Worship Musician! Magazine - May/Jun 2014

CitiZENS raisING THE Standard

Product Review PRS S2 Mira

Product Review

Kawai ES100 Digital Piano

Record Reviews

Paul Baloche Kari Jobe l Fellowship Creative l International House of Prayer l All Sons & Daughters l

MAY/JUN 2014 Volume 12, Issue 3

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US $5.95 Can $6.95

“Drumming With Clicks, Loops, and Stems” by Carl Albrecht

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“Listen to Me!” by Sheri Gould

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Sweetwater-exclusive interview: The Digital Age

Former David Crowder Band members talk with us about their new sound, their approach to recording and performing, and the gear they use to share their musical message.

Essential Guides for You and Your Volunteers

In-depth, down-to-earth articles help volunteers, pastors, and worship leaders understand the ins and outs of the latest in worship sound technology.

THE

DIGITAL AGE

In January of 2012, the David Crowder Band ended their 12-year run as one of the Christian music industry’s most successful groups. Former DCB guitarists Mark Waldrop and Jack Parker, drummer B-Wack, and bassist Mike D went on to start a new musical venture called The Digital Age. Their debut album, Evening : Morning, was released to rave reviews in 2013. Recently, Sweetwater’s Jeff Barnett caught up with Mark Waldrop.

Can you give us a little history and recap what has happened since the last David Crowder Band show?

For those who don’t know what the David Crowder Band was, we started as a little worship team from University Baptist Church (UBC) in Waco, TX, a church that David Crowder founded with Chris Seay in the mid-’90s. We toured for about 12 years. Then in 2010, David transitioned from Waco to Atlanta, and the rest of us really wanted to stay in Waco and stay involved with UBC. So The Digital Age is essentially that. We’re still involved with UBC, and we’re still writing the same genre of music: upbeat, programming-heavy “fun worship,” as we call it. The Digital Age has been a band for a little over two years, which is crazy to say because it still seems so new.

We released a live EP called Rehearsals in 2012. We were just rehearsing for church, tracked it, and released it as an EP. And in 2013, we put out a record called Evening : Morning and followed that with a fall tour.

Evening : Morning doesn’t sound like just another DCB album, though. Can you describe the sound of The Digital Age? When you’re in a band and have an established sound and way of doing things, then you start a new band, you get to pick and choose what you liked about what you’ve been doing. But you also have a really natural moment to question what you want to do differently. With The Digital Age, we’re still writing songs for the same congregation. UBC is about 70% college students, so we tend to sound like what college kids are listening to.

We keep a close pulse on that.

The Digital Age’s latest album, Evening : Morning,, is available now.

To find out more, go to thedigitalagemusic.com!

David led from an acoustic guitar, and he would be a hard person to replace. One of the very first things we all agreed on was that we shouldn’t attempt to replace him. I usually play an electric, so now I’m leading on electric, and that fundamentally changes the sound of things.

You mentioned your studio in Waco. What made you decide to open a studio?

When David moved to Atlanta, we effectively lost our recording and rehearsal space. We found this place in downtown Waco that was an old dirty boxing gym, and we built a studio in it. We spent three months renovating it. The boxing ring was where our control room is now. It was designed by B-Wack, and it’s been really great for us.

We’re very programming-heavy, and we use a lot of synths onstage. We’re multitasking a lot more, too. As for what we sound like, that changes from one song to the next. All of us listen to different genres of music, so, “What do we want this to sound like?” is a conversation we have with every song. We don’t like to be the same on every song and on every album, so the sound of The Digital Age from album 1 to album 2 could be completely different.

We practice and rehearse there, and we also have bands come in and we record them. It’s an extension of our ministry. It’s been great for us to be able to help new worship bands.

Walk me through your creative process in the studio.

We all have our own mini Pro Tools studios at home, and we track these ideas as they come. Sometimes they’re full songs, sometimes just pieces. When we each have a handful of ideas, we all get together in our studio. All of these ideas start coming together, and we start to figure out how we are playing things as a band. We’ll either sit around the computer and start programming it out or head into the tracking room and start recording live parts. We all write, but we realize not all of us have the same strengths. I think one of our collective strengths is that we keep a really loose attachment to our ideas, and we see that they are all just pieces to a larger puzzle.

You still lead worship at UBC? We’re still very involved at UBC. When we were in the construction phase on our studio, we took a break from leading and just went to church without leading worship for the first time in a decade. Those three months were amazing; it was something we took for granted, and we didn’t realize how important it was. Now, we’re one of several worship bands at UBC. Our goal is to play there around once a month, depending on our tour schedule.

What gear do you use in your studio?

We are running Pro Tools HDX in our main control room. We use a lot of API preamps and the PreSonus ADL600. We use an LA2A compressor and a lot of gear that B-Wack made himself. Our main vocal mic is the Blue Bottle — so much character and so easy to change sound. For guitars, we use a mix of Shure SM57, Sennheiser e906, and Royer R121 mics.

For bass, we use the Shure SM7B microphone. On drums, we mostly use the same Sennheiser Evolution series dynamic mics that we use live. We use a Yamaha SubKick on kick drum, and a Sennheiser MD421 on snare.

We’re really into soft synths. We use Native Instruments Komplete. We also use Native Instruments Maschine heavily for programming. We lean a lot on Spectrasonics’ Omnisphere for pads. We use Reason a lot for piano sounds and sequencing.

We also have a lot of vintage synths.

How do you translate an album like Evening : Morning to something that works live?

A lot of it is decisions made in production. We use a lot of loops live, but one of our rules is that we never put anything in the loops that can be played live — no vocals or guitar parts. That makes it more challenging in a live setting. So when we record, we have to be very intentional with things like guitar parts and not put anything on the record that we can’t re-create live.

What software do you use onstage?

Ableton Live. On Mike D’s keyboard rig, he runs Live and Reason. He has a slew of Korg Nanokeys in addition to an M-Audio MIDI controller, and some of the keys are assigned to things such as mutes and changing different values instead of triggering notes. We also run some vocals through Live for effects.

What kinds of technical challenges do you see worship leaders facing today?

For us, the coolest thing you can do is create your own loops. I think when a lot of people see something that is loop heavy, they think that it doesn’t fit into the way they do music. Or they think they can’t do the songs because they don’t have the technical know-how to pull it off. It’s possible to do it. You can get a copy of Ableton Live and a MIDI controller for next to nothing and make incredible sounds with it. It’s been really cool for us to travel around and see these churches start to learn and incorporate the technical stuff into the church services. We love it when churches take one of our songs, create their own loops for it, and make it their own.

blisskatherine.com

You guys have had a very long relationship with Sweetwater. Why is that?

Relationship says it all. We love that if we have questions about gear, we can call and ask. We love that if there is something that piques your interest, we’ll get a phone call to tell us about it. The prices are always competitive, and as far as customer service goes, it’s always great. If anything is ever wrong, it’s always taken care of quickly. We travel a lot. If something isn’t working, getting a replacement quickly and easily is really important. It’s great to be able to get things fixed or questions answered without hassle. We really love the personalized nature of what Sweetwater does. You’re always great about asking what we need the gear to do. Even with a band like us, it’s so good to have somebody showing us how the gear we use can help us be better at doing what we do.

Photos by: Bliss Katherine

You can find out more about The Digital Age at thedigitalagemusic.com.

!

Freelance live sound engineer

Daniel Ellis

FOH engineer for The Digital Age How long have you been working with The Digital Age? The first tour I did with them was as the David Crowder Band, during the Remedy Club tour in 2007.

I was with DCB for five years. Then, when they started The Digital Age, I mixed their very first show and I did their first tour, as well.

What gear do you use with them onstage?

We use mostly Sennheiser mics, on just about everything. Mostly the Evolution series. One thing I don’t think I’ve seen anybody else do is that we use a Sennheiser MD441 on B-Wack’s snare. It works great and gives us a fatter sound than other mics I’ve tried.

On vocals, Mark and Jack both use a TC-Helicon VoiceLive Touch to add reverb and delay to their voices before they ever get to me. That’s cool; it makes my job easier.

At front of house, I run a Behringer X32. We use the S16 digital snake system, as well. That console is amazing. It’s so small and light — I can set it up by myself if I need to. When we started the tour, I was thinking, “There has got to be a reason this thing is so inexpensive, and I’m going to find out why.”

I still don’t know why. It’s a great console. I love it.

The guys use Sennheiser 300 series in-ear monitors, and they mix them themselves using Behringer’s X32-Q app for iPhone. That’s been amazing. It’s so much easier to not have to worry about doing FOH and monitors at the same time, and we don’t have to have a monitor engineer.

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Are there any unique challenges working with The Digital Age? Since they run all those effects on the stage, what I get is a wet vocal. When we started out, sometimes it was way too wet, and we didn’t really have enough clarity in the FOH mix in the vocals. So we had to work on getting those reverb levels down and make sure that they trusted me to add more reverb at the console if it was needed.

You and The Digital Age have been very loyal Sweetwater customers for years. Why is that?

Because of the relationship. Because of you! Seriously, it’s because of you. We don’t just call a 1-800 number and get some random guy; we get the same guy. And the candy. You send candy with everything we buy. I never share it.

From left to right: BWack, Mike D, Mark Waldrop, and Jack Parker

Online

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With valuable advice on live mixing, miking techniques, instruments, and more, our informative guides give you the tips and tricks you need to make your services sound better.

News and Articles

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Covering You. Over 160,000 churches across North America count on CCLI for license coverage and worship resources—each and every week.

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Covers the copying activities that assist with your congregational singing. Over 3,000 publishers/ copyright owners & over 300,000 worship songs are covered.

Song lyrics, audio samples and transposable chord sheets, lead sheets and vocal sheets. Choose the version that best suits your needs.

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Movie/Video Licensing and Resources

If your church uses movies for any ministry-related activities, you’ll likely need the legal permission that the Church Video License provides.

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Editor’s Corner

Rows Three to Twenty

Judy and I were discussing worship services and worship songs the other day. She was lamenting the fact that many of the good songs that she is familiar with, the ones that lead her into worship, just aren’t played anymore. As a young Christian she loved the Maranatha! Worship songs and the standards that Paul Baloche has brought to the table too. There are several songs with great lyrics that mean something to her when she hears them again and again. They have a history to them in her life and, she believes, in the lives of the other people in the audience. “It can’t just be all new songs all the time” is a direct quote from her.

MAY/JUNE 2014

Features 8 Product Review

By Bruce Adolph PRS S2 Mira

10 From the Drummer’s Perspective I understand her feelings regarding this. Sometimes we can be

By Carl Albrecht so hip with the new music that we leave some weighty songs Drumming With Clicks, Loops, on the table. I have been in services where the first two rows and Stems (populated mostly by the pastor and church staff and their families) know the new songs and raise their hands but the folks from rows three to twenty have their hands by their sides and are looking around some. Then after four “new hip songs” the worship leader plays a Newsboys or older Chris Tomlin song (something the congregation must have heard a lot on the radio) and the whole congregation has their hands raised and are entering into worship. At that point it would be wise as the worship leader to ask your self an important question… “Which songs are making the most impact on the people I lead?” Yes, I do like much of the new worship songs, especially the ones coming from a more creative stream, but there is a cannon of good worship songs that have meaning and history in the lives of the congregation that we can’t ignore either. When I sing Matt Redman’s lyrics “He gives and takes away, He gives and takes away, my heart will choose to say… Blessed be the name of the Lord” I have a dozen years of memories that go along with singing that song and I can still remember so many times in my life where the Lord has given and has taken away from me… I have lived that song for over a decade now and it has encouraged me to trust in God’s steadfast care for me.

It certainly isn’t wrong to bring in new songs. It is a popular Bible verse that admonishes us to “sing a new song” (Psalm 96:1). Just don’t throw out the baby with the bath water. Another good verse I like concerning this topic is Ecclesiastes 7:18, “It is good to grasp the one and not let go of the other. Whoever fears God will avoid all extremes.” (NIV) Let’s consider the folks in rows three to twenty and mix things up a bit!

In His Grip, Bruce & Judy

4227 S. Meridian. Suite C PMB #275 Puyallup, Washington 98373-5963 Phone: 253.445.1973 Fax: 253.655.5001 Email: bruce@christianmusician.com Website: www.worshipmusicianmagazine.com Publisher/Editor: Bruce Adolph Vice President: Judy Adolph Customer Service: Brian Felix brian@christianmusician.com Copyediting: Kevin Wilber Design Layout & Production: Matt Kees Director of Advertising: Steve Sattler steve@creativesalesresource.com 626-836-3106 Worship Musician! is published bi-monthly

by The Adolph Agency, Inc.

VOL. 12, ISSUE 3

12 Keyboard

By Ed Kerr The Space Between 15 Bass

By Gary Lunn Climb the Mountain: A Note of Inspiration 16 Vocals

By Sheri Gould Listen to Me! 18 Tips for Tight Teams

By Sandy Hoffman Click It To Stick It (Let’s “Tick It” From the Top) 26 Songchart

By Citizens Made Alive

44 Camera

By Chuck Page Should my Church Use Live Video?

46 Ministry + Artistry = Profitability? Creating your MAP™

By Scott A. Shuford Crowdfunding Tips 48 Product Review

By Matt Kees & Melanie Bockmann Kawai ES100 Digital Piano 50 A Few Moments With...

Paul Clark The Pearl of Great Price 52 Percussion

By Mark Shelton Staying Current With Your Skills: Update and Upgrade 54 Worship Team Training

By Branon Dempsey Can’t Keep a Beat? Bet Your Guitarist Can.

30 Record Reviews

By Gerod Bass • Paul Baloche • Kari Jobe • Fellowship Creative • International House of Prayer • All Sons & Daughters 34 FOH Engineer

By Bill Gibson Prayer and the Sound Ministry 40 Guitar Grab Bag

By Doug Doppler Buried

Interview

42 The Band

By Tom Lane Are You Ready?

20 Citizens: Raising the Standard

by Gerod Bass cover & photoshoot photos: Cameron Cowles live shots from CMS NW 2013 by Sam Vert

WORSHIPMUSICIANMAGAZINE.COM MAY/JUN 2014

7

PRODUCT REVIEW

By Bruce Adolph

PRS S2 Series Mira Electric Guitar

are the best value pound-for-pound in that $700-800.00 MAP price range for overseas electrics. Now PRS is forging new territory by producing the S2 series of guitars (Stevensville 2). These are electrics that are made in Maryland blending new design elements and manufacturing techniques to create American made guitars that are more affordable. When I first heard about the S2’s I thought that was a smart plan.

They had entry level covered and they have the high-end instruments. They needed something right in the middle.

combined with their pre-radiused, prefretted fretboards, results in an efficient manufacturing process that creates a comfortable, playable neck (the neck feels and plays smooth as can be). For the spec heads out there here you go… width of the fretboard at the nut is 1 21/32”, width at the body is 2 1/4”, and the neck depth at the nut is 27/32”.

The S2 Series proprietary pickups are built to PRS’s exact specifications, including wire and coating materials, winds, and resistance. All of the models feature a 3-way blade pickup switch These guitars sport the fit, finish, feel, and with a master volume and a push/pull attention to detail of PRS craftsmanship tone control. Coil-tap functionality adds in a straightforward design concept. The versatility by allowing players to split S2 Series is comprised of five models: the humbucking pickups into singlecoils, the S2 Mira, S2 Starla, S2 Custom providing a host of different tones.

22, S2 Custom 24, and S2 Singlecut . The S2 Mira features the same stop-tail These models share several key features, that is used on Core PRS instruments. It is including PRS S2 locking tuners, custom- an unplated bridge with brass studs. The wound pickups, PRS neck shapes, PRS nut is also the same one they use on the S2 bridges, as well as PRS fretwire, nuts, higher models. The S2’s have locking Paul Reed Smith says, “80% of information and double-action truss rods. The new tuners, and I personally like their look is brought in with the eyes, but in the end if lines of guitars have an asymmetrical, better than the old locking Sperzels. you do not like the way your guitar sounds beveled body shape, and the flat top PRS works hard to maximize the guitars’ or the way it plays… you are not going allows for a big voice. overall resonance, musicality, and tone. to love the guitar. So you have to go after all three. How does it look, how does it For review purposes I have a S2 If you really want to know, they use Mira. It contains the same traditional the same jack assembly, fret wire, and sound, and how does it feel?” tonewoods that are used on PRS Core electronics knobs as the Core guitars Paul states that those three aspects of guitars, the Mira has a solid mahogany too. It’s pretty cool how much you get, guitar building are “art forms” and if body (the body is a bit thinner than it’s and the price is significantly lower! The asked why someone should buy a PRS higher-end brother), mahogany neck, guitar does come in a gig bag instead guitar the logical answer from Paul would and a rosewood fretboard. of a hardshell case (hey, they have to be, “In my mind, we are paying attention Some of the design and construction cut back somewhere). The Mira I was to all that stuff!” methods used in the S2 Series allow playing for this review has “dot” fret Those words couldn’t be truer with the them to use less expensive/more readily markers. You can pay extra for the new S2 series of guitars. PRS has made a available woods, but no compromise famous PRS “bird” inlays if you like. name for themselves with high-end electric has been made to the tone of the S2’s. A benefit of having a thinner body guitars made in Stevensville, Maryland One cost saver is the neck blank’s is the lightness of its weight and the for 30 years now, and then several years starting dimensions. The guitars feature overall balance of the guitar in your back they introduced an overseas line a 25” neck with scarf-joint construction hand. You could play this guitar for an of quality inexpensive electrics made made from quartersawn mahogany, and hour standing up and not think about its in South Korea. Those SE models fit the the increased glue surface area results “three things” criteria and, in my opinion, in a very strong joint. This technique, Continued on page 36

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MAY/JUN 2014 WORSHIPMUSICIANMAGAZINE.COM

“Once I used the Audix SCX25A, I started giving my other mics away."

Bob Kilpatrick - Christian Artist, Producer and Engineer

The Audix SCX25A large diaphragm condenser mic is perfect for live or studio.

The SCX25A delivers a pure, open-air sound with exceptional detail and realism.

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"The Audix SCX25A is simply the best mic I’ve ever used. Nothing comes close to the clarity, sonic truth and lack of coloration of this microphone. I use it on vocals, guitar, piano, stings and drum overheads and I am always thrilled the results.”

Bob Kilpatrick- Christian Artist, Producer and Engineer

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They always out-perform. They're my go-to piano miking solution."

Paul Mitchell - Front of House, Joe Sample, Jazz Crusaders

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FROM THE DRUMMER’S PERSPECTIVE

By Carl Albrecht

Drumming With Clicks, Loops, and Stems In modern music, especially modern worship, drummers must be able to play with clicks, loops, and stems. Obviously this means all musicians and singers have to develop this skill, but the drummer becomes the foundation on which all the others will build. This is unavoidable in this current musical generation. No matter what style you play; in whatever type of venue you perform; working with machines or canned music is something you will have to deal with at some point.

If this is a new concept to you, then it’s time to jump on board and learn these vital skills.

Don’t let another day go by without getting a metronome or click device to practice and perform with, AND get into the music software world so you can download drum loops and performance tracks to work with also. *Drum loops are just drum or percussion grooves played over and over, usually in two or four bar phrases. They can be electronically created or real instruments recorded (sampled) and programmed to repeat. **Stems are actual music tracks to play along with. They can be taken from the original recordings or from other music production companies, or even something you’ve recorded yourself.

If you have read my previous articles or other drum forums, I’m sure you have already heard many times about developing this skill.

The key thing is to make it a habit. Don’t just practice with machines on occasion. Do it ALL the time. When you go through your warmup routine, rudiments, groove exercises, song playing, and even drum soloing… DO IT WITH THE MACHINES. Everyday!!!

No matter what type of guide I play with my goal is usually to play in the center of the time as best I can. This is crucial when playing with loops or stems. You have to make it feel like it all fits together perfectly. When you only play to a click track you can have a little more flexibility. You might feel the music calls for the time to lay back a bit in the verse and then push more in the chorus. Whatever makes the music feel right is most important.

It could be the other way around… pushing the verse – laying back on the chorus. But even when you have some creative flexibility with the feel you don’t want it to stray too far from center.

On the new Paul Baloche LIVE project half of the songs were played to only a click.

The others were played to stems or tracks we already recorded. Yes, it is still the band playing on the project. But sometimes we like the feel of drum loops, percussion tracks, second keyboard parts, second guitars and more that we’ve recorded earlier to help add

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MAY/JUN 2014 WORSHIPMUSICIANMAGAZINE.COM

energy to the songs. I recommend getting Paul’s new CD/DVD set so you can watch and hear a real live concert event. It so happens that on this DVD you can see many moments of how I’m starting clicks, watching the band for cues, and just trying to make each song feel right. http:// paulbalochelive.com

The most challenging part of playing to loops and stems is to give a song energy without letting the tempo move. The feel of the groove must stay perfect. I usually notice that I mentally and physically have to relax more when playing with these types of performance tracks. It’s almost like I’m laying the time back a little more so that it feels right. If I push at all it doesn’t seem to feel right to me. This could be my personal approach to playing and the way I react. I think that when playing to a click I tend to relax the time a little in the verses and push more in the choruses.

When playing with the stems I have to consciously not let that happen. So… it’s important to listen carefully and take note of how you sound when playing with the tracks. As I’ve mentioned in other writings, it’s a great practice to record everything you do so you can go back and listen to what really happened during your performance. It’s quite revealing. Don’t beat yourself up either. Music can feel differently to a drummer and the whole band on different days. We’re all human.

But the more you work on this the more consistent you become.

When playing to tracks or loops use “dynamic variations” to create energy, not time shifting. Practice playing extremely soft in the verses and then get louder in the choruses. When moving into the second verse bring your dynamics down, but not as much as before. As you play a fill into the next chorus build the volume (crescendo), and then play the chorus solid at a loud volume. As always, adjust your dynamics for what the song requires and how balanced you are to the rest of the band. Ask your sound tech how it sounds in the auditorium. I’m sure they would be happy to tell you. J If playing to tracks is a new thing for you, start downloading some popular songs that are available from “loop community” - http://loopcommunity.com ; “praise charts” - http://www.praisecharts.com/ click-tracks ; “worship house media” http://www.worshiphousemedia.com/ worship-tracks ; and other sites. There are so many great resources for this… Start where you can, and build upon it.

Creating your own drum and percussion loops can be fun. If you’re a Mac user you probably have Garage Band software already. You can use the built in drum, percussion, and loop library there to start building loop ideas or even record your own. You can do this by plugging a microphone into your laptop directly, or with an interface; set up a track; record a few bars; then edit it down to a two or four bar phrase, and then loop it. If this is all new to you, there are tons of tutorials on the Internet. Start with something and keep learning. Little by little by little…. Poco a poco a poco. J If you want to invest big into loop libraries I recommend Stylus RMX - http://www. spectrasonics.net/products/stylusrmx. php - This is a program used by many drummers and producers. It has thousands of built in sounds and loops. Stylus is also a software plugin that allows you to do amazing editing. Be sure to check your system requirements for compatibility issues. There are also great sampling and loop systems available with “Acid Grooves,” “Reason,” and others. I’ve only mentioned Stylus RMX because I am more familiar with it.

I could go on and on, but I don’t want you to be overwhelmed with technical issues and software. The main thing is to start with something and go with it. Start to incorporate it into your drumming as soon as you can. Always remember to let the music rule your decision-making.

Don’t just become a techno wizard without discretion. Great drumming is first and foremost about being a great timekeeper.

Even with that as the foundation it’s important to keep a relaxed, smooth approach to your playing. Never let it become stiff or uptight, even when playing with the machines. Play everything with passion and soul because the machines can never do that.

Blessings on your groove, Carl

Carl Albrecht has been a professional drummer & percussionist for over 25 years. He has played on over 70 Integrity Music projects; Maranatha Praise Band recordings & numerous other Christian, Pop, Country, Jazz & commercial projects. He currently lives in Nashville doing recording sessions, producing, writing and continuing to do various tours & seminar events.

Visit his website: www.carlalbrecht.com or send an e-mail to: lmalbrecht@aol.com.

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SOUND LEGACY

KEYBOARD

By Ed Kerr

The Space Between As I teach in worship conferences around the country, many people are surprised when I point out that almost every one of the most popular worship songs today are based on 4 chords, the 1, 4, 5 and 6 in the key. Here are the 1, 4, 5 and 6 chords in all keys.

the beginning of this article. You might try 1 6 4 5.

Play this progression and see what you think. You’d probably repeat the G Em C D before heading into the next verse or chorus. That’s true of the next example as well, the 4 6 5 1 progression.

I hope you’ll experiment with these varied progressions and see if any resonate with you. The point of this exercise isn’t to mess with a proven arrangement. It’s to see if any of these alternative progressions feel potent as material for the space between.

And here’s a table showing these chords in various sequences:

Grab a chord chart of some of your favorites songs, number each chord in the song, and you’ll likely end up with a chord progression found in the table above.

One of the benefits of this kind of analysis is that it can lead you to go to unique places for the space between. By that I mean the space between the first chorus and the second verse, the space before a bridge is sung, or the space where an instrumental is played.

Of course you can do whatever the original recording did for all of these moments. But the tools I’m offering you here can help you go new places and, perhaps, bring some freshness to a song you’ve presented the same way time and again. I’m going to use “10,000 Reasons” in the key of G for my examples here.

On Matt Redman’s original recording, when most choruses end you hear a Gsus G Gsus G figure, with 2 beats given to each chord, like this:

To venture to new places musically, sing the last line of a chorus and then play any of the progressions from the table you see at

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Something else that can impact the space between is altering the harmonic rhythm in a section. Harmonic rhythm defines how often chords change in a song. In “10,000 Reasons” chords change every 2 beats, on the half note. Play this next chart to see how impactful it can be to double the harmonic rhythm so that chords are held for 4 beats, changing on the whole note. I’ve left off the melody for “worship Your Holy Name below to save space.

Here’s yet another variation. Interesting how effective it can be to hold the Em chord past the downbeat of the second bar, then the change from the D to G on the quarter note.

Playing familiar songs the same way time and again can lead you and your band to be less engaged when playing the song. Your congregation might also be less engaged as a result. Maybe you just need to have another cup of coffee and play the song the way you’ve always played it.

Or, you might want to apply these concepts in the space between and see if you discover a new freshness for the song.

It’s worked for my teams and me. It can work for yours.

As a songwriter Ed has written over 100 songs with Integrity Music. He has a Masters Degree in piano performance. Ed and his family live in Washington State.

Ed plays Yamaha’s Motif XS8. www.kerrtunes.com

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BASS

By Gary Lunn

Climb the Mountain: A Note of Inspiration In my younger, formative years I went through a phase where people told me that I was good – like . . . REALLY good. Of course I wasn’t, but the people telling me that didn’t know any better and they meant well. I remember when I turned seventeen I had my attitude severely adjusted while listening to an instrumental on the radio by a group called “The Dixie Dregs.” From that point on I embarked on a journey that would forever change me and the way I listened to music. But enough about that!

I thoroughly believe in “practice makes perfect.” In reality, the outcome should never actually be called “perfect,” but perhaps it should be called something like, “continuously growing at a high rate of achievement.” That sounds a whole lot better to me!

These days, both locally and in my travels, as I meet new, up-and-coming bassists (particularly here in Nashville), I frequently come across a very wrong attitude oozing from a large percentage of the budding bassists that I encounter.

Unfortunately, it’s one of needless arrogance. To put it bluntly, most of these guys are not nearly as good as they think they are.

I get it. I was a teenager once. Of course, my starry-eyed recklessness spilled over into my twenties (remember, you can’t be a musician AND grow up too), but my attitude (by the grace of God) was always one of “learn every bass note on this record - do or die!”

I can’t really explain why that was. I can only say that I was “bitten by the bug!” Fortunately, the time I invested in practicing probably kept me from making even more bad decisions than I actually made growing up.

Music (particularly R&B, Jazz, and European pop) was constantly inspiring me to climb to new heights, tackling one bass slapping technique after another, one over-my-head run at a time. I was even that way in college! My drive to

excel far outweighed all the typical distractions (well...somewhat :( ). I also surrounded myself with guys that were WAY more talented than I was. God put some young men in my life that spurred me on by their example: to practice, to listen, and to learn. I had heard that iron sharpens iron, and I was not intimidated by that in the least. Lord...I was far from perfect, but at least I had a little bit of humility and I was very anxious to learn.

The reason I have mentioned all of this is because I rarely run into that kind of acceptable attitude any more. In fact, I had lunch with a guy last week, someone I went to college with, who that asked me this question. “Do you ever run into young musicians who are humble AND talented?” Sadly, my reply was something like, “No, but I did recently meet this one guy. I was hopeful for a while, but it was all fluff.”

This attitude problem is one that could SO easily be remedied with some good, honest mentoring by some of the bass “fathers” in the world. One of my main purposes for writing this is to appeal to the fathers in the spirit AND in the “low end,” for them to keep an eye out for this destructive attitude, quelling it whenever possible, in mature love, of course.

Also, I wish to alert a younger generation enabled by this “Garage Band” era who drag and-drop audio loops, performed by others, into a production window and call it their own written music. I will admit that it IS a crude form of creativity, but it’s not quite the same as practicing the same run on a bass until you get it right. It’s not even close! It may inspire you (to a small degree) to create “music” like that, but trust me; there is nothing like that feeling of accomplishment when you “climb the mountain,” learning a bass run or bass solo that you never thought you’d be able to play, especially with any kind of ease or accuracy. And then the more times you come back to it later and play it you almost can’t believe that you have

really, finally mastered it...or at least you THINK that you have. Then after a period of time, you instinctively start to feel slight changes to your execution, dynamics, and the more precise feel of it. Then you think to yourself, “Wow. What was that other REALLY hard lick I heard that I thought I could never play?

Hmm. Let me try that one NOW.” Suddenly you have been “bitten by the bug” and you are caught in a vicious, yet healthy cycle of having more and more goals to be a better bassist, having an unquenchable desire for achieving new, higher levels. Your repertoire of “licks” can never, ever hit the “full” mark. Suddenly, it’s no longer about learning something half way, recording it, and then fixing it in ProTools. It’s about actually being able to play it right, or being ready to play it right WHEN you record it or play it live with a band!

In a nutshell, that is exactly what happened to me, as well as almost every other successful musician that I have ever met. These are the kind of musicians that you want to seek out and be around as much as you possibly can: The ones who have that true heartfelt desire to play excellently, to sound excellent, and never stop learning - not the ones who talk about how good they are.

Being an excellent bassist is something that is truly earned. It’s not at all about what someone has said about you or what accolades they have adorned you with. It takes determination and priority, drive and dedication, patience and perseverance...to be a REALLY great bassist!

Gary is a session player/ producer/writer in Nashville, TN. He does home recording, plays many recording session accounts, is on tour with Dolly Parton, and attends Grace Church (gracechurchnashville.com) in Franklin, TN. Email him for questions, comments or scheduling atgarylunn@me.com.

WORSHIPMUSICIANMAGAZINE.COM MAY/JUN 2014

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VOCALS

By Sheri Gould

Listen To Me! Listening. Is it a lost art? I recently saw a small poster on Facebook: “Listen and Silent are spelled with the same letters—think about it J” When it comes to singing, whether alone or in groups, much could be solved by simply doing a better job of listening.

Listening to Yourself As singers we need to make sure we get personal feedback with regard to our singing. We need to record a lot (and listen to it!). We need to ask others for honest feedback and we need to sift through the information we get (not all of it will be valuable). We also need to pay attention AS WE SING. I know it sounds really simple, but the truth of the matter is; most of us are lazy listeners when it comes to singing. We don’t put much effort into listening, certainly not as much as we put into singing.

Much of singing is about pitch and tone.

When we sing, there are many muscles involved, none the least of which are related to the formation of pitch. The more we sing, the more we create solidified, concrete muscle memory. If we form this memory correctly, by singing in proper tune, it becomes easier for us to recall and recreate the pitch when we want to. Conversely, if we have been sloppy with our pitch, we will find it easier to recall the improper pitches we have memorized.

Singing a Duet For purposes of this article, I am going to make a distinction between “group singing” and singing with one other person. Some things are applicable to both of course but, depending on style and function, there are some things that are unique to duet singing. Most of the time, when we sing with someone else, we try to focus on blend.

However, there may be times when you want to focus on the distinct differences in your voices or styles—this is layering. Listening to each other should always be the starting point. How are your voices the same? How are they different? How can we sing together to highlight each other’s strengths without competing? This is effective partnering and it starts with careful listening.

Much can be accomplished by creative arrangement and thoughtful listening. There are plenty of examples of popular duets that do this very well, and it’s especially apparent when the duet is between a man and a woman. One example that comes

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to mind is “Endless Love” with Lionel Richie and Diana Ross. To me this is a perfect example of two people completely maintaining their own personal style while at the same time being 100% tuned in to and listening to each other.

There are also times when the perfect blending of two voices can be the most powerful expression. A couple of examples of two superstars coming together with perfect blend despite completely different styles are “No More Tears (Enough is Enough)” with Donna Summers and Barbra Streisand, and “The Girl is Mine” with Michael Jackson and Paul McCartney. Impressive. And if you’re looking for a fun example of a malefemale duet where the blend is superb, check out “The Prayer” with Donnie Mcclurkin and Yolanda Adams (Donnie is just such a fabulous singer anyway!).

If you want to see a contrast, compare Celine Dion’s versions of the same song (The Prayer) either with Andrea Bocelli or Josh Groban—neither version blends as beautifully as Donnie and Yolanda’s in my opinion.

Either way you choose to go: blending or layering, the bottom line is that you need to focus more on listening and less on singing (especially while practicing) in order to accomplish an effective partnership and a powerful end product. Listening also includes watching your partner closely: listening with your eyes. Starting and stopping together, breathing together, enunciating together and emoting in a unified yet complimentary way. It’s even important to make sure that you deliver the song in the same way, checking that you each emphasize the words in the way they were meant to be spoken, not just sung. One popular song right now is actually comical in the inconsistent way the performer pronounces the main word in the song, shifting emphasis on the syllables from “Un-con-di-TION-al” unCON-di-tion-al”. How would you speak this word? That is how you should sing it.

Group Singing Group singing is all about blend; “E Pluribus Unum” which is Latin for “out of many, one”. We want the power of multiple voices and multiple parts without a sense of the “multiple”. How do we achieve this? By listening to each other.

It really is that simple—it starts there anyway. Blend has to do with other things as well of course. In my video entitled “How to be an Effective Background Vocalist” I outline several things that can help a group to achieve a good blend, but at the core of it all, listening is the most

important requirement.

When I get asked to work with a church’s team, typically the thing I need to do is to stop the singers and make them listen to each other. Most singers, if they have even a rudimentary level of control of their voices, can affect their tone to a degree.

When I cause team members to stop and look/listen to each other they almost always instinctively have a sense of what to do to create a better blend. Just the process of making the effort to emphasize listening usually has a significant impact on the sound of a group. Sometimes I will break the group down to just two people to start with. Then, once they’ve learned to listen and blend with each other, I will add one more to the mix until the three of them are listening and blending, then I’ll add one more etc..

Reflective vs. In the Moment There are two different kinds of listening as a singer. There is the listening that you do while you are actually singing and there is the listening you do afterward (via a recording). Both are essential to growth. I would like to leave you with a thought; don’t try to be the singer and the audience at the same time. It may sound contradictory to what I’ve been saying about listening carefully, but you should do the vast majority of your learning/ evaluation listening when you are in the “practice mode” of singing. That is where you want to lay your foundation, create a positive muscle memory, etc. Once you move into “performance mode”, although you HAVE to make listening to yourself a top priority, you must be careful to give out to your audience, not just focus inwardly. Additionally, you cannot continue to try to step into the audience’s shoes and try to assess yourself throughout your presentation. It will affect your performance negatively if you do. Practice to the best of your ability and then go out there and give your all. Stop judging yourself as you sing; just sing. Everyone will benefit from this. You’ll be focused on singing (and communicating) instead of critiquing, so you are bound to do a better job!

Sheri Gould is an internationally acclaimed vocal coach. With a degree from the University of Ill, she has been coaching since 1979 and leading worship since 1985. For weekly vocal tips, check out Sheri’s FB page at www.facebook.com/officialsherigould.

For information on products, including instructional DVDs, check out http://sherigould.com

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TIPS FOR TIGHT TEAMS

by Sandy Hoffman

Click It To Stick It (Let’s “Tick It” From the Top)

Waffles are good. With syrup they’re excellent, even stellar! Add bacon and— hold on a minute, I’ll be right back! But waffles for breakfast and waffles for tempo are two entirely different subjects.

One evokes pleasant memories of misty early mornings in the lush, green Appalachians; the other, a train wreck in the Rockies!

At breakfast, according to MerriamWebster, a waffle is “a crisp cake of batter, baked in a waffle iron.” Mmmm, good! But when used as an intransitive verb referring to our worship team tempo, the word “waffle” takes on a whole new, almost worship-defeating connotation.

That wonderful implication of savory, sweet, batter-baked breakfast is suddenly replaced with a wishy-washy insinuation: YOU-ARE-NOT-STEADY! As relates to worship, this means we are either unable or unwilling to make a clear decision about the frequency or regularity of the beat of the music. We need a fix, and I don’t mean more bacon! Although . . . bacon can make anything better!

RUN THE RHYTHM RACE It happened again last week. The tempo for the verse we were rehearsing felt perfectly in the pocket. Not too slow, not too fast. You know the sensation I’m talking about, being at one with the feeling and the message of the music. It was a great groove, but then came the chorus, and the sprint was on! The entire team leaned into it like a racehorse just out of the gate. It seemed we were each desperate to be the first to make that final turn and cross the finish line into the next verse. No blue ribbon for the winner of that race!

It’s hard to understand. During the verse we were climbing slowly, gradually making our way to the chorus. We spent the time and musicianship to share the worship-relevant lyrical details in the verse with those we were leading. All the while, we were expressing dynamic nuance. It felt right. We were steady, and usually playing at a somewhat lower volume level than the chorus would be.

(Remember this point. It WILL come back to haunt us.) But as soon as we passed the peak of the verse, it suddenly felt as if we had blasted down a slippery slope into the Indy 500 of choruses. What

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happened?

THE CHORUS CONUNDRUM As a rule, choruses are written more concisely than verses and embody the hook, considered to be the most memorable moment of a song. The chorus gets quickly to the point, and generally includes less detail than the verse. It rises to greater lyrical/musical intensity, and often to greater volume as well. It is the payoff for the listener, who has already waded through the broader verse-generalities.

Because of its straightforward nature and heightened musical intensity, I believe the chorus simply feels better to us. In the work-a-day world of song-structure, the chorus, with it’s hook and lift, is like Friday at 5 o’clock! It can become the feel-good vehicle which drives us home at the end of that hard work week to praise, worship, and celebrate our everlasting hope in Christ.

Though the worship-songwriter’s motive should never be to manipulate, the inherent properties of the chorus enthuse us, and make us want to move— forward—fast. The result? The team, and the ones being led, are easily inclined to accelerate. This is all good ‘til we return to the verse and find that it now feels strangely unsettled and outside of the original pocket or groove. This is a real conundrum for those of us who are sticklers for tempo consistency. How do we overcome this felt need for acceleration and deceleration in the worship song?

Meet the mighty metronome!

“STICK IT” FROM THE TOP If you find yourself or your team struggling with a dichotomous relationship between verses and choruses, maybe it’s time for some individual and team-wide metronomic application. Our widely waffling worship song sections just may be in need of some serious, syrup-sticky tempo tightening.

WORK IT OUT ALONE As individual [worship] musicians, the admonition from the Lord in Psalm 33:3 applies: “Play skillfully with a shout of joy.” While learning scales, modes, solos, chords, chord progressions, songs, etc., and becoming proficient at these,

we should also be developing a steady sense of tempo. If we really want to stick the steady beat from the top, we need to begin using a metronome at the earliest point possible in our personal music education.

If the song is too hard for you to play at full tempo, begin by practicing at a low enough speed to allow you to maintain a steady beat, simultaneously executing a smooth, clean performance. Over time, increase the speed of your metronome, and before you know it, you’ll be playing it clean, polished, and right up to performance level.

NOW TICK THE TEAM Once you are steady in your own playing skills, it’s time to corporately rehearse, applying the metro’ click to the entire worship team. Just as you did on your own, start out with a lower number of beats per minute, then work up to the optimum tempo desired. Pay close attention to any tendency to vary the beat from one section to the next (verse to chorus to verse), and go over it again and again until the team achieves a comfortable consistency.

BETTER LATE . . .

You didn’t own a freebie beat-keeper when you were learning your chops?

No worries. It’s never too late to begin to do your warm ups, skill-drills, and song preparations under the steady beat of a metronome. Since the days when you were growing up and picking out your first tunes without a clicker, lots of free, online metronomes and apps have become available. Do a quick search, apply one to your personal and corporate song preparations, and your tempos will never again waffle!

This has been a metronomic analysis of the dichotomous relationship between verse and chorus in modern day worship song. Thanks for joining me!

On the beat,

Sandy

Sandy Hoffman serves the worship community at Christ Church Santa Fe, NM and beyond. Find out more about his “Tips for Tight Teams” online at: www.WorshipWorks.com

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CitiZENS raisING THE Standard INTERVIEW by GEROD BASS

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Gerod Bass: Mars Hill has seen some tremendous growth in attendance and influence over the last few years. How do you describe the mission of Mars Hill to folks?

Zach Bolen: (lead singer of Citizens) Really, our mission as a church is to make disciples and plant churches.

That’s been a mission that we have held fast to for the past 18 years since the church began, and so that really is a mission statement that informs every aspect of ministry within the church. For us, with Mars Hill Music, it’s the same thing; we see our music as being a big part of making disciples and planting churches.

One the main ways we are honing in on the ‘making disciples’ piece is that all the Mars Hill Music guys are unified and just wanting to raise the bar, if you will, for worship leaders or worship pastors.

It’s more than just being a person who sings songs, or arranges music, or leads the band; it’s actually a person who God had gifted with the ability to preach the word through song. So we really believe that if we are going to carry out that mission and make disciples, that it is His word that informs us of how to be faithful leaders and how to actually do things like record albums and do things that sometimes can become a little messy when you start involving the church with business practices.

But the thing that has helped us to maintain our integrity is that the local church is our primary focus. We don’t make the records or our songwriting our primary thing; we make serving the local church our primary thing, and that kind of ties into the other aspect of the mission of planting churches. So we feel that if we are going to be a part of planting churches, we are just as vital and central in that process as say, our children’s ministry, or as important as preaching the word, as our community groups are. We believe that it all goes hand-in-hand. It’s all sort of part of the same bicycle, two wheels moving together, synchronized; so our whole goal in it all as we are writing songs and doing this whole thing is to make sure that we are supporting the mission of the church to make disciples and plant churches.

called to shepherd at our local church.

That is definitely on the forefront of our minds. I’ve written a lot of songs in the past, for instance, “Made Alive”. The thing that was really driving that song was thinking about our 8pm University District service, which is a church that I led at for a few years. I was thinking of an anthem for them that would declare the Gospel in a bold, energetic, and fun way; and so that was what I kind of had in mind is, ‘okay, this is sort of a characteristic of this worship service, this 8pm U-district service where it’s a bunch of college students. You get a bunch of college students together in a room and there is quite a bit of energy in there which is much different than a normal 9am service.’

a perception out there that that is intentional, and that we are trying to go against the system. Really, what I would say is that a lot of us are just writing what we love stylistically. That is why we have a lot of variety, even in some of the other Mars Hill bands. I think what it comes down to is just how we use music to express something that we believe in.

We just really want people to believe in Jesus. I can only speak for myself, but I have not really immersed myself into the Christian Music culture, and so I think a lot of that is why our stuff sounds a little different from what is out there, and that’s not a good or bad thing. I think there is

And so there was something about that I felt we could use to as inspiration as to what would this look like for this body to sing this song. It really comes down to that we want write songs that teach people the truths of the Bible; and really, in essence, the core of what the Gospel is and how all of scripture points to Jesus.

The coolest thing that has come out of all of this is how these songs have transcended across generations. We hear from parents at church how their kids are singing these songs and these are the things that are going to stay with them for a really long time. I think it’s kind of a neat thing to help sort of build this foundation in them of who Jesus is and give them a firm foundation of what it looks like to know and understand the grace of God. And these ideas and foundations are spreading from kids to their parents, and even to their grandparents. I think that the generational aspect would have been missed had we been looking at it the opposite way, to write songs that just we really, really liked. So many of these songs are being written by the local church, not just by guys who are paid, but by volunteers and people who are really about serving the local church.

There is a big part of that that brings an authenticity piece to it that, not only our congregation has bought into, but other people too that realize that this is a community, rather than one or two guys. It’s a collaborative effort . . .that we are coming together to write these songs and make them come to life and have value.

a lot of really great music out there, but I think that we as Christians can learn to appreciate the music of other artists.

We want to write music that is not just sung by people in the church, but music that appeals to a lot of different people.

To give you an example, we had a couple of guys visit our church that were students at Berklee College of Music in Boston, and someone had invited them to church, and they were like “nah, we GB: How does that mission of GB: Your self-titled album planting churches and making seems to buck the trend of what don’t want to go to church.” But he said, disciples filter down to the songs most would consider “normal” “You should come and check out this band that is playing. I think you might you write? in the realm of congregational be really into them.” And so they came ZB: When we sit down and write worship. What would you say in and Citizens was playing that Sunday songs, I think that we are all thinking response to that statement? and I found out later that the guys who about the people here that we are each ZB: I think that there is probably showed up who weren’t Christians were WORSHIPMUSICIANMAGAZINE.COM MAY/JUN 2014

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continued

blown away because they had never heard music in the church like that. So they went and bought a couple of our CD’s after the service. and what is really cool is that even though I may never hear of the fruit that comes of this, at the very least there’s this idea that I am praying for and hoping for that these guys will begin to listen to these songs more and more because it’s music that they like, and as they do, the Gospel will just begin to saturate their hearts and they will start to hear and identify the truths that are in it and realize that, “Wait a second! Where initially the music was what really moved me, now what’s actually transforming me is what this music is really about, it’s about Jesus!”

GB: At Worship Musician! magazine we enjoy hearing about the guitars and amps, etc. that worship teams and bands are using. What is the band using these days, gear wise?

ZB: Yeah, I mean I have been playing a G&L classic for about 10 years now and I love it. I have a 67 fender proreverb, and I don’t really use a lot of pedals but I do have a DD20 overdrive.

One of the big things we have been venturing into these days is using a lot of the old 80’s synth sounds, so we have an old Roland Synthesizer called a Juno 60 and we get a lot of our sounds off of that. My bass players is playing a Fender P bass. You know . . . kind of the standard gear. We tend to be pretty simple.

week’s sermon. While we are watching that we slowly begin to think about what songs might work for our people here.

Some things you can always count on is that with the first two and the last two songs we are generally always trying to hit the same trajectory. With the first two we start with the transcendence of God, using songs that call attention to God as Creator, God as trinity, and helping people to see, whether they are Christians or not, that we are all created

by God. And in the end we are always banging the drum of Jesus saves, the victory that comes, a real celebratory vibe. The songs that I am really focused on each week though are the songs before the sermon and the one that comes after as we come into communion or a time of response.

We tweak it every now and again but that’s generally what we go with. But it’s really helpful that Dustin from the Bellevue church has already led the week before and he says, “Hey these songs really worked,” and even though their context is different, the message is still the same. We may arrange or play the songs differently for our campus, but we really try to sync up as churches and really try and hit the same idea across the board.

GB: How do you go about building your music ministry at church?

ZB: One of the ways I have tried to do this over the years. and the one that has become the most effective is that at the end of each service I make sure that GB: What drum kit is your I am available to talk to people up front. drummer using?

What winds up happening is that in the ZB: I don’t know the brand name it is midst of conversations with people I find but it’s a custom set that he got down in out that someone is a musician. which LA probably about 8 years ago. We usually comes out late in the conversation also use another DW kit with a natural for some reason. and they typically end up being the best musicians but they finish and it’s pretty killer. might be afraid to serve in this way for GB: Tell us how you guys plan some reason. your weekly set?

Citizen’s doesn’t lead worship every The other aspect that I really try and hone in on is to have my own musicians week, right? go and pursue people that they know that ZB: No. We have 3 bands in the are good musicians that they think would rotation and I lead two of them. But be a good fit for one of the bands. The when Citizen’s is up we are on a week one area that hasn’t really worked out delay from the main Bellevue church well for me is holding auditions. A lot of where Pastor Mark is preaching and the times it’s hard because on Sunday’s we worship pastor there gathers the songs really want people up here for whom it’s for that campus and gives us suggestions truly clear that this is a gift that God has on songs that really seemed to work for given them, and in fact it’s so obvious them that Sunday. Then I sit down with that we can point to passages like 1 my team from the church here in Ballard Cor 12 and just say that this is a person and we actually watch the previous who has been given a specific skill and

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Citizens: by Gerod Bass

continued

it’s clear that God wants this person to use their voice to lead others in praise. I mean, I try keep the door open for people who want to serve in our music ministry.

Sometimes I may tell people to take some time to improve their skills and then come back and try out again. But I think it is important to make sure that people who have a heart to serve, but might not have the musical gifts we are looking for, that they know that about other opportunities where God might want to use them like as a community group leader, or on our production or facilities team. I always want to leave the door open with people and to hold onto it with an open hand.

to spend time and sift through those old hymns that are out there, because while some of the language may need to be updated, there is so much deep thinking that has gone into them.

Another aspect of the hymns that I think is especially compelling and different from the way songs are written today is that many of them were not written by musicians per se, but by amazing theologians. It would be like asking your pastor, who may not be a musician, to write some lines and meter on justification, or something from scripture that you really love that points to God’s creation and I think that was GB: How have the hymns of the something that was a lot more common ancient church helped shape how back then. It’s very important that we you write music for Citizens? don’t lose the history and that part of the ZB: Man, I mean the biggest thing church, it’s important that we continue you notice in a lot of the hymns is such what so many men and women started a rich, rich foundation of scripture. We before us. just recently re-wrote a hymn that will be GB: What role does arrangement coming out on our next full-length album of your songs play in creating an called “The Strife is Over”. I think that it authentic worship environment? is an example of a song where the lyrics ZB: I like to look at the song lyrically are incredible about the death, burial, first and what it is meant to communicate. resurrection, and glorification of Jesus that To give you an example, we recently is so cool, and there is such a richness that did an arrangement of the hymn “There you just don’t see any more. I think a lot of is a Fountain”, and normally that song is that is the result of a change in culture too, kind of a mid-tempo and kind of slower, because in the last 100 years we have seen which is appropriate, but I also think the Bible taken out of schools and so kids that it is one of those rare examples of a aren’t learning the stories and developing song that can be sung with a little more a knowledge of God at a young age, energy and enthusiasm. I love verse 2 regardless of where their parents stand because it basically lets us identify with with God. So I think this is a huge the thief on the cross, but then the chorus opportunity that we have as songwriters is...”He washed all my sins away,

washed all my sins away and .....” and there is sort of this opportunity, if we arrange it correctly, it can provoke a moment for people to celebrate. I mean, man, He washed all my sins away, I was this wretched sinner and He’s cleansed me. So I think it’s really important when we are arranging songs to see what kind of Journey we can go on together.

I say this a lot, that If you were to put scripture and theology on one end of a scale and music on the other, the theology would create a giant crater in the ground and the music would just go floating up into the clouds. That’s not to say that music has no weight, it does, it has power, but it pales in comparison to what theology and scripture actually communicate. And I think that’s a huge aspect that we should be considering when we are arranging songs, we need to make sure that we are submitting to what the song is communicating rather than trying to make the lyrics submit to some musical idea that we have.

GB: What does worship music mean to you personally?

ZB: You know when I was in 6th grade, I got my first guitar and learned my first song, “Silent Night”. I think for me, growing up in the church, I didn’t go to a church that had contemporary music. I mean they sang hymns all the time, but I just grew up with aunts and uncles and family and we would just sing hymns together around the piano. We would get together a lot over the years, and back then I had a very shallow understanding of what true worship was; but since then I have learned a lot about how music is such an incredible tool and I am so thankful to be able to use that as an important was of proclaiming His truth. I think that we all worship something and so we are either worshipping God, or something he has created, or we are creating idols ourselves. If you can communicate the essence of Jesus and who He is into song, you can take the focus off of music and turn them into worshippers of Jesus.

That should be our focus as worship leaders, to turn people away from bring worshippers of other things and have them fix their eyes on Christ and nothing else. I love that God is using music to change hearts, to redeem lives, and to build His church on earth. marshill.com/music/artists/citizens

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SONGCHART

Made Alive Key: G · Tempo: 96

www.praisecharts.com/25037 Citezens Intro (2x) C / Em / | D / G / Verse 1 C Em I once was dead in sin C Em D D A - lone and hopeless C Em A child of wrath I walked C Em D D Con - demned in darkness C Em But Your mercy brought new life D And in Your loving kindness Em C Raised me up with Christ D And made me righteous

C Em You satisfy my soul D C Em D When I am heartless C Em D If ever I for - get my true identity C Em D Show me who I am and help me to believe Chorus > Intro (2x) Bridge C Em D My sin has been e - rased C Em D I'll never be the same Chorus (with no chords) > Chorus > Intro (4x) Ending G

Chorus C Em You have bought me back D G C Em With the riches of Your a - mazing grace D G And re - lentless love C Em I'm made a - live for - ever with You G D Life for ever C Em

By Your grace I'm saved D G (By Your grace I'm saved) Verse 2 Em C Lord You are the light D C Em D That broke the darkness 26

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© 2012 It's All About Jesus Music (ASCAP), We Are Younger We Are Faster Music (ASCAP) (Admin by MusicServices). Unauthorized distribution is prohibited. Words and music by Zach Bolen/Brian Eichelberger.

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RECORD REVIEWS Paul Baloche Live 1. Our God Saves 2. God My Rock 3. You Lift Us Up 4. The Same Love 5. Jesus Be My Savior 6. Mighty Fortress 7. My Hope 8. Hosanna (Praise Is Rising) 9. Today is the Day 10. He Is Risen 11. Glorious / Holy, Holy, Holy Since 1992, worship icon Paul Baloche has been blessing the church with timeless, honest songs of vertical worship that have made him a legend. Songs such as “Open the Eyes of My Heart”, “Because of Your Love”, “Glorious” and most recently “The Same Love” have become some of the most sung worship songs on the planet. 2014 brings a new live album that was recorded at Harvest Bible Chapel in Oakville Ontario, Canada where thousands of worship teams across Canada were brought together to form the congregation of this new recording.

Much of the album contains some of Baloche’s greatest songs with updated musical wrapping including the rocking opener “Our God Saves”, “Hosanna (Praise is Rising)” and “Today is the Day”. But there are quite a few new Baloche offerings as well on this collection that you will enjoy. One of the new songs in this collection is a new co-write with worship guru Brenton Brown entitled “Jesus, Be My Savior” in which Paul’s haunting acoustic guitar tones help set the stage as lyrically we are reminded of the suffering of Christ.

Another new-penned anthem is the Graham Kendrick co-write, “He is Risen” that arrives just in time for Easter. Originally surfacing as a duet with Kendrick on his stellar “Worship Duets” album, here Baloche offers his own solo take. Just as “Jesus Be My Savior” specifically deals with the Last Supper, “He is Risen” sets to music the narrative account of Jesus resurrection morning. Sharing the pen with Matt Maher, “You Light Us Up” is the type of song we have come to love about Baloche. Crackling with jolts of *Gerod’s Personal Picks in bold.

By Gerod Bass electrifying verve over lyrics that speak of how God’s grace lifts us up out of our sin and discouragements, “You Lift Us Up” can easily work its way into any worship team’s repertoire.

It’s no secret that this reviewer has a deep respect and admiration for Mr. Baloche.

This man is a true servant of the Gospel whose talent, heart, and insight should inspire us all. I would have liked to hear more new originals on this album, but overall it’s another must-have from Paul Baloche.

Kari Jobe Majestic 1. Hands To the Heavens 2. Breathe On Us 3. Only Your Love 4. Keeper of My Heart 5. Always Enough 6. Forever 7. How Majestic 8. When You Walk In the Room 9. I Am Not Alone 10. Holy Spirit (feat. Cody Carnes) 11. Lord Over All 12. Look Upon the Lord 13. Let the Heavens Open Through 15 years of leading worship, Kari Jobe has grown into a household name. Her 2012 release, Where I Find You was nominated for a Grammy and produced a staple set of much-loved worship songs. For her latest live worship release, Majestic, Jobe wrote nearly 50 songs in the development of the project, and included co-writes with a stellar list of worship leaders including Matt Redman, Chris Tomlin, Brian & Jenn Johnson, Paul Baloche, and Reuben Morgan, just to name a few. This collection of 13 new songs highlights Jobe’s angelic vocals and passionate worship leadership.

“Hands to the Heavens” opens the album appropriately as Jobe sings this powerful mid-tempo song inviting the Holy Spirit to have His way and move among those worshipping. There is a really nice freeworship section toward the end of the song that allows space for people to engage with God individually that makes this song Overall impression

Average church congregation could learn/participate on the first hear Can be learned/adapted by a band of average skill Lyrical creativity and integrity

Paul Baloche Live Kari Jobe Majestic Fellowship Creative Running to Follow Int’l House of Prayer Sing Your Praises All Sons and Daughters All Sons and Daughters highest marks

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very authentic.

Rueben Morgan, Kari Jobe, and Jason Ingram composed “Always Enough” is an excellent track that is both singable and at the same time scripturally rich as Jobe draws from Isaiah 58. Embedded with such variegated emotions, you can sense the true surrender in Jobe’s own heart as she sings this song of surrender. “Forever” reminds one of the popular Getty hymn, “In Christ Alone”, which also traces the narrative of Jesus all the way from the Cross to his resurrection.

The best song on the album, which is also one of the most singable and memorable, is “Look Upon the Lord”, which has a hymn-like chant that is hypnotic. Co-written with Paul Baloche and Jason Ingram, the melodies and lyrical prose within this stirring ballad are nothing short of genius and are sure to become a worship favorite in churches all over the world in no time.

This is another song that again gives the listener some time to reflect as it ends with a wonderful string section.

Although for the most part I really liked this album, there were places where the repetition was a bit over the top for me, and most of the songs here are pretty much in the same vein as far as tempo and instrumentation. I would like to have seen Jobe take a few more musical risks, but it is still a very good worship album full of soaring melodies and heart-felt emotional praise.

Fellowship Creative Running to Follow 1. Glory In the Highest 2. Running to Follow 3. Future Back 4. Never Be Without It 5. Magnify 6. Jesus My King 7. Desperate for You 8. Home 9. Always Been About You 10. The One I Need 11. God of the Rescue 12. The Everlasting 13. Beautiful Fellowship Creative, a multi-media collective emanating from Dallas-based Fellowship Church led by pastor Ed Young, is impressing again with their 3rd full length worship release, Running to Follow.

This worship collection contains 13 new songs of powerful, vertical worship that is seemingly geared toward a millennial generation.

Running to Follow is a high-energy worship romp of frolicking guitar licks, electronica, hip-hop, and what I like to call “happy melodies”. Almost every song on

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RECORD REVIEWS this album made me smile as I was singing along. This is not the album you want to listen to for quiet meditative worship. This is rocking, fun, get-out-of-your-pew kind of worship about the joy that we have in Jesus.

Some of the better cuts on the album include “Never Be Without It”, a bouncy pop anthem about how God’s love will never leave us in times of sorrow and pain, and “Magnify”, a declarative and passionate song about how the light of Christ has overcome darkness.

The most interesting song on the album has to be the celebratory tune, “Future Back”.

Complete with rag-time type piano, a horn section, and even some rap, this song encourages the listener to “take one step forward and don’t look back, cause our past is dead and gone.”

My favorite song is the stripped-down prayer song, “Desperate for You”, which reminds us that when we are at the end of our rope and life is at its most difficult, God is our ultimate rescue and strength.

The album ends with the glorious acoustic driven “Beautiful”, which is more of a performance track than a congregational worship song, but worship leader Derrick Bonnot’s vocals are sublime and he winds his way through a gorgeously sung narrative of the beauty of Christ.

This was my first time hearing anything from Fellowship Creative, and after listening to this album I thought to myself, “Man, look what I have been missing”.

These guys and gals from Dallas have really put together a fabulous album and you should pick it up.

International House of Prayer Sing Your Praises 1. Sing Your Praises- Matt Gilman 2. I Am Yours (First Love)- Jonas Park 3. Glory Be to the Righteous One- Zac Dinsmore 4. For I Was Far- Anna Blanc 5. From the Ends of the Earth- Ryan Kondo 6. Survival Plan- Wallace and Rachel Faagutu 7. The Love Inside- Laura Hackett 8. Let Me See Your Face- Jon Thurlow 9. Holy- Laura Hackett 10. Worth It All- Justin Rizzo 11. We Make Room- Jay Thomas feat. The Cry 12. The Gift - Misty Edwards The International House of Prayer in Kansas City has been doing non-stop, 24 hour a day worship and prayer for almost 14 years. Sing Your Praises was recorded at the IHOPKC annual “One Thing” event in Kansas City and features some of the

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veteran worship leaders from IHOPKC including Matt Gilman, Misty Edwards, and Laura Hackett, as well as some new comers to the Forerunner label.

alternative style of worship that makes them special, and their latest self-titled album is sure to cement their place in the world of modern worship.

A few of the better tracks on this 12 song compilation include the title track, which is a rousing, electro-dance charged anthem about the holiness of God. Worship leader Matt Gilman’s southern gospel vocal tone mixed with the techno backing make this song interesting and authentic.

This album is spiritually authentic, theologically sound, and is filled with incredible poetic prose that is both deep and at the same simple with the main theme concentrating on our desperate need for a Savior in a dark world.

Newcomer Anna Blanc’s vocals are crystal clear as she proclaims Jesus’ power of forgiveness and renewal on the hymnlike song, “For I Was Far”, while “Survival Plan” sounds like it was recorded in Jamaica as Rachel and Wallace Faagutu showcase their Christian reggae roots on the laid-back yet worshipful track. “We Make Room” is a beautiful Southern Gospel track complete with choir that talks about making room for God in our lives, and “Worth It All” takes the listener into a completely different genre, this time leaning heavily on the alternative side with grungy guitars and rhythmic overtones.

For the most part, this is another very laidback worship album with a majority of the songs resting in slow to mid-tempo time signatures, which is interesting considering the variety of musical styles contained in this project. Although I appreciated the various musical styles, I felt that a few of the songs here lacked real imagination and were somewhat forgettable as they blended together. But still there were a few that stood out and should be used in your regular worship repertoire.

All Sons and Daughters All Sons and Daughters 1. More Than Anything 2. We Give You Thanks 3. Almighty God 4. Great Are You Lord 5. The Victory 6. King of Glory 7. Your Glory and My Good 8. Christ Be all Around Me – Piano Driven 9. God With Us 10. Tonight 11. You Will Remain The story of All Sons & Daughters begins in 2010 with worship leader and recording artist David Leonard wanting to spend less time traveling and more of it in real relationship with his local spiritual community at Journey Church.

David connected with Leslie Jordan, part of the creative staff at the church, and the two began writing songs together and All Sons and Daughters was born. There is something pure, something natural, something incredible about the way they write and deliver their acoustic-folk

Songs like “More Than Anything”, “Great Are You Lord, and “Almighty God” are wonderful mid-tempo songs of vertical worship that speak of God’s light piercing the darkness and meeting our every last need. “We Give You Thanks” is a gorgeous acoustic-driven response that highlights David’s haunting vocals as he paints us a glorious worship picture thanking God for His everlasting goodness and mercy.

Songs like the confessional prayer, “Your Glory and My Good” and “God With Us” both remind us of the parental nature and never ending presence of God, and are just two examples of the many intensely personal worship moments contained in this album.

Not every song on All Sons and Daughters is quiet and meditative as we get to hear of God’s triumph over sin and death in the Easter themed track, “The Victory”. This song features tight harmonies and bouncy guitars as the duo winds their way joyfully through the resurrection story.

In a world of “What I’m going to do for you Lord” worship music, All Sons and Daughters keeps their worship focus where it should be, on what God has done for us. This is an album of deeply spiritual and poetic lyrics that remind me of early Caedmon’s Call. Most of the songs here are easy to sing and can be picked up by your average worship team. This collection is a wonderfully relaxing and intensely worshipful album that will bring you to the feet of Jesus.

Gerod Bass is a ministry veteran who has been serving God’s people through worship and youth ministry for more than 20 years.

Since 2009, he has been living his dream serving as the minister of worship and Jr. High at Our Savior Lutheran Church in Tacoma, Wa. Gerod is a singer, guitarist and recording artist who has a passion for impacting lives for the sake of the Gospel. You can find out more about Gerod, his ministry and his music, including his newest album release at his website, gerodbass.com.

FOH ENGINEER

By Bill Gibson

Prayer and the Sound Ministry Pray for your sound team and ministry on a regular basis. People will be people, and even the most pure of heart can be tempted into sin, enticed into arrogance, or just tricked into stupidity.

We all need constant prayer, but the music ministries seem to come under as much or more spiritual attack as anyone.

After all, Satan is a fallen music director.

a new mix with their assurance that we were operating the console correctly and that they had fixed the problem.

Sure enough, four to six hours into the mix, everything would freeze up and the data would corrupt.

musicality and the tightness of their grooves. It was really a lot of fun.

I was the only Christian producer using the studio at the time. I usually had an album or two going at once, and I taught recording classes a few times a week. I got along well with the owner, the manager, the house engineers, and the other freelancers that I’d see from time to time. The studio did a lot of advertising work and also a lot of the early Seattle grunge rock stuff from Nirvana, Soundgarden, and so on.

believe prayer?!

place, gave me some story about why he had them and why this wasn’t a shady deal, and reassured me that it was all legal and aboveboard. I don’t really remember all those details, but I do remember that 20 or so youth group musicians and bunch of adults were very impressed by God’s provision for our youth and were encouraged in their prayer lives. Oh yeah, I never saw the guy with the metronomes again.

One day I was working with the entire rhythm section and trying to get them to lock into the same feel together as a unit, and they didn’t quite get it. I asked This happened far too many times in how many of them had a metronome. Of a row. I don’t know if it bothered me course, no one had anything resembling more that it happened or that we were a metronome, and some didn’t even Also, I know that spiritual attacks crazy enough to start a new mix every know what one was. can come through technology—I’ve time they told us they had solved the I remember praying that we could experienced and overcome them. I problem. come up metronomes for some of the was producing a Christian album in Finally, we showed up and started key players, thinking that I’d probably Seattle at a studio that had just taken the mix process, and it occurred to me just go out and buy a few for them—oh, delivery of the brand-new digitally that we hadn’t been praying before the me of little faith. The very next weekend controlled analog mixing console made sessions. In retrospect it seems pretty after the last service on Sunday, a guy by a British company called Euphonix. silly that we hadn’t been praying before came up who I had never met and The board was one of the very first each session, but as you might guess, asked me if we had a need for any CS IIs manufactured. It was brand- we had absolutely no problems with that metronomes. I couldn’t believe it! I said new technology, including real-time console from that time on. However, the sure, and told him that we were just automation of every parameter. For rest of the engineers continued to have praying about getting the youth group the early 1990s, this was cutting-edge same problems we were having. After kids some. He seemed very pleased and technology. The digital controls offered several more weeks, the studio owner ran out to his car. He came back with groundbreaking automation potential, got the rest of the engineers together to about 30 brand-new Seiko metronomes and the well-designed analog circuits have me show them what I was doing to that were just perfect for our needs. provided silky-smooth analog sound. make the board work. Uhh, would you He said he worked at a surplus import Time, Just in Time

I was music director at a fairly large church near Seattle. We had a good group of musicians and some depth, but one of the things we decided to do was help the youth group worship team develop their skills. They had some excellent spiritual role models and needed some musical help. Each of the guys on the adult worship team When it came time to mix the album I committed to give the players lessons Prayer works, and your team is very was producing, I was the first one in the and to help them through the learning worth praying for. studio to mix a full-scale album that took process while their team grew. advantage of the console’s capacity.

This was an endeavor blessed by For more from Bill Gibson check We had track with two 24-track analog recorders running in sync, and we also God—you could feel it. Strong bonds out www.billgibsonmusic.com. had several virtual MIDI tracks and a formed between the youth and the This month, Bill celebrates the adults. Our house was usually full of release of The Bruce Swedien pile of outboard processing. a bunch of high school worship team Recording Method by Bruce When we started mixing everything members who just loved to hang out Swedien with Bill Gibson. worked fine, but every night for a whole and talk about music and worship and Swedien is the iconic engineer who recorded all of Michael Jackson’s solo week, we would get four to six hours all the other stuff that gets discussed in records (including Off the Wall, Thriller, Bad, into a mix that should have taken about a group of excellent church kids. They Dangerous, Invincible, and HIStory), Quincy eight hours total, and the computer had to endure stuff like me showing Jones’ most successful recordings, and Count would corrupt the automation data (the them a DVD of Steely Dan and trying Basie, Duke Ellington, Jennifer Lopez, and many mix). There were constant calls to the to get them to appreciate their brilliant more! manufacturer, and every time we’d start

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MAY/JUN 2014 WORSHIPMUSICIANMAGAZINE.COM

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PRODUCT REVIEW - Cont. from page 8

agreeable price point.

weight for a minute. It is very well balanced and the neck work is rock solid. The pick-ups sounded great and the coil tap gives you a lot of options (you can tap it in any of the three positions). I used the neck pick-up the most and I liked the middle position a lot as well. The back position was usable too, not to brittle at all.

When you start seeing what other brands sell their “Made in the USA” electrics for and how much craftsmanship is built in the S2 guitars in general and this Mira in particular… you just might be seeing one of these on your guitar wall!

In keeping with the three things that Paul Reed Smith said to pay attention to, this Mira fires on all cylinders… a vintage style look with a pretty finish, the playability is stellar (I was running up and down the neck with ease), and the tone of the guitar was rich and versatile. Well done! Kudos to Paul and his team to capture this level of quality for such an

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MAY/JUN 2014 WORSHIPMUSICIANMAGAZINE.COM

MAP/Street Price $1,179.00 www.prsguitars.com Specification

Detail

Body Type

Doublecut

Left-/Right-handed

Right-handed

Body Material

Mahogany

Color

Vintage Cherry

Neck Material

Mahogany, Set

Neck Shape

Pattern Regular

Scale Length

25”

Fingerboard Material

Rosewood, 10” radius

Fingerboard Inlay

Dots

Number of Frets

22

Nut Width

1.656”

Bridge/Tailpiece

PRS S2 Stoptail

Tuners

PRS S2 Locking Tuners

Number of Pickups

2

Neck Pickup

PRS S2 Mira Bass Humbucker

Bridge Pickup

PRS S2 Mira Treble Humbucker

Controls

1 x Volume, 1 x Push/ Pull Tone, 3-way Selector

Strings

(.010-.046)

Case Included

Gig bag

Manufacturer Part Number

MISD01_VC

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By Doug Doppler

Buried While no one ever promised our walk would be easy, I’m seeing more and more of my fellow worship guitar playing friends getting bogged down and bummed out by a number of the same issues. The purpose of this article is to apply the resurrecting Spirit by which we were saved to these common challenges. The goal is to remind all of us that although the devil does not rest, greater is He that is in us than he that is in the world. Although some of the challenges around life and worship teams may not change any time soon, our attitudes and actions around how we deal with these challenges is a great way to demonstrate the overcoming Spirit that dwells within all of us. So let’s kick some devil butt!!!

Buried in Busyness If the devil had his own iTunes, “I buried them in busyness” just might be his #1 hit. As I look back on my own relationship with God, it’s SO easy to see how the enemy cashes in on busyness. God blesses me with work, and I get so caught up in the act of doing the work I slowly start to slip away from the closeness I experienced with God as I was praying for the very work He blessed me with. If that sounds at all familiar, I promise you that you are not alone. That being said, we serve a God of dividends. If you set aside at least one or two times over the course of each day where you take your cares and concerns about how to get through all the stuff in your inbox, God will renew your patience and restore your energy – all you have to do is come to him seeking His help.

Buried in the Chart Between work, life, family, and getting some rest, finding time to memorize songs can be a real challenge. That said, how much can we really worship from the platform when we’re struggling to make our way through a song? A simple solution is to take every song you might be expected to play over the next month or three and create a playlist that becomes the soundtrack to your life.

If you let the message and music seep into your daily life, I promise you that the worship musician in you will thrive on a personal level as well as from the platform.

Buried in your Pedal Board Whether it’s a multi-effects unit with amp modeling or one of the affordable switching units out there, there are some great solutions for helping us guitar players get less focused on our gear.

At the point our focus is more on our pedal board than the musicians we are

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making music with, there is a problem – but not one without solutions!

Buried in the Mix Not every Church has or can afford a great sound team. What we do about that is what counts. If every part you play sits right in the middle of the vocal register, it should not come as a surprise that you’re going to be on the losing end of the ‘buried in the mix’ equation.

If a textured delay part is played in the forest and no one hears it, did it really get played? The point here being that sometimes hitting some open position chords will better serve the arrangement and the team. A good boost pedal will go a long way towards helping your guitar be heard when and where it needs to be.

Buried in Team Dynamics I really saved the best for last with this one! Every team has problems – EVERY team. What we choose to do about it is key. An overcoming spirit means that regardless of what we do or don’t like, we can walk onto the platform with the same conquering spirit that raised Christ from the grave – if we so choose. There are people in your congregation that may not know why they are responding to what you bring to the platform, but that doesn’t change the fact that they are responding. Don’t let the enemy steal your joy around this stuff, and don’t miss the opportunity to walk onto the platform with a conquering spirit – it matters – sometimes more than we’ll ever know!

Doug Doppler is passionate about God, worship, and worship musicians. In addition to his work coaching individuals and teams, Doug is also the author of “The Worship Guitar Book” which will be available in May 2013 via Hal Leonard.

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THE BAND

By Tom Lane

Are You Ready?

One of the most sobering thoughts I’ve ever had is this: at the end of the day I can blame no one else but me for the things I don’t do. Like all other humans I have been given what I have, not to be measured against anyone else, but to be a good steward of unto God. I have the same amount of time in the day, same freedom, and the same opportunity to do my best.

My biggest battle in life is overcoming the things that compete for my devotion and discipline. I call it the torment of the undone; all the ‘brilliant’ ideas and vision still waiting to be brought to fruition, they sit on me like an elephant until they’re accomplished. My wife is likely the only one that really knows how much it affects me. The truth is, I’ll never do all that I plan or dream, but just because I can imagine or see it does not mean I’m supposed to do it in the first place. I like what Paul said in 1 Cor. 10:23 “I have the right to do anything,” you say, but not everything is beneficial. “I have the right to do anything”--but not everything is constructive.”

Possible doesn’t automatically mean best!

Sadly, many miss becoming their best; beset by all sorts of personal issues, problems, struggles, etc. It’s the story of many great talents throughout history.

Sometimes we are our own worst enemies, but the even greater truth is that

we have an enemy that doesn’t want us to live up to our potential and calling.

In my 30 plus years in a star-studded town like Nashville I’ve seen many lives unravel, having been sabotaged by the patient enemy of our soul. Creative people fight some pretty tough inner battles just to survive and be who we are. I don’t think it’s coincidental at all, but suffice to say that we do compete with real forces of darkness and can’t fight back if we don’t even know we’re in a war.

through, a true artist temperament and personality, but I absolutely love God and choose His plan and will over my own. So even my creative desires and ambitions are subject first to the spiritual responsibility I have to pursue and honor Him. That’s where the rubber meets the road, and because God is holy He will not simply overlook the inconstancies and sins in my life, for they are what can lead to the unraveling of me! Been there and done that. The beautiful thing is that He leads me, is patient with me, What I’ve learned is that one of the and works on me constantly for my key weapons we have is our own good and benefit. So, choice is a gift will and choice. By ignoring spiritual and incredibly important. responsibility we ultimately give power Here’s why I say all of this. Creative over to be used against us by our people are normally looking for opponent. It’s always been interesting to opportunities to be creative and share me that the creative drive is so strong what they do. Some are starving to in us that we’ll do most anything to be noticed, discovered, promoted, fulfill and feed it. It can consume and elevated, etc. Some simply want to drive us entirely. To me, the difference serve and be used. The ones I’ve seen between being a great artist and a used and promoted the most have this in worship leader is the compass we’re common; they are dead enough to their steered by. If we are bent on pursuing own vision to be more surrendered to our creative passion alone—devoid God’s plan and His timing. It’s one thing of God’s direction, we can certainly to be ready for opportunity, creatively choose to do that. But if we profess to speaking, but if we’re not mature be Christian, we are ultimately saying enough spiritually then we’re really not we choose to be driven and steered by ready to handle what may come with a very different set of principals and it! God, of course, knows this and is standards. merciful enough to deal with us as a At a certain point in my life I had to good Father would. He’s not in a hurry make a cognizant decision to prioritize to promote us and especially not at the my passions. I am a Muso through and expense of our sanity, well-being, and relationships.

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This is likely a backwards way of looking at how to be successful as bands and artists for some, but these are the age-old principles of God’s Kingdom at work. Do you want to be successful, or do you want to be faithful? In the eyes of The Lord, faithfulness is success!

Nashville, TN is home for Tom Lane though he is involved in ministry and music around the world. As a singer, songwriter and guitar player, Tom has been teamed with many worship leaders and artists. He continues to record his own work, lead worship, and writes regularly for various worship publications worldwide.

CAMERA

By Chuck Page

Should my Church Use Live Video?

Using live video in a church service is not a new concept. Over the past five to ten years churches across America have been using this technology for a number of reasons. Some churches are using live video effectively while others, well, not so much. The question this article hopes to answer is, “Should I use live video in my church service?” Before this question can be answered a more fundamental set of questions need to be addressed. “What are my pastor’s goals in terms of service flow?” “What are our technology goals in terms of supporting our Pastor?” And, “Do I have the personnel at the church to implement these goals?”

clearly?”

After answering these fundamental questions, if you have determined that live video would enhance your service you must address two new pieces to this puzzle - proper lighting and the size of your sanctuary.

Proper Lighting: Different cameras require different degrees of lighting, so matching the camera(s) with the lighting is extremely important. Some churches prefer a well-lit sanctuary throughout their services. Others churches like a dimly lit or dark sanctuary for at least part, if not all, of their service. If your church prefers it darker then stage lighting and low light cameras are In most cases, your pastor has a certain essential to your live video success. idea of how he wants the service to flow.

Sanctuary Size: Is your sanctuary For example, he may want to have an big enough that people sitting in the opening “call to worship” song to bring the members from the foyer into the back third are less engaged with the sanctuary. He may then want to have pastor than those sitting closer to the announcements to explain upcoming front? If the answer to this is “yes” events and such followed by a set of then your church is a candidate for music that starts fast and ends slowly implementing live video. Studies have with a time for prayer. He then may shown that by increasing the image size want to start his sermon and end it with of the speaker for those sitting in the an altar call or perhaps an ending song. back third of the sanctuary an enhanced Regardless of the order, understanding connection will happen between the his flow is very important in determining speaker and attendee. These studies if live video will enhance or distract from were done in room sizes that were forty the service. Your technology team needs feet or greater in depth or when the to always ask the question, “How can room size was wider than it was deep. we help our pastor deliver the message In both of these scenarios the attendee

was at least forty feet away from the speaker. At this distance the attendee would prefer to view the larger image of the speaker on the screen than to look at the live person speaking. When the live video image was used a more engaged audience was realized.

Another element to where live video can be useful is for special services such as a baptism or a children’s program.

Again, in a larger sanctuary scenario zooming in on a person being baptized or on children that are singing or acting can be very powerful for the service flow.

I’ve witnessed many churches using live video for all the above-mentioned situations and the service had greater success connecting with the audience.

With that said, the most difficult element to incorporate regarding live video is the praise and worship portion of the service. It’s important to understand the culture of your specific church body if you’re going to use live video during this part of the service. Some churches may find that using live video to project the worship leader or band members becomes too “showy”, like it’s a concert performance. Other churches are completely comfortable with cameras focused on the band and it’s not a distraction at all. There is no right or wrong answer here. You just have to find out what would work best for your church.

So, if your church has been considering implementing live video into your services, be sure to consider the things I’ve mentioned before purchasing equipment and training church staff and volunteers to use it. Knowing where you want to go before you begin the journey will help make the transition into adding live video technology a smooth one.

Chuck is a partner and General Manager of GoFishMedia, LLC. He has been involved with technology for over 15 years and worship for over 20 years.

He resides in Boise, Idaho with his wife Lisa.

Visit: www.gofishmedia.net Send Chuck an email: chuck@gofishmedia.net

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Virtual Rehearsal Every Musician’s Dream “ It is very important for us to be able to record a rehearsal and listen back to it. It allows us to know if we are playing too much or if we are not staying up with somebody else in the band. The integrated V-Mixing System which includes console, snakes, personal mixing with multi-channel recording and playback allows us to be better musician’s.“ - Sonny Lallerstedt Worship Leader Sanctuary Church

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MINISTRY + ARTISTRY = PROFITABILITY? CREATING YOUR MAP™

By Scott A. Shuford

Crowdfunding Tips These days it seems like every band or artist is using some sort of crowdfunding site. When raising funds for a faith-based project, you are faced with navigating more than a few sites for one that meets your standards for integrity and honesty.

The challenge there is that Christian crowdfunding sites tend to be relatively small when compared to the industry leaders like Kickstarter and Indiegogo.

My personal recommendation is to go with Indiegogo, escpecially if you are new to crowdfunding. Kickstarter will not fund your proejct unless you hit 100%+ of your goal, which expects that you, as a startup crowdfunder, somehow know exactly how much you can raise toward what you need to do the project. Indiegogo will fund what you raise, even if you don’t hit your full goal.

The key to successful crowdfunding is that you must start with your own audience. Crowdfunding is not a Field of Dreams scenario. If you merely build it, they will not come.

However, if you market it, they WILL come.

You must have a core audience of your own to start your funding proejct with if you hope to have any chance of standing out amongst the crowd to draw in more funders.

after you’ve raised the funds.

Successful campaigns have compelling rewards. People are not donating to you. They are buying something from you. Effective reward tiers create enthusiasm in potential funders, and heighten potential engagement for a campaign. Your audience is also more lilkely to engage their own friends and followers to pursue high-value rewards that they find unique, rare, meaningful, or that have very limited availability.

A compelling pitch video is vital to a successful crowdfunding campaign. Great campaign videos get directly to the point with energy and tell a concise story that, hopefully, moves your audience emotionally if at all possible. Humor can work, if it’s genuine, but done poorly it can kill your campaign. You don’t need to produce a Hollywood quality set of video updates, but basic things like good sound and lighting are important.

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Set a savvy funding goal. There are a several variables in play, including how much money you need for your project, but taking a proactive approach to setting the target amount for your campaign begins with identifying your core auidence members, friends, likely buyers, and influencers who will help get you there and expand your reach.

Here are some crowdfunding tips: Take inventory of how you reach your audience. It’s very important for your crowdfunding project to gear up to reach out consistently to your audience via every way you have aavailabe, including email, social media, flyers at your gigs, stage annoucnements, and whatever else you do to stay in touch with them. Develop a hightouch communication plan that keeps your audience informed about the crowdfund project, and the execution

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Scott has led classes for us at CMS and NAMM, as well as teaching on marketing for the Gospel Music Association, Christian Leadership Alliance, and the Evangelical Christian Publishers Association.

Scott is the Chief Engagement Officer at FrontGate, which provides media buying, public relations, and social media marketing to reach the Christian audience. Their site at www.FrontGateMedia.com was recently awarded the “Best Marketing Website” and “Best Faith-based Website” in the 2014 Internet Advertising Competition. Get more marketing and social media tips at FrontGate’s blog.

MAY/JUN 2014 WORSHIPMUSICIANMAGAZINE.COM

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PRODUCT REVIEW

By Matt Kees & Melanie Bockmann

Kawai ES100 Digital Piano There are a few things I would look for when in the market for a digital piano. First of all, let’s understand that a digital piano is not necessarily an electric piano or an electronic keyboard. Digital piano manufacturers work very hard to combine the vibe of a traditional piano with the versatility provided by modern technology.

impromptu adjustment that requires you to turn a dial or punch in a bunch of numbers (and maybe end up one number away from what you actually wanted, and the mood is ruined--nothing like getting a harpsichord sound when you were going for a cello, eh?) I don’t see that ever happening with this simple design.

The first thing any pianist looks for, I believe is the ‘action’ or ‘feel’. Is it hammer weighted?

Does it respond under your fingers the way an Also, it’s lightweight. I only weigh 96 lbs, and I can carry it. That’s amazing for a acoustic piano does? It should. keyboard with piano-weighted keys.

The second thing to consider, and it’s a very close second, is the quality of the sound. Built-in speakers make it accessible for quick Does it sound like a real piano? Additional practices without the need for an amp. considerations might include size/weigh/ The polyphony is fantastic--even better than my portability, ease of use, cost, connectivity, and KORG (granted, my KORG is an older model). variety of sounds.

There is virtually no cut-off for any number of

I recently shared the Kawai ES100 with one notes you would normally play. of my clients who performs regularly with Cons: pianos, Melanie Bockmann. Here are some of It’s not really as performance-friendly as I’d like her thoughts... it to be. It would be nice if it had separate audio Pros: outs, left and right, for connection to an external I like the simplicity of it. Some keyboards are amp or PA. The current design allows you to so complicated you practically need a degree send audio out of the headphone output, but the just to figure out how to work them! This one quality of the sound coming from the headphone is straightforward and easy to use. The feel/ preamps didn’t quite translate when plugged weight/shape/size of the keys is nice, into our church PA. especially for such a lightweight keyboard. The The sounds are a bit limited. There are a few keys feel more like natural piano keys than other sounds in each category, and they are decent keyboards that have an “organ” feel to them. sounds, and I realize that this is a digital piano, It’s nice that you can easily combine sounds-for example, you can play piano, strings, or piano AND strings with the touch of a button, and without any kind of audible glitch when you change from one sound to another. The transition is seamless and makes it nice for those of us who have been performing on a more complicated and less forgiving keyboard and ended up with a rough transition to a pre-set sound, or an

not a synthesizer, but the additional sounds seem very basic.

As Melanie mentioned, the ES100 does have hammer-weighted action, thus the ‘natural’ piano feel. It uses a ‘graded’ hammer key action that provides different resistance when playing lower keys and higher keys. There is a heavier touch in the lower register where string tension would be higher.

The ES100 offers 88-note piano sampling, using Harmonic ImagingTM sound technology, which provides for an incredible piano sound experience through the built-in stereo speakers. Of the 19 sounds included, 8 of them are quite exceptional sounding pianos. The excellent sampling rate along with 192 note polyphony certainly does impress. The piano also

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features d a m p e r pedal with half-damping ability.

Melanie also mentioned this simple use of the dual and split modes. This allows you to, for example, play a piano with strings simultaneously... or perhaps an electronic piano in the left hand and a harpsichord in the right hand for those eclectic songs. :) I feel like this piano was designed with a teacher/student scenario in mind. It has 2 headphone outputs, one for teacher, one for student. In addition, it comes with builtin “Alfred” piano lessons. This piano would also be an excellent choice for use in a small group study, a vocal rehearsal or home church setting. The ES100 is very portable and does not need a separate amp. Simply turn on and play.

As Melanie stated, it’s not quite designed for stage performance. One must utilize the headphone outputs to connect to the PA. So, connectivity is probably where this piano falls short. It does have MIDI (not USB, but the standard 5-pin connector).

The ES100 retails for $999, but you’ll see the street price around $799. www.kawaius.com Melanie Bockmann is a worship leader, singer/songwriter, and media columnist, as well as the author of several books. She is currently working on a new album of original music and pursuing full-time graduate studies in theology. www.melaniebockmann.com Matt Kees is the Director of the Christian Musician Summit conferences.

He is also the owner/producer of SmithBuilt Studio based in Frederickson, WA. Matt enjoys playing lead guitar in his band, The Elevators. www.mattkees.com

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A FEW MOMENTS WITH…

Paul Clark

The Pearl of Great Price John Michael Talbot, stopped by my house to borrow my Bose PA for his concert that night. After the concert, we returned to my house and he brought in a small, weathered guitar case. Curious, I opened the case and after strumming the first chord, my world was changed forever.

Since I was drowning in Dreadnaughts, a trade ensued …... my 73’ D-45 and Bose PA for the little Martin. Done deal!

By the way, the little Martin was a 1934 C-2 archtop that had been meticulously converted by a professional luthier to mimic an OM-45. The tone pouring out of that abalone and pearl trimmed Brazilian Rosewood body was like a flash flood in the Sonoran desert.

Like many guitar players in the late 60’s, I longed to own a Martin. On Christmas Day, 1969, a new D-28 blazed into my solar system. Sadly, the ephemeral burst flamed out a few days later when my unwashed red flannel shirt coalesced with my body sweat, producing the most hideous pink burst on the lower bout of that new Martin. Unable to view imperfection as a valued truth of life, the vanity of my eighteen-year-old brain processed it as a victim of a Pete Townsend thrashing.

Anguished, I sold it to a buddy and started a new search.

Soon after, I attended an in-store seminar by Martin historian, Mike Longworth. My quest was over when he persuaded me to buy an abalone and pearl trimmed 1969 Brazilian Rosewood D-41. In an odd twist of fate, a few years later, while on tour in Ft. Lauderdale, I purchased a second D-41 that was one digit higher than mine.

The identical twins separated at birth were safe in my keeping. Maybe it was the thirst for more abalone and pearl, but for some reason I added a 73’ D-45 to my arsenal. I quickly found out that Brazilian and Indian are not from the same family.

Not long after that, a friend of mine,

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A few years later, I took it on a working vacation with my wife and children to Hawaii, where I was playing a few concerts and writing songs for my next record. Because of no overhead luggage space on the puddle jumper from Honolulu to Kauai, I was forced to check the guitar. We were excited about spending a week in Hanalei Bay, but an hour later, we found trouble in paradise.

Tragically, it was not on the cart when the luggage was unloaded in the Lihue airport. For the next week, hampered by our remote location, I followed every breadcrumb trail with the same dead end result. In that frantic search, one of those calls was to the burgeoning vintage expert, George Gruhn. He told me that he would keep his eyes open, but if I was interested, he was on the verge of acquiring a 1926 000-45.

I thanked him for his time, gave him my phone number, and moved on. In retrospect, the most valuable lesson I learned during that frustrating time was realizing that my family was happy and safe, and I had matured beyond pink stains enough to accept the fact that life has unexplainable losses. ‘Suffering’ would not be an acceptable word for a musician to describe the hardship of only having two Brazilian D-41’s to play, but in the days to follow, I was acutely aware that something was missing in my verve.

Several months passed and life moved forward until the afternoon I answered the phone and heard the unmistakable tone of George Gruhn telling me that they

were nearly finished with the necessary repairs to the aforementioned guitar. Functioning, but still longing for replacement, I paced the kitchen floor while George expressed every detail of the instrument to me. After acknowledging the information, the inevitable had arrived … what’s the price? Comical now, but dramatically untimely at that moment, the coil cord of my telephone crackled just as he was answering my question.

“Sorry George, but there was static from my cord … did you say four thousand dollars? His affirmation was as direct as falling into a glacier pool. (Note: At that time, you could buy a new D-28 for a shade over $500.00).

One of my favorite Shakespeare quotes is spoken by Brutus to Cassius in Act Four, Scene Three of Julius Caesar; “There is a tide in the affairs of men which, taken at the flood, leads on to fortune; Omitted, all the voyage of their life is bound in shallows and in miseries. On such a full sea are we now afloat, and we must take the current when it serves, or lose our ventures.”

Such was the case at that moment. I wrestled with justifying that kind of money on a guitar, but I committed and told him that I would send him a deposit and make arrangements to come to Nashville to see if it was a fit.

At the time, my vocation as a pioneer in the growing Christian music industry was going well. I had just released my seventh album and was under contract for three more. But being a husband, as well as a father of three small children, the only way to make the math work was to sell both D-41’s. The limited space for this article precludes the telling of that story until another time, but suffice it to say, that’s what happened.

All I remember about the day I walked into the barn wood laden store at 410 Broadway in Nashville, is that I was as nervous as a cat on a hot tin roof and that George was polite and articulate in describing the intrinsic value of the guitar. His legendary, and often misunderstood

salesmanship was punctuated with saying Norman Blake thought it was one of the nicest guitars he had ever played.

That was nice, but the deal closer for me was that, like me, the guitar was not perfect. George had documentation that the guitar had been sent back to Martin in the early 50’s, oddly enough, when I was born, and for strength and playability they added a pickguard and a belly bridge. I wasn’t looking for a museum piece, but a tool to work with. If it would have had a pink stain on the lower section of the top I would have carried it out with as much joy!

This old guitar has been a faithful tool and friend to me for three and a half decades. In that time, many things have changed, but three

things remain the same to me: Life on earth is impaled by imperfection; secondly, it’s not a matter of “if” you’ll have losses, but “when”; and lastly, if you find a pearl of great price, let go of whatever it takes to buy the whole field.

- Paul Clark

Veteran recording artist, songwriter, worship leader, photographer and author. www.paulclarkmusic.com

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PERCUSSION

By Mark Shelton

Staying Current With Your Skills: Update and Upgrade

In a contemporary church service, a vintage Roland drum machine sounds. worship music set might include songs • A great way to dip your toe into the from Israel Houghton, David Crowder, electronic percussion waters is with Hillsong, Paul Wilbur, and Rend an app for either Collective Experiment. For the your smartphone offertory, the choir could sing or tablet. When something from the Brooklyn a sample pad Tabernacle repertoire. That song malfunctioned list encompasses a few different prior to a styles and requires a variety of rehearsal, I percussion skills. eventually turned It is important to stay current to my iPhone with the constantly evolving state and tapped my of modern worship music. That way through two might mean learning new skills services using the or brushing up on some dormant SynToms2 patch ones. on the iKaossilator (TM) app from Considering the prevailing Korg. trends in worship percussion, I offer a few suggestions worth considering as you budget your practice sessions and investments in new gear.

Electronics: Here To Stay These days, there is a possibility of finding both the drum set player and the “hand percussionist” with an electronic percussion unit in their arsenal of sounds.

The addition of one of these instruments can place hundreds of digital samples at your fingertips. You can dial up old-school drum machine sounds as well as access samples of acoustic instruments to beef up your timbral palette.

If you have not jumped on the electronic percussion train, consider getting on board with an investment in any of these units: • Both the Octapad SPD-30 (TM) from Roland and Yamaha’s DTX-Multi 12 (TM) feature multiple playing surfaces and hundreds of preset sounds. You get the option to record and play custom samples with either the Alesis SamplePad (TM) or Roland’s SPD-SX (TM).

• A great feature of the Korg Wave Drum (TM) is its ability to recognize what is striking the playing surface (stick, brush, hand) and respond accordingly.

• My personal choice for electronic percussion is the Handsonic HPD-15 (TM) from Roland. Designed for hands, this unit includes capabilities to dampen and bend tones along with plenty of the

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Stick-Struck Is In

In addition to hand drumming, worship percussionists make use of sticks and mallets on cowbells, woodblocks, timbales, and cymbals.

In recent months, I have perceived a bent toward percussionists including stick-struck sounds from tom-toms, snare drums, and such in modern worship music. Check out Hilllsong United, Bethel Music, and my pals with Gateway Worship to hear musicians laying down

some stick-struck rhythms (in addition to the drum set player’s contributions).

Get your stick chops up to speed with George L. Stone’s Stick Control. This classic collection of drumming exercises still ranks as one of the greatest books for developing (you guessed it) stick control.

Rock The Glock Whether you call it the orchestra bells, glockenspiel, campanelli, or just plain “bells,” the metal-barred cousin to the xylophone is experiencing a surge of popularity in pop music, alt rock, and modern worship. The shimmering tones of the glock keep popping up in songs like “Beautiful Things” from Gungor and Bellarive’s cover of “Your Love Never Fails.” Having a set of bells and some basic skills can come in handy in a variety of worship settings--choir anthems, hymns, cantatas, or that quirky little lick in “Endless Light.”

You can find elementary to advanced exercises to help you get around the glockenspiel in Modern School for Marimba, Xylophone, & Vibraphone by Morris Goldenberg Continued on page 54

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Scan the code for more info www.mymixaudio.com +1 (952) 657-7889 Š2014 MOVEK, Inc.

PERCUSSION - Continued from page 52

WORSHIP TEAM TRAINING

Hand Percussion: Not Going Away Anytime Soon

By Branon Dempsey

Can’t Keep a Beat? Bet Your Guitarist Can. Drums, who needs ‘em.

Ok, you’re about to lead worship this week. You get the dreaded call. How many of you cringe when your only drummer says “sorry dude, I can’t be there on Sunday.”? Well, maybe next time you can tell ‘em, “Have a nice trip, don’t hurry home.”

Just kidding ;) all you drummers out there (you too Carl!). Actually, we need drummers like a stick needs a drumhead. But what do you do when you’re without your golden Grammy award winning beatboy? No, you don’t cry. You get your guitar player. What??

How does a guitar player know anything about playing drums?

Here’s what they do know, the basics of time. Any dedicated drummer will tell you that time is essential for good drumming. Guitar players would agree (besides having good tuning).

You’re on deck this week and find out you have no drummer, no problem. Here are four easy strokes to help you kick the drummer blues.

1. Do not use a drum machine.

This may be surprising to some, but this can cause complications unless you have a band member who can operate the device. There’s enough going on in leading worship, in which the worship leader needs to be focused on one thing: leading worship.

The upside is that guitar players use their right hand to strum rhythms, that’s all you need for them to play a percussion instrument: shaker, tambourine or hand drum. The goal is just to keep time.

2. Turn it into a quazi-acoustic Service. We work with many bands on our WeekendWorkshops and have seen incredible talent. Unfortunately, not many know what to do without the drummer. Don’t try your regular

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worship set with all electric guitars and keyboards. Without the drummer, it sounds like a snare drum without the strainers. Meaning that turning your service into one that simply involves acoustic guitar, piano, bass, and maybe hand percussion can bring a new and fresh wind to your worship.

3. Pick songs that are not drummer dependent. Easy songs that can be held together by few instrument is better.

Songs like “Set A Fire,” “Hosanna,” and “Everlasting God” are simple enough without drums. I would steer clear of using “Go,” or “Sing, Sing, Sing” that require more drum aptitude. You don’t have to have songs that require great drums in order to have great worship.

4. If you have two guitar players, let one be the rhythm and the other the rhyme. Let one strum quarters or mute eight notes, while the second player capos or picks out notes of the chords.

The rule of thumb is to keep it simple, clear, and timed. If you have piano and bass in the mix, let them play off of the rhythm guitar player as they would a drummer. It simply requires a lot of listening and less of trying to play everything.

Worship Team Training - Branon Dempsey Branon Dempsey is the CEO/ Founder and Training Director of Worship Team Training® a ministry providing live workshops and online resources for local worship ministries.

Branon holds an M.Div in Worship and BM in Music Composition/Performance and is an instructor with Christian Musician Summit, a writer for Worship Musician Magazine, Shure Notes as well as other worship publications. Branon and is a Training Partner with Yamaha Corporation of America | Worship Resources and part of the Expert Panel for Shure Microphones. Worship Team Training® is sponsored by Creator Leadership Network, Christian Musician / Worship Musician Magazine / Christian Musician Summit, as well as by Line 6, D’Addario, Proclaim Church Presentation Software, iSing Worship and endorsed by Promark Drumsticks and Jim Hewett Guitars. Visit: www.WorshipTeamTraining.com Copyright 2014 Branon Dempsey | Worship Team Training® | Administered by For His Music. All Rights Reserved. Printed in the United States of America. www.worshipteamtraining.com

Along with the skills for the additional instruments being brought into modern worship music, you still need to have your good ol’ hand percussion expertise at the ready.

When the music calls for it, be ready to deliver on congas, bongos, djembe, and cajon. Of course, you should always maintain your abilities on the hand-held instruments such as tambourine, shaker, and cabasa.

Broaden your repertoire of licks for conga and djembe with a copy of Hip Grooves For Hand Drums by Alan Dworsky and Betty Sansby.

Take a visit to my YouTube channel (www.youtube.com/ marksheltonmusic) to watch tutorials featuring techniques on hand-held percussion.

Get An Earful Listening to a variety of musical styles is important to your continued growth as a musician. Pick up new ideas by going outside your favorite types of music. Check out the interesting percussion sounds used in smooth jazz. Listen to (and watch) the front ensemble in a drum and bugle corp and delight in a fascinating display of well-scored timbres. Dive into orchestral music from the Impressionist period to the present to discover masterful examples of coloristic percussion. Prepare for that moment when the worship leader asks for a Celtic feel or a Middle Eastern groove by wrapping your ears around music from those cultures. Taking in several doses of dubstep can give you some ideas on how to use the aforementioned electronic percussion.

The role of a percussionist in modern worship continues to grow. You just might have to break out of your comfort zone to get into the current zone. It’s worth the effort.

“A wise man will hear, and will increase learning...” Proverbs 1:5a KJV An active freelance musician, Mark Shelton has created programs, products, and educational services for a variety of ages. Mark’s percussion work can be heard live and on recordings with Gateway Worship. An active blogger, Mark writes regularly at www.percussionforworship. blogspot.com. ©2014 Mark Shelton Productions / Percussion For Worship

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