Empowering and encouraging leaders

to do church ministry effectively!

Music
Ministry
Church Ministry Manuals

Dr. Byan Cutshall SERIES

 Unless otherwise indicated, Scripture quotations are taken from the New King James Version. Copyright © Unless otherwise indicated, Scripture quotations are taken from the New King James Version. Copyright ©
1979, 1980, 1982, 1990, 1995, Thomas Nelson Inc., Publishers. 1979, 1980, 1982, 1990, 1995, Thomas Nelson Inc., Publishers.

Book Editor: Wanda Griffith Book Editor: Wanda Griffith

Editorial Assistant: Tammy Hatfield Editorial Assistant: Tammy Hatfield
Copy Editors: Esther Metaxas Copy Editors: Esther Metaxas
Jessica Sirbaugh Jessica Sirbaugh

ISBN: 978-1-59684-220-5 ISBN: 978-1-59684-220-5

Copyright © 2006 by Pathway Press Copyright © 2006 by Pathway Press
Cleveland, Tennessee 37311 Cleveland, Tennessee 37311
All Rights Reserved All Rights Reserved
Printed in the United States of America Printed in the United States of America
 Contents Contents
The Table of The Table of

Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Chapter One Chapter One

The Minister and the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 The Minister and the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Chapter Two Chapter Two

Training the Team . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Training the Team . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Chapter Three Chapter Three

Organizing the Music Ministry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Organizing the Music Ministry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Chapter Four Chapter Four

Working in a Church . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Working in a Church . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Chapter Five Chapter Five

Touring, Recording and Copyright Laws . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Touring, Recording and Copyright Laws . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Chapter Six Chapter Six

Music Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Music Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Chapter Seven Chapter Seven

How Are Other Ministries Organized? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 How Are Other Ministries Organized? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Bryan Cutshall
ministries
Bryan Cutshall
ministries
 ACKNOWLEDGMENTS
I dedicate everything I write to my wife, Faith, and our daughters, Brittany and Lindsay. They give me
the inspiration to get up each day and write another page.
Special thanks to Andréa deCento, who works perpetually with me on all of these projects. It seems
like we never get through with one project without starting another, yet Andréa presses on. She is a great
editor and administrative assistant, and none of this would be possible without her gifts and faithfulness.
Mike Welborn and I met over 20 years ago. Through the years we have been able to watch as the plan
of God unfolded in each of our lives. His path led him to music and mine to pastoring, writing and train-
ing. Mike has become an expert in his field and is without a doubt one of the most resourceful individu-
als you will ever meet.
Mike’s journey has given him a rich repertoire of experience in an industry filled with so many talent-
ed people. Occasionally a few of those step beyond the realm of the talented into greatness. Mike has
done just that. His anointing has been accelerated to bring him to the church world for such a time as this.
He is a gift in the kingdom of God that the Lord is bringing to His center stage.
Page 7
ACKNOWLEDGMENTS
I dedicate everything I write to my wife, Faith, and our daughters, Brittany and Lindsay. They give me
the inspiration to get up each day and write another page.
Special thanks to Andréa deCento, who works perpetually with me on all of these projects. It seems
like we never get through with one project without starting another, yet Andréa presses on. She is a great
editor and administrative assistant, and none of this would be possible without her gifts and faithfulness.
Mike Welborn and I met over 20 years ago. Through the years we have been able to watch as the plan
of God unfolded in each of our lives. His path led him to music and mine to pastoring, writing and train-
ing. Mike has become an expert in his field and is without a doubt one of the most resourceful individu-
als you will ever meet.
Mike’s journey has given him a rich repertoire of experience in an industry filled with so many talent-
ed people. Occasionally a few of those step beyond the realm of the talented into greatness. Mike has
done just that. His anointing has been accelerated to bring him to the church world for such a time as this.
He is a gift in the kingdom of God that the Lord is bringing to His center stage.
Page 7
 chapter
one: T he Minister and
the Music
You shall love the Lord your God with all your heart,
with all your soul, and with all your strength.
(Deuteronomy 6:5)
The Minister
Before God raises up a ministry, He first raises up the minister. How do you make a prophet? How do you turn
a farmer like Amos into a prophet? How do you transform a shepherd boy into a giant-killer and a king? How do
you transform a cupbearer into a city builder, or a heathen into the father of a nation? Every person must go through
a process of being molded by the Lord. This season is often accompanied by trials and sometimes pain. Either way,
it is always a season that brings you to your knees.
God’s laboratory is usually either the potter’s wheel or the blacksmith’s shop. If you are being prepared to be a
vessel, you must go to the potter’s shop where your life will spin out of control, where you will be kneaded over
and over again and be seasoned and toughened in the hot fires of the kiln.
If you are being raised up to be a weapon, you must take the unpleasant, death-defying journey to the black-
smith’s shop. There you will be heated to temperatures that melt you and burn out the impurities, and then handed
over to the hammer, anvil and the strong right arm of the blacksmith to be forged into a new shape. Just when you
think you can’t take it anymore, you will be dipped into cool water for a resting period, and then the process is
repeated again until you are in the right shape and fit for the battle.
This is the molding process of a minister. This is God’s investment to make sure you can take the heat, go the
distance and fully commit to the purpose for which you were designed. This season may last for months and, for
some, years, until they ask, “Lord, what am I supposed to be learning here?” Once the lessons are forged into your
spirit, you are then ready to go on to the next lesson. When all of the lessons are learned, you graduate from God’s
classroom.
From time to time, the minister may have to go back to the classroom for a refresher course, or to be repaired
from battle or service. Nevertheless, the Teacher is always standing close to remind us that the investment in our
lives came at a great cost to Him and to us. Therefore, we must treasure and protect our ministry at all costs.
The Music
Ministers of music are a unique breed of artists who have an incredible gift, coupled with a seasoned heart of
worship. Without a deep commitment to God, His Word and His purpose, music ministry in a church will become
frustrating. Unlike other musicians in the secular world, the minister of music is called upon to work with a variety
of volunteers, ranging from extraordinarily gifted people to people who love music but are limited in skill and tal-
ent. The minister of music is asked to perform a “miracle” by somehow forging the talents of these two groups to
create a music ministry for the local church. In addition to pulling the talents together, the minister must keep the
volunteers motivated enough to spend long hours in rehearsals and ministry.
Page 9
chapter
one: T he Minister and
the Music
You shall love the Lord your God with all your heart,
with all your soul, and with all your strength.
(Deuteronomy 6:5)
The Minister
Before God raises up a ministry, He first raises up the minister. How do you make a prophet? How do you turn
a farmer like Amos into a prophet? How do you transform a shepherd boy into a giant-killer and a king? How do
you transform a cupbearer into a city builder, or a heathen into the father of a nation? Every person must go through
a process of being molded by the Lord. This season is often accompanied by trials and sometimes pain. Either way,
it is always a season that brings you to your knees.
God’s laboratory is usually either the potter’s wheel or the blacksmith’s shop. If you are being prepared to be a
vessel, you must go to the potter’s shop where your life will spin out of control, where you will be kneaded over
and over again and be seasoned and toughened in the hot fires of the kiln.
If you are being raised up to be a weapon, you must take the unpleasant, death-defying journey to the black-
smith’s shop. There you will be heated to temperatures that melt you and burn out the impurities, and then handed
over to the hammer, anvil and the strong right arm of the blacksmith to be forged into a new shape. Just when you
think you can’t take it anymore, you will be dipped into cool water for a resting period, and then the process is
repeated again until you are in the right shape and fit for the battle.
This is the molding process of a minister. This is God’s investment to make sure you can take the heat, go the
distance and fully commit to the purpose for which you were designed. This season may last for months and, for
some, years, until they ask, “Lord, what am I supposed to be learning here?” Once the lessons are forged into your
spirit, you are then ready to go on to the next lesson. When all of the lessons are learned, you graduate from God’s
classroom.
From time to time, the minister may have to go back to the classroom for a refresher course, or to be repaired
from battle or service. Nevertheless, the Teacher is always standing close to remind us that the investment in our
lives came at a great cost to Him and to us. Therefore, we must treasure and protect our ministry at all costs.
The Music
Ministers of music are a unique breed of artists who have an incredible gift, coupled with a seasoned heart of
worship. Without a deep commitment to God, His Word and His purpose, music ministry in a church will become
frustrating. Unlike other musicians in the secular world, the minister of music is called upon to work with a variety
of volunteers, ranging from extraordinarily gifted people to people who love music but are limited in skill and tal-
ent. The minister of music is asked to perform a “miracle” by somehow forging the talents of these two groups to
create a music ministry for the local church. In addition to pulling the talents together, the minister must keep the
volunteers motivated enough to spend long hours in rehearsals and ministry.
Page 9
 Church music can no longer be clearly defined. Just a century ago, most church music was all the same. Churches
sang the same hymns, and most churches used the same type of instruments, which included an organ, sometimes
a piano and an occasional acoustic guitar. The modern church uses every instrument imaginable and sings almost
every style of music—gospel, Southern gospel, contemporary, worship choruses, rock, jazz, rhythm and blues, pop,
classical, country, and any other style that fits the venue.
Music Styles
The church is certainly more eclectic today than it has ever been. One church can have a pipe organ and a hymn,
while another has an orchestra and a choir; and still another includes a band, praise team and, sometimes, praise
dancers.
There is no longer one style of worship music. Some churches choose to dedicate themselves to only one style
in an attempt to define their type of church and reach a particular target group. Other churches choose to use a blend-
ed style of worship that includes a mixture of two or more styles. Churches that blend their music attempt to build
bridges between the generations of worshipers and avoid the conflict of “worship wars.”
Worship Wars
The ever-changing face of church music has created turf wars that many have referred to as worship wars. This
term primarily refers to a generational gap that exists in worship preferences and styles. Because worship is sacred,
people equate a beloved music style as their avenue to reach God. When this is tampered with, they feel they may
not be able to enter the throne room as they did in times past, so they resist change in their fear of losing some-
thing sacred. At the same time, others have ventured out and experienced new ways of reaching God and what
they refer to as deeper experiences with God through heartfelt worship styles that seem less corporate and more
personal to them.
The Church Venue
Church venues are as diverse as worship styles. Some churches are glorious cathedrals filled with Christian art,
sculptures and illuminated crosses. Others resemble a warehouse or, in some cases, a coffeehouse and have no
semblance of a traditional church. Most church venues today are a combination of both and can vary from fold-
ing chairs on a tiled floor to a grand stadium with theater seating and theatrical lighting.
The church venue often sets the stage for the music style. This is usually a result of the vision of the senior pas-
tor and minister of music to create a particular environment for communication and relationship with God.
The Heart of a Worshiper
In the early 1990s, the face of the church world changed. We entered a new day that has become known as the
worship era. This blew in from the winds of the Charismatic Renewal and literally revolutionized every church
around the world. Churches began to sing worship choruses and, before we knew it, the heart of the church turned
toward worship for the first time in centuries.
Worship is certainly not a new idea. It was quite prevalent in the days of King David and continued even into
the days of the early church. Due to the influence of men like John and Charles Wesley and others, the Great
Awakening brought a new form of singing to the church called hymns. Hymns are also in the Bible, but not in the
same form as the modern hymn. The church became so focused on these new hymns that for nearly a thousand
Page 10
Church music can no longer be clearly defined. Just a century ago, most church music was all the same. Churches
sang the same hymns, and most churches used the same type of instruments, which included an organ, sometimes
a piano and an occasional acoustic guitar. The modern church uses every instrument imaginable and sings almost
every style of music—gospel, Southern gospel, contemporary, worship choruses, rock, jazz, rhythm and blues, pop,
classical, country, and any other style that fits the venue.
Music Styles
The church is certainly more eclectic today than it has ever been. One church can have a pipe organ and a hymn,
while another has an orchestra and a choir; and still another includes a band, praise team and, sometimes, praise
dancers.
There is no longer one style of worship music. Some churches choose to dedicate themselves to only one style
in an attempt to define their type of church and reach a particular target group. Other churches choose to use a blend-
ed style of worship that includes a mixture of two or more styles. Churches that blend their music attempt to build
bridges between the generations of worshipers and avoid the conflict of “worship wars.”
Worship Wars
The ever-changing face of church music has created turf wars that many have referred to as worship wars. This
term primarily refers to a generational gap that exists in worship preferences and styles. Because worship is sacred,
people equate a beloved music style as their avenue to reach God. When this is tampered with, they feel they may
not be able to enter the throne room as they did in times past, so they resist change in their fear of losing some-
thing sacred. At the same time, others have ventured out and experienced new ways of reaching God and what
they refer to as deeper experiences with God through heartfelt worship styles that seem less corporate and more
personal to them.
The Church Venue
Church venues are as diverse as worship styles. Some churches are glorious cathedrals filled with Christian art,
sculptures and illuminated crosses. Others resemble a warehouse or, in some cases, a coffeehouse and have no
semblance of a traditional church. Most church venues today are a combination of both and can vary from fold-
ing chairs on a tiled floor to a grand stadium with theater seating and theatrical lighting.
The church venue often sets the stage for the music style. This is usually a result of the vision of the senior pas-
tor and minister of music to create a particular environment for communication and relationship with God.
The Heart of a Worshiper
In the early 1990s, the face of the church world changed. We entered a new day that has become known as the
worship era. This blew in from the winds of the Charismatic Renewal and literally revolutionized every church
around the world. Churches began to sing worship choruses and, before we knew it, the heart of the church turned
toward worship for the first time in centuries.
Worship is certainly not a new idea. It was quite prevalent in the days of King David and continued even into
the days of the early church. Due to the influence of men like John and Charles Wesley and others, the Great
Awakening brought a new form of singing to the church called hymns. Hymns are also in the Bible, but not in the
same form as the modern hymn. The church became so focused on these new hymns that for nearly a thousand
Page 10
years, worship choruses were abandoned until revived by the Pentecostal and Charismatic renewals. Now almost
every church of any denomination sings a form of worship choruses and practices expressions of worship, such as
uplifted hands, clapping and joyous singing.
More important than the songs we sing is the heart of the worshiper. The word worship, when broken down into
its smallest component, literally means “worth-ship” or “to place value and worth on something.” In this case, it is
our expression of God’s worth and value to us. True worship can never be performed. It is always sung to an audi-
ence of One. Worship songs should be sung to God and to no one else. In many ways, they are spiritual love songs
and should always be sung with sincerity, reverence and focus on Him.
Page 11
years, worship choruses were abandoned until revived by the Pentecostal and Charismatic renewals. Now almost
every church of any denomination sings a form of worship choruses and practices expressions of worship, such as
uplifted hands, clapping and joyous singing.
More important than the songs we sing is the heart of the worshiper. The word worship, when broken down into
its smallest component, literally means “worth-ship” or “to place value and worth on something.” In this case, it is
our expression of God’s worth and value to us. True worship can never be performed. It is always sung to an audi-
ence of One. Worship songs should be sung to God and to no one else. In many ways, they are spiritual love songs
and should always be sung with sincerity, reverence and focus on Him.
Page 11
 chapter
two: T raining
The team
Training
Training for ministers of music can be done on several levels. Most importantly, it is best for them to seek out
some level of training that stretches them beyond their raw talent and exposes them to a world beyond their back-
ground. Many musicians and singers are capable of singing many types of music, but unless they learn to appreci-
ate other forms, they may be limited and even trapped in one type or style of music. The world of music is broad
and vast. It holds unlimited possibilities to the one who will explore its parameters.
Personal Experience
Experience is always the best teacher. On some level, every minister of music, singer and musician will be giv-
ing a part of a raw talent that has been developed through the years. Some have been using their gifts since child-
hood. Their feel for the music and the song, coupled with their creativity, can sometimes produce results that time
in a classroom can never produce.
Seminars and Conferences
There are many seminars and music conferences offered each month, from local church conferences to interna-
tional conferences sponsored by music companies, denominations and colleges. The world-renowned Brooklyn
Tabernacle has a music conference every year, as does Christ Church in Nashville, Tennessee. Gifted songwriters
like Clint Brown, Israel Houghton, Darlene Zschech and many others host conferences every year. Most denomi-
nations host conferences for ministers of music. Many groups host choir fests where choirs convene for several days
of worship and break-out classes.
Degrees
Music degrees range from certifications to associate, bachelor, master and doctoral degrees. Some universities,
like Lee University in Cleveland, Tennessee, specialize in Christian music degrees. Most secular universities offer
music degrees, as well. They are also offered online from many colleges and universities.
E x p osu r e
Exposure is different from experience. Exposure is the gift of watching how others do their ministry while not
feeling the pressure of invoking your own gift. Just sit back, relax, drink in the atmosphere and let your cup run
over. The only way to get exposure is to visit other churches and places that have the kind of music ministries for
which you’re striving. The best mentors are people who have already done what you are trying to do or the ones
who have already paid the price you are willing to pay.
Page 13
chapter
two: T raining
The team
Training
Training for ministers of music can be done on several levels. Most importantly, it is best for them to seek out
some level of training that stretches them beyond their raw talent and exposes them to a world beyond their back-
ground. Many musicians and singers are capable of singing many types of music, but unless they learn to appreci-
ate other forms, they may be limited and even trapped in one type or style of music. The world of music is broad
and vast. It holds unlimited possibilities to the one who will explore its parameters.
Personal Experience
Experience is always the best teacher. On some level, every minister of music, singer and musician will be giv-
ing a part of a raw talent that has been developed through the years. Some have been using their gifts since child-
hood. Their feel for the music and the song, coupled with their creativity, can sometimes produce results that time
in a classroom can never produce.
Seminars and Conferences
There are many seminars and music conferences offered each month, from local church conferences to interna-
tional conferences sponsored by music companies, denominations and colleges. The world-renowned Brooklyn
Tabernacle has a music conference every year, as does Christ Church in Nashville, Tennessee. Gifted songwriters
like Clint Brown, Israel Houghton, Darlene Zschech and many others host conferences every year. Most denomi-
nations host conferences for ministers of music. Many groups host choir fests where choirs convene for several days
of worship and break-out classes.
Degrees
Music degrees range from certifications to associate, bachelor, master and doctoral degrees. Some universities,
like Lee University in Cleveland, Tennessee, specialize in Christian music degrees. Most secular universities offer
music degrees, as well. They are also offered online from many colleges and universities.
E x p osu r e
Exposure is different from experience. Exposure is the gift of watching how others do their ministry while not
feeling the pressure of invoking your own gift. Just sit back, relax, drink in the atmosphere and let your cup run
over. The only way to get exposure is to visit other churches and places that have the kind of music ministries for
which you’re striving. The best mentors are people who have already done what you are trying to do or the ones
who have already paid the price you are willing to pay.
Page 13
 Anointing
The word anointing is often substituted with the word flow. Anointing is when God blesses your gift and gives
you a free flow in your gift that makes it fun and easy. Without the anointing, you end up forcing something that
frustrates you. Anointing gives you freedom and flow. It is often compared to the same attribute of oil. It causes
things to move easily and allows you to flow effortlessly. You are the only one who can fine-tune your gift, and
God is the only One who can anoint your gift. The anointing makes the difference. It can transform a song into a
psalm and a hymn into a song to Him.
Musicians
The number and type of musicians will vary with each church. Traditionally, keyboard players, pianists and
organists were the standard. However, today churches also use drums, guitars, horns and strings as a part of their
band or orchestra.
It cannot be overstated how much the attitude of the musician affects the overall program of the church. It is
much easier to work with less talent and a good attitude than an amazing talent that is possessive or hard to work
with. Choosing musicians should not be done hastily. Tryouts, interviews and trial periods are an absolute must.
One of the greatest resources for church musicians that is often overlooked is a college campus. Many times,
there are talented students who would love to have a part-time job or who would volunteer just to stay connected
to a church family.
The most important quality in church musicians is the ability to follow the leaders, which primarily includes the
music minister and the pastor. Many churches prefer musicians who can play by ear and read music since an
impromptu song is part of the Protestant tradition, especially in churches that allow themselves to flow as the Holy
Spirit leads in the service. For churches that follow a regimen, bulletin, or an uncompromised order of service, a
trained musician who reads music or charts is usually needed.
Musicians must be committed to attend all rehearsals and worship services. If they have a problem committing
to a schedule, they are not right for the job. Punctuality is also a key factor since time is limited and worship serv-
ice times are precise.
Another key component to building the right music team is style. It is very important that each musician is com-
fortable with the style of the church, or there will always be a limitation on the songs you plan and any impromp-
tu music. Two of the biggest elements in music style are rhythm and timing. If the musicians are not synchronized,
the sound will always be a beat behind or ahead, and it will hinder the flow of the service. It is difficult for some
musicians to change their rhythm styles if they have played a certain way for a number of years.
CHOIRS
Structures
Choirs come in all shapes, sizes and styles. There is no standard rule of thumb for choirs. One thing is certain—in a
church choir you will deal with several volunteers who have a different idea about how a choir is supposed to look and
sound. Casting the right vision and taking the time to properly orient newcomers will make a huge difference in the way
choir members see themselves and operate as a unit.
The standard choir usually operates with three- or four-part harmony. A common choir breakdown of sections
includes soprano, alto, tenor and bass. Some choirs break their sections down into first and second parts.
Page 14
Anointing
The word anointing is often substituted with the word flow. Anointing is when God blesses your gift and gives
you a free flow in your gift that makes it fun and easy. Without the anointing, you end up forcing something that
frustrates you. Anointing gives you freedom and flow. It is often compared to the same attribute of oil. It causes
things to move easily and allows you to flow effortlessly. You are the only one who can fine-tune your gift, and
God is the only One who can anoint your gift. The anointing makes the difference. It can transform a song into a
psalm and a hymn into a song to Him.
Musicians
The number and type of musicians will vary with each church. Traditionally, keyboard players, pianists and
organists were the standard. However, today churches also use drums, guitars, horns and strings as a part of their
band or orchestra.
It cannot be overstated how much the attitude of the musician affects the overall program of the church. It is
much easier to work with less talent and a good attitude than an amazing talent that is possessive or hard to work
with. Choosing musicians should not be done hastily. Tryouts, interviews and trial periods are an absolute must.
One of the greatest resources for church musicians that is often overlooked is a college campus. Many times,
there are talented students who would love to have a part-time job or who would volunteer just to stay connected
to a church family.
The most important quality in church musicians is the ability to follow the leaders, which primarily includes the
music minister and the pastor. Many churches prefer musicians who can play by ear and read music since an
impromptu song is part of the Protestant tradition, especially in churches that allow themselves to flow as the Holy
Spirit leads in the service. For churches that follow a regimen, bulletin, or an uncompromised order of service, a
trained musician who reads music or charts is usually needed.
Musicians must be committed to attend all rehearsals and worship services. If they have a problem committing
to a schedule, they are not right for the job. Punctuality is also a key factor since time is limited and worship serv-
ice times are precise.
Another key component to building the right music team is style. It is very important that each musician is com-
fortable with the style of the church, or there will always be a limitation on the songs you plan and any impromp-
tu music. Two of the biggest elements in music style are rhythm and timing. If the musicians are not synchronized,
the sound will always be a beat behind or ahead, and it will hinder the flow of the service. It is difficult for some
musicians to change their rhythm styles if they have played a certain way for a number of years.
CHOIRS
Structures
Choirs come in all shapes, sizes and styles. There is no standard rule of thumb for choirs. One thing is certain—in a
church choir you will deal with several volunteers who have a different idea about how a choir is supposed to look and
sound. Casting the right vision and taking the time to properly orient newcomers will make a huge difference in the way
choir members see themselves and operate as a unit.
The standard choir usually operates with three- or four-part harmony. A common choir breakdown of sections
includes soprano, alto, tenor and bass. Some choirs break their sections down into first and second parts.
Page 14
 Another characteristic that distinguishes choirs is performance or worship. For instance, some choirs sing to the
audience and other choirs sing with the audience. Some churches do both in the same service. Many churches that
do only praise and worship music have choirs that sing and participate with an audience that is standing during all
of the songs. Other churches may stand and sing a couple of hymns and the audience is seated while the choir sings
two or three other selections. Some more traditional churches even have choir lofts in the back of the church where
the choir rises to sing hymns with the congregation.
There is really no standard way for structuring choirs in the modern church. As a matter of fact, the world of music
so evolves that every decade the standards change, and another group will emerge with a totally new concept for wor-
ship. One of those emergences is the usage of more lighting effects, musical interpretation through the arts, and the
ever-changing face of the church sanctuary that completely redefines every aspect of the worship service.
Sectionals
A choir section is a group of individuals who sing the same part. Choirs typically consist of a section for sopra-
nos, altos, tenors and basses. Each section has a leader. When extra rehearsals are required, the section leader
rehearses separately with his or her section. In many choirs, the section leader also keeps the attendance roll, so
members call their section leader to report an absence. Many times, depending on the size of the choir, sections will
hold social events for just their section to help create a tighter bond within the group.
Uniformity
It is important that the choir have some type of uniformity. This keeps the choir looking like one unit and distin-
guishes them as those who have been appointed for this ministry. Many choose choir robes for uniformity. When
choirs wear robes, they do not have to worry about matching colors or wearing the same outfit each week to sing.
They can simply wear whatever they choose, and the robes bring them together as one.
Other choirs choose to wear chosen color schemes. Black and white seem to be favorite choices. Each member
is asked to dress in those colors each time the choir sings. Again, this limits the singers to what they can wear each
Sunday, but it seems to work well for many churches.
One choir director in Atlanta, Georgia, walked in with a pack of Skittles® in a bowl and told each member of the
choir to take out one piece of candy. Once everyone had a piece of candy, the choir director announced, “This is
now your official color for the choir. Please wear a shirt or blouse this color each time you sing.” Obviously, this
was a bold move, and I hope everyone got a color they felt would compliment them. Nevertheless, the next week,
the choir of 75 people was dressed in a bright array of bold oranges, greens, yellows, blues, pinks and reds.
Getting In and Out
A big issue with choirs is getting in and out of the sanctuary. Most choirs either gather in the choir loft prior to
the service or have an entrance and exit song. The Christ Church Choir in Nashville, Tennessee, has a curtain around
the stage area that is lowered prior to service. Choir members are in their designated places on the platform when
the music starts and the curtain is lifted. However, the choir does not have a planned exit. Some members leave the
loft just before the message, while others stay in their choir seat during the message. At Twin Rivers Worship Center
in St. Louis, Missouri, the choir marches in on the opening chorus and marches out during the offering chorus. At
North Cleveland Church of God in Cleveland, Tennessee, the choir gathers in the choir loft prior to the service and
remains seated in the choir loft until the service is over. Choose the method that works best for your congregation
and order of service.
Page 15
Another characteristic that distinguishes choirs is performance or worship. For instance, some choirs sing to the
audience and other choirs sing with the audience. Some churches do both in the same service. Many churches that
do only praise and worship music have choirs that sing and participate with an audience that is standing during all
of the songs. Other churches may stand and sing a couple of hymns and the audience is seated while the choir sings
two or three other selections. Some more traditional churches even have choir lofts in the back of the church where
the choir rises to sing hymns with the congregation.
There is really no standard way for structuring choirs in the modern church. As a matter of fact, the world of music
so evolves that every decade the standards change, and another group will emerge with a totally new concept for wor-
ship. One of those emergences is the usage of more lighting effects, musical interpretation through the arts, and the
ever-changing face of the church sanctuary that completely redefines every aspect of the worship service.
Sectionals
A choir section is a group of individuals who sing the same part. Choirs typically consist of a section for sopra-
nos, altos, tenors and basses. Each section has a leader. When extra rehearsals are required, the section leader
rehearses separately with his or her section. In many choirs, the section leader also keeps the attendance roll, so
members call their section leader to report an absence. Many times, depending on the size of the choir, sections will
hold social events for just their section to help create a tighter bond within the group.
Uniformity
It is important that the choir have some type of uniformity. This keeps the choir looking like one unit and distin-
guishes them as those who have been appointed for this ministry. Many choose choir robes for uniformity. When
choirs wear robes, they do not have to worry about matching colors or wearing the same outfit each week to sing.
They can simply wear whatever they choose, and the robes bring them together as one.
Other choirs choose to wear chosen color schemes. Black and white seem to be favorite choices. Each member
is asked to dress in those colors each time the choir sings. Again, this limits the singers to what they can wear each
Sunday, but it seems to work well for many churches.
One choir director in Atlanta, Georgia, walked in with a pack of Skittles® in a bowl and told each member of the
choir to take out one piece of candy. Once everyone had a piece of candy, the choir director announced, “This is
now your official color for the choir. Please wear a shirt or blouse this color each time you sing.” Obviously, this
was a bold move, and I hope everyone got a color they felt would compliment them. Nevertheless, the next week,
the choir of 75 people was dressed in a bright array of bold oranges, greens, yellows, blues, pinks and reds.
Getting In and Out
A big issue with choirs is getting in and out of the sanctuary. Most choirs either gather in the choir loft prior to
the service or have an entrance and exit song. The Christ Church Choir in Nashville, Tennessee, has a curtain around
the stage area that is lowered prior to service. Choir members are in their designated places on the platform when
the music starts and the curtain is lifted. However, the choir does not have a planned exit. Some members leave the
loft just before the message, while others stay in their choir seat during the message. At Twin Rivers Worship Center
in St. Louis, Missouri, the choir marches in on the opening chorus and marches out during the offering chorus. At
North Cleveland Church of God in Cleveland, Tennessee, the choir gathers in the choir loft prior to the service and
remains seated in the choir loft until the service is over. Choose the method that works best for your congregation
and order of service.
Page 15
Following the Leader
It is important that the choir is able to see and follow the director. Some ministers of music who lead from a
keyboard or piano lead with head and hand signals. Others have a different director for the choir. The choir direc-
tor follows the minister of music, and the choir follows the director. It doesn’t matter how it is done as long as the
choir knows what is going on and can follow the director easily. Many ministers of music who have a keyboardist
simply direct the congregation and the choir at the same time. Others choose to have a separate director for the
choir so they can concentrate on directing the total program. Many larger churches have three directors. One is
over the choir, another is over the musicians, and the last one leads the congregation. Any one of the three may
be the minister of music, and the other two directors get their signals from the minister of music.
Rehearsals
Every church does rehearsals differently. Regardless of the chosen time for the rehearsal, it is important that all
of the musicians and singers commit to attending every rehearsal. This is a critical issue with most ministers of
music. Some choir members want to sing but not attend rehearsals regularly. Many directors have a standard rule
stating that for the weeks you don’t rehearse, you don’t sing. The minister of music also needs to be sensitive to
work schedules and life responsibilities of the volunteers. Many of them need child care to attend a rehearsal, so
either it needs to be offered, or rehearsals need to be scheduled at a time when church child care is provided. There
are several ways to make a rehearsal worth coming to, which will help with attendance. Here are a few ideas:
• Start on time. Have a plan ready before rehearsals begin. Start on time even if everyone is not in place. They
will get the idea and will be motivated to get there early.
• Make the rehearsal fun. Lighten things up with an occasional funny video, movie clip, joke or funny song.
• Make rehearsal spiritual. Offer prayer, allow songs to take the choir into worship, even in rehearsal. Do a
devotion or appoint a choir chaplain who is always ready to exhort and encourage.
• Stop on time. This will make everyone feel comfortable in picking up their child on time, meeting their
spouse or scheduling something afterward.
• Have sectional rehearsals at times just to help the group bond. Their friendships will strengthen the choir.
Social events for sections or even the whole choir can have the same effect.
Rules and Regulations
The following are some standard rules many choirs use:
1. If you don’t rehearse that week, you don’t sing that week.
2. If you miss more than 10 performances a year, you must give up your seat in the choir to someone else.
3. Show up with a good attitude. If you’ve had a bad day, arrive a few minutes early and ask someone to pray
with you.
4. Once rehearsal begins, there is no talking unless it is related to the music.
Auditions
Most large churches have choir tryouts since they have a limited number of positions available. Many churches
have a waiting list for prospective choir members. The purpose of tryouts is usually to rate the talent of the singer
or musician, but it is so much more than that. It is also a time to get to know more about that person.
Page 16
Following the Leader
It is important that the choir is able to see and follow the director. Some ministers of music who lead from a
keyboard or piano lead with head and hand signals. Others have a different director for the choir. The choir direc-
tor follows the minister of music, and the choir follows the director. It doesn’t matter how it is done as long as the
choir knows what is going on and can follow the director easily. Many ministers of music who have a keyboardist
simply direct the congregation and the choir at the same time. Others choose to have a separate director for the
choir so they can concentrate on directing the total program. Many larger churches have three directors. One is
over the choir, another is over the musicians, and the last one leads the congregation. Any one of the three may
be the minister of music, and the other two directors get their signals from the minister of music.
Rehearsals
Every church does rehearsals differently. Regardless of the chosen time for the rehearsal, it is important that all
of the musicians and singers commit to attending every rehearsal. This is a critical issue with most ministers of
music. Some choir members want to sing but not attend rehearsals regularly. Many directors have a standard rule
stating that for the weeks you don’t rehearse, you don’t sing. The minister of music also needs to be sensitive to
work schedules and life responsibilities of the volunteers. Many of them need child care to attend a rehearsal, so
either it needs to be offered, or rehearsals need to be scheduled at a time when church child care is provided. There
are several ways to make a rehearsal worth coming to, which will help with attendance. Here are a few ideas:
• Start on time. Have a plan ready before rehearsals begin. Start on time even if everyone is not in place. They
will get the idea and will be motivated to get there early.
• Make the rehearsal fun. Lighten things up with an occasional funny video, movie clip, joke or funny song.
• Make rehearsal spiritual. Offer prayer, allow songs to take the choir into worship, even in rehearsal. Do a
devotion or appoint a choir chaplain who is always ready to exhort and encourage.
• Stop on time. This will make everyone feel comfortable in picking up their child on time, meeting their
spouse or scheduling something afterward.
• Have sectional rehearsals at times just to help the group bond. Their friendships will strengthen the choir.
Social events for sections or even the whole choir can have the same effect.
Rules and Regulations
The following are some standard rules many choirs use:
1. If you don’t rehearse that week, you don’t sing that week.
2. If you miss more than 10 performances a year, you must give up your seat in the choir to someone else.
3. Show up with a good attitude. If you’ve had a bad day, arrive a few minutes early and ask someone to pray
with you.
4. Once rehearsal begins, there is no talking unless it is related to the music.
Auditions
Most large churches have choir tryouts since they have a limited number of positions available. Many churches
have a waiting list for prospective choir members. The purpose of tryouts is usually to rate the talent of the singer
or musician, but it is so much more than that. It is also a time to get to know more about that person.
Page 16
 It is a great idea to have a form that must be completed prior to the audition. The form should list things such as
• Personal testimony
• Musical abilities
• Past experience
• Work schedule
• Ability to read music, sing by ear or both
• Involvement in other ministries in the church
• Length of time attended the church
• Completion of other requirements, such as new members classes, Get Connected classes, or any other stan-
dards the church may have for church workers.
• Need for child care
• Other information: birthday, anniversaries, hobbies, leadership experience.
Prayer Meetings
Every choir should have a mandatory prayer meeting. If the church has a prayer meeting, the choir should be
required to attend a minimum of once or twice a month. Prayer is essential to doing ministry effectively. Without
it, the church becomes another secular society, filled with carnality and selfish behaviors. Prayer keeps us close to
God, ourselves and others. It also prohibits conflict and bonds us to those we pray with.
Prayer meetings do not have to be long, but they do need to happen. It is very important that choir members pray
for one another and, if your tradition allows, make their requests known to one another. If they practice sharing one
another’s burdens, it will keep the choir bonded spiritually, as well as socially.
The Testimony of a Choir Member
As with any minister in the church, choir members should consider themselves as ministers of the Lord’s work.
The fact that they stand before the people each week makes them a public testimony of the church, its beliefs and
practices, as well as its reputation. Choir members who feel they cannot commit to the beliefs of the church should
not be in the choir. If choir members are seen conducting themselves in a manner contrary to the beliefs of the
church, they are viewed as hypocrites by the onlookers. This mars not only their reputation, but also the church’s
reputation. Their personal testimony is a reflection of the church’s reputation just as much as the other ministers of
the church.
Building the Team
Team-building is important to any team, but it is critical to a music ministry. In order to sing as one voice, it
is important to see one vision and have one heart for the ministry. Here are a few team-building ideas for music
ministry.
Retreats are a great way to build a music team, especially if the retreat includes a time for a “dream session” and
vision-casting. An annual retreat to a casual setting is also great to refresh the choir with their music and to orient
new members.
• Attend conventions and conferences together.
• Prayer meetings
• Holiday parties
Page 17
It is a great idea to have a form that must be completed prior to the audition. The form should list things such as
• Personal testimony
• Musical abilities
• Past experience
• Work schedule
• Ability to read music, sing by ear or both
• Involvement in other ministries in the church
• Length of time attended the church
• Completion of other requirements, such as new members classes, Get Connected classes, or any other stan-
dards the church may have for church workers.
• Need for child care
• Other information: birthday, anniversaries, hobbies, leadership experience.
Prayer Meetings
Every choir should have a mandatory prayer meeting. If the church has a prayer meeting, the choir should be
required to attend a minimum of once or twice a month. Prayer is essential to doing ministry effectively. Without
it, the church becomes another secular society, filled with carnality and selfish behaviors. Prayer keeps us close to
God, ourselves and others. It also prohibits conflict and bonds us to those we pray with.
Prayer meetings do not have to be long, but they do need to happen. It is very important that choir members pray
for one another and, if your tradition allows, make their requests known to one another. If they practice sharing one
another’s burdens, it will keep the choir bonded spiritually, as well as socially.
The Testimony of a Choir Member
As with any minister in the church, choir members should consider themselves as ministers of the Lord’s work.
The fact that they stand before the people each week makes them a public testimony of the church, its beliefs and
practices, as well as its reputation. Choir members who feel they cannot commit to the beliefs of the church should
not be in the choir. If choir members are seen conducting themselves in a manner contrary to the beliefs of the
church, they are viewed as hypocrites by the onlookers. This mars not only their reputation, but also the church’s
reputation. Their personal testimony is a reflection of the church’s reputation just as much as the other ministers of
the church.
Building the Team
Team-building is important to any team, but it is critical to a music ministry. In order to sing as one voice, it
is important to see one vision and have one heart for the ministry. Here are a few team-building ideas for music
ministry.
Retreats are a great way to build a music team, especially if the retreat includes a time for a “dream session” and
vision-casting. An annual retreat to a casual setting is also great to refresh the choir with their music and to orient
new members.
• Attend conventions and conferences together.
• Prayer meetings
• Holiday parties
Page 17
• Road trips • Road trips
• Music tours • Music tours
• Picnics • Picnics
• Missions projects • Missions projects
• Team-building exercises • Team-building exercises
• Softball or volleyball teams • Softball or volleyball teams
• Seminars • Seminars
• Newsletters • Newsletters
• E-blasts • E-blasts
• E-mail updates and announcements • E-mail updates and announcements
• Adopt families at Christmas. • Adopt families at Christmas.
• Choir paraphernalia, like T-shirts, bracelets, and so on • Choir paraphernalia, like T-shirts, bracelets, and so on
• Choir photos • Choir photos
• Choir CD and recording projects • Choir CD and recording projects

Page 18 Page 18
 chapter
three: O rganizing the
Music Ministry
chapter
three: O rganizing the
Music Ministry
For churches that use a choir in their Music Department, it is necessary to create a system to train and organize For churches that use a choir in their Music Department, it is necessary to create a system to train and organize
the choir. Once the system is in place and each member is familiar with it, it will allow the choir to run like a well- the choir. Once the system is in place and each member is familiar with it, it will allow the choir to run like a well-
oiled machine, avoiding many pitfalls that come as a result of disorganization. oiled machine, avoiding many pitfalls that come as a result of disorganization.

Minister of Music Minister of Music

Praise and Worship Lead Musician Praise and Worship Lead Musician
Team Leader or Band Director Team Leader or Band Director

Praise and Musicians Praise and Musicians

Worship Team Worship Team

Assistant Choir Assistant Choir

Director Director

Choir Committees Choir Committees

Soprano Section Alto Section Tenor Section Bass Section Soprano Section Alto Section Tenor Section Bass Section
Leader Leader Leader Leader Leader Leader Leader Leader

Section Section Section Section Section Section Section Section

Accompanist Accompanist Accompanist Accompanist Accompanist Accompanist Accompanist Accompanist

Sopranos Altos Tenors Basses Sopranos Altos Tenors Basses

The Minister of Music The Minister of Music

The role of the minister of music is to recruit, train and oversee the Music Department personnel and the music The role of the minister of music is to recruit, train and oversee the Music Department personnel and the music
program. He or she is directly responsible for the music portion of each worship service and any additional areas program. He or she is directly responsible for the music portion of each worship service and any additional areas
assigned, such as holiday and other music-related events. assigned, such as holiday and other music-related events.

Praise and Worship Team Leader
The praise and worship team leader is responsible for training and leading the praise and worship team. Most
of the time, the minister of music recruits the team in conjunction with the praise and worship team leader. The
final decision always lies with the minister of music. The praise and worship team leader is responsible for filling
Page 19
Praise and Worship Team Leader
The praise and worship team leader is responsible for training and leading the praise and worship team. Most
of the time, the minister of music recruits the team in conjunction with the praise and worship team leader. The
final decision always lies with the minister of music. The praise and worship team leader is responsible for filling
Page 19
vacancies for absentees, rehearsals, and keeping the team together during a worship service. The team leader must
stand where he can see the instruction of the minister of music at all times. In some churches, the praise and wor-
ship team leader may be the person who leads the congregation in worship choruses or hymns, but this decision
is always left up to the minister of music.
Praise and Worship Team
This select group of individuals may vary in number from church to church. A praise and worship team gener-
ally consists of individuals designated to sing a particular part (soprano, alto, tenor, bass). These individuals report
directly to the praise and worship team leader, who is usually a member of the team. They are also under the direct
authority of the minister of music. They must be extremely committed to their post and will sing in most worship
services and special events. They must be physically able to stand for long periods of time and, in most cases, hold
a microphone while they sing.
Lead Musician/Band Director
The lead musician is sometimes also called the band director. The band director’s function is to recruit and train
the musicians alongside the minister of music. During the worship service, the other musicians will report to them
for instructions. The lead musician must be able to rehearse with the other musicians under the direction and lead-
ership of the minister of music.
Musicians
Musicians are individuals who play a designated musical instrument. They report directly to the lead musician
and the minister of music. They must be proficient on their instrument and must be able to follow the instructions
and carry out the wishes of the lead musician and minister of music. During a worship service, they will follow the
direction of the lead musician/band director.
Assistant Choir Director
The assistant choir director reports directly to, and works under the supervision of, the minister of music to keep
the choir well organized. The assistant also handles a choir rehearsal or leads the choir in worship in the absence of
the minister of music. In some churches, the assistant may be called the choir director and may be called upon to lead
in every worship service while the minister of music leads the congregation. One of the main roles of the assistant
choir director is to recruit and train the committees needed to allow the ministry of the choir to function smoothly.
Choir Committees
A choir committee consists of a select group of individuals that is given a task to complete by the assistant choir
director. There will be a need for several teams or committees to assist the choir. If there are refreshments or meals
served, someone will be in charge of that service. There may need to be a committee that hands out new music or
a clean-up committee to pick up after each rehearsal. Robes need to be cleaned, repaired, hung properly, new ones
ordered, and so on. There may need to be a person who handles bottled water. Another committee may need to han-
dle social events, such as picnics, holiday parties or birthday celebrations. You may need a committee to coordinate
child-care volunteers for choir members. The list of committees can go on and on.
Page 20
vacancies for absentees, rehearsals, and keeping the team together during a worship service. The team leader must
stand where he can see the instruction of the minister of music at all times. In some churches, the praise and wor-
ship team leader may be the person who leads the congregation in worship choruses or hymns, but this decision
is always left up to the minister of music.
Praise and Worship Team
This select group of individuals may vary in number from church to church. A praise and worship team gener-
ally consists of individuals designated to sing a particular part (soprano, alto, tenor, bass). These individuals report
directly to the praise and worship team leader, who is usually a member of the team. They are also under the direct
authority of the minister of music. They must be extremely committed to their post and will sing in most worship
services and special events. They must be physically able to stand for long periods of time and, in most cases, hold
a microphone while they sing.
Lead Musician/Band Director
The lead musician is sometimes also called the band director. The band director’s function is to recruit and train
the musicians alongside the minister of music. During the worship service, the other musicians will report to them
for instructions. The lead musician must be able to rehearse with the other musicians under the direction and lead-
ership of the minister of music.
Musicians
Musicians are individuals who play a designated musical instrument. They report directly to the lead musician
and the minister of music. They must be proficient on their instrument and must be able to follow the instructions
and carry out the wishes of the lead musician and minister of music. During a worship service, they will follow the
direction of the lead musician/band director.
Assistant Choir Director
The assistant choir director reports directly to, and works under the supervision of, the minister of music to keep
the choir well organized. The assistant also handles a choir rehearsal or leads the choir in worship in the absence of
the minister of music. In some churches, the assistant may be called the choir director and may be called upon to lead
in every worship service while the minister of music leads the congregation. One of the main roles of the assistant
choir director is to recruit and train the committees needed to allow the ministry of the choir to function smoothly.
Choir Committees
A choir committee consists of a select group of individuals that is given a task to complete by the assistant choir
director. There will be a need for several teams or committees to assist the choir. If there are refreshments or meals
served, someone will be in charge of that service. There may need to be a committee that hands out new music or
a clean-up committee to pick up after each rehearsal. Robes need to be cleaned, repaired, hung properly, new ones
ordered, and so on. There may need to be a person who handles bottled water. Another committee may need to han-
dle social events, such as picnics, holiday parties or birthday celebrations. You may need a committee to coordinate
child-care volunteers for choir members. The list of committees can go on and on.
Page 20
 Here is a suggested list of choir committees: Here is a suggested list of choir committees:
• Robe Committee • Robe Committee
• Refreshments Committee • Refreshments Committee
• Newsletter Committee • Newsletter Committee
• Social Events Committee • Social Events Committee
• Birthday Committee • Birthday Committee
• Communications Committee • Communications Committee
• Water Committee • Water Committee
• Set-up Committee • Set-up Committee
• Clean-up Committee • Clean-up Committee
• New Music Distribution Committee • New Music Distribution Committee
• Holiday Party Committee • Holiday Party Committee
• New Members Orientation Committee • New Members Orientation Committee

Section Leader Section Leader

The section leader is appointed by the minister of music to lead a particular section of the choir. Sections usual- The section leader is appointed by the minister of music to lead a particular section of the choir. Sections usual-
ly include sopranos, altos, tenors and basses. The section leader takes attendance, handles absenteeism, rehearses ly include sopranos, altos, tenors and basses. The section leader takes attendance, handles absenteeism, rehearses
parts with the section, and provides follow-up care to absentees. parts with the section, and provides follow-up care to absentees.

Section Accompanist Section Accompanist

The section accompanist is a pianist who works with the section leader to help teach the section their part. The section accompanist is a pianist who works with the section leader to help teach the section their part.

C hoir Member C hoir Member

The choir member is a person who has joined the choir after completing the steps for membership required by
the minister of music. The member must commit to attend all rehearsals and worship services, as well as other
events where the choir will sing. After tryouts and new member orientation, they are assigned to a particular sec-
tion of the choir where they will be given an assigned chair or a position to stand. From that point on, they will
report to the section leader and will also work with the assistant choir director and the minister of music.
The choir member is a person who has joined the choir after completing the steps for membership required by
the minister of music. The member must commit to attend all rehearsals and worship services, as well as other
events where the choir will sing. After tryouts and new member orientation, they are assigned to a particular sec-
tion of the choir where they will be given an assigned chair or a position to stand. From that point on, they will
report to the section leader and will also work with the assistant choir director and the minister of music.

New Member Orientation New Member Orientation

It is extremely important to make sure new members are properly oriented to the rules, customs, requirements
and expectations of the choir. One of the easiest ways to do this is to assign each new member to an older member
of the choir as their “big brother” or “big sister.” The established members will spend time with the new members
for a few weeks until they are adjusted. They will review the choir handbook or rule sheet, or whatever tools are in
place to implement the written rules of the choir. They can pray with them at prayer meetings, stand by them dur-
ing rehearsals, and answer any questions, such as, “Where do we get our robes?” or “Is child care offered?” If you
choose not to have the big brother/big sister program, the assistant director or a committee member, or any desig-
nated member of the choir may host a new choir members orientation class.
It is extremely important to make sure new members are properly oriented to the rules, customs, requirements
and expectations of the choir. One of the easiest ways to do this is to assign each new member to an older member
of the choir as their “big brother” or “big sister.” The established members will spend time with the new members
for a few weeks until they are adjusted. They will review the choir handbook or rule sheet, or whatever tools are in
place to implement the written rules of the choir. They can pray with them at prayer meetings, stand by them dur-
ing rehearsals, and answer any questions, such as, “Where do we get our robes?” or “Is child care offered?” If you
choose not to have the big brother/big sister program, the assistant director or a committee member, or any desig-
nated member of the choir may host a new choir members orientation class.

Staff Meetings Staff Meetings

Staff meetings are primarily for choirs that use an organizational chart similar to the one provided in this Staff meetings are primarily for choirs that use an organizational chart similar to the one provided in this
Page 21 Page 21
manual. The staff meetings are for leaders only. The purpose is for the leaders to report their progress, receive manual. The staff meetings are for leaders only. The purpose is for the leaders to report their progress, receive
instruction from the minister of music, and plan events for the Music Department. The number of staff meetings instruction from the minister of music, and plan events for the Music Department. The number of staff meetings
per month may vary according to the size and planning needs of each Music Department. A meal function is a nice per month may vary according to the size and planning needs of each Music Department. A meal function is a nice
way to do a meeting. It gives the leadership group a way to bond socially, if the budget allows. way to do a meeting. It gives the leadership group a way to bond socially, if the budget allows.

Holiday Events Holiday Events

Holiday events vary from church to church. Some churches are into elaborate pageantry, while other churches
have a cantata or simply an appropriate musical selection. For churches that choose to have a musical, cantata or
pageant, the marketplace is full of great ideas. Music for these events can be found at a local Christian bookstore,
music company or online. One of the best resources of music for these types of events is other ministers of music.
Many times, they will not reuse their books and tracks, and are often willing to sell them at a reduced cost. Some
churches like to use special choir props—for example, the “Living Christmas Tree,” the “Living Cross,” or even
the “Living Flag”—for special holiday celebrations. Holiday musicals require hours of commitment, hard work,
committee work and preplanned budgets. Most ministers of music start months ahead to make sure these events
are well planned and do not overtax their volunteers with too much last-minute preparation.
Holiday events vary from church to church. Some churches are into elaborate pageantry, while other churches
have a cantata or simply an appropriate musical selection. For churches that choose to have a musical, cantata or
pageant, the marketplace is full of great ideas. Music for these events can be found at a local Christian bookstore,
music company or online. One of the best resources of music for these types of events is other ministers of music.
Many times, they will not reuse their books and tracks, and are often willing to sell them at a reduced cost. Some
churches like to use special choir props—for example, the “Living Christmas Tree,” the “Living Cross,” or even
the “Living Flag”—for special holiday celebrations. Holiday musicals require hours of commitment, hard work,
committee work and preplanned budgets. Most ministers of music start months ahead to make sure these events
are well planned and do not overtax their volunteers with too much last-minute preparation.

The Music Department: Small, Medium,
Large and Extra Large
The following organizational charts are samples of what a Music Department may look like in an average-size
church. Keep in mind that types of instruments may vary with church styles. Most churches use keyboards, percus-
sion and electric bass. Many emerging churches are becoming more acoustical.
The Music Department: Small, Medium,
Large and Extra Large
The following organizational charts are samples of what a Music Department may look like in an average-size
church. Keep in mind that types of instruments may vary with church styles. Most churches use keyboards, percus-
sion and electric bass. Many emerging churches are becoming more acoustical.

Small—Average Attendance of Under 75 Small—Average Attendance of Under 75

Minister of Music Minister of Music

Musicians Choir or Musicians Choir or

Praise Team Praise Team

Medium—Average Attendance of 75-200 Medium—Average Attendance of 75-200

Minister of Music Minister of Music

Sound Sound
Technicians Technicians

Musicians Praise Team Choir Musicians Praise Team Choir

Page 22 Page 22
Large—Average Attendance of 200-800 Large—Average Attendance of 200-800

Minister of Music Minister of Music

Praise and Worship Lead Musician Praise and Worship Lead Musician
Team Leader or Band Director Team Leader or Band Director

Praise and Musicians Praise and Musicians

Worship Team Worship Team

Assistant Choir Sound Technicians Assistant Choir Sound Technicians

Director Director

Choir Committees Choir Committees

Media Technician Media Technician

Sopranos Altos Tenors Basses Sopranos Altos Tenors Basses

Extra Large—Average Attendance of 800+ Extra Large—Average Attendance of 800+

Minister of Music Minister of Music

Praise and Worship Lead Musician Praise and Worship Lead Musician
Team Leader or Band Director Team Leader or Band Director

Praise and Musicians Praise and Musicians

Worship Team Worship Team

Assistant Choir Sound Technicians Assistant Choir Sound Technicians

Director Director

Choir Committees Choir Committees

Media Technician Media Technician

Soprano Section Alto Section Tenor Section Bass Section Soprano Section Alto Section Tenor Section Bass Section
Leader Leader Leader Leader Leader Leader Leader Leader

Section Section Section Section Section Section Section Section

Accompanist Accompanist Accompanist Accompanist Accompanist Accompanist Accompanist Accompanist

Sopranos Altos Tenors Basses Sopranos Altos Tenors Basses

Page 23 Page 23
 Get Connected: a Prerequisite
Program for all Church
Volunteers
Some churches have prerequisites in order to participate in their church ministries. This is an excellent way to
screen leadership, avoid trouble spots and, most importantly, get people hooked into their gifted areas.
Twin Rivers Worship Center, in St. Louis, Missouri, has an excellent program called “Get Connected.” It is a
four-level course that allows individuals an opportunity to get to know the church and find out more about their
own gifts as well. What makes this program so unique is that there is a mechanism in place to help the person
locate a ministry to get plugged into.
Introductory Class
This class is for individuals and families who would like to learn more about Twin Rivers. The class reviews the
church’s history and vision for the future. The participants have the opportunity to meet with and ask the senior pas-
tor questions. Afterward, they browse the Ministry Resource Center, where brochures are available for every min-
istry at Twin Rivers. The class is all about Twin Rivers serving the family. The class meets on Sunday afternoons
at 4:30 once every other month. The senior pastor strongly suggests to everyone to continue the course of Get
Connected by taking the Series 100 course, “Connecting to Your Gifts.” The teachers for the Series 100 are intro-
duced, along with the date and time of the next scheduled class.
Series 100: Connecting to Your Gifts
This series is a prerequisite for anyone wanting to volunteer in a ministry at Twin Rivers. There are two classes
in this series:
• Connect 101: Personality Gifts (Gifts test is provided)
• Connect 102: Spiritual Gifts (Gifts test is provided)
These classes help prospective members better understand the gifts God has placed in them and find the best fit
between those gifts and the ministries of Twin Rivers. They also receive a ministry opportunity form that lists every
ministry position at Twin Rivers. Each person completes the ministry opportunity form and returns it, along with
the completed personality test and ministry gifts test.
Finally, they complete a personal information form that has questions regarding their history in other churches,
prior leadership positions or involvement, the date of their salvation, their view on tithing and giving, their profes-
sion, hobbies or interests, skills, and many other things that help us know them better and match them with their
areas of interest in the church.
When these two classes are completed, they are eligible to serve as a church volunteer. The information collect-
ed in these classes is then entered into a database. Upon the completion of the class, a profile will be printed and
distributed to the leaders in the areas where they expressed interest. The leader will use this profile as a recruiting
tool to contact them with regard to getting connected in that ministry or department.
At the end of Series 100, the participants are encouraged to continue the Get Connected journey to the next phase
called “Connecting to Your Church.”
Page 24
Get Connected: a Prerequisite
Program for all Church
Volunteers
Some churches have prerequisites in order to participate in their church ministries. This is an excellent way to
screen leadership, avoid trouble spots and, most importantly, get people hooked into their gifted areas.
Twin Rivers Worship Center, in St. Louis, Missouri, has an excellent program called “Get Connected.” It is a
four-level course that allows individuals an opportunity to get to know the church and find out more about their
own gifts as well. What makes this program so unique is that there is a mechanism in place to help the person
locate a ministry to get plugged into.
Introductory Class
This class is for individuals and families who would like to learn more about Twin Rivers. The class reviews the
church’s history and vision for the future. The participants have the opportunity to meet with and ask the senior pas-
tor questions. Afterward, they browse the Ministry Resource Center, where brochures are available for every min-
istry at Twin Rivers. The class is all about Twin Rivers serving the family. The class meets on Sunday afternoons
at 4:30 once every other month. The senior pastor strongly suggests to everyone to continue the course of Get
Connected by taking the Series 100 course, “Connecting to Your Gifts.” The teachers for the Series 100 are intro-
duced, along with the date and time of the next scheduled class.
Series 100: Connecting to Your Gifts
This series is a prerequisite for anyone wanting to volunteer in a ministry at Twin Rivers. There are two classes
in this series:
• Connect 101: Personality Gifts (Gifts test is provided)
• Connect 102: Spiritual Gifts (Gifts test is provided)
These classes help prospective members better understand the gifts God has placed in them and find the best fit
between those gifts and the ministries of Twin Rivers. They also receive a ministry opportunity form that lists every
ministry position at Twin Rivers. Each person completes the ministry opportunity form and returns it, along with
the completed personality test and ministry gifts test.
Finally, they complete a personal information form that has questions regarding their history in other churches,
prior leadership positions or involvement, the date of their salvation, their view on tithing and giving, their profes-
sion, hobbies or interests, skills, and many other things that help us know them better and match them with their
areas of interest in the church.
When these two classes are completed, they are eligible to serve as a church volunteer. The information collect-
ed in these classes is then entered into a database. Upon the completion of the class, a profile will be printed and
distributed to the leaders in the areas where they expressed interest. The leader will use this profile as a recruiting
tool to contact them with regard to getting connected in that ministry or department.
At the end of Series 100, the participants are encouraged to continue the Get Connected journey to the next phase
called “Connecting to Your Church.”
Page 24
Series 200: Connecting to Your Church
This series focuses on issues and commitment to spiritual growth and leadership. Series 200 consists of three
classes:
• 201: Membership
• 202: Stewardship
• 203: Doctrine
Each of these one-hour classes meets on Sunday afternoons at 4:30, which is the time when all Get Connected
classes are offered.
Once the final phase of Get Connected is completed, their profiles are updated and sent to the administrative eld-
ers. The profiles will be reviewed carefully and, after the person has accepted membership and has been proven
faithful in attendance, he or she may be invited to attend another series of classes called “Connecting as a Leader.”
This is a prerequisite course for being placed in the leadership pool from where all department leaders, deacons and
elders are chosen. No one is eligible to serve in a leadership role until he or she has completed all four levels of the
Get Connected program. Attendance in “Connecting as a Leader” is by invitation only.
Page 25
Series 200: Connecting to Your Church
This series focuses on issues and commitment to spiritual growth and leadership. Series 200 consists of three
classes:
• 201: Membership
• 202: Stewardship
• 203: Doctrine
Each of these one-hour classes meets on Sunday afternoons at 4:30, which is the time when all Get Connected
classes are offered.
Once the final phase of Get Connected is completed, their profiles are updated and sent to the administrative eld-
ers. The profiles will be reviewed carefully and, after the person has accepted membership and has been proven
faithful in attendance, he or she may be invited to attend another series of classes called “Connecting as a Leader.”
This is a prerequisite course for being placed in the leadership pool from where all department leaders, deacons and
elders are chosen. No one is eligible to serve in a leadership role until he or she has completed all four levels of the
Get Connected program. Attendance in “Connecting as a Leader” is by invitation only.
Page 25
 chapter
four: W orking in
a Church
chapter
four: W orking in
a Church
Minister of Music Job Description Minister of Music Job Description
Job Classification: Full-time, salaried Job Classification: Full-time, salaried
Reports to: Senior pastor Reports to: Senior pastor
Updated: (DATE) Updated: (DATE)

Position Purpose Position Purpose

To serve as minister of music by overseeing the total operation of the (CHURCH’S NAME) adult music min- To serve as minister of music by overseeing the total operation of the (CHURCH’S NAME) adult music min-
istry program. istry program.

Nature of Working in a Church Nature of Working in a Church

Environment
The person assuming this responsibility must be spiritually and emotionally mature, friendly, and have a good
attitude while in the workplace. It is also imperative to have good people skills, problem-solving skills, communi-
cation skills and general computer skills. This position must also be able to function on a team and work closely
with a large group of volunteers, as well as the other staff members. In addition, he or she must be able to distin-
guish between the nature of a church environment, which depends heavily on its volunteers, versus a secular envi-
ronment, which works mostly with paid employees. This distinction is critical to the function and success of this
position. As a part of the Christian community, it is imperative that employees of the church understand they are
viewed as an example of Christian virtues and must not violate these virtues through their behavior, attitudes,
actions or speech.
Environment
The person assuming this responsibility must be spiritually and emotionally mature, friendly, and have a good
attitude while in the workplace. It is also imperative to have good people skills, problem-solving skills, communi-
cation skills and general computer skills. This position must also be able to function on a team and work closely
with a large group of volunteers, as well as the other staff members. In addition, he or she must be able to distin-
guish between the nature of a church environment, which depends heavily on its volunteers, versus a secular envi-
ronment, which works mostly with paid employees. This distinction is critical to the function and success of this
position. As a part of the Christian community, it is imperative that employees of the church understand they are
viewed as an example of Christian virtues and must not violate these virtues through their behavior, attitudes,
actions or speech.

Duties and Responsibilities Duties and Responsibilities

Worship Services Worship Services
• Ensure that all worship services start on time • Ensure that all worship services start on time
• Provide proper atmospheric music during each segment of the worship service • Provide proper atmospheric music during each segment of the worship service
• Provide altar music, complete with musicians and singers • Provide altar music, complete with musicians and singers
• Provide appropriate music during the offering • Provide appropriate music during the offering
• Oversee and monitor the prerecorded music played before and after each worship service • Oversee and monitor the prerecorded music played before and after each worship service
• Ensure that all batteries have been checked and changed in cordless microphones and all other equipment requir- • Ensure that all batteries have been checked and changed in cordless microphones and all other equipment requir-
ing batteries ing batteries
• Accompany the senior pastor in creating a proper flow in the direction the Holy Spirit is leading him or her • Accompany the senior pastor in creating a proper flow in the direction the Holy Spirit is leading him or her
• Ensure that the sanctuary environment is one of genuine worship and not simply performance • Ensure that the sanctuary environment is one of genuine worship and not simply performance
• Lead the congregation in worship each week • Lead the congregation in worship each week
Page 27 Page 27
Praise and Worship Team
• Recruit and train members for the praise and worship team
• Ensure that team attitude, dress and skill level are conducive to the (CHURCH’S NAME) worship envi-
ronment
• Conduct weekly rehearsals to learn new music and maintain a standard of excellence
• Conduct periodic fellowship for team-building
Musicians
• Recruit and train church musicians to accompany and give support for each worship service
• Ensure that their attitude, dress and skill levels are conducive to the (CHURCH’S NAME) worship environ-
ment
• Conduct weekly rehearsals to learn new music and maintain a standard of excellence
• Oversee the repair, replacement and updating of all instruments
• Conduct periodic fellowship for team-building
Choir
• Recruit and train choir members
• Ensure that their attitude, dress and skill levels are conducive to the (CHURCH’S NAME) worship environ-
ment
• Conduct weekly rehearsals to learn new music and maintain a standard of excellence
• Conduct periodic fellowship for team-building
• Properly advertise and convey choir recruitment procedures to the congregation
Sound and Media Technicians
• Recruit and oversee the training of sound and media technicians
• Ensure that a technician is available for every service and all rehearsals
• Oversee the repairs, replacement and updating of all sound and media equipment
• Conduct periodic fellowship for team-building
Holiday Events
• Provide appropriate music presentations for Easter and Christmas
• Work with the senior pastor to plan and implement other holiday events that are requested
Special Music
• Recruit and monitor the progress of the special-music leader
• Properly convey to the congregation the process to sing or play special music
S p e c i a l G u e s t s—Work with the senior pastor to select and schedule special musical guests who
will enhance the goals and vision of (CHURCH’S NAME).
Page 28
Praise and Worship Team
• Recruit and train members for the praise and worship team
• Ensure that team attitude, dress and skill level are conducive to the (CHURCH’S NAME) worship envi-
ronment
• Conduct weekly rehearsals to learn new music and maintain a standard of excellence
• Conduct periodic fellowship for team-building
Musicians
• Recruit and train church musicians to accompany and give support for each worship service
• Ensure that their attitude, dress and skill levels are conducive to the (CHURCH’S NAME) worship environ-
ment
• Conduct weekly rehearsals to learn new music and maintain a standard of excellence
• Oversee the repair, replacement and updating of all instruments
• Conduct periodic fellowship for team-building
Choir
• Recruit and train choir members
• Ensure that their attitude, dress and skill levels are conducive to the (CHURCH’S NAME) worship environ-
ment
• Conduct weekly rehearsals to learn new music and maintain a standard of excellence
• Conduct periodic fellowship for team-building
• Properly advertise and convey choir recruitment procedures to the congregation
Sound and Media Technicians
• Recruit and oversee the training of sound and media technicians
• Ensure that a technician is available for every service and all rehearsals
• Oversee the repairs, replacement and updating of all sound and media equipment
• Conduct periodic fellowship for team-building
Holiday Events
• Provide appropriate music presentations for Easter and Christmas
• Work with the senior pastor to plan and implement other holiday events that are requested
Special Music
• Recruit and monitor the progress of the special-music leader
• Properly convey to the congregation the process to sing or play special music
S p e c i a l G u e s t s—Work with the senior pastor to select and schedule special musical guests who
will enhance the goals and vision of (CHURCH’S NAME).
Page 28
Staff Duties
• Attend staff meetings and all church leadership meetings
• Provide assistance to every ministry and department within the church by being available to answer questions,
find resolutions and to help with needs
• Represent (CHURCH’S NAME) by expressing a warm welcome to visitors, developing a strong bond of
friendship with the congregational body, and serving as a liaison between the church and the community.
Staff Duties
• Attend staff meetings and all church leadership meetings
• Provide assistance to every ministry and department within the church by being available to answer questions,
find resolutions and to help with needs
• Represent (CHURCH’S NAME) by expressing a warm welcome to visitors, developing a strong bond of
friendship with the congregational body, and serving as a liaison between the church and the community.

Education or Credential Education or Credential

Prerequisites
This position requires a high school diploma or G.E.D. certificate and a minimum of five years’appropriate expe-
rience. The applicant must have excellent people skills, communication skills, computer skills and a good attitude.
The candidate must be organized, accountable and faithful. B.A., B.S., M.A., M.Div., Th.D., D.Min. or Ph.D.
degrees will be taken into consideration for higher rates of pay.
This job description in no way states or implies that these are the only duties to be performed by the employee
occupying this position. Employees will be required to follow any other job-related instructions and to perform
other job-related duties requested by their supervisor. Requirements are representative of minimum levels of knowl-
edge, skills and abilities. To perform this job successfully, the employee will possess the abilities or aptitudes to per-
form each duty proficiently. This document does not create an employment contract, implied or otherwise, other
than an “at-will” employment relationship.
Prerequisites
This position requires a high school diploma or G.E.D. certificate and a minimum of five years’appropriate expe-
rience. The applicant must have excellent people skills, communication skills, computer skills and a good attitude.
The candidate must be organized, accountable and faithful. B.A., B.S., M.A., M.Div., Th.D., D.Min. or Ph.D.
degrees will be taken into consideration for higher rates of pay.
This job description in no way states or implies that these are the only duties to be performed by the employee
occupying this position. Employees will be required to follow any other job-related instructions and to perform
other job-related duties requested by their supervisor. Requirements are representative of minimum levels of knowl-
edge, skills and abilities. To perform this job successfully, the employee will possess the abilities or aptitudes to per-
form each duty proficiently. This document does not create an employment contract, implied or otherwise, other
than an “at-will” employment relationship.

Senior Pastor Date Senior Pastor Date

Name Date Name Date

Date hired: Date hired:

Starting salary: Starting salary:

Page 29 Page 29
 Working With the Senior Pastor
The relationship between the minister of music and the senior pastor is a vital relationship to the ministry of the
church. There can only be one vision for the church, and that vision must be the one cast by the senior pastor. The
minister of music works alongside the pastor to help fulfill that vision and create an atmosphere in the worship serv-
ices where God’s presence can validate the vision.
Many churches have viewed the role of music and the role of preaching as competitors for time and influence.
That is a symptom of a greater spiritual condition and one of the first steps to the decline of morale. This is a tan-
dem team that pulls the load of the worship service. Unless they pull in the same direction, they will have to pull
harder, yet will get nowhere. But when they do pull together, the load is lighter, and the journey of growth progress-
es much faster.
It is important that these two meet at times other than the normal staff meetings to discuss the flow of the serv-
ices and the direction of the church. They must also practice lifting one another up publicly and privately. It is sad
to admit that many pastors and ministers of music have never prayed together, not even once. They should meet
and pray for the church together on a regular basis. If the pastor and the minister of music are male and female and
not married to each other, be sure that one of their spouses attends the meeting with them so that their good cannot
be spoken evil of.
The Bible gives an incredible model for this tandem ministry role through the ministry of the Levites in the
Temple. The ministers of the Word and the ministers of music worked as a team to create an atmosphere where
God’s presence filled the Temple and the people of God were blessed. When Solomon’s Temple was built, the min-
isters of the Word were in place, but it wasn’t until the musicians and singers began to lift up their voices and instru-
ments that God’s glory filled the house. Does this mean they were the ones who brought the glory? If they would
have been singing and the ministers of the Word were not present, the Bible would read that it wasn’t until the min-
isters entered that the glory was present. The idea here is not one of competition, but rather it describes a beautiful
picture of all persons in their place of ministry. It was “being one accord” that brought the glory. In the Upper Room,
both groups were also present. It was the “one mind and one accord” that created the atmosphere for the power of
the Holy Spirit.
Second Kings 3 tells the story of Elisha the prophet and great miracle worker. When asked to give a word from
the Lord, he replied, “Bring me a musician.” It was not until the musician began to play that he was able to flow
in his prophetic ministry. Once again, the two worked in tandem to create the atmosphere of the anointing that
brings results.
The relationship must be complementary. There must be a genuine appreciation for each other’s vital role in min-
istry and the freedom for each to require something of the other in order to give the congregation their very best.
There will be times when the pastor requires a particular song or may want to lead the congregation. On the other
hand, the minister of music may need permission to sing another song, to take a little more time than usual or, in
some churches, exhort the people.
Behind the Scenes
There are many other things that go on behind the scenes that most people never know about. Some of them may
seem insignificant, but if left unattended, they will certainly be noticed. Here is a simple checklist that gives some
examples of routine things that have to be done every week by most ministers of music:
Page 30
Working With the Senior Pastor
The relationship between the minister of music and the senior pastor is a vital relationship to the ministry of the
church. There can only be one vision for the church, and that vision must be the one cast by the senior pastor. The
minister of music works alongside the pastor to help fulfill that vision and create an atmosphere in the worship serv-
ices where God’s presence can validate the vision.
Many churches have viewed the role of music and the role of preaching as competitors for time and influence.
That is a symptom of a greater spiritual condition and one of the first steps to the decline of morale. This is a tan-
dem team that pulls the load of the worship service. Unless they pull in the same direction, they will have to pull
harder, yet will get nowhere. But when they do pull together, the load is lighter, and the journey of growth progress-
es much faster.
It is important that these two meet at times other than the normal staff meetings to discuss the flow of the serv-
ices and the direction of the church. They must also practice lifting one another up publicly and privately. It is sad
to admit that many pastors and ministers of music have never prayed together, not even once. They should meet
and pray for the church together on a regular basis. If the pastor and the minister of music are male and female and
not married to each other, be sure that one of their spouses attends the meeting with them so that their good cannot
be spoken evil of.
The Bible gives an incredible model for this tandem ministry role through the ministry of the Levites in the
Temple. The ministers of the Word and the ministers of music worked as a team to create an atmosphere where
God’s presence filled the Temple and the people of God were blessed. When Solomon’s Temple was built, the min-
isters of the Word were in place, but it wasn’t until the musicians and singers began to lift up their voices and instru-
ments that God’s glory filled the house. Does this mean they were the ones who brought the glory? If they would
have been singing and the ministers of the Word were not present, the Bible would read that it wasn’t until the min-
isters entered that the glory was present. The idea here is not one of competition, but rather it describes a beautiful
picture of all persons in their place of ministry. It was “being one accord” that brought the glory. In the Upper Room,
both groups were also present. It was the “one mind and one accord” that created the atmosphere for the power of
the Holy Spirit.
Second Kings 3 tells the story of Elisha the prophet and great miracle worker. When asked to give a word from
the Lord, he replied, “Bring me a musician.” It was not until the musician began to play that he was able to flow
in his prophetic ministry. Once again, the two worked in tandem to create the atmosphere of the anointing that
brings results.
The relationship must be complementary. There must be a genuine appreciation for each other’s vital role in min-
istry and the freedom for each to require something of the other in order to give the congregation their very best.
There will be times when the pastor requires a particular song or may want to lead the congregation. On the other
hand, the minister of music may need permission to sing another song, to take a little more time than usual or, in
some churches, exhort the people.
Behind the Scenes
There are many other things that go on behind the scenes that most people never know about. Some of them may
seem insignificant, but if left unattended, they will certainly be noticed. Here is a simple checklist that gives some
examples of routine things that have to be done every week by most ministers of music:
Page 30
 • Change batteries in the cordless microphones
• E-mail the song list to the Media Department
• Check with senior pastor for any special needs
• Encourage stressed-out or discouraged people within the music ministry (Make a list at rehearsal, or make a
mental note if you notice any during the worship service.)
• E-mail choir
• Work on newsletter
• Update Web site
• Plan for staff meeting
• Listen to new music
Performance Choirs Versus
Praise and Worship Choirs
There is a distinction between a “performance” choir and a “praise and worship” choir. The primary difference
is whether or not the congregation is seated or standing. Performance choirs usually sing arranged music while the
congregation is seated. Praise and worship choirs usually sing while the congregation stands and sings with them.
Some churches blend both methods and distinguish between congregation choruses, hymns and choir selections.
However, in many modern churches that no longer sing several hymns per week, the congregation usually stands
during the entire worship service and participates in the worship. This is sometimes referred to as a “contemporary
worship style.” In this case, churches usually have either a praise and worship team that leads the congregation, or
a praise and worship choir that leads the congregation. They may have a team and a choir that worships along with
the congregation.
Working With Sound Technicians
Qualifications for a Sound Technician
1. Have a good ear for music. The art of mixing a good sound is technical, but more so requires the ability to
know when you have achieved the sound of perfectly blended vocal parts and music.
2. Be a team player. Sound techs can’t have a controlling nature. They must be able to cooperate with a lot of
different personality types. People who feel that they sound badly in the audio system will get upset easily.
Therefore, the sound tech must strive to keep the sound quality high for the overall group and, at the same
time, give the singer or speaker what they are looking for in their individual sound mix.
3. Be able to pay attention for long periods of time. The sound booth can never be unmanned. Audio trouble can
start over any type of unexpected feedback, equipment failure or fluke. Therefore, it is important for the sound
tech to be alert and on post at all times.
4. Be able to train or be trained on all equipment in the sound booth. Technology changes quickly in today’s
world. Equipment can soon become obsolete with newly advanced technology being introduced almost daily
in the sound industry. Many of the soundboards that were once operated by pushing buttons and turning knobs
are now operated with computer technology.
5. Be able to take instruction from leaders in the worship service or event. Special needs like sound effects,
DVDs and CDs are regular requests in today’s church. Sound techs must be innovative and creative to keep
up with the ever-changing face of the church world.
Page 31
• Change batteries in the cordless microphones
• E-mail the song list to the Media Department
• Check with senior pastor for any special needs
• Encourage stressed-out or discouraged people within the music ministry (Make a list at rehearsal, or make a
mental note if you notice any during the worship service.)
• E-mail choir
• Work on newsletter
• Update Web site
• Plan for staff meeting
• Listen to new music
Performance Choirs Versus
Praise and Worship Choirs
There is a distinction between a “performance” choir and a “praise and worship” choir. The primary difference
is whether or not the congregation is seated or standing. Performance choirs usually sing arranged music while the
congregation is seated. Praise and worship choirs usually sing while the congregation stands and sings with them.
Some churches blend both methods and distinguish between congregation choruses, hymns and choir selections.
However, in many modern churches that no longer sing several hymns per week, the congregation usually stands
during the entire worship service and participates in the worship. This is sometimes referred to as a “contemporary
worship style.” In this case, churches usually have either a praise and worship team that leads the congregation, or
a praise and worship choir that leads the congregation. They may have a team and a choir that worships along with
the congregation.
Working With Sound Technicians
Qualifications for a Sound Technician
1. Have a good ear for music. The art of mixing a good sound is technical, but more so requires the ability to
know when you have achieved the sound of perfectly blended vocal parts and music.
2. Be a team player. Sound techs can’t have a controlling nature. They must be able to cooperate with a lot of
different personality types. People who feel that they sound badly in the audio system will get upset easily.
Therefore, the sound tech must strive to keep the sound quality high for the overall group and, at the same
time, give the singer or speaker what they are looking for in their individual sound mix.
3. Be able to pay attention for long periods of time. The sound booth can never be unmanned. Audio trouble can
start over any type of unexpected feedback, equipment failure or fluke. Therefore, it is important for the sound
tech to be alert and on post at all times.
4. Be able to train or be trained on all equipment in the sound booth. Technology changes quickly in today’s
world. Equipment can soon become obsolete with newly advanced technology being introduced almost daily
in the sound industry. Many of the soundboards that were once operated by pushing buttons and turning knobs
are now operated with computer technology.
5. Be able to take instruction from leaders in the worship service or event. Special needs like sound effects,
DVDs and CDs are regular requests in today’s church. Sound techs must be innovative and creative to keep
up with the ever-changing face of the church world.
Page 31
 6. Have a good sense of the flow of worship services and special events. Much of the sound tech’s responsibil-
ity is to help create a flow where people move through the service easily. The right levels and mixes of the
audio system keep distractions at a minimum, while also providing the right atmosphere to the service or
event. Understanding the importance of “flow” is a key ingredient to keeping the sound quality high and
excellent.
7. Enjoy what they do. Mixing sound is an art form, not just a skill. It is something that must be enjoyed, like
musicians enjoy their instruments. Sound techs should take pride in their gift and ability to do their job with
excellence and expertise.
8. Be even-tempered. It is almost impossible to please the crowd when it comes to mixing sound. Each person
has a particular preference. Many buildings have certain zones where the sound is louder or softer. These
issues cause many people to bring their complaints and opinions to the soundman. The ability to deflect these
complaints on an ongoing basis is a special gift that each sound tech needs to possess and develop.
Overreacting to these complaints or being easily offended will cause problems for the whole group.
Recording the Services
Most churches record their worship services either on CD or cassette. The sound tech is usually the designated
person for this task. In larger churches, there is usually one person on the sound crew who does all of the record-
ing as their primary function in the sound booth. It is important that all of the recording equipment is operating prop-
erly. In addition, recording is as much an art form as mixing sound. There are various types of equipment used to
give different desired sounds for recording. The many variables, such as audience response microphones and spe-
cial-effects equipment, can change the quality of the recording.
The latest technology in recording allows multitrack recording to be done on a computer inside the mixing board.
Each church must decide the level of quality desired for its recordings and set goals to keep that quality excellent.
It is important for the person in charge of recording to listen to the finished product after it is mixed and reproduced.
Listening to the recording in its entirety will allow for better quality control.
Working With Media Technicians
The media team is comprised of both audio and visual technicians. Members of these teams help the congrega-
tion hear and see the message clearly. The goal is to communicate effectively through the use of the technical arts.
This includes video, audio, graphics, lighting, and consistently excellent technical support.
The media team should work closely with the music minister to assist as needed. The media team is needed every
Sunday throughout the year and should possibly minister on a rotating schedule basis. Weekly team meetings
should be required, as this will give everyone a chance to run through the worship service planned for the upcom-
ing Sunday.
Training for media team members can be given in various ways. The simplest way of training is hands-on dur-
ing worship services and other church events, with an experienced technician serving as the supervisor.
The media team includes sound technicians, computer operators, video operators, lighting operators and produc-
tion crews.
• Sound Technicians—set up sound equipment and check for readiness. They operate the sound board. Sound
mixing, EQ (equalization), microphone and instrument input are essential components of this ministry.
• Computer Operators—operate PowerPoint, graphics, text and images programs, as well as prepare lyrics,
Page 32
6. Have a good sense of the flow of worship services and special events. Much of the sound tech’s responsibil-
ity is to help create a flow where people move through the service easily. The right levels and mixes of the
audio system keep distractions at a minimum, while also providing the right atmosphere to the service or
event. Understanding the importance of “flow” is a key ingredient to keeping the sound quality high and
excellent.
7. Enjoy what they do. Mixing sound is an art form, not just a skill. It is something that must be enjoyed, like
musicians enjoy their instruments. Sound techs should take pride in their gift and ability to do their job with
excellence and expertise.
8. Be even-tempered. It is almost impossible to please the crowd when it comes to mixing sound. Each person
has a particular preference. Many buildings have certain zones where the sound is louder or softer. These
issues cause many people to bring their complaints and opinions to the soundman. The ability to deflect these
complaints on an ongoing basis is a special gift that each sound tech needs to possess and develop.
Overreacting to these complaints or being easily offended will cause problems for the whole group.
Recording the Services
Most churches record their worship services either on CD or cassette. The sound tech is usually the designated
person for this task. In larger churches, there is usually one person on the sound crew who does all of the record-
ing as their primary function in the sound booth. It is important that all of the recording equipment is operating prop-
erly. In addition, recording is as much an art form as mixing sound. There are various types of equipment used to
give different desired sounds for recording. The many variables, such as audience response microphones and spe-
cial-effects equipment, can change the quality of the recording.
The latest technology in recording allows multitrack recording to be done on a computer inside the mixing board.
Each church must decide the level of quality desired for its recordings and set goals to keep that quality excellent.
It is important for the person in charge of recording to listen to the finished product after it is mixed and reproduced.
Listening to the recording in its entirety will allow for better quality control.
Working With Media Technicians
The media team is comprised of both audio and visual technicians. Members of these teams help the congrega-
tion hear and see the message clearly. The goal is to communicate effectively through the use of the technical arts.
This includes video, audio, graphics, lighting, and consistently excellent technical support.
The media team should work closely with the music minister to assist as needed. The media team is needed every
Sunday throughout the year and should possibly minister on a rotating schedule basis. Weekly team meetings
should be required, as this will give everyone a chance to run through the worship service planned for the upcom-
ing Sunday.
Training for media team members can be given in various ways. The simplest way of training is hands-on dur-
ing worship services and other church events, with an experienced technician serving as the supervisor.
The media team includes sound technicians, computer operators, video operators, lighting operators and produc-
tion crews.
• Sound Technicians—set up sound equipment and check for readiness. They operate the sound board. Sound
mixing, EQ (equalization), microphone and instrument input are essential components of this ministry.
• Computer Operators—operate PowerPoint, graphics, text and images programs, as well as prepare lyrics,
Page 32
 clip art and announcements for worship. Sermon notes are prepared by the computer team, song texts are put
into the service order, and graphic backgrounds are utilized to enhance the sermon or series theme.
• Video Operators—Camera teams maneuver the video cameras and the video switcher (or mixer), and they
help with directing tasks. Videographers develop video interviews, vignettes and announcements; splice ser-
mon movie clips; and record events and services.
• Lighting Operators—design the lighting for particular services to emphasize Biblical points, focus of wor-
ship, dramas and preaching.
• Director—makes live creative calls of shots between cameras, graphics, and other elements of production.
This person is responsible for the creative quality of the video recording.
• Technical Director/Switcher—switches cameras upon command of the director during taping of worship
services.
• Recording Audio Engineer—monitors and mixes sound as it goes to tape during video production.
Page 33
clip art and announcements for worship. Sermon notes are prepared by the computer team, song texts are put
into the service order, and graphic backgrounds are utilized to enhance the sermon or series theme.
• Video Operators—Camera teams maneuver the video cameras and the video switcher (or mixer), and they
help with directing tasks. Videographers develop video interviews, vignettes and announcements; splice ser-
mon movie clips; and record events and services.
• Lighting Operators—design the lighting for particular services to emphasize Biblical points, focus of wor-
ship, dramas and preaching.
• Director—makes live creative calls of shots between cameras, graphics, and other elements of production.
This person is responsible for the creative quality of the video recording.
• Technical Director/Switcher—switches cameras upon command of the director during taping of worship
services.
• Recording Audio Engineer—monitors and mixes sound as it goes to tape during video production.
Page 33
 chapter
five: T and Copyright Laws
ouring, Recording
Touring
Most choir directors, at one time or another, dream of taking their choir on a ministry/performing tour. However,
fears of whether the choir will be good enough, the cost and the intricate organization of the tour are enough to pre-
vent even taking the first steps to turning the dream into a reality. So what is the reality? Would it be madness or
the experience of a lifetime? What are the steps that a choir director should take and the potential pitfalls he or she
should avoid?
The first step for any choir director is to establish that you want to take the choir on tour. You need to have an
idea of when and where you would like to go. Deciding where you travel is perhaps the most exciting part. Once
you have at least a rough idea of when and where you wish to go, the next stage is to contact ministries and sight-
seeing venues in the area. If necessary, be prepared to send promotional materials, including recorded product.
Finally, you need to consider costs such as food, lodging, recreational activities and other factors. Will the host
ministry provide housing and meals? Inevitably, a tour is not cheap, and there are likely to be members of the choir
who will find it difficult to afford the cost. If these happen to be your key singers, the choir may not function as well
without them. Therefore, you might need to find a way to help with travel expenses.
It is possible to organize everything, but the amount of work involved is enormous. If your budget allows, check
with tour operators who specialize in trips for large groups. Choosing the right one is a vital decision. Check what
is included so that you can make adequate comparisons. Some quotes will include all of the evening meals, where-
as some may not. Some will include most of the cost of admission to sights, and others will have blank days. The
rule of thumb should be that your tour operator provides exactly what you want. Based on the information you give
them, they will produce a suggested itinerary and ministry/recreational activities together with a provisional quote.
They can help arrange the venues for your concerts or services, the publicity for them, rehearsal times, and many
other details that are important to a successful tour.
Many tour operators will build a number of free “spots” into the cost of your trip. As director and organizer, you
will more than likely deserve one yourself, but any others could be given in whole or part to the members who may
not be able to afford the trip. As you can imagine, this information should be kept confidential so as not to upset
those not receiving help who feel they need it too. If you intend to organize fund-raising events to help defray the
costs of the tour, be bold. Selling candy is not likely to raise significant amounts, although every little bit helps.
You will find that, once the tour is definitely going ahead, attendance at rehearsals is more consistent and there
is an increased sense of purpose in the group. Nobody wants to sing in the wrong spot and be the one who messes
up. The overall standard of the choir will almost certainly improve. A ministry tour really bonds a group. It is an
opportunity for shared experiences, musical and spiritual growth, learning, exploring, fun and fellowship.
Memories will be made, and it might be the experience of a lifetime for someone in your ministry.
Page 35
chapter
five: T and Copyright Laws
ouring, Recording
Touring
Most choir directors, at one time or another, dream of taking their choir on a ministry/performing tour. However,
fears of whether the choir will be good enough, the cost and the intricate organization of the tour are enough to pre-
vent even taking the first steps to turning the dream into a reality. So what is the reality? Would it be madness or
the experience of a lifetime? What are the steps that a choir director should take and the potential pitfalls he or she
should avoid?
The first step for any choir director is to establish that you want to take the choir on tour. You need to have an
idea of when and where you would like to go. Deciding where you travel is perhaps the most exciting part. Once
you have at least a rough idea of when and where you wish to go, the next stage is to contact ministries and sight-
seeing venues in the area. If necessary, be prepared to send promotional materials, including recorded product.
Finally, you need to consider costs such as food, lodging, recreational activities and other factors. Will the host
ministry provide housing and meals? Inevitably, a tour is not cheap, and there are likely to be members of the choir
who will find it difficult to afford the cost. If these happen to be your key singers, the choir may not function as well
without them. Therefore, you might need to find a way to help with travel expenses.
It is possible to organize everything, but the amount of work involved is enormous. If your budget allows, check
with tour operators who specialize in trips for large groups. Choosing the right one is a vital decision. Check what
is included so that you can make adequate comparisons. Some quotes will include all of the evening meals, where-
as some may not. Some will include most of the cost of admission to sights, and others will have blank days. The
rule of thumb should be that your tour operator provides exactly what you want. Based on the information you give
them, they will produce a suggested itinerary and ministry/recreational activities together with a provisional quote.
They can help arrange the venues for your concerts or services, the publicity for them, rehearsal times, and many
other details that are important to a successful tour.
Many tour operators will build a number of free “spots” into the cost of your trip. As director and organizer, you
will more than likely deserve one yourself, but any others could be given in whole or part to the members who may
not be able to afford the trip. As you can imagine, this information should be kept confidential so as not to upset
those not receiving help who feel they need it too. If you intend to organize fund-raising events to help defray the
costs of the tour, be bold. Selling candy is not likely to raise significant amounts, although every little bit helps.
You will find that, once the tour is definitely going ahead, attendance at rehearsals is more consistent and there
is an increased sense of purpose in the group. Nobody wants to sing in the wrong spot and be the one who messes
up. The overall standard of the choir will almost certainly improve. A ministry tour really bonds a group. It is an
opportunity for shared experiences, musical and spiritual growth, learning, exploring, fun and fellowship.
Memories will be made, and it might be the experience of a lifetime for someone in your ministry.
Page 35
 R e cording
Today, many churches have television/recording studios in their facilities. With the advancement of digital
recording, music ministries can now produce quality recordings of services, as well as recorded product for musi-
cians, singers and songwriters. It is also an excellent way to produce a professional CD or DVD that will allow you
to earn extra income for your ministry.
Over the years, video recording of services has become quite common. Technology has become more afford-
able, and equipment has become smaller and easier to handle. The best investment you can make is that of profes-
sional people who have the experience and knowledge to produce quality recordings. You may not have the most
recent equipment available on the market, but if you have quality personnel who can work miracles with the equip-
ment you do have, they will produce the results you desire. Also, be sure you are aware of any original materials
that might be used in your service. If someone sings with a soundtrack in your service and you videotape, you have
infringed on the copyright law.
Pro Tools and other state-of-the-art recording equipment can create a dynamic and professional music CD that
will allow you to promote and earn extra income for your ministry. Recording can be done in the studio or on loca-
tion. There are certain investments you must make in order to produce a quality product. As discussed, the greatest
investment you must make is that of a professional engineer and the studio. Shop around. Ask for demos on previ-
ous projects. Spend the extra money and get the best you can afford. Other costs include studio remastering, digi-
tal master tapes, digital editing, mastering CD replication, CD insert and tray card, and final packaged CDs ready
for resale. Other factors to consider are as follows:
• Maximum length of CD should not exceed 35 minutes.
• Provide typed list of songs, credits and any graphics, logos or pictures for CD pressing upon completion of
editing.
• You are responsible for any song royalties.
• Have one extra song for recording as an option to delete or add a song, if needed.
Copyright Laws
In matters of copyright and permission, be sure to give credit where credit is due. If there is a question in your
mind—ask. One of the most misused and often misunderstood aspects of music ministry is the issue of copyright
laws. It is both an ethical and spiritual matter.
Federal Copyright Law prohibits the unauthorized copying of “original works of authorship” (go to www.copy-
right.gov for detailed information), and penalties for copyright violations can be up to $150,000 per infringement.
Owners of copyrighted material are entitled to the fair value of their original work. Churches often misuse this in
two areas:
1. Copying music (printed or recorded) without permission
2. Showing videos/movies without authorization
The copyright law is very clear on copying music. You must have express permission from the rightful owner
of a song in order to make a copy. Most church musicians are aware of the seriousness of the violation. Many
have made the effort to abide by copyright laws before making copies and have obtained permission, but it can be
an all-consuming task.
There are practical solutions to help churches in this area. Christian Copyrighting License International (CCLI )
Page 36
R e cording
Today, many churches have television/recording studios in their facilities. With the advancement of digital
recording, music ministries can now produce quality recordings of services, as well as recorded product for musi-
cians, singers and songwriters. It is also an excellent way to produce a professional CD or DVD that will allow you
to earn extra income for your ministry.
Over the years, video recording of services has become quite common. Technology has become more afford-
able, and equipment has become smaller and easier to handle. The best investment you can make is that of profes-
sional people who have the experience and knowledge to produce quality recordings. You may not have the most
recent equipment available on the market, but if you have quality personnel who can work miracles with the equip-
ment you do have, they will produce the results you desire. Also, be sure you are aware of any original materials
that might be used in your service. If someone sings with a soundtrack in your service and you videotape, you have
infringed on the copyright law.
Pro Tools and other state-of-the-art recording equipment can create a dynamic and professional music CD that
will allow you to promote and earn extra income for your ministry. Recording can be done in the studio or on loca-
tion. There are certain investments you must make in order to produce a quality product. As discussed, the greatest
investment you must make is that of a professional engineer and the studio. Shop around. Ask for demos on previ-
ous projects. Spend the extra money and get the best you can afford. Other costs include studio remastering, digi-
tal master tapes, digital editing, mastering CD replication, CD insert and tray card, and final packaged CDs ready
for resale. Other factors to consider are as follows:
• Maximum length of CD should not exceed 35 minutes.
• Provide typed list of songs, credits and any graphics, logos or pictures for CD pressing upon completion of
editing.
• You are responsible for any song royalties.
• Have one extra song for recording as an option to delete or add a song, if needed.
Copyright Laws
In matters of copyright and permission, be sure to give credit where credit is due. If there is a question in your
mind—ask. One of the most misused and often misunderstood aspects of music ministry is the issue of copyright
laws. It is both an ethical and spiritual matter.
Federal Copyright Law prohibits the unauthorized copying of “original works of authorship” (go to www.copy-
right.gov for detailed information), and penalties for copyright violations can be up to $150,000 per infringement.
Owners of copyrighted material are entitled to the fair value of their original work. Churches often misuse this in
two areas:
1. Copying music (printed or recorded) without permission
2. Showing videos/movies without authorization
The copyright law is very clear on copying music. You must have express permission from the rightful owner
of a song in order to make a copy. Most church musicians are aware of the seriousness of the violation. Many
have made the effort to abide by copyright laws before making copies and have obtained permission, but it can be
an all-consuming task.
There are practical solutions to help churches in this area. Christian Copyrighting License International (CCLI )
Page 36
provides information and resources in relation to the church and copyright issues. For an annual fee based on church provides information and resources in relation to the church and copyright issues. For an annual fee based on church
membership, you receive access to over 150,000 songs, publishers and songwriters. Many have purchased this membership, you receive access to over 150,000 songs, publishers and songwriters. Many have purchased this
license thinking it allows them to copy music. It does not allow photocopying of music. For a complete listing of license thinking it allows them to copy music. It does not allow photocopying of music. For a complete listing of
dos and don’ts, visit www.ccli.com. dos and don’ts, visit www.ccli.com.

Page 37 Page 37
 chapter
six: M usic
Resources
Resources for Ministers of Music
From the beginning of what we know as time, there has been music. Job 38:7 speaks of a time before Creation
“when the morning stars sang together, and all the sons of God shouted for joy.” Music has been a part of cere-
monies, celebrations and wars. Throughout the centuries, musical styles and tastes have changed. Ask individuals
their preferences, and you will get more answers than Baskin-Robbins has flavors.
Music is a powerful medium. It can express a variety of emotions, calm a fretting baby, set the atmosphere for
a wedding proposal, and bring peace to a family who suffers a great loss. It can make an elevator ride pleasant and
pace you to set an Olympic record at your local fast-food restaurant.
Gone are the days when families would sit by the radio and listen to the Grand Ole Opry. The television age ush-
ered in a combination of “sight and sound,” and music entered the homes of America. From Elvis Presley on The
Ed Sullivan Show to the Sunday morning gospel music program Jubilee, television has evolved into the MTV and
VH1 music video era, with their multimillion-dollar budgets.
More than likely, on any given day, in any given city, there will be a piano recital, a string concert, a musical
revue, or variety of other musical performances. Music has evolved from live radio to live television; from records
(LPs and 45s) to 8-tracks; and from cassettes to CDs, MP3s, and now the iPod® generation.
Secular labels have purchased Christian music companies. Christian songs and artists have gone mainstream and
“crossed over.” Walk into any music store or Christian bookstore, and the genre we call Christian music includes
categories like rock, gospel, contemporary, pop, traditional, praise and worship, alternative, bluegrass, instrumen-
tal, children’s, dance—and the list goes on.
Bill Gaither and the “Homecoming Video Series” has become a multimillion-dollar phenomenon. Music awards
shows (Christian and secular) have become a guest list of “who’s who” and “who’s wearing what” glamour shows.
Today’s artists project tomorrow’s trends, fads and fashion. Christian music has become a very lucrative business
that encompasses and touches all of our lives through recordings, concerts, magazines, books, fashion, and so on.
In the church setting, music ministry is more than just a time set aside each week as worshipers gather together.
It is more than printed notes on a page and a song that is sung. Churches now employ individuals to minister, teach,
direct and organize the music program. Some churches now have detailed Worship and Arts Departments with cut-
ting-edge multimedia and television ministries. Disney, Hollywood, and other entertainment moguls spare no
expense for creativity. Should the church do any less? Think about it. Multimedia corporations and movie giants
have never duplicated the creativity and originality when God said “Let there be . . .” “Lights . . . camera . . . action
. . .” doesn’t even compare!
How should all the changes that have taken place musically throughout the years affect those involved in min-
istry? Where do you find the time to sort through the music, the ministries and additional resources? Where can you
find it? Time is money, and everything has a price. What will it cost you? How, what, where, when, why? The list
of questions can seem as insurmountable as the Christian music industry itself.
Page 39
chapter
six: M usic
Resources
Resources for Ministers of Music
From the beginning of what we know as time, there has been music. Job 38:7 speaks of a time before Creation
“when the morning stars sang together, and all the sons of God shouted for joy.” Music has been a part of cere-
monies, celebrations and wars. Throughout the centuries, musical styles and tastes have changed. Ask individuals
their preferences, and you will get more answers than Baskin-Robbins has flavors.
Music is a powerful medium. It can express a variety of emotions, calm a fretting baby, set the atmosphere for
a wedding proposal, and bring peace to a family who suffers a great loss. It can make an elevator ride pleasant and
pace you to set an Olympic record at your local fast-food restaurant.
Gone are the days when families would sit by the radio and listen to the Grand Ole Opry. The television age ush-
ered in a combination of “sight and sound,” and music entered the homes of America. From Elvis Presley on The
Ed Sullivan Show to the Sunday morning gospel music program Jubilee, television has evolved into the MTV and
VH1 music video era, with their multimillion-dollar budgets.
More than likely, on any given day, in any given city, there will be a piano recital, a string concert, a musical
revue, or variety of other musical performances. Music has evolved from live radio to live television; from records
(LPs and 45s) to 8-tracks; and from cassettes to CDs, MP3s, and now the iPod® generation.
Secular labels have purchased Christian music companies. Christian songs and artists have gone mainstream and
“crossed over.” Walk into any music store or Christian bookstore, and the genre we call Christian music includes
categories like rock, gospel, contemporary, pop, traditional, praise and worship, alternative, bluegrass, instrumen-
tal, children’s, dance—and the list goes on.
Bill Gaither and the “Homecoming Video Series” has become a multimillion-dollar phenomenon. Music awards
shows (Christian and secular) have become a guest list of “who’s who” and “who’s wearing what” glamour shows.
Today’s artists project tomorrow’s trends, fads and fashion. Christian music has become a very lucrative business
that encompasses and touches all of our lives through recordings, concerts, magazines, books, fashion, and so on.
In the church setting, music ministry is more than just a time set aside each week as worshipers gather together.
It is more than printed notes on a page and a song that is sung. Churches now employ individuals to minister, teach,
direct and organize the music program. Some churches now have detailed Worship and Arts Departments with cut-
ting-edge multimedia and television ministries. Disney, Hollywood, and other entertainment moguls spare no
expense for creativity. Should the church do any less? Think about it. Multimedia corporations and movie giants
have never duplicated the creativity and originality when God said “Let there be . . .” “Lights . . . camera . . . action
. . .” doesn’t even compare!
How should all the changes that have taken place musically throughout the years affect those involved in min-
istry? Where do you find the time to sort through the music, the ministries and additional resources? Where can you
find it? Time is money, and everything has a price. What will it cost you? How, what, where, when, why? The list
of questions can seem as insurmountable as the Christian music industry itself.
Page 39
 Webster defines resource as “a source of supply or support; an available means; a natural source of wealth or
revenue; a source of information or expertise; an ability to meet and handle a situation.” The term comes from a
root word meaning “to relieve; to rise again.”
The ultimate resource for music ministry is God’s Word. It is our instruction. It is our songbook. It is our life.
The Bible instructs us to “sing a new song unto the Lord!”
• Give a brand-new song that you have prepared as a sacrifice of praise to God (Psalm 33:3).
• The song of our heart turns from the things of the world and toward God (see 40:1-3).
• Sing an old song a new way, or new words of praise to an existing tune. Make it new (see Psalm 96).
• Find a new song of testimony. Change from the ways, the wordings, the harmonies, the styles that you are
familiar with. Move out of your comfort zone and explore new ways of praise directed to God (see 98:1-6).
• Find new instruments or instrumentation. Also, notice that the writer makes a new song his choice (see 144:9,
10).
• Sing a new song in your everyday life. Sing in the Spirit. Sing new expressions of praise in your everyday life
(see 149:1-9).
• Look forward to the continuance of new songs in heaven (Revelation 14:1-3).
Use music that is new to you and your church—new to you, but not the church music scene or the church across
town. Allow God to move you into revival or renewal so that you have to expand the songs you use.
Write new songs.
• Keep a song journal and write ideas as they occur.
• Spend time each day looking for new “licks” or new harmonies on your instrument of choice; record them
and incorporate them into a form with lyrics.
• Analyze songs you like for harmony, melody, rhythm ideas, and the way they “hook” you.
• Spend time familiarizing yourself with word devices that are used in songs. Also, practice painting word
pictures.
The Bible says, “The steps of a good man are ordered by the Lord, and He delights in his way” (Psalm 37:23).
The literal Hebrew translation of that scripture reads: “Yahweh (the Self-Existent or Eternal One) provides com-
panionship for the valiant warrior, and on his journey He finds favor.”
One definition of success is “a series of right relationships strategically surfacing at the right time in your life.”
You and your ministry could be blessed beyond measure by many amazing, gifted and anointed people coming into
your life at just the right time. Allow them to sow into your life. Through their gifts and lessons, be enriched. You,
in turn, be faithful and serve God, your pastor, your family, your church family, and other music ministries that lit-
erally can touch the world. Through that service, “Kingdom connections” will become eternal relationships.
Let the Spirit flow in a new way as you worship God in your devotions and in local church worship. Resources
are right in front of you!
Conferences for Ministers of Music
A music conference is one of the best ways for the minister of music to be refreshed and rejuvenated. The con-
ference, usually hosted by a ministry or industry leader, consists of a core team of musicians, clinicians, artists and
industry professionals, who bring ministry principles and relevant resources to churches, leaders and musicians.
Similar to a retreat, the atmosphere can be intimate and inviting and allow participants to interact personally with
clinicians. Often, attendees are empowered with principles they can apply to their own unique worship setting.
Page 40
Webster defines resource as “a source of supply or support; an available means; a natural source of wealth or
revenue; a source of information or expertise; an ability to meet and handle a situation.” The term comes from a
root word meaning “to relieve; to rise again.”
The ultimate resource for music ministry is God’s Word. It is our instruction. It is our songbook. It is our life.
The Bible instructs us to “sing a new song unto the Lord!”
• Give a brand-new song that you have prepared as a sacrifice of praise to God (Psalm 33:3).
• The song of our heart turns from the things of the world and toward God (see 40:1-3).
• Sing an old song a new way, or new words of praise to an existing tune. Make it new (see Psalm 96).
• Find a new song of testimony. Change from the ways, the wordings, the harmonies, the styles that you are
familiar with. Move out of your comfort zone and explore new ways of praise directed to God (see 98:1-6).
• Find new instruments or instrumentation. Also, notice that the writer makes a new song his choice (see 144:9,
10).
• Sing a new song in your everyday life. Sing in the Spirit. Sing new expressions of praise in your everyday life
(see 149:1-9).
• Look forward to the continuance of new songs in heaven (Revelation 14:1-3).
Use music that is new to you and your church—new to you, but not the church music scene or the church across
town. Allow God to move you into revival or renewal so that you have to expand the songs you use.
Write new songs.
• Keep a song journal and write ideas as they occur.
• Spend time each day looking for new “licks” or new harmonies on your instrument of choice; record them
and incorporate them into a form with lyrics.
• Analyze songs you like for harmony, melody, rhythm ideas, and the way they “hook” you.
• Spend time familiarizing yourself with word devices that are used in songs. Also, practice painting word
pictures.
The Bible says, “The steps of a good man are ordered by the Lord, and He delights in his way” (Psalm 37:23).
The literal Hebrew translation of that scripture reads: “Yahweh (the Self-Existent or Eternal One) provides com-
panionship for the valiant warrior, and on his journey He finds favor.”
One definition of success is “a series of right relationships strategically surfacing at the right time in your life.”
You and your ministry could be blessed beyond measure by many amazing, gifted and anointed people coming into
your life at just the right time. Allow them to sow into your life. Through their gifts and lessons, be enriched. You,
in turn, be faithful and serve God, your pastor, your family, your church family, and other music ministries that lit-
erally can touch the world. Through that service, “Kingdom connections” will become eternal relationships.
Let the Spirit flow in a new way as you worship God in your devotions and in local church worship. Resources
are right in front of you!
Conferences for Ministers of Music
A music conference is one of the best ways for the minister of music to be refreshed and rejuvenated. The con-
ference, usually hosted by a ministry or industry leader, consists of a core team of musicians, clinicians, artists and
industry professionals, who bring ministry principles and relevant resources to churches, leaders and musicians.
Similar to a retreat, the atmosphere can be intimate and inviting and allow participants to interact personally with
clinicians. Often, attendees are empowered with principles they can apply to their own unique worship setting.
Page 40
A sampling of those conferences can be found at the following locations: A sampling of those conferences can be found at the following locations:
Seminars4Worship Seminars4Worship
www.seminars4worship.com www.seminars4worship.com

Pine Lake Music Company Pine Lake Music Company

www.pinelakemusic.com www.pinelakemusic.com

Kempke’s Music Service Kempke’s Music Service

www.kempke.com www.kempke.com

J&J Music J&J Music

www.jjonline.com www.jjonline.com

SpiritSound Music Group SpiritSound Music Group

www.spiritsoundmusic.com www.spiritsoundmusic.com

LifeWay Worship Music Group LifeWay Worship Music Group

www.lifeway.com/events www.lifeway.com/events

Unprecedented Praise—Gateway Bible College Unprecedented Praise—Gateway Bible College

www.gatewaycollegemusic.com www.gatewaycollegemusic.com

MUSICalifornia MUSICalifornia
www.musicalifornia.com www.musicalifornia.com

IBC MusicFest—Indiana Bible College IBC MusicFest—Indiana Bible College

www.ibcmusicfest.com www.ibcmusicfest.com

The Babbie Mason Music Conference—Babbie Mason The Babbie Mason Music Conference—Babbie Mason
www.babbie.com www.babbie.com

The International Worship Institute—LaMar Boschman The International Worship Institute—LaMar Boschman
www.worshipinstitute.com www.worshipinstitute.com

Steve Hurst School of Music Ministry Steve Hurst School of Music Ministry
www.stevehurstschoolofmusic.com www.stevehurstschoolofmusic.com

Christ Church Music Conference—Landy and Joy Gardner Christ Church Music Conference—Landy and Joy Gardner
www.christchurchnashville.org www.christchurchnashville.org

Judah Conference—Clint Brown Judah Conference—Clint Brown

www.clintbrown.net www.clintbrown.net
Page 41 Page 41
 Gospel Music Workshop of America Gospel Music Workshop of America
www.gmwanational.org www.gmwanational.org

Anointed Praise Anointed Praise

www.anointedpraise.com www.anointedpraise.com

Academy of Praise—Ron Kenoly Academy of Praise—Ron Kenoly

www.ronkenoly.org www.ronkenoly.org

Christ for the Nations Christ for the Nations

www.cfnmusic.com www.cfnmusic.com

WorshipPoint—Mark Condon WorshipPoint—Mark Condon

www.markcondon.com www.markcondon.com

Suggested Reading for Ministers of Music
Why read at all? Such a question runs parallel to “Why breathe?” We read to learn and to know. We read to know
what we otherwise would not know. An old Chinese proverb says, “To know the road ahead, ask those coming
back.” In other words, we learn from those who have already experienced what we may soon be going through, or
we learn a different perspective from those who have experienced what we now face.
God has gifted ordinary people just like us. When we see how real people face challenges, successes, tempta-
tions and failures, we can better understand the road right in front of us. It’s been traveled before. And besides, we
need the lessons. As we become familiar with the writings of others, we learn more about our own selves. And we
need to know the truth about who and what we are and how to recognize and develop the potential in our lives.
Why read? Because if we don’t, we miss out on far too much. It’s just that simple. Today, we have so much and,
at times, we are so neglectful. Television and movies are not a suitable replacement for what is available at our fin-
gertips. Here is a suggested reading list:
Suggested Reading for Ministers of Music
Why read at all? Such a question runs parallel to “Why breathe?” We read to learn and to know. We read to know
what we otherwise would not know. An old Chinese proverb says, “To know the road ahead, ask those coming
back.” In other words, we learn from those who have already experienced what we may soon be going through, or
we learn a different perspective from those who have experienced what we now face.
God has gifted ordinary people just like us. When we see how real people face challenges, successes, tempta-
tions and failures, we can better understand the road right in front of us. It’s been traveled before. And besides, we
need the lessons. As we become familiar with the writings of others, we learn more about our own selves. And we
need to know the truth about who and what we are and how to recognize and develop the potential in our lives.
Why read? Because if we don’t, we miss out on far too much. It’s just that simple. Today, we have so much and,
at times, we are so neglectful. Television and movies are not a suitable replacement for what is available at our fin-
gertips. Here is a suggested reading list:

Praise and Worship Praise and Worship

The Bible The Bible
100 Days in the Secret Place, by Gene Edwards 100 Days in the Secret Place, by Gene Edwards
101 Hymn Stories, by Kenneth Osbeck 101 Hymn Stories, by Kenneth Osbeck
101 More Hymn Stories, by Kenneth Osbeck 101 More Hymn Stories, by Kenneth Osbeck
A Heart Like His, by Beth Moore A Heart Like His, by Beth Moore
A Heart of Worship, by LaMar Boschman A Heart of Worship, by LaMar Boschman
A Worship-Filled Life, by Marcos Witt A Worship-Filled Life, by Marcos Witt
Blended Worship, by Robert E. Webber Blended Worship, by Robert E. Webber
Can We Do That? by Andy Stanley and Ed Young Can We Do That? by Andy Stanley and Ed Young
Creative Leadership, by Ed Young Creative Leadership, by Ed Young
Creative Ways to Offer Praise, by Lisa Flinn and Barbara Younger Creative Ways to Offer Praise, by Lisa Flinn and Barbara Younger
David Worshiped a Living God, by Judson Cornwall David Worshiped a Living God, by Judson Cornwall
Desiring God, by John Piper Desiring God, by John Piper
Page 42 Page 42
Developing an Effective Worship Ministry, by Tom Kraeuter Developing an Effective Worship Ministry, by Tom Kraeuter
Exploring Worship, by Bob Sorge Exploring Worship, by Bob Sorge
From Performance to Praise, by Joe Pace From Performance to Praise, by Joe Pace
Glory: Experiencing the Atmosphere of Heaven, by Ruth Ward Heflin Glory: Experiencing the Atmosphere of Heaven, by Ruth Ward Heflin
Glory: When Heaven Invades Earth, by Bob Sorge Glory: When Heaven Invades Earth, by Bob Sorge
Keys to Becoming an Effective Worship Leader, by Tom Kraeuter Keys to Becoming an Effective Worship Leader, by Tom Kraeuter
Learning to Worship as a Way of Life, by Graham Kendrick Learning to Worship as a Way of Life, by Graham Kendrick
Lifting Him Up, by Ron Kenoly and Dick Bernal Lifting Him Up, by Ron Kenoly and Dick Bernal
Lucifer Got Fired and You Got Hired, by Jacinto M. Sims Lucifer Got Fired and You Got Hired, by Jacinto M. Sims
Mastering Worship, by Jack Hayford, John Kilinger and Howard Stevenson Mastering Worship, by Jack Hayford, John Kilinger and Howard Stevenson
More Things They Didn’t Teach Me in Worship Leading School, by Tom Kraeuter More Things They Didn’t Teach Me in Worship Leading School, by Tom Kraeuter
Music in the Pentecostal Church, by Delton L. Alford Music in the Pentecostal Church, by Delton L. Alford
Music Through the Eyes of Faith, by Harold M. Best Music Through the Eyes of Faith, by Harold M. Best
Praise, the Ultimate Experience: Worship, the Ultimate Relationship, by Rod Parsley and Clint Brown Praise, the Ultimate Experience: Worship, the Ultimate Relationship, by Rod Parsley and Clint Brown
Principles of Worship and the Tabernacle of Moses, by Doug Small Principles of Worship and the Tabernacle of Moses, by Doug Small
Putting an End to Worship Wars, by Elmer L. Towns Putting an End to Worship Wars, by Elmer L. Towns
Secrets of the Most Holy Place, by Don Nori Secrets of the Most Holy Place, by Don Nori
The Air I Breathe, by Louie Giglio The Air I Breathe, by Louie Giglio
The Attributes of God, by Arthur W. Pink The Attributes of God, by Arthur W. Pink
The Complete Library of Christian Worship, by Robert E. Webber The Complete Library of Christian Worship, by Robert E. Webber
The Day I Was Crucified, by Gene Edwards The Day I Was Crucified, by Gene Edwards
The Heart of the Artist, by Rory Noland The Heart of the Artist, by Rory Noland
The Ministry of Worship, by Paul L. Walker The Ministry of Worship, by Paul L. Walker
The New Worship: Straight Talk on Music and the Church, by Barry Leisch The New Worship: Straight Talk on Music and the Church, by Barry Leisch
The Practice of Praise, by Donn McMinn The Practice of Praise, by Donn McMinn
The Purpose and Power of God’s Glory, by Dr. Myles Munroe The Purpose and Power of God’s Glory, by Dr. Myles Munroe
The Rebirth of Music, by LaMar Boschman The Rebirth of Music, by LaMar Boschman
The Sacred Romance, by Brent Curtis and John Eldredge The Sacred Romance, by Brent Curtis and John Eldredge
The Secret Place, by Dr. Dale A. Fife The Secret Place, by Dr. Dale A. Fife
The Singing God, by Sam Storms The Singing God, by Sam Storms
The Threshing Floor, by Juanita Bynum The Threshing Floor, by Juanita Bynum
The Ultimate Priority, by John MacArthur Jr. The Ultimate Priority, by John MacArthur Jr.
The Unquenchable Worshipper, by Matt Redman The Unquenchable Worshipper, by Matt Redman
The Worship Leader’s Handbook, by Tom Kraeuter The Worship Leader’s Handbook, by Tom Kraeuter
The Worship Warrior, by Chuck D. Pierce and John Dickson The Worship Warrior, by Chuck D. Pierce and John Dickson
Things They Didn’t Teach Me in Worship Leading School, by Tom Kraeuter Things They Didn’t Teach Me in Worship Leading School, by Tom Kraeuter
True Worship, by Donald P. Hustad True Worship, by Donald P. Hustad
What Jesus Taught About Praise and Worship, by Ken Blount What Jesus Taught About Praise and Worship, by Ken Blount
Whatever Happened to Worship, by A.W. Tozer Whatever Happened to Worship, by A.W. Tozer
Worship as David Lived It, by Judson Cornwall Worship as David Lived It, by Judson Cornwall
Worship Evangelism, by Sally Morgenthaler Worship Evangelism, by Sally Morgenthaler
Page 43 Page 43
 Worship God! by Ernest B. Gentile
Worship His Majesty, by Jack W. Hayford
Worship Is a Verb, by Robert E. Webber
Worship Is . . . What?! by Tom Kraeuter
Worship: Old and New, by Robert E. Webber
Worship: Rediscovering the Missing Jewel, by Ronald Allen and Gordon Borror
Worship: The Missing Jewel, by A.W. Tozer
Worship: The Pattern of Things in Heaven, by Joseph Garlington
Miscellaneous
The Bible
A Heart Ablaze, by John Bevere
An ABC Primer for Church Musicians, by Bob Burroughs
An Enemy Called Average, by John L. Mason
Be a People Person, by John C. Maxwell
Creating Four-Part Harmony, by Fred and Lois Bock
Creative Keyboards Deluxe Encyclopedia of Piano Chords, by Bob Kroepel
Easy Doesn’t Do It, by Derric Johnson
Gene Edwards’ books
Get a Giant Hat Rack, by Cheri Walters
God’s Armor Bearer I and II, by Terry Nance
God’s Plan for You: Finding the Purpose in Your Life, by Keith Butler
How to Get Along With Difficult People, by William J. Diehm
Instant Scale and Chord Guide for Keyboards, by Gary Meisner
Let Go of Whatever Makes You Stop, by John L. Mason
Lists: The Book, by Derric Johnson
Lists: The Book (Volume II), by Derric Johnson
Mario Murillo’s books
Max Lucado’s books
Ministering Through Music, by Delton L. Alford
The Hidden Power of Prayer and Fasting, by Mahesh Chavda
The Power of a Covenant Heart, by David Huskins
The Purpose Driven Life, by Rick Warren
The Tabernacle, by M.R. Dehaan, M.D.
The Tabernacle: Its Priests and Its Services, by William Brown
The Tabernacle: Shadows of the Messiah, by David M. Levy
The Tabernacle of David, by Kevin J. Conner
The Temple: Its Ministries and Services, by Alfred Edersheim
Tommy Tenney’s books
Under Cover, by John Bevere
Vision of the House, by Terry Nance
Page 44
Worship God! by Ernest B. Gentile
Worship His Majesty, by Jack W. Hayford
Worship Is a Verb, by Robert E. Webber
Worship Is . . . What?! by Tom Kraeuter
Worship: Old and New, by Robert E. Webber
Worship: Rediscovering the Missing Jewel, by Ronald Allen and Gordon Borror
Worship: The Missing Jewel, by A.W. Tozer
Worship: The Pattern of Things in Heaven, by Joseph Garlington
Miscellaneous
The Bible
A Heart Ablaze, by John Bevere
An ABC Primer for Church Musicians, by Bob Burroughs
An Enemy Called Average, by John L. Mason
Be a People Person, by John C. Maxwell
Creating Four-Part Harmony, by Fred and Lois Bock
Creative Keyboards Deluxe Encyclopedia of Piano Chords, by Bob Kroepel
Easy Doesn’t Do It, by Derric Johnson
Gene Edwards’ books
Get a Giant Hat Rack, by Cheri Walters
God’s Armor Bearer I and II, by Terry Nance
God’s Plan for You: Finding the Purpose in Your Life, by Keith Butler
How to Get Along With Difficult People, by William J. Diehm
Instant Scale and Chord Guide for Keyboards, by Gary Meisner
Let Go of Whatever Makes You Stop, by John L. Mason
Lists: The Book, by Derric Johnson
Lists: The Book (Volume II), by Derric Johnson
Mario Murillo’s books
Max Lucado’s books
Ministering Through Music, by Delton L. Alford
The Hidden Power of Prayer and Fasting, by Mahesh Chavda
The Power of a Covenant Heart, by David Huskins
The Purpose Driven Life, by Rick Warren
The Tabernacle, by M.R. Dehaan, M.D.
The Tabernacle: Its Priests and Its Services, by William Brown
The Tabernacle: Shadows of the Messiah, by David M. Levy
The Tabernacle of David, by Kevin J. Conner
The Temple: Its Ministries and Services, by Alfred Edersheim
Tommy Tenney’s books
Under Cover, by John Bevere
Vision of the House, by Terry Nance
Page 44
 When Words Matter Most, by Robyn Freedman Spizman When Words Matter Most, by Robyn Freedman Spizman
You’re Born an Original, Don’t Die a Copy, by John L. Mason You’re Born an Original, Don’t Die a Copy, by John L. Mason

Songwriting Songwriting
Capricorn Rhyming Dictionary, by Bessie Redfield Capricorn Rhyming Dictionary, by Bessie Redfield
How to Make a Good Song a Hit, by Molly-Ann Leiken How to Make a Good Song a Hit, by Molly-Ann Leiken
How to Write a Hit Song, by Molly-Ann Leiken How to Write a Hit Song, by Molly-Ann Leiken
Songwriting: A Complete Guide to the Craft, by Stephen Citron Songwriting: A Complete Guide to the Craft, by Stephen Citron
Songwriting: Essential Guide to Lyric Form and Structure, by Pat Pattison Songwriting: Essential Guide to Lyric Form and Structure, by Pat Pattison
Songwriting: Essential Guide to Rhyming, by Pat Pattison Songwriting: Essential Guide to Rhyming, by Pat Pattison
The Craft and Business of Songwriting, by John Braheny The Craft and Business of Songwriting, by John Braheny
The Craft of Songwriting, by Sheila Davis The Craft of Songwriting, by Sheila Davis
Writing Better Lyrics, by Pat Pattison Writing Better Lyrics, by Pat Pattison
Writing Music for Hit Songs, by Jai Josefs Writing Music for Hit Songs, by Jai Josefs

Magazines Magazines
Charisma Charisma
www.charismamag.com www.charismamag.com

Contemporary Christian Music (CCM) Contemporary Christian Music (CCM)

www.ccmcom.com www.ccmcom.com

Gospel Today Gospel Today

www.gospeltoday.com www.gospeltoday.com

Outreach Outreach
www.outreach.com www.outreach.com

Singing News Magazine Singing News Magazine

www.singingnews.com www.singingnews.com

The Communicator The Communicator

www.jjonline.com www.jjonline.com

Worship Leader Magazine Worship Leader Magazine

www.worshipleader.com www.worshipleader.com

Finding New Music Finding New Music

• CDs—Hundreds of new releases come out each year, and most new CDs are released each Tuesday. Music
can be purchased at discount stores, specialty music stores, Christian suppliers, publishers and on the Internet.
Internet companies such as iTunes Music Store will allow you to download individual songs for as little as 99
cents. By doing this, you can preview an album and then purchase songs individually.
Page 45
• CDs—Hundreds of new releases come out each year, and most new CDs are released each Tuesday. Music
can be purchased at discount stores, specialty music stores, Christian suppliers, publishers and on the Internet.
Internet companies such as iTunes Music Store will allow you to download individual songs for as little as 99
cents. By doing this, you can preview an album and then purchase songs individually.
Page 45
• Television—Tape TBN, DayStar and religious programming. Tape award programs. Tape ministry programs
that minister to you. Tape churches you know that have a progressive music ministry.
• Video—Watch videos like Carlton Pearson’s Azusa Street, Bill Gaither’s Homecoming videos, ministries like
Clint Brown, and so on.
• Communicate—Connect with a wide network of local church ministers and share resources both original and
marketed. Trade worship service tapes (audio and video), e-mail one another, phone, fax, visit, have lunch and
find other creative ways to ask important ministry questions.
• Choral Clubs—Use the services of music publishers and music dealers. Most music publishers provide a sub-
scription service that allows you to preview choral music as it is released (as few as three and as many as seven
times a year). This includes the freshest, newest and best music available, printed and recorded collections,
octavos, magazines, discounts, and so on. An added bonus is that most companies will offer vouchers equal
to the price of the club fees.
• Christian Bookstores and Music Dealers—Take the time to look and listen.
• Internet and Free Downloads—The “information highway” brings the world to your fingertips. Thousands
of sites are available to help the minister of music. In a matter of seconds, by typing the phrase “music min-
istry” or “worship ministry,” literally thousands of Web sites are available which provide categorized links to
articles, listings of conferences, denominational links, and discussion groups on worship and the arts. You will
find listings of music publishers, specific worship leaders, artists and worship ministries. You will be amazed
at the lists of suppliers that will provide you with the latest products for audio and media ministries, instru-
ments, dance wear, banners, and much, much more. You will find links for copyright information, publica-
tions and other ministry resources. You can also watch “live telecasts” of services, as well as archived servic-
es. Go to www.streamingfaith.com to watch literally hundreds of ministries offering live worship services,
teaching services, conferences, music concerts, and much more.
Page 46
• Television—Tape TBN, DayStar and religious programming. Tape award programs. Tape ministry programs
that minister to you. Tape churches you know that have a progressive music ministry.
• Video—Watch videos like Carlton Pearson’s Azusa Street, Bill Gaither’s Homecoming videos, ministries like
Clint Brown, and so on.
• Communicate—Connect with a wide network of local church ministers and share resources both original and
marketed. Trade worship service tapes (audio and video), e-mail one another, phone, fax, visit, have lunch and
find other creative ways to ask important ministry questions.
• Choral Clubs—Use the services of music publishers and music dealers. Most music publishers provide a sub-
scription service that allows you to preview choral music as it is released (as few as three and as many as seven
times a year). This includes the freshest, newest and best music available, printed and recorded collections,
octavos, magazines, discounts, and so on. An added bonus is that most companies will offer vouchers equal
to the price of the club fees.
• Christian Bookstores and Music Dealers—Take the time to look and listen.
• Internet and Free Downloads—The “information highway” brings the world to your fingertips. Thousands
of sites are available to help the minister of music. In a matter of seconds, by typing the phrase “music min-
istry” or “worship ministry,” literally thousands of Web sites are available which provide categorized links to
articles, listings of conferences, denominational links, and discussion groups on worship and the arts. You will
find listings of music publishers, specific worship leaders, artists and worship ministries. You will be amazed
at the lists of suppliers that will provide you with the latest products for audio and media ministries, instru-
ments, dance wear, banners, and much, much more. You will find links for copyright information, publica-
tions and other ministry resources. You can also watch “live telecasts” of services, as well as archived servic-
es. Go to www.streamingfaith.com to watch literally hundreds of ministries offering live worship services,
teaching services, conferences, music concerts, and much more.
Page 46
 chapter
seven: H ow Are Other Ministries
Organized?
chapter
seven: H ow Are Other Ministries
Organized?
Twin Rivers Worship Center Twin Rivers Worship Center
Phone number: 314-729-0704 Phone number: 314-729-0704
Location: St. Louis, MO Location: St. Louis, MO
Senior pastor: Dr. Bryan Cutshall Senior pastor: Dr. Bryan Cutshall
Music minister: Faith Cutshall Music minister: Faith Cutshall
How long has the music minister been at the church? 18 years How long has the music minister been at the church? 18 years
Worship leader: Music minister Worship leader: Music minister
Choir director: Music minister Choir director: Music minister
Band and orchestra director: Music minister Band and orchestra director: Music minister
How many on music staff? 1 How many on music staff? 1
How many members in choir? 70 How many members in choir? 70
How many members in praise team? 8 How many members in praise team? 8
How many members in band? 6 How many members in band? 6
How many members in orchestra? 0 How many members in orchestra? 0
Style of music: Variety Style of music: Variety
How many practices per week? 1 for the praise team and band; 1 for the choir How many practices per week? 1 for the praise team and band; 1 for the choir
Number of services per week: 3 Number of services per week: 3
Does the same group play for all services or is there a rotation system? Rotation, Does the same group play for all services or is there a rotation system? Rotation,
availability availability
What kind of help or assistance is required to run your program? 11 leaders What kind of help or assistance is required to run your program? 11 leaders
Are there tryouts for band, praise team and choir members? Yes, application; listening session 2 times a year Are there tryouts for band, praise team and choir members? Yes, application; listening session 2 times a year
Any specific requirements to join the music team? Any specific requirements to join the music team?
• Get Connected classes • Get Connected classes
• Regular attendance • Regular attendance
Web site: www.trwc.com Web site: www.trwc.com

New Life Church New Life Church

Phone number: 719-594-6602 Phone number: 719-594-6602
Location: Colorado Springs, CO Location: Colorado Springs, CO
Music minister: Ross Parsley Music minister: Ross Parsley
How long has the minister of music been at the church? 15 years How long has the minister of music been at the church? 15 years
How many on music staff? 11 How many on music staff? 11
How many members in choir? 150 How many members in choir? 150
How many members in praise team? 6 How many members in praise team? 6
How many members in band? 7-8 How many members in band? 7-8
Page 47 Page 47
 How many members in orchestra? 7-8
Style of music: Contemporary (some hymns)
How many practices per week? 1
Number of services per we ek: 2
Does the same group play for all services or is there a rotation system? Rotation.
Certain people are assigned to particular weeks.
What kind of help or assistance is required to run your program? Several volunteers
Are there tryouts for band, praise team and choir members? Choir—auditions every
few months; Band—word of mouth (some volunteers, some paid)
Any specific requirements to join the music team?
• Able to sing or play
• Able to make a commitment
Web site: www.newlifechurch.org, www.newlifeworship.com
How many members in orchestra? 7-8
Style of music: Contemporary (some hymns)
How many practices per week? 1
Number of services per we ek: 2
Does the same group play for all services or is there a rotation system? Rotation.
Certain people are assigned to particular weeks.
What kind of help or assistance is required to run your program? Several volunteers
Are there tryouts for band, praise team and choir members? Choir—auditions every
few months; Band—word of mouth (some volunteers, some paid)
Any specific requirements to join the music team?
• Able to sing or play
• Able to make a commitment
Web site: www.newlifechurch.org, www.newlifeworship.com

Fellowship Church Fellowship Church

Phone number: 972-471-5700 Phone number: 972-471-5700

Location: Grapevine, TX Location: Grapevine, TX
Senior pastor: Ed Young Senior pastor: Ed Young
Music minister: Pace Hartfield Music minister: Pace Hartfield
How long has the music minister been at the church? 1 year How long has the music minister been at the church? 1 year
Worship leader: Music minister Worship leader: Music minister
Choir director: Music minister Choir director: Music minister
Band and orchestra director: Music minister Band and orchestra director: Music minister
How many on music staff? 15 How many on music staff? 15
How many members in choir? 150 How many members in choir? 150
How many members in praise team? 5 How many members in praise team? 5
How many members in band? 5 How many members in band? 5
How many members in orchestra? 0 How many members in orchestra? 0
Style of music: Contemporary Style of music: Contemporary
How many practices per week? 1 How many practices per week? 1
Number of services per week: 4 Number of services per week: 4
Does the same group play for all services or is there a rotation system? Rotation. There are seven praise teams. Does the same group play for all services or is there a rotation system? Rotation. There are seven praise teams.
What kind of help or assistance is required to make your program run? Four assistants, plus media crew What kind of help or assistance is required to make your program run? Four assistants, plus media crew
Are there tryouts for band, praise team and choir members? Applications; auditions two times a year Are there tryouts for band, praise team and choir members? Applications; auditions two times a year
Web site: www.fellowshipchurch.com Web site: www.fellowshipchurch.com
Page 48 Page 48
 Christ Church Christ Church

Phone number: 615-834-6171 Phone number: 615-834-6171

Location: Nashville, TN Location: Nashville, TN
Senior pastor: L.H. Hardwick Senior pastor: L.H. Hardwick
Music minister: Landy and Joy Gardner Music minister: Landy and Joy Gardner
How long has the minister of music been at the church? 27 years How long has the minister of music been at the church? 27 years
Worship leader: Regi Stone Worship leader: Regi Stone
Choir director: Landy Gardner Choir director: Landy Gardner
Band and orchestra director: Christopher Phillips Band and orchestra director: Christopher Phillips
How many on music staff? 9 How many on music staff? 9
How many members in choir? 170 How many members in choir? 170
How many members in praise team? 3 How many members in praise team? 3
How many members in band? 7 How many members in band? 7
How many members in orchestra? 5 brass How many members in orchestra? 5 brass
Style of music: Variety Style of music: Variety
How many practices per week? 1 choir and 1 band—separate practices How many practices per week? 1 choir and 1 band—separate practices
Number of services per week: 2 Number of services per week: 2
Does the same group play for all services or is there a rotation system? Rotation Does the same group play for all services or is there a rotation system? Rotation
What kind of help or assistance is required to run your program? Extra help for special events like Christmas What kind of help or assistance is required to run your program? Extra help for special events like Christmas
program or music conference. program or music conference.
Are there tryouts for band, praise team and choir members? Application process; listening session; back- Are there tryouts for band, praise team and choir members? Application process; listening session; back-
ground check two times a year. ground check two times a year.
Any specific requirements to join the music team? Any specific requirements to join the music team?
• Member and giver for six months • Member and giver for six months
• Welcome class completed • Welcome class completed
Web site: www.christchurchnashville.org Web site: www.christchurchnashville.org

Brooklyn Tabernacle Brooklyn Tabernacle

Phone number: 718-290-2000 Phone number: 718-290-2000
Location: Brooklyn, NY Location: Brooklyn, NY
Senior pastor: Jim Cymbala Senior pastor: Jim Cymbala
Page 49 Page 49
 Music minister: Carol Cymbala Music minister: Carol Cymbala
How long has the minister of music been at the church? 20 years How long has the minister of music been at the church? 20 years
Worship leader: Kevin Lewis Worship leader: Kevin Lewis
Choir director: Music minister Choir director: Music minister
Band and orchestra director: Music minister Band and orchestra director: Music minister
How many on music staff? 7 How many on music staff? 7
How many members in choir? 285 How many members in choir? 285
How many members in praise team? 0 How many members in praise team? 0
How many members in band? 6 How many members in band? 6
How many members in orchestra? 0 How many members in orchestra? 0
Style of music: Variety Style of music: Variety
How many practices per week? 1 How many practices per week? 1
Number of services per week: 3 Number of services per week: 3
Does the same group play for all services or is there a rotation sys- Does the same group play for all services or is there a rotation sys-
tem? Same people play. No rotation. tem? Same people play. No rotation.
What kind of help or assistance is required to make your program What kind of help or assistance is required to make your program
run? Two assistants and many volunteers run? Two assistants and many volunteers
Are there tryouts for band, praise team and choir members? Yes, two times a year Are there tryouts for band, praise team and choir members? Yes, two times a year
Any specific requirements to join the music team? Any specific requirements to join the music team?
• Christian • Christian
• Member of the church • Member of the church
Web site: www.brooklyntabernacle.org Web site: www.brooklyntabernacle.org

FaithWorld Center FaithWorld Center

Phone number: 407-292-8888 Phone number: 407-292-8888

Location: Orlando, FL Location: Orlando, FL
Senior pastor: Clint Brown Senior pastor: Clint Brown
Music minister: LaRue Stewart Music minister: LaRue Stewart
How long has the minister of music been at the church? 4 years How long has the minister of music been at the church? 4 years
Worship leader: Clint Brown and LaRue Stewart work as a team Worship leader: Clint Brown and LaRue Stewart work as a team
Choir director: same Choir director: same
Band and orchestra director: same Band and orchestra director: same
How many on music staff? 10 How many on music staff? 10
How many members in choir? 150 How many members in choir? 150
How many members in praise team? 6 at one time, but 30 are on the list for fill-ins and rotations How many members in praise team? 6 at one time, but 30 are on the list for fill-ins and rotations
Page 50 Page 50
How many members in band? 6 How many members in band? 6
How many members in orchestra? Contracted in for special events and recordings; none during a regular wor- How many members in orchestra? Contracted in for special events and recordings; none during a regular wor-
ship service ship service
Style of music: Gospel/contemporary Style of music: Gospel/contemporary
How many practices per week? Band—3; Choir and praise team—1 How many practices per week? Band—3; Choir and praise team—1
Number of services per week: 2 in summer; 3 the rest of the year Number of services per week: 2 in summer; 3 the rest of the year
Does the same group play for all services or is there a rotation system? Rotation Does the same group play for all services or is there a rotation system? Rotation
Are there tryouts for band, praise team and choir members? Application and listening audition required Are there tryouts for band, praise team and choir members? Application and listening audition required
Any specific requirements to join the music team? Any specific requirements to join the music team?
• Must be a member of the church for three months • Must be a member of the church for three months
• Must sit in eight consecutive weeks of rehearsal before ministering • Must sit in eight consecutive weeks of rehearsal before ministering
Web site: www.faithworld.com, www.clintbrown.net Web site: www.faithworld.com, www.clintbrown.net

Solid Rock Church Solid Rock Church

Phone number: 513-423-7040 Phone number: 513-423-7040
Location: Monroe, OH Location: Monroe, OH
Senior pastor: Lawrence and Darlene Bishop Senior pastor: Lawrence and Darlene Bishop
Music minister: Johnny Cox Music minister: Johnny Cox
How long has the minister of music been at the church? 1 year How long has the minister of music been at the church? 1 year
Worship leader: Music minister Worship leader: Music minister
Choir director: Music minister Choir director: Music minister
Band and orchestra director: Music minister and lead musician Band and orchestra director: Music minister and lead musician
How many on music staff? 2 How many on music staff? 2
How many members in choir? 75-100 How many members in choir? 75-100
How many members in praise team? 8 How many members in praise team? 8
How many members in band? 8 How many members in band? 8
How many members in orchestra? 0 How many members in orchestra? 0
Style of music: Gospel/contemporary Style of music: Gospel/contemporary
How many practices per week? 1 How many practices per week? 1
Number of services per week: 3 Number of services per week: 3
Does the same group play for all services or is there a rotation system? Rotation Does the same group play for all services or is there a rotation system? Rotation
What kind of help or assistance is required to run your program? Section leaders What kind of help or assistance is required to run your program? Section leaders
Are there tryouts for band, praise team and choir members? There is a “tryout night” every four months. Are there tryouts for band, praise team and choir members? There is a “tryout night” every four months.
Any specific requirements to join the music team? Any specific requirements to join the music team?
• They must sign an attendance commitment and a spiritual commitment. • They must sign an attendance commitment and a spiritual commitment.
• Choir members are not allowed to listen to secular music or perform in a secular setting. Those caught violat- • Choir members are not allowed to listen to secular music or perform in a secular setting. Those caught violat-
ing this covenant agreement are dismissed from the music ministry. ing this covenant agreement are dismissed from the music ministry.
• Must attend every single practice and service unless there is an emergency • Must attend every single practice and service unless there is an emergency
• There are required prayer meetings to attend every week. • There are required prayer meetings to attend every week.
Web site: www.solidrockchurch.org, www.firechoir.com Web site: www.solidrockchurch.org, www.firechoir.com

Page 51 Page 51
 Other Titles in the
Church Structuring System
Assimilation Manual
Deacon’s Manual
Elder’s Manual
Family Ministries Manual
Hospitality Manual
Premarital Counseling Manual
Staff Hiring Manual
Structuring Your Church for Growth
Titles in the
Lay Ministries Training System
Benevolence Handbook
Children’s Ministry Handbook
Christian Education Board Handbook
Deaf Ministry Handbook
Elisha Ministry Handbook
Employee’s Handbook
Evangelism and Outreach Minister’s Handbook
Finance Committee Handbook
Greeter’s Handbook
Grounds Committee Handbook
Guest Follow-Up Handbook
Men’s Ministry Handbook
Nursery and Preschool Workers Handbook
Parking Attendant’s Handbook
Prayer Ministry Handbook
Small Group Leader’s Handbook
Sound Technicians Handbook
Student Ministries Handbook
Usher Handbook
Women’s Ministry Handbook
Other Titles in the
Church Structuring System
Assimilation Manual
Deacon’s Manual
Elder’s Manual
Family Ministries Manual
Hospitality Manual
Premarital Counseling Manual
Staff Hiring Manual
Structuring Your Church for Growth
Titles in the
Lay Ministries Training System
Benevolence Handbook
Children’s Ministry Handbook
Christian Education Board Handbook
Deaf Ministry Handbook
Elisha Ministry Handbook
Employee’s Handbook
Evangelism and Outreach Minister’s Handbook
Finance Committee Handbook
Greeter’s Handbook
Grounds Committee Handbook
Guest Follow-Up Handbook
Men’s Ministry Handbook
Nursery and Preschool Workers Handbook
Parking Attendant’s Handbook
Prayer Ministry Handbook
Small Group Leader’s Handbook
Sound Technicians Handbook
Student Ministries Handbook
Usher Handbook
Women’s Ministry Handbook
 Other Titles by Other Titles by
Dr. Bryan Cutshall Dr. Bryan Cutshall
Unlocking the Prophecy Code Unlocking the Prophecy Code
Where Are the Armorbearers? Where Are the Armorbearers?
Bigger Than Your Birth Bigger Than Your Birth
Broken Trophies Broken Trophies
Burned Out but Still Born Again Burned Out but Still Born Again
Pilgrim’s Promise (Book on Victorious Living) Pilgrim’s Promise (Book on Victorious Living)
Conquering Canaan (Sequel to Pilgrim’s Promise) Conquering Canaan (Sequel to Pilgrim’s Promise)
God the Divorcé God the Divorcé
Good Grief Good Grief
GOOD NEWS Volume I GOOD NEWS Volume I
GOOD NEWS Volume II GOOD NEWS Volume II
GOOD NEWS Volume III GOOD NEWS Volume III
GOOD NEWS Volume IV GOOD NEWS Volume IV
Stricken Shepherds and Scattered Sheep Stricken Shepherds and Scattered Sheep
Trills, Thrills and Fills Trills, Thrills and Fills
(Sermon Tips That Drive the Point Home) (Sermon Tips That Drive the Point Home)
The Legacy of Christmas (Christmas Christian Origins) The Legacy of Christmas (Christmas Christian Origins)
What Does Christmas Mean, Daddy? What Does Christmas Mean, Daddy?

See other materials offered by Bryan Cutshall Ministries at See other materials offered by Bryan Cutshall Ministries at
churchtrainer.com or pathwaypress.org churchtrainer.com or pathwaypress.org
 Empowering and encouraging leaders
to do church ministry effectively!

Dr. Bryan Cutshall,

is the lead Pastor of Twin Rivers Worship Center in St. Louis, MO
and Founder of Church Trainer. Each year, Dr. Cutshall trains
thousands of pastors and leaders in the US and in other nations
to be on the cutting edge of church leadership by staying
fresh, relevant and passionate about what they do.

Church
Check out all ofMinistry Manuals
the Ministry Manuals:
Assimilation
Deacons
Elders
Pre Marital Counseling
Music Ministry
Family Ministries
Staff Hiring
For more helpful resources go to:
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Dr. Byan Cutshall SERIES