Collaboration Between Church Musicians and Pastors by Creator Magazine

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volume 34 - number 3 2012

Collaboration TM

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Church Musicians and

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Volume 34 - Number 3

Letâ&#x20AC;&#x2122;s Work Together

A Church Musicianâ&#x20AC;&#x2122;s Bookshelf :

Front Page Vernon Sanders

Feature

True Confessions of a Musician... and a Pastor Eileen Guenther

Sacred Architecture Annette Bender

21 Spotlight on Don Fugate Bob Burroughs TM

Butting Heads with Impossible Leaders

Select 20 Anthem Reviews Staff

Doug Lawrence

14 The Value of Collaboration Keith Getty

TM Good Stuff

Reviews of New Materials Staff

Last Page

The Choral Arts Tom Fettke

in this issue

during world war II a collaborator was a bad guy...in music and worship collaboration between pastors and musicians is a good thing...unless one of them is a bad guy...plus a spotlight interview with Don Fugate, the Select 20, and more... 2012 | creatormagazine.com

by Vernon Sanders

front page

let’s work together

Collaboration. Some folks talk a good line, and some folks walk it. I’ve had the pleasure of working with some great people in the course of my career, and I’ve had the pain that comes from dealing with other people’s control issues, insecurities, and propensity to take credit for everything that any team member initiated. When it goes well, collaboration is like a string quartet – breathing, phrasing, and thinking as one, and it is wonderful.

Volume 34 - Number 3 2012 publisher Vernon Sanders editor Bob Burroughs

In addition to the magazine, I hope you take advantage of our website, which publishes two new resource articles every week. Scan the QR code at the bottom of this page, or go to http://cmag.ws/1h and register, if you haven’t already. We can also collaborate if you use social media. We’ve revamped our Facebook page, which you can reach by using the QR code to the right of this sentence. http://cmag.ws/4i

we collaborate with you to help you do ministry better This particular issue mostly looks at collaboration between two people – as creatives, and as colleagues. But don’t forget that, as Tom Fettke points out, collaboration amongst team members and ensemble participants can lead to wonderful things. We work hard to make sure our team at Creator collaborates well. And we like to think that we collaborate with you, our readers, to help you do ministry better. One example of that is this issue, which was guest edited by our friend and colleague Scott Revo. Scott did a great job of assembling material for this issue, and I know you are going to benefit from reading it. TM

You can help us collaborate with you in one other way. Summer is a time when many church musicians and worship leaders change positions and/or move to new locations. Please let us know when you have a change of address. We don’t have a fleet of drones to keep track of you, so we depend upon you to help us serve you better.

printing coordinator Pete Moceri

Creator Magazine (ISSN #1045-0815) is published bimonthly by Creator Magazine. U.S. subscription rates are: $32.95 - 1 year, $55.95 - 2 years, $73.95 - 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 TM and email submissions are encouraged. Submitted photographs will be returned if a stamped, selfaddressed envelope is included. Article Guidelines are available by request.

Single copy price: $6.00. Back Issues: $6.00, subject to availability. Copyright © 2012 by Creator Magazine. All rights reserved. Printed and distributed in the U.S. by Emerald TM City Graphics, Kent, Washington.

Thanks for all you do...and don’t forget to look for ways to collaborate today.

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As I write this, we have a great conversation going about Christmas anthems. People are listing their three favorites, and it has been interesting to discover repertoire that I didn’t know.

editorial board Christine Anderson Hugh Ballou Wendell Boertje Glenn P. Eernisse Allen Henderson Heather Hood Lloyd Larson Douglas Lawrence David Leestma William Lock Lura Milner Carl M. Peters, II Stephen Phifer Paul Satre Thomas Vozzella Edwin M. Willmington Paul Leddington Wright John Yarrington

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feature

true confessions

of a musician... and of a pastor by Eileen Guenther

what musicians and clergy really think

Musicians work very hard learning the music of their instruments, choral music, and church music. We spend a lifetime in this pursuit, often beginning as young children, usually starting with the piano. We sing in church, school, and collegiate choirs, perhaps continuing into adulthood by singing in a community chorus. We grow in our taste and knowledge of different genres and styles of music, and we develop an appreciation for the ability of music to connect with the musicians with whom we work and with the listener. In spite of many years of study and immersion in music, there is much that we do not know, and there is so much to learn, including non-musical skills that are essential to being an effective church musician. There are so many ways to grow and there are also many pitfalls of which we are not aware. Here are some of the traps into which we can

about each other...

and themselves!

fall that render us and our ministry less effective than might otherwise be.

Confessions of a Musician Some of us find it difficult not to be in command at all times. We expect choirs to sing on our cue and cut off at our direction. We dictate the tone color we think is appropriate as well as many other aspects of the musical score; they are all interpreted through our lens. We need to recognize that there are differences between life in the rehearsal room or sanctuary and life outside these spaces, where we are not the ones in control. We take matters into our own hands. Often musicians, knowing and caring about worship as we do, are put in charge of planning the liturgy. Sometimes this extends to stage directing, and the problem comes when this is

This article is an excerpt from the soon to be released book Rivals or a Team? Clergy-Musician Relationships in the Twenty-First Century published by MorningStar Music Publishers 2012 | creatormagazine.com

done without sufficient knowledge or without sufficient tact. Sometimes our need to control elements of the service gets out of control itself. A student pastor recounts such precipitous actions of one musician: “I had to assert my pastoral authority with the musician when she changed the music I had selected as the worship leader and I were walking down the aisle for Sunday worship. She walked over to the organist and told him not to play a hymn I had selected because it did not complement the one she selected for the anthem. She also told him to play a choral response to the Lord’s Prayer that I had told her we would not do.

This past Sunday she again tried to change the order of worship without consulting me. I explained to her that I spend a lot of prayerful time in planning worship. Although I am open to suggestions and input, I cannot have her making changes just minutes before the worship service without consulting me. I also told her that her input is important, and it would be helpful if she would be willing to discuss the music with me ahead of time.” Our insistence on perfection, ingrained in us from our earliest lessons, may inhibit our trying new things. Our earliest piano lessons focused on putting the right finger on the right key for the right length of time, with the right touch and weight. Everything was about doing the right thing. Lessons on other instruments had parallel requirements. As trained musicians, we should by now recognize that there is, in reality, room for a great deal of nuance and interpretation in all things musical, but this is sometimes hard for musicians to accept. There can be a steep learning curve as the right way becomes the most effective way or simply a different way. Linked to our desire for perfection is the fact that we do not always value people over performance. As church TM

leaders, we really cannot allow our goals for the excellence of the performance, for the diction or the tone color or the accuracy of the notes, to obscure the fact that we are in ministry, and in ministry, people are more important than performance. The dedication of the members of the group, their sense of community, and their desire to minister through music are part of what they bring to worship. Thomas Are, in his book Faithsong, affirms, “A minister of music who believes that the function of musical performance outweighs the responsibility to minister to people will not succeed in what matters most.” We get annoyed when things do not go according to plan. The desire for perfection can creep in at moments that seem more consequential at the time than they really are. For instance, when a musical selection in a worship service was skipped by the clergy, a musician in my acquaintance turned off the organ and left the service! There are instances when we are disturbed that the silence after a poignant piece is shattered by someone making an impromptu announcement about the car with its lights left on in the parking lot. When we have planned worship carefully, many of us become impatient when its effect seems to be negated, however unintentionally, by others. We are used to planning and practicing ahead, and it is sometimes hard to work with people who operate in a different time frame and who have a different definition of what constitutes “ahead.” This is actually one of the most frequent complaints of musicians. Perhaps we can do something about it, beginning with a conversation about why we need the information ahead of time. It might not occur to someone else that we not only need time to select the music that will best support the sermon and scripture, we also need time to order it if it is not in the library, and time for the choir to learn it once it arrives.

We are not doing ourselves any favors when we refuse to meet with the clergy or staff. “What? They’re the ones who refuse to meet with me!” you might be thinking. That may be the case in some situations, but numerous clergy have complained to me that even when staff meetings have been planned around the schedule of the musician, the musician does not attend. The negative effect is compounded when the musician then does the “passive-aggressive thing” and complains about being excluded from worship planning discussions.

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Lack of flexibility can be a stumbling block for us. There is an increasing need for musicians to be flexible – whether it is in terms of genre, style of music, or type of service. Our college instruction or the private lessons we took many years ago may not have given us the skills that are needed by congregations in the twenty-first century. Broadening our skills really is no longer an option, as churches are increasingly requiring diverse musical programs; musicians serving these churches will have to be able to meet those needs. Musicians not only need to have a wider range of skills, but also a wider choice of repertoire. Pledge never to say the words “over my dead body” when it comes to music in worship. Of course, it’s not that anything goes, but if it is music we truly believe is inappropriate for worship, we should be willing to discuss it. We need to listen to the reasons that music has been suggested and need to be willing to articulate our reasons for believing that it is not appropriate. A student pastor wrote me: “The musician has grown up in the church and despises any kind of change or new ideas in worship. She has said that the new hymnal supplement is going to be the downfall of worship.” What a regrettable situation, at a time when resisting the need to expand

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we do not always value people over performance our repertoire is viewed by some as threatening our very survival as church musicians.

“In recent times,” an organist writes, “many innovations are occurring in worship service music. Some of my colleagues have stayed in the same Baroque era in which they were educated, rejecting contemporary trends.” She cites other organists who refuse “to participate in a contemporary service, or use a piano, or introduce to the choir ‘new’ music,” concluding that she herself is “increasingly convinced that flexibility can only enhance our ministry as musicians today.”

Boundaries can be a challenge; it is easy and may seem natural to make the choirs your support groups. It takes constant vigilance on our part not to share information with choir members that should not be shared, whether it is inside information about the church or personal information concerning a member of the congregation. We can be divas. A recent blog conversation among musicians discussed an organist who insisted on making hymn-playing a recital, often playing so loudly that the congregation could not hear itself sing or completely overpowering the ensemble that was being accompanied.

I cringed reading these messages, as the numerous musicians being described clearly do not have a sense of their place in the full picture of musicmaking in worship. Here’s one example:

There’s nothing worse than an organist who blasts or plays mini-recitals for hymns! The congregation that can’t hear the melody, can’t hear themselves, can’t worship without frustration. This is just as bad as screeching guitars. We as musicians must remember that the time for corporate singing is just that, not a time for showing our talents to the exclusion of others. Anthems and special music are the times for those gifts. We need to remember that we 2012 | creatormagazine.com

Dr. Eileen Guenther

is the Minister of Music and Liturgy at Foundry UMC, as well as Associate Professor at Wesley Theological Seminary. She also serves as guest faculty at Africa University in Zimbabwe.

in focusing our energies on the performing ensembles we sometimes lose perspective on the institution of which we are only one part

are there to lead congregational song, regardless of style. In focusing our energies on the performing ensembles and our own practice, we sometimes lose perspective on the institution of which we are only one part. It is critical that we

support the church’s other programs, that we offer classes in the education area when asked, that we partner with the mission program in fundraising for special needs, that we see ourselves as a part of the whole body that is the church.

for further reading • The Minister’s Role in Church Music (Cecil J Riney) Sep/Oct 79 • The Director as an Educator (David L Patton) May/Jun 84 • The Pastor’s Role in Planning Worship (William P Oakley) Sep/Oct 85 • Working Relationships (Mark Deakins) Mar/Apr 91 • Pastors and Church Musicians (Mark K Williams) Part 1: May/Jun 95; Part 2: Sep/Oct 95 • Whatever Happened to God-Sensitive Worship? (Edwin M Willmington) Nov/Dec 95 • Taste Wars – and How to End Them (Stephen D Lawton) Jan/Apr 96 • Worship is Not a Matter of Taste (Marva Dawn) Nov/Dec 99 • Creating and Sustaining Healthy Teams on a Church Staff (Hug Ballou) Nov/Dec 06 • From Shepherd to CEO – What the Modern World Has Done to the Local Pastor (Steve Phifer) Mar/Apr 08 You can find many of these articles individually and/or buy the Leadership Articles Compliation CD for just $19.95 at creatormagazine.com. All articles are available by calling 800-7776713.

volume 34 - number 3 | creatormagazine.com

Music in the church is ministry. Musicians are vehicles through which the love of God and the message of salvation flow. We are not the end point, we are the conveyers of the Word through notes played and sung. While our ineptness should not be a distraction to the effective delivery of the Word, perfection is not our goal; having the message heard, felt, and taken away is.

Confessions of a Pastor The Rev. Dr. Carol Cook Moore, a colleague from Wesley Theological Seminary with whom I work in worship planning, offers these confessions from her point of view as a clergywoman who served in congregational ministry for twenty-five years before joining the seminary faculty. Of all the responsibilities we hold in parish ministry, the effectiveness of worship is held to be one of the most important for most clergy. We often feel the service rises and falls on our shoulders. We bring our theological ethos and are not prepared to share

and teach the underpinnings of that ethos. We function out of a set of assumptions that are often not transparent. Some are practical and some are theological. Whatever the case, we easily forget that not everyone is on the same page, and in terms of worship preparation, planning, and leading, being on the same page is essential! This can also lead us to being unable to ask for help because we believe, or think others believe, that we should have all the answers. This behavior can fuel miscommunication and power struggles leading to a lack of teamwork. It is important to admit what we do not know and to seek out constructive answers and solutions. Clergy and musicians can be a tremendous resource for one another. That requires admitting that we need and want such a resource! We, too, are human. We want to be accepted, liked, and valued for our work. We easily fall into the trap of becoming co-dependent and therefore making decisions out of this need, rather than a healthier approach to working together with our musician colleagues. Rather than coming to the musician with our complaints, concerns, or suggestions, we clergy can make inappropriate, disrespectful comments to others regarding their work or the choirâ&#x20AC;&#x2122;s ability. If we are not proactive in forming healthy patterns of communication and accountability, we can participate in a congregantâ&#x20AC;&#x2122;s attempt to isolate one of us or triangulate us in patterns that only breed contempt and break down any hope of a partnership.

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2012 | creatormagazine.com

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butting heads with impossible leaders

Doug Lawrence

I was reading a blog recently called, Courageous Leaders Don’t Make Excuses...They Apologize. I liked what the author, Erika Andersen, had to say about strong leaders admitting they were wrong. As people often say, “It takes a big person!” Found any “big” pastors lately? I hope you serve with one of them – easy to please, quick to say, “I’m sorry,” when they make a mistake. My guess is, you don’t. Such pastors are rare in the church world. Narcissism and self-importance often get in the way, but even more frequently, simply a lack of enlightenment about how to lead gets in the way of effective management. Leadership is not something you read about in a book. It’s something you observe and learn from the people you come across in life. “Book Leaders,” (the bad kind) don’t assimilate what they read very well. They take bullet points and turn them into strategies which are often doomed to failure. Perhaps you have even fallen into this trap in your own leadership. If I were advising freshly minted pastors (and I frequently do) how to become respected in their soon-to-be positions, I would propose the following: • Don’t kid yourself, you have a lot to learn. • “Be the change” by being teachable – hopefully until you’re 100. • Observe everything, be still, think about it, then speak. • Never go to a leadership conference alone. Go with someone you can talk to after every session. Get real about what you’re good at, not what the speaker is good at, because they’re usually just good at speaking. • Do learn how to apologize, frequently and with genuineness. • Learn by your mistakes, but stop making so many of them. • Learn to love yourself in healthy ways and hope others follow your example. Sound too simplistic? Wouldn’t you love for your boss to exhibit those qualities? Of course you would, we all would. There is nothing healthy about a leader who eschews the above suggestions in favor of “seeming” perfect and “on top” of every situation. I’ve met hundreds of that species of pastor and watched them on their way up – and on their way down. For the sake of discussion though, let’s say you are under the thumb of one of those giants of self-deceit. A pastor with a large ego, limited leadership skills, and a defensiveness the size of China. Stop raising your hands. I already saw your eyes rolling 12 sentences ago. Perhaps you could use some inexpensive advice about how to deal with that very kind of boss, or maybe you could just slip a copy of this under their door as you move on to your next church. • Never compete with them, there are no winners, but there is a loser – you. • Don’t coach them, they can’t hear you. • Always ask what you can do to help, they like that. • Treat them with great respect (for the office they hold – think “Good morning, Mr. President”), but don’t become sycophantic in doing so. • Do your job and don’t leave any chinks in your work ethic armor. • Look for signs of weakness but don’t take advantage of them. Rather, empathize quietly and without using it. Don’t beat up on people who are down. • Be humble, and be genuinely concerned for their health and happiness. • Stop asking for favors all the time, let them offer the things you need. • Wait your turn for largesse. Even bad leaders know that you’re entitled to have some.

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• Pray for them and mean it. Having given this advice dozens of times, I often wish that I had been more attentive to these principles in difficult pastoral relationships. The heat of battle makes us do strange things, and heaven knows, I’ve done my share of them! The #1 problem in churches is rarely money or attendance. It’s usually leadership. A little advice with huge consequences – even in a horrible economy where jobs are scarce, it’s better to follow a leader, not someone who just can’t. But, you knew this already. What are you waiting for – no, really!

volume 34 - number 3 | creatormagazine.com

Many of us are given the authority to oversee worship. Some denominations say in their polity that the senior minister is in charge of/responsible for worship. This easily becomes a platform for control. Some of us want to control every aspect of worship either because we believe we are best suited, because we have to make sure it is good since the buck stops here, or because we do not know how to share ministry and still be the one who is ultimately in charge. We know deep down that we are not in control! If we believe in the power of the Holy Spirit flowing through the worship experience, then we know that, ultimately, this is about God at work and not our proficiency or success. We also can speak volumes on the actions of children, ushers, musicians, and lectors whose involvement in worship is out of our control! However, we can respond to this knowledge and these experiences by seeking more control rather than empowering trained and effective leadership. We can become envious of the power and effectiveness of our musician colleagues, as well as their incredible gifts. You, the musician, can create a crescendo that stirs the hearts of the parishioners more deeply than any sermon of ours. If a choir is to have any effectiveness, it requires your leadership and their loyalty as well as ability to work their voices together. How wonderful it would be if the entire ministry of the church could function as smoothly as a four-part anthem. You

also have to create community in order to foster the ministry of the choir. You are a group. If we feel isolated in our ministry, we can become very envious of your relationship with the choir. We can easily focus on the sermon as if it were the only important act of worship. For some congregations, preaching is the focal point or climax of the service. However, that does not mean that the other parts of worship are not equally important and do not deserve equal attention in planning and synchronizing with one another. For some of us, it is very difficult to admit we are wrong. There is something about the power we are given and the way we respond to expectations from congregations and our superiors that seems to lead us toward defensiveness instead of self-evaluation and seeking opportunities for growth personally and professionally. In order for our leadership to be trusted, we need to be able to make sincere apologies and to move toward reconciliation and change when and where it is needed. When we come to a point of disagreement, we need to be able to foster resolution. Like all human relationships, the relationship between the musician and the clergy takes work. This work involves listening, respecting, speaking honestly, building trust, and learning how to be partners in ministry. We are partners with distinct gifts, responsibilities, and authority—yet, partners. How else can we live out Paul’s image of the fine church as the body of Christ?

we can become envious of the power and effectiveness of our musician colleagues, as well as their incredible gifts

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leadership

thevalue by Keith Getty

of collaboration and living in community with others

Throughout the past 12 years of writing hymns, touring and overseeing the work of Gettymusic, one of the most beneficial lessons I’ve learned is the value of collaboration and living in genuine community with others. My personal relationships and my body of work as a musician have been greatly enhanced because of the partnerships I’ve built with other songwriters, instrumentalists, composers, producers, pastors and various leaders. I think the same can be true for Christians in any role of ministry.

When we’re willing to truly open ourselves to those working alongside us and commit toward caring for the person and the work at hand, wonderful things can happen. Collaboration can raise your standards, sharpen your focus and inspire you to move in a new direction. Ultimately, it enables you to reach higher. Few creative people live in a vacuum. We need the community and encouragement that such connections bring.

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O How Good It Is A noticeable difference exists among leaders who have a desire to live in true community with each other versus those who attempt to minister while merely co-existing with others around them. Often in the latter situation, leaders battle to be the greatest or refuse to forgive when they’ve failed someone. I’ve witnessed such people become either seriously distracted from their work or undergo complete collapse as a result. That’s the reason heartfelt collaboration and community are so essential. You cannot be an effective Christian witness, no matter how good your theology is, if the essence of the gospel message doesn’t permeate your everyday interactions and attitudes.

One of our new hymns, O How Good It Is, speaks to the need for such unity and acceptance among believers. We wrote it because we’ve seen both sides play out. A strictly dogmatic, solo approach among those in ministry causes mayhem. However, those who model sincere care and integrity from the top down foster an environment where people flourish and the integrity of relationships and the work is preserved. Our friends at the Billy Graham Association have modeled this to us well, and we hope to follow it in our own work at Gettymusic.

Critical Creative Relationships If I’m completely honest, however, I’m a reluctant collaborator. I have a strong personality. I can be obnoxious at times. I like to be in control and for things to be done my way. Perhaps this is the reason I need collaboration so much. Whether I’m partnering with my wife, Kristyn, for the health of our relationship or working with another artist on a new hymn, the act of collaborating makes me a more thoughtful person. I become more helpful, even in menial tasks. I manage my time better out of respect for the other person. I understand perspectives – whether political ideologies or theological views – in different ways. Having to work with someone else and push ideas back and forth at each other will mold a person in that way. The body of Christ also functions best when it works in a collaborative effort. The creative relationship between musicians and pastors, for example, is critical. Since moving to Nashville two years ago, I’ve grown immensely because of the relationship I’ve formed with my local pastor. I can talk with him about my music, and there’s also a much-needed aspect of accountability and fellowship. Many of the great hymn writers throughout history either were pastors or musicians with close relationships to each other. It’s such a detriment to a church staff and the church body as a whole when a pastor and worship leader merely meet in passing on the platform Sunday mornings. The congregation can sense the absence of unity. The opportunity to intentionally blend themes in the music and the message is missed.

cians also can experience the joy of creativity when the entire team shares ideas for worship, encouraging each other’s strengths while also lovingly challenging each other to be better. Sadly, this model of interaction often is emulated more by film studios such as Pixar than the local church.

Diversity and Humility One of my concerns about collaboration within Christian circles is that we tend to gravitate toward people who are similar to ourselves. We lack diversity, and as a result there’s no tension. We shouldn’t seek tension as an end in itself, but a certain amount is helpful because it helps us to think in fresh ways, pushes us out of our comfort zone and results in more colorful, creative work. It also produces a spirit of humility.

Keith Getty is a Northern Ireland composer, best known for pioneering “modern hymns.” Many of his songs are co-written with his wife, Kristyn Getty, and veteran British songwriter and worship leader Stuart Townend. The most widely used of the Getty-Townend hymns are In Christ Alone, The Power of the Cross, and Speak, O Lord.

the body of Christ functions best when it works in a collaborative effort

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Words by Louisa M.R. Stead Music by William J. Kirkpatrick Arranged by Bruce Greer 978-0-8341-8215-8 The Perfect Wisdom of Our God SATB with Keyboard Accompaniment Information & Inspiration, found on page 2, contains a listing of available voicings and accompaniment options.

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volume 34 - number 3 | creatormagazine.com

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Exaltation

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I’ve found this to be true in my relationship with fellow songwriter Stuart Townend. When Stuart and I first met, we agreed to sit down and try our hand at writing one song together. That song became In Christ Alone and we’ve been working together ever since. We’ve experienced firsthand how successful collaborations weave together individual strengths. While I often focus on the melody first, Stuart is a phenomenal lyricist. We don’t always agree on everything, and that’s a plus. In my world of square boxes, things always have a neat space – people, places, ideas, events and plans. Stuart is very different and brings to the mix his own personality, ideas, life experiences and artistic influences. So my viewpoint is constantly challenged. Yet we work to combine our gifts for the sake of the common goal.

The Common Goal Keeping the common goal in mind is essential, because there will be roadblocks along the way. There’s always the possibility of running off in tangents, struggling with annoying habits, or discovering a hidden ego or mixed motive. Some people firmly believe those with personalities that are either too similar or too opposite simply cannot work together. But I don’t think this is true. Collaboration ultimately boils down to character. If two people are working toward the same goal and they’re willing to work together, a healthy partnership can be achieved.

In the music industry, it can be typical for an artist to work with up to six different songwriters a year. There’s nothing inherently wrong with this approach, but I believe there’s something to be said for cultivating close, longstanding relationships. When you invest in a relationship, things can get messy. But if you decide to see it through, the roots of that partnership grow deep. The fruit of such labor is loyalty, trust and genuine care for one another. These things pave the way toward experiencing genuine community with each other. And that should be one of the ultimate goals in ministry. Kristyn and I have been freshly reminded of the blessings of collaboration and community since moving to Nashville. After having our daughter, Eliza, we scaled back our touring a bit and settled in a home of our own. This allowed us to form deeper relationships with those around us, including members of our band. The fact that we even decided to grow our band was counterintuitive to what

successful collaborations weave together individual strengths

When frustrations arise, remember the end goal. Allow for an environment where everything can be laid on the table and commit to work through difficult issues. Realize that collaboration is never a fifty-fifty exchange. There will be times when you feel used or that you’re giving more than you’re receiving. Nothing significant ever is achieved without sacrifice.

many industry musicians were doing at the time. Because of the struggling economy, many artists have stopped using bands altogether. But I’ve always found it so inspiring to work alongside great musicians. We’ve had to sacrifice to have a great band on the road. Yet it’s been such a blessing. As we’ve invested in our band and their family members, our music has benefited. For the first time, we’ve even had a few band members co-write songs with us. We’re seeing them grow in their passion for hymns. So in a way, they’re giving back to us.

Recently, we’ve found ourselves gathered either on our front porch or around our kitchen table with our band members, friends, neighborhood musicians and church family. We’ve discussed what it means to live out everyday aspects of the Christian life in community with each other. We’ve asked questions such as, How can you succeed in your job but not make it your god? How do we handle doubt? What should I pray for my children? What is our responsibility in caring for the needs of others? These discussions shaped the direction of our forthcoming project, called Hymns for the Christian Life. These new songs reflect how the gospel story touches every part of our daily walk. For example, the song Simple Living is a reflection of our desire to live contently and give generously, as the poor widow did in Mark chapter 12. Another new hymn, Before You I Kneel, is a song that serves as a prayer for the work day. The hymn A Mother’s Prayer describes how we want to communicate the person and message of Christ to our daughter. These songs are an effort to examine how we can prayerfully narrow the gap between the words we sing and our acts of faith. As we look to continue to foster meaningful collaborative relationships with those around us, we desire to have open hands and a teachable spirit. As we do so, may this be the sincere prayer of our hearts... “I yield myself, O my God, into thy hands. Turn and turn again this clay”– Francois Fenelon

fine

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by Annette Bender

education

a church musician’s bookshelf

You want to learn more about how to do your ministry better, but you don’t have the ability to go to seminary. What can you do? You can read all about it by assembling a bookshelf of valuable resources. The books on this list form a core collection in the areas of church growth and outreach. They are taken from an extensive collection assembled by a person with a career of more than forty years as a church musician and worship leader, and can be considered classics. Enjoy!

Forms for Faith; Art and Architecture for Worship; a Collaborative Exhibition by the Judah L. Magnes Museum and the Interfaith Forum on Religion, Art and Architecture. October 12, 1986-January 4, 1987. Giles, Richard. Re-Pitching the Tent; Reordering the Church Building for Worship and Mission. Revised and expanded edition. The Liturgical Press, 1999. Godspace; Guidelines for Architecture in the United Church of Canada. Architectural Resource Group, Division of

Sacred Architecture Chiat, Marilyn J. America’s Religious Architecture; Sacred Places for Every Community. John Wiley & Sons, Inc., 1997. Crosbie, Michael J. Architecture for the Gods. Watson-Guptill Publications, 2000.

volume 34 - number 3 | creatormagazine.com

Mission in Canada, The United Church of Canada, 1993. Gruber, Samuel D. American Synagogues; a Century of Architecture and Jewish Community. Rizzoli, 2003. Kennedy, Roger G. American Churches. Stewart, Tabori & Chang Publishers, Inc., 1982.

Annette Bender recently retired from a position she loved – being a school librarian – and is an alto in her church choir.

Mauck, Marchita B. Places for Worship; a Guide to Building and Renovating. American Essays in Liturgy. series editor, Edward Foley 1995. Richardson, Phyllis. New Spiritual Architecture. Abbeville Press Publishers, 2003. Searching for Sacred Space; Essays of Architecture and Liturgical Design in the Episcopal Church. Church Publishing Inc., 2002. Simons, Thomas G. The Ministry of Liturgical Environment. The Liturgical Press, 1984. Sovik, E.A. Architecture for Worship. Augsburg Publishing House, 1973. Torgerson, Mark A. An Architecture of Immanence; Architecture for Worship and Ministry Today. W.B. Eerdmans Publishing Company, 2007. White, James F. & Susan J. White. Church Architecture; Building and Renovating for Christian Worship. Abingdon Press, 1988. Young, Stanley. The Missions of Califorfine nia. Chronicle Books, 1988.

by Bob Burroughs

spot light

ministry

Don Fugate

Pastor Foxworthy Baptist San Jose, California Creator: Welcome to the Creator spotlight, Dr. Fugate. You are one busy gentleman! I became tired just reading your resume! Please tell our readers the sequence of events led you to your long-term position in this area and this church? Don Fugate: I’ve essentially spent all of my life in the San Francisco Bay. I came to faith at Calvary Baptist Church in Hayward. (By the way, my wife, Diann and I were baptized on the same day… only 100 miles apart.) My parents were very committed Christians. As a result, we were at church Sunday mornings TM

and evenings and every Wednesday night. We are also a very musical family. My Mom played piano and organ, my Dad played some guitar and loved to sing. So, it was expected that my sisters and I would also learn to play piano and sing. I learned to harmonize by sitting next to my Grandmother in church. In school, I also learned to play clarinet, bassoon and drums. In high school, I fell in love with musical theater as well. I felt God calling me into the ministry at age 16. The start of my undergraduate

education coincided with the beginnings of the Jesus People movement and Calvary Chapel. I can still remember hearing Andréa Crouch and the Disciples for the first time. It was like a new wind blowing in Christendom. I loved this new contemporary Christian music. At California Baptist College, I had the opportunity to become a member of the college’s first contemporary music group. We recorded an album with Paul Johnson and Lillenas produced the record and released the songbook. It was a great experience singing in

leadership network

creator celebrates every church musician and worship leader...

and the ministries of which they are a part. We regularly turn the spotlight on people involved in ministry in order to help inspire and provide ideas for others. If you would like to recommend someone for our spotlight let us know. 2012 | creatormagazine.com

churches every weekend. My wife and I were married in 1974. We began serving in local churches as we continued our schooling. I was writing songs during these years and completed a youth musical that was presented at Magnolia Avenue Baptist Church in Riverside. Between college and seminary, I served as Minister of Music/Youth at Calvary Baptist Church of Modesto. In October 1976, I enrolled at Golden Gate Baptist Theological Seminary. One of the great joys of my life was studying composition and arranging with Dr. Max Lyall. He was a musical mentor to me until he went to be with the Lord. In 1983, I was called to Foxworthy Baptist Church. It was a larger church with an established music ministry with a fully graded choir program, ensembles and instrumental groups, including handbells. For 24 years, I served as Associate Pastor of Worship. In 2007, the church called me to serve as Senior Pastor. However, I am still involved in leading worship. Since most of our Praise Band has been together over 20 years, the task is made easier. Creator: Do you find it difficult to manage ministry in a big city environment? Do you find your people up to the task of churchmanship? Don Fugate: Yes, ministry in a large city (a million people) is different than being the only church in a small town. However, there are plenty of people to reach. Our church is less a neighborhood church and more of a regional church. Some of our members drive 30 minutes to attend.

While we still target our immediate neighborhood, we also network with other churches in reaching out to the greater Silicon Valley. I partner with 10-12 other pastors from various denominations. We meet every month with San Jose Mayor, Chuck Reed for prayer. We also have a monthly prayer breakfast with about 25 other pastors. We enter ministry partnerships with smaller, struggling churches and help with worship leadership, filling the pulpit and even going door-to-door. With all of that, there is still a tendency toward apathy. They say familiarity breeds contempt. However, I think it breeds complacency. The world’s pull on us will always be for convenience over commitment, for compromise

volume 34 - number 3 | creatormagazine.com

over conviction and for personal preference over biblical truth. We go through cycles or seasons, like many churches, when momentum is strong and commitment and enthusiasm high through those times when we’re doing everything we can to stand our ground. Creator: What are the one or two things that keep you active, interested, challenged, and excited to be where you are now and challenge you to look to the future? Don Fugate: There is such incredible variety in the ministry that always keeps me engaged. I enjoy so many of the aspects of the work. I like people. I like visiting them in their homes, or in the hospital or at Starbucks. I firmly believe Jeremiah 29:11, so I am confident that God has good plans for His church and me. I continue to try to be sensitive to where God is working and to get involved with Him in that Kingdom work.

In these past several years I have spent an increasing amount of time in prayer. Because, as Dr. J. Gordon Henry teaches in his Prayer Seminar, “Prayer is the work!” Every time someone comes to faith in Jesus Christ, follows Him in believer’s baptism, or takes that next step of faith, I know God is doing amazing things, and I’m thrilled to be part of that. Creator: How large your church? Don Fugate: We have 225-250 regular attendees. An interesting phenomenon in these times is that even people who attend once per month consider themselves “regular” attendees. We do have an active music ministry. Creator: How large is the choir? Don Fugate: Our Adult “Joy” Choir has a membership of 50 at Christmas and approximately 25 the rest of the year. We build around our major productions at Christmas and Easter and also typically combine with another choir on the presentation of a summer concert. Creator: Does the church have a vital and active Youth Choir, Children’s Choir, and Instrumental program? Don Fugate: We have an active ministry with Preschool and Children’s Choirs. Youth Choir has been a very bright spot for us through the years. We have toured with choirs for 23 years.

This year, the make-up and other commitments of our youth have led us to a hiatus in 2012. We do have a youth band and worship team who lead the youth on Sunday mornings and periodically lead our Sunday worship. We encourage instrumentalists to play with us on Sunday mornings and to share solos, as they are ready. We also have a handbell choir that meets seasonally and a ladies ensemble that rehearses once a month. One of the challenges is finding rehearsal time. Currently, the Praise Band rehearses with the tech team on Sunday mornings during the Sunday School hour. Creator: Give our readers a bit of information about your family. Are they involved with you in the ministry of the church? Don Fugate: I am so blessed with my family. Diann is a gifted pianist and singer. She plays the acoustic piano for worship, leads the Ladies Ensemble, and is also on staff at the church in charge of our publications and web site. She teaches Journalism and is the Communications Department Chair at Valley Christian High School in San Jose. She is also the finest Christian I know.

My oldest son, Donny, plays drums in the Praise Band and is an engineer with Barnes & Noble, working on the Nook. He is married to Jolene. She is the Athletic Director at Valley Christian High School. My other son, David, is a gifted guitar player/singer/songwriter and is serving as Worship Pastor at First Baptist Church of Campbell. His wife, Sara, teaches dance at Presentation High School in San Jose. Creator: I can tell that you have very demanding schedule, sometimes from early morning to late at night. How do you manage your time with the family responsibilities and multiple tasks that face you day after day, month after month, and year after year? Don Fugate: We love the church as a family. When the boys were growing up, it was always about being together. We were together at church, we were together at their school and sporting events. I made time to be there for them. When Donny was a young boy, I would bring him up to church on Saturday nights as we set up the sound system for Sunday. It ignited in him a love for the church and technology.

for the study and renewal of worship

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Every Sunday’s worship is a blank canvas on which we can paint something beautiful and offer it to the Lord They were always included on choir tours and special events. I coached them in their early soccer leagues and cheered for them when they were older. Even today, Diann and I go to watch them play in adult soccer leagues. Both of the boys served as youth interns during their college days. Each day I wake up and pray, “God, you know my schedule for today, but overrule where You will. Help me to be sensitive to those ‘divine appointments’ You will bring my way.” I also remember what Roger Breland used to say about his music group, Truth: “We just kept showing up!” That’s a big part of the ministry. Keep

showing up. Every Sunday’s worship is a blank canvas on which we can paint something beautiful and offer it to the Lord.

Creator: How do you keep yourself updated, fresh and on the cutting edge? Do you attend conferences, and workshops?

Creator: What do you do for “fun” – just pure enjoyment?

Don Fugate: I try to attend at least one worship conference each year. In the past few years, I have attended Worship Week at Glorieta, several Saddleback Worship Conferences and most recently, The Brooklyn Tabernacle Music Conference.

Don Fugate: The ministry is fun most days. I also like to read. I enjoy going to the movies. I also enjoy teaching. For the past 3 summers, I taught filmmaking at The Tech Museum in San Jose. I had 40 6th -8th grade kids a week for 4 weeks. It was a joy to encourage their creative imaginations and then to help them realize their dream whether it involved making props or shooting against a green screen.

I am always on the lookout for new technology for worship, and the newest audio and video programs. Since I still plan worship, I visit ccli.com, praisecharts.com, lifewayworship.com and other sites every week. 2012 | creatormagazine.com

There is something innate in most musicians that we can become divas I also continue to write new songs. If I have a sermon that I can’t find that “just right” song to enhance it or lock in a response, I’ll spend some time at the piano to see if a song comes around. If I don’t sense some inspiration within 30 minutes or so, I won’t pursue it. However, if something starts to gel, I’ll begin to work with it and ultimately score it out in Finale for our Sunday morning rehearsal. I also listen to a great deal of Christian music on the radio or on the Internet. Creator: What advice or tips would you provide our readership concerning the “art of church music?” In other words, how can the church musician/conductor/singer/songwriter/educator keep himself/herself sharp and in tune with the craft and art of church music and other art forms? Don Fugate: I would encourage every church musician to be a lifelong learner. We can always improve our skills, whether that be singing, playing, composing, teaching or motivating people.

I am reminded of the saying “Experience is the best experience.” Learn lots of new songs. Go to Broadway musicals. Watch the Grammys. Attend seminars, workshops and master classes. Build a strong theological foundation for worship and the arts. Evaluate critically the lyrics and message of any song for sound doctrine. Try to break down or deconstruct musical presentations that “worked” or moved you. Was it the melody? Was it a particular progression?. Creator: What are some of the ingredients that make a person effective in music ministry or is the art of church music no longer a viable art?

Don Fugate: To be effective in music ministry, you need to be a devoted follower of Jesus Christ. I have known several Ministers of Music through the years who had no devotional life, no real prayer life and it manifested itself in their church work.

I believe you also need a servant’s heart. The ministry is about serving the Lord and serving your members. While we are focused on building a strong music ministry, we also need to be team players. I can’t only be concerned with my fiefdom. The Music Minister should support Sunday School, Outreach and other ministries of the church. When there’s a workday, the Minister of Music should be there with the rest of the folks. Finally, humility is certainly an attractive attribute for any church musician. There is something innate in most musicians that we can tend to become divas. If you can sing well, or play well, you receive adulation and can easily get prideful. I always remember, “God resists the proud, but gives grace to the humble.” Creator: Could you tell our readership the names of a couple of your personal heroes...those who have meant a lot to you in your career, musical and spiritual pilgrimage? Don Fugate: Dr. Max Lyall, Don Howell, Sheldon Russell, and especially, my father-in-law, Tom de Graaf, have been musical mentors to me.

On the spiritual side, Dr. Calvin Miller and Dr. Joel Gregory through their writings and teaching. Dr. Dan Sharp, Dr. Carla Waterman, Dr. Reggie Kidd, and Dr. Darrell Harris of the Robert Webber Institute for Worship Studies have opened my heart to the larger faith family.

My dad, Jim Fugate, has modeled how a Christian man should live, and my wife, Diann, has supported and encouraged me every step of the journey. Creator: If you could do anything you wanted to do at this time, what would it be...or are you doing it now? Don Fugate: I’m living the dream. When I lead worship and stand to preach the Word, I feel the pleasure of the Lord upon me. I know I am in the center of His will for me!

Are there tough days? Sure. In fact, I don’t know any minister who hasn’t dealt with some deep hurts. However, His grace is sufficient. I choose to count my blessings instead of cataloging my losses. Creator: What was your greatest accomplishment in the last three years? Don Fugate: Leading the California Southern Baptist Convention as Chairman of the Executive Board. That has been an awesome privilege and responsibility as the denomination is in a season of dramatic change in terms of funding and the relationship with the North American Mission Board. Creator: What was your greatest struggle or disappointment in the last three years? Don Fugate: Health issues have been a struggle. However, I have been so healthy for the past 58 years that I told the Lord if and when I started having health problems, I wouldn’t be a whiner about it!

The greatest struggle has been dealing with the economic realities we’re all facing. We, as a church, haven’t been able to hire ministry staff because the finances haven’t been there. In fact, for the past 3 years, we budgeted quar-

Moving? Please notify us at least 8 weeks in advance, and authorize the postal service to forward second-class mail until the change takes effect. If you have a question about your subscription, just call us at 800-777-6713.

volume 34 - number 3 | creatormagazine.com

terly. The blessing is that by budgeting that way, we were able to continue all of the important ministries to which we are committed. Creator: Could you give us the name, author, and publisher of the last book you have read and would recommend to us? Don Fugate: Letters to a Young Pastor by Calvin Miller (David C. Cook). This should be required reading for every minister. He is the voice in my head.

Another excellent book is The Painful Side of Leadership by Jeff Iorg (B&H Books). Jeff is the President of Golden Gate Seminary and speaks from practical experience. A third book I am currently reading is Why Men Hate Going to Church by David Murrow (Thomas Nelson). You’ll

have to read the book to find out the answer to the question Creator: What was the last concert you attended and who were the performers? Don Fugate: Alvin Slaughter, at The Brooklyn Tabernacle. It was glorious! Creator: What final thought would you like to leave with us? Don Fugate: After 35 years, I am so thankful for the privilege of serving the Lord in the ministry. I want to continue to learn, continue to grow and ultimately, to finish well. Creator: Thank you, Don. May the Father continue to bless, encourage, and guide you in music ministry as you lead your people in the experience of worship. fine

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www.masters.edu/music 800.568.6248 x3180 2012 | 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



highly recommended

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:

volume 34 - number 3 | creatormagazine.com

• 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.

Entreat Me Not to Leave You 

Magnificat and Nunc Dimittis 

Processional of the Invited  V: SATB #: A08637 E: Jay Rouse A: Piano U: Adult • Christmas, Concert P: PraiseGathering ©: 2011

To Bethlehem V: SATB #: 978-1-4514-2407-2 E: Bob Burroughs A: A Cappella U: Adult • Christmas, Concert P: Augsburg Fortress ©: 2012

Cleansing Fountain V: SATB #: 35095 E: Carolyn Hamlin A: Keyboard, optional Oboe U: Adult • Lord’s Supper, General P: Alfred ©: 2011

The Name of Jesus V: SATB #: 6-34337-252650 E: Travis Cottrell A: Keyboard; Orchestration; Trax U: Adult • Praise, General P: Lifeway ©: 2012

A Child is Born  V: SATB #: BG2582 C: Glenn Pickett A: Keyboard, opt. Brass Quintet U: Adult • Christmas, Concert P: Fred Bock ©: 2012

I Will Arise V: SATB #: MSM-50-2850 C: Kenneth Dake A: A Cappella U: Adult • General, Prayer P: MorningStar Music ©: 2012

Praise to the Lord, the Almighty V: : SATB #: 7L0179 E: Todd Syswerda A: Piano; opt. Orchestration; Trax U: Adult • Call to Worship, General, Concert P: Lindsborg Press ©: 2012

V: SATB #: 39120 E: Sheldon Curry A: Keyboard, opt. Orchestration ; opt. Trax U: Adult • Advent, Christmas, Concert P: Alfred ©: 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

Life and Breath V: SATB #: 6-34337-252995 E: Camp Kirkland A: Keyboard, opt. Orchestration; opt. Trax U: Adult • General P: Lifeway ©: 2012

I Shall Wear a Crown V: SATB #: PA8186 E: Jay Rouse A: Keyboard, opt. Orchestration; opt. Trax U: Adult • Praise P: Adoration ©: 2011

Exaltation V: SATB #: 978-0-8341-8207-3 M: Tom Fettke, Bill George, and John Chisum A: Piano, opt. Orchestration; opt. Trax U: Adult • General, Call to Worship, Christ the King P: Crystal Sea ©: 2012

My Soul, Be Still V: SATB #: 0 80689 16123 0 M: Robert Sterling A: Keyboard U: Adult • General, Concert P: Jubilate ©: 2012

Sky Song V: SATB #: 978-1-4514-2403-4 C: Russell SchulzWidmar A: Organ, clarinet or viola U: Adult • Christmas, Concert P: Augsburg Fortress ©: 2012

2012 | creatormagazine.com

Benchmarks

Ready to Worship

A collection of service music for the working organist. Includes preludes, offertories, postludes, free interludes, hymn introductoins and hymn reharmonizations.

good stuff

Christmas with Stephen Nielson

new stuff

Hope Arriving:

Nine well-known carol settings that should, with a little work, be easily accessible for the typical church pianist.

An Advent Worship Experience Arranged by David Hamilton Word ©: 2012 A 25 minute extended work with an accompanying devotional book written by Dan Wilt.

Choral Introits with Bells

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

Hal Hopson MorningStar Music ©: 2012 Seventeen settings of worship “openers” for choir and bells. The collection includes both seasonal and general works.

Worship the Lord Lloyd Larson Lorenz ©: 2012 A book of new choral service music suitable for introits, responses, and benedictions.

The subtitle of this book is Lutheran Liturgical Traditions and Catholic Consensus, which you might think would exclude those for whom “free” worship is the norm. The value of this book is the study of the history of repentance and confession. This would be a valuable addition to any worship musician’s bookshelf.

Johann Pachelbel: Complete Words for Keyboard Instruments Volume VII: Chorale Partitas Edited by Michael Belotti Wayne Leupold Editions ©: 2011 We continue to be impressed by the care and effort put into the historical editions published by Leupold. Save for two of these works, all can be done without pedals, which makes this volume quite accessible to the worship pianist interested in adding some nonBach Baroque era repertoire to their book.

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By the Vision of Another World Edited by James D. Bratt Wm. B Eerdmans ©: 2012 There are ten separate essays in this volume, each of which is worthwhile reading. The writers talk about worship, and how it is “above” the day to day issues of denominations and worldly point of view.

by Tom Fettke

last page

the choral arts

I am passionate about the choral arts! During my 61 years of participating in teaching, writing and conducting choral music I have experienced personal fulfillment, spiritual renewal, emotional expression, friendship and camaraderie, the opportunity to hone and share creative skills and gifts, the opportunity to serve God and others, and more. In every phase and endeavor of my choral career, I have been fortunate to have mentors who taught me not only the skills of creating music but also made me aware of the potential of vocal performance as a conduit for communicating “matters of the heart.” Choral music has been both an occupation and a vocation. My first opportunity to begin understanding the concept of organized group singing

Each subsequent choral experience (either as participant or leader), was more of the same: good mentoring, rehearsal discipline, attractive music and performance opportunities which resulted in the effective communication of the message and emotional elements of the text resulting in hearts being touched and moved. What a wonderful thing the Creator has bestowed upon us. Composing and arranging music has also been part of my life experience. Actually, creating musical scores is my most cherished enterprise and always has been. It would take a ream of paper to relate to you the details, but simply stated, I began to write and continued to write because of “need.” The need to express myself in musical

Tom Fettke is a composer, arranger and producer of music and recordings for the contemporary Christian church

to a variety of worship styles. We need choral music that addresses the fact that there is a wide variety of choir achievement levels. That’s why I’m excited to be associated with the new Crystal Sea Music Publishing because the focus is to publish choral music that meets the needs enumerated above. The goal is to put a distinctive touch on quality music that encompasses a wide variety of musical styles and tastes; historic and new – fresh but not trendy. Included in every anthem is a unique page of ministry resources to help in worship planning. I love collaborating with a team of first-rate people – Cherry Garasi and Thomas Grassi – to make this all happen – SOLI DEO GLORIA fine

Creating musical scores is my most cherished enterprise TM

was at the age of 10 when I became the only boy soprano in the Oakland (California) Youth for Christ Chorale, which sang every Saturday night at YFC youth rallies. The choir was known for singing quality music with excellence, but in addition there was a great emotional element to the presentations. It didn’t take very long to get “hooked.” I especially learned from this first experience that excellence and communication in performance was the result of rehearsal discipline, coupled with presenting attractive and meaningful music.

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terms and also the need for appropriate literature for the choirs I was directing.

I’ve been blessed to have my musical offerings used in churches of all sizes and denominations. I’ve traveled across the country for the last 40 years interacting with fellow ministers of music. The need for quality choral music is a continuing cry. We need music that speaks to the hearts of the congregants and participants! We need music that aids in leading and encouraging worship. We need choral music that pays attention

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.

The Newest Choral Releases from

Beckenhorst Press Fall 2012

We will send you one copy each of our 20 new Fall 2012 releases for just $5.00 to cover the cost of shipping and handling. Send your check with a copy of this ad to: Beckenhorst Press, Inc. 960 Old Henderson Road Columbus, Ohio 43220 Church__________________________________________________ Attention_________________________________________________ Street___________________________________________________ City_____________________________________________________ State______________________Zip___________________________ Payment must accompany all orders before they can be sent. www.beckenhorstpress.com phone: 614-451-6461

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