The Role of the Church Musician by Creator Magazine

Includes a special report on money and your ministry music ministry worship leadership TM

creatormagazine.com

volume 35 - number 4/5/6 2013

g n i n agi

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A Special Anniversary TRIPLE Issue

The Role of the Church Musician â&#x20AC;&#x201C; Yesterday, Today, and Tomorrow

. . . s u Pl

Creator 3.5

Select 20

Anthems

Steal This Idea!

Money and Your Ministry: Balance the Books While Keeping Your Balance Money does not have to be the hardest thing you do at church!

Learn how you can:    

become more thoughtful about the financial challenges you and your church face see money—and your own leadership strategies—from a different perspective enjoy the stewardship process rather than dreading it each year reduce your overall stress about church finance

“Those who are interested in exploring stewardship in anxious times will find this volume to be extremely pertinent.” —from the foreword by Peter L. Steinke

There are many excellent books out there about church financial stewardship and I've read most of them. Money and Your Ministry is one of the finest. You don't need to purchase a better "stewardship campaign program." You don't need to be anxious about funding your church's ministry. You do need this book. —The Rev. Margaret Lewis, MBA, Director, Center for Career Development and Ministry, Dedham, MA

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music ministry worship leadership TM

Volume 35 - Number 2

feature

The Changing Role of the Church Musician 1978 by Timothy Smith 1997 by Mark Williams 2014 by Shelley Reel

Front Page

Creator 3.5

15 Reimagining Section Leaders by Stan DeWitt

16 The Ministry Leader/

Section Leader Job Description

21 Reimagining the Choir Historian

by Vern Sanders

Money and Your Ministry

by Margaret J Marcuson 31 Exploring Your Family’s Money History 32 Relating to the Money History of Your Church

SPECIAL REPORT on

MONEY and your

MINISTRY 2013 | cre creatormagazine.com eatorma torm gaz gazine ine e.com

27 7

Nine Practices That Help Me Through My Church’s Financial Tough Times by Elizabeth Norton

Last Page

You Want to Pay Me What? by Cortlandt Bender

20 2014 Anniversaries

Select 20 Anthem Reviews

Steal This Idea!

The “Extra” Sunday Morning Rehearsal

Consider Your Process as Your Product

Glenn Pickett

Spotlight on Ministry

Good Stuff

Reviews of new materials

Twitter Feed

Elaine Boomer

in this issue

we celebrate 35 years of publication, by taking a look back and a look forward at what it means to serve in church music and worship ministry...PLUS a Special Report on Money and Your Ministry, reimagining the role of a section leader and a historian, and some answers to “Why I Sing in the Choir” 2013 | creatormagazine.com

by Vern Sanders

front page

Creator

3.5

t seems like yesterday,

but I only have to look in the mirror to know it isn’t. I’ve been the custodian of Creator for 16 years now, and that is not yet half of the time we have been helping people do ministry better. Turning 35 is a milestone, particularly given the state of church music – and media – these days. Over those 35 years the print only, and then print and digital publication schedule has been bi-monthly, monthly, 10 times a year, back to bi-monthly, and, on our website since October 1, daily. Throughout the company’s life, we have reported and reviewed, looked back and projected ahead, but we have always provided practical, intelligent, and most importantly, non-partisan information designed to help our readers do ministry better. We have stood firm in our belief that there is more that we have in common than that which divides us. Yet we have adapted to the changes in technology and the worship/music landscape, as well as the changing demographic of our readers (it’s not who you might think, any more...).

And based upon our ongoing assessment of what the new realities are in ministry, we have elected to enhance our subscription value for our readers. Why are we doing this? Slowly but surely, our digital footprint has asserted itself so that more people know TM

Volume 35 - Number 4/5/6 2013

editor Bob Burroughs

us as a website than as a magazine. This is partly because of our assessment, early on, that the internet would amount to something, and our forward planning to provide digital resources. We’ve been online since 1996 – almost exactly half of our existence. Last summer our website broke a barrier, as we logged 50,000 unique visitors every month. They came from all over the globe because they know that we release a new article every work day which helps them do ministry better. Perhaps you don’t know that your magazine subscription includes free access to our website, where literally hundreds of website articles are available 24/7 for your benefit, with more added every week day. But if we don’t have an email address for you, unless you register at our website, you can’t take advantage of those resources. In tandem with becoming a digital “daily,” starting with this issue, the print magazine will become a quarterly publication. This will allow us the opportunity to explore topics in much greater depth in each issue than we have been able to do in the past. We believe that by enhancing our subscriptions we will serve all of our readers better. And we’ll be providing resources at the new pace of life in ministry. We know it isn’t 1978 any more, or 1997, but we believe this is how we can best help you do ministry better in 2014 and beyond. fine

editorial board Christine Anderson Hugh Ballou Wendell Boertje Glenn P. Eernisse Allen Henderson Heather Hood Lloyd Larson Douglas Lawrence David Leestma William Lock Carl M. Peters, II Steve Phifer Paul Satre Pamela Urfer Edwin M. Willmington Paul Leddington Wright John Yarrington computer engraving Geyser Ridge Associates printing coordinator Pete Moceri Creator Magazine PO Box 3538 Pismo Beach, CA 93448 (800) 777-6713 creator@creatormagazine.com Creator Magazine (ISSN #1045-0815) is published bimonthly by Creator Magazine. U.S. subscription rates are: $35.95 - 1 year, $59.95 - 2 years, $79.95 - 3 years. Foreign subscriptions (sent printed matter – airmail): Canada and Mexico, add $10 per year to above subscription rates. Other foreign countries, add $25 per year to U.S. rates. (All foreign payments should be made by check in U.S. funds drawn on a U.S. bank. Unacceptable payments will be returned). Unsolicited articles cannot be returned. Electronic and email submissions are encouraged. Submitted TM photographs will be returned if a stamped, selfaddressed envelope is included. Article Guidelines are available by request.

Single copy price: $7.00. Back Issues: $7.00, subject TM to availability. Copyright © 2013 by Creator Magazine. All rights reserved. Printed and distributed in the U.S. by Emerald City Graphics, Kent, Washington. TM

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publisher Vernon Sanders

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Join CLN. You’ll get regular emails to help you to do your ministry better, and access to special content on Creator’s website. To join, just use the Register button on any page at creatormagazine.com.

feature

the

role

of the

church musician the evolution of the church’s

“vice president of creativity” God’s Creating Creation

by Timothy M. Smith

1978

on congregants by Mark K. Williams

& chief musicians

1997

by Shelley Reel

2014

ith the advent of tyle may not be the he role of a true church urbanism and the growing number of large congregations with dedicated programs, the power of creative music began to stagnate with the lack of proper exercise and use. It was in this setting that a new innovative step, which would eventually supercede all denominational boundaries, was taken. This new step was the concept of specialized multiple staff with, in most cases, a Minister of Music to take charge of the music and, in many cases, worship. This staff member would be in charge of the creating process known as the worship service. To many, this appeared to be the ideal answer. It became apparent, however, that this new situation

most important consideration when it comes to car choices and the people who own them. In fact, there seem to be as many car styles as there are types of people who own them. As a professional church musician, I have come to a similar place in my approach to the choice and selection of sacred music. Style is no longer the issue; quality and appropriateness are.

musician is quite varied, especially from congregation to congregation. There are many facets that make up any music position, from a simple choir director to a full time director of music or pastor of worship arts.

Some years ago, I walked into a worship service at Houston’s Church of the Redeemer. At the time this was a church at the forefront of liturgical and spiritual renewal in America.

However, one thing must remain constant and true: a church musician must be called to this ministry. In leading the congregation in worship through music and song, the musician must be led by the Holy Spirit, using Scripture and Biblical truths, combined with the music, to motivate the congregation in glorifying God.

The choir was well-rehearsed and sang with both beauty and conviction. You

As church musicians, we must reexamine our roles, using music as the 2013 | creatormagazine.com

was the cause of as many problems as it seemed to answer.

1978

Adding this new position seemed to increase the possibility of more problems creeping into the church. It seemed that the biggest ones were keeping a healthy, creating program going without allowing stagnation and senility to infiltrate God’s church. There would seem to be two areas where the attention of the music minister should be directed in order to prevent stagnation which would kill the music program and, in a very disunifying sense, often kill the local congregation. Every music minister who has accepted a responsibility in a local congregation has an obligation to himself and to the congregation to keep in touch with his own ideas. Most full time music ministers received preparatory training that has developed personal priorities about music in the church and its relationship to spiritual worship in general. This is an important first step; without it, the music program is futile, desultory, and weak. The music director has to know the basics of where music fits into his church. He has to develop

1997

could hear it in their voices; you could see it in their eyes. The choice of music was completely wrapped up in the church season, the message and scriptures for the day, and the spiritual and prayer life of the congregation. And some of the music had even been written by members of the choir and congregation.

A large portion was presented in a grand processional style with trumpets, and organ, and timpani. Other music was sung a cappella. One folk selection was sensitively accompanied by flute, guitar, string bass, and piano. Even the organ was effectively added to the wide variety that so dominated the service. We chanted the Psalms with beauty and all of the music was intertwined with the spoken word so as to be a part of the fabric of worship, never appearing to be mini-performances placed between the spoken words seemingly to keep us more alert and involved. The service of worship had variety of musical style, beauty, and holiness. It also had majesty and vitality, and segments of sound balanced by

2014

means to minister to the congregation, rather than just focusing on the excellence of the music. Today’s society has changed so much that for many people, church has become irrelevant.

The Wrong Measuring Stick In an attempt to address society’s view of the church, we all – pastors, musicians, laity, and churches themselves – have been at war with each other over which style of music is right, and how best to bring society back to the church.

Chancel Choir offers me the opportunity to sing praises to my Lord, to share my faith with others, and to make a contribution to my church by sharing in the leadership of her worship service. Not only do we prepare music for worship, but we prepare ourselves spiritually for personal and congregational worship. We share our faith with each other through Bible studies, meditations, prayer, and Christian friendship. We try always to be reaching out to touch one another with God’s love.

For a musician used to producing excellence, that can sometimes be a daunting task. We need to remember that it is building a strong faith that

for further reading • The Minister’s Role in Church Music – Cecil J Riney • On Good Management – Robert A Clemons • I’d Rather Do It Myself (a 4 Part Series)– JoAnn Butler • Using Structure to Achieve Organization – Dennis A Jewett • The Benefits of Longevity – Tom McDonald • The Necessity For Time Off – Cheri Walters • Visionary Management in Music Ministry – Vernon Sanders • The Implementation of a Music Ministry Philosophy – David R Davidson

I felt good when I reached home after ten o’clock last night. Iknow I had been in God’s House, with God’s People, doing the work He wanted me to do -- singing in the Chancel Choir of First United Methodist Church. Delaine Hartman Kansas

• Surviving the Body Blows – Philip L Mitchell • The Art of Effective Delegation – Rob Hewell • Dealing with Criticism: A Family Systems Approach – Doug Haney • Getting a Grip on Lay Leadership – Greg Asimakoupoulos You can find many of these articles and/or buy the Leadership Articles Compliation CD for just $19.95 at http://cmag.ws/6k. All articles are available by calling 800-777-6713.

volume 35 - number 4/5/6 | creatormagazine.com

In the process, the measuring stick for “success” has generally been applied to the numbers. Unfortunately, for many churches, that goal has given way to producing the best music and drama and not focusing on the people themselves. We, as musicians, have been given that opportunity to involve our people and help in teaching them to live a God-filled life.

Why I Sing in the Choir I traveled nine hours yesterday by car coming home from a business trip and went directly to join my choir friends. I was physically and mentally tired and so I sought out my friends in the choir who spiritually fed me and lifted me out of my tiredness.

CMY

1978

his own ideology, which needs to be firm but flexible, about church music.

Personal needs must also be reflected in the music ministers ideology. One cannot expect a classically trained music minister, steeped in the classics of Bach, Haydn, and others, to be satisfied leading a music program which is basically gospel and little else. A gospel trained minister cannot, on the other hand, be expected to find pleasure in a program full of classic masterpieces. Most likely, the ministers in these situations would be leaving to help edify his own needs in another location. There must be that pleasant mixture which allows self-expression of the minister’s ideas tempered by the needs of the congregation . Receptivity to one’s own ideas can be hampered by listening too much to others, hearing all their ideas, then trying to please them by irrationally,

1997

segments of silent intimacy with the Lord. Even with this host of styles, it all felt appropriate and safe. It was lovely.

Some years later I was invited to an evening service (Compline) at St. Marks Cathedral in Seattle. The room was dark and cavernous and full of people, crowded to overflowing. The chancel steps were full. The aisles were filled with people. The “extra” pews around the edges of the Cathedral were brimming too. And the people – elderly people, college people, high school people, middle-aged people – were sitting in silence and in thoughtful reflection and in prayer. In came a choir of twelve men in traditional vestments. They silently processed to the back of the room. The choir was well-rehearsed and sang with beauty and conviction. You could hear it in their voices; you could see it in their eyes. When they began singing, I

2014

must be foremost rather than working only for the best product.

We can use different styles of music, drama, and arts in our worship that can reach many different people, but at all times, we must be diligent in keeping with the Scriptures and working hard to keep the show from taking over the message.

Managing Conflict and Ego One of the most important parts of the church musician’s working life is that of a manager. An increasingly important issue in the church is that of conflict and ego. Musicians, by nature, tend to struggle with keeping egos in check. As leaders, we must not only guard our own ego, but deal with that of those we lead. We must step in as soon as an ego rears its ugly head and remind all what our highest goals are in ministry. While some issues many be harder to resolve 2013 | creatormagazine.com

1978

with no thought, using the ideas for strictly selfish motives. The music minister must be guided by his own thoughts and concepts and must take a firm stand based on the belief that God has a purpose for the leadership position for which he has been entrusted. If one wishes to use the evangelical term of “a call” in this situation, that by whatever term, is to what I am referring.

A Fusion of Wisdom and Guidance This concept of being put in to the position of music minister by God, places an awesome and fearsome responsibility upon that person. It requires that the music minister depend upon God and the music training which has been received and mold these two into a fusion of wisdom and guidance which allows for the highest achievements in worship. This fusion can be obtained by several methods. 1. Devote time each day to the systematic study of God’s word. There is no better method by which a music minister can keep in touch with God’s techniques of life, doctrine, or survival. The music minister must not only be knowledgeable in music, but also in doctrine. 2. Devote time every day to clear, concise, and communicative prayer. This is where the strength and power for doing the job required is received. Going without this power source is like going without food and expectmg to survive. 3. Be sure to keep up with current information, techniques, and ideas in the field of sacred music. Many church groups and non-profit groups offer seminars and workshops which are some of the best ways to receive experiences beneficial to the working of the church music program. 4. Keep up with trends in secular music. To go along with many godless parts of contemporary music is wrong, but many good ideas can come out of the brilliant minds of today’s composers. Looking through the eyes of the Holy Spirit, the music minister can receive new insight from this field of music. 5. Keep track of any fresh and new ideas which come to mind in

1997

started to cry. The room had a live acoustic like I had never heard and those few men chanted like a room of angels.

The choir sang Gregorian chant, composed chant, hymns, highly dissonant Anglican chant, and even a folk melody. It was solemn, it was holy, and it spoke to my interior silences like no spoken word ever has. The service had variety of musical style, beauty, and holiness. It also had majesty and vitality, and segments of sound balanced by segments of silent intimacy with the Lord. Even with a whole host of styles, it all felt appropriate and safe. It was lovely. What do these two very different worship experiences, a morning service of Charismatic renewal and an evening singing of the Office of Compline say to me as a professional church musician? They tell me that God has been present with Christian artists, composers, hymn writers, and arrangers all along – from the beginning of hearts and minds lifted in praise to Him. He was there in the monasteries when we chanted. He was there in the cathedrals when we played and sang polyphony. He was there in the churches when we offered up hymns, chorales, and oratorios. He is present now with us in our sanctuaries and worship centers as we sing anthems and cantatas, as we play and we ring preludes and offertories, and as we perform contemporary musicals and traditional oratorios. Clearly, what was, what is, and what will be, regardless of musical style, are all valid expressions of our Christian faith so long as they are offered from hearts and minds of people serious about praising and proclaiming our Creator’s worth. To deny this, to stay within our musical comfort zones, or to place our efforts toward keeping up with the church down the road, or to merely give our parishioners what they want, plants us squarely within a consumer mentality. It limits the expressions of our faith. We, as Christian artist leaders, must know that we are stewards of a rich, anointed, and powerful heritage. Our art is meant to reveal all facets of our Living God and to help others to see, hear, and feel more of His fullness.

volume 35 - number 4/5/6 | creatormagazine.com

than others, we must be loving in our efforts to work with those having difficulties.

2014

For those of us who have been in this ministry for a long time, we have all encountered conflicts from the minor to the serious. There may be jealousies, likes and dislikes, and immoral situations. We must be prepared to deal with all of these issues. You may feel that you just like to make beautiful music, but in church music, that is a different story. There are other necessary parts of the job in the calling that we have accepted. We must love those we work with, even – if not more so – the difficult ones, and strive to have good, strong working relationships with all under our direction.

Teamwork and Communication This leads us to teamwork. It is only with the support and cooperation of a strong team that a successful church music and worship program flourishes. There must be strong communication between pastor, musicians, and worship planning teams, should there be one in the church. Too many times conflict arises when vision and plans have been misunderstood or mis-communicated. More often than not it is because everyone on the team is simply not talking with each other. Never assume. The most effective church musician is one who is not simply an excellent musician, but an honest and good communicator.

Invest in the Congregation A church musician must be a person who is willing to invest in the congregation he or she serves, not simply as someone who leads the choir rehearsal, but also by joining in the life of the congregation. They should have some theological and relational training as well as musical expertise. Musicians who work just for the excellence of their trade, forget the reason we are in this ministry. We must always be alert to our tendencies to look for the performance as a gift to God, rather than just as entertainment to our congregations. Above all, we must remember that we are to be an example to the people. How else can we lead others in worship

CALVIN SYMPOSIUM ON

WORSHIP january 30 to february 1 • 2014 worship theme • the book of Exodus

• A conference for pastors, worship leaders and planners, artists, musicians, scholars, students and other interested worshipers • 1500 attendees gather from over 20 countries and many denominational backgrounds • 100 presenters, including Jeremy Begbie, Sandra Bowden, Constance Cherry, Richard Foster, Pablo Jimenez, Michael Nabors, Mwenda Ntanrangwi, Eric Sarwar, James K.A. Smith, Anne Zaki, and many more

worship.calvin.edu This event is co-sponsored by the Calvin Institute of Christian Worship & the Center for Excellence in Preaching The Biblical Prints of Sadao Watanabe Calvin Center Art Gallery • Jan 7–Feb 22, 2014

1978

a notebook, where they can be looked up quickly. This used to be called “brainstorming” and it needs to be done periodically to insure freshness of the mind. Simply take time to sit down, without interruption, for a few minutes and write down every idea that comes to mind for the improvement of the music in the church . By keeping these ideas in a notebook, ideas which were not appropriate several years ago, might prove to be quite excellent several years later. The notebook allows for the keeping of ideas so that the music minister has a constant sourcebook of possibilities at his disposal. It is very easy for a music minister to lose creative innovativeness, which is so necessary as he guides the music and worship experience of the church. The easiest way to lose this is to become dull or non·receptive to one’s own ideas. When this occurs, the church service becomes status quo, uninspired,

1997

Our art is to stretch us into new wineskins and remind us of and to give us perspective toward our old ones. The beauty here is that God has gifted us with a whole pallet of choices, of musical styles and histories, all of which can be woven together in the experience of our own worshipping community. As our church’s chief musicians, we must be constantly mindful that our choirs will never rise any higher than our own ability to teach, to lead, and to create desire and openness within them. I exhort you to learn more about the rich heritage of church music God has given us – its history, performance practices, and appropriate sounds and uses. I exhort you to learn ways to rebirth melody and the very act of singing in the mouths and hearts of your congregants. And I exhort you, as their song leader, to learn ways of falling more deeply in love with your congregation’s own voice.

2014

and praise if we are not living an exemplary life ourselves? This is a calling, just as it is of the pastor. We need to be mindful of this most important duty of church ministry. In a difficult age for the church, the church musician must look to the greater good of the people. While we may always want to direct the Robert Shaw Chorale or lead the David Crowder Band, it is by some adjustment to our own thinking that we accomplish our goals.

Shelley Reel uses her

extensive experience as a director of music and worship arts to help churches evaluate, design and plan music and worship arts programs.

We are dealing with the people of God: everyday folk who need our guidance in all we do in our ministry. In all things, we are to worship God, give God all the glory, and enjoy God forever. fine 2013 | creatormagazine.com

1978

and quite bereft of the Holy Spirit. It can actually lead to the stagnating demise of spirituality which can lead to a very real death of the local congregation. So I say, with pointed emphasis, the music minister must never lose receptivity to God’s voice speaking through personal thoughts and ideas. The New Testament teaches that faith without works is dead, and that likewise works must have faith in order to be effective. In the same manner, the music minister must present and be receptive to, not only his own ideas, but also to the ideas of the local congregation which is an important part of the worship service. When one thinks of being receptive to the local congregation’s ideas and needs, it must be understood that the music minister in their church must be receptive and secure in his own feelings about church music, the role it plays in the worship service, and the role of the music minister in administrating music in the worship service. Should the minister of music not have these secure feelings, there will be immense difficulty in receiving and assimilating fresh ideas from the members of the local congregation. This difficulty of receptivity will undermine the efficiency of the music minister to the point of extreme dissatisfaction of the congregation and the receptivity of that particular individual’s ministry. To attempt to be receptive to ideas from the congregation requires the skill of being open without being threatened. That can only happen when the music minister is secure in his own ideas. New, or different, ideas do not come from the congregation in order to test the knowledge and training of the music minister. They, most generally, come from individuals in the congregation who have a genuine attitude of helping, not harming. Too many music leaders throughout the evangelical movements feel that the TM

music program, especially the worship service, is none of the congregations’s business and is not open for discussion. This attitude will kill a music program faster than a poor music leader. The music minister must be open to the ideas which come from the congregation. 1. It is a good idea for the music minister to avoid the pitfall of dictatorship. I have seen, in my experience with different congregations of different religious bodies, many examples of the ideal musical dictator. Not willing to allow feedback of ideas, not showing discretion in musical selections, and even expressing the feeling to the congregation that they are fortunate to have such a “fantastic” music minister in their church. Nothing turns a church into a battleground faster than that kind of attitude. The real tell-tale mark of a musical dictatorship is when the feelings of the congregation are ignored to the point that they no longer wish to participate in the program or even to associate with that particular staff mem ber. It is very easy to avoid that kind of situation if the staff member will try to “put the congregations shoes on his own feet.” If the staff member can visualize the position of the congregation in terms of needs, priorities, and ideas, there can’t help but be harmony in the music program. The staff member has to make the proverbial “first step.” After all, the job of the music minister is to serve, not to dictate. 2. In order to more effectively coordinate the church music program, the minister must keep in touch with actual ideas of the people. This can be done simply and quickly by several methods. First, there can be periodic questionnaires which may detect the musical pulse of the congregation. The questions must be as open-ended as possible to allow a larger degree of input. It also would allow for a great variety of responses which,

in the privacy of the office, may be discounted as inappropriate, or valued as a top-rate suggestion. This little idea helps the feeling of the congregation to be one of warmth and support towards the music program as well as the music minister. We are not in the music ministry to totally make friends, however, this type of congregational feeling toward the music minister improves the quality of the music and the worship service. It also makes people more sensitive to the creative moods which the music is intending to present. In short, the total music and worship experience is more meaningful if the people are supportive and receptive. The questionnaire will help foster that type of attitude. Secondly, the congregation may find periodic workshops or seminars on church music helpful in understanding the true place of music in the church. This type of workshop cannot be technical. The congregation is comprised of laymen, in terms of church music; they cannot be expected to understand technical language in terms of church music. The workshops need to be designed for discussion of common questions, for example, which are raised about church music: •

Is music as important in the worship service as the sermon?

•

Are only certain types of music appropriate in the worship service?

•

Is church music important to the message of the worship hour?

These are but a few of the questions that could be discussed in the setting of a church music workshop. Notice again, this type of activity will foster a feeling of appreciation for all the good work you have done, a feeling of warmth toward the music minister, and a feeling of discovery of new insights never before understood. The benefits

leadership network

need a new position? feeling called to a new ministry?

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1997

How fortunate we are to live in a time, like no other time, when we have available to us texts on and recordings of practically all periods, styles, and uses of Christian music. Workshops and continual education experiences are offered throughout the year on everything from jazz Masses, to folk/renewal music, to chant, to handbell techniques, to brass arranging, to organ technique, to developing congregational singing. This period in our history is far beyond exciting. We must focus on the quality of the music and our music making – how well it is crafted, the value we place upon it, and what we choose to invest in it. We must focus on the appropriateness of the music – how, when, and in what ways we plan to use it as it relates to the worship theme, the scriptures, the church year, or the spiritual life of the worshipping community. And when we open ourselves up to the plethora of styles – of “musical foods” God has laid out before us – what freshness, what richness, what power can be brought to the people’s worship. Imagine an introit from the folk musical art, a processional hymn from the English cathedral

Mark K. Williams

has served as Director of Music Ministries at First United Methodist Church, Winter Park, Florida.

musical art, a Psalm from the early church musical art, a call to prayer from the gospel musical art, an anthem from the contemporary or early American musical art, and a closing hymn from the musical art of the Reformation, all of it appropriately prepared, led, and woven into the fabric of worship. God did not create beauty in vain. It is both possible and worth our efforts for our singers (congregants and choristers), our ringers, and our instrumentalists to learn to hear, sing, and play well in many different musical expressions. It takes time, patience, discernment, and a long-term commitment to bring about such stylistic diversity. I have found that direction is far more important than speed. By using our rear view mirrors, watching out for our blind spots, and allowing for the variety of styles found in the whole of our Christian musical heritage we will add meaning and depth to our people’s worship. They will know more of the fullness of God. As the Master Musician, He surely must delight in the richness, quality, and variety of our praises. I plan to renew my commitment to teaching and leading those under my care to raise their instruments in praise to Him in fresher, fuller, and deeper ways. I plan to lead them in joining with and embracing all He created that is, and was, and will be. Will you join me?

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far outweigh any harm that a workshop such as this can bring.

1978

Finally, the music minister must keep in touch with the congregation in a very personal way. There must not be allowed to develop the situation of a music minister being so busy in the structural program of the church that there is no room for the people of the congregation. When this happens, the music minister has placed himself above everyone else, which never brings good results in the overall work

Why I Sing in the Choir Sometimes I wonder. There are always more obligations than there is time to meet them; at the end of a work day rehearsals last longer than my energy, and it is impossible to miss a rehearsal, service, or special performance without enduring the director’s attempts to conceal disappointment with understanding. So why bother?

of the church. Instead of helping the music program by becoming totally immersed in it, the most likely effect will be one which could kill all the good intentions of the best music minister. Pardon the perversion of an old saying, but I think it applies: “Actions always speak louder than good motives.” Above all, it is important for the music minister to remember the purpose of the job. SERVICE. There is no room for totally selfish ideas and motives. There is no room for personality quirks or wanting the congregation to fall in line because the ideas coming from the church music office are the best and the only way of doing things. The purpose for a music minister is to lead the congregation to meaningful worship through the medium of music. This calls for a combination of personal ideas and the ideas of the congregation. Without this two-way give and take, the worship will not be enhanced by music, rather it will suffer severely.

Get 7 Steps to a $ just Perfect 7 Music Ministry http://cmag.ws/8d Budget

“The best investment you’l make this year” By keeping in touch with yourself and with the congregation , you can insure them of the ultimate in worship experiences, with God’s help and grace. fine

It is easy to become preoccupied with the busy-ness of life and lose touch with our most fundamental emotional and spritual needs. For me, music is a way to get in touch with and express certain emotional and spiritual feelings that usually remain under the surface as we go about our daily lives. Listening to and becoming absorbed in great music is one of life’s highes joys; performing such music is a step higher. In the finest choral works, music enhances the emotional and spritual content of our best poetry. The phrases “Hallelujah,” “Surely He Hath Borne Our Griefs,” “My Lord, What a Morning,” and “When the Saints Go Marching In” are wonderfully evocative by themselves, but when combined with music they become alive and resonate with depth and meaning. In my mind, phrases such as these can hardly be separated from one or more musical settings. Do I have a peak emotional/spiritual experience every week in church choir? That would be nice, but honestly, no. I just have them occasionally. The rest of the time I work with my friends to improve our skills and share a little of the magic of choral music with others. Or I have fun singing. And once in a while I keep at it when I am tired and it isn’t much fun, simply because, in the jargon of my work life, the benefits exceed the costs when it is all said and done. Paul Lingenfelter Illinois

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www.thesingerlink.com

reimagining section leaders by Stan DeWitt

ministry

an old concept becomes a new ministry

ou are climbing a rock. You have reached a difficult spot in your climb with no further routes upward. To your left, there is a safe place to stay, but it leads you to a dead end on the rock. Move there and you will go no further up. To your right, there is a steady ledge from which to rest and launch a new assault on the journey. But it is across a gap in the rock, and requires you to let go of all of your footings and leap. As you sit, idling, pondering your options, the rock under your foothold begins to slip, crumble. You must choose now: move to the left and be safe, but move no further up the

rock, or move to your right by letting go of the rock and leaping with all of your might. What awaits you is safety in stagnation, or a new path forward fraught with danger. Which will it be?

The Idea of Section Leaders The role of section leader in church music ministries can vary a great deal from church to church. For some large churches, the paid section leader fills the role of assistant director, running sectionals and singing the solos in major works. In smaller churches, sometimes the section leaders become the de facto music program, providing solos each week and giving an anchor to dwindling choir numbers.

In churches that do not have section leaders, the position is often seen as â&#x20AC;&#x153;bridge too far,â&#x20AC;? a sign that the volunteer choir members are not respected, over the hill, or simply not wanted anymore. It can be dismissed as a waste of money, or as a death knell to a music ministry trying to hang on. The position might be seen as a stake in the ground for churches that are worried about slipping away. If the choir has four strong voices, it will always be able to provide some music for worship, even if it is just a quartet, right? When I began working at Grace First Presbyterian Church, the music ministry was strong, but not as strong as it once had been. Where once there was church that could just throw its doors open and 2013 | creatormagazine.com

The Ministry Leader/Section Leader Job Description

This position is a ten-month part-time position. The two months off will be arranged through the course of the year. During the ten-months, Section/Ministry Leader is allotted two Sunday sick days and two Thursday sick days. SECTION LEADER RESPONSIBILITIES • Attend all regular choir rehearsals (Thursday nights, 7:30-9:00) and extra rehearsals as called by the Minister of Music. • Attend and sing with the choir on all 9am Sunday morning services. • Sing solos in choral works as music calls for. • Sing 2-3 solos in 9am service per year. • Run sectionals in rehearsal as needed.

MINISTRY LEADER RESPONSIBILITIES • Be an active leader or participant in some ministry activity that is a combination of Ministry leader’s gifts and passions and the needs of Grace First Presbyterian Church. Possibilities include (but are not limited to): children’s or youth music, drama, summer camps, handbells, COA services, arts programs, Concert Series, Technology/Scala, Care Choir. • Ministry Leader hours may vary throughout the year, but should average to minimum 4 hours per month. OTHER RESPONSIBILITIES/INFORMATION • Attend periodic music staff meetings as called by the Minister of Music. • Annual evaluations will be used to fine tune Ministry goals and job performance.

• Assist choir members with parts or vocal coaching as needed during rehearsals. • Be an active voice for recruitment for the choir, particularly among young adults and youth.

the ministry goal was simple: have four people who the congregation recognizes in the choir also be involved in other activities around the church

Thursday Morning Email

Helping You Do

Ministry Better 16

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welcome in 700 people in two services and a choir of 50 would just emerge, there was now a church idling at 250 people in two services, with an aging choir of 30 singers. Forty or fifty years ago, the choir didn’t need section leaders; there were enough singers to go around. So, the prevailing wisdom was “section leaders will cause the volunteers to quit,” or “it’s a waste of money.” The music ministry that I took over in 2003 was nearing that spot on the rock. Things were going well, and all of the efforts we undertook helped the music ministry grow in small ways. And yet we were not moving up the rock. As time went on, it became clear that we were trapped in the same quagmire as many other churches in the United States: aging congregation, changing culture, troubling demographic shifts. We began to look for all of the possible ways to move through the quagmire with open hearts and creative minds.

For those that are interested in trying the Ministry Leader/Section Leader concept on for size, please find our job description opposite this page.

passion to be part of it. (As it turns out, we got both, luckily for me.)

Because of that, the questions we asked of applicants became even more The Goal of Ministry important than the audition in the interview time. We were looking for The goal was simple: have four people who the congregation recognizes in the people who had a passion for ministry, choir also be involved in other activities first and foremost. around the church. They wouldn’t just We also shifted the calendar to make be known by the choir members, they would be known and loved by the entire sure that at least one of the four singers was in worship every Sunday for the congregation. year, even though it is a ten-month position. Instead of just giving them This required a few concessions on my June/July or July/August off, I created a part. First, instead of asking them to calendar which allows them to stagger each sing one solo a month (and have a solo each Sunday), we would only ask their days off through the year, taking off one week here or two weeks there. them to rotate every four months (and have one solo a month.) When the choir goes on break in the summer, they continue singing solos, Most importantly, I would not necesduets, trios or quartets. (Keeping it all sarily be looking for the best musician organized is more work and confusion to fill the role, but looking for the best for me, to be sure. But it is definitely person to fill it, the person with an worth it.) They are not allowed to hire understanding of what ministry is and a

The Role of Section Leaders For the music ministry, I felt that the time for section leaders was at hand. But the ‘prevailing wisdom’ was still around, and the case to be made for hiring four people to sing in the choir was going to be a tough one. It required us to step back and think about what it was we were trying to accomplish in the bigger picture, and how these four people could help us accomplish those goals. After discussions with the Senior Pastor, the rest of the staff, the Worship Team and key church members, I decided that to try an experiment and not hire “Section Leaders,” but instead hire “Ministry Leaders.” The role of these four positions would not be centered around the choir alone, but on the congregation in total. I would not hire four people to simply sing with the choir, sing a solo once a month and go home; I would ask them to sing with the choir and take on an additional project/job/duty that would be based on their passions and interests. We would focus our job search on music students from the Bob Cole Conservatory at Cal State University, Long Beach, simply because they were in our missing demographic.

Quality

“The tour was very well planned and provided a great mix of tourism and missionoriented excursions. The choir was highly impressed – their favorite tour to date.” Dennis Coleman, Director, First Congregational Church of Bellevue

For over fifty years, we have customized tours to fit each group’s unique interests, abilities, and expectations. Many satisfied ensembles return year after year, knowing that we can provide them with a memorable experience every time.

800-627-2141

WST 601 273 533 • CST 2063085-40 Photo courtesy of St. Martin’s Episcopal Church Choir

ACFEA Tour Consultants 123 Second Avenue South, Suite 105 Edmonds, WA 98020 www.acfea.com . email: info@acfea.com

2013 | creatormagazine.com

substitutes if they are sick or unable to come – we don’t need their voice as much as we want their presence.

The Result of the Goal

Stan DeWitt is Minister of Music at Grace First Presbyterian Church, in Long Beach, California.

The result has been extremely positive. Since we hired them, they have each taken on significant ministry projects that tie into their interests, and have helped us launch new programs. Maggie Boles (our soprano) is a fabulous songwriter; she runs our Grace Café, a monthly coffeehouse/performance space. Rachel St. Marseille, (our alto) and Emilio Sandoval (our tenor) lead worship once a month at Christian Outreach in Action, a homeless center in downtown Long Beach. Bryant Nguyen (our baritone) helps lead our Care Choir, a loose pick-up choir that

sings out once a month to shut-ins and convalescents. In addition to those duties (which are considered part of their job), they have taken on other activities of their own desire: playing in our handbell choir, working with our children and youth summer camps, helping with children and youth music, playing drums in our Taiko ensemble. Not the least of the benefits of their hiring is that the congregation knows them all and loves them. They have energized our young adult programs, and are just generally really cool people to hang out with.

Consider Your Process as Your Product Glenn A. Pickett

Here are six things to consider to help you consider your process as your product. They work for me as I compose music, discipline myself in a new skill or as I lead others in a major project. Although my particular field is music, I believe that they apply to any discipline. I am indebted to my teacher Dr. Mark Carlson, for bringing them to my attention. 1. Have Clear Beginnings and Endings: Without a final finish line, the process is meaningless. Set clear, challenging goals that you and everyone else will know when they have been obtained. For example, if you want to grow your choir’s ability to communicate, why not challenge them to memorize Handel’s Hallelujah Chorus this year for the grand finale of your Christmas concert? You could then use all of that work to perform it flash mob style somewhere fun! 2. Watch for and Celebrate Forward Motion: Congratulate yourself and your group when a small part of your goal has been obtained. “Hey friends, we’ve now got the first 16 bars of the Hallelujah Chorus memorized; that’s 16 more than we had when we started. Next week, let’s aim to have 32 bars memorized.” Keep your eyes on a reliable measurement of progress to ensure that the process is more than just meandering.

3. Keep it Interesting: There are a myriad of ways to do this. Find someone in your choir who has struggled with memorization in the past but has worked hard and is conquering the Handel. Have them share how they are doing with the entire group. 4. Use Building Blocks that Evolve Over Time: Stories of past victories, songs sung and places performed are the building the blocks that help form the interwoven fabric of a choir. Every healthy group has these kinds of legends that build community. “I remember the time when the bus broke down and we sang for the people inside the Burger King in which we were stuck for three hours.”

6. Plan Surprises: In a choral group, this could be as simple as unexpected food following the rehearsal or a Valentine rose to every singer when February 14 is a rehearsal night. It can be as elaborate as having someone dress up as one of the composers (like Handel, for instance) and attend the rehearsal in character. Concerts, contests, and other culminating events can seem to be the point of our work. But they’re only part of it. The process itself is the entire product. Enjoy that process as you use it to reach your goals. Find the joy in the journey.

“I remember when we had an electrical blackout and we were singing We Have Seen the Light and the lights miraculously came back on in the middle of that particular song.” These kinds of stories never seem to get old in the retelling, and they serve as great reminders of common cause. 5. Aim for a Climax: In athletic training, in music, in the business world, there’s always a sense of the “peak” to any endeavor. Most often, this happens just before the culminating event, but not always.

volume 35 - number 4/5/6 | creatormagazine.com

Glenn Pickett believes

that music is communication. He teaches Music Composition at California Baptist University.

The Decision to Jump

Why I Sing in the Choir

We chose to jump to the right, to the safe ledge with firm footing, despite the dangers of letting go of the rock, knowing that the crumbling foothold beneath us meant that at some point we would fall anyway. If we were going to fall, we felt we would rather do so knowing we were making the effort to keep climbing. The jury is still out on whether we can find our way up the rock from here. There is a lot of vertical space to cover; most of it is treacherous. Some days it even feels like it is raining and there is a 50 m.p.h. wind blowing sideways across the rock. But we can see up the face now by holding our head up. We can see the route from here. Now, we just start climbing again, one step at a time.

fine

The primary reason I sing in a choir is that it’s fun. I enjoy the rehearsals, the services, and the special performances. As a member of a large church, belonging to the choir has the added benefit of being a smaller group in which it is easier to get to know other members of the church. And you get to know them much better than you would from simply seeing them on Sunday morning as they head into church. I also have a chance to meet people of various ages, something that really doesn’t happen in my church with Sunday school classes organized in age groups. There are, of course, more spiritually significant reasons I belong. Being in the choir allows me to serve my church and personal service is an extremely important contribution to any church. There is also the music itself to consider. Particular pieces affect me and my desire to grow and develop in my faith. I also enjoy the chance to experience music of the “masters” as well as a whole range of music, from pieces that I love to those that I can’t wait until they’re placed on the shelf once again. Finally, for me, singing in the choir is my “release valve.” All of the obligations, concerns and problems in my professional and personal life can be put aside for the hour and a half of rehearsal and the worship service. I get a mid-week recharge of my “emotional battery” every week because of rehearsal. Richard Jans Florida

Sign up for any or all of our monthly enewsletters Now available at morningstarmusic.com Over 50 New Choral Anthems Over 40 New Instrumental Works

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good stuff

new stuff Simple Songs for All Seasons

Ruth Elaine Schram Jubilate Anthems for Thanksgiving, Advent, Christmas, Easter, and Holy Communion.

Things we think would be helpful resources for church musicians and worship leaders...

Shall We Gather

Love Lead the Way

Settings for 4-Hand Piano by John Carter Hope

Classic Hymns for Two Instruments

The Brooklyn Tabernacle Choir The Brooklyn Tabernacle Music Their newest collection, which includes two bonus tracks.

The collection has a lot of the “favorites,” including Amazing Grace, How Great Thou Art, Shall We Gather at the River, and Jesus Loves Me. Nothing too terribly difficult here, but this collection is not for the rank beginners.

Duets for C and/or B-flat

Hymnscapes

Larry Visser Wayne Leupold Editions Including settings based upon slane and crimond.

Instruments Lloyd Larson Hope

The book is in C, but contains a CD with PDF files of the C and B-flat instrumental parts plus full piano accompaniment tracks in case no “live” player is handy..

Easter

We Believe

One: A Worship Collective Integrity This new release – a live recording from the 714 Conference – has captured the imagination and the acclaim of those who lead worship in local churches.

Creator Staff

Each year brings the opportunity to program music from composers or with texts by writers who celebrate significant anniversaries. In 2014, the list includes the following. •

Henry Lowell Mason (1864-1961)

•

Charles Sanford Terry (1864-1936)

•

Stephen Foster (1826-1864)

•

Friedrich Heinrich Himmel (17651814)

•

Johann Friedrich Reichardt (17521814)

David T. Clydesdale Word An anthology of everything Clydesdale for Palm Sunday through Easter.

The Making of a Worship Leader St. Martin’s Psalter Musical Settings by Thomas Pavlechko Augsburg Fortress A CD-ROM collection of psalms with texts from Evangelical Lutheran Worship for the Revised Common Lectionary.

Dr. Jim Altizer Sound & Light Publishing A guidebook for every worship leader.

Everyday Sunday Arranged by Lari Goss Word Ten arrangements for Southern Gospel Choir.

The Special Service Worship Architect Blueprints for Weddings, Funerals,

•

John Calvin (1509-1564)

•

Hans Leo Hassler (1564-1612)

•

Claude Goudimel (1514-1572)

volume 35 - number 4/5/6 | creatormagazine.com

the best of David T. Clydesdale

2014 Anniversaries

Hymn-Based Sketches for Organ

Baptisms, Holy Communion, and Other Occasions

Constance M. Cherry Baker Academic

Cherry follows up her Worship Architect book here – this time talking about “special” services.

ministry

reimagining the choir historian an old role becomes crowd sourced

istory is incredible.

Civilizations rise, become great, decay and die, only to be rediscovered centuries later through fragments. Living in the 21st century, it is perhaps inconceivable to think that what knowledge we have accessible to us could ever be lost again. Yet every lost civilization must have felt indestructible before. Somehow, a few writings and artifacts survive and serve as time capsules. Our lives and our calling revolve around music ministry and worship leadership. We use music on a daily basis as a tool to touch people’s hearts and tell them of God’s love. Isn’t that something worth keeping a record of for posterity?

Even if the record is just for our own reference, it is worth trying to preserve what we do. Nothing will last if we don’t try.

The Choir Historian In a 1982 article, Bob Clemmons wrote those words in submitting a case for adding a choir historian to the choir cabinet of officers. He described and detailed the role of the choir historian as follows:

He or she should be someone who, with a camera readily available at all choir functions, has a nose for the major events and the discernment to be able to tell when something eventful is occuring. Yet he or she is still organized

and creative enough to be able to put it all down on paper in an interesting manner. [The] historian should be a tidy packrat – keeping a clean copy of every program, photo, ticket, and [whatever else] that has any meaning to the choir. Bob went on to describe in great detail the process of organizing all the saved material into scrapbooks, each of which would detail the activities of the choir year. He made the case for the project to include an entire committee of people to lend a hand to make the scrapbooks durable and visually striking. Finally, he makes this point:

Why go to all the trouble? It’s a lot of 2013 | creatormagazine.com

work and expense to keep an annual [for] each year. [Yet] it’s purpose is manifold! There is the obvious value (albeit sentimental) in recalling to mind the year’s accomplishments. But beyond this, it’s a valuable recruiting tool. Propsective newcomers say “Wow. They really did all that last year?” Old timers say “Wow. We really did a lot last year!” The historian’s book tells a story of progress and commitment. It preserves...the accomplisments and joys in which a group in Christ can share. It becomes an evangelical tool. But the long term possibility that even one person could learn of God’s love through it makes all the more reason to chronicle the life of your choir. The key points Bob makes are these: •

people benefit from a record of their accomplishments

•

a group of people working together on this project spreads the load and engages more people

The ministry implications here are enormous. A ministry’s history can now be crowdsourced, with photos, videos, and commentary.

•

it is an evangelical tool

How do you make that happen? Why not encourage (or even train) every single volunteer in your ministry to take at least one picture every week which documents their ministry in action? Create a Facebook page or an Instagram account for your ministry, or one for each group in your overall ministry. Encourage everyone to share their photos, and add commentary to their uploads.

The Ministry Historians Fast forward to 2013. Believe it or not, in some ways technological advances make historical documentation much easier to do, and to organize. Today, nearly everyone carries a high resolution digital camera wherever they go in the form of a smartphone. You, or someone you know, seems to always be taking pictures and uploading them to Facebook, or Tumble, or Instagram. Need proof? Every day over 300 million photos are uploaded to Facebook alone.

Over the course of a year, or even a season, you will accumulate a terrific slide show for the pre-worship crawl, or to highlight your ministry during a recruiting or stewardship campaign.

Guidelines for Who and What You Should Document

Even with a host of volunteers, you will need to establish some guidelines for who and what should be documented. Here are some ideas. The information below should presented for your reference. Here at Creator, we want to be clear that there are a variety of legal and proprietary issues surrounding what you can do, keep, and share when it comes to digital documents. What follows is not legal advice. Seek legal counsel to be completely sure of the most up-to-date information. GENERAL GUIDELINES • Determine who owns the copyright to the pictures – the ministry, the church, or the photographer • Draw up a sample release document in order to obtain permission to use the image of any person, place, or logo included in a picture • Develop and strictly adhere to a policy when it comes to pictures of anyone under the age of 18 – many churches find it is best to not include pictures of children on their websites, for instance

PICTURE STORAGE GUIDELINES

WHO AND WHAT

• Decide which photosharing service – if any – you wish to use: they are all slightly different in some respect (for instance if you have mostly android phones as opposed to iphones)

• Rehearsals

• Decide what the “final document” will look like at the end of the season or year – choosing whether it is a “permanent” document like a bound volume, or a facebook page, for instance, will have implications in terms out how you determine which materials make the “final cut”

• Worship Services

PICTURE SHARING GUIDELINES • Determine whether your pictures/ scrapbook will be shared “off campus” – doing so may trigger more and/or different legal issues • Determine whether individual pictures can be shared outside of their intended use as documentation of the ministry activities – for instance, if Jack takes a photo of Jill, are either of them able to post it on their own individual facebook pages or photosharing services?

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• Retreats • Social Events

• Special Events, such as Memorials, Concerts, Seasonal services, Workshops, Birthdays • Individual ministry members • Church staff • Guest musicians • Groups within the ministry such as worship teams, handbells, etc. • Spouses and families • Former members who come back to visit • Anyone and anything else you can think of

As the photo record accumulates, it becomes more and more valuable as a historical record of your ministry. If you ever need photos for a brochure, a newsletter, or a fund raising campaign, you should have plenty to choose from. Not only that, when the time comes to present your ministryâ&#x20AC;&#x2122;s annual report, it will be easy to create a slideshow, and the commentary is pre-written. But what about a more permanent record? A modern-day equivalent of a scrapbook? It turns out that building a digital scrapbook is not that difficult anymore either. In most congregations, there is probably one digital scrapbook enthusiast. Really. At least 4 million US women consider themselves to be scrapbookers, and most of those have shifted to digital scrapbooking, even when they use print on demand services like Shutterfly to turn their projects into hard bound books.

encourage (or train) your ministry volunteers to take one picture every week to document your ministry in action

But even if you canâ&#x20AC;&#x2122;t find a scrapbooker in your congregation, there is still a fairly easy solution to creating a permanent record of all the materials you accumulate during the course of a year. Digital scrapbooking has advanced to the point where digital scrapbook layouts may be made entirely online using Web-based software, so almost anyone can learn to do it quickly. fine

For those who lead worship!

TheWorshipRenewalCenter.com has resources and ideas to help you do worship ministry better 2013 | creatormagazine.com

select twenty TM

codes

what it is Creator’s Select 20 has always featured the best new church choral music – 20 anthems that will serve most any ministry. We choose by using criteria which include the full spectrum of musical and worship styles. We draw from all publishers, traditions, and styles, regardless of our personal taste. On the actual review (see below to find the detailed reviews) we include a “worship-style bar-graph” to assist you in applying a S20 title to your ministry. The graph, and the “theme” graphic identifiers on the next page, are not used to “pigeonhole” music, but to help our readers in understanding style.

The left edge of the graph would be complex music which is less predictable, often incorporating mixed or no meter, and less familiar tonalities. Texts here focus on poetry or more abstract word painting. The graph’s center represents present-day anthems written in a traditional, non-pop, non-gospel style, with texts that are commonly scripture based and written in second or third person. The right extreme would be pop, gospel, and rock musical styles, commonly including chord symbols in the accompaniment. Texts will be less poetic, more straightforward, and primarily written in first and second person.

voicing

catalog number

composer

music sources

editor or arranger

lyricist and/or source

accompaniment information

usage

publisher imprint



The following are used at the end of each full review/comment: L End

read the full review online Creator has changed the way we list Select 20 titles. We now list important information for each Select 20 title here in the magazine, with complete reviews on our website at http://cmag.ws/2m. Our general rules for inclusion in each issue through the editorial selection process are as follows:

• No more than two titles by any composer, arranger, or publisher

length using (S)hort, (M)edium, and (L)ong dynamic level of the ending difficulty using (E)asy, (M)edium, and (D)ifficult

Advent

Easter

Palm Sunday

All Saints

General

Pentecost

Baptism

Good Friday Maundy Thursday

Praise

Benediction

Lent

Call to Prayer Prayer Response

Call to Worship

Lord’s Supper

Offering Stewardship

Christmas

Missions

Thanksgiving

• Copyright dated this year or last year Scan the QR code to the left of each title to be taken directly to the complete review. The graphic gives an indication of the anthem’s primary use in a worship service.

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I Will Lift Mine Eyes 

Cry No More

O Come, Redeemer of the Earth  V: SATB #: BP1959 E: Richard A Nichols A: Piano, opt. Cello (included) U: Adult • Advent, Concert P: Fred Bock Music ©: 2011

We Gather as the Body of Christ V: SATB, Cantor, Congregation #: 008379 C: John Angotti A: Keyboard U: Adult • Lord’s Supper, Call to Worship, General • Small Church P: World Library ©: 2012

For the Beauty of the Earth  V: Unison or 2 part treble #: MSM-50-6210 C: Mark Patterson A: Piano, opt. Cello (MSM-506210A) U: Adult, Children • Call to Worship, General P: MorningStar ©: 2013

Built On a Rock V: SATB #:978-1-4514-6230-2 E: Harold Silvester A: Piano, bass, perc, alto sax (downloadable) U: Adult • General, Concert P: Augsburg Fortress ©: 2013

Baby Boy V: SATB #: 0 80689 23123 0 E: Gary Rhodes A: Piano, Optional Orchestration (0 80689 08408 9), Optional Trax (0 80689 95432 0) • Christmas, Concert P: Word Music ©: 2012

When This Passing World is Done V: SATB #: 286922 C: Jonathan Reid A: Piano U: Adult • General, Lord’s Supper P: SoundForth ©: 2012

This Is the Day V: SATB #: HMC2319 C: John Rutter A: Organ or Orchestra U: Adult • Call to Worshp, General P: Collegium ©: 2012

scan the QR codes to the left of each title with your smartphone for the complete review, or go to http://cmag.ws/2m

O God Beyond All Praising V: SATB #:978-1-4514-6241-8 E: Hal H Hopson A: Organ, Optional brass and percussion U: Adult • General, Thanksgiving Concert P: Augsburg Fortress ©: 2013

God Is Here!  V: SATB #: C 5791 C: Joel Raney A: Piano, Optional Brass, Percussion (C 5791B) and Handbells (C 5791) U: Adult • Call to Worsihp, General, Concert P: Hope ©: 2013

Morning Has Broken V: SATB #: 10/4274L E: Lloyd Larson A: Piano U: Adult • Call to Worship, General • Small Church P: Lorenz ©: 2012

We’re Gonna Worship Christ the King  V: SATB #: 10/4245L C: Pepper Choplin A: a cappella U: Adult • Call to Worship, General P: Lorenz ©: 2012

Still We Wait V: SATB #: BP1959 C: David Das A: a cappella U: Adult • Advent, Concert, General P: Fred Bock Music ©: 2013

Renew Your Church V: SATB #:BP1998 E: Lloyd Larson A: Keyboard, Optional Brass and Percussion (BP1998A) U: Adult • General, , Renewal, Concert P: Beckenhorst Press ©: 2013

Four Motets for Advent V: SATB #: 005896 C: Robert G Farrell A: a cappella U: Adult • Advent, General, Concert P: World Library ©: 2013

2013 | creatormagazine.com

now trending on

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Jesus at the Center Hard Questions and Exciting Possibilities about Worship...

5 Steps to Staying on Track Getting back on track after the Summer can be a challenge...here are some tips...

Practical Lessons from an Easter Season

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A Peer to Peer Report on What Worked…and Why…...

Twitter Feed

http://cmag.ws/33 We’ve found that twitter is a great way to find people and information in the areas of our interest. Twitter shouldn’t be intimidating, but its primary ground rule – no post can be more than 140 characters – does take some getting used to. The good news? You don’t have to spend much time to find out whether something is important to you.The bad news? You can’t always tell if people’s intentions are good. Here are some suggestions of people we find add value to our lives via twitter.

@Creatornow first notice of new articles at Creator’s website @DougLaw Doug Lawrence tweets about church music and worship @gettymusic news and information from Keith and Kristyn Getty @iamanoffering tweets from a “Free Lutheran” worship leader @jkoerts James Koerts writes about church music and worship @MSMPublishers what’s new and interesting from MorningStar Music @oldworshipnew some Luther Seminary Masters of Sacred Music

4 Timeless First Steps for Ministry Leadership

alumni curate worship articles @paulbaloche tweets from the well-known singer-songwriter @PhiferSteve Steve is the voice of The Worship Renewal Center @singerlink network with singers and directors all over the planet @vernsanders Creator’s publisher finds interesting things on the net @theworshipcomm news and information curated by Fred McKinnon @WorshipStudioMM Marcia McFee writes about worship

First steps that are basic are far better than first steps that are radical and controversial...

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volume 35 - number 4/5/6 | creatormagazine.com

special report on

money and your

ministry 2013 | creatormagazine.com

MONEY MINISTRY and your

oney gets a lot of

attention in church life – often because we think we don’t, and will never have enough. We don’t have enough money to do everything we would like in outreach, worship, music, education, building. Or we have less then we used to, and we’re not sure what to do about it. Here at Creator, we would love to see all churches celebrate their resources more. If your church’s doors are open every week, you can celebrate that. It’s something to celebrate if you have people who give regularly to support the ministry. You can even celebrate that you don’t have enough money, because that generally means your vision is bigger than your resources. You can take the long view and celebrate that you have more money than you did 50 or 100 years ago.

Maybe you want more for your church’s worship and the rest of its ministry than exists now. There may be real financial issues that have to be addressed. But we have become convinced that a congregation doesn’t get anywhere by being anxious and afraid about the money. That kind of fear actually drains our energy and keeps people from giving. By contrast, celebration gives energy and creates momentum. You can’t make other people be less anxious and afraid, but here are some things you can do: •

You can manage your own fear and anxiety.

•

You can focus on the strengths you see in your own ministry and that of those around you.

•

You can spend more time with the people who are positive and have

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or p e r ial c e p As

energy than with those who are bemoaning everything. •

You can celebrate not only those who give, but also those who gave in the past to make ministry possible now.

A life of gratitude and celebration does not mean you will get all the money you want or even the money think you need, personally and institutionally. Yet you will experience more grace, more trust, and more celebration for what you do have. You will relate to your own resources and your church’s resources with increasing freedom, whether you have a lot or a little. Dealing with money is a spiritual matter. When we understand that no money matter, budget decision, or even job and salary are ultimate, we give a gift to ourselves and to our churches.

by Margaret J Marcuson

ministry

MONEY MINISTRY and your

n recent years, church leaders’ worries about money, as well as real bottom-line financial struggles in congregations, have skyrocketed. Money has always been an anxietyproducing matter in church life, but it all seems harder now. Churches have laid off staff. Pastors and staff have seen not only stagnant salaries but actual pay cuts.

What has been going on in your church regarding money and ministry? You may be worn out by the ongoing worry about whether there will be enough. You may be in the middle of a budget crisis that is keeping you awake at night. How will the church as a whole, or your ministry, survive? Or, conversely, your church may be facing a windfall that seems like a blessing but also raises questions about how your church makes decisions about money and what its real priorities are. The question is: How can church leaders respond to these challenges in ways that give life both to them and to their churches?

It is not enough to simply to pay focus on the nuts and bolts of church financial life, whether there is a lot of money or not enough. Of course, bills must be paid. Staff must receive their salaries. The endowment must be managed. Budgeting must be done. The funds must be raised somehow. However, it is easy to spend a lot of time on crucial matters of church finance and still be blindsided because we do not pay enough attention to the emotional side of money. When we look only at the numbers and disregard the system of relationships in the congregation, we will never have a real handle on what is at work in our church. Viewing money through the lens of family systems thinking can give us some tools for walking through the thorny lanes of the endless conversations about money at church. What does family systems thinking have to do with ministry? Ministry is about relationships. So a way of thinking that addresses relation-

ships, as family systems theory does, is right on target for us in the church. Every family, and every church, has patterns of relationships that persist over time. Those relationship patterns – what happens between people – are as important as what happens inside individual members of the family or the church. Remember, money is never simply about money. It goes much deeper: it’s also about relationships, about the give and take between people. These connections involve what systems theory calls emotional process: not the surface feelings, but the instinctive side of human life, the way we react rather than respond to one another. Using this perspective, we can understand why those money conversations so often go wrong, and how to do better with them. When we can give more thoughtful attention to money matters, we will both have better relationships with others and make better financial choices for the present and for the future. 2013 | creatormagazine.com

Let us look at some of the basics of systems thinking and how they work in relation to finances.

budget, but simply let them slash it to the bone.

Anxiety As one pastor said, “It always seems to have an exclamation point when money is involved.” Money easily becomes a focus for people’s anxiety. Edwin Friedman, author of Generation to Generation: Family Process in Church and Synagogue, used to say that the issue is never the issue. In other words, we think the argument is about money. But instead, people simply focus their anxiety on the issue at hand, and money is often that issue. Money has to do with survival – personal and institutional – so it easily draws our anxious attention. It’s easy to have a mindless reaction when money is involved. You bypass the reflective part of your brain, and find yourself in survival mode. The fight-orflight response has kicked in. Suddenly, in the middle of the staff or council meeting, you can’t think clearly about the budget conversation. You go home kicking yourself because you didn’t speak up to defend the music

This ongoing chronic anxiety around survival shows up in a variety of forms in congregational life. Here are some of the ways: Secrecy around money. Denial around financial realities – thinking there isn’t enough when there is, or thinking there is enough when there isn’t. Overestimating or underestimating giving capacity. Regular “crises” around finances, real or imagined. Embezzlement or mismanagement. Resisting necessary expenses like deferred maintenance. High reactivity around the way church leadership raises funds. Never talking about money or, conversely, always talking about money.

Blind trust in the leadership around money matters, or, conversely, extreme suspicion of leadership. Overfunctioning and underfunctioning. There’s a reciprocal relationship between those who take too much responsibility and those who do not take enough responsibility. In congregational life, there are always those who give more /worry more /spend more time on the money than others. In systems theory this is called overfunctioning. Members who are overfunctioning with financial aspects of the church always think if others gave more or were more responsible, the church wouldn’t have this problem. Yet there’s a balance between those who overfunction and those who underfunction in terms of financial responsibility. It takes both to keep this over/underresponsible dynamic going. Often key church leaders carry the anxiety for church finances. Who is staying awake at night? Typically, it’s the pastor, although sometimes lay leaders

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a grants program for worshiping communities

The Vital Worship Grants Program at the Calvin Institute of Christian Worship seeks to foster vital worship in congregations, parishes, and other worshiping communities in North America. This grants program is especially focused on projects that connect public worship to intergenerational faith formation and Christian discipleship, a theme that can unfold in many facets of worship from Bible reading to preaching to Baptism and Lord’s Supper, intercessory prayer, congregational song, visual arts, and more. We encourage grant proposals developed through a collaborative process from emerging and established churches; seminaries, colleges, and schools; hospitals, nursing homes and other organizations.

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Calvin Institute

volume 35 - number 4/5/6 | creatormagazine.com

Christian Worship

are more worried than the clergy. I talked recently with a church treasurer who was losing sleep night after night over whether there would be enough money in the account to pay the bills. In this situation, the potential shortfall did not belong to the treasurer but to the church. It wasn’t his responsibility – or not his alone. Yet he was the one who was holding all the anxiety for it. Overfunctioning is driven by anxiety. We feel anxious as to whether others are going to step forward and be

overfunctioning and underfunctioning are driven by anxiety responsible, and so we step in, either to help them or to do it ourselves. The basic rule of the overfunctioning–underfunctioning reciprocity, as it’s called, is that underfunctioners do not step up to take responsibility until overfunctioners step down. It’s the nature of the balance between the two. For most of us who were born to be too responsible, stepping down is not easy. And when it’s in a high-anxiety area like money, this is even more difficult. It can seem like it’s our job (paid or unpaid) to worry, and to do everything we can to make sure the budget balances. Some clergy underfunction in the area of money. Certain ministers do not like to deal with finances or feel inadequate when they see a report. So they leave money matters to the laity. If you are someone who doesn’t like to deal with money, recognize your own strengths and weaknesses, but also remember that attention to the financial side of church life is an important basic for pastoral leaders. Underfunctioning, like overfunctioning, is anxiety-driven. If you want to step up your functioning in this area, one way to start is to notice your responses when money is

Exploring Your Family’s Money Story Creator Staff

An important way to gain greater freedom in your relationship with money, both at home and at church, is to explore your family’s relationship with it through the generations. You can become a student of the multigenerational process that has shaped you and the way you deal with finances. Over time, this can help you become clearer and more intentional about your own choices in relation to money and to other people around money matters. As you step back from the automatic forces at work in you, you can find yourself more thoughtful and less re-active about money. How to begin this work? Simply start to explore the patterns you can see and the stories and conversations you remember hearing about money in your family of origin. Begin by simply looking at your family and trying to assess what the patterns are. Here are six tips for exploring your family’s money story: 1.

Write one page that expresses what you learned from your family of origin about money. Read it over to see how that learning gets expressed in your ministry (for better and for worse).

Ask your parents individually, if they are living, what they learned from their parents about money. Stay curious rather than judgmental in this conversation. Have it in person if possible.

Observe how your siblings and cousins deal with money. Is it different from or the same as the way you deal with it?

Assess your connection with your extended family. Are you connected with the most financially successful person (and do you know who that is)? What about the least financially successful? Notice the family attitudes toward these people.

Notice the attitude toward gift-giving in your family. Is it balanced, or do some give more than others? Are gifts freely given, or is there a sense of obligation? What has been the attitude toward charitable giving?

Consider the strengths you received from your family in this area. They may come quickly to mind, or you may have to think hard. Even if your values and approach to money differ sharply from your family, see if you can generate at least one idea.

the topic at hand. Awareness is the first step toward making different choices. If you are a staff person serving under a pastor who underfunctions in finances, be clear about what your role is, and don’t take on more responsibility than your role warrants.

Triangles A triangle occurs when the relationship between two people becomes troubled, and a third person (or group) is pulled in to manage the anxiety between the two. Given the highoctane nature of money in church life, we can expect triangles to show up frequently in this area – and they do, as we will soon see. If you hear comments like, “Don’t you agree with me that the pastor is completely wrong about his approach to stewardship?” someone is pulling you into a triangle about money.

Clergy and other church staff cannot opt out of these triangles; they go with the job. In addition, triangles are not bad in and of themselves: they are part of human experience. However, the way you choose to relate to the other people who are part of the triangles you are in regarding money can contribute to a different outcome. It’s easy to get caught up in the anxiety of others around money, yet a thoughtful response will lead to better results than a reactive response. Let us review some of the basics of functioning within the inevitable triangles and see how this can work in practice. First rule: you cannot change the “other side” of a triangle. In other words, you cannot change a relationship you do not belong to. For example, you may agree that the board could do more for staff compensation, 2013 | creatormagazine.com

or you may want to defend the board’s decisions to other staff. You are in a triangle with the board and the staff (even if you are part of the staff). Yet getting caught up in bemoaning or defending will not help anyone make progress.

People try to recruit others for their side of the issue: “Don’t you agree that the board/pastor are right/wrong about these budget changes?” There may be a triangle between the pastor and two factions. Or between the pastor, board, and congregation.

You can’t actually change the board’s view of the staff or the staff’s view of the board. Depending on your role, you may be able to advocate with the board, but you cannot force them to make the budget decisions you want.

Sarah, an Episcopal rector, found that at a vestry meeting one member said, “All we have to do to solve this budget deficit is for Sarah to double the membership.” He was intensifying a triangle between the board, the rector, and the membership.

Second, if you try to change the other side of a triangle, the situation often gets worse. People resist, consciously or unconsciously, our attempts to change them. In the case just mentioned, you cannot manage the dissatisfaction of your colleagues with the board regarding salaries. At least, you can’t do it without adding significantly to your own stress. Finally, when you try to change someone else’s relationship, you carry the stress that belongs to the other two. Trying to do the impossible always creates stress. And you relieve them of the necessary responsibility for their own relationship. The only choice we have is how we function within triangles: relating directly to each party, in as clear, open, and consistent a manner as possible. What can you do? You can stay positively connected with other staff, communicate neutrally about the work of the board, and provide appropriate support and encouragement in their work. Ultimately, each staff person has to decide whether he or she can live with the compensation being offered, or not. Secrets about money always involve triangles. Two parties are on the inside and a third is left out. In family life, this might be seen in estate planning. One child knows how the parents are disposing of their assets, and the others do not. At church, the secret might be between the priest and the vestry as to how dire the financial situation is. Congregation members, and possibly the staff, don’t know. They are on the outside of the triangle. This may be all right on a temporary basis, yet if it becomes chronic, it will create problems.

You need to make your case – define yourself – without frantically lobbying people to agree with you. Anxious recruitment does not lead to thoughtful decision-making. And people resist being coerced even if they like the idea on the table.

Don’t triangle people out by excluding them from key conversations. Don’t complain about people who disagree, even if they are behaving badly. If there is a lot of reactivity around the decision, you may need to strategize with key leaders on how to respond, but that is not the same as whining about people’s behavior: “I can’t believe they....” Do your best to remain calm and clear, defining yourself rather than talking about others.

Balance A church system develops over time a certain balance in its relationships in regard to money. Finances are handled

Relating to the Money History of Your Church Creator Staff

When you are dealing with money at church, the past is always present, and it’s important to pay attention to it. Making sense of the past can help you lead in the present. Of course, you do not want to be mired in the past. At the same time, you do not want to ignore it, because it can trip you up. Understanding your church’s money history can explain sometimes puzzling patterns, and give perspective on why changing them is so difficult. It can also help you see unexpected strengths that can help you all work together for a better future. Here are six tips for relating to the money history of your church: 1.

Read any written histories your church has produced. Look for hints about its approach to money over the years.

Ask the oldest members of the church for their understanding of how the congregation has dealt with money in their memory. Compare their stories with the written history.

Assess what is going on in the present for its connection with the past. Watch for similarities and differences. Is there growth or regression (not just in dollar amounts, but also in the ability to deal with challenge)?

Pay attention to particularly significant events, positive or negative: a large bequest, a new building, a building fire, embezzlement, or a church split. The residue of past milestones will be present in the church now in some way. Notice whether people never talk about them, or talk about nothing else (both a sign of intensity).

Look for strengths in the history: the founding of the church, success in responding to a budget challenge, building a new ministry or physical plant. Highlight these successes, without trying to be a cheerleader.

Observe the role of the pastor in the money life of the church. Does the leadership depend heavily on the pastor, or leave him or her out out? Research previous pastors and how they functioned in this area of church life (both what they say and what others say about them).

Triangles inevitably emerge when churches have to make hard decisions.

In addition, church leaders need to resist the temptation to avoid people who disagree with them on the matter under discussion. Now, more than ever, maintaining relationships is critical.

volume 35 - number 4/5/6 | creatormagazine.com

7 Questions to Ask Margaret Marcuson

Here are seven questions to ask yourself about your own congregation. 1.

How are decisions about money made in your church? Who is responsible?

What similarities can you see between how your church makes decisions about money and other decisions they make?

Who is the most anxious about money in your church? Who is the most calm?

Is there a place you need to define yourself about money (“Here’s how I see it”)?

Who are key people in the church I need to connect with?

What are the triangles related to money?

Who is overfunctioning about money? Are you? Who is underfunctioning about money? Are you?

in a particular way, year after year. Perhaps someone always rescues the budget at the end of the year, or, in a financial crisis, everyone pitches in to handle the problem. The church may call pastor after pastor, and none is comfortable talking about money. Or a church may always respond creatively to fund the budget, so they don’t see money as a really big issue, even through the Great Depression and many recessions. When leaders seek to change the balance, congregations respond with some kind of “change back” message. It’s not personal: it’s an automatic systemic response, although it can be framed personally: “Pastor, we’ve never had a stewardship campaign around here, and we don’t need one now.”

Differentiated Leadership Differentiated leadership has to do with personal maturity: our ability to be clear within ourselves and to relate to others (including those who disagree with us) out of that clarity. Those leaders who make a lasting contribution in church finances show up and take responsibility for themselves and their own leadership role in relation to money. Leaders who function this way will be able to say, “Here’s what I think about how we should handle this budget situation,” without trying to convince or cajole others – and without cutting off

Margaret Marcuson is a leader of

leaders, an ordained minister, and teacher and student of human systems. She speaks and writes on leadership and works with faith leaders nationally as a consultant/coach.

for further reading • Teamwork or Battle Zone – Philip L Mitchell • Getting Past the Numbers – Vernon Sanders • Dealing with Criticism: A Family Systems Approach – Doug Haney • Music Ministry Equal Pay: Pick Two? – Vernon Sanders

or avoiding those who take a different view. They can manage their own emotional reactivity even in the face of the reactivity of others. They care about results, and they don’t get their entire identity caught up in their role. They can manage themselves in money matters, and relate to others who are anxious about money, in a culture which also has high anxiety in this area. This is not an easy task. Yet even a small increase in your ability to do this will make a big difference in your experience of ministry, and even in the church’s financial life. The top leader holds a key position in any system. When that leader functions maturely, money matters are likely to go better overall: giving will be stronger and financial challenges will be solved more easily. The leader needs to be present, especially at times of uncertainty, crisis, and transition. Pastors, rectors, and senior ministers ideally seek to stay calm no matter what is going on in the congregation’s finances. And they work to stay in touch with other key leaders and with the congregation, in as many ways as possible. Staff can also provide leadership, as appropriate to their role. [See Elizabeth Norton’s article elsewhere in this issue for a great example of a church musician’s attempt to lead in this way.] Nevertheless, even the best, most mature leadership is not magic. Functioning in this way does not necessarily guarantee the financial results you want, whether it is the overall funding of the church’s ministry or a specific area such as worship or music. Parish money life includes many variables: the congregation’s history, the emotional maturity and financial well-being of the current membership, the wider economy. My grandmother used to say, “Do your best: angels can’t do better.” I suggest the same approach to ministry in this critical area of church finance: Do your best, and let go of the rest. fine

• Volunteer Staff Development – Charles Torian • Picking Your Battles – Danny Von Kanel • Keeping Your Eyes on the Big Picture – Randall Bradley • Think in Threes: Triangles and Leadership – Margaret J Marcuson You can find many of these articles and/or buy the Leadership Articles Compliation CD for just $19.95 at http://cmag.ws/6k. All articles are available by calling 800-777-6713.

Adapted from Money and Your Ministry: Balance the Books by Keeping Your Balance, by Margaret J. Marcuson, www. moneyandyourministry.com.

2013 | creatormagazine.com

by Elizabeth Norton

ministry

NINE PRACTICES TOUGH TIMES that help me through my church’s financial

here was weeping at

our first staff meeting with the new interim minister. We had just learned that the annual stewardship campaign was falling well short of the goal. There were plans to cut the annual budget by 20%.

The good news was that no staff would be laid off – this time. The bad news was that all staff had to reduce our scope of work to match the reduction in salaries. It was up to us (and our committees) to decide what to cut from our jobs. New work plans were due in a week. This was certainly a low point in my two decades serving as music director for this large, vital and historic congregation. In the last several years, we had met major challenges. We successfully con-

Elizabeth Norton is in

her 20th year serving as Music Director to First Parish in Concord, Massachusetts.

ducted an ambitious capital campaign. We gamely endured the displacement of a lengthy construction project. We celebrated the long and successful tenure of our departing Senior Minister. Through all of this, and like most institutions, we suffered symptoms of the economic downturn. We struggled to meet that capital campaign goal. We eliminated positions and reduced programming. There had been no raises for four years. Now, with the prospect of new leadership, instead of restoring some of what we’d lost, I needed to cut back the music program once again. This time, it was my own ministry and salary on the line. Through the years of transition and upheaval, and in spite of the reductions, the music ministry remained vibrant. The choir actually grew after we lost the paid section leaders and a new pastoral choir started up with the help of lay leadership. Our children’s choirs were flourishing. We were adapting to the changes necessitated by our reduced budget with fewer

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special music Sundays, less new music and deferred instrument maintenance. Still, I had come to dread the annual stewardship campaign. Each year we cajoled lay leaders into running the fundraising effort. Each year there would be a new stewardship theme. There would be appreciative and inspiring testimonials from parishioners about the transformative ministries – including music – of the church. There would be a celebratory kick off to the campaign, with the obligatory graphic (a thermometer or sports score board) measuring progress toward the fundraising goal. Each campaign began with optimism. But inevitably, progress slowed and reductions had to be considered. Painful as it was once again to face the prospect of budget cuts and difficult as it was for me and the music staff to decide what to let go, this round of reductions was oddly energizing for me. I had learned much about my own resilience and that of the music staff in

times of financial crisis. Reflecting on this experience, there are several attitudes and practices I have acquired as a music leader that have helped me endure tough financial times and helped the music ministry and the staff to survive – and even to thrive. I keep making music. As leader of the music ministry, my primary responsibility is to make music. In my experience, music can bring comfort to the grieving and release to the dying, nurture confidence in the timid and awe the skeptic. Singing together can calm an anxious meeting or invigorate an exhausted work group. In times of upheaval and transition, we can embrace one another through music, remembering our capacity for harmony in the midst of conflict. It is so easy to get drawn into the undertow of the congregation’s financial worries. Making music helps me to keep my head above water. It centers me spiritually and brings me joy. I focus on the mission of the church. I keep perspective on the music ministry by viewing it in the context of the whole church’s ministry and mission. Rather than dwelling on the particulars of what will be lost in a budget crisis, I focus on the mission and try to think creatively about how the music ministry can support that wider mission, given reduced financial support. This perspective has helped to keep me, my staff and volunteers positive and realistic. I am a responsible steward of the music budget. Where there is anxiety about money, there is often mistrust of those who spend it. I support transparency in the budget process. I try to share financial information openly, calmly and candidly. Often non-musicians are unaware of the expense associated with

maintaining a choir library, ethical practices regarding music licensing and copyright or fair compensation for musicians. The costs of organ and piano maintenance and tuning may also come as a surprise.

ing our history and recognizing the strength that is in our congregational DNA has fortified my faith in our ability to face hardship. It helps me carry the current crisis a little more lightly. I consider my own family history with money. I’ll admit I’m inclined to take offense when money is cut from “my” program. But it is never helpful to take the church’s financial problems personally. Understanding my family’s attitude toward money helps me to recognize some of my own “hot buttons” when it comes to finances. It also helps me remember that every individual has a family story and an emotional response to money that may influence priorities and giving.

I refer to resources available from the denomination, professional associations, and the American Guild of Organists to support the figures and practices I propose. I document purchases, services and professional expenses thoroughly and promptly, following established procedures for purchasing. I stay in touch with the finance people. I check in regularly with our financial leaders. I cultivate relationships with the people who make decisions about money. Rather than fear the worst when the pledge drive is going badly, I assume good intent and I ask lots of questions. It is better to be a part of the conversation when financial decisions need to be made – even difficult ones – than to be unpleasantly surprised by an outcome. By staying in the conversation, naming my concerns and managing my own anxiety, I am able to be a constructive, supportive presence. I am curious about the financial culture and history of the congregation. When money gets tight and people get nervous about the future and competing priorities, I try to “put on my lab coat” and become a curious observer of the process, rather than a fearful victim. I notice who is working toward constructive solutions and who is panicking. I wonder whether we are repeating long term patterns or breaking new ground. The congregation I serve has been around for almost four centuries. It endured attack by British regulars. It survived theological and political schisms, national economic disasters and a catastrophic fire. Learn-

I pledge as generously as I can. Despite my level salary, my husband and I have chosen to increase our pledge incrementally each year. Gradually, we’ve achieved a level of generosity that helps us focus on our own abundance, rather than scarcity. Our pledge expresses our commitment to the whole ministry of the church, not just the music ministry. I am able to articulate and demonstrate this philosophy of giving when fundraising time comes around. The year of the tearful staff meeting ended pretty predictably. The financial crisis, while not entirely averted, was eased by late pledges and the increased generosity of some donors. We faced another, less acute shortfall the following year. And despite efforts to change, the cycle is likely to continue. My attitudes and practices haven’t altered the church’s financial culture. And, to be honest, they’re not likely to make a significant improvement. But, on a good day, they change the way I am in relationship with that culture and allow me to continue to lead the music ministry with faith, hope and integrity. And that has made all the difference. fine

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2013 | creatormagazine.com

spot light

ministry

Elaine Boomer Ministry Leadership Coach Vienna, Virginia Creator: Welcome to the “spotlight” Elaine. Can you tell us your specific job description? Elaine Boomer: I am a family therapist in Vienna, Virginia, and co-author of A Family Genogram Workbook. I am also on the faculty of the Leadership in Ministry workshop and have coached clergy from around the country on ministry issues. Creator: Let’s get right to it. You’ve done a lot of work with churches and church leaders. Can we talk about triangles in leadership and ministry? Can we talk about how money factors in to those triangles? Elaine Boomer: I’d love to. Creator: What are some basic principles about triangles that are helpful for church leaders to keep in mind? Elaine Boomer: Triangles are a given in life – they are how human beings relate to each other. You just have to figure out how to manage yourself. If you

have three sides to a triangle, remember you can’t affect the relationship on the side opposite you. You can relate to each side of the triangle for yourself and maintain some sort of neutrality. Creator: How might they apply to money at church? Elaine Boomer: Money is the hot topic everywhere, in my work with families and in my work with clergy. Money is a repository for anxiety. Anxiety is always floating around in churches and families and businesses. For example, if a pastor leaves a church, the anxiety goes up, and it looks for a place to land. In most churches it lands on money. Creator: How might a church leader be anxiously invited into a triangle around money? How could he or she respond? Elaine Boomer: In our church, we had a pastor of 35 years who decided to retire. Anxiety got high – right away one of the things that happened was a big huge deficit.

volume 35 - number 4/5/6 | creatormagazine.com

The admin committee met together and decided the biggest place that we could make up the deficit was in missions. Then the congregation divided into two factions, the missions faction and the numbers faction, a potential division. What happened is that our pastor began to coach the leaders of the admin committee to be more playful, to listen to both sides and to not be willful. The anxiety calmed down. The church decided every month to give 10% to missions as the money came in. One or two families left the church. The anxiety calmed down, and that deficit was made up. The pastor was invited into the triangle and didn’t take responsibility for how it came out. Creator: How do secrets about money create triangles in congregational life? What is their impact? What can leaders do about them? Elaine Boomer: One of the secrets in our congregation is that we always

had a big daddy who made up the difference. That triangle was between the congregation, the deficit, and the big daddy. No one knew this, but the money would magically appear. There was some underfunctioning on the part of the congregation. Another secret is who gives what money – the pastors don’t know that. They decided to publish the percentage of giving – e.g., 10 families give X% of the budget, etc. What we realized was that 15-20% of the congregation was giving 80% of the money. People could see the overfunctioning. I’ve often wondered what would happen if they published who gave what. Ed Friedman used to ask me, “If you never kept any secrets in the family, what would happen?” It’s really hard to operate if you have a lot of secrets. Creator: How can church leaders get more neutral in the triangles about money at church? Elaine Boomer: You can actually triangle other groups or people instead of being a leader trying to do it all yourself. Your own anxiety about money – what gets you, when do you get anxious? It’s very

important to monitor that and not get caught up in it – for example, “Will I lose my job?” Israel Galindo says you have to be clear about what you expect from your church around financial remuneration. All triangles work the same: money isn’t the issue, it’s the anxiety. Creator: How do family triangles around money show up in church life? Elaine Boomer: Look in your own family of origin and see what makes you anxious and what doesn’t. In all triangles you always have to be aware of what’s going on inside of you.

Don’t be so obsessed with the outcome. Stephen Covey says, “Do things with the end in mind, but let go of the outcome.” So you see possibility but you’re not so tied up with the outcome. It’s not about having no opinion but about letting other people in the triangle work out how they are going to be with the money. Creator: Thanks for your insight on these things, Elaine. They can be very thorny issues for a church. Elaine Boomer: It’s a pleasure to be a help for those who do ministry. fine

Steal This Idea

Try an “Extra” Sunday Morning Rehearsal

You’ve tried all kinds of recruitment strategies, but some people just can’t (or won’t) come to a mid-week evening rehearsal. What about a rehearsal on Sunday morning? We know of churches that have found this to be very successful for a number of reasons. An extra rehearsal on Sunday AFTER church lets you include singers who, for whatever reason, can only be on campus on Sundays. By meeting twice a week there is more learning retention. There are two important things that you need to put in play to make this a success, however. First, for recruitment purposes, make sure that your rehearsal is in a place where people can hear the singing. If necessary, only rehearse the big, loud anthems on Sunday. People will be drawn to the sound, and they may join you. Second, remember that this isn’t a FULL rehearsal. Keep it short – perhaps 30 minutes maximum. It will send the group home on a “high note.” Got an idea worth stealing? Send it to creator@creatormagazine.com

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cmag.ws/8a 2013 | creatormagazine.com

by Cortlandt S Bender

last page

you want to pay me what?

oney is one of the

most pervasive discussions of Jesus’ ministry. The treatment of people is also an important part of Jesus’ ministry – taking care of others and paying fair wages. I wonder what the biblical mandate is regarding paying church musicians’ salaries?

Many churches have difficulty understanding that the work of a church staff is as demanding, if not more so, than secular corporations. And after

repertoire, who puts it on the line every week for the church. I have been in churches that took the role and influence of church musicians as seriously as they have the pastoral staff. But I have also been part of churches that believe a pittance should get a 40 hour+ church musician to work with their church. Whether full time or part time, there often is a serious lack of understanding about the work of the church musician and the number of hours needed to accomplish the

Cortlandt Bender is Associate Director of Music/ Chancel Choir at First Presbyterian Church of Burlingame, California.

to a board. Oh, yes, the pay is $6-8,000 – sometimes negotiable. No benefits, no pension. While this does not apply to all churches, there are few that actually pay a fair wage for work done by a musician. So, I wonder what churches are thinking? Is the trained church musician who develops, leads and oversees the music program less worthy than an executive in the congregation? Is the person working with choirs less worthy of a fair wage? Do people really think that trained musicians are less professional and capable than those who work in secular skilled jobs? Is it any wonder that the average church job opens up every two to 4 years? fine

there is a serious lack of understanding about the work of the church musician

the senior pastor is paid, the rest of the pastoral staff salaries go down quite a bit. Then there is a great chasm between paying all the pastoral staff a living wage and paying musicians. There appears to be a disconnect here. I don’t want to step on pastoral toes-that is not my intent. Pastors are on call 24 hours a day, either on multi-staff churches or as a single pastorate. However, the training pastors have after college is not different than a church musician with five years of experience and a post-graduate degree, with the skills to deal with people and to know

job. All churches feel that they need a pastor (minister) but they generally perceive that they would like to have a musician. Yet music is a given in nearly every church setting.

I have seen thirty-hour a week jobs listed for $8,000.00 or less. I have even seen jobs listed for 10 hours per week that request a musician with “five years of experience,” to conduct 2 adult choirs, oversee children’s choirs, conduct a hand bell choir, recruit players for a band, oversee all musicians, attend worship planning meetings with the pastor(s) and answer

volume 35 - number 4/5/6 | creatormagazine.com

In each issue we give one church musician or worship leader a chance to have their say. There are no restrictions on topic here (other than the obvious ones of slander, libel, and silliness). If you’d like to contribute your thoughts email us at creator@creatormagazine.com.

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these are our stories... these are our songs...

a Church Musician is a high calling for me. Being One hundred years from now we all will be a part of the history of church music--the “story” of church music. Like

our predecessors, we all have our role to play. Some are composers, some are lyricists. Some are paid directors while others are volunteer choir members or accompanists. Some sing solos from the platform and others sing God’s praises from the back row of the congregation. And, like our predecessors, our calling is to carry the “song” forward for the next generation. Whatever the role, our contribution will only be fully understood by those who look back on what we planted, nurtured, and passed on to them. The story of church music started before the birth of Christ and will continue until we are all singing at His throne in Heaven. For me, just being called to play a part at all is the most important thing. This is why I am proud to be a Church Musician. Richard A. Nichols Composer, Choral Director, Greer, South Carolina Get to know more about Richard Nichols and a free packet of his music at FredBock.com/richardanichols

moving our heritage forward... FredBock.com/richardanichols

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