far in the MAP, we’ve talked about as you drive to your next gig. Since your Mission, Fan Development, the Nonadvertising is nothing more than targeted Profit option, God’s Growth Strategy, the communication, it can encompass all the Four P’s, Social Media, PR, and now ways in which you communicate. Advertising. Next time we’ll take a look What can you give that is of value? at several “no-brainers.” Until then… Some things are probably connected to your music, but others may have no Scott has led classes obvious connection. Hearing or watching for us at NAMM and your music is of value, hopefully! You can the Christian Musician also do giveaways of your music or of Summit. He has been featured in Adweek and things connected to your music like song is the CEO of FrontGate Media, posters, or VIP time with you. Many the #1 culture-engage media group people do giveaways of the latest techno- reaching the Christian audience gadget like an iPad or a Flip camera (www.FrontGateMedia.com) and is because those things are of value to the the co-founder of Creator Worship: online radio for worship leaders audience. (www.CreatorWorship.com). Email Look at what others are pitching you in your comments or questions to Scott@ their ads. Watch TV, listen to the radio, CreatorLeadershipNetwork.com look at the ads on Facebook and Google, or on the web sites you visit. Some will be more effective than others, but start paying attention to what others are doing in their ads. That will help you to grow in this area. Not all advertising has to be paid. You can work out advertising trades. For example: Do a drawing with the church that is hosting you as a guest. Send a personal video greeting advertising your upcoming appearance and tell the people to logon to your Facebook page for a chance to win free tickets to the evening concert. That ad promotes you being there, giving them a flavor of who you are and gives them a chance to get in free, while adding themselves to your Facebook page. That’s just one example of a no cost ad idea. The church gains because they are bringing you in as an added value for their members, so by showing the video, they are communicating that added value to their members.
Tune in Creator Worship Online Radio: Teaching & Training Hear it today… Use it tomorrow. WorshipTeamTraining.com Richie Fike (Indie Extreme) Monica Coates Tom Jackson NewReleaseTuesday.com Rick Muchow (Saddleback Church) Tech Talk with Wade Odum and more… Twitter: @CLNetwork Facebook.com/CLNetwork
Advertising is about Benefits. WIFM is about what the viewer finds beneficial to them. With music, a massive part of that is the listening experience, but it isn’t the only thing. Worship music delivers additional benefits to the listener. Your church or personal life experience shared in the songs delivers benefits. Use your advertising to tell about those benefits. Look here at the well done direct email ad from VideoBlocks.com sent through Paid ads are also an option. Any artist Worship Musician and WorshipTogether. who is looking to develop a national Ask yourself what’s in it for you? What following should be advertising on benefits are they pitching you? HearItFirst.com and NewReleaseTuesday. Ads are not just banners or direct emails com, two top Christian music sites, and
Tune in Now at
JULY/AUG 2011 WORSHIPMUSICIANMAGAZINE.COM
By Michael Gonzales
Enhancing Worship Through Leadership
Living a successful Christian life as a church leader is not easy. We want to make a difference for the Kingdom, and we want to make a difference in others. One of the hardest things to do is asking someone to leave a worship team, but I believe there is an even harder assignment—carving out time to love and care for our worship team members and singers! Why do I say that? For one, we live in a fast-food society. In our church, as soon as second service is over, we have to clear the stage because 30 minutes later the Spanish congregation begins. I hardly get a chance to say goodbye before the stage crew is rearranging mics and changing keyboards. I will say, it is an interesting event to watch, kind of like a ballet—only none of us took lessons. . . but we seem to do it very instinctively. Another challenge is when you see that “expert” approaching you and you cannot find an escape hatch and that person says, “You know, there were a few alt chords you played wrong today. I can play next week and show you how to play a tritone substitution of the flat five correctly.” Then we start thinking in our minds, as Larry of the Three Stooges would say, “Why you!”, or as Moe would say, “Wise guy, huh!” Well that’s how many of us feel when someone approaches us with criticism, or even well meaning advice. We want to run away. I generally do not have bad feelings toward anyone, but when I get those creepy feelings about someone my visual picture is Tooter Turtle yelling, “Help, Mr. Wizard!” (okay, I’m dating myself). members out of the picture. Is that right or wrong? Will people be hurt? Probably. One thing I admire about our pastor is his stand for our worship leader. His position is, “If that is his vision and I bear witness to that, then I support him.” Let me tell you what a bad decision looks like. It’s when you kind of have fuzzy feelings for where you’d like to be and you make rash decisions without counting the cost. The end result is usually blurry and unsuccessful. What also affects the outcome is how you take action. If you go to someone on the worship team during a rehearsal and you realize that person cannot meet your expectations, even before you can call a sub, you are already escorting that person out the door as if you were God’s appointed bouncer. My recommendation is: be careful how you treat anyone. I know of situations where the Senior Pastor has received calls from longtime members giving him an earful of how he or she was treated or dismissed. If you, as a Worship Leader, are ever questioned about why you made certain changes in your leadership team, I recommend doing the following: like, “Well she’s always coming in here and messing up what I’m trying to do.” Those aren’t facts. Those are impressions left in your mind over events that may or may not have occurred. Here’s another ego buster. Your Senior Pastor has just made a decision to “try something different and new” for a few weeks. It could be just doing two songs at the beginning of service, or adding in songs you had long forgotten. No church is perfect, and when it comes to “experimentation” I can assure you, at some point, there will be failure. We have to adjust our thinking when things go bad. One day I was asked to play a song. I tried to tell the Senior Pastor that I had forgotten the song, but apparently it was important for me to sing it at that moment. Boy, was that a disaster. Two things stood out in my mind since then. One, the Pastor was brave enough to go “off script”. And two, when he talked to me about it later, he never held a grudge. It was as if it never happened. I think those two elements are examples of New Testament leadership—a freedom to try new things and never using a bad experience as a card to throw down against another staff member. Make good choices even if it hurts. Do all things in love. Seek the advice of others. When making major changes, don’t be fuzzy about it, but intentional. Don’t think by “rearranging a room” (in this case - worship team members), that you are going to make things better. You still have the same furniture, and in reality nothing much has changed. Get all the facts down on any critical decision you make so you will not be attacked. Be open to spontaneity. Carve out time to get to know your worship team members one by one. Finally, be ready, alert, and able to lead a charge when called. You’ll never go wrong when leading by example. Christ taught us that in following Him.
Protect the ministry and yourself by finding the right words to say in making tough decisions. Act on truth, not in anger or frustration, but in love. Be prepared to explain exactly what happened. Uncover the facts. Make sure that what you are telling your colleagues is exactly what happened. Support your tough decision by offering witnesses to your colleagues who saw or heard exactly what took place. In my office at the university, I The balancing act lies in discovering always leave my door open, even during how to be strategic, yet loving. You have a consult, because I know that if something a vision; you have an ideal picture of goes wrong one of our secretaries can what that worship team should be like. serve as a witness. Finally, go back to You have made some strategic changes what is true and stay focused on what to enhance worship and oh, by the way, really took place, not on other tangents that leaves some original worship team
Michael Gonzales, Ph.D. Professor, Biola University email@example.com
JULY/AUG 2011 WORSHIPMUSICIANMAGAZINE.COM
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September 9-10, 2011 Ridgecrest NC
GUITAR GRAB BAG
By Doug Doppler
When Good Just Won’t Do
I do realize that this is a guitar article, but at the heart of every great worship musician is a heart to serve God, the team, and the song. This time around I’m going to be presenting some practical tips on all of the above as we walk together towards living a life that increasingly reflects Jesus. SPIRITUAL PRACTICES Holy Spirit can get in and minister to us movement. The longer I play through the as a team. song prior to rehearsal the better I groove and the more I can craft something cool Walking in love At times, there is nothing like a worship beyond the chart; be it the parts off the team to test your patience. When we track, or something new that serves the reflect God’s love and patience with those song. Making notes I usually start by putting the number of when a song appears in the upper left corner so that as I’m rehearsing the song I’m also thinking about where it falls in the service. Although I’ve weaned myself from using charts during service, I like to note specific hits and things about the arrangement (including mistakes I’ve made) either at the top of the first page or in the right hand margin. Reviewing your notes is a great way to begin to wean yourself from being dependent on charts.
we’re doing life with, the congregation may not see it, but they’ll feel it. If your Pastor is trying to take your congregation Start with prayer One of my spiritual mentors got me in the across the proverbial Jordan, it’s habit of praying and inviting God into my awesome to demonstrate real unity from day before my feet hit the ground in the the platform. The congregation will follow morning. I’m not the guy you’d expect to be if we lead. a prayer warrior, but at one point I started a Sound check prayer list for people who are hurting and in An orderly sound check is a great way to dire need of prayer. The list now spans four demonstrate that we are listening to one continents and has contributed to a number another and care to let each person be of miraculous healings. Where is God heard. Playing over the top of someone calling you to go in your prayer life - and else’s sound check undermines unity while are you listening? sending a message to the sound team that noodling is more important to you In the Word I do my best to read one chapter in the Bible than the job they’re doing. This one takes before I start my day. The Bible constantly practice - I’m a recovering noodler. :) brings God’s love and wisdom into our lives. Digging in before the onslaught of email, traffic, and people, allows us to greet our day and the ones we love with God’s love. When God’s love is oozing out of us, we not only bless those we encounter, we grow closer to walking His ways out in our lives. Watch one another A little face time on the platform does a lot to let the congregation know that we are in this thing together. Playing with inear monitors, for me, is really isolating; so establishing eye contact and some smiletime with the musicians I’m playing with let’s the congregation know that we’re a team in more than just name. GUITAR PRACTICES
Small groups Fellowship does a body, and the person in it, good. Many people wish they had some talent as obvious as the one that God has deposited in us. At Church I almost always defer to using the word “platform” in place of “stage”. People already feel isolated in their lives. Stepping off the platform and into people’s lives is one of the most important things we can do to demonstrate that we’re not special. Small groups are a great place to get fed and break down some walls. TEAM PRACTICES The team that prays together, plays together God brought us together in the Church to not only serve the congregation, but to serve one another. I’ve had the privilege of visiting and working with a number of worship teams. The teams that really “bring it” on the platform are almost always the teams that are truly connected off the platform. They are invested in one another personally and musically. More than just a prayer for anointing on the platform, when we stand in the gap for one another in prayer for what is happening off the worship platform, we break down the walls between us, and the
Get in the groove With the exception of transitions from section to section in each song, I probably spend as much time watching the drummer as I do the worship leader. The high-hat will give you cues for any “chanky-chanky” stuff you do on the guitar with your right hand, while the snare drum will tell you how far back the drummer is leaning in the groove in terms of where it sits against the bass drum. Watching a drummer’s hands is a GREAT way to get your groove on.
Dynamics Given how little time most worship Signature parts teams have to rehearse, developing team If there is a signature part on a song dynamics can be a constant challenge. (think of the intro riff on “Salvation Is Whether you’re following the worship Here”), it can be really distracting for the leader, drummer, or both, there are lots congregation to hear a “reinterpretation” of dynamic cues going on that are easy of a part they really just plain love (and are to catch. The more we can mirror those, used to) hearing. These signature parts do the more our team will play like a band. a lot to connect the worship experience Make it look fun people live out at home and the one we connect them to at Church. Would you I’ve seen enough worship musicians on want to hear a top 40 band change the the platform who looked like they were in dire physical pain to know that we’ve got intro to “Smoke on the Water”? to be purposeful in our expression from Crafting parts the platform. Nothing beats a heartfelt With that said, I LOVE to craft guitar smile in terms letting the congregation arrangements. For those of you who have know we’re loving what we’re doing. :) a hard enough time playing through a chart, I promise you it gets easier. Once Doug Doppler is signed to you’re comfortable just making it through songs, embellishing them is a natural Steve Vai’s Favored Nations thing, whether it’s using the parts off the label and is currently in record or coming up with those of your production on the Get Killer own. As I’m working up a song I start Tone DVD series. He and his by learning any signature riffs. With the wife Melissa live to serve the Kingdom and chart on a stand I’ll play along with the are members of Cornerstone Fellowship in the San Francisco Bay Area. MP3 until I’ve got a feel for the chord
JULY/AUG 2011 WORSHIPMUSICIANMAGAZINE.COM
By Tom Lane sure. Learning inversions will also help you voice your chords opposite what other players are doing, which is more like layering than duplicating. Scales help you develop better dexterity and facilitate melody. Try singing and playing a scale at the same time as an exercise. Ever feel like you’re losing your saltiness The more scales you know and can play as a player? We are creatures with habits, with ease and freedom, the more it will and sometimes they’re hard to break. become second nature to use them, That includes using the same 4 chords we which will then allow you to contribute learned years ago in every song, playing more readily to the arrangement. the same exact riffs and lines, etc. It also 2. Improve your reading skill: applies to attitude and behavior; we burn While it is good that most worship songs out, feel entitled, deserving, get bitter, are easy enough to follow along with jealous, envious. . .you name it. by just reading the words with chords Without a doubt we have developed a above them, many musicians have no whole doctrine around the musical portion idea how to follow a real chord chart. of worship and leading. In some ways Even if you’re not a schooled reader, we’ve become so people-conscious, you can follow a chart if you can count. we’ve removed the fun and freedom right By “chart” I mean a road map of the out of it. We can certainly over-police it to arrangement, as it’s supposed to be the point that you almost need a seminary played. With bars, rhythmic notations, degree and an appointment from on high repeats, time signature, etc. There are to be on some teams. I’ve written a lot books galore with charts of your favorite about the heart and will say again: That’s songs. The difference is; you’re following where it starts and what God alone sees! along with every bar and not just blindly So that’s the good news and hope for us hoping you place the right chord over all. What I’d like to address here is more a lyric you may not know. Many with the “playing with excellence and skill” part good ears just rely on hearing the song once and then repeating, which is fine; of the equation. again we’re not being legalistic. But it is The level of musicianship has been frustrating when players “hunt and peck” improving in the Church the past 10 years, around. Until they learn a song, it sounds and we now have a crop of young talents like a mess; and even if they know the playing circles around some of us old song, they never play it the same way guys. I was teaching a seminar for guitar twice. Especially if you hope to work as players not long ago and heard a 13-14 hired player, reading will always help! year old kid playing in the hall during the break. I almost asked him to come teach 3. Learn to construct parts: Yes, the class! Putting aside competition, which less is more sometimes, but you can be is not what it’s about, we can become too tasteful and inventive without stepping comfortable and satisfied with where we on an arrangement. Take a song and are, and reach the point where we stop think about it in sections. Do something learning or even trying to be better. I different in each section. It helps to first never want to diminish or judge another’s listen to what everyone else is doing, and efforts or heart to serve in worship. The then find your voice within the mix. An hope is that you’ll read and feel inspired intro may mean a riff or melody for a guitar to simply do what you can to become the or solo instrument, a pad for a keyboard best player, and best help to your team player, and nothing for the bass player. Decide ahead of time which player, if that you can. any, will take the fills for the verses. This is 5 tips to sharpen your skill: a great way to incorporate all the band 1. Improve your chord and scale members and not hinder others’ playing. knowledge: With good reason, most Instead of an “All Skate” approach to a worship songs are simple and have just song where all guns are blazing from the a few chords. Still, every chord can be top to bottom, leave spaces and holes. played in more than one way or position, Find your parts for the sections, commit and inversions are good to study and them to memory and/or chart them, and know for that reason. It’s not simply get used to playing them that way every knowing a bunch of chords, but playing time for a season. Tweaking as you go the same chord different ways. A chord to fine tune, and building from there. I is made up of a triad: root, third, and the promise, if you come up with one cool fifth. Inverting it just means playing the line, even a single-note part that’s tasteful, triad in a different position, e.g. - third, it will be memorable. fifth, root. There are many resources to 4. Spend time with your gear: assist you in learning inversions, and it will The better you know your instruments help make your parts more interesting for and gear, the more prepared you will be, and you’ll spend less time taking up “valuable” time to tweak. An example for guitar players is: if you use effects; experiment at home with running your time-based effects (delays, modulation efx, verbs) through your effects loop. It’s quieter and sounds different than putting them in the chain with your distortion and overdrive pedals. You may find you like it and get better tone. Google “Effects Chain”! Keyboard players almost need a rocket science degree to operate some synths. As you learn your particular synth, create 5-10 staple sounds and store them in a performance patch so you can recall them live at the touch of one button instead of tweaking on the fly. Bass players, learn the difference in application between a fretted and fretless bass. They’re not necessarily interchangeable for every song. Fretless is a bit like slide for guitar players; not everyone can do it well. Intonation is key. Practice first! Buy a compressor and learn how to use it. It’s the main effect you’ll see used by most bass players. Drummers, I can’t say enough how helpful it is to most drummers I know, to understand electronics, computers, and be able to use them live as adeptly as you use your sticks. It’s a matter of using technology to your advantage and making you even more useful to the team in many cases. 5. Study Up! Pick two players who do some of what you’d like to do better and study them for your homework. Find out what you can about their influences. Learn to play some of what they play till it sounds like them. I’m not saying we become copycats, but we can learn from others. Ask one of your friends, or a good player you have access to, to spend 5 min, 30 min, or 1 hour just one time and show you 5 things they work on or do well. Finally, sometimes we actually need to take a break from the routine to refresh. It can be a healthy pattern to develop and makes room for others to grow as well. Prayer and Google; also wonderful tools of the trade I think. Add back some salt to your playing; you’ll never regret it!
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.
JULY/AUG 2011 WORSHIPMUSICIANMAGAZINE.COM
By Greg Sisley
Use It Or Lose It
The conversation might go something like this: “I think we need more light on the stage.” “You’re right. I just saw these lights at a DJ site online that would be perfect.” “Great! I think there is a circuit back in the choir loft we can use to power them.” “Perfect. I’ll buy them this week. We can put them up Sunday morning before church. It will be awesome!” While this may not be an exact quote, I can only imagine what set of decisions leads to the lighting disarray so many churches and worship teams find themselves in. Frustration, disappointment, lack of communication and relational harm are usually the result. church has a beautiful worship center, the room was somewhat inadequate in the area of AV infrastructure (power supply, hang-points, etc. - much of which was installed recently), systems maintenance, fixture application. The interesting thing was that recommendations I gave them cost little, if anything to correct. So often, out of neglect, lack of current technical knowledge, or lack of a coordinated plan, lighting systems can operate much below their potential. It’s More Than Equipment
Do you have a small band or no band at all?
It’s important to keep it real with your lighting system. It is more than just some lights and a controller. Your lighting system Perhaps your stage was modified or reis made up of two main components: the shaped, but the lighting wasn’t re-plotted people (along with their training and for the new configuration of band layout. processes, and the pieces (the actual Maybe today quality video production equipment and infrastructure). This system is a driver, and the lighting system in operates in a venue (your room) with its place was not intended to support it. The unique characteristics. Just as equipment problem could be that the person making needs to carefully chosen and maintained the decisions is a poor fit for the role. Or well, so do your people and the processes perhaps your lighting system is old, in and policies they observe. disrepair, and needs to be replaced. Most likely, the source of your stress could be While much is said about recruiting and traced to a simple lack of a coordinated equipping teams of volunteers, I really plan to build and maintain a lighting think it boils down to two simple thoughts. system that is scalable, updatable, and Are they capable? Do they have the supports the current and future vision of physical and mental ability to do the the church. A commitment to establishing work? Do they live in the zone of “How a great lighting system goes beyond can we do it better? / What else can I installation; it demands an ongoing learn?” Assuming there is a clear vision commitment to training, maintenance, of direction for the church and goals for sticking to the plan, and above all, an the areas of production that supports that vision, do your people eagerly embrace excellent, yielding, servant’s heart. and serve toward those goals? Or do Recently, a friend asked me to “take a their own opinions often cause conflict or look” at the lighting system in his church. contrary attitudes? As is often the case, their worship venue is an older building, not originally built The process for choosing gear is similar with the needs/parameters the modern and also tied into goals derived from worship environment in mind. Most of us the ministry vision. The gear needs to can relate. Anyway, my friend’s sizeable be capable of adequately lighting your tech team is young and passionate, and event, and compatible with the room, has dreams of cutting-edge lighting, power supply, and technical savvy of the video, and audio that creates a high operators. For example, a GrandMA2 impact and versatile environment. The lighting controller is certainly capable of basic question for me was, “What should handling any lighting need in any church, but the $60K price tag and the steep we do next?” learning curve may make it a poor fit for This visit reminded me sharply of what your system. Conversely, $75 Par64 can is a widespread and continual need: to is cheap, simple, available, and puts out maximize the capability of the system you a ton of light, but again is not a good have. Churches waste so much time and fit in most systems today. The bottom line money haphazardly buying and building their lighting systems. While my friend’s
Continued on page 47
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WORSHIPMUSICIANMAGAZINE.COM JULY/AUG 2011
By Craig Kelly
Over, Under, Sideways, Down
Remember the kid in gym class who wore black socks? I think any veteran crew members will all agree that learning how to over/under camera, video and audio cables is extremely important; and eventually you will be judged, criticized, mocked and made fun of if you don’t learn how to do it right – just like that kid. Maybe not enough to send you to the nurses office crying, but the thought could very well be that, “if they can’t even coil a coax cable, how could they possibly run a camera?” at different loop sizes, with different anything else around the house – it’s a diameter cables, standing and with lost cause. large cable laid out on the floor. Also, you will find that there are cable • Get fast and accurate at doing it. reels out there that some departments like Here’s a very useful tip: when you to use. Although they are big and bulky, they are useful in keeping cables neat for are about to use a cable that has been storage – especially big, bulky power wrapped in an over/under style, make sure you carefully look at which side of cables. But those too have a method the bundle the connector you are playing for proper usage. Learn the way your out is on, and that it is NOT being passed organization wants them used.
• Learn how to do it fast, accurately, under the weed-eater cable, the hose, or
through the center of the bundle. If you do, you will be guaranteed to cause a OK, I’m kidding about that kid and series of knots in the cable running the full about you getting made fun of, hopefully. length of the cable over and over again. But what is true is how important coiling And just in case you don’t know – loops the cables is. Although it’s not the end of are not cool, so you will have to get them the world, here are a few reasons why all out. it’s important. I posed the question “How important is • First of all, when the next person it to learn how to over/under cables - as goes to use that cable, it will be a new camera op on a crew?” I received ready and not need to be untangled. some great answers, and here is a couple • It is a standard method that everyone I wanted to share follows on the crew so there is J. - Everything about the basics is consistency and no guesswork. important. If you don’t know about how it • If done correctly, it will not tangle as you feed it out to be used. works and what makes your job complete, then you can’t continue to learn. The art of our art understands you will never learn it all. Because of the fast paced, changing world of technology you can’t learn it all. There is no substitute for experience. Is over/under important? Not until you take the cable out the next time. Just hope it isn’t your boss that unravels it, if you didn’t over/under.
Thanks J and R – and everyone else who contributed their comments and opinions here and on the LinkedIn group site. This is a great resource for new ops and volunteers, and is even better when there are contributions from all of you vets out there. Feel free to join us on the TV Camera Operators LinkIn group, and to check out my articles at www.craigjkelly.com. If you have any TV questions at all, please send me a note at ZoomIT.cam@craigjkelly. com Thanks again……cjk
Earlier, we talked about gaff tape usage in my mini boot-camp for beginners. I think the second most important and basic thing to know on the job site is how to over/under cables after a shoot or show. Every industry has its own standards as far as coiling cables go. I think of the construction industry and the sound industry as just a couple of examples. The TV industry has its own cable coiling standard and don’t expect it to work anywhere else. From what have seen, it’s unique to our business.
R. - In my education and experience, it’s extremely important. Not so much for in-the-moment situations, when you may be trying to break down quickly; but for the longevity of the cables, to extend their By choosing this subject, I actually chose lifetime and use as much as possible. At something that I cannot think of how to the Performing Arts Summer Program for write a description of - but I can talk about which I work each year (www.socapa. org) it usually takes frequent reminders to it in a few ways; get the students to remember to practice • It is one of those skill requirements this technique; but it’s often their first time that everyone on the crew knows working with any of the equipment, and how to do – probably in their sleep. they eventually remember on their own. • Find someone who will show Here’s another insight into this over/ you how to do it properly and under conversation: don’t expect that then practice, and then keep on anyone in your family will understand practicing. or take the time to learn how to over/
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
JULY/AUG 2011 WORSHIPMUSICIANMAGAZINE.COM
The Musician’s Choice
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TIPS FOR TIGHT TEAMS
Each of the chords in the chorus will receive two beats, which means that when a chord is repeated in the line (like: A2 - A2) it is played for a total of four beats. The background vocals? Time to GO FOR IT! The chorus, being the apex of a good song, is usually the moment when everyone comes in to make their greatest impact in terms of a musical statement or contribution. And since the chorus almost always plays host to the “hook,” (the most memorable words or line in the song) it is very likely to be the part that people will be singing on the drive home! We’re ready now for verse two! This is where we lower the dynamics and thin the instrumentation again. At this point, our hypothetical worship song is beginning to “feel” like real music! Let the bottom drop out even further as the verse moves again into the channel. This time, as the channel flows into the chorus, the band dynamics can rise to a great climax! Use more movement on the drums, and add percussion instruments like shaker, tambourine, congas, etc. Play fuller, lowoctave bass guitar, use electric guitar “power chords”, and sing thick, rich vocal harmonies! Fills, licks and tricks can also be added on obbligato (single note) instruments to make the arrangement even more interesting. Now pull out all the stops and play the chorus yet again, this time a little bigger, louder and more emotive! It’s finally time for the tag. Since all or part of the last line of the chorus is usually the hook or song title, why not repeat it a few times at the end of the song to drive home the meaning of the message? This “hooky” repeat is known as a tag, and is a great way to finish BIG! Try a ritard the last time through, and land on a HUGE climactic chord for the perfect Grande Finale. Now hang there for a while, allowing the people to process what they’ve just sung. This is a simple, sample song arrangement, using many of the methods heard in hit songs for decades. Since God is THE redeemer, why not trust Him to redeem these tried and true methods to bring glory to Himself through our worship ministries? Remember to keep it simple, but never be afraid to try out new ideas in worship song arrangements! Arrange to finish well, Sandy
By Sandy Hoffman
One, Two, Three, Four
(A Simple, Sample Song Arrangement!) Part II
It is the privilege of the song arranger to present the heart of the Holy Spirit while preserving the intention of the composer through the skillfully arranged performance of the worship composition. The courageous worship leader/ song arranger who is willing, at least occasionally, to be brutally honest, knows that for maximum impact each song in a worship set list must effectively communicate the mood and the message of the moment. I repeat: the mood and the message of the moment! A wise gardener tolerates NO WEEDS! Likewise, a skilled song arranger will eliminate extraneous parts and feature only the voices and instruments needed to support the musical moment. A great song arrangement, well executed, can turn the sound of a rag-tag “garage band” into a polished presentation! Applying this simple, sample song arrangement can make a world of difference in how effectively YOUR worship team connects with people. We must strive for collectively high skill levels, not that we might be noticed or more appreciated, but so as to minimize any lack of polish we might display that could be a distraction to those we so passionately lead to honor God. ONE, TWO, THREE . . . IN REVIEW This being said, let’s have a quick review of “A Simple, Sample Song Arrangement!” In Part I section ONE (Worship Musician Magazine, MAY/JUNE 2011, Volume 9, Issue 3), we began to play a hypothetical song arrangement on the keyboard using only a two-note string pad. Holding down “E” and “E” an octave apart in the higher register, we faded in gradually, building anticipation. This technique can yield profoundly ethereal effects! Then, in section TWO, we added a fingerpicked acoustic guitar playing a beautifully ascending/descending chord progression at a tempo of 112 beats per minute: E - A2 - E - C#m7 - A2/F# - B4 - E - A2. Each chord in the progression was played for two beats and included the droning note, “E,” accomplished by leaving the first or smallest string of the guitar “open” in EVERY chord shape. The droning note acted as a tonal connector that allowed the righthand of the keyboard also to play “E” and “E” in octaves without creating conflicting dissonance with the guitar chords. (How cool is that!?) foundation of the song had been laid, and it was time to begin adding depth, breadth and texture. We brought in the kick drum on the first and third beat of each bar, then mirrored the kick with the bass guitar playing the root note of each chord in the progression—two beats for each note. We agreed that when it comes to contemporary arrangements, the kick drum and bass guitar are “beat buddies.” They generally execute the same basic rhythm with only slight variations. Finally, we added the left hand of the keyboard, not too loudly, for a doubling effect of the bass guitar notes (the “big boo-wah” I like to call it). This was the beginning of our pursuit of depth, breadth and texture. It’s time now to explore the dynamic and dramatic possibilities that come with adding the rest of the team at tasteful, effective moments. SECTION FOUR Song sections such as verses, choruses, bridges, channels, intros, and outros provide perfect opportunities for creating variations in worship instrumentation and dynamics. In section number FOUR of Simple, Sample Song Arrangements, let’s have a look at some of these. As the song begins, we’ll continue to repeat the chord progression we’ve already established in our intro with the keyboard, acoustic guitar, then bass guitar and drums. Beginning with verse one, we’ll add in the lead vocal. We’ll keep the instrumentation sparse, and as we move from the verse into the “channel” (the section which transitions the verse into the chorus) we’ll actually thin out our instrumentation a bit more. (Just when it felt as if we might add, we’ll subtract.) With lead vocals continuing, let’s use only the keys, acoustic guitar and a hi-hat on the drums to play the channel. We’ll play a different chord progression consisting of: B4 - A2 - B4 - D2. Each of these chords will be played for four beats instead of the two beats per chord we played in the verse. The channel will build in dynamics until it dramatically morphs into the chorus. Boom! Back comes the bass guitar, FULL drum set this time and the electric guitar, slightly overdriven, joins in with arpeggios (broken chords) as the acoustic guitar begins to strum a steady rhythm:
Sandy Hoffman serves the Grace Community Church in Santa Fe, NM where he is the Minister of Worship Arts. He is the author of Beginning and Essential Worship Guitar and Keyboard books, CDs and DVDs. His latest instrumental acoustic guitar CD, [: E - B4 - A2 - A2 - E - B4 - A2 - A2 - “Sereno,” is available at: D2 - D2 - A2 - A2 - E - B4 - A2 - A2 :] www.EssentialWorship.com In section THREE, we recognized that the
JULY/AUG 2011 WORSHIPMUSICIANMAGAZINE.COM
product knowledge, correct application of equipment, and thorough training for Greg Sisley is on the pastoral is this: put the right pieces in the right everyone. staff at Faith in Kent, WA, places. where he serves as executive Remember, if you need some advice, pastor and production lead. After the intentional lighting master plan want help build to a plan, or could use He serves as a consultant to is completed, a controller that is capable a facilitator to host a group conversation churches in the area of lighting design and of accommodating your needs today and or walk you through creating a lighting production with Focus AVL. email@example.com your dreams of the future should be chosen. master plan, just email me. Our ministry Many controllers are inherently scalable; assists several churches every week. that is they will grow with you as your Peace. needs increase. The lighting controller needs to also be able to be understood and mastered by your team’s average user. Just as important is the correct selection and application of fixtures. With a clear picture of the needs/goals for the lighting, careful selection of fixtures can be accomplished. Keeping the budget in mind, consider the proper location, fixture type (focusable, LED, color-changing, etc.), lensing, and necessary wattage. Remember, this is all serving and building toward a coordinated plan. It doesn’t all have to happen overnight. Continued from page 43 Are you maintaining your equipment? If you are using gels/filters, know why, and use them correctly. You also have to keep them clean, and change them every 100 hours or so. Is that written in your maintenance plan somewhere? Did you know there are fans in many pieces of gear? They need to periodically be cleaned? Are the updates current on your controller? Are you maintaining you people? Your team needs to be reminded of their mission, and how you will accomplish it together. They need encouragement and heart training so they remember ‘why’ they are serving. What is the current knowledge level of your lighting operators? For instance, do they understand that lights (especially LEDs) have different – and usually adjustable – dimming curves? Bottom line, if you left today, would they flourish without you? I hope so. While driving home from my friend’s church, I reflected on what I had just experienced. I was blest by the evident pleasure the tech team enjoyed as they served. Obvious connection and understanding existed about gifting and giving. At the end of the day, serving with joy is its own reward. I encourage everyone to use what you have, not only in terms of your facility and equipment, but also your gifts and passions. Whatever you do, do it with excellence. Control the things you can; like maintenance, current
WORSHIPMUSICIANMAGAZINE.COM JULY/AUG 2011
FROM THE DRUMMER’S PERSPECTIVE
Continued from page 10 I am also reaching out to the Lord and praying for His purposes to be fulfilled. In all of these instances I’m aware of being in the presence of God and wanting the people to feel free to enter. I’m standing guard at the gates of the presence of God so the lead worshiper can take the people in with him. That sounds pretty wild doesn’t it? Well, that’s what it “feels” like to me. Yet, my words seem so incapable of creating a complete picture. I just pray it helps you discover why the Lord made you a musician. (I SAMUEL 10:5 – 11 “…they will be coming down from a high place with lyres, tambourines, flutes and harps … and they will be prophesying. The Spirit of the Lord will come upon you in power, and you will prophesy with them; and you will be changed into a different person.” I SAMUEL 16:23 “…David would take his harp and play. Then relief would come to Saul; he would feel better, and the evil spirit would leave him.” *emphasis by Carl*) Stir up the gift within you as a priest in the house of the Lord, and you will see the Lord honor your efforts. He desires to see us fulfill the calling He has given us. The Lord truly inhabits the praises of His people. He said He will be found when we search for Him with all of our heart. Even though I feel I know Him well, I’m still searching; still reaching. “Lord, I’m desperate for You!” Blessings to you as you reach out to Him, Carl
Continued from page 32
leadership a few weeks ago. The only reason the overall impression is three, not four is because of the nearly frenetic use of instrumentation. The arrangements were often overcrowded with this, that, and the other; but Aaron is a great writer, singer, and musician, so he still comes through very well. With that said, there are some great songs on this album that are very congregationally friendly without being smarmy or shallow. Aaron is comfortable with writing hymns, which he does beautifully. He also has the ability to relate to, and connect with, multiple generations. It’s no wonder that he’s welcome in so many settings and events all across the globe. BENJI AND JENNA COWART Letters To The Church At Buffalo 1. There Is A Kingdom 2. You Have Been So Good 3. They Will See God 4. One Word Alone 5. The Only Name 6. Redeemer Come 7. Perfect Love What a sweet love of God, and of people, Benji and Jenna have. Their joy in the presence of God and their devotion to see others come to the love of God comes through beautifully in this album. Both of them have strong voices in their own right, but together they’re all the more powerful in skill and passion. And Jenna’s got vibrato for days – I love it! The backing vocals weren’t my favorite, but that’s easily overlooked because of the integrity of the worship of this pair. Benji and Jenna go back and forth, sharing the lead in a nicely balanced way. They also balance corporatelycentered worship writing with personal “letters” to the Lord. The songs are songs of faith and commitment mixed with the joy of a personal relationship with Christ. I’ve noticed a trend in the last few years back toward the journey of faith, and the celebration of a promised Heaven. It seems that for so long we edged away from the heavenbound focus of songs written a long time ago. Maybe we were looking for the perfect balance between remembering the final promise, while remaining in the moment of today. We may never find it, but I’m glad to hear rejoicing again over our final destination. Musically, the approach is unpretentious and easy to slip right into. It’s not boring, it’s just not front-and-center. Stylistically, this isn’t my typical daily cup of tea, but I thoroughly enjoyed hearing the hearts and sounds from Benji and Jenna. I’m looking forward to what’s next.
Continued from page 34 from the line between the dust cover and speaker cone to get a good full sound. I then place a Beta 56 (or SM57) on the other speaker right on the line as shown in figure 4. Both mics are about 1/2 inch from the grill cloth. I then blend these two mics, kind of like a 2 band eq, to make one sound for the amp. This trick is useful from song to song, thinking of one fader like bass and the other like treble. Instead of messing with the channel eq to get the guitar to sit in just the right spot, try varying the blend of the two mic channels, and be sure to pay attention to phase cancellation. It is very important that both mic elements are exactly the same distance from the speaker cone otherwise you will have cancellation. I often take the grill off of my mics to see exactly where the diaphragm (element) is on each mic so I can be sure to get them the same distance away. If you want to get really tricky, place a mic on the back of the cabinet. This is a very dull, but thick sounding spot; so you really need to blend it with a front mic to keep the detail. This is another great sound that can really thicken up a thin sounding amp (see figure 6). Don’t forget to swap the polarity (the button that looks like a zero with a slash through it) on the rear mic and pay attention to the sound when you blend the two mics. If you hear it getting thin when both mics are about the same gain, then flip the polarity (phase) switch on your console and see if it thickens up. Whichever setting of the polarity switch makes the blend thicker (or has more bass) is the correct setting. Sorry, but we are out of space. Email me and let me know what other instruments you’d like covered and I’ll try to get them in the next issue. Till next time, John
Carl Albrecht has been a professional drummer & percussionist for over 25 years. He has played on over 70 Integrity Music projects; Maranatha Praise Band recordings & numerous other Christian, Pop, Country, Jazz & commercial projects. He currently lives in Nashville doing recording sessions, producing, writing and continuing to do various tours & seminar events. Visit his website: www.carlalbrecht.com or send an e-mail to: firstname.lastname@example.org.
Heidi’s background is primarily in worship and production, joining her first worship team at age twelve. Having been on staff at a Northwest church since 2001, she is now works as assistant to the Northwest Foursquare District Supervisor in Tacoma, WA. This fulfilling role has made it possible for her to pursue her passion for being in multiple churches, working with worship and production teams and sharing those churches’ innovative ideas with as many other churches as are interested through her website www.nomadicreative.com.
John is currently on the road as the Audio Crew Chief & System Engineer for the Kenny Chesney Tour. Check out www.JohnDMills.com for more about the giant sound system he has out and cool pics from the road.
JULY/AUG 2011 WORSHIPMUSICIANMAGAZINE.COM
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By Martin Stillion
Playing the Mandolin: Shall We Gather at the River?
Later this summer I have a wedding gig, and the bride has requested this 1865 hymn. I’m working up an ambitious fullband arrangement, of which this is merely an excerpt—but it’s all I have room for. You might have never sung “Shall We Gather at the River?” but you may well have heard it in films like The Searchers, Trip to Bountiful, or My Darling Clementine. Find a pianist or guitarist to accompany you. I’ve made extensive use of chromaticism here—this arrangement may owe as much to Igor Stravinsky as it does to Jelly Roll Morton. I even quoted a favorite TV theme at one point. When you perform it, you might want to play the tune “straight” once before diving into the altered melody. Play the slurs as hammer-ons. I’ve kept the original boring chord progression for now, but feel free to come up with something jazzier if you like. Again, if you’re able to play this somewhere, I hope you’ll let me know how it’s received. Visit the following link for the full 4-piece band score and a copy of this mandolin solo that includes tab: www.stillion.com/martin/gather.htm
JULY/AUG 2011 WORSHIPMUSICIANMAGAZINE.COM
Multi-instrumentalist Martin Stillion, a 19-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.
The AmericAn SerieS. hAndcrAfTed
Bend, OregOn. PreSenTed
WORSHIPMUSICIANMAGAZINE.COM JULY/AUG 2011
Editor’s Corner... Continued from page 7
page of this New Living Translation version I’m reading, to Psalm 50 on the left side. I pull out of that God’s statement regarding sacrifices, “What I want instead is your true thanks to God; I want you to fulfill your vows to the Most High. Trust me in your times of trouble, and I will rescue you, and you will give me glory.” That is very comforting to me at this time in my own life, and that can even be extended into several areas of my family, occupation, and general walk with God. Judy and I have been talking about “thankfulness” and “gratefulness” lately. It can be a wonderful attitude adjustment when I am walking around the house with a “thankful demeanor”. When you are thankful and/or grateful, you tend to smile more, and there is a bounce in your step. That may be the start of a song right there, eh? David might’ve taken that cue and written a whole new Psalm from it. All that to say: I am grateful for so much that the Word expresses to us in so many areas… it truly is an amazing thing to behold. God is good! Lord Bless Ya! Bruce & Judy
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run anywhere else. Instead, he ran into a desert. Well, what is a desert? According to Webster’s Dictionary, a desert is an arid, moistureless, empty, lonely, uncharted and barren place. Interestingly, this definition correctly describes Elijah’s emotional condition. He was in an internal desert as well. So it makes sense that he would better identify with this environment, than any other place. example to prevent burn-out. Even when we feel fine, we still need to recharge our batteries. It’s funny how a little kicked-in adrenaline can disguise what the body really needs. You’ve heard statements like “no, I’ll be fine, I don’t need a break. I just have a little longer to go.” Sadly, we think these thoughts to ourselves until it’s too late. Don’t fall victim to this reality because you’ll miss this biggest point of Many of us have either lived through, or this whole story. may be currently in a desert experience. After Elijah is powered up, God tells Like Elijah, we get there due to many him in verse 11 to go out and wait for reasons; and when we do, we are often His presence to pass by. Soon after, tired, spent, and empty. Like the Energizer expecting to find God, Elijah witnesses Bunny, Elijah was going, going, and a storm, an earthquake, and a fire. It going. Eventually, he came to the end was not until after the cataclysmic events of his road. He was so desperate and that Elijah heard, not a loud voice, but overwhelmed that when he got to a place a small, gentle whisper by God. Have to sit down, the Scripture says that he you heard this kind of whisper? It’s the “prayed that he might die.” He even said same whisper and voice that spoke to God, “Take my life.” Many people, Creation into existence, that calls to us who are at the end of their ministry rope, from Calvary and the Resurrection, and feel this exact same way. How can this still speaks to the waters saying, “Peace. be prevented? Be still.” As we find our way back to The Bible says that Elijah fell asleep intimacy with the Father, this same Voice and was attended by an angel. There calls to us and says, “seek Me and live.” was food and water prepared, and he (Amos 5:4) was told to “Get up and eat.” (v.5). He repeated this one more time; he rested, ate, and drank again. Fortunately, Elijah did not get his wish to die; instead, God took over and provided nourishment. What Elijah could not do for himself, God did for him by filling his tank. It’s not often today that an angel, bread, and water instantly appear before your eyes. God uses many other ways to provide help; in this scenario, He provided for Elijah’s most basic needs: Food, water and rest. When we are in “go” mode, it is common to skip a meal or lose some sleep. Nonetheless, when we are running, this can be damaging to our physical well-being. A good athlete knows two of the fundamental resources: hydration and relaxation. Never will a runner go without water, food, and a good rest before the race. The difference in ministry is that we are not in a sprint, but a marathon. We are more like a distance runner; we need to keep our tanks full. When we do, we will think better, feel better, and make better decisions. Anytime the needle veers to the left, It’s time to refuel in order to re-engage. Here’s the point: We run all of our lives until the bottom drops out. We’re so set on our own courses, driven by fear, ambition, or impulse, that we’ve missed God’s directions along the way. Our ability to listen to the Lord is critical as we travel life’s roads. We are like Elijah in many ways. Unfortunately, Elijah went too long before he could hear God. The Lord has not designed our bodies, or life to be lived, with the needle in the red. He desires life to be lived to the full, where we are to enjoy all the good of what God brings (Eccl. 5.17-19). In the familiar song “Running On Empty” by Jackson Browne, the lyrics serve as a reflection and reminder: “Looking out at the road rushing under my wheels. I don’t know how to tell you all just how crazy this life feels.” The truth is we never have to be running on empty, when we have Christ to help keep our tanks full.
Branon Dempsey CEO and Founder of Worship Team Training: leading worship teams, leaders and artists in becoming authentic leaders of worship and followers of Jesus Christ. Editor-at-Large and Music Producer for PraiseCharts, Featured WTT Radio Show Host on Creator Leadership Network, New Column Writer for Christian Musician Magazine, TCMR iLevite Magazine and CCLITV Video Training Contributor. Worship Team Training is sponsored by Creator Leadership Network, PraiseCharts, Sibelius USA and G3 Music Publishing; endorsed by Promark Drumsticks and Jim Hewett Guitars. Visit: www.worshipteamtraining.com
Copyright ©2011 Branon Dempsey | Worship Team Training | Administered by For His Music. All Rights Reserved. Printed in the United States of America. www.worshipteamtraining.com
By Branon Dempsey
Running on Empty
Running is something we physically do. It can be referred to as a sport, or as an exercise activity. Running is also associated with children chasing each other on the playground. It can also be a response to avoid a hazard, or it can be a reaction to a rapid recourse for help. Running can bring joy and refreshment as well as pain and exhaustion. But as you serve God, there is something important you should know to highly impact your ministry, while helping you avoid burn out. Have you ever been in a place where it feels like someone is chasing you? Maybe it isn’t someone, but something. Many worship leaders, pastors, and ministers feel like they’re always on the run. It could be reasons resulting from all kinds of pressure: the need to succeed, the fear of failure, or the fight to survive. Bottom line: stress is the ultimate burden that weighs down those in ministry. Eventually, it ends in burnout and leaves a person feeling empty, isolated, and even devastated. For some, familiar words like joy and ministry, when used in the same sentence, seems like an oxymoron. In the midst of confusion and noise, listening for the voice of God becomes a challenge, or it seems to become increasingly faint. Personally, as a worship leader, I have lived these experiences. I am here to tell you what a good mentor of mine told me: keep your tank full because you don’t want to end up empty.
Elijah was a good runner. Here was a guy who lived on the go; literally, he had nothing but the clothes on his back. He was called by God to turn Israel away from evil and to return to the Lord. But Elijah panicked and was compelled to run because of one thing: fear. In 1 Kings 19, Elijah fled for his life from Queen Jezebel. In verses 1-2, Elijah received word that Jezebel wanted his head. He The Lord still had plans for Elijah and had to be thinking, “Now what? All I’m was not through with him. He needed trying to do is God’s work. I want out! I’m Elijah to be equipped for the next mission. out of here!!” Have you ever felt this way? In verse 8, we see him powered by the food and rest that the Lord provided as Elijah was so consumed by fear that it he traveled forty days and forty nights. paralyzed his ability to fully judge the Now that’s a powerbar! What was the situation. The Bible says in verses 2-4 first thing he did when he reached his that Elijah ran for his life. In a single day’s destination? The same as what God did journey, he entered the desert. That’s quite on the seventh day, he rested. There’s a day’s sprint! What’s surprising about a lot we can learn here by this single this snapshot is that Elijah could have
JULY/AUG 2011 WORSHIPMUSICIANMAGAZINE.COM
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