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The Response of a Worshiper
Rocktron Velocity 300 Power Amp
SEP/OCT 2011 Volume 9, Issue 5
Darlene Zschech l Matthew Brown l Jason Gray l Aaron Shust l Güngor
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John Mills: Practical Mic Techniques for Drums
A Few Moments with Tom Kraeuter
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Taking Proactive Measures
vOL. 9, iSSuE 5
8 Product Review By Doug Doppler Rocktron velocity 300 Power Amp
42 The Band By Tom Lane Charts: Worth the Effort! 43 Lighting By Greg Sisley Worship Space Front Lighting 44 Camera By Craig Kelly The Future of Television... 46 Tips for Tight Teams By Sandy Hoffman Love, Lift, and Lead (Applying Worship Team Die-Namics) 50 Mandolin By Martin Stillion Tip of My Tongue 54 A Few Moments With… By Tom Kraeuter Hold the Ministry Position Loosely
Some say, “The Lord is never late; but He is seldom early” and lately I have been seeing how that has shown itself to be the case in my own life. The last few years of economic struggles for the country has hit us at home in some significant ways. To be honest with you, I really don’t know one person that hasn’t 10 From the Drummer’s Perspective been affected by it; some worse than others, but all feeling it. The stress financially at times has naturally caused stress in my life and marriage. Judy and I had been struggling in finding the correct ways to voice our frustrations with a long drawn out property situation that had cost us a large loss of equity and has 12 Keyboard taken away our gold credit rating. By Ed Kerr
By Carl Albrecht Groove Analysis for the Modern Worship Drummer
It was during this time that I went to the Lord to voice some of my frustrations about how things were going and how I needed 15 Bass Him to rescue me out of all these problems. The answer I felt I By Gary Lunn got back took me by surprise. I heard a little voice in my head Basic Significance say, “Well, like any good rescue, we need to save the women and children first!” I pictured a shipwreck and the men escorting 16 Vocals the women and children into the lifeboat. My head rocked back By Sheri Gould and I thought to myself, “Wow, He is right… I need to look Be Prepared! out for Judy first in this situation”. I knew then that I needed to focus my attention on her. I needed to start relieving some of the stressful situation and part of that stress around the house was 18 Worship Team Training By Branon Dempsey contributed by me in the first place. Yikes! It was a wake up call. Then a few nights ago Judy was watching a Christian TV show and a Pastor was on whom I actually knew. 26 Songchart She called me into the room. His message that night was about “At Your Name” how Job worshipped and gave an offering in the middle of his Phil Wickham own serious needs. I had to run an errand but while I was gone Judy gave an offering to the Lord. The preaching had struck so 30 Record Reviews many cords inside us both that by the end of the night we had By Heidi Todd a serious time of prayer together. Walls came down and hope Leeland was restored! A few days later the Lord came through in a big Darlene Zschech way again and the day before our “problem property” was Matthew Brown going to be sold in foreclosure, we wrapped up the paperwork Jason Gray of a sale and it was paid off. Sold! A huge burden was lifted Aaron Shust off of us… now that sounds like our Lord… coming through Güngor right at the last moment. Whew! I’m not so sure about these last minute “cliff hangers” all the time, but Judy and I are more
Continued on page 52
Try This at Home
34 FOH Engineer By John Mills Practical Mic Techniques Part 2: Drums 36 Ministry + Artistry = Profitability? Creating your MAP™ By Scott A. Shuford Promotional No-Brainers 38 Authentic Worship By Michael Gonzales in Pursuit of Happiness 40 Guitar Grab Bag By Doug Doppler TEN
20 The Response of a Worshiper an interview with Phil Wickham by Aimee Herd
4227 S. Meridian. Suite C PMB #275 Puyallup, Washington 98373-5963 Phone: 253.445.1973 Fax: 253.655.5001 Email: email@example.com Website: www.worshipmusicianmagazine.com Publisher/Editor: Bruce Adolph Vice President: Judy Adolph Customer Service: Brian Felix firstname.lastname@example.org Copyediting: Kevin Wilber, Toddie Downs Design Layout & Production: Matt Kees Advertising Sales: Bruce Adolph email@example.com • 253-445-1973 Worship Musician! is published bi-monthly by The Adolph Agency, Inc.
WORSHIPMUSICIANMAGAZINE.COM SEP/OCT 2011
By Doug Doppler
Now Hear This Rocktron Velocity 300 Power Amp
Noting that many Churches have moved to the “silent stage”, one might question the relevance of a 300 watt power amp made just for guitar players. The answer is more straight forward than I’d have thought before plugging in the Veloctiy 300. Rocktron has largely made their mark crafting gear that has graced the racks of countless guitar players. Not only does it sound great, it’s also designed to withstand the rigors of touring. The point being Rocktron knows a lot about making guitar sound great front of house and what Church doesn’t want better sound? The Velocity 300 is a stereo power amp that runs at 150 watts per side at four ohms or 300 watts in mono “bridged” mode. The independent channels feature Volume, Reactance, and Definition controls that are designed to recreate the kind of interaction you get between a tube amp and cabinet. The Reactance control allows you to dial just the right amount of bottom end thump, while the Definition control allows you
to add clarity on the top end along the lines of a presence control. To test the amp I used a pair of Carvin Legacy II 4x12 cabinets loaded with Celestion Vintage 30 speakers. And like they say, the proof is in the pudding.
If you use Avid’s Eleven Rack as your audio interface you’ll definitely want to check out the Velocity 300. I have a favorite Van Halen-esque patch that sounded the best it ever has, and was able to capture the first five years of Van Halen tones with the utmost of I started off with Rocktron’s Prophecy II satisfaction. Moving over to an AC30 and was immediately impressed with model I was soon in delay heaven with how well the controls enabled me to craft the help of the bucket brigade delay the sound and feel of a tube amp. It’s model. inspiring for a player to hear the guitar interacting with an amp and speakers, Overall I was most taken by how and with the aid of an isolation cabinet musical an experience this power amp or booth this will easily add more life to is. The wattage is about headroom your front of house mixes as well. and not volume, which is why it is a great fit for Church. As much as I love My main Church rig is based around modeling gear, without a guitar amp a Line 6 POD HD500, and since I and speakers in the mix something know that unit so well this is where the organic tends to gets lost in translation. Velocity 300 spoke to me most. My The Velocity 300 does an excellent job “Dynacomp > AC30 > Modulation of making the nuances we collectively Delay” presets sounded warm and full, call tone wonderfully audible. and the separation and clarity of the delays was simply awesome. The heavy Rocktron.com for more information. Bogner and Engle pre-amp models also translated well thanks to the Reactance and Definition controls.
Doug Doppler is signed to Steve Vai’s Favored Nations label and is currently in production on the Get Killer Tone DVD series. He and his wife Melissa live to serve the Kingdom and are members of Cornerstone Fellowship in the San Francisco Bay Area.
SEP/OCT 2011 WORSHIPMUSICIANMAGAZINE.COM
From the Drummer’S PerSPective
By Carl Albrecht
Groove Analysis for the Modern Worship Drummer
Getting a drum feel to work just right is an art form that must be learned over time in the “real” working world. Play with your band as much as you can. Rehearse more! Jam MORE! You can’t just read about it or practice it in your room. So… it’s actually a bit strange that I am going to try to address this in writing without you being able to watch a demonstration. I do watch a lot of players, and recommend that you do the same: via YouTube, live performances, teaching DVDs, etc. etc... But for now I’ll try to put the nuances of performance into words. AIMING FOR THE CENTER it’s musically proper. It adds an already perfected (or tweaked) element into the music, and gives the band a strong musical point of reference. So, how do you prepare for this? You just have to do it ALL the time. When you practice alone, always work with a metronome for sure, but also do it whenever you rehearse or play live with your band. Try to record yourself and the group during all rehearsals and performances and listen back to see how you’re progressing. YES, you have to listen back. Don’t get discouraged; just keep working on it. Focus on how “centered” the time feels when you play. flows in the same direction, that’s great. Don’t let this be an excuse for being sloppy in your playing. There should still be a sense of solid time, but a slight pushing and pulling can be very cool. The normal tendency would be to feel a little laying-back of the time in the verses, and a pushing in the choruses. If you listen to “older” music you’ll probably notice this much more. One of my favorite examples of this is the 80’s group Toto (Rosanna/ I Won’t Hold You Back Now) or The Police (Every Step You Take). Listen to music from the 60’s, 70’s, & 80’s and you’ll hear a lot of movement. Because our ears have become more accustomed to hearing perfect music, I think we hear If you’re in a situation where you can the nuances of more “live” performances “multi-track record” your team, then you (the imperfections / our humanity). can sync up the time grid to your click Even in worship music, if you listen to and visually see where your playing is landing in reference to the markers on the “live” performances and watch concert music software. I know this is being VERY videos, you’ll hear a little more of this. particular about technical things, but that’s Although I have to say, nowadays, we what this exercise is for. NOTE: I haven’t still do a lot of post-production editing, forgotten that worship is the goal. BUT or we’re performing live to clicks & there needs to be a time when you work sequences; so even live recordings sound pretty amazing. on your musical skills as well. How does the drummer keep solid time in a totally live, un-clicked performance? Relax and let it flow! NO tension in your mind or body is a huge part of it. When a drummer looks relaxed and free, the music usually sounds that way. Again, watch a ton of videos of great drummers and you’ll see what I mean. AND. . . try to record everything YOU do as well: both audio & video. It’s an amazing learning tool. Listen to the whole band, not just the drums. Try to recognize musical reactions between the players and singers. As a drummer, you should be the “musical rock” on which they stand! J Even as the music breathes, try to keep the time feel solid. A great exercise for this is to use the click in your “in-ears” but don’t let the rest of the band hear it. Then shut it off after the intro. (NOTE: get a footswitch or a trigger pad to start/stop the click) Try to start it back up in a later section of the song and see where the time is. Are you still at the same tempo?? … Be aware, that as you do ANY technical analysis while you play, ALWAYS play with passion and with the intent of worshiping the Lord. I even
Continued on page 48
One thing to be mindful of in music production today is that most of the music you hear on radio is very “tweaked.” In another words, we work hard at making everything as perfect as possible. Doing “takes” until it all comes together and then even editing parts or “punching in” sections until there are no imperfections. Modern digital technology allows a producer to tune every note played or sung, and place every rhythm perfectly in time on “the grid.” Whether this is always a good thing is up for discussion, but for now let’s just accept Also be aware that if the music is feeling it. I’ll address this approach first, since this is stiff or tense, only use the click during the current state of modern music production rehearsals and personal practice time in all styles of music. so you can get used to it. As everything In most modern worship, making every starts to feel right at those times, then you note as time-perfect as possible is the goal can also use it during live performances. (technically speaking). When playing to the You’ll only know this if you’re recording click, I’m landing every note in the middle of yourself, so just make that a normal part the beat to the best of my ability. Precision of your musical life. Again, all of this is trying to get your time as centered as is the goal. possible. Creating different feel and emotion in the Now for the other end of the spectrum... music comes by the use of dynamics! There might be a little pushing and pulling of the LET THE TIME BREATHE groove, but that’s not the target… it just Many musicians would say that today’s happens. I find it easier to center the groove in studio recording because it’s a totally music has become so perfected that it’s controlled environment. When playing live sterile or plastic. They say, “It has NO you can be affected by the sound of the FEEL; NO CHARACTER!” I would agree room, the crowd, the PA system, and mostly to that to some extent… but my job as a by the other performers you work with. servant drummer (a working drummer) is These are still issues even when wearing to provide what works for the moment. “in-ear” monitors, but they do help a lot in So, what is that “feel” thing? keeping everyone focused on the time & When music “breathes” it probably has groove. I hardly ever use standard speakers more push and pull of the time than in for monitoring for that very reason. tightly “clocked” performances. Musicians If we’re playing to percussion loops and are reacting to each other and the vocals. other sequenced tracks, it’s much easier to There is usually a very powerful energy play in the middle of the time. So incorporate when a band “moves together.” As long this technology into your playing whenever as the band has a lot of experience and
SEP/OCT 2011 WORSHIPMUSICIANMAGAZINE.COM
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By Ed Kerr
Try This At Home
Whether you use Planning Center Online to schedule your worship teams and plan your song lists, one of the other excellent sites that are available online, or scribble your song lists on a legal pad each Wednesday at Starbucks, I suspect we have something in common. Your worship sets at your church feature completely original songs each week. Songs you’ve written. New songs you’ve charted from popular new CDs. Nothing repeated from week to week or month to month. Oh wait. We don’t do all original songs each week at my church. We do repeat songs. We do repeat songs a lot. I think I’ll scream if I have to do “Mighty To Save” again. Oops. Did I say all that? I did, and it was intentional. What we likely have in common is that we repeat songs often. Songs that “just work” as openers. Slow songs that close out a set powerfully. I’ll risk being honest here and say that sometimes playing familiar choruses can be musically challenging. Playing them the same way I learned them from recordings. Same key. Same guitar intro. Using a chart that has three years of coffee stains on it. Okay. You get my point. Before I go any further, I hope you understand that I’m exaggerating here a bit. A bit. Of course my premise here
isn’t that we should put our laser printers into overdrive printing new arrangements for every song each week. I’m just suggesting that we listen to the musician inside us who would enjoy finding a new way to present a song or two from time to time. One of my favorite ways to develop a new arrangement for a worship song is to keep my antennae up for interesting hooks. I define hooks as melodic figures, used most often in the intro, re-intro and outro of a song. These hooks become a sort of musical signature for the song, recognizable to the listener, and building anticipation for the song that’s about to be heard. One of the musicians at newlife pointed me to a song by OneRepublic called “Secrets”. It opens with a beautiful cello figure. With a beautiful Baroque feel in the style of Bach cello works, the cello figure gives away nothing of the rock feel that will be introduced 40 seconds into the song. (See figure 1). It’s beautifully played and creatively used as the accompaniment for the verse and chorus. This cello part really grabbed me musically and emotionally, and I knew that I had to find a worship song where this cello part would fit. I found what I was looking for in “Reign In Us”, one of my favorite recent choruses. It’s truly a great song in every way. Recorded beautifully by Starfield. Definitely a great arrangement as recorded there. But, it’s not the only arrangement that could work. Merging this chorus with the cello figure from “Secrets” requires you to let go of the thought that the song isn’t the song unless the original chords are heard. My stance is that as long as the lyric and melody are preserved, you’re presenting the song. Think of how many different arrangements of “The Star Spangled Banner” have been heard at the kickoff of an NFL game. Enough said. Visit my website, www. kerrtunes.com, and follow the link for Worship Musician magazine. You’ll be able to hear just the cello figure from “Secrets”. Then, assuming you know “Reign In Us”, begin singing the chorus over this cello figure. You can hear me doing this on my site as well. For my purposes at my
church, I wanted the song in a higher key. So, I transposed it up to the key of G major. Here’s the chart we use for the chorus in our standard arrangement (fig.2), and the cello part in G major (fig.3). Compare the chords of the first line of this chord chart to the first two chords of the cello figure. The first chord’s the same, and the second is closely related. D and F#m share two notes, the F# and A. When you sing the melody against the cello figure you’ll hear some interesting “rubs” between the melody and the chords outlined by the cello. Here’s where you need to be willing to go out on a ledge a little and take some musical chances. I find the interaction of the melody and cello harmonies exciting and energizing. I wonder if you and your worship teammates might as well. If you choose to take this approach to making an arrangement for a worship song, you’ll discover that sometimes you can only preserve the essence of the hook you’re quoting. In the case of this “Secrets” arrangement, I’m using the entire figure as my chorus’ accompaniment (fig.4). In other songs you might find that only a chord or two works from the hook you’re referencing. Regardless of how many chords you involve, try and make your quote of the melodic hook as literal as possible. When I’ve done this in my church I’ve seen a fascinating response from some listeners. Their ears perk up when they recognize a song from the culture. “That’s OneRepublic. In church?” Then, when we begin singing “You thought of us before the world began to breathe…” somehow they’re listening to the lyric more intently than they might have had we used our regular arrangement. Listen analytically to “Secrets” and you’ll discover that the entire song uses the same chord progression. What OneRepublic does with these chords is staggering: the intimate intro with only cello. . .the entrance of huge drums. . .a great variety of textures along the way. Make some notes about what the band is doing. Then be willing to ask yourself if your team is building as much creativity into the journey from down-beat to final note, regardless of what song or arrangement you’re playing. I pray that out of this effort a new arrangement will emerge and, most of all, you and your church will gain a fresh insight into a powerful lyric as you worship.
As a songwriter Ed has written over 100 songs with Integrity Music. He has a Masters Degree in piano performance. Ed and his family live in Washington State. Ed plays Yamaha’s Motif XS8. www.kerrtunes.com
SEP/OCT 2011 WORSHIPMUSICIANMAGAZINE.COM
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By Gary Lunn
The presence of bass is so important in music. It’s at least one-half of the foundation of the rhythm section. If we bass players take the significance of our post seriously, the music will “hit the mark” more often than not. If we play with a musical, bassline “plan”, play consistently, and play in the groove with authority, then the level of the anointing in the music will rise to a higher place more quickly. Keeping it Level Playing consistently in volume is so important. By “consistent”, I mean your volume level. You want to play evenly and smoothly at all times. You need to pay close attention to the songs dynamics, flowing with them (playing more softly when the rest of the band does). Also, it helps to try and play with a consistent finger pressure (+ or - 10%)! And during sound check make a conscious effort to give the front-of-house engineer 98% of your “real” loudest bass volume. It is a very professional and considerate thing to do. Singers and Bass Another prime example of bass significance is the bass’ importance to vocalists. Singers listen to the bass for the fundamental tone reference for them to tune to (even if they don’t know it). If you want to be a blessing to the singers in your team, be sure to remember your tuner. Style Awareness A lot of contemporary Christian worship music these days consists of eighth notes that are played in several different fashions. Playing eighth notes may sound simple, but you have got to be on your toes. I have found, having played a lot of country and southern gospel music, that it is usually the simplest songs/styles that are the most challenging to play. The more times that we play an eighth-note style song, the more our brains begin to second-guess the previous times we’ve played that same pattern or section, asking ourselves, “Now…how did I do that before?” I believe that the simpler the pattern, the quicker you should set a style of consistency, but from that point on, stop thinking about it. Concentrate on the other groove elements in the rhythm section. Make a conscious effort to listen to the high hat, bass drum, click track (if there is one), rhythm guitar, etc. Try listening to the song as a whole. Let yourself be inspired by what you are hearing and then see what comes out. Don’t forget that less is more! Sometimes playing in a more traditional worship service requires a more disciplined attitude. Follow the chart closely and don’t take too many “chances.” If your band doesn’t use charts then solidly play the applicable bass part for the song, continually remaining aware of how busily you might be playing. Picking a Part In choosing the right bass part, an important aspect to consider is to take care not to play lines that are too “pattern” conscious, and to strive to play those that are more “part” conscious overall. Keep in mind that a good, consistent bass part can take almost any good worship song to higher emotional levels during worship time. In a song that starts at a softer level, try playing it higher in the beginning and gradually playing lower through the song (same key, different finger position). Then finish “big.” When I play a 5-string bass, in the studio or in worship, I typically try to reserve the big notes on the fifth string for the last chorus or vamp section. The low power of the fifth string, used at the right time, can affect the overall impact of the song and really help move the spirit in worship. time to establish the song’s message. If the music’s mood comes to a quiet place that can accommodate the lack of bottom-end support, then it’s probably okay to “step out” a little if the inspiration hits you, or if you get an approving glance from the worship leader. Sonic Significance I think that the purpose of bass in a song mix is the most important element. When you take out the bass, it completely changes the feel of the music. I work at home overdubbing bass on tracks for various clients. Whenever I solo the bass - or particularly whenever I mute the bass, everything about the music changes. If you are just starting out and have never had the opportunity to experiment with a multitrack session in Garage Band, Pro Tools, Logic Pro, Cakewalk, or any other digital audio workstation (available to anyone at surprisingly “low” or “no” cost), you really owe it to yourself to make an opportunity to try one. It will amaze you when you find how drastically the feel of the music changes when you mute a single element – especially the bass guitar. Privilege
By definition, privilege means “a right, immunity, or benefit enjoyed only by a person beyond the advantages of most: the privileges of the very rich.” As bassists, we get to have wonderfully rich experiences in all kinds of worship styles, from deep and soulful, to introspective and reflective. Worship requires us to closely watch, listen, and heighten our sensitivity to the Holy Spirit while playing. He comforts and guides us down the path, sometimes allowing us to flow Restraint and play spontaneously in a myriad of harmonious fashions, but sensitivity is the We have to be careful not to over-play, key! as it draws attention to the bass, which can make it difficult to lead people into worshiping God. It can be distracting, Gary is a session player/ but you can change this by thinking producer/writer in Nashville, differently and by carefully choosing your “moments” between various vocal currently playing for Lindell sections in a song. Also consider whether Cooley, MMI, home recording, or not the worship leader has had enough and many recording session
accounts, attending Grace Church in Franklin, TN.
WORSHIPMUSICIANMAGAZINE.COM SEP/OCT 2011
They haven’t abused their voice per se, they’ve overused it. The same may be true for the worship leader who sings three services on Sunday after an all day rehearsal on Saturday. They may be singing or talking with proper technique but they’re simply doing too much of it. Sometimes however people abuse their voice by singing improperly or contorting their voice during times of worship and prayer, this can take many forms, but one is yelling - commonly called “belting” (see my article in the July/August edition). Your vocal cords are designed to last a lifetime with proper care, but can very easily sustain significant damage. Take care to ensure that you use your voice properly, and don’t overdo it! Be Rehearsed When you show up for your time of worship, whether you are the leader or a background singer, it is your responsibility to be prepared. Number one, you need to be warmed up. Start this as soon as you wake up and make it a part of your routine. The steamy hot shower is a great place to get started! You’ll have supermoist air, and who doesn’t sound great in the shower?! But always take your warm-up slowly so you don’t create strain and ultimately cause phlegm to form on the cords. Phlegm is annoying, and if not removed gently will simply continue to return. Phlegm acts as a “bandage” to vocal cords that have been hurt in some way, if you cough or clear your throat to remove the phlegm, it will simply keep returning. Try continued swallowing, and refrain from using your voice (if you can) until the phlegm passes. Then, be more gentle with your voice and the phlegm will likely not return, or at least not as quickly. Know your music! Whenever possible, have your music and your specific part memorized. Make sure that the vocal section of your team takes the time to perfect their blend. The best way to achieve blend is without the help of any microphones or musical instruments. It is in this way that you can all truly hear and be able to tell whether you are singing too loudly, or who might be singing too quietly. It is NOT the soundman’s job to give you the perfect blend! Make sure that you have a great blend before you get onto a platform and it will make the soundman’s job a lot easier. Monitors and Microphones Being able to hear yourself is key for any singer. There are several ways to go about this on a platform. The standard way has been with floor monitors (wedges). If you use these, be sure to start your sound check by getting the house right first with no monitors yet onstage. Then, after your ears have adjusted to the room, slowly bring up the sound into the monitors onstage. Then simply supplement with what you can’t hear acoustically already in the room. Don’t shoot for a “CD quality” mix in your monitor. It’s unnecessary and impossible to achieve anyway. In-ear monitors can be given to every singer and also are nearly invisible. This lessens the overall volume level on the stage and makes it easier for the sound tech to mix. The in-ear monitors can be controlled individually allowing for people to adjust their own volume and mix, if you have the right equipment. This can be great, but I suggest that all background vocalists have the same mix. They can control their own overall volume level, but they need to keep the same vocal mix or otherwise all the work they’ve done to achieve a great blend will be out the window. That is the one advantage to the wedges on the floor, but there are so many other benefits to inear monitors that if you can use them, use them! Just be sure to keep one vocal mix for the background singers so they can hear what they really sound like. Most of the time singers sing with whatever is put in front of them. Sometimes this works out very well, and other times it doesn’t. No other musician leaves such things to chance so regularly. Imagine a guitar player showing up to play with whatever guitar was provided! Never would it happen! Yet we singers just take for granted that it will all work out. There are so many different kinds of microphones out there and some of them will work with your voice so much better than others. Many of the worship conferences that I speak at now have booths where you can take the opportunity to try out different microphones to see which best suits your voice. (check out my hubby’s site at www.worshipmd.com for a list conferences where he will have just such a booth set up!) Most microphones are really very reasonable in price and probably less expensive than you think. So think about investing in your own ‘instrument’: Get some training, take good care of your voice, get those monitors set right, and consider buying yourself a decent microphone--you’ll be prepared!
By Sheri Gould
Being prepared for your worship/singing experience can make all the difference when it comes to having a smooth and powerful time with the Lord. There are many phases of preparation and we’re going to breeze through a few of them. Vocal Training Few people in the church today feel they have the time, money, or inclination to get any serious training for their voice. But there are so many great reasons to do so. Training can help facilitate your ability to accomplish all that you want to vocally, and do so without straining or damaging your voice. With proper training you can also discover your true range and ability. It’s important to select a good coach however! Be careful to check into the qualifications of the coach you choose. Just because they speak at conferences, have a nice voice, teach, have a web-site and DVD sets, or charge a lot of money does not mean they are really qualified to teach. Look for coaches that have an actual background in vocal training and education from a qualified university. These are the ones who have been uniquely trained to teach and not just perform. Basic Vocal Care If you train with a great coach you will learn how to properly warm up your voice and take good care of it. It’s important not to strain your voice through misuse or abuse, especially the night before you’re scheduled to sing. Be careful not to stay up too late, talk for long periods of time at an elevated level, or let yourself become dehydrated. Vocal rest, sleep, and hydration are all vital to being prepared vocally. Drinking the proper amount of fluid is imperative, but also having the proper humidity, especially at night, is also important. You should always breathe in through your nose as this warms, moistens, and cleans the air before it hits the vocal cords. Try to stay away from menthol, lemon, or alcohol as these will dry out your vocal cords. If you need something to soothe your throat try a menthol-free throat lozenge or the herbal tea, “Throat Coat”. Abuse and misuse of the voice come from a variety of things. The most common is simply overuse. Many people have jobs that require them to speak all day, and then they rush home to grab dinner and head off to a two hour choir or worship team rehearsal.
Sheri Gould has a BS in Music Education (Vocal/Choral) from the University of Illinois. A church music director (Choir/ Worship Leader) since 1985, she also teaches vocal techniques at various workshops around the country. Send your questions to: firstname.lastname@example.org
SEP/OCT 2011 WORSHIPMUSICIANMAGAZINE.COM
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WORSHiP TEAM TRAiNiNG
By Branon Dempsey
“It would seem that we are at risk of creating a church culture in which aesthetics and entertainment become the watermark for a great worship experience.” - David Ruis Eye-candy of lights, themed services, sacred ritualistic processions, new forms of song, classic arrangements of chorus, dressing up to dressing caz, innovative media and technology, as well as high church aesthetics to abstract visual art and design. All are chosen to customize a service, but what is the biblical intent of their use? All forms of worship styles are helpful, yet some have tempted others to wander from the centricity of Biblical worship. We find this not only in contemporary forms of worship, but in all styles that cater to the worshipper instead of the One being worshipped. It’s hard to believe, but the Worship Wars and other preferential battles in the Church have continued since the initial writings of Paul’s letter to the Colossians. In this period of the Church, seductive philosophy, dietary restrictions, fascination with angels, and new religious trends were becoming problematic. Paul wrote to them to help strengthen those who were struggling from these empty and deceptive practices. These Christians were battling their own wars of the church that depended on human tradition rather than depending on the supremacy of Christ (2:8). Christ is our High Priest (Heb. 4.1415) who has gone before us; He alone is able to lead us to experience God more deeply. Colossians 3 tells us that we are God’s special people, chosen by Him, holy and dearly beloved. He desires to clothe us in compassion, kindness, humility, gentleness, and patience. Why would we need anything else in addition to give us a fulfilled experience of worship? This is why Paul says to “let the word of Christ dwell in you richly as you teach and admonish one another...as you sing psalms, hymns and spiritual songs with gratitude in your hearts to God.” (3:16). His word alone leads our hearts and minds, while the Holy Spirit guides our confession unto God.
worship through the Word and how can you grow deeper on a daily basis? What does God bring to your mind to help you rid yourself of unnecessary devices in worship? What difference could this make in liberating you into a new sense of worship that pleases Almighty God? Worship Team Training Branon Dempsey
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
What we do and use in a service of worship is to glorify God in the name of Christ. Our acts of worship by means of song, instruments, technology, liturgy, church-art and the like are simply tools. As we are guided by His word, led through the Holy Spirit, and submit ourselves under Christ, the Father is well pleased with our Paul argued that because of Christ, we worship and it is the kind of worship He is have no need for man to relate to God seeking (John 4:23). What other pattern through legalistic church rituals and/ of worship is there that can take the place or the worship of angels. This scenario of Christ as He unites us together as One is parallel to the statements that we hear to presents us - unblemished, holy and today regarding worship. Ever heard of reconciled to the Father? May the worship these remarks: “worship is not worship in our local churches be determined by unless I hold a hymnal and hear the the precedence of Christ and not by the organ,” or “I can’t worship unless it’s with preferences of human beings. a guitar,” also, “we need to be more “What is the pattern of worship that contemporary in order to worship better,” best conveys the richness of divine grace, and how about the famous, “it’s not the faithfully interprets the gospel in our Word of God unless its read from the modern world, and helpfully consolidates King James.” These examples were similar the body of Christ?” - Geoffrey W. to the very point that Paul was trying to Bromiley make to the Colossian church. In order to Reflection: grow closer to God, or to experience a Can you worship without your deeper sense of worship, we do not need ritualistic devices or methods. We do not preferences? In having just the bare bones need selections to worship, but rather of worship - His word alone - how different would this look? What does it mean to sincerity in our worship to God.
Branon Dempsey is the CEO/ Founder and Training Director of Worship Team Training (www.worshipteamtraining. com) a ministry providing live workshops and online resources for local worship ministries. Branon is called to lead worship teams, leaders and artists in becoming authentic worship-followers of Jesus Christ, serving 40+ churches per year. He holds an MA in Worship and BM in Music Composition/Performance. Featured WTT Radio Show Host on Creator Leadership Network to 70k listeners, Instructor/Speaker at Christian Musician Summit, New Column Writer for Worship Musician Magazine and TCMR iLevite Magazine and CCLITV Video Training Contributor. Worship Team Training is sponsored by Creator Leadership Network, Christian Musician / Worship Musician Magazine / Christian Musician Summit, Sibelius USA and G3 Music Publishing; endorsed by Promark Drumsticks and Jim Hewett Guitars.
SEP/OCT 2011 WORSHIPMUSICIANMAGAZINE.COM
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The Response of a Worshiper
by Aimee Herd
Phil Wickham’s brand new release is titled “Response,” and in talking with him, it’s easy to gauge just how important this subject is to him. …Our response to God, His response to us; the response of those who listen to Phil’s music, Phil’s response to them as he connects with them via social networking…getting the picture? And, it is important—we all want a chance to respond and be responded to, right? Phil offers a great opportunity on his website for just that, especially for those involved in leading and playing worship. Read on for more… Aimee Herd: Phil, let’s talk about your new album “Response.” Phil Wickham: It’s release on iTunes and in stores is October 4th, but we’re doing a pre-release that’s similar to what we did previously on “Heaven and Earth,” where we offer the pre-sale album download on my website for two months. And I have an acoustic version of the record available only from my site as well. AH: That’s cool, I like the acoustic versions that you offer. PW: Well, I do a lot of solo dates when I go out on tour; almost as much as I do with the band. It seems like there are people who connect with me and with what’s going on as much or more in that arena and setting. It’s so easy to just get a guitar and mic and record the whole album—for some people that’s kind of what they dig, so we thought, “Why not?” AH: Yeah, and there’s definitely that intimate aspect to it. What are your reasons for doing the pre-release on your website, is that primarily for marketing?
an interview with
photos by Christian Rios
SEP/OCT 2011 WORSHIPMUSICIANMAGAZINE.COM
PW: Honestly I think there’s a cooler side of it than just marketing. For one thing, it gets people to my website, and we get to capture a lot of email and keep in touch with people. I really try to create an online community with the blogs and Twitter, Facebook and videos. I really try to create something where people will want to come back and be a part. Where they can learn to play songs and download chord charts for free. It keeps people coming to a hub that I can control, so to speak. ...And it’s marketing too. AH: But, also like you said, that “connection” aspect is important. What do you think, though, about the complaints about social networking causing a disconnect among real personal relationships—since we’re on the subject, and since it seems to be so beneficial to you? PW: I completely feel that way [that the social networking aspect is good]. I can get a video feed from my house on my laptop, stream it live on my website, and talk to a bunch of people in a chat. I can answer questions and tell them about the new record. For me, to be able reach the proper audience, it’s amazing. As an artist, to be able to connect with people and answer questions in real time; it’s amazing. AH: In the past you’ve worked with producer Pete Kipley—did you again on “Response?” PW: Yes, but this is the first time that I had an album that was co-produced. We co-produced it with Brown Banister. If you’ve been around the Christian music community long enough, you’ve heard of Brown. He’s amazing and has such great musical instincts—he brought a maturity and a focus to the record that really helped us stay along the line of what I wanted this record to be. I wanted it to be probably more congregational, and to go along with the theme of “response.” There are a lot of different definitions of what worshiping God is, and they kind of speak of the different places where the heart can be. I think “response” is one of the definitions; it’s what worship is—it’s really what we’re doing. When God reveals Himself through Scripture or creation, and in how He changes our hearts; we worship God because of who He is. We respond in worship because of what He reveals about Himself. I really wanted that theme of responding to God in songs about responding, or
in songs that are responding to who He We really wanted to explore the name is. And, I think Brown really helped us of God and the power in the name of God. We know the word “Yahweh” stay on that track. that’s the part in the chorus where it AH: So, with “responding” being the says, “we love to shout Your name theme of the album, did you have any Yahweh, Yahweh...” We both love the power in that—even as the ancient specific inspiration for that theme? Israelites did. Many of them would save PW: I don’t think it was one specific that name for just when they were in the inspiration, but I’ve definitely developed temple; it was a holy, sacred name. It some amazing relationships over the was so holy and sacred [to them] that course of the last 2 or 3 years that have the everyday people wouldn’t say it, so reminded me about why I picked up the way to say it correctly has kind of guitar in the first place. One specific been lost in history and we only guess trip I had was going up to the UK and that it’s pronounced “Yahweh” now. getting on a first name basis with guys like Matt Redman and Tim Hughes. AH: Oh yeah, because there were There is this amazing ministry called no vowels in the ancient Hebrew “Soul Survivor” in the UK, led by Mike language, right? Pilavachi that has thousands of young people coming together worshiping, PW: Yeah, it was written YHWH. So, and kids bringing their friends to come we just guess now that it sounds like and know the Lord. It really was a “Yahweh.” But, it’s representative of moving thing to get out of the comfort this mysterious God, the same One who delivered the Israelites out of bondage zone of my own country. in Egypt, and parted the Red Sea, and Tim Hughes had me come over to the who allowed David to slay Goliath, UK to be a part of a worship leader’s and delivered Daniel from the Lion’s conference in London. There were like den and kept Shadrach, Meshach 1,500 – 2,000 worship leaders from and Abednego from being burnt by the UK. In the US there are many the flame. What we really wanted different worship conferences to pick to do in the bridge of the song was from, but in the UK, it’s not the same to say this same mysterious, massive kind of temperature; I think there’s a Old Testament God was revealed to desperation for fellowship and God is us in Jesus. It’s an amazing thing to doing something that is very unique look at the God of the Old Testament in this place [the UK] that’s very, very and then look at Jesus and see that the post Christian. When I saw all these God with all the power to create the worship leaders come together, and universe would humble Himself and the sincerity of the worship, it really walk amongst us, and say “I love you” challenged me. And, I got inspired to by giving Himself up for us. It’s just an write songs that are worshipful and that amazing thing. The bridge makes that I could sing with people. It reminded me connection between Yahweh and Jesus. of when I was in junior high and high It’s been really fun to sing it with people. school, when I first picked up guitar to learn a bunch of easy worship songs AH: It’s a powerful song. I also love to play in my youth group. I thought, the poetry in the song “Sun and Moon.” “I want to do another record with all these things on my heart.” Those were PK: “Sun and Moon” is one of my some of the specific things on my heart personal favorites; I like the imagery in it for this record—to focus on songs that as well. Everyone knows how beautiful are worshipful and that I can sing with the moon is in the night sky. It’s been the object of many romantic songs. But people. we know that its glow and all the beauty On that trip, Tim and I co-wrote “At that it has comes from a greater source; Your Name” together. We wrote it the sun. And without that greater source and were singing it—he ended up of light, it literally would be invisible to putting it on his record, and I put it on us; it would be nothing but a cold, dead mine... We’ve been chatting back and rock. The song “Sun and Moon” uses forth about it here and there; both just that metaphor that our hearts, our lives excited about it and how well it seems and all that we are, are similar to the to be translating to a corporate setting moon in that any beauty that anyone of worship. I think the chorus—like a would see in our lives, and goodness lot of songs that translate well—is just or any righteousness or holiness comes a little on the easier side to sing and from nowhere in ourselves but it comes from being reflections of, and conduits catch onto.
WORSHIPMUSICIANMAGAZINE.COM SEP/OCT 2011
Phil Wickham - an interview by Aimee Herd
got a couple different bass players that play with me. I have a synth and keys player, whose name is Jyro LaVilla, and that’s pretty much the band. Some of them have been a part of writing processes here and there. Sometimes, during sound checks on tour--when we know the set by heart, and we know what we’ll be doing—we’ll just be jamming onstage... Five minutes later, we’ll have this kind of cool chord progression—this has happened more than once—and I’ll start singing over the top of the chord progression. We’d be like, “Hey man, this can be a song!” AH: That sounds like fun; jamming together can be great. PK: Yeah, it is fun. It creates a cool and different atmosphere to create new melodies like that. But, for the most part I write songs; just me and my guitar. Actually, on this album especially, I cowrote songs. I wrote with Pete Kipley, and a guy named Jason Ingram (he’s a songwriter in Nashville), a singersat down and thought, “Well, if this is songwriter named Philip LaRue—he going to be a worship CD for people wrote the first song on the record to use in church, then I want a song for with me. Ed Wickham, my brother, communion, and a song of surrender, collaborated with me on a song. Even a song about coming to the Lord, and my wife, Mallory Wickham, helped me I want a song about joy, I want a song write a verse to a song. I wanted to to start a worship set with...” The song get more people involved, anybody “The Victory” really focuses in on the with good input; that was the goal of cross and thanks God for the work this record. that He did on it. So, I had the song and it was very low key, and I felt like AH: And what gear do you typically I wanted it to get big. I wanted it to prefer to use? end putting a smile on Believers’ faces I’ve had a Taylor 414 25th and hopefully a smile on God’s face. PK: Anniversary Issue—that was my first So the song wasn’t really “there” until later when I added this ending part guitar that cost more than $500.00 about “the grave is conquered, Jesus is bucks! It’s still tried and true, I can’t risen, life ever after,” the band gets all not take it with me; I feel like it sounds ethereal and big around it. And, once better than it ever has. that happened we thought, “I think we have the ending song for the record.” AH: Did you name it? Because this is what I want people to No, but it’s got this 25th end singing with; “Jesus is risen, life PK: anniversary golden script writing on the ever after.” head—a guy in the band put black tape AH: Speaking of the band, who are over that writing because he thought it the other members, and are they a part looked kind of lame. (Laughing) So now I have this black tape wrapping of the writing process at all? around the head of my guitar. It didn’t PK: As a singer-songwriter, my look rock-and-roll enough I guess. band changes from time to time. . . Taylor Johnson plays guitar with me, And then I have a Gibson Advanced he played a lot of the guitars on the Jumbo that I used on this new record; record—I think he did an awesome job. songs like “Sun and Moon,” and And then my brother-in-law played a a couple others. I’m really excited good amount of the drums, his name’s about it because it sounds great on the Joel Klatnick. And, my producer, Pete record. And then when playing live Kipley, has played bass on almost every with electric, I use an ‘84 Tele, and I run record, and on this one too. But, I’ve it through a couple foot pedals—mostly
for the glory of God. It’s a prayer: “God, just as the moon shines the light of the sun, I pray that I would carry Your love and carry who You are to people around me.” It uses that metaphor throughout the whole song. AH: Sonically speaking, I noticed on the song “The Victory,” there is a really nice ethereal aspect to it—what sets this entire new project apart from your previous albums? PK: When we went into the studio, we didn’t put very many boundaries around what we wanted to do, we just wanted to serve each song. But also, for me, I really wanted to inspire a spirit of worship in people’s hearts with this record, so I wanted it to sound a little more organic. My last record was a little more “programmed,” with a little of an ‘80’s quality to it. With this record, I thought, “What if it was me and five other guys onstage together; how would we play this song, how would we lead a group of people in worship?” That’s how we looked at a lot of the songs, (like with a live band playing through them) as opposed to a post-production kind of feel. I’d say that kind of defines the sound. “The Victory” is another one of my personal favorites on the CD. I love the simplicity of what it says... “Jesus, Savior, my God my Lord, Jesus Savior the victory is Yours.” For me, it was kind of a communion song on the record. I
SEP/OCT 2011 WORSHIPMUSICIANMAGAZINE.COM
Phil Wickham - an interview by Aimee Herd
spiritual vibe at all? And if you thought about what God might be speaking to His Body in this time, what would that be? PK: Well, there’s for sure a common spiritual vibe, or whatever you want to call it. That’s one thing I love about my job; I really get to be a part of the Church— wherever that might be—in a bigger way than just going to a building on Sunday mornings. I get the privilege of seeing God work through everyday people and their communities. And coming alongside them and what they’re doing to lift up the name of Jesus in their communities; it’s such an honor. I love it, I love being able to hang out with new people when I’m on tour, going to a new place every day almost... Hearing the heart of the youth pastor about what’s been going on with the high school group and the mission trip they’re about to go on... Or it might be talking to the pastor about a trial they went through and how now they’re on the other side, it’s amazing to see what God has done. And like you said, I’ve gone overseas and seen God move in special and unique ways in so many different m i n i s t r i e s — i t ’s awesome! It makes me have joy at the large-ness of God; so many different people, but He cares about them all.
answers to questions, but—I see what I’ve always seen (maybe it’s just what God has put on my heart). I see God desiring sincere faith, trust, and love for God, with religion and all that stuff aside. [He desires] faithful Christians who just love God and love each other. That comes off in such a sweet way in a real sincerity in worship—a real desperation to meet with God in worship. Those places where the leadership are really getting that point across; centering around Jesus, and really looking at who Jesus is, what Jesus did and worshiping Him—when that’s the goal of the leadership, I feel like it makes the heart of the Lord happy. That’s when I feel like some of the most powerful nights happen. That’s what God has instilled in my heart. I love writing music, I love writing songs and it’s fun when they get on the radio, but ultimately, there’s no greater joy for me than hearing stories of how people have come to know Jesus better because of the music. It’s the most satisfying thing I could hear or be a part of. Phil has included song chord charts and teaching videos to accompany his new album “Response,” everything is available on his website: PhilWickham.com
delays, overdrive and stuff. And I have a Bad Cat amplifier. AH: The cover of “Response” pictures you in front of a piano... what keys do you prefer to play? PK: (Laughing) Y’know, I’m kind of a “keyboard poser” to be honest! I write songs once in a while on piano, but I’m definitely not a keyboard player. AH: (Laughing) Oh, so on the cover… PK: That’s right, I was just posing. AH: It seems that with technology advancements, so many things have been going digital—physical bookstores closing, and things like that. But with music, there has been a kind of retro movement and—at least in mainstream markets—vinyl has been making a comeback. Do you see that catching on at all in Contemporary Christian Music markets?
PK: I think it’s cool that it’s making a comeback—I think vinyl sounds amazing. When you have a good vinyl record there’s something warm and awesome-sounding about it. It’s probably a little more expensive to keep a vinyl collection up than to keep current on an iPod though. But I hope Then, for the Church it comes back [to CCM too] that’d be as a whole—I’m cool. always bad at the big, general AH: Phil, you mentioned being in the questions, I wish I UK recently. When you think of all was more of a Louie the places you’ve been to and played Giglio visionary in, and the people there that you’ve kind of guy so I connected with, is there any common could have great
SEP/OCT 2011 WORSHIPMUSICIANMAGAZINE.COM
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AT YOUR NAME by Phil Wickham intro: A D A D At Your Name the mountains shake and crumble A D At Your Name the oceans roar and tumble E F#m At Your Name, angels will bow D Esus E the earth will rejoice Your people cry out A Lord of all the earth we shout Your Name shout Your Name F#m Filling up the skies with endless praise endless praise E Yahweh, Yahweh D A we love to shout Your name oh Lord A D At Your Name the morning breaks in glory A D At Your Name creation sings Your story E F#m D There is no one like our God we will praise You, praise You E A There’s no one like our God we will sing, we sill sing (x2) E F#m D There is no one like our God we will praise You, praise You E D E F#m E/G# Jesus You are God we will sing
SEP/OCT 2011 WORSHIPMUSICIANMAGAZINE.COM
LEELAND The Great Awakening 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. The Great Awakening All Over The Earth Chains Hit The Ground I Can See Your Love I Wonder Pages Not Afraid Anymore I Cry Holy Ghost While We Sing Unending Love
By Heidi Todd its natural quality and the band’s ability to guitar, her voice, a little effect, whammo. Powerful. Here, it was still good, invite us to the supernatural but had much more room to have as well. a raw connection to the listener. DARLENE ZSCHECH You are Love 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. Under Grace Saving Me You Are Love We Are Your People I Will Wait Beautiful Hope For Humanity Faithful Cry Of The Broken Face To Face She’s great, no getting around it. Personally, I have to connect and I had a little harder time doing that here except for a couple of the songs. If you love Darlene Zschech’s style, this is a great album to own. If you’re not sure what her solo style is, take a listen first. When you decide you want to buy it, it won’t be because it’s another album turned out in true Hillsong fashion - it’s her own style and for that, I have yet another reason to applaud her.
It’s no secret that Darlene Zschech has changed the face, sound and feel of MATTHEW BROWN modern worship. She’s been shaping and In The Winepress reshaping worship music for decades. As 1. All That’s Left I’m sure you know, she was well versed 2. Waiting (no pun intended) in writing and delivering 3. Our God Is music long before she was the worship Alive pastor at Hillsong Church in Australia. In 4. Hallelujah, What A Savior her collective years as a worship leader, 5. All Things New she has led (and continues to lead) 6. God Is In millions of people. She still participates in 7. Gladdening Light My favorite song on the album is #2, “All conferences around the world. 8. I Am Yours Over The Earth.” One of the things that so One side of the coin for me with Darlene 9. Bravery quickly endeared me to it is the first couple Zschech is the fact that so many of us have 10. Jesus, Thy Blood And of minutes of the song. The band sings as benefited from her faithfulness and boldness Righteousness an almost far away chorus - the nondescript as a leader; there’s no accounting for what voices evoke the sense that they are all we owe her as a tenacious leader and Okay. Heavy sigh - when the intro of rearing back and singing full voice like they artist. You can’t help but admire her and the first song started, I was filled for just can’t help it. A surprisingly long track be grateful for the many many contributions anticipation for the first note that would (nearly nine minutes), it creates a story with she has made to the songs so many of us be sung. When the lyrics began, I sat a few different musical thoughts intertwining sing. A friend of mine recently referred to back a bit in my chair; the tone and along the way. It soars, whispers, then her as the queen of worship, which we the musicality has such a different flavor hushes and reflects, then becomes lofting both chuckled at since this is an obvious than Matthew’s voice. He is one of the and heavenly. The song brings tears to my guitarists and keyboardists on the album, contradiction in terms. eyes as it focuses on the glory of God. and I daresay that his musicianship is There’s no denying her talent and his strongest suit. Here’s the contrast: Historically, Leeland’s songs have been experience; perhaps it’s those two factors I would describe the instrumentation more suited to featured music rather than that made it difficult, at times, for me to feel as lively, interesting and full of vitality, corporate worship, in part because his connected to the songs on this particular mixed and blended well. But the lead range is ridiculous and the songs aren’t as album. With a couple of exceptions, it vocals are greatly restrained, even stiff, easy for people to jump into. I’ve always seemed that the mastering of the recording lacking dynamic and feeling. If one or appreciated that about the band, but this and the style in which it was tracked made the other had not been so very different album has a few more corporate type songs it dry and compressed sounding, to the than the other, it wouldn’t stand out so that I’m happy to know more people will point of being almost muffled. When that much. be singing along with. Not many people much life and dynamic is removed from can write the word “iniquity” into a modern a recording, it chops away at the bridge The thing is, Matthew is a worship and worship song and make it work, but Leeland between you and the artist. Some of teaching pastor in a church and has a has no trouble pulling that off. Leeland has my favorite musical experiences hearing great story to tell. I read his biography been a huge favorite of mine for years for Darlene have been the simplest: acoustic and he has all of the components there; he’s young, passionate, has traveled, has a great sounding family and a strong Overall impression biblical background. I’m guessing that Average church congregation could learn/participate on the first hear he’s very easy to relate to in person at Can be learned/adapted by a band of average skill his church and is a strong minister in the presence of God in worship. My Lyrical creativity and integrity nudge to him would be to try to be more Leeland The Great Awakening natural and less polished and just let it happen. Darlene Zschech You Are Love Matthew Brown In the Winepress Jason Gray A Way to See in the Dark Aaron Shust This is What We Believe Gungor Ghosts Upon the Earth
I was so excited to get the Leeland CD in the mail and throw it into my car stereo, work computer, home system, iPhone, etc. This CD didn’t disappoint. Even with the small change in the lineup (Leeland’s younger sister is now their bass player), they are true to form on this album, while still stretching a bit. Never having been known for playing it safe or staying on any fences, Leeland’s earnestness is even more pronounced. The band has a sense of urgency but mixes it with a new level of maturity, making even hard-to-swallow conviction a welcome nudge.
As you listen to his carefully penned lyrics, there are several teaching moments, no doubt in part due to his role as a teaching pastor. Andrew Peterson is a great example of a musically gifted storyteller, in a similar vein, style wise, to
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Matthew Browne. I’m truly looking forward to hearing more from this worshiper and hearing him stretch and spread those wings on future albums. their abilities are every bit as astounding live as they are in a recording. Perhaps more so, because you are immersed in the context of their artistry and expression, Aaron Shust will be both an which to me, always makes music all the JASON GRAY encouragement to you as well as feeling more enjoyable. A Way To See In The Dark like someone you could have a real As on the last album, Michael’s wife Lisa is 1. Remind Me Who I Am conversation with. He’s had his share of featured – even more so this time around. 2. The End of Me trials, even in the midst of creating this She has, over time, become more of a 3. No Thief Like Fear album, but his need and reach for God musical and vocal partner, so beautifully 4. Good To Be Alive compelled him to cry out in a way we all balancing and complementing Michael. 5. The Sound Of Our Breathing do at times. But the album is not sloppy They write with a poet’s pen. A banjo 6. Without Running Away by any means; he knows what he’s doing paired with an oboe is not the least bit 7. Fear Is Easy, Love Is Hard and puts a great effort into making this unusual in the framework of who they are 8. Nothing Is Wasted album excellent. as a band; both instruments have a very 9. A Way To See In The Dark Aaron writes for people to participate, you soulful quality. Not every musician would 10. The Other Side can tell. His songs, though, are pretty easy recognize that or be able to pull that off 11. Will Find A Way to jump in on and aren’t boring. They’re in a way that didn’t seem like a musical 12. Jesus, We Are Grateful interesting and are constant reminders of stunt. And though the band members At first hearing, the album was God’s goodness. After reading a little of could run circles around most musicians, appealing but wasn’t compelling. That the struggles that were taking place when you’ll be happy to know that there are a was at first. I started leaning it a bit more this album was being written, I heard the few songs on this album that you could and wanting to hear the upcoming tracks. album differently. He tends toward the incorporate into worship at your church. I appreciate Jason’s willingness to sing medium-to-fast paced songs, but I hope At their most basic, these are great songs. and play aggressively but also take time that in future releases, he reaches a little There are songs like “The Fall” that have to repose and consider. There’s an ease deeper and cuts the pace directly in half wedged their way into my heart indelibly. about what he does; the instrumentation and a couple of times. He has a great voice, When I’m walking around the house by melody lines are thought through - not just so you can tell he’d be able to be a little myself or driving down the road and separately but also relating to how they will more exploratory in the melody lines on singing the line “turn your face to me” and work together. “Nothing Is Wasted” may slower tunes, but there are only glimpses feeling the urgent heart of Father God, it’s or may not be written for a whole church to of that on this album. clear this is special songwriting. In my sing, but it is a great anthem and was one Grab it; you’ll be glad to know about darkest of days, Gungor (all of the band) of my favorites on the album. Aaron and no doubt will want to add a has helped to reinforce the belief that I I appreciate that Jason Gray lets things couple of these songs to your repertoire am loved and that God is eager for me. speak for themselves; he’s forceful but not if you’re a worship leader. I feel Incredible. forced. His influences and co-writers extend encouraged and happier after listening to It was so hard to pick a favorite couple a wide range but include thoughtful writers. this album but I also am reminded of how of songs on this album. They are all so He’s released several albums before now, desperately I need Jesus. Thank you for unique. I can confidently say that you will but this one has a strong reach and effort. that two-fold reminder, Aaron. find no collection of songs quite like this, The album is acoustic guitar driven, so at the so whether you’ve been a fan core the music is for everyone. You could for years or are curious about GUNGOR strip away the rest of the instruments and an album whose title includes Ghosts Upon The Earth get to a good foundation, but he’s tasteful the word “ghosts,” spend full 1. Let There Be with the addition of multiple instruments so retail and get yourself a copy. 2. Brother Moon you don’t find yourself necessarily wanting You won’t regret it. 3. Crags And Clay to strip everything down. 4. The Fall Each time I receive an album to listen to, 5. When Death Dies iTunes asks me if I want to add it to my library. 6. Church Bells This album was a bit of a sleeper for me 7. Wake Up Sleeper because the first time I heard it, I told iTunes 8. Ezekiel to hold off on that. Today when I popped it 9. Vous Etes Mon Coure (You are back in, I said, “Yes please” to the question My Heart) of adding it to my library. I can see listening 10. This Is Not The End Heidi’s background is to this over and over and I strongly believe 11. You Are The Beauty primarily in worship and its true treasures will only be mined out when 12. Every Breath production, joining her one slows life down a bit and devotes time to the listening to the crafting of these songs. One of the categories that I review all first worship team at age Having been albums in is “can be learned/adapted twelve. by a band of average skill.” On on staff at a Northwest AARON SHUST this album, decidedly no, but thank church since 2001, she is now works as This Is What We goodness. This is one of those bands assistant to the Northwest Foursquare DisBelieve trict Supervisor in Tacoma, WA. whose CD’s I can barely get the wrapper This fulfilling role has made it possible off before shoving it into every musical 1. This Is What for her to pursue her passion for being device I own. Gungor is refreshing and We Believe in multiple churches, working with worship invigorating to me artistically because 2. My Hope Is and production teams and sharing those although many people will relate to In You churches’ innovative ideas with as many them, there are much fewer who could other churches as are interested through 3. Your Magesty replicate what they do musically. And her website 4. Risen Today there are no parlor tricks here; I’ve been www.nomadicreative.com. 5. Sing of My Redeemer to see them several times and each time 6. Never Been A Greater Love 7. 8. 9. 10. Greater Is He Wondrous Love We Are Free God So Loved the World
SEP/OCT 2011 WORSHIPMUSICIANMAGAZINE.COM
By John Mills
Practical Mic Techniques
Part 2: Drums
First things first, while we Sound Engineers can perform some pretty neat tricks, there are limits to what we can fix. If your drummer’s kit sounds more like cardboard boxes than big, full-sounding drums, there is only so much we can do. Maybe a better way to state it is: if there is no tone from the drum acoustically, we cannot create it. So This trick is useful from song to song: get your drummer some new heads for his thinking of one fader like bass, and the kit, and have him tune them up before you other like treble. Instead of messing with dig in here. the channel eq to get that drum to sit in If you don’t have time to wait, you can just the right spot, try varying the blend of start by ripping off the pounds of duct tape, the two mic channels. On a slow song I paper towels, and huge blankets that were generally pull back both Kick mics, but I stuffed in the drums by the last music minister pull the 91 back a bit more. This kind of in hopes to make them quieter. If they have puts the kick back in the mix a bit. It is a to be that quiet, then you probably need to duller sound that is more like a “feeling” consider the “e” word. Electronic drums. I thing rather than a driving force. On the personally hate electronics, I’d much rather contrary, I use quite a bit more level on have an acoustic drum kit, even if it has to both kick channels on faster songs. I tend be behind a shield or in a booth, but that is to favor the 91 here since it’s a brighter sound and cuts through the mix better, but an article/war for another day. be careful to keep enough of that 52, So, since this article focuses on acoustic since it really captures the low end thump. drums and we’ve now got them sounding great, lets focus on how to translate all of The Snare Drum: your drummers’ hard work of tuning and When mic’ing the snare, let’s think about tweaking his kit, into a sonic masterpiece of the instrument. Many folks put just one mic’d percussion. I’ll give you some tips for mic on the top head and call it done. But each drum individually and then blend them when you listen to the snare acoustically all together at the end. from a few feet away, you aren’t just hearing that top head… you are hearing the snares rattle underneath… therefore… Even though the kick drum is considered yup you guessed it… two mics again. a bass instrument, there is a full spectrum of sound going on in there. That’s why I often For my top mic I use a Beta 57, which use a double mic technique. While you can has a super-cardioid pattern. This allows get away with just one of the following mics me to reject a little more of the hi-hat and toms around and achieve a great result, I like to have the it, and hear versatility of two mics. a bit more I use a Shure Beta 52 in snare. (See the hole of the front head figure 3). My of the kick, and a Beta bottom mic 91 lying on the pillow preference is inside. Here’s the trick. FIGURE 3 a KSM137. You are going to try to Don’t’ forget to capture just the low end invert the phase with the Beta 52. There of this mic. should be a ton of it just You’ll want to inside the hole. I actually aim the mics roll off a good deal of down on about the highs, and probably a 30-degree cut at least 8 to 10db of angle toward 500Hz, and about 6 to the center of the 10db of 250Hz from this drum. mic. It will sound pretty bad by itself… but what FIGURE 4 As far as eq we are doing is making goes… on the The Kick Drum:
top mic I usually take out about 6db at 600Hz, and add some lows around 120Hz to 200Hz in order to make it have a little low end presence… not too much, but you do want it to have a little warmth. On the bottom mic, roll off a good deal of the lows around 140Hz, and maybe pull out some 200Hz, room for the other mic. Now listen to just depending on the drum. the Beta 91. I use a high pass filter set around 100 to 125 Hz so that we take Now blend them together… you’re all of the low end out of this mic (since it going to use mostly top mic and put just is being used to primarily get the beater enough of the bottom one in there to sound and the tone inside the drum). know the snares are there. Too much, and it will sound more like a marching snare. Then I blend the two together. The Hi-Hat: I love the KSM137 here. It does a great job of rejecting other drums while still preserving the delicate highs of the hat. I tend to mic the edge of the hi-hats as shown in figure 5. Most of the time I’ll
put the mic on the top like this because the hi-hats form a physical barrier w/ the snare drum, which helps keep a little of the snare out of the hi-hat channel. The eq on the hats can be pretty crazy depending on the hats, but I find myself mostly taking out a bunch of lows, and maybe a little dip around 700Hz. The Toms: The angle and distance of the mic is very important here, especially if you are using a Beta 98 like I am. They are super-cardioid mics, and therefore only hear what you have them pointing at. I like them on about a 20 to 30 degree
angle, pointed straight at the center of the drum. This gets good deal of the tone from the edge of the drum, while still getting a bunch of the stick hitting the center. More toward the edge equals less attack, but more tone. Eq on the toms is very subjective depending on what you like, but I take out about 8db at 500Hz.
Continued on page 48
SEP/OCT 2011 WORSHIPMUSICIANMAGAZINE.COM
Every Time, All the Time
Front of house engineer Patrick Mundy knows a good thing when he sees one. Take for example Yamaha’s M7CL. Beating out any and all competitors, the M7CL is chocked full of useful features making his life at FOH a breeze. Asked what he enjoyed about the mixer, Mundy had much to say. Here’s just a sample. “When mixing artists whose music you may not be familiar with, having access to all your channels in a pinch is crucial. With most competing desks, plus or minus thousands of dollars in the price range, you’ll end up flipping through pages trying to find what’s ringing in monitor world or over the mix for FOH. Yamaha’s M7CL is a true professional board. Being a professional is about being consistent and fast every time all the time. The M7CL gives me a flexible customizable work surface that does not stunt my creative vision as a mixer.”
California Based Freelance Engineer mixing festival gigs such as SXSW and Rock the Bells as well as House of Worship festivals such as Light at the Lighthouse and Calvary Chapel events.
Mundy offered up some of his secret sauce settings that he uses as a starting point. Check them out and download them at www.yamahaca.com/mundy
Yamaha Commercial Audio Systems, Inc. • P O. Box 6600, Buena Park, CA 90620-6600 • ©2011 Yamaha Commercial Audio Systems, Inc. .
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 Advertising; now, we are going to talk about some specific No-Brainers. These No-Brainers come from my media group, FrontGate Media (http://FrontGateMedia.com). Our group is celebrating our 10th Anniversary this year. We are the #1 source of Christian Music fans and Worship Leaders & Church Musicians. “Undiscovered” in the top navigation to see more about what we are doing. Click “Join” in the top navigation to sign up for a free account. 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. So far in the MAP, we’ve talked about your Mission, Fan Development, the Non-Profit option, God’s Growth Strategy, the Four P’s, Social Media, PR, Advertising, and now some NoBrainers. Until next time… :) iTickets.com is the leading web site for Christian conference, concert, and event information. It’s also the leading ticket sales site for Christian events. You can post your concerts and church services FOR FREE in the #1 online event database. Go to http://iTickets.com and sign up as a member. Membership is free. Click the ADD EVENT button at the top of their page to enter your events one by one. Be sure to submit all events AT LEAST TWO (2) WEEKS IN ADVANCE.
Scott has led classes for us at NAMM and the Christian Musician Summit. He has been featured in Adweek and is the CEO of FrontGate Media, the #1 culture-engage media group reaching the Christian audience (www.FrontGateMedia.com) and is the co-founder of Creator Worship: online radio for worship leaders (www.CreatorWorship.com). Email your comments or questions to Scott@CreatorLeadershipNetwork.com
HearItFirst.com is the #1 Christian Music web site with more than 264,000 members! HIF will launch a new-and-improved indie section before the end of the year, so be sure to sign up for free membership at http://HearItFirst.com to stay updated on the launch and receive your weekly newsletter with free music and artist exclusives. With the debut of the new indie site, Indie musicians will be able to create a free artist profile on the site including music, video, and more.
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
NewReleaseTuesday.com is the largest crowdsourced Christian Music site. That means that they have 50,000 NRTeam members constantly adding their thoughts and comments in this music community. You can get a Free Artist Profile here on NRT. We accept submissions for featured song downloads from indie artists each week. Go to http://NewReleaseTuesday.com and sign up for the free membership.
ConversantLife.com is hosting major discussions about Christian topics and themes. Get involved with Undiscovered, Conversant’s indie community for music, film, photography, and writing. Go to http://ConversantLife.com. Click on
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SEP/OCT 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
By Michael Gonzales
In Pursuit of Happiness
I have a friend who is a drill instructor at a police academy. One day I went to look at what he does on the job. It was an eye-opener. As I was leaving the academy I asked myself, “What makes a person hang in there day after day with a D.I. yelling commands at the top of his lungs?” Part of me says those cadets are crazy; part of me knows it is the goal that supersedes the sacrifice. that their motivation for being in a choir or worship team goes beyond any monetary value you can place on the table. Even though we are a team, we are not a military style academy that demands an authoritarian style of leadership. Conversely, I do not want to be in a group where the leader’s approach is laissez-faire. You know the type, “What do you guys want to rehearse today?” My friend, the D.I., who is one of the The authoritarian style of leadership may nicest guys I know, says he has to be be efficient, but conversely the laid back tough because people’s lives are on the leader makes me want to jump out a window. line. Imagine what it would be like seeing your worship leader come right up to your face as a lead vocalist roaring at you, “Robinson, that verse sounds awful. Everybody else sounds like angels and you sound like a whining pet rat.” Boy, if that happened in our group, I’d be out of there. Showing up for rehearsal and giving up that time to God is an act of worship. In my case, we rehearse on Saturday mornings. Others rehearse during the week, and some just before service. Let me emphasize that our giving of time and talents is not doing something “for” God, but rather it is an act of surrender to a Master whom we have given our pledge to be under his kingship. We don’t talk about it, but we all know deep inside why we are doing this. I understand that our role as worship leaders and team members is to inspire, allow reflection and meditation, allow for celebration and conviction, and to do it to the best of our ability. One way we can be more productive is to think about a pursuit of happiness for each team member. Here are some helpful tips for developing a great worship team: Realize that each person has value. If your team member is a volunteer, realize run direct. I don’t know about you, but I love hearing my instrument through my own playback amp that I use as a monitor. When I asked him why he said, “Because your amp is big and loud.” So we reached a good compromise: I went to the local music store and bought a very small amp (with some decent power) and now everybody’s happy.
In our church we have two services, so I make a point to sit through a message in one service and fellowship with the players in another. The pastor appreciates that we are good stewards by being Another helpful hint is to be organized. in service and in the other service I get So many times I have had to wait to know my brothers and sisters on the for photocopies to be printed during worship team better. It’s a very balanced rehearsal time. Sometimes 30 minutes way of participating and contributing at have gone by while we wait around for church. sheets to be printed and then collated. I Remember that line from the Mick recommend having everything ready in Jagger/Keith Richards written song, advance. One flaw of creative leaders is “You can’t always get what you want.” we often change our minds. We should Sometimes that’s true on a worship team. be flexible if a song or two changes at the You may want to be the lead singer for last minute. Also, we need to learn to be that service but are relegated to playing submissive when the Senior Pastor says at rhythm guitar. Be patient, be a good the last minute, “I’d like the worship team servant, and do your job well. You may to play this song…” Our inner nature may not get what you want now, but other say, “We didn’t rehearse that,” but we opportunities will open in the future. should be open to adaptation and have a These are just a few factors leading to sense for the moving of the Spirit. a fulfilled worship team. A team member The pursuit of happiness includes caring will do well if they get value out of for each other. I love it when committed service. If a team member is pounded members of a group step outside of all the time, chances are that person will their comfort zone to take care of each fall away. Even worse, that individual other. When I see a regular worship will instigate dissention and make things team member not showing up, I call to uncomfortable for you and others. encourage them. Ultimately, a good healthy worship Another team member, officially or not, team culture may ask for sacrifices from is the sound person. Working with a its members along the way, but when we sound team member can be a sensitive look at the big picture those sacrifices issue because a sound person may have become part of our character and a set way of doing things, and we have purposeful journey. As a result, we grow certain expectations for having the right and help others along the way. That’s mix in the monitors. Here’s an example what I am trying to do with each article of how I worked things out with a sound I write. person. Our sound guy asked me not to bring my amp for my keyboard but Michael Gonzales, Ph.D. Professor, Biola University email@example.com
SEP/OCT 2011 WORSHIPMUSICIANMAGAZINE.COM
featuring: “At Your Name (Yahweh, Yahweh),” “One God” and “Sun & Moon”
This is the worship album Phil Wickham fans have been asking for. With his trademark poetic lyrics and infectious melodies, Response presents pop worship songs - the perfect collection of vertical songs for your church, car, or playlist.
philwickham.com • fairtradeservices.com
NEW FROM WORSHIP LEADER
Featuring Under Grace, You Are Love and Cry Of The Broken
YOU ARE LOVE
darlenezschech.com • fairtradeservices.com
GuiTAR GRAB BAG
By Doug Doppler
This month I wanted to focus on some practical stuff intended to make your time invested at Church move fruitful and enjoyable. God Bless:)
1. Live with the songs I was surprised when one of the other guitarists on our worship team told me he has a hard time learning new songs. Although there are lots of approaches to learning, one of the best ways for anyone to learn a song is to live with it before trying to learn it. If you can get in the habit of living with the songs over the course of a week, either in your car, at work, or at home. . .it will do wonders to make them second nature. When you’re ready to learn them, whip out the chart and take a listen through before playing a note, and in this fashion you’ll be learning the song with the your ears and not your fingers. 2. Record your service A buddy of mine’s band has been doing “virtual soundchecks” for a couple of years now and it is working wonders for their sound. They do a multi-track recording of every show and then play it back the next night so the band can hear what they sound like from the audience perspective. Companies like Zoom offer great, but far less expensive options that will give you great feedback about what your guitar really sounds like front of house. My suggestion would be to set up your digital recorder by the sound booth, but use the built in mic and not the mix coming off the board. This will allow you to hear what your guitar actually sounds like in the room. 3. Solo boost I would be remiss if I didn’t follow up the previous suggestion with some advice on how to get your solos to sit at the right place in the mix. Your soundman is probably more focused on vocal and drum levels than your guitar, which is probably a good thing. Every “Church rig” I’ve used has some sort of a solo boost, be it a pedal or preset. I always give the soundman the full range of tones and volumes so we can work together to craft a mix that fits the service and the venue. Boost pedals like an MXR Micro Amp work well at the end of your signal
chain if all you’re needing is volume. 7. Love the click You can also try placing something like At our adult services there is always a an Ibanez Tube Screamer towards the beginning of your signal chain to add click in the Aviom and I keep it nice and hot in my ears. Although I spend a lot some extra grease to your boost. of the time in the studio with the click, 4. Mic that sweet spot there are still times I want to speed up live and the click keeps me honest. It’s also With the aid of a flashlight it’s pretty easy becomes increasingly easy to tell who on to see the dust cap located at the center the platform is not listening to it. Learn to of your speaker. When placing a mic love the click and your time will thank you like a Shure SM57, I start about a half for it. inch away from the grille cloth, focusing the mic where the dust cap meets the 8. Don’t double chord voicings speaker paper. Move the mic away from the center of the speaker if the sound is Modern worship really lends itself to still too bright. It’s equally important to put multiple guitar parts to add color and your head directly in front of your cabinet dimension to each section. Much like (at a reasonable volume) to insure you what I do with drummers, I keep an eye know what is really coming out of your on what and where the other guitarist is playing. I love playing power chords speaker. to beef up the bottom end and find that 5. Make notes more often than not, worship guitarists spend a lot of time in the middle of the A number of the top session players in neck. If there are two electric players, try L.A. are just as adept at charting songs not to play in the same octave too much, as they are at playing them. Your average especially using the same chord voicings. worship chart is more of a glorified lyric sheet than a chord chart, and tells us 9. Are you really in tune? very little about the duration of chords or OK, so I’m not going to name names, even what beat they occur on. As of late I’ve take to writing out my own charts, but there are a number of tuners on the especially on songs that are musically market that are not “true”. If you string complex. Part of that process is making every tuner on the platform together you’ll notes at the top of the page about find the bad apples pretty quickly. Bad specific things I might otherwise forget. If tuners are incapable of redemption - even I’m working off of a lyric sheet I’ll write prayer won’t help. out the form at the top and make my notes on the right side of the page. For me, this 10. Show up prepared approach has been a real lifesaver for God asks us to bring our first fruits. In a learning songs and then doing away with world that is constantly asking for more of the chart before service. our time each day, I want to encourage you to invest time into arriving at rehearsal 6. Watch the drummer prepared to support your Worship Leader. A lot of Churches set the drummers The more you prepare to do your part, the and electric players side by side on the easier it is for them to do theirs. platform, which for me is a major plus. During rehearsal I spend a lot of time watching the drummer’s hands and feet for musical cues. More often than not stabs line up with the snare drum Doug Doppler is signed to or floor toms, while faster strumming Steve Vai’s Favored Nations patterns frequently line up with the hi-hat. label and is currently in Watching the drummer’s bass drum foot production on the Get Killer is the best place to tell if your starting to Tone DVD series. He and his rush, as most measures start with a kick wife Melissa live to serve the Kingdom and on the downbeat of one. If you get there are members of Cornerstone Fellowship in the San Francisco Bay Area. before they do, you’re rushing!
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© Ramirez & Associates 2011
It’s all just jive until you try ’em.
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By Tom Lane
Charts: Worth The Effort!
One thing that has proven true for me is, I never regret putting time and effort into being prepared. My bad dreams usually involve me showing up for a gig and my amp and guitar are miles away, and I have to carry them uphill, through the snow both ways before we count off a tune in 2 minutes. Crazy! But it shows that I hate being caught unprepared for sure. It’s hard to be critical of those who volunteer time every week to be involved in worship at their churches. Above all else it’s a sacrifice that God sees, and that’s what matters. Still there are things we can do better which help the overall excellence factor. If we’re doing all we can do already, then that’s all anyone can ask. Obviously we have lives to live and greater priorities than the worship team. But given that we’re counting the costs, setting good boundaries, and doing what we commit to do. . .there’s more we can do! For one thing, we can prepare our music. For most teams, the band has rotating members, making it hard to have consistency. Charts are normally words with chords above them that tell you little about the song unless you already know it or play through it a few times. Even when you know a song, playing the same chart with different leaders will likely produce a different arrangement of the tune. As a rule of thumb, I like to know the road map before driving down the road. I can wing it no problem, and sometimes you have to, but it’s better to have a heads-up, especially if you’re serving different leaders. I prefer a real chart with bars, repeats, notation, etc. As a leader, if I want my band to follow, I should provide them with cues or charts with notation or specific marks, or else give them the freedom to “wing it and fly by the seat of their pants” without letting it bug me. Song Title Key= E, 4/4 I (Intro)- melody line 1v - pad/ethereal 2v - chunk C - eighth notes, w/delay 3v - driving/bigger C - power chords/Big! O - (Outro)- melody line, ends on 4 To not know where you are or what you’re playing is to be winging it. Again, that’s fine, but if it affects other players or hinders the overall picture then just do some homework! More often than not I actually chart out a song onto one page using the Nashville Number system, which assigns a number for chords and doesn’t require re-charting to change keys. Here’s how simple a chart can be. Mighty To Save Key= G, 4/4 I ||: 4 1 6- 5 :|| 1v ||: 4 1 6- 5 :|| 4 5 4/6 5/7 C ||: 1 5 4 1 6- 5 :|| 2v same C same ////> B ||: 4 1 5 6- 4 1 5 :|| 5 C same/down C Big! *Underlining a bar means it’s a true split bar unless otherwise notated. Meaning in 4/4 time each chord gets half of the count = 2 beats. For keys with sharps and flats: Note, we don’t normally write out sharp chords, we use the flat of the normal number for each chord in the scale. eg. in key of D: the normal 3 chord is F#, if you play an F it is called the flat 3 (b3) instead of 2#, and the normal 7 which is C# is called the flat 7 (b7) instead of 6#. 1 b2 2 b3 3 4 D D# E F F# G b6 A# 6 B b7 7 C C# b5 5 G# A
Scores are great but I find that most worship team musicians can’t read them, or they’re so long you need two stands on stage to see them. Most worship songs really can be reduced to a onepage chart. However for songs with hits, riffs, and other notation, a score is likely best. Most Nashville Number charts I see actually notate the rhythms and accents above the bar as needed, and that usually suffices. Find what works best for the team you’re leading or teach them how to read! The way I look at it, even if you’re a band doing your own thing, the more work you put into charting out your songs coming into a rehearsal, the more your own ideas become solidified. For leaders, the best thing you can do for your team is take time to commit your thoughts and needs to paper, leaving far less to imagination and improvisation, unless that’s what you desire. A great thing about worship is that it’s about heart more than our skills or rules. There’s a lot of room to be creative, expressive, improvisational, and spontaneous. I find that the more prepared I am, the more I can let go and be flexible to enjoy the presence of God and the actual making of the music. A lot of other people’s time is wasted simply because someone doesn’t take the time to prepare. Try to not let it be you!
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.
Good players can play a chart down having never heard the song and still make it sound good. Not every leader provides good charts and that’s why I’ve learned to write my own. I’m not the best reader out there but I compensate for my limitations by putting forth the needed The “All Skate” approach to a song is effort. It’s not about knowing everything; not my favorite. It means that a band is it’s about knowing what you need to really just getting through the song, playing know to do your best! without considering what the rest of the Over time it becomes second nature and musicians are doing. Very little dynamics or instinctive. In the time it takes to learn to thought put into specific parts. Just rhythm, use your cell phone you can learn the chords and everyone playing all the time, number system. At a glance here’s how all the way through. It’s best to play much it works: * For a more comprehensive less, at least until you know what’s going look see: Chas Williams, “The Nashville on and can make notes for the sections of Number System.” a song. Even if you’re not a note reader you can make notes. At the very least I do 1 2 3 4 5 6 7 C D E F G A B something like this for each song:
SEP/OCT 2011 WORSHIPMUSICIANMAGAZINE.COM
By Greg Sisley
Worship Space Front Lighting
When lighting your worship space the single most important piece of the puzzle is the front lighting. These lights (usually mounted on the ceiling in rows, aimed toward the stage) light the front and sides of the people or objects on the stage, as seen from the vantage point of the audience. If you are really into video broadcasting to the web or multiple venues, the quality of your front lighting is crucial. As a baseline, you want the ability to produce a consistent, adequate wash of light across the stage. Today there are many choices of fixtures to accomplish this. Determining which type of lighting fixture, how many, and where to hang them is very important to allow clear, shadow-free, attention-focusing lighting. Most fixture types have a primary application that they are very good at. Understanding the types of fixtures, their intended use, and capabilities will help you make good decisions when choosing equipment. lens/barrel assemblies for much less than purchasing a complete fixture. Ellipsoids also have framing shutters, which allow straight edges to frame the light source so you can direct it only where you want it. Most ellipsoids also will accept ‘gobos’; metal or glass patterns that produce designs or images on surfaces. Still very popular are the simple and effective ‘old school’ Par 64, 56, and 38 fixtures. Inexpensive and simple, they are commonly available in black, white, or polished aluminum. You can choose whether to purchased sealed-beam lamps (they look like automobile headlights), or lamp/reflector assemblies. In either case, you get to choose narrow, medium, or wide beam spread. Various wattages of lamps are available. Par cans are not particularly discriminating as to where they throw light.
Do you have a small band or no band at all?
Not too common, but still in use are Fresnel fixtures. These lights are intended for general area wash and are often used The ellipsoidal spotlight fixture (named with color gels to create colored wash. for the ellipsoidal lens that collects/ They have a lens that creates a soft-edged directs the light from the lamp) is the circle of light, made larger or smaller by most common light used in worship area moving the lamp closer or farther away front-lighting. Commonly referred to as from the lens. Fresnels tend to be most a “Leko” or a “Source Four” (those are effective when used in a closer proximity brand names - like calling a facial tissue to the stage. a Kleenex) - an ellipsoid has a reflector There is now a hybrid fixture type that behind a lamp, directing light through a barrel assembly that houses a lens. I really like as a great choice in many Several manufacturers Ellipsoids are flexible and can be used applications. as spotlights to produce a sharp, hard- produce quality models; among them edged beam, or wide-focused to provide ETC’s Source Four PAR, Elation’s OPTI Par, and Lightronics’ PAR4 (pictured). a soft-edged wash. These lights are relatively There are a couple inexpensive and can be other interesting lamped up to 750 watts. features about They are designed to produce ellipsoids. Normally wash light like a par or lamped with 500, Fresnel, which can be 750, or 1000directed by aiming and watt lamps, these by the use of variable fixtures can be lenses. There are four configured with lenses available, from lensing to create a narrow to wide beam. beam spread from All these fixtures 10 to 55 degrees. accept standard gel This allows for some frames as well. flexibility as to the location Combining these and throw-distance from your fixture types into a hang-point to the stage. If your layered lighting system allows goal is to spotlight certain zones on your stage, simple formulas will help you greater variety in creativity and flexibility. choose the right lensing option to get the For example, a typical basic system size spot you want. By the way, if your design might start with a dozen PAR4 present ellipsoid fixtures are lensed too wash lights, with 575-watt lamps, wide or too narrow for your application, you can almost always find replacements
Continued on page 48
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new processes, learn the technology, pick which format works best for you and get to work perfecting your abilities. I started out cutting film and audio tape with a razor blade and today the editing software still uses a blade but it just works a little different. I went kicking and screaming through the advancements until I realized, no matter what, I still had a skill that could easily be adapted to the new technologies. Learn the basics and you can operate any camera or media capture system. After 33 years I still learn something new every day but that doesn’t mean I have to like it or roll over and accept it. Feel confident that you know more than the marketing people are trying to shove down your throat! Jim Conrad • Despite the inevitable deluge of comments re: “what a travesty,” etc, the simple fact is that change has historically displaced professions. None of us would gladly accept the proposal that we should return to horse-drawn carriages because it would restore employment to whip manufacturing. The rate of change, however, has probably never seemed so nakedly provocative to us. Yes, the perception of quality has shifted (& continues to shift) to the bottom line. For staffers, this means a greater DAILY effort to justify their presence. As for freelancers? Freelance has always meant a series of (hopefully) overlapping engagements, preferably long-term. Increasingly, it also means heightened resourcefulness, perception, and resilience - adaptive traits for living in a desert environment. As always, feel free to comment, complain, disagree or pass this info on to someone new. I can be reached at Zoomit.firstname.lastname@example.org. Please feel free to join our Linked IN group called TV Camera Operators – it’s free so why not?
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 email@example.com
By Craig Kelly
The Future of Television...
The future of Television has arrived and or, Electronic News Gathering” crews. it’s not finished – are you ready for it? As newcomers to the industry you should be • Not long after that came the use for commercial or production projects ready, because you need to be able to adapt and those crews were often called to changes in gear, production methods, “Electronic Field Production” or EFP budgets, job expectations and more. Those crews. The good news during this who sit back on their hands and declare change was that it added a person to “I am one” have lost their competitiveness, the crew – the tape op who carried their value as a cameraman, their edge and the gear, ran sound (or, I should say, their ability to grow. The same is true in a plugged in the mic) changed tapes church setting; don’t be complacent in just and generally carried anything heavy learning one skill or one camera position. – I know because I did that on many Try to branch out and grow. It will be great occasions. for the team as well as your own personal satisfaction. • Betacam eliminated the field Tape-Op position. When I started my own career in Television (last century) I heard about the camera ops that were masters at changing • HDV put pseudo HD into the hands of nearly anyone. turret lenses during a live show. These were various focal lengths, prime lenses (no zoom) that were mounted on a spinning wheel of • P2 cards and other file based systems have turned camera operators into sorts that the operator had to physically rotate data wranglers. into place in order to use. Imagine operating a camera during a baseball game and at the crack of the bat following the ball as it • Remote heads took away grip work. shoots high in the air and into the outfield. Now, also imagine, that in the middle of the • Robotic controls allow for one operator to operate multiple cameras. arc of the ball away from you, you needed to reach up in front of your gigantic studio camera and rotate a wheel and lock in a • Better clamps and hardware allow for great angles never doable before. specific focal length lens – while you are still following the ball! If you watch old, live, televised sporting events you will see one • POV cameras allow for TV shows to be shot in taxi cabs. of these changes every once in awhile and it is amazing! These were pioneers in live TV broadcasting – and my hat goes off to • Now we have still cameras that shoot high resolution video. them. I’m still in awe of their abilities and how good they were - They had to be – that was all they had – no zoom lenses. I wasn’t As I have done many times, I posed this around to see them, but I am guessing that question to hundreds of video/Television the early zoom lenses were pretty crude. professional in the free TV Camera You can only imagine what their viewfinders Operators group on Linked In; must have looked like. Has the global economy required us to What if the cameraman of those days was re-look at what works? Has price overpresent when the usage of the zoom lens ridden everything? Let me know what you began? Would he have complained about think, how you adapt and where you see how the new gear wasn’t what they had this going. always used? How about the changes in cameras from black and white to color – didn’t that change the game too? Here are a few more changes I could think of that changed the industry; J. Roberts • The one thing technological advancements will never replace is talent. If you have a skill no one else can match then the way you create images should never be an issue. Don’t concentrate on • ¾” U-Matic video recording allowed how it is laid down on media; improve your skills in lighting, composition, portable field-recording and was a gamecolor, concept and design. If you have changer in the world of news coverage. the skill and make pretty pictures how Yes, film was still used for some stories but you capture it shouldn’t matter, it can the bulk of the assignments were covered always be converted. Be aware of the by video crews – now called ENG crews
SEP/OCT 2011 WORSHIPMUSICIANMAGAZINE.COM
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TiPS FOR TiGHT TEAMS
By Sandy Hoffman
Love, Lift, and Lead
II Chronicles 5:13 and the singers who went out before the army in II Chronicles 20:21. (Just FYI: THEY WON!) When we spend plenty of time lifting up praises as a team, we’re better prepared to deal with the unexpected distractions which inevitably happen in worship: buzzing cables, screaming babies, feedback, broken strings and for that matter, broken hearts. We will probably never be called upon to go out before an army and sing, “Praise the Lord, for His mercy endures forever,” but the more we lift up His praises together as a team, the better we’ll be prepared to respond with a resounding “YES, LORD” to any worship-situation He calls us to. Hang out together. Jam. Improvise. Concertize. Write new songs. Rearrange old ones. Eat pizza then sing around the table. Attend conferences and workshops. Listen to new tunes together and critique. (Did I mention “eat pizza?”) Do just about anything you can to build friendships and musical partnerships with other team members. Travel together. Get comfy (like an old pair of favorite slippers on a cold winter’s night). And if it gets too cold for ice cream you can always EAT PIZZA! In other words, do everything you can to practice lifting up praises together in EVERY situation. The more you experience together, the tighter the team becomes! 3 . . . AND LEAD Psalm 22:22: “I will declare Your name to my brethren; In the midst of the congregation I will praise You.” We’ve determined to die to ourselves in order that we might manifest His love to one another as we practice lifting up His praises together. Sounds like a perfect plan, and with all of our might we will pursue it! Only one step left, in this article anyway: spread the “worship bug” around. Sneeze it. Cough it. Drool it if you have to. But LEAD it by always encouraging others to join you in the process. Whatever it takes to infect the entire world with an insatiable desire to honor God—do it! Loving, lifting, and leading are three extremely important elements in true worship team die-namics! Spread the bug! Sandy Sandy Hoffman serves The Grace Community Church in Santa Fe, NM, where he is the Minister of Worship Arts. www.EssentialWorship.com
(Applying Worship Team “Die-Namics”)
Love one another. Lift up praises as friends 1 - LOVE and band mates. Lead others to join in as Mates. Buds. Friends. Brothers and you worship the Lord together. Applying sisters. Joint heirs. Co-laborers. Spiritual these three: loving, lifting and leading, “kin-folk” (if you’re from the South). The will create a firm foundation for a healthy, list of words to describe our relational effective worship team—YOURS! interconnectivity with those on our Skilled musicianship, exercised within the worship teams goes on and on. And parameters of Biblical principles, (loving these monikers carry great weight. They one another as Christ loved and gave confer shared identity and value to Himself for us) results in positive worship participating team members when, of team function. When good musicians come course, the members are already bound together and defer to one another in the together with that “secret ingredient” love of Christ, yielding their collective talents most commonly found in high-functioning to lift up praises to God, GREAT results can teams: L-O-V-E. abound! Pretty soon, all those within earshot Without love, we may end up calling of your team are worshiping too, because each other “every name in the book,” you are loving, lifting and leading! but they certainly won’t be the names Ephesians 2:10 says: “We are His that bind us together as a team! As I workmanship, created in Christ Jesus Corinthians 13 so perfectly puts it: “the for good works, which God prepared greatest of these is love.” Without it, beforehand that we should walk in them.” our worship teams literally become as a (NKJV) “sounding brass or a clanging cymbal.” As worshipers, this is the stuff our dreams Both brass and cymbals can certainly be are made of: great “worship-exploits” used appropriately on a worship team, (works) in the name of Jesus. Is there even but are hardly substitutes for the “super one of us who doesn’t keep this goal at the glue of the heart”: love. Love is what very core of his or her worship-heart? We motivates us to die to ourselves in order all desire to see the kind of fruit that comes to serve and submit to the needs and from great “worship works!” But unless the interests of others on our team. seed (talent) falls to the ground and dies to 2 - LIFT itself first, it can never grow upward into the OK. Your worship team members love lofty paragon of praise it was created to be. one another profusely! You’re already In the absence of death-to-self, we have no dead to yourselves and totally serving worship-life to offer anyone else! one another and God in the spirit of TEAM “DIE-NAMICS!” unity and peace. Fantastic! Now let’s Philippians 2:3-4: “Let nothing be done practice together, with all our might, what through selfish ambition or conceit, but in we desire to do best: lifting up praises lowliness of mind let each esteem others to Him. better than himself. Let each of you look out not only for his own interests, but also for the interests of others.” (NKJV)
I Chronicles 13:8: “Then David and all Israel played music before God with all their might, with singing, on harps, on Team die-namics, that is, each member stringed instruments, on tambourines, on of the team dying to self in order to serve cymbals, and with trumpets.” (NKJV) others, is the pivotal point around which Let’s do what David did, shall we? In successful worship team ministry revolves. the Old Testament, if you were going to As long as we musicians are convinced of war, you made music. If you were sad, our own over-importance, singular calling, you made music. If you were celebrating, or talent that exceeds or supersedes that of you made more music. Dancing? anyone else, we will never love, lift, and Music. Worshiping? Music. Lamenting, lead together successfully. It is vital we repenting, presenting? Music, music, release our destructive ideas, attitudes, music! And as a result, guess what they egos, and ambitions in favor of the “three became REALLY good at! As they sang S’s”: servanthood, submission and self- and played in a lifestyle way, they awareness. We MUST be honest with literally became the two-hundred and ourselves about our own talent, or lack eighty-eight skilled musicians spoken of thereof, even if Mama always told us how in I Chronicles 25:7, the instrumentalists wonderful we were! (Bless—her—heart.) and singers who “sounded as one” in
SEP/OCT 2011 WORSHIPMUSICIANMAGAZINE.COM
FROM THE Drummer’S PERSPECTivE
Continued from page 10 think this way at rehearsals and during my private practice time! As a foundation in my playing I always think of music as a spiritual language we use to communicate with God, and to God. Everything needs to come from your heart. I am also a believer in the statement – “It’s better to be together than to be right!” (Musically speaking of course.) I’ve heard some groups try hard to make the drummer play perfectly, while the rest of the team is all over the place, time-wise. This does NOT sound pretty! I’ve noticed when I’m playing to the click and the rest of the band doesn’t hear it… and the time is moving a little bit… If I’m rigid (right on the clock)… it just DOES NOT FEEL RIGHT! Let it go! Listen! Use your ears! Flow with the music! If you’re recording your work you’ll hear it when this happens. It helps for the whole band to work on these things together, but the drummer will be the one responsible for the over-all time feel of the band. Play, Play, PLAY as much as you can. Record everything and listen back. Even after all these years of playing I’m learning what works and what doesn’t. We all have good and bad days. Perfectionism is self destructive, but learning and refining your talent is healthy and honors the Lord. Blessings on your groove.
Continued from page 34 The Overheads: Using the KSM32 for overheads, I try to get each side of the kit with one mic while keeping them both equidistant from the snare. Try to overlap the center a bit (see figure 7). I tend to run these guys pretty flat, while capturing the whole sound of the
Continued from page 43 positioned and lensed to provide bright, consistent, shadow-free wash. These would be complimented with six Source Four ellipsoids aimed in distributed pairs at three zones across the front of the stage. With this system you can provide various levels of wash, spotlight one or more zones, or create any combination thereof. One thing all these fixtures we have talked about have in common is that they need some type of dimming system. Always consider the available power supply and your dimming capability. Never overload a dimmer – definitely a fire hazard and they always burnout at the worst time- and never ‘borrow’ power for your lights from the same circuits that power your audio or HVAC system.
kit and not just the cymbals. The two mics being placed exactly the same distance from the snare is a big deal, because if one is off just a bit you will have snare cancellation at some frequencies. Also, if your sound system is in mono... use only one overhead mic, placed directly over the center of the kit. Less is more. Putting it all together: Now, obviously, you can tell that I am a fan of Shure microphones; but honestly, many companies make great drum mics. If you substitute any of their equivalent mics, you will probably achieve similar results with the techniques I’ve shared. When you mix the kit, it might be obvious to say that all the drums should be about the same volume, but I like to also think about eq. When listening to the kick and snare in the mix, they should both be driving with both volume and tone. I’m not a fan of a tiny little paper-thin snare… the song seems to fall apart when the snare isn’t full. All the drums should be sticking out of the music just enough to be leading the song somewhere. Till next time, John
There are also newer technologies for front-lighting your stage. Variable temperature white LED wash fixtures and even LED-lamped ellipsoids and becoming more common. A recent trend is to use moving-head fixtures for front light. Find someone reliable and knowledgeable to guide you through the process of creating a master plan for your lighting and from that plan, decide on the right fixtures for your system. We will be demonstrating some of the newer options in front-lighting at the Christian Musician Summit Northwest this Fall. Be sure to attend the Christian Musician Summit Northwest, November 11-12, 2011. You can attend multiple seminars on lighting and talk to experts and factory reps. Our team at FOCUS AVL will be there, producing the mainstage lighting. I will be using a new lighting control system you will really want to experience. I hope to see you then!
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.
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.
Greg Sisley is on the pastoral staff at Faith in Kent, WA, where he serves as executive pastor and production lead. He serves as a consultant to churches in the area of lighting design and production with Focus AVL. email@example.com
SEP/OCT 2011 WORSHIPMUSICIANMAGAZINE.COM
By Martin Stillion
Tip of My Tongue
It’s approaching mid-August as I write this, and I’ve been reflecting on the legacy of one of my favorite songwriters, Mark Heard, who passed away 19 years ago on August 16. (That’s a bad day for musicians—Robert Johnson, Elvis Presley, and Vassar Clements died on the same date, if you’re keeping score.) Mark Heard began his career in “Jesus music” in 1972, and worked with pioneers like Pat Terry, Ron Moore, and Larry Norman. As his songwriting developed, Mark became less interested in writing “Christian songs” and more interested in writing about all of life from a Christian perspective. He wrote memorable tunes and vivid lyrics encompassing social criticism, prophetic admonishment to fellow Christians, and insightful observations about relationships and life’s everyday struggles. He recorded in various styles, including folk, rock, blues, and even techno, but sounded most at home in the Americana vein he struck late in his career. Mark was a CCM critic’s darling, but most of his albums did little to move the needle in terms of record sales or airplay. He was more successful as a producer of other CCM artists. Fortunately for Mark, he was able to get some financial backing and go indie in 1990, before it was cool. The three albums he made for his own label, just prior to his death, are widely considered to be the finest of his career. most of his last album on the mandolin, and featured it prominently on just about every song. I’d been itching to perform one of those songs, “Tip of My Tongue,” and so when I was asked to do special music at church recently, I jumped at the chance. It turned out that the sermon title that week was “Psalms of Lament” (using Ps. 54 as the text), and “Tip of My Tongue,” having some lyrical elements in common with psalms of lament, fit almost perfectly. I am such a Mark Heard nut that I went to the trouble of hunting down a vintage 1939 National Silvo electric mandolin just like his, and I used it to play “Tip of My Tongue.”
concept, since my first instinct is to play more horizontally, like a violinist. I’ve notated the basic riff in Fig. 1—Mark plays it before every verse and under the chorus. During the verses he plays a simplified version of the riff, without the descending line in the last half of each This may be the only Mark Heard song bar. Figs. 2, 3, and 4 are variations on with just two chords, so it’s pretty easy to the fourth bar of Fig. 1, which Mark plays learn to play. Since the progression is so at different points in the song to change simple, I thought I’d use a looping pedal things up a little. to capture the basic rhythmic riff and then play additional licks on top … but Should you ever need a modern-day when we tried it with guitar, bass, and psalm of lament, “Tip of My Tongue” is drums, they provided plenty of rhythmic hard to beat. Practice along with the clips support, and we couldn’t hear the loop below, and the mandolin parts should well enough to keep in sync with it. We fall into place before long. (Good luck ended up playing it live without the loop, spitting out all those lyrics, though!) Refer which sounded better anyhow. Looping to the following Web links for more info: will make more sense if I ever have to Live solo version: youtu.be/LB-rqRE-Ebw play it without a band to back me up! Studio version: youtu.be/0LxjeNviiMA Lyrics: bit.ly/n8coTY Mark Heard biography: hammersandnails.net Mark Heard Web site: markheard.net
Mark approached the mandolin vertically, as most guitarists do—he found Why am I telling you this? Well, in his licks based on chord positions and then final years Mark had started playing moved them up and down the neck. It’s the mandolin more frequently. He wrote always refreshing for me to study this
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.
SEP/OCT 2011 WORSHIPMUSICIANMAGAZINE.COM
WORSHIPMUSICIANMAGAZINE.COM SEP/OCT 2011
editor’s corner... Continued from page 7 than grateful to God for His faithfulness even in tough situations. Now we have a mandate to walk in the freedom the Lord has shown us and to follow 1st Corinthians all the more “Love is patient, love is kind, love doesn’t envy and is not easily angered…” Several more remarkable things have happened since we dropped our guard against each other and remembered that our spouse is not the enemy… the Enemy is the enemy. We seek unity more now and are trying to work more respect and grace into our conversations and home life… and it needs to start with me as the leader. God is good!
Seeing Love Shine Through
TC Electronic ‘Tone Print’ Guitar Effect Pedals & Morgan Amps The Great Commission Worship Musician:
MAY/JUNE 2011 Volume 9, Issue 3
Back to that earlier statement about how “the Lord is never late: but He is seldom early”. Well actually, if you think about it, He was way ahead of the curve by his sacrificial death on the cross to take away our sins… far off into the future… He loved us before we were even born. Now that is taking proactive measures. Lord Bless Ya! Bruce & Judy
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A Few Moments With... Tom Kraeuter
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SEP/OCT 2011 WORSHIPMUSICIANMAGAZINE.COM
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A FEW MOMENTS WiTH…
By Tom Kraeuter
Hold the Ministry Position Loosely
My friend Kenneth* began as a volunteer worship leader at a church. The church grew by leaps and bounds, eventually hiring Kenneth as the full-time worship leader. They had a tremendous band and even recorded a live worship CD, back before it was trendy. The church continued to grow, meeting for three Sunday morning services in a rented school auditorium. Finally, they built a building—a big building—that seated more than 1,000 people. Kenneth pastored his team with great enthusiasm and compassion. He genuinely cared for his people. Kenneth mentored some into the role of leading worship and encouraged the others to grow in their musical abilities. I did seminars, retreats, and special services with them several times over the years. It was one of the most solid worship ministries I’ve ever encountered. One day, though, things began to change. The pastor made a major shift in certain areas of ministry. He actually began doing things that Kenneth could not condone. For the sake of confidentiality, I won’t go into the details, but suffice it to say that the pastor did some things that Kenneth couldn’t square with Scripture. Kenneth wrestled and struggled for quite a while, but finally realized he could not stay do. Losing a job—or even a volunteer ministry position—can be a catastrophic disappointment. What would be your reaction if the worship leader position was suddenly taken away? How would Cindy* had been the full-time worship you handle it? Could you honestly walk leader at her church for more than twenty through such a scenario with grace and years. She is a gifted vocalist and worship forgiveness? leader with tremendous compassion for those involved in the worship ministry. After more than thirty-five years of being During her years as worship leader, the a Christian, I can tell you honestly that church grew by a considerable amount, bad things happen. Because we live in a built a new building, and even changed world that has been riddled with sin and the name of the church. Not long ago, because we are dealing with people, the pastor announced at a meeting at some very unexpected scenarios can take the church that Cindy would soon be place. I realize that the Lord can still work stepping down. Cindy was not present in and through those situations, yet, at the at the meeting, but several people from same time, they can still be ugly, difficult the worship ministry were there. They and demeaning. were shocked that she had not told them herself. They called her to ask about it. So, my recommendation is to hold Cindy herself was even more shocked. the ministry position loosely. You never This was the first she had heard about it. know when it could be stripped away When she questioned the pastor, he told from you or when God could call you her that he was hiring a new, younger to move on. Don’t make the position so worship leader, to take the music in a important in your mind that you cannot direction that would be more conducive live without it. Instead, hold the position to drawing in the younger generation. loosely and make the Lord Himself your The pastor wanted Cindy to stay and treasure. He is worth far more than such a position anyway. Then, regardless of mentor the young man, though. what happens, you will be ready to face Cindy was taken aback by the sudden the challenges that life throws at you. change, but she agreed to do as the pastor requested. Unfortunately, the new * Not their real names. recruit didn’t want to have anything to do with her. He refused to listen to anything she said. He knew what he was doing. He didn’t need her help. Frustrated, Cindy resigned. She still attends the church, but This article is an excerpt is no longer in a ministry position. She from the recently updated now works part time as a receptionist in a and expanded, Keys to medical office. Becoming an Effective These are just two of the many true Worship Leader. When stories of I’ve encountered over the years. it comes to the topic of worship, Tom I could tell you others but I won’t. My Kraeuter is one of the most respected point is that even in the best of situations, teachers in the body of Christ today. His the entire scene can change very quickly. Worship Seminars are held all across It is possible that with little or no warning North America. For more information on you could be no longer the worship Tom Kraeuter, his books, or his Worship leader at your church. If that happened, Seminars, contact Training Resources, 65 Shepherd’s Way, Hillsboro, MO how would you respond? 63050, 636-789-4522, staff@trainingMales, especially, often take a large resources.org, or www.WorshipSeminar. portion of their self-worth from what they com there under the circumstances. Kenneth resigned more than a half dozen years ago and has not been in full-time ministry since.
SEP/OCT 2011 WORSHIPMUSICIANMAGAZINE.COM
Look Forward To Practice!
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controller also offers a chromatic tuner, metronome and 24 high quality Yamaha digital effects – from concert hall reverb to distortion– to make everyday practice sound extraordinary. I Visit www.4wrd.it/spvwm2 today to learn more and find an SV-150 dealer near you. Practice will never be dull again.
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