Volume 23 | No. 4

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WORSHIP LEADER | JULY/AUGUST | VOL 23 NO 4

CONTENTS 10

BEYOND MULTIMEDIA | MARK D. ROBERTS

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WHAT DOES IT MEAN TO LEAVE WELL? | RORY NOLAND

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VISUAL LITURGY: THE ART OF THE PEOPLE | STEPHEN PROCTOR

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VISUAL WORSHIPER: PROFILE OF A WORSHIP ARTIST | BRADLEY HODGES

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TABLE TALK: MICHAEL GUNGOR ON LITURGY AND ART | MICHAEL GUNGOR

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NWLC: A WORSHIP LEADER’S PERSPECTIVE | MEREDITH ANDREWS

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SONG DISCOVERY SONGWRITER SHOWCASE

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WORSHIP LEADER’S TOP COLLEGE RELEASES

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THE BODY OF CHRIST: A SYMPHONY OF SIGHT & SOUND | PAUL BALOCHE

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GOD’S NOT DEAD, CHOIR’S NOT DEAD | CARLTON DILLARD

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CHOIR THOUGHTS AND TRENDS

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WORSHIP LEADER’S ALL ABOUT CHOIRS | SPECIAL ADVERTISING

STILL POINT | LOIS ANDERSEN Christ, the still point of all that is.

He is before all things and in him all things hold together. Colossians 1:17

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THE WHO OF WORSHIP, UNITY, AND CREATIVITY | DARLENE ZSCHECH

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COLOR ADDED | REGGIE KIDD

Lois Andersen is a painter from Concord, Massachusetts and she worships at Park Street Church in Boston.

Visit loisandersenfineart.com

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A HOLISTIC APPROACH TO MULTIMEDIA | AARON WEST

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ENCOUNTER OR EXPERIENCE? | TIM HUGHES

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HOW TO BUILD A CHOIR FROM THE GROUND UP:

This image is property of the artist.

6 STEPS FOR CHURCHES LARGE OR SMALL | CRAIG GILBERT 46

WORSHIP LEADER LIFE COACH: FIND YOUR DREAM JOB | STAN ENDICOTT

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10 WAYS TO COMMUNICATE WELL IN TODAY’S VISUAL CULTURE | QUENTIN J. SCHULTZE

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7 WAYS TO FUEL PARTICIPATION THROUGH MULTIMEDIA | HEIN VAN WYK

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CHURCH CHOIR RECORDING: MAXIMIZING THE SOUND | BRIAN STECKLER

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LOGOS BIBLE SOFTWARE | BOB PRITCHETT, JOEL MUDDAMALLE

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VIDEO PROJECTION SYSTEMS UPDATE | KENT MORRIS

58

WHAT’S NEW | ANDY TOY

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GEAR REVIEWS | ANDY TOY

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LOUD HARP | FEATURED REVIEW

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MUSIC FOR LEADING

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PERSONAL PLAYLIST

74

THE BOOKSHELF

77

PROGRAMMING RESOURCES

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THE BEAUTY OF THE LORD | JEREMY ARMSTRONG

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FORUM THE POWER OF TOUCH | CHUCK FROMM

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THE BEAUTY OF THE LORD

B

efore we make the mistake, let’s clear something up right now: multimedia does not mean “technology.” Maybe that is an obvious statement, but in the conversation of worship, it is quite easy to see the two as synonyms.

They are not.

Okay, so what are we talking about when we curate an issue on multimedia in worship? Well, it starts with the senses. We are all pretty aware of the five senses, but I was recently interested to discover that most biologists teach that we have more than the traditional five (sight, sound, smell, taste, touch). They count at the very minimum eight human senses, and some even claim that everyone has up to 21 senses. Some of the ones traditionally left out are the sense of being upright, the sense of our body interacting with itself, and even the sense of knowing if we are hungry or when we have to make a run to the nearest restroom.

And truly all of these senses are in play in worship. Whether we want them to be or not, these senses are occurring in each and every person in the sanctuary, on the platform, and walking past the church on the sidewalk. They are ever present.

Therefore the question is not, “Should we engage the senses of the worshiper?” but “How should we best engage the senses?”

The senses are continually engaging with the world, continually communicating, taking in and giving away. And this is important for us to keep in mind in worship design, especially in the conversation of multimedia. Because the purpose of using media in a service of worship is the same as it has always been: engage the senses in order to facilitate whole worship of the only One who deserves it.

With the understanding that our multimedia is designed to engage multiple senses, a quote from Henri Nouwen’s Out of Solitude suddenly reveals itself as mysteriously multimedia in its essence: Somewhere we know that without silence words lose their meaning, that without listening speaking no longer heals, that without distance closeness cannot cure. Somewhere we know that without a lonely place our actions quickly become empty gestures. The careful balance between silence and words, withdrawal and involvement, distance and closeness, solitude and com-

BY JEREMY ARMSTRONG

munity forms the basis of the Christian life and should therefore be the subject of our most personal attention.

Every week our churches are filled with multimedia. They are the visuals we make use of, and they are the person sitting in the back, broken and hoping for a gentle word to help them make it through the day. They are the totality of what is presented and what is simply there by the default of existence. So step one is to know this. Multimedia is everywhere. Step two is a bit more complex: be intentional. Closeness and distance, loneliness and presence, silence and words, solitude and community, light and dark, these things are our tools. How will we use them? Will God be made manifest in our many, many media?

Again, multimedia is not a technology issue; it is much more. It is an issue of the heart and spirit that deserves our most personal attention, so that the beauty of the Lord may shine all around us when we gather in his name. W – Jeremy Armstrong,

managing editor

worshipleader CEO/PUBLISHER Chuck Fromm, PhD

EDITORIAL BOARD Warren Anderson, Paul Baloche, Brenton Brown, J. Robert Clinton, Maggi Dawn, Craig Detweiler, Jeff Deyo, Carlton Dillard, Stan Endicott, Susan Fontaine Godwin, Shaun Groves, Tony Guerrero, Debby Kerner Rettino, Reggie Kidd, Roberta King, Greg Laurie, Hughes Oliphant Old, Andy Park, Matt Redman, Robb Redman, Jason Ritchie, Mark Roberts, Lin Sexton, Martin Smith, Brian Steckler, Laura Story, Rick Warren.

SUBMISSIONS See our submission guidelines at worshipleader.com. For all other feedback or inquiries, contact jeremy@wlmag.com.

WORSHIP LEADER & SONG DISCOVERY MANAGING EDITOR Jeremy Armstrong DIRECTOR OF CREATIVE & PUBLISHING SERVICES Andrea Hunter ART DIRECTOR Katie Noel EVENTS DIRECTOR OF TRAINING & DEVELOPMENT Suzie Stablein ADVERTISING & SPONSORSHIP VICE PRESIDENT OF SALES & MARKETING Daniele Kimes SALES & MARKETING COORDINATOR Alissa Smith

SONG DISCOVERY 117 LISTENING BOARD Stephen Proctor, Carlina Stromback, Jeff Little, Andrea Hunter, Tim Walsh, Norman Silver, Barry Westman, Judy Meinzer, Beth Day, Randy Hitts, Shane Ball, Bob Marshall, Andrew Powell, Jeremy Armstrong, Ben Schoffmann, Shawn Denton, Andy Toy, Josh Roland, Erna Daniel

OPERATIONS AUDIENCE DEVELOPMENT Nicole Fromm ADMINISTRATIVE ASSISTANT Judi Coffin

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NOTE ON BIBLE QUOTES Unless otherwise noted, Worship Leader defaults to the NIV 1984 version.

song DISCovery Worship Leader® (ISSN 1066-1247) is published bi-monthly by Worship Leader Partnership (29222 Rancho Viejo Road, Ste 215, San Juan Capistrano, CA 92675-1046).

Copyright: Worship Leader magazine © 2014 by Worship Leader, Inc. Worship Leader® is a registered trademark.

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As a Worship Leader, you know that music is such a key component in worship. It is a connection between the Body of Believers and the Lord, and when you stream your services online, cutting it out of your service limits one of the most integral I started my music career as a worship leader at school functions, Bible studies, church events and prayer meetings. parts of the worship experience.

My life’s journey hasn’t been easy, but God has remained faithful through it all, and that motivates my music.

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W OR SH IP LE A D E R

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WANT MORE ARTICLES LIKE THE ONES IN THIS MAGAZINE? Get them delivered straight to your inbox when you subscribe to our free, weekly online eNewsletter at worshipleader.com

FORUM This month, there was a good amount of chatter on worshipleader.com. Here’s a little of what’s being said.

Here is what people are saying about “How to Intro a New Song.” Read the full article: go.wlmag.com/how-to-intro.

Joshua said: I also use a video blog to introduce songs to my congregation, so they can learn them before they come to worship. I walk them through the songs, teaching each part. I then encourage them via website and FB to visit my YouTube page where the video lives; I also include all the lyrics.

I haven’t done one for a while, but it has been fairly successful.

Chris Fleck said: “One of the biggest mistakes you can make when you intro a new song is to do the entire song.” I have to disagree with this statement.

I have a very simple 2-1-1 approach. We do a new song two weeks in a row, give it a rest for a week, then play it again the following week (week four). We may or may not do multiple choruses at the end or extended bridges, but we throw out

Look for National Worship Leader Conference speakers, teachers, and artists. Designated with:

the entire gist of the song out of the gate.

Sometimes in that off week we’ll introduce a new song. After three to four times playing it, you can tell if it catches—or not—based on congregational participation. You can get yourself in a nice little rotation. We usually introduce 10 to 12 songs a year. Do they all stick? No. But we’re not afraid to try something different. I never feel like we “wasted” a song if the congregation didn’t respond. It was in the set for someone in attendance. That works for us. Maybe not for all.

Here is what people are saying about “Are You Performing When You Lead Worship?” Read the full article: go.wlmag.com/are-you-performing.

John A. said: Thanks for sharing Monique’s thoughts again. After all the negative publicity worship leaders have been receiving …

I’ve heard it said about a megachurch in our area that they are all about performance. Over 10,000 people go there every week and they are getting bigger and bigger. That number represents 10,000

worshipleader THE APP IS NOW AVAILABLE! NOW YOU CAN BROWSE THE ARCHIVE AND PURCHASE SINGLE ISSUES TO READ ON YOUR iPAD. Single issues and subscription available • 99¢ sampler May 2012 iPad is a trademark of Apple Inc., registered in the U.S. and other countries. App Store is a service mark of Apple Inc

people in the seats singing songs with biblical content and hearing a message from God’s Word—performance or not.

Only God knows the heart of the person on the stage (Jer 17:10). I sang my first solo in sixth grade and knew early on that I was going to be a performer—I love the stage—whether acting, singing, leading worship, preaching etc. And I guess I have been gifted in that area; it’s very natural for me. Someone asked me why Mick Jagger would bother going on tour at 71—though I’m sure money is one motivator, Mick is a performer; he has to be on stage, that’s what he does.

So yes, worship leaders can be gifted performers and yes unfortunately, some people do have the wrong motives for leading, but let’s not forget what Paul says in Philippians: “But what does it matter? The important thing is that in every way, whether from false motives or true, Christ is preached. And because of this I rejoice. Yes, and I will continue to rejoice….” Paul’s words though, are not an excuse for our worship leading motives to be focused on us; God will keep that in check. I think we have the tendency to worry about it too much. W

D E V E LO P YO U R

talents

i n the p e rforming arts Mass Anthem is Judson University’s newest worship band, comprised of three students and a friend, who are passionate about sharing the gospel of Jesus Christ through music. The group formed in the fall of 2012 and they just released their debut album, Alive, featured in this issue of Worship Leader. It was recorded and produced in Judson University’s Dark Room Studios. The entire album was produced by Ben Calhoun, lead singer of Citizen Way, and engineered by Judson student Zach Kranz, a Worship Arts major. Album tracks feature songwriting and gang vocals from Judson’s music students.

Whether students want to share their talents in worship celebrations, onstage in a professional concert hall, on the road with their band, or in the recording studio, Judson University equips them to play, sing, create, and lead as never before. Visit Judson, located only 40 miles northwest of Chicago, by signing up at JudsonU.edu/preview.

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Judson University is home to Dark Room Studios, a recording studio created by Ben Calhoun, the lead singer of Citizen Way. In the studio students learn the necessary skills for every aspect of music production, and they have the opportunity to learn about composition and recording from Calhoun himself.

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SHAPE YOUR LIFE TO SHAPE THE WORLD

LEADERSHIP

BY MARK D. ROBERTS

BEYOND MULTIMEDIA: Whole Life Worship

Preparing to lead worship when worship includes everything.

LIFE LEADING

IF

I were to ask you what you do to prepare to lead worship, I expect you’d mention several crucial activities: carefully choosing the music and visuals for the worship service, rehearsing with your band or choir, warming up before the service, praying with your team, and so forth.

All of these activities are essential. They help us lead God’s people in the items of worship mentioned in Colossians 3:16: “psalms, hymns, and songs from the Spirit, singing to God with gratitude in your hearts.” If we’re going to lead people in these expressions of worship, we should indeed prepare by paying close attention to the music of worship and how it is led, not to mention by praying.

WHOLE HOLY LIFE Yet, I would suggest that our preparation for worship should also be shaped by Colossians 3:17, which reads: “And whatever you do, whether in word or deed, do it all in the name of the Lord Jesus, giving thanks to God the Father through him.”

Here, worship is not limited to the kinds of things we do when gathered as God’s people. It’s not only or mainly a matter of singing, teaching, and prayer. Rather, in verse 17, worship includes everything we do. Yes, everything.

The Apostle Paul emphasizes this point through intentional repetition. The first part of verse 17 reads in the NIV, “And whatever you do, whether in word or deed, do it all in the name of the Lord Jesus.” The Greek original could be rendered more literally, “And everything [pas in Greek], whatever you do, in word or 10

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We’d start talking about worship as working and shopping and parenting and creating and managing and sweeping and resting and, well, you name it.

deed, do everything [pas once again] in the name of Lord Jesus.” Repetition like this is no accident. Paul is bending over backwards to make sure that we do everything—yes, everything!—in the name of the Lord, that is, under his authority and for his glory. As he writes to the Romans, we worship God by offering our bodies as a living sacrifice, glorifying him with all that we are and all that we do (Rom 12:1-2).

ARE YOU PREPARED? What difference would it make in your worship leadership if you thought of worship in this all-inclusive way? How would you lead your people if you saw your role

Moreover, if we were to envision worship along the lines of Colossians 3:17, we’d understand that one of the most important ways for us to prepare for worship leadership is to learn to worship the Lord through every word and every deed. We’d stop assuming that our own worship is mainly the stuff we do in church or in our personal devotions and start believing that it is mainly about all the other stuff we do each week. We’d ask the Spirit of God to transform our thinking, feeling, and living, so that we might truly experience all of life as worship for the Lord, every word, every deed, every bit. In this way, our lives and language, our encouragement and example would lead God’s

“…stop assuming that our own worship is mainly the stuff we do in church or in our personal devotions and start believing that it is mainly about all the other stuff we do each week.” as helping them to do everything in life as an act of worship? How might this impact what you do to prepare for leading worship?

It seems to me that if we were to see worship as offering everything we do and say to the Lord, we’d want to be sure that our people conceived of worship in this way. We’d stop talking about worship as if it were only about singing, praying, and preaching. We’d stop talking about worship as if it started with the first song and ended with the last song. We’d start talking about worship as something that ought to happen throughout the week.

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people into a new vision and experience of whole-life worship.

What do you do to prepare for your worship leadership? Yes, by all means do what contributes to excellent music and God-honoring services. But, even more, seek to worship God through everything you say and do. Yes, everything! W MARK D. ROBERTS is Executive Director of Digital Media of Foundations for Laity Renewal. Blog: patheos.com/blogs/markdroberts. Daily Reflection: thehighcalling.org.

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LEADERSHIP

BY RORY NOLAND

WHAT DOES IT MEAN TO LEAVE WELL?

Q:

After leading worship at my church for the last 12 years, I’ve been asked to step down because the leadership wants to “go in a different direction.” An official announcement will be made this Sunday, but I’ll be staying on until the end of next month.

To say the process has been difficult is an understatement. I feel hurt, confused, and unappreciated, but that’s not why I’m emailing you. My question is: “How do I navigate being here over the next two months? How should I act around my volunteers? How should my wife and I respond to the barrage of questions we’re sure to get?” I’ve interviewed with three churches, two of which sound promising, so I expect to have another job soon. Until then, what does it mean to leave well?

A:

I’m sorry the process has been difficult. Transitions in ministry, as in all of life, can be excruciatingly painful. I admire your determination to leave well. That speaks well of your character. I’m glad you mentioned your wife because transitions are equally hard on spouses. For that reason, I’d like to direct the following suggestions not only to Christian leaders facing job/ministry termination, but to their spouses as well.

CELEBRATE THE GOOD As you look back on your time at the church, I’m sure you have many fond memories. In addition to the relationships built, you’ve undoubtedly shared ministry experiences that you’ll cherish for the rest of your life. Before you leave, get with your team and thank them for their com12

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mitment and faithfulness to the worship ministry all these years. Then worship the Lord, thanking God for all those wonderful experiences you’ve all shared. Celebrate the friendships, changed lives, and miracles that highlight the last 12 years of your life together.

APPROPRIATELY GRIEVE YOUR LOSSES It’s okay to be sad about leaving. The saddest part of any transition is the relationships left behind. Just make sure you grieve privately and appropriately. Instead of flooding social media with your pain and disappointment, share your grief with those closest to you—your most trusted friends preferably from outside the church. Also, don’t grieve to the point that you wallow in self-pity and lose sight of God’s blessings on your ministry. If you’re depressed or need to process anger, schedule time with a counselor. If you have issues or grievances that need to be addressed, meet with your pastor and sort them out in private.

BE PREPARED FOR QUESTIONS As soon as your leaving is made public, people will, as you put it, “barrage” you with questions. Your most faithful volunteers may even get upset and, sensing you’ve been treated unfairly, take up an offense for you. They may even press you for “the real reason” you’re leaving. Figure out now how you’re going to respond. And do so with class. Don’t be negative. Don’t gossip or slander. This is not the time to

J ULY/A UGUST 2014

air dirty laundry or voice your disapproval of that “other direction” in which the church is going. Remain positive. Don’t make your pastor or the church out to be the bad guys. Instead, show support for your leaders. Assure everyone who inquires that God is in control (because he is), that you’re going to be okay (because you will be), that you’re at peace (because God has a new assignment for you), and that the church will be fine (because it’s God’s church). Remember, you’re leaving, but your volunteers are staying. They will continue to attend that church, so don’t poison their view of the pastor or any other leaders. Don’t let your leaving be the reason someone gives up on church.

FINISH STRONG Finally, fulfill all job responsibilities and expectations faithfully to the very end.

Work hard, follow through on projects, and retain a cooperative attitude. Do everything you can to facilitate a smooth transition for yourself, your family, your team, and the church. In the future, when prospective employers ask for a reference, may your current pastor be able to report that you served faithfully and indeed left well. W RORY NOLAND (heartoftheartist.org) directs Heart of the Artist Ministries and is the author of Worship on Earth as It Is in Heaven.

NWLC 2014

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LEADERSHIP

BY STEPHEN PROCTOR

LITURGY: A TALE OF VISUAL WORSHIP In the last few years, I’ve become what Robert Webber referred to as an “evangelical on the Canterbury Trail.” I have fallen in love with the ancient practices of the liturgical church.

Like many pilgrims on this trail, I grew up in a traditional church—we sang out of hymnals and patiently battled the worship wars of introducing new choruses to a reluctant congregation. And while our ears adjusted to these new sounds, our eyes shifted from the pages of the hymnal to the pixels of the screen.

As musical expressions progressed, so did our visual expressions. Stale PowerPoints evolved into dynamic multimedia presentations filled with motion backgrounds and spicy sermon illustrations.

In my 20s, I found myself in the production booth, VJ-ing film clips and motion loops to match each and every moment. I was evolving from “the PowerPoint guy” into a visual worship leader.

I have been in this role for over a decade now, and I have loved (almost) every moment of it. But as my love for liturgy has

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grown, so has my desire for a deeper, more collaborative expression of visual worship.

After all, liturgy means “the work of the people,” not “the work of one person.”

As I lead visual worship, I no longer want to be the one guy picking out “backgrounds” that serve as eye-candy for the congregation. I want to release the congregation to create art that illuminates the love story of God.

THE ART OF THE PEOPLE Typically in the church media world, you have the one person who is responsible for all the images during a worship service. From announcement graphics to motions behind lyrics to thematically branded backdrops for the sermon notes—this one person pulls it all together.

I’ve wrestled with this thought: instead of one person working on a bunch of images, what if a bunch of people work together on one image? It’s hard to explore this in a concentrated event like a conference where there is little time to prepare, much less collaborate. I needed a different kind of laboratory to work this experiment out.

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So after many years of serving as a volunteer, my church invited me to serve on staff. And in this season, I’ve discovered something very rich: a treasure buried deep in the spiritual gift of prophecy.

Revelation. Interpretation. Application.

These three steps of healthy prophecy now guide my community through the process of creating visuals for our Sunday morning gatherings.

So what does this look like?

INTERPRETING WHISPERS At Journey, we’ve designed a team called “Cartography.” It’s more or less our creative worship team, but it goes much deeper than branding a sermon series.

Our mission is to listen for and interpret the whispers of the Spirit through art and story. The key to this interpretation process is that it takes place in community.

In our last season called “The Kingdom,” our visual metaphor was the image of the forest. This metaphor was revealed to us through a process of being still, listening, and interpreting what each of us saw stirring in our community.

LEADERSHIP

Art People

STAGE 4: Now it’s time to take our crazy ideas and build them into reality. Lighting designers, animators, VJs, writers, musicians, Pinterest lovers, and graphic designers—we all come together to create.

The of the

OUR PROCESS IS BROKEN DOWN INTO SIX STAGES. STAGE 1: Our Worship + Arts team meets with our pastor and a few other artists to be still, to reflect on where we’ve been, and to dream about what new season God might be calling us into.

STAGE 2: Once we get a sense of this new season, we begin to identify visual imag-

[REVELATION]

WHAT IS THE NEXT SEASON?

STAGE: TEAM:

1

STAGE 5: This is when we implement everything in the live setting. We show up early to set up, arrange and curate our space in the areas of atmosphere, lighting, and media.

STAGE 6: After it’s all said and done, it’s time to look back and celebrate! During this final gathering, we’ll hear from a few people in our church who were deeply impacted. This allows our artists to see what others saw.

This is what’s worked for us so far, but it doesn’t work without people.

GUIDING A COMMUNITY OF ARTISTS

ery and metaphors that bring clarity to what the Spirit is whispering.

STAGE 3: After we’ve discovered the visual metaphor, our pastor releases us, and we open the door to more voices. We do this through our “Arts Collective,” a weekly gathering for artists in our community.

This is when the creative brainstorming goes down.

[INTERPRETATION]

WHAT DOES THE NEXT SEASON LOOK LIKE?

2

worship + arts

HOW DO WE MAKE IT HAPPEN?

3 arts collective

As I said in Stage 3, we have a weekly gathering called the “Arts Collective.” This is a time set aside to nurture the souls of our artists. The purpose is not to create but to intentionally invest in our companionship with Jesus and one another as our Goddesigned, artistic purpose is illuminated.

Out of this collective come natural opportunities to collaborate and dream. And for some, that creative energy is directed toward our Gatherings.

One important aspect of guiding artists is to not place heavy expectations or demands on them. They must feel valued for

[APPLICATION]

NOW WE BUILD

4

NOW WE IMPLEMENT

REFLECTION AND CELEBRATION

5

6

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“The quickest way to kill an artist is to micro-manage them.” who they are, not for what they can create for you. The quickest way to shut an artist down is to treat them like a commodity instead of a child of God. It’s also helpful to have leaders who value and respect artists. I mentioned “healthy prophecy” earlier; there can be unhealthy prophecy, too.

An unhealthy prophet will circumvent interpretation-by-community, jumping straight from revelation to application, micro-managing details along the way. This is what many pastors and leaders struggle with, and it’s also why many artists have trouble flourishing in the Church.

The quickest way to kill an artist is to micro-manage them. Rather than tell an artist exactly what to do, a pastor should guide and release the artist to their Goddesigned talent. Scary … I know. It’s scary because it means giving up control. I’m not saying it always works out either. Art can be messy and misunderstood as it deals with the abstract and asks more questions than answers them. But if you want art to thrive, you cannot micro-manage your artists.

Here is the posture my own pastor has chosen to take with our community.

I dream about creative people being loosed to express their love for God in their gifts, believing the community will be blessed through their honest authentic expression.

Voices singing, chanting, praying, and speaking.

Music brought forth from those who have given volumes of time to perfect their talent, who then offer that as a sacrifice of praise.

Visual media, painting, tattooing, sculpting, etc.

Artists being released to their God-given design.

– Jamie George, Pastor of Journey Franklin

EVERYONE IS CREATIVE! Many of you reading this may not find yourself in this type of community, and that’s ok. Not every community is designed

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to be the same. And not every church’s expression has to be filled to the brim with art. If every church were the same, how boring would that be?

However, if you think your community isn’t creative, then I would challenge you with this thought: there is no such thing as “creative” and “non-creative” people. Everyone is creative! Creativity is an overflow of God’s creation, including us. Perhaps you don’t have a bunch of multimedia wizards lurking around, but you certainly have people gifted in other creative ways.

Perhaps the work of your people will not be a digital one. Your visual liturgy doesn’t have to be elaborate; in fact, simplicity and subtlety is usually better.

Gather your people. Invest in them. Nurture their souls. Mine out their creativity.

And release them to their God-designed purpose. Then create space for a garden of creativity to grow. Perhaps some of that art can be enjoyed on Sunday morning.

This is how your visual expression can become a true work of the people.

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TOOLBOX 1. SHIFT MEDIA CREATOR:

Stop the endless search for new media and start creating your own—on your iPhone. Equip your community with this easy-to-use tool and start creating your visual experience together.

(Available in the iTunes App Store) 2. WEIV: INTERACTIVE VISUAL WORSHIP:

Imagine a “visual band,” if you will.

Using Nintendo Wiimotes, you can have up to seven people creating your visuals LIVE. (weiv.co) W

STEPHEN PROCTOR is an illuminator and visual worship guide for Journey Church in Franklin,TN. Visit illuminate.us to explore more stories and resources for visual worship.

NWLC 2014

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ARTISTS FEATURED ON SONG DISCOVERY VOL. 117

overy

SONGWRITER SHOWCASE

STEVE & SHAWN

ZAC DINSMORE

WHAT’S YOUR MUSICAL BACKGROUND?

WHAT’S YOUR MUSICAL BACKGROUND?

Shawn was on the worship team at age 14. She fell in love with worship at a Kent Henry worship conference and eventually fell in love with me while studying classical piano in college.

At 14 however, I was writing hundreds of sappy love songs with the only three guitar chords I knew. Writing leads to recording and that needs instruments, so I learned maybe a few too many: electric, bass, drums, piano, and the Hawaiian nose flute.

In grade school, the cool thing to do was play an instrument going into middle school, so I picked the saxophone because it had always been my favorite woodwind instrument. My music really took off when I moved to Kansas City in 2006 with my parents to be part of International House of Prayer (IHOP). There I taught myself the guitar, and figured out I could sing. Realizing the power of an original song, and having the power and influence to sing forth my own message—and revelation from the Lord—really drove me to write.

Discovering I am able to express myself in such a real, tender and vulnerable way through my songs has pushed me to keep writing and keep it real. The more transparent I am and the more I sing from my heart to the Lord, the more he can shine through.

Song on Song Discovery: Track 9, “Lord I Believe” Church Home: Sent out from New Creation Church, Glenwood Springs, Colorado (after 7 years on staff)

WHAT SPARKED THIS SONG?

Most of this song came like a gift from heaven that we have needed time and time again as encouragement to believe that we can actually do all he has called us to. For us, that meant selling everything we own and taking our family out on the road to help people with worship. But no matter who you are, God calls everyone to do amazing things that at first may seem impossible.

Our hope is that this song will inspire you to step out and obey God, not because you know how it’s all going to work out, but because you know Who will work it all out.

WHAT ARE YOUR FIVE FAVORITE SONGS OF ALL TIME?

Singing “40” around the campfire at church camp. Performing “La Bamba” was pretty much the only reason I got an A in high school Spanish class. “Iris” by Goo Goo Dolls. MercyMe’s rendition of “The Nails In Your Hands” was when I fell in love with worship music. “When You Say Nothing at All” by Alison Krauss was the song I sang the night I met Shawn.

Song on Song Discovery: Track 5, “Glory Be to the Righteous One” Church Home: As of August, I’ll be the worship pastor at Venue in Steam Boat Springs, Colorado.

WHAT SPARKED THIS SONG?

Shelley Hundley, a teacher (at IHOP) and massive influence in my life personally sparked the idea for this song. She was teaching on the return of Christ out of Isaiah and how the Lord is raising up the song, “Glory to the Righteous One” (Isa 24:16) all across the earth. The chorus line immediately came to me; I recorded it there in class, went home and finished the rest of the song.

WHAT ARE YOUR FIVE FAVORITE SONGS OF ALL TIME?

1. Jon Thurlow, “Who is Like You?” 2. Ben Woodward, “Where Hope Comes Alive” 3. John Mark McMillan, “Ten Thousand” 4. One Republic, “Say” 5. United Pursuit Band, “Your Love Is Better” W

Songwriters: Have a song you want to share with the Church?

Submit your song at worshipleader.com/submit-a-song 18

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PRESENTS

overy UNLOCK THESE RESOURCES WHEN YOU SUBSCRIBE TODAY JULY/AUGUST 2014 VOLUME 117

1. AIN’T NO GRAVE

7. ALL ARISE

BY CROWDER From Neon Steeple. Words & music by: David Crowder/Hank Bentley/Seth Philpott.

Visit: crowdermusic.com.

BY MICHAEL W. SMITH From Sovereign. Words & music by: Michael W. Smith/Jason Ingram.

Visit: michaelwsmith.com.

2. OUR HALLELUJAH

8. RISE

BY MICHAEL BOGGS From More Like a Lion. Words & music by: Michael Boggs/Jason Cox/Kevin Heider.

Visit: michaelboggs.com.

BY WE ARE THE MONKS From We Are the Monks.

Words & music by: Trent Monk.

Visit: wearethemonks.com.

3. MY GOD IS STRONGER

9. LORD I BELIEVE

BY THE CLASSIC CITY COLLECTIVE From The Fading Veil.

Words & music by: Josh Bayne/Paul Reeves.

Visit: theclassiccitycollective.com.

BY STEVE + SHAWN From Believe.

Words & music by: Steve and Shawn Reed.

Visit: steveandshawn.com.

4. BE LIFTED HIGH

10. YOU LOVE ME STILL

BY DAVE & JESS RAY From Goodness and Mercy.

Words & music by: David Ray/Kyle Worsham.

Visit: daveandjessray.com.

MAGAZINES

CHORD CHARTS & LEAD SHEETS IN 3 KEYS

BY CHRIS LOVEJOY From Rescue.

Words & music by: Chris Lovejoy.

Visit: bchrislovejoy.com.

11. VAPOR

5. GLORY BE TO THE RIGHTEOUS ONE

BY THE LITURGISTS From Vapor. Words & music by: Lisa and Michael Gungor.

Visit: theliturgists.com/vapor.

BY ZAC DINSMORE From Onething Live: Sing Your Praises.

Words & music by: Zac Dinsmore.

Visit: forerunnermusic.com.

MEDIASHOUT FILES

12. CHRIST BE ALL AROUND ME

6. HOW MAJESTIC

BY KARI JOBE From Majestic. Words & music by: Kari Jobe/ Chris Tomlin/Matt Redman/Jason Ingram.

Visit: karijobe.com.

BY ALL SONS & DAUGHTERS From All Sons & Daughters. Words & music by: Leslie Jordan/David Leonard/Jack Mooring/ Leeland Mooring. Visit: weareworship.com.

Worship Leader’s Song DISCovery® would like to thank our ministry partners for their contributions to Volume 117: EMI Christian Music Publishing, Sparrow Records, Worship Together Music, sixsteps Music, Hank Bentley Publishing Designee, Michael Boggs Music, Licketysplat Music Publishing, Simple Tense Songs, Kevin Heider Music, Winding Way Music, SongsandCrowns, S And C Publishing, Paul Reeves Music, six eighteen music, Kyle Worsham Publishing, Forerunner Music, Zac Dinsmore, Sparrow Records, A Thousand Generations Publishing, sixsteps Songs, Thankyou Music, Open Hands Music, This Is Your Time Music, Trent Monk wholelotaracket, Steve and Shawn Reed, Chris Lovejoy, Hither and Yon Music, Integrity Music, Integrity’s Praise Music, Jack Mooring Music, Meaux Jeaux Music, Meaux Mercy

LITETRACKS FROM MULTITRACKS.COM

Subscribe AT worshipleader.com/subscribe or call 888-881-5861

JU LY /A U G U S T 2 0 1 4

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VISUAL WORSHIPER Profile of a Worship Artist choose one path for me. He did and led me to where I am today. I wouldn’t change my experiences at all. I am grateful for the path God has led me down and look forward to the future.

Bradley Hodges is part of a new generation and breed of worship leaders revealing God with a multimedia vision that reaches far beyond words and music to change hearts, transform lives, and renew the Church.

WORSHIP LEADER: Tell us a little bit about your journey to becoming a worship leader.

BRADLEY HODGES: I’ve been leading worship for 15-plus years starting out in my youth group and small gatherings of friends. In college I began leading for local churches, eventually following God’s call to a small church plant where I served mainly on Sunday mornings. This was a dream come true for me. Having been called into fulltime worship ministry, I was itching at the chance to work in the Church. I continued serving in several churches early in my ministry career. I am so thankful for them because they allowed me to cut my teeth in worship leadership, service planning, and volunteer recruitment. I have had some wonderful teachers and encouragers over the years. I am so thankful for all the opportunities I was given at a young age to sing and lead. I was fortunate to grow up in churches that allowed young people to participate and a family that encouraged me to pursue my dreams. In college I decided I was terrible at music theory, so I bailed on a music degree and went the technology route with a degree in broadcast. After numerous years of bi-vocational ministry, I asked God to 20

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WL: How were you introduced to visual worship? What drew you to it and how would you define it briefly?

BH: I was sitting in a Mobile, Alabama, church listening to Paul Baloche, Kathryn Scott, and Brian Doerksen share stories of some of their songs. The music was beautiful, and the visuals were stunning, and Brian began to sing “Will You Leave Me in the Winter?”

With those lyrics, winter began to take over the room, and my eyes, my mind, and my heart opened. I was taken to a place I had not experienced before, visually. How could something so simple elevate my worship, inspire my soul, and draw me further into God’s presence? I then knew what visual worship and storytelling really looked like.

Simply put, visual worship is illumination. It’s bringing songs and environments to life with visuals. It’s conveying the invisible characteristics of God visible. It’s both modern and traditional. It’s both conservative and creative. It’s both contemporary and liturgical. It’s both moving and still.

WL: In what ways do you see today’s worship leader needing to be gifted and have experience and training in multiple areas?

BH: There is a lot more to being a worship leader than being a good guitar player or singer. To me the most important aspect of being in leadership in a local church body is the ability to communicate and connect with people. At the end of the day, we want our congregation to believe that what we sing about is true, don’t we? That doesn’t

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come without relationships and trust. Remember, people respond to us when we respond to them. Certainly there are better guitar players, better singers, more charismatic leaders than myself. I’m merely using the gifts that God has given me to communicate the great story of redemption. My goal is not that you leave worship having been entertained, but that you leave transformed. May our hearts be sincere and our words be humble so that others see him through us. How are you connecting with your congregation? How are you gaining influence?

If you don’t have a hand in planning and curating visuals, lights, or other creative elements for a service, it’s a good idea to have a relationship with those who do.

These relationships will bear the fruit of new ideas, trust, and inspiration. Be involved with, and ask questions about all aspects of your service. The more you collaborate, the better you become.

WL: What advice would you give to a church that wants to move in the direction of visual liturgy and visual worship?

BH: The better you understand how your congregation worships, the better you can create for them. Focus on what fits your church and your congregation. Don’t be intimidated by what other churches are doing and tell yourself that you aren’t capable of it because of budget constraints, etc. I believe that every church, regardless of size and budget, can be a church of visual worshipers. Don’t let the word liturgy scare you. Liturgy literally just means “the work of the people.” So focus on what you can do to illuminate the songs we sing, the Scripture we read, and the words we speak. Don’t get caught up in buying the latest and greatest tech tool. Slow down and find what fits for you.

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BRADLEY HODGES

Worship Leader/Media Director First Wesleyan Church, Tuscaloosa Alabama

AVERAGE ATTENDANCE: 1 weekly service, 650-700 attendance Installed stations, based on worship visuals by Stephen Proctor, a collaboration between Bradley Hodges and Tim Lunceford (chief artist and builder).

NUMBER OF YEARS SERVING AT PRESENT CHURCH: 5 1/2 years NUMBER OF YEARS LEADING WORSHIP: 16 years of worship-leading experience FAMILY: Married to my beautiful wife of 8 years, Karla. We have two daughters: Emma age 4, and Ella is 3 months.

PRIMARY INSTRUMENT(S): Acoustic guitar, voice

WL: Curation is a term that is used a lot of late. How do you go about curating the content for a given service: visual, musical, and otherwise?

BH: I am always looking for and curating content that can be used in our worship services and other events, finding inspiration from places like my iTunes library all the way to my Instagram feed. Curating and crafting a service, for me, is about emotions.

It’s about finding out where we, as a team, want to guide the congregation. Then I can sort through my content based on that and answers to questions like: What color would best convey the theme of this song? What story does it tell? Is there any visual representation (water, a cross, mountains, etc.) that can illuminate the lyric? Concurrently, I’m thinking about what’s coming next, and how am I going to get there from where we are in a subtle fashion?

At times we may organize a threesong worship set that focuses on the same characteristic of God, so I convey that visually as best as possible with similar color pallets or imagery.

There are so many different ways you could organize a service. I’m not afraid to try new things, and take risks. In every moment of a service,

every song, transition, and light cue, I concentrate on details. “We’ve got to make the small things unforgettable,” said Steve Jobs, and he was right. Details matter.

WL: What do you see on the worship horizon for churches?

BH: On the horizon I see worship and art continuing to merge in our churches. We have apps, smartphones, and computers that make developing and curating content easy. The community of visual worship leaders is continuing to grow and bring new ministers and artists into the tribe. Young people are being equipped with these new tools and are seeking to use their gifts for the Church. Things like art and visual worship are making a great resurgence in the Church, and I believe that the moment we consider visual worship as just that—worship—is the moment our experiences and our churches will change. That is happening now and will continue. We are artists and storytellers tasked with continuing the visual story of Christ in our worship.

The future is bright, and the story is more important than ever. W

FAVORITE GEAR: Taylor GS Mini: I love smaller body (parlor style) guitars. They fit me and play so easily. Very convenient for travel and easy to take back and forth from home to church. The GS Mini is cheap and it’s proof that a $3,000 guitar isn’t a must to be an effective leader. iPad Mini Retina: Usually running Planning Center Online’s Music Stand App, ProRemote by Renewed Vision, or screen sharing our lighting software.

Westone In-Ear Monitors with Aviom A360 Personal Mixer: Really great sound at an affordable price. I love Westone products and Aviom’s newest personal mixer model is world class.

ESSENTIAL READING: I must admit that I am not a big reader, although I am trying to be more disciplined in this since becoming a ministerial student in the Wesleyan Church and having to take classes again after being out of college for 10 years. These are a few books that I have really enjoyed and are must reads for worship/ artistic folks.

How to Worship a King, Zach Neese The Art of Curating Worship, Mark Pierson Discover the Mystery of Faith, Glenn Packiam JU LY /A U G U S T 2 0 1 4

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TABLE TALK:

MICHAEL GUNGOR On Liturgy and Art WITH JEREMY ARMSTRONG

Releasing about one new liturgy a month, a new group of liturgical artists is emerging in Denver, Colorado. The Liturgists, as they call themselves, prefer not to put an emphasis on the personalities or egos of those involved, but instead point others to the only Famous One. However, Michael Gungor did take a few moments to help explain some of what this cooperative is hoping to accomplish and some ways we can be thoughtful in the art we prepare for our worship communities.

WORSHIP LEADER: You are part of a group called The Liturgists. We have seen a bit of a resurgence of the term liturgy and even liturgists. Why do you think a new generation is gravitating to this understanding of worship?

MICHAEL GUNGOR: Liturgy means “the work of the people,” and I think there are a couple reasons why many younger evangelicals are intrigued by the idea of liturgy. First, I think that our culture is more divided into little segments than ever before. Thin little strands of pseudo-community and pseudo-belonging.

I think this is true both socially and religiously. Many of us who are trying to rethink liturgy grew up in Protestant churches that were younger than our parents, with no real history or deep roots.

That sort of church may have its value, but we live in a culture where everything is a flash-in-the-pan. Liturgy is an ancient idea with deeper roots than just trying 22

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to copy what the culture has been doing lately and slapping Jesus language on it.

For some of us, the idea of liturgy feels a bit more sturdy and worn than other newer language.

Secondly, I think that the word liturgical is just more specific than “praise” or “worship,” which were the words for the church music that I grew up with.

For some this may just seem like semantics, but my personal preference for this language came after leading worship for years and continually teaching people that the singing in church that we did together was not the only way they could worship. Anything could be “worship,” because worship was simply an offering of our bodies to God. It was a posture of the heart, not a style of music or a segment of the church service. The problem was I actually started believing what I was saying. And as a result, it felt weird to call the singing portion of the service the “worship” portion of the service. Wasn’t

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the whole service supposed to be worship? In fact, wasn’t everything in our lives supposed to be worship? Church singing could be worship, but it wasn’t worship in itself. I also realized that segmenting anything as more sacred or worshipful over and against other things was actually potentially destructive. I met musicians that talked to me about their music in kind of a bashful or shamed way, apologizing that it wasn’t “Christian” or “worship” music. I wanted to shake them and say, “No! Don’t talk like that! Your work is sacred! And if you are a Christian, any work you do, whether it’s writing music, crunching numbers, or landscaping a yard, ought to be worship because it’s part of you!”

So with “worship” not being an adequate descriptor of the church music we were making, we were left with sort of a lack of terminology for what we were doing. Then we realized, wait, this whole church thing isn’t exactly new. People have been us-

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ing music, art, rituals, sacraments, teaching, and other spiritual practices to gather and worship together in an organized way for thousands of years. And what would you know? There is already a word for it: liturgy.

WL: What role do you see music playing in new liturgy being generated?

MG: Music has been around about as long as people have been around. It’s hardwired into our brains, and I think it will always be a major part of any human ritual, especially religious ones. Music is powerful, and I think it will have an extremely important role in determining what the next generations of liturgical practice become.

WL: What elements are necessary to create liturgical work that is successful?

MG: I think that’s probably different for everybody, but for me it’s about connection and openness. Any work that leads us to feel more connected and open to each other, to God, to the poor, to our neighbor, to the universe as a whole—I think that it is work worth doing.

WL: Please share what you mean when you say “thoughtful” liturgical work?

MG: Most music in the world exists for emotional purposes more than intellectual ones. Most people don’t listen to music in order to learn new information or to dissect the philosophical implications of the poetry. We listen to music because it makes us feel something. That’s why music uses repetition, rhyming, oohs and ah’s, and any number of other devices rather than simply droning on in long form prose the ideas one wishes to convey.

So when it comes to liturgical music, it is no surprise that the most popular songs are those that have catchy melodies and emotional lyrics. It’s no wonder that words like “love,” “heart,” or “fire” are much more common in popular church songs than words like “Trinitarian relationality.”

The potential problem when it comes to liturgy is that the music that we sing in our gatherings has another effect—it changes how we think. When you come to church and sing these repetitive phrases in a hyper emotional and spiritual setting, it does very real things in your brain. So if part of the goal of the liturgy is to “renew our

minds” and worship in both “spirit and truth,” we ought to be very mindful of the lyrics that we are having people essentially chant over and over. Are they lyrics that lead us toward a bigger more beautiful view of God and this story that we are a part of, or are we training ourselves to resort to meaningless cliché and shallow sentimentality? Are we actually shrinking our view of God with some of the lyrics we sing in church? I know there are songs that are very popular that I cannot personally stomach for that very reason.

hopefully other people’s hearts will be opened as a result.

WL: Some people felt like I Am Mountain was a departure for Gungor—in a way your “non-Christian” album. Can you help us understand your approach with this release?

MG: I think there is a tendency in modern worshipers (myself included) to sometimes limit art to mere ideas about what the art means. I think that’s why there are things like faith-based films or Christian music. Many people are looking for ways

“And if you are a Christian, any work you do, whether it’s writing music, crunching numbers, or landscaping a yard, ought to be worship because it’s part of you!”

So in The Liturgists, we want to be as mindful of the theological and philosophical implications of our words as possible.

It is certainly every bit as important to us as a catchy melody.

WL: What was the difference between writing for your recent record I Am Mountain and any type of writing you would do for a liturgical purpose?

MG: Our personal art is intended to be a form of self-expression while liturgical writing is meant to be the expression of a community. Neither is more or less sacred or spiritual in my view, but they do serve different purposes.

WL: How does a record like I Am Mountain fit into the “music for worship” spectrum?

What were you trying to accomplish with this release?

MG: Well, Gungor has never been strictly a worship band. We certainly have released material that had a more liturgical bent to it, but it was always self-expressive art. I Am Mountain is not liturgical in my mind, although I would find it interesting to see if anyone would ever find any liturgical use for any of the work. But it was written more for the clubs and bars that we tour in than it was the Church. The primary thing we were trying to accomplish with I Am Mountain was the same thing we tried to accomplish in the first two Gungor records: to make honest music that we like—and

of cutting the uncomfortable human edges off and finding what is safe and familiar.

But I think art loses something significant when it is reduced to ideas about what it means. Take a filmmaker like Terrence Malick who produces gorgeous films such as Tree of Life that are rich in biblical imagery and spiritual content, but even though he is a Christian, his films don’t get pigeonholed as “faith based.” He is creating art.

Art that may have meaning of some kind to him, but the films aren’t simply carefully disguised propaganda advancing some secret message. The aesthetic and art of the film are every bit as important as any “meaning.” In fact, I tend to think that all good art is primarily about the aesthetic, not simply a message to be communicated.

So all that to say, I would encourage those who have experienced Gungor’s music in the past to approach this album with a bit of a different lens than you might expect. It is not a Church record. It is art. There are meanings for me in there, yes. But the album is not primarily about a message. It’s primarily about the music.

The music is the message. We do that because we believe that art is an important and even sacred task that human beings engage in. And if God is the great Creator, then perhaps trying to create something beautiful just for the sake of creating is actually a very godly thing to do. W

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A WORSHIP LEADER’S PERSPECTIVE

BY MEREDITH ANDREWS

National Worship Leader Conference (Kansas 2014) worship leader and faculty member Meredith Andrews shares her experience and how NWLC will enrich your ministry.

Leading with the NWLC Conference Choir in Kansas 2014.

Meredith on worshiping at the National Worship Leader Conference (NWLC).

There aren’t many places where people are as engaging and ready to lift their hearts and voices in worship to the Lord as NWLC. I love the chance to be with fellow worship leaders who are hungry for the presence of God.

We have a choir lead with us at our church about once every two months, and I love what they bring. Singing with the choir at NWLC will be a little different in that I will meet and rehearse with them the day of, but I am looking forward to having them on stage with me. We’re going to have a blast!

2015 WHAT YOU GET:

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• 3 morning general sessions • 9 workshop times (70+ workshops) • 3 meals (lunch is provided) • 3 nights of worship (12+ worship leaders) • 30+ worship related exhibitors • And more

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“Singing with the choir at NWLC will be a little different in that I will meet and rehearse with them the day of, but I am looking forward to having them on stage with me. We’re going to have a blast!”

Learning from the vast array of worship traditions and styles presented at NWLC. It’s good for us to think outside of what we know. When we rub shoulders with new friends who might have different styles or philosophies than us, it expands our view of worship and encourages us to get out of our box.

The importance of continual learning/training for worship leaders.

From my experience, there are three areas worship leaders should be continually growing in: the Bible, music, and culture. We have yet to unpack the depths and mysteries of God, so instead of walking down the beaten path and circling the same Scriptures over and over, it is important that we press in and dive deep, asking God for clear revelation from his Word on behalf of his people. As musicians, we each tend to settle into a certain style or preference, and there’s nothing wrong with that, but practicing our instrument and rehearsing songs regularly is a way to honor God with skillful excellence. From a cultural stand-

point, the world around us is always moving, always changing. We don’t have to be a slave to current culture, nor do we need to make being culturally relevant the goal, but it is good to be aware of what is going on around us.

On Rory Noland, NWLC faculty and Worship Leader magazine columnist.

I was first introduced to Rory’s work as a sophomore at Liberty. His book, The Heart of the Artist, was the textbook for our worship class. I have to say I was slightly starstruck when he came on staff at Harvest years later as the head of our worship department, simply because of how his book had impacted me. Rory is one of the wisest, yet most humble and unassuming, people I know. One of my favorite quotes from him is, “Be more concerned with your character than with your reputation, because your character is what you really are while your reputation is merely what others think you are.”

He is a man of integrity, and I am thankful for the time I’ve had to sit under his leadership.

2015: SAVE THE DATES! D.C. AREA, VA MAY 19-21, 2015 KANSAS CITY, KS JUNE 23-25, 2015 SAN JOSE, CA JULY 28-30, 2015 TEXAS DATE TBD

Preparing your heart to lead worship.

I don’t have any profound sort of practice; I just try to make time to get alone with the Lord beforehand. Quieting my heart and getting in God’s Word are vital. I can’t take people where I haven’t been myself. W

SAVE THE DATES! D.C. AREA, VA

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worshipleader’s

TOP COLLEGE

RELEASES

Worship programs in colleges are growing every year. From this profusion, churches are finding musically trained and theologically astute graduates to lead their services and programs with an expansive understanding of worship.

Another happy consequence is that these schools are releasing new music for the Church. The music we are finding is fresh and passionate. So we thought we would share some of our favorites with you. (Listed alphabetically by school.)

KING OF ALL - EP

NOT ASHAMED

meditative inspiration as well as a primer on choir possibilities.

Style: Original, modern feel About: This release has a very contemporary feel with highquality sonic tones and synthy washes right alongside roots rock, folky campfire songs, and a particularly elegant pianovocal. These original tunes are passionate and bright, resounding with heart-filled hope.

Style: Original and familiar, choral, gospel About: Between their IBC Choir, Chorale, and Praise teams, IBC have been releasing projects regularly since 1993.

Not Ashamed is the most recent in their impressive discography and it is powerful, accessible, and filled with quality.

SAVIOR AND OUR ONLY BOAST

REIGN IN US

WAR & PEACE: MUSIC FOR REMEMBRANCE

Biola University Worship Band Biola University

HeartSong Cedarville University Style: Original, familiar worship songs About: HeartSong is comprised of four traveling teams that primarily minister to young people around the country.

Reign in Us is both a fitting title for their fourth album and an appropriate mission statement and message for this outreachminded ministry. It’s filled with original songs and wonderful production touches supplied by all four groups.

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Indiana Bible College IBC Indiana Bible College

The Choir of Jesus College, Cambridge Jesus College

Style: A capella, choral, classical music About: War and Peace is a selection of mainly 19th and 20th century music, predominantly but not exclusively British, which reflects the theme of remembering the departed and fallen. Mostly without accompaniment and classically oriented, this choral collection is stunning and will serve as

Liberty University Songwriters Liberty University Style: Two albums showing the range and quality of Liberty University’s songwriters About: The Liberty University Songwriters have released two digital collections of originals from students of Liberty’s renowned worship program. The production and writing quality on these two are a step above with a nice mix of live anthemic praise (Our Only Boast) and alternately a dramatic choral approach (Savior)—each compelling in their expression and performance.

GRACE TO GLORY - EP SpiritWing Missouri Baptist University

Style: Original arrangements of classic hymns, modern/folk Americana, adult contemporary

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About: SpiritWing is a worship band/ensemble group from Missouri Baptist; they make use of multiple musical forms, still falling stylistically in the adult contemporary Christian genre.

Grace to Glory, their take on familiar hymns will capture your heart and mind.

WORSHIP LIVE: GLORY TO GOD

North Central University North Central University Style: Original songs About: The worship album contains songs written by both current and graduated North Central students, as well as by veteran worship leader Jeff Deyo. As the schools worship arts specialist and fine arts professor, he mentors and leads an excellent team of ministers.

COME LIKE A FLOOD ORU Live Oral Roberts University

Style: Live, original songs, modern worship band

MUSIC

About: Encompassing guitardriven songs of worship, this live recording features 11 original songs written by ORU students and ORU Worship Center staff, each designed for congregational use.

TOP 5 For the purposes of congregational worship, musical creativity, and overall quality, the following are Worship Leader’s Top 5 college releases. (Listed alphabetically by school.)

SO ALL THE WORLD WILL KNOW SEU Worship Southeastern University

Style: Live, anthemic, original songs, modern worship band About: SEU Worship is a campus ministry at Southeastern University in Lakeland, Florida. The release was recorded at the annual SEU conference and translates the powerful worship experience into something listeners can join in with ease.

HYMNS & WORSHIP UMobile Worship University of Mobile

Style: Modern worship anthems, classic hymns remade, hints of jazz and Americana and indie tones About: Filled with wonderfully crafted songs that are modern arrangements of classic hymns and original worship songs penned by UMobile students, Hymns & Worship is a fine expression of the classic/modern worship connection.

BEFORE AFTER Lights Align Visible Music College

Style: Alternative, original, indie, About: Less an official college release and more coming from a team at Visible Music College, Before After is fresh, innovative, and designed for congregational singing.

*not final cover

ALIVE

Mass Anthem Judson University Center for Worship in the Performing Arts Style: Modern worship, originals About: Guitar heavy anthems of worship comprise this offering from Judson University students (including former student and singer/guitarist for Citizen Way Ben Calhoun). Mass Anthem is a forerunner for what we hope to see more of: colleges getting behind their students in a practical and excellent way. This release stands up to any major label release in regards to theology, musicality, and production.

LOVE DISPLAYED Liberty Campus Band Liberty University

Style: Originals, modern worship band About: The Liberty Campus Band is the house worship band at Liberty University.

They lead worship an average of four times a week at the college. Their current release Love Displayed is filled with powerful original songs written by Liberty’s worship pastor Justin Kintzel, members of the Liberty Campus Band, and other Liberty University students, staff, and alumni.

ALL GLORY FOREVER

Various Ocean’s Edge School of Worship Style: Electro synth-pop and rock worship— originals, hymn re-arrangements About: All Glory Forever includes five original songs, three new hymn arrangements, and three remix tracks, and each is unique and impressively designed. Beyond that, the prayers are universal yet intimate and ready for congregational service.

BE THOU MY VISION

Norton Hall Band The Southern Baptist Theological Seminary - Dept. of Biblical Worship Songs: Rearranged classic hymns, acoustic About: Filled with stripped-down worship songs via the medium of reclaimed classic hymns, Be Thou My Vision is the all-around favorite. It’s hard to beat beautiful production applied to cherished songs of the faith.

VISIBLE WORSHIP - EP Visible Worship Visible Music College

Songs: Original, modern worship About: Now in its second incarnation, Visible Worship’s team has taken incredible talent and combined it with a passion for Christ and ministry, delivering one of the best college releases yet. W

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BY PAUL BALOCHE

THE BODY OF CHRIST: A Symphony of Sight and Sound

I

recently was honored with the opportunity to be part of Prom Praise—a partnership of classical and contemporary musicians—at the Royal Albert Hall in London. Just the experience of walking in that building and imagining the kings and queens, symphonies, and rockstars that are part of its nearly 150-year history, and the memories that fill every crevice and corner, was amazing.

The event was shared with Graham Kendrick and Martin Smith in a new expression of symphonic worship that included the All Souls Orchestra at full strength, a 400-strong choir assembled from all around the UK, and the stirring occasion for all to join in worship with a capacity audience.

TUNING UP There’s no sound like the sound of an orchestra tuning to the common tone/pitch.

Like a sea of blackbirds swirling, lifting off from different directions, yet finally becoming synchronized in flight—flying in unison. The conductor turns with intention to the pages of the score as the vibrations of sound become one, each player straining to hear themselves as they tune up, looking to the conductor as he then signals silence, lifts his baton, scans the orchestra, and with one sweep, the music begins.

Each player is assigned a very specific part to play. The cellists and viola players must glide their bows across the strings at the nod of the conductor. The brass and woodwinds must breathe out with emotion as indicated by the score aided by sensitive leading. Tympanis and cymbals wait their turn, sometimes up to 30 or 40 measures before joining the parade of notes displayed on the succession of pages.

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WORSHIP TUNING The fine-tuning that precedes the symphony is necessary, essential. Just as a piano is tuned to a 440-pitch standard, there is a standard we all need to align with in worship that is beyond the musical: it is the Spirit of the Lord through prayer and his Word. In Scripture, we find a standard in which to live and love, we find our spiritual giftings, problem solving, and direction. We are able to focus and bring our unique talents together to sing, play, and live the new song of the Lord. It takes a unified direction, an ability to listen to the parts around us, and enter in with balanced sensitivity.

Unity isn’t sameness, but the beauty of each part in balance with the other (Ps 133).

The sweet sound in God’s ear (and ours) comes from a willingness to offer the sacrifice of praise as we contribute our individual part. Those who are clearly skilled (Ps 33:3) must conform to the written music (not indulgent improvisation) for the good of the whole—the goal being a beautifully rendered piece of music.

MANY CALLS, SINGLE MISSION And After spending two days with this orchestra, here’s my take away from Prom Praise. We are the body of Christ. “The eye cannot say to the hand, ‘I don’t need you!’ And the head cannot say to the feet, ‘I don’t need you!’” (1 Cor 12:21). When every person in the orchestra is doing his or her part, it sounds amazing. But it only takes one or two people that aren’t responding to what God (The Conductor/ The Arranger/The Person in charge, if you will) has called them to do to throw things off and out of sync. The Symphony was a microcosm of the body of Christ. If each one of us will listen and look to the Lord and follow what we know in our heart of

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hearts is our primary calling, if each one of us stays faithful and true, then the body of Christ is strong and healthy and plays beautiful music that all will hear in and outside the Church. A visual and auditory extravaganza of diverse skills applied to a unified melody: Christ for all to hear and see.

A powerful revelation for me this week was the fact that everyone in the orchestra has his or her significant and indispensable part to play. We are the body. Whatever God has called you to do—to be a home-school mom, a truck driver, a businessman, a politician, a mom or a dad, a student—if each one of us responds with our whole heart, the music and message will ring clear. That is his plan A: to change the world through God’s orchestra and his symphony—us.

Sing to the Lord a new song; sing to the Lord, all the earth.

Sing to the Lord, praise his name; proclaim his salvation day after day.

Declare his glory among the nations, his marvelous deeds among all peoples.

Psalm 96 W PAUL BALOCHE (leadworship.com, @paulbaloche) has written songs such as “Open the Eyes of My Heart,” and most recently released Live.

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Sweetwater-exclusive interview: The Digital Age

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

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THE

DIGITAL AGE

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

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

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

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

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

We keep a close pulse on that.

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

To find out more, go to thedigitalagemusic.com!

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

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

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

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

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

Walk me through your creative process in the studio.

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

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

What gear do you use in your studio?

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

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

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

We also have a lot of vintage synths.

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

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

What software do you use onstage?

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

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

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

blisskatherine.com

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

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

Photos by: Bliss Katherine

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

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Freelance live sound engineer

Daniel Ellis

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

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

What gear do you use with them onstage?

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

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

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

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

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

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

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

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

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

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BY CARLTON DILLARD

GOD’S NOT DEAD, CHOIR’S NOT DEAD F

or the past several years, choirs have been on the decline in most contemporary churches across the country. Most are abandoned for the sake of cultural relevance. I’m of the opinion that choirs can still be a vital part of worship even in the most contemporary of settings. There is nothing like the power of multiple voices from all generations uniting to lead our congregations in worship. When we limit our worship teams to two or three vocalists we are missing out on the opportunity to include many in our congregations with musical gifts, the opportunity to lead worship. With an emphasis on congregational participation in our current worship culture, it is critical that choirs understand that their primary responsibility is to lead in worship. As with other worship elements I still believe there are times the choir can be used to sing a feature song as the congregation worships by absorbing the power of the message and the music.

A POWERFUL FORCE Choirs can be dry, irrelevant and lifeless but with motivated leadership, current musical material, and hard work they can be a powerful force in our modern worship services. There are so many great arrangements of current songs available that utilize choirs and orchestras along with the modern worship band. It can all work together and still be hip. Many worship leaders don’t have much or any experience with singing in a choir much less leading a choir. In those instances I encourage you to seek out someone in your music ministry or congregation who has that experience and put them to work.

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BUILDING A FAMILY Choir is so much more than preparing music for Sunday services. Through the years, I have found that the fellowship and community aspects of the choir experience are just as or more important than the musical aspects. We often refer to our group as family. To build a strong choir family I believe it is essential to rehearse and sing regularly. Weekly rehearsals often turn into great worship times where we pray together and through the music we’re rehearsing find our spirits lifted and encouraged.

For those who you who believe that choir is dead, I challenge you to give it a try. My 85-year-old choir members rock out right along with my 20-somethingyear-old members. It’s up to you the leader to inspire your group and keep them current and relevant. They can only go as far as you lead them. I believe church choirs

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have a bright future and seem to be gaining strength in our contemporary church culture. During my 25-year tenure at Riverbend Church our choir has evolved through many styles and phases. I’m still pumped to get to church on Sundays to see how God takes all our hard work as a team and magnifies our efforts for his glory. Don’t miss out on the power of God’s army, the choir. W CARLTON DILLARD joined the staff of Riverbend Church in Austin,Texas, as pastor of music and worship in 1989. He is known across the country for his innovative use of all styles of music in the church setting. He is in much demand as a conference speaker and clinician and is also proficient as a singer, songwriter, arranger, and producer.

THOUGHTS & TRENDS We took the chance to get multiple points of view on two questions: What are your thoughts about the current state of choirs in the Church? And what are the trends that point to where choirs are headed? The responses we received were thoughtful and inspiring.

form for the church choir is still there and the benefits of having a church choir are still many.

TRENDS

DALE MATHEWS THOUGHTS: Perhaps the number-one topic related to church choirs in recent years, is often posed as a question: “Should we still have a church choir?” Or, “Is the choir relevant in today’s modern church?” With the stylistic shift brought about by the modern worship movement of the late ’90s and early 2000s, we saw church choir numbers decline. The cry rose across the land that the church choir was obsolete, no longer relevant. Many who heard the cry believed it. But many never did. As a publisher of Church choral music, I continued through those years to see strong sales of choir music and strong support in favor of the church choir, and still do today.

Things have changed for sure. A lot.

We see change most evident in the style of music and in its presentation. But, as they say, the more things change the more they seem to stay the same. I believe we’ve begun to see a resurgence of the church choir, a stirring in the choir loft. The plat

Many of the new churches, birthed in response to the modern worship era, those who never in a million years would have thought about needing or wanting a choir, are now adding one. As their churches grow they are coming to the realization that they need to offer more ministry opportunities for their growing congregation. The church choir is one of the most exciting solutions to that issue. And I hear from people all the time who once shut down their choir program but are now bringing it back. The church choir is alive and well. It creates and enhances community; it ministers to its own members as well as to the rest of the church. I think it adds a dimension to your worship teams that can’t be experienced any other way.

It just might be the ultimate small group ministry.

Dale Mathews, Senior Vice President of Word Music Publishing and Church Resources, manages one of the oldest and largest catalogs of Christian Music copyrights, including some of the most significant legacy copyrights in church music, as well as many of today’s most well-known songs in the Contemporary Christian music genre.

CAROL CYMBALA THOUGHTS: David the psalmist of Israel was directed

by God’s Spirit in Old Testament times to organize and maintain large choirs to help

in the true worship of God. Their singing had several purposes, one of which we need to reconsider for our time. While praise and worship songs help our hearts go vertically up to God, a choir singing to an attentive congregation can fulfill another purpose God has for his people. Some inspired songs should be horizontal in delivering much needed messages to the body of Christ and the strangers among us. This music can be like a great sermon and is encouraged by the apostle Paul who instructs Christians to speak “to one another with psalms, hymns and songs from the Spirit” (Eph 5:19). We’ll always need vibrant worship music to God but there’s also the need of gospel-based lyrics so that others can hear of the love of God we have through Jesus.

What a wonderful opportunity we all have today to both bless God and be a blessing to others as worship bands, choirs, singing groups, and soloists all fulfill their ministry calling with the help of the Holy Spirit.

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TRENDS Although the recent Church trend has been toward small worship bands leading congregations in praise to God, there will always be an important place for mass choirs to help us serve Jesus. Choirs are still regularly featured in large churches around American and across the globe, especially in Korea, the home of the largest Christian congregations in the world. The sight and sound of hundreds of believers lifting their voices to God with interesting harmonies and whole-hearted praise can have a deep inspirational affect on both Christians and unbelievers.

In the mid-1970s, Carol Cymbala, wife of Pastor Jim Cymbala, began the Brooklyn Tabernacle Choir with a group of nine people. Soon the choir began to grow and become a vital part of the worship services of The Brooklyn Tabernacle. Today The Brooklyn Tabernacle Choir comprises 280 voices representing people from all walks of life. Carol has written hundreds of songs, 51 of them recorded throughout her 23-album recording history.

the faith. I was mesmerized. I love the familiar lyrics, the wonderful melodies and harmonies from the past, and I believe that the pendulum is swinging back. This is especially true during the Holy Days of the Church year.

TRENDS As a church musician, writer, and publisher, I am amazed at some of the songs and styles that we are being force-fed.

Traditional and historical carols are being sacrificed on the altar of the alternatives. I think there has been tremendous good in so many of the contemporary songs that God has blessed us with, but I also believe that we are, once again, being caught in the quicksand of style and form. The criterion was, is, and always will be Spirit and Truth. I long for the day when we do not have to identify our services by the “way” we worship, but by the giving of ourselves and our art over to “Whom” we worship.

Randy Vader has enjoyed a brilliant and distinguished career spanning three decades. He is a best-selling composer and lyricist, Dove Award winning producer, and with his wife Carol, the owner and CEO of PraiseGathering Music Group—one of the most respected companies in Christian music publishing. He and fellow composer Jay Rouse, have created over 40 ground-breaking seasonal, patriotic and general musicals and published over 400 songs. In addition, he has recorded, produced and published over 1,000 choral pieces under the PraiseGathering, Gaither Music, Adoration, and Alpha Praise imprints.

RAY JONES THOUGHTS:

RANDY VADER THOUGHTS: On Palm Sunday of this year, I visited First Baptist, Sarasota, Florida. There was a choir of about 55, a piano and an organ, and a small instrumental ensemble, all joined together singing some of the great hymns of 32

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There are two main benefits that I see in using the worship choir in my church.

First, the choir gives the congregants permission to engage. Most folks in the congregation do not want to be a person on stage holding a mic or playing guitar. But they do want to participate, and seeing a person that is passionately singing in the choir gives them a sense that everyone has permission to sing.

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NWLC 2014 Secondly, I feel that the choir provides a place of identifying and growing leaders.

We are able to let many people of all ages participate, and they can learn the value of leading without feeling that they have to be a professional musician. This concept creates a spirit of inclusion in our worship ministry instead of being an elite group.

Our church has an inclusive spirit throughout, and if we become exclusive in our approach to worship we would be going against our DNA. Being in the choir creates a sense in our folks that God is using me here, so maybe God can use me in others areas as well.

TRENDS The choir in this generation may have changed in function, but the benefits are the same. We may not use choir robes or sing standard anthems for each service, but the choir is still taking a major role in the worship experiences in our church.

Choirs should not merely be a performing group but it should be a team that helps engage people in worship.

Ray Jones has been in worship ministry for 45 years and since 1992 has been the Pastor of Worship Ministries at Community Bible Church in San Antonio, Texas. There, supported by over 1,600 volunteers, he leads or oversees 10 choirs, one orchestra, six other teams, and a school of fine arts. Ray has produced over 35 worship CDs and has published multiple volumes of worship music from his church. He is the co-author of Will You Worship book/study series.

statistical and spiritual results promised by experts in church leadership.

Time will tell. I imagine someday a pastor will approach the church worship leader with this novel idea: “I wonder what it would be like to put 30-40 singers on the stage at the same time to lead worship? Let’s try it!” And so another cycle of transition will begin.

As director of Lillenas Publishing, Michael Cork works with church music and worship leaders every day, developing creative products and resources that minister to an ever-changing local church community.

MICHAEL CORK THOUGHTS: Leaders take people through transition. It’s what they do. Over the last 15-20 years, church music and worship leaders have led congregations through many emotional and difficult transitions in the church, not the least of which is the transition of church music itself.

The choir has historically served a large role in corporate worship, as well as an important part of local evangelism through outreach events. In most churches today, the 50 to 100-person choir has been replaced by a five to seven-person band, and the previously fulltime minister of music has been subbed out for a part-time worship leader.

TRENDS While I believe there remains a relevant space for choral music within the Church, we must look at the facts. Changes in musical styles, shrinking budgets, and the challenges of reaching a younger demographic and the unchurched are all cited as reasons to cease choir ministry.

I understand the need for change. Many of our younger leaders did not grow up in a church with a choir, so to think they will see a need for one is unrealistic. On the other hand, it remains to be seen if this wholesale change in worship and music ministry will indeed achieve the level of

have been knee-jerk reactions to popular postulation, resulting in the dismantling of all sorts of worship-related groups, including choirs. Sadly, such practice has proven to be impractical and even catastrophic for a large number of churches.

Although every community of faith is unique, there are some general realities that are common to most. One such frequent reality is that 80 percent of the work is accomplished by 20 percent of the people. In many instances, this 20 percent is in the choir loft every week—and not necessarily because they are supremely gifted singers. These dedicated folks are serious about three things: discipleship, community, and leadership. Thus, most often, one discovers that choirs are comprised of Sunday School teachers, deacons, board members, retreat support staff, bible study leaders, small group hosts, nursery personnel, VBS volunteers, and the like.

These singers have been the plumb line of the Church for generations.

TRENDS

CRAIG ADAMS THOUGHTS: THE 80/20 RULE For well over a decade, a convoluted and complicated conversation has persisted. It is a dialogue surrounding church growth and congregational worship. Countless platforms have instigated this discussion with propositions, like this: “Pastor, if you want your church to grow, get rid of your choir and do worship like this … (insert the trend of the day).”

Whereas church growth (or the lack thereof) in America is certainly an important topic to hold forth, there is substantial evidence that, after more than 10 years of focus on the issue of worship, most efforts to incite growth via “cultural relevance”

The longer the “Worship is the key to church growth” conversation ensues, the more reports are likely to surface from pastors and worship leaders that they are finding the pursuit of stylistic relevance to bring with it the unintended consequences of an unhealthy discipleship plan, loss of lay leadership, and even accelerated decline in attendance. As a result, a great number of churches are rebirthing choirs at all age levels across the country.

Craig Adams is the Creative Director/Publisher for LifeWay Worship. He has actively participated in and provided exemplary leadership in every sphere of Christian music over the last 30 years as producer, performer, and publisher.

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I have used Brentwood-Benson Music for my choirs and worship teams for many years. The music resources have always been exceptional, and the staff provides the best customer service in the industry.

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National Worship Leader Conference Choir

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Biblical worship is participatory; it crosses generations and faith traditions; it looks to the horizon, and it reaches out to include those on the periphery. The National Worship Leader Conference (NWLC) invites attendees to participate in the Choir that joins with one featured worship leader such as Paul Baloche, Meredith Andrews, Matt Maher, among others, to model the body of Christ in song.

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Singing with the choir at NWLC will be a little different in that I will meet and rehearse with them the day of, but I am looking forward to having them on stage with me.

We’re going to have a blast! – Meredith Andrews, Worship Leader on leading worship with the conference choir at NWLC 2014 in Kansas (full interview p. 24)

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I encourage friends and colleagues to consider a Steinway whenever they are looking to buy a piano. Its craftsmanship, quality of tone, and years of contribution to musical worship make it the instrument of choice.

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MISSIONAL

BY DARLENE ZSCHECH

THE WHO OF WORSHIP,

UNITY, AND CREATIVITY We can dispense with uniformity if we possess unity: oneness of life, truth, and way; oneness in Christ Jesus; oneness of object and spirit—these we must have, or our assemblies will be synagogues of contention rather than churches of Christ. The closer the unity the better, for the more of the good and the pleasant there will be. – Charles Spurgeon regarding Psalm 133

IT’S

hard for me to explain my passion for the worship of God. It stems from many life-changing encounters where the power and presence of Jesus has wonderfully interrupted my natural life … leaving me changed, challenged, and desperate for everyone to experience his great love. Music finally made sense to me after receiving Christ. And every day I’m aware of his song and its ability to express the inexpressible from the core of our being. I think this is also why I’ve never really made it my battle to haggle around the issues of diversity within the body that has traditionally brought division, as you would be surprised, where I have been during some of these life-changing God encounters. You can challenge my theology, but you cannot take away or diminish the permanence and wonder of my personal experience.

I love God’s Church. Her diversity is her beauty—ancient songs and styles woven together with modern melodies and musings all straining to give voice to praise that will never be exhausted.

How good and pleasant it is when God’s people live together in unity!

It is like precious oil poured on the head, running down on the beard, running down on Aaron’s beard, down on the collar of his robe.

It is as if the dew of Hermon were falling on Mount Zion.

For there the Lord bestows his blessing, even life forevermore.

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AGAIN MADE NEW

GOD’S GLORIOUS ARRAY If we were all the same and expressed our worship the same, what a sad reflection of our Creator we would be.

His vast array of colors painted across the sky every single moment of every day should give us a hint as to his surpassing beauty, endless fun, and endlessly creative nature.

So back to his worship: every time our diversity or preferences bring fractures or cause others to take their eyes from Jesus and onto a meaningless display of immaturity, we need to re-think our practices. Lift up your eyes, look to Jesus, the author and perfecter of our faith. Ask him for grace and understanding and a genuine love for others

During this last six months where my body has been pushed to physical limits during chemo and radiation, and as my heart and soul have ached with questions that I never thought I’d find myself asking, I have to say that I love and appreciate the greater Church in a whole new way. Like well-appointed generals, there have been people of faith planted across this whole journey from every type of church imaginable, doing what they are born to do—bringing healing, encouragement, and solution every step of the “If we were all the same and expressed way. My heart has been made our worship the same, what a sad so aware that the reflection of our Creator we would be.”

Church at prayer across all aspects of humanity is as who display their worship expression vital as the air we breathe—prayers offered in a different way than our own. When in faith, in song, in triumph, in hardship …

Psalm 133 says that where there is uniand in unity. And interestingly, the songs I’ve ty God demands a blessing, this blessclung to have not necessarily been songs that ing describes God’s picture of blessing, are the newest and latest, but songs that denot ours. clare Scripture and hope, with strong melodies that defy denominational preferences. Here’s to new days of his glory and power as we serve Jesus together. W I have needed people and songs of faith around me, wherever they are from. It’s in With love always, teresting to me the things now that I will not Darlene Z allow into my spirit, and how protective I’ve become of what I allow close to me. Through DARLENE ZSCHECH my recent life’s journey, every moment I’ve (darlenezschech.com) had the opportunity to talk about Christ and wrote the classic “Shout to all he has done for us, not once has where the Lord” and has a new or how we worship been an issue. We always album and book both titled come back to Who it is we worship.

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Revealing Jesus.

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MISSIONAL

BY REGGIE KIDD

COLOR ADDED S

ome of us serve in a building that is an unadorned, multimedia-accommodating “box” that we are able to treat as a canvas for telling God’s story. We can fill it with lights and sights and sounds any way we wish, any time we wish. I have spent many of my ministry years in such a setting. It’s a delight to play with visual and aural textures, and to take on the challenge of imagining anew the Christian story week after week.

Some of us serve in a building that is clearly and intentionally designed for “church.” I am spending the present phase of my ministry in this sort of setting: a cathedral of Gothic Revival design. Stained glass panels encompass the worship space with a rehearsal of the biblical story.

An altar is both the visual and liturgical focal point of the room. Pulpit to the side, but elevated and extending out toward the congregation. Pipe organ. Pews with kneelers.

A lingering scent of incense. I am learning that fixed features can bring their own delight.

PERMANENCE The New Testament portrays the Church as something that is both dynamic and changing, on the one hand, and solid and immovable, on the other. To be sure, the Church is made up of “living stones,” and is constantly growing (1 Pet 2:5; Eph 2:21). At the same time, Christ’s Church is also “the pillar and foundation of the truth” (1 Tim 3:16).

It’s as though we need “wings to fly” and “feet firmly planted.” Opposites? No, not really.

I am appreciating the way the building I’m in communicates the solidity of our faith. Twelve massive pillars— each bearing the shield of one of the 12 apostles—surround us as we worship. Stained glass panels depict Jesus’ life and ministry on the lower level, and Old and New Testament saints on the upper level. It’s marvelous to be surrounded by such a great “cloud of witnesses.”

BUT NOT PERFECTION No other entity on earth will last beyond the Lord’s return—no government, no economy, no relationship— only Christ and his bride, the Church. Nor, even in this age, it seems to me, is there any more compelling an argument to be made for the truth of the faith than the 38

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MISSIONAL

existence of the Church itself. As Cardinal Ratzinger (before becoming Pope Benedict XVI) offered, “The only really effective apologia for Christianity comes down to two arguments, namely, the saints the Church has produced and the art which has grown in her womb.”

What speaks so profoundly about the Church’s existence is that we are a community of people who are forgiven and know it. Flawed and owning it. Loved in spite of ourselves, thus under compulsion to love in response.

A MYSTERY Early in my days at the cathedral after a worship service, I was surveying the Old and New Testament figures portrayed in the stained glass panels around the top of the building. It was no small help that the names of the saints were part of each panel. But there was one panel that particularly stumped me. It was a panel of Moses, but from my vantage point below, it looked like the name “Moses” was upside down and backwards, and indeed it was.

A number of people I asked had the impression it had been done that way on purpose to “remind generations that only God is perfect.” Anne Michels, the Cathedral Archivist, had heard that account for years, and called Willet Studios in Philadelphia to confirm the story. (They created our stained glass … as well as the stained glass in the National Cathedral in Washington, D.C.). Willet Studios maintains that Moses’ name is upside down by accident. The letters (as you can see) are stylized. Nobody seemed to notice they were upside down until the work was finished. At that point, they were left alone. And as such they have indeed become a reminder that only God is perfect, or in Anne Michels’ words, “they are for us a message of the futility of works. If we try to work our way to perfection, we’ll never get there.”

So, when I think about that mistake being allowed to stand, I am reminded, as a friend put it to me, that “the most beautiful of our creations this side of glory are still fallen creations. We are forgiven people, living in hope.” People who talk that way let me know I am where I need to be. Those are the kind of lives that com

mend the faith. This is the kind of art that grows—by a combination of inspired purpose and providential accident—in the womb of the Church.

SYMBOLIC EAST Early Christians were known for praying facing the east. That’s because, notes Gregory of Nyssa (central Asia Minor, 4th century), East is the birthplace of humankind and the earthly garden of Paradise. As Thomas Aquinas (Italy, 13th century) was later to observe: East is the place of our Lord—his life and death—and the direction from which he will come on judgment day.

Jesus’ incarnation, death, and resurrection is the dawn of new creation. That’s what John the Baptist’s father, Zechariah, anticipated when he sang about “the rising Sun” visiting us (Lk 1:78 NJB—the term is anatol, literally “east,” a term that was understood either to refer to the morning star, Venus, or to the rising sun itself).

That’s what early Christians recalled when they noticed that the Greek OT had translated the messianic promise of a “Branch” (Heb. tsema) as “Dawn” (NET – again, anatol; Zech 3:8; 6:12; Jer 23:5).

Accordingly, when Christians began building church buildings, they put them on an east/west axis when they could— the door of entry to the west, and the pulpit and Table to the east. We came from Paradise … then lost Paradise through a bad exchange and now are being reoriented to Paradise through our Second Adam’s mission of love to regain his bride. That cosmology—that symbolic shaping of our world—alone gives us our bearings in a world that has no bearings.

To reinforce that symbolic reshaping of space, my church is laid out on an east/ west axis—except for this: it’s backwards.

So the architectural plans show literal east as “Symbolic West” and literal west as “Symbolic East.” I love that! Getting true directionality is clearly not about literalism. That means it doesn’t especially

matter whether you have stained glass or screens, pews or cafeteria chairs, an organ or a band, you can point “east,” as long as you know what you are looking for.

WITH “COLOR ADDED” I’ve served urban and suburban churches and churches in university towns and in beach towns. I’ve appreciated the way each has acknowledged and embraced the place of its setting. Orlando, Florida, was a small town in the 1920s when the cathedral was built. Back then Central Florida was awash in citrus groves, not tourist attractions. To honor its city’s roots and to help to tell its “story,” the cathedral frames one of the stained glass panels—one that places Jesus among his disciples—with stained glass oranges. In letters barely large enough to see, one of the oranges bears the characteristic citrus industry stamp: “Color Added.”

“There are no unsacred places,” offers Wendell Berry; “there are only sacred places and desecrated places.” The Lord has given each of us a place to sanctify.

Whether with technology that is dazzling and electronic or that is simple and acoustic, whether across a canvas that constantly evolves or within a fixed environment that stolidly invites you to discover its nuances, may we embrace, enhance, and redeem local “color.” W REGGIE KIDD wrote the book With One Voice and teaches at Reformed Theological Seminary and the Robert. E. Webber Institute for Worship Studies.

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SKILL

BY AARON WEST

A HOLISTIC APPROACH TO MULTIMEDIA

IN

today’s churches, it is common to see large audio consoles, beautiful lighting, and high definition video—all of it engulfing our senses.

However, many smaller churches feel that if they don’t spend money to acquire the latest equipment, they will be left behind and no longer be relevant. The intentions are good but the effort is misdirected.

We have worshiped for thousands of years without technology and there are many believers all over the world that still do. The moment we feel like we must have new technology in order to worship, we have missed the truth of what worship is. Technology is a tool to help facilitate worship, not take its place—regardless of church size. To know whether or not you are doing that, ask yourself these 5 simple questions.

DOES IT ENCOURAGE? Any media you add to

your service must encourage worship by the people. That includes everything from technology to the backgrounds for lyrics.

DOES IT EQUIP? You must equip the congre-

gation to go out in the world and share the truth of the gospel. If your media isn’t playing a part in that, then it does no good.

DOES IT ENGAGE? We often judge how effec-

tive our worship leading is by the number of hands we see raised. Although this is a great visual cue, it still doesn’t cut to the heart of the matter regarding congregational involvement and encounter. The important part is to provide a worship environment where they can engage with God, enthroned in heaven.

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DOES IT ENHANCE? This is the toughest of

the questions because we must continuously inject enthusiasm and freshness into our roles as worship leaders even after many years in that calling. To worship God

Only after you’ve explored these options should you actually look at spending money on gear. This will help keep your focus on the worship and not on trying to keep up with technology. Also, when

“Media is more than just adding technology. It is a holistic approach to the way you worship and how you bring technology into that.” is unchanging, but the way we worship can be vastly different. Consider changing the arrangement of a classic hymn or add a video that tells the story of the song as you sing it.

DOES IT GLORIFY? This is the easiest of the

questions. Don’t do anything in the form of media that doesn’t point to God. Period.

If we ever make ourselves or our equipment the focus, then God is not glorified and nothing else matters.

So what are those practical steps that allow you to add media without breaking the bank or changing the focus of worship? First, look at everything you do with technology and evaluate it against these five questions. Make sure you handle the lyrics, backgrounds, videos, lighting and audio with intentionality. If something doesn’t fit, consider removing or changing it. This can greatly improve your media ministry without any cost.

Second, look at investing in your team.

Have your sound tech take an audio class online, which can give great results and is often more practical than purchasing new gear.

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looking at new gear or programs, make sure you talk to other churches using it to get perspective and feedback. There are tons of hardware and software options out there that can provide you the tools to help with your worship.

As you can see, media is more than just adding technology. It is a holistic approach to the way you worship and how you bring technology into that. There are plenty of tools out there to help you do this, but make sure to measure benefit against cost before spending big money. W

AARON WEST CTS is the director of MediaShout User Experience for MediaComplete (makers of MediaShout Presentation Software and the Worship Band in Hand App). He has 20-plus years in the A/V/L world, including CEO of 1AV Guy Consulting, A/V director for Dave Ramsey’s Lampo Group, technical director for Bethel Church in Fargo, North Dakota, and IT director for Western Products, Inc. You can find him on Twitter (@1avguy) and LinkedIn.

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SKILL

BY TIM HUGHES

ENCOUNTER OR EXPERIENCE?

IT

was a question that unsettled me, asked by someone I deeply respect: “Does our high level of production, at times, hide Jesus?” It immediately reminded me of the challenging words of A. W. Tozer in Success and the Christian: The Cost of Spiritual Maturity, “The church that can’t worship must be entertained. And men who can’t lead a church to worship must provide the entertainment.”

CREATED TO APPRECIATE Now I’m all for more creativity and excellence in church. I long to see local churches becoming hotbeds of creativity, exploding with life and color with great art breaking through to influence culture and society in profound and significant ways. I think of songs I’ve heard, visuals I’ve watched, and paintings I’ve reflected upon, that have reduced me to tears in awe at the depths of God’s love and mercy. Let’s not forget we are creative beings, made in the likeness of a Creator God. Just look at our bodies; we are designed to appreciate beauty and wonder. The human ear can hear around 300,000 different tones, whilst our eyes can distinguish between eight million color differences; we have been created to enjoy the brilliance of God’s creativity. So in our gathered worship we should

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embrace all forms of art that enable us to communicate something of the magnitude and mystery of God, leading us to gratefully respond—and lights, visuals, dance, drama, and film can all be part of that.

EXPERIENCE TO CHANGE But in all of this, as a leader of worship, the question I keep asking myself is this, “Am I attempting to create an experience in worship or facilitate an encounter?”

There’s a big difference. I’ve attended numerous events where the production and creativity was exceptional. I got swept up in the emotion of it, but on reflection, it didn’t seem to make much of Christ, and it didn’t lead me to an encounter with Jesus. The truth is, an experience is fun, but an encounter will change you.

Only Jesus can bring life in all its fullness.

and offering in worship. The congregation I’m a part of in the heart of London has just embraced a season of stripping everything back in worship. Just one acoustic guitar and voice. The reason for this is that we want to see people being stretched in their worship, not becoming reliant upon big drums, powerful electric guitars, smoke, and lights. We long to see people opening up their hearts and contributing to our gathered times of worship. Sometimes we’re guilty of inviting our congregations into spectating rather than responding. We also want to create space for people to encounter God in a way that changes them from the inside out. It’s been really exciting to see the response in our stripped-down worship services. It’s been exposed, raw, honest, with people choosing to engage beautifully in worship.

In everything we do, all the multimedia we embrace, in the ways we plan and design our Sunday services, we need to

“Sometimes we’re guilty of inviting our congregations into spectating rather than responding.”

LESS TO FIND MORE I’m thinking a lot about how we disciple and encourage people in their worship.

Living in a consumer-obsessed world, one of the great challenges in our worship is to remind people about the role of sacrifice

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ask the honest question, “Are we simply entertaining and creating an experience in our worship, or are we making space for God encounters?” An experience might create a buzz, but an encounter with the living God will change someone forever. W TIM HUGHES WORSHIP CENTRAL Writer of songs such as “Here I Am to Worship,” “Happy Day,” and “The Cross Stands.” He co-founded and leads Worship Central, an international worship training and resource center (worshipcentral.com).

IT USED TO BE JUST PEWS AND PULPITS. TODAY’S MODERN CHURCH NEEDS SO MUCH MORE. Versatility and creativity are the hallmarks of today’s most effective places of worship, where activities are being staged every day, and throughout the week. Wenger’s innovative solutions are tailor-made to make things easier for you and more special for your congregation. Acoustical treatments. Music chairs and stands. Portable staging. Standing and seated risers. High-density instrument, music, and robe storage. Audience seating. Planning and consultation. We understand the demands you face, and we have the ideal products and services to help you enhance every celebration. Please visit us at wengercorp.com for a thorough overview of our offerings, and then call your Wenger representative to discuss the specific ways we can help you excel in your work.

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SKILL

BY CRAIG GILBERT

HOW TO BUILD A CHOIR FROM THE GROUND UP 6 Steps for Churches—Small or Large

ALL

major projects that start from virtually nothing begin with a need and require a solution, a plan, support, resources, and ultimately the will to make it happen.

Building a choir from scratch is just like any other major project you might undertake. The way to do it requires a series of answers to some common questions and then the will and wherewithal to undertake the project and see it to its conclusion. So what does this project look like?

Here are six easy (and not so easy) steps for any church of any denomination (or non-denomination) and any size to use in building a choir from scratch.

1. WHAT IS YOUR NEED? The first question that must be clearly answered is, “What need have you identified in your church that you believe starting a choir will address?” Obviously something in your experience, whether in worship

TIP: I know this may be a challenge to some of you, but while “because my pastor said we need a choir” may be a great motivator, it is not an actual “need.”

You will have to have a clearly defined reason for wanting to start a choir in order to get your church motivated behind your potential project.

2. WHAT IS A POSSIBLE SOLUTION? Once the need is established, for example: “A need to bring a larger and more diverse group of people onto your platform to lead worship,” or “The need to create greater community and connection within your church,” you now have to answer the question, “What is the best solution for this need?” If you are considering a choir as a possible answer, it’s important to ask, “How does forming a choir meet the identified need?” You must look at what a choir could potentially bring to bear on the need you’ve established versus all the other pos-

“It’s imperative to embrace the fact that building and leading a choir requires a special skill set that usually comes from specialized training.” or interaction with other church members, has led you to the notion that a choir would be a great ministry to have in your church. But can you define and, more importantly, articulate this need? To be specific, the perceived need is not the same thing as the possible solution. You don’t “need” a choir. Ultimately the potential choir must come because it has the ability to meet your identified need.

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sible solutions and define those attributes.

Just to be clear, you must know and have the ability to articulate to others how a choir, when compared to other ways to meet your identified need, is the right way to go. Rarely is an identified need met with only one solution.

TIP: Essentially what you are doing in these two steps is defining the vision that you will share with others

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who may be able to help you with this project. Sharing this with your church will help garner the necessary general support (and eventually singers) you will need to be successful.

3. WHAT IS YOUR PLAN? Once—if you in fact are able to accomplish this—you’ve established that a choir is the way you want to go, it’s imperative to embrace the fact that building and leading a choir requires a special skill set that usually comes from specialized training. If you have neither of these when it comes to choirs, and you are the head of this project, it is time to find some help and/ or gain some personal training. If this is all new to you, gather people in your church who have been in choirs before and make them part of the planning process. They will probably end up being your singers anyway so you give them some ownership in the process from the beginning. Don’t forget to read, research, and ask others who have experience.

TIP: There are some big questions that have to be answered like, “Where will you recruit your singers?” “Audition or no audition?” “Will you need an accompanist?” And most importantly, “Who will be the director, and does he or she know anything about directing a choir?”

4. LINE UP YOUR SUPPORT You need to get this in line well before you begin implementing any plan such as auditions and certainly before any rehearsals. Talk to everyone in your church about your choral project. You will want positive buzz from all corners, not just potential

singers. This is where that vision casting really pays off. Share the need you identified and how the choir will meet that need. Get others excited about the potential of this new ministry.

TIP: Don’t be afraid to contact other successful church choral directors in your area. You may be surprised how helpful most of them are willing to be.

5. NOW LOOK AT YOUR BUDGET/RESOURCES It will be difficult to move forward without knowing what your budget will be. While you may be able to download chord charts for the band or even write your own for little more than the cost of making copies, choral music is very different even in the digital age. Most choral music cannot be legally photocopied—a single copy must be purchased for every singer. Now you will be accumulating music. Where will it be stored? You may need to hire an accompanist for rehearsals or services. Maybe you are planning on hiring a director. Do you need to add risers to your platform?

What about choir microphones? Be aware of your needs when it comes to expenses.

TIP: This is where a relationship with other directors can really come in handy. Most of us are willing to loan out music and can give other advice about expenses. Many directors have been where you are and would rather see their music in use than sitting gathering dust in their libraries. They also know where those “hidden expenses” come into play.

6. WHERE THERE IS A WILL …

There are going to be times when this project will be difficult. You are going to

need to recruit choir members, and they don’t always come easily. They will rarely find you. You will need to attend church events—be seen and meet people. Show enough authentic interest in them, and they will respond favorably when you eventually ask them if they have ever thought about singing in a choir. You will meet roadblocks where only your commitment to your future choir will see you through.

TIP: At the same time you are “willing” your new choir into being, remember to make choir about more than you. At first your personality and maybe a love of singing will get people to come in, but if you want them to stay, they must see the vision for why the church needed a choir and adopt it as their own. Of course, most importantly, they will need to understand the ministry role the choir will be filling in the church.

If you follow these steps, have a solid plan with wonderful support from your pastor and your church, and most importantly bathe all of this preparation in prayer, you should have no problem building a beginning choir. The rest of the journey is rewarding and challenging, joyful and aggravating, fulfilling and draining all at the same time. But, when you step on that platform and begin to sing as a choir for the glory of God, in the name of Jesus, by the power of the Holy Spirit, well, it just doesn’t get much better than that. W DR. GRAIG GILBERT is a veteran worship leader, teacher, author and consultant. He is the founder of TheWorshipDoctor.com ministries.

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WORSHIP LEADER

LIFE COACH: Find Your Dream Job

BY STAN ENDICOTT

W

here will your next church home be? What church will you serve?

What church would be a good match? What are the criteria that influence this important decision? What is it that you don’t know that you need to know?

God is keenly interested in your journey, your career/ministry path.

If you are in search of a new job, the first thing to do is to talk to your “coach.” You say, “I don’t have a coach?” If not, identify one immediately. A coach can help you make an informed, intelligent, commonsense decision about your future “church home.” By definition, a coach maximizes a person’s potential, but most important, a coach is someone you can trust. A coach will aim you in the right direction, ask the right questions, illuminate barriers and will keep you on task.

Here is the path your coach might take to help you through this process. The two obvious questions s/he would ask you to answer are: “How will you assess, maximize, and communicate your gifts and experience in such a way as to have the greatest potential for being hired?” And, “Can you describe your future church home?”

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PART #1

Tapping into your potential 1. WHO ARE YOU? How did God make you unique? What gifts did He give you that you can develop into useful skills? Get clarity on your strengths and weaknesses. Take personality tests to have a clear understanding of who you are.

Enneagram, StrengthFinder, Myers-Briggs, and DISC tests are all good tools to help you define who you are. These tests reveal your individual character or psychological makeup. As information has become more available, churches are looking to hire people who understand who they are and why they act the way they do. Get out in front of this and understand your personality and character.

2. ASSEMBLE A PRAYER GROUP. Identify a few people who know you well and who love you and will speak truth to you.

Plans fail for lack of counsel, but with many advisers they succeed. Proverbs 15:22

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Ask them to commit to praying daily for you to find the right “church home.”

Trust in the Lord with all your heart and do not depend on your own understanding. Seek His will in all you do, and He will show you which path to take. Proverbs 3:5-6 3. TURN YOUR RESUME INTO A STORY. Your story is what needs to be told. Where you grew up, where you went to high school and college, and your previous work experiences all are a part of your story. In your story, include family, those memorable lifetime experiences, failures, and trophies. I don’t mean the trophies you won for winning the sport’s championship but rather “life trophies.” Those experiences when your influence changed the direction of a person, a staff, a team, an entire church. Resumes are those documents employers have to rely on to gain the necessary information. They are typically the most boring reading anyone will ever have to endure. Turn yours into a great story.

SKILL

4. IDENTIFY YOUR DREAM JOB. Dreaming about your next ministry is a wonderful thing to do. But the concept of being hired to do something that you love actually started when you were a child.

Some say this begins as early as age nine or 10. The reason most people are unhappy with their careers is because they forget what specific things gave them the most joy as a child. One simple test I have always used is, “Am I excited where my car is headed today?” In other words: Do I love what I am getting ready to spend the day doing? If you have only tolerated your work, you are not digging deep enough.

Answer this question: “If you wake up tomorrow morning and you have been given the perfect job, what would that be?” This will be very helpful as you get clarity on exactly what it is you desire. It seems the happiest people in the world have more talent than skill in their work.

Skill is our responsibility. Talent is Godgiven. Most people spend too much time getting skill in things that they don’t really, truly enjoy. This is the beginning of complacency, boredom, lack of motivation, and finally, burn out.

One thing is for sure. It’s things we are interested in that energize us. Just think more like a child. Kids chase the things that are enticing to them. Become a child again.

PART #2

Describe your future church home Just as you wrote out your dream job, describe your “dream church.” Sorry to make you laugh, but I am serious. In order for you to consider your next church home, get clarity on the particular things that are important to you. You want to know what you are looking for before you start looking.

1. WHAT’S THE MISSION OF THE CHURCH? Churches have mission statements, values, core values, statements of faith, etc.

But aside from reading these things or what’s in their by-laws, what is the “eleva

tor speech” of this church. What would the people in the community say about the church? Many years ago, the denominational identification on a church’s sign pretty well told you what kind of church it was. But today, this is often not the case.

People are choosing their church home based on its mission. You can learn a lot about a church by standing on the patio prior to a service and then asking a few people as they are arriving, “Why do you attend this church?” More than likely you will be most attracted to a church that has a clear “elevator speech”—words that sum up the culture simply, in just a sentence or two.

2. WHAT’S THE CHURCH’S VIBE? Is this too casual of a description of a church: its vibe? Maybe not. Look at the church from the 50,000 foot level. What is being said about this church? What is their story? As a potential staff person for this church what should you be looking for? Is this church desiring to hire someone that has the skills and gifts that you have? Be careful that you don’t jump to conclusions about the job. Watch for warning/caution signals. Will you be expected to fit into a tight mold? Will you be allowed to do what you love to do? Are you being asked to do something you actually can do, or is it something you are energized to do.

Remember, motivation comes from doing things we love to do.

3. ARE THE CHURCH’S VISION FOR HIRING AND YOURS FOR SERVING A MATCH? Can you imagine someone saying this to you: “What you do is what we want you to do for us.” This can happen to you. Would you say that what you do is worthy of people talking about it? There are times when we accept a position because we simply need to pay rent, pay for cars, insurance, new baby, want to live closer to family, or further away from family, and for many other reasons. We have all taken jobs for those reasons. But now is your opportunity to look at your strengths, your “God Gifts,” and see how they line up with the church you are considering. Remember this, try not to be hired to a job descrip-

tion but rather be hired toward a vision.

Look for a church that has great reasons why they hire people.

4. LOOK FOR A CHURCH THAT LEANS TOWARD “THE MYSTERIOUS.” The kind of church you are looking for might just be one that is asking God for what is next. “Holy Spirit, we invite you to show us things that are necessary for us to draw close to you?” A church that depends on faith in every situation. In worship expression, “God even in this worship service, in this moment, reveal to us your mysterious ways.” Great plans are great, but spontaneity comes from great preparation. The most spontaneous people are the most prepared. Is the church you are looking for living, begging, pleading for the Holy Spirit to breathe into their lives?

5. LOOK FOR A CHURCH THAT DEMONSTRATES CHRIST-LIKE HUMILITY. You would hopefully desire to be a part of a church that demonstrates humility at every level. When staff-members—whether leadership or support—have chosen not to take themselves too seriously, that is a great indicator of health. Look for a church that says, “We don’t have it all together: We are learners, listeners, broken, contrite. We are not that good. We love Jesus, and we want to shout to the world that he is their hope for now and for eternity.

Finding your next “Church Home” is an adventure. Prepare yourself to be ready personally, professionally, and spiritually.

When you consider which church you might want to work with, identify the qualities that are important to you and determine if that is the place you and your family want to call home. W

STAN ENDICOTT is a nationally recognized, deeply respected and beloved worship pastor, music producer, and mentor to hundreds of young leaders.

Stan is founder and partner of Slingshot Group and leads their Coaching division.

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10

BY QUENTIN J. SCHULTZE

WAYS TO COMMUNICATE WELL in Today’s Visual Culture

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outh ministry leader Mike Yaconelli found out only a few minutes in advance that the group he was about to address was made up of postmasters rather than toastmasters. What did he do? Stay tuned.

Great communication is about knowing the audience and the culture. Today, our communication occurs within a highly visual culture, from magazines, movies, fashion, and billboards to TV, YouTube, and selfies. How can we communicate well in the midst of this sea of images?

SEEK SUBSTANCE ON THE EDGES OF VOGUE STYLE. 1. Think of visual style as multimedia fashion. How we

look, talk, and text—and the technologies we use in front of others—are powerful messages. Even being out of fashion can become a matter of bohemian or hipster trendiness. I wear bow ties. You can laugh at my unstylishness or ponder my ambiguity—hopefully the latter. If people don’t immediately typecast me, I have a chance of getting a message across without merely preaching to the choir of those who are similarly outfitted. The lesson is to live slightly off visual kilter, however you can pull it off. Substance sticks out its nose at the frayed edges of style. Communicate on the visual borders.

EMBRACE OTHERS’ HONEST DOUBTS. 2.

Visual culture has more to do with impressions and affect than with narrow logic or reason. People are more likely in image-oriented cultures to come to faith initially by a kind of intuition about God’s love than by arguments in favor of God’s existence. One result is that “visual believers” are more likely to hold faith and doubt simultaneously— or at least to be more open with close friends about their doubts. Doubt for many people is not so much a stumbling block to faith as the context for their faith. They are open to the love of God and to grace, but not so much to strident dogmatism. They are seeking love and to become God’s beloved. They often begin to experience such love when believers graciously accept and affirm them, doubts and all.

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A GRATEFUL COUNTENANCE. 3. ACARRY while back I was stuck in line at a phone store with

a mob of discontented smart phone users. Forty minutes and counting. Everyone was hopping mad. Then I noticed that the walls were plastered with posters of super-smiling cell users. I pointed out to the real estate agent next to me (we had time to get personal) the contradiction between the faces on the glitzy posters and the falling countenances of customers. We howled. Others joined in. Suddenly the faces of the impatient crowd were unified in a kind of antitechnological worship event, a humble challenge to technological hubris. There is nothing like a genuine smile to cut through everyday nonsense. When we authentically wear our grateful hearts on our faces, we invite others to read the hopeful messages.

BEYOND THE STEREOTYPES. 4. LISTEN The age of cultural diversity is also the era of visual

stereotypes. We try to make sense of optical complexity by using narrow categories of interpretation. We catalog each other by race, ethnicity, social class, and other popular simplicities. We even join churches composed of similar-looking people. Real diversity is personal, based on life experience. We challenge stereotypes by listening to our diverse narratives and then loving each other as distinct persons.

Love begins with listening and is never abstract.

TRANSCEND GENERATIONAL BUBBLES. 5.

Today’s visual culture is media rich but generationally divided. Each generation—even between siblings—tends to consume it’s own visual media. When we look at others, or at ourselves in a mirror, we see a generation. Body sculpting changes our image but not our generational mindset. Learning to commune across generations is perhaps the most challenging ministry issue of our time. Try watching movies that please your children, parents, or the elderly couple you see weekly in the pew behind you—and talk with them about the experience.

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SKILL

HANDCRAFT PERSONAL NOTES. 6.

Computer text is visually impersonal no matter how we try to embellish it with emoticons and stylistic flair. By contrast, your handwriting says that you personally care enough to invest time and thoughtfulness in a relationship.

Buy some personalized note cards and envelopes. Send one a day to someone who has served you. Avoid stock greeting cards unless the words are truly what you would write; even then, add a handwritten note.

QUESTION INITIAL IMPRESSIONS. 7.

In our visual culture, we quickly get turned on and off by people just based on immediate impressions. We surf others’ images without considering that we might be badly mistaken. Lew Vander Meer says in Recovering From Churchism that this problem of first impressions is perhaps the major reason that many churches don’t grow. Christian hospitality calls us to make room in our minds and hearts—not just in our homes—for those who appear to be different than us.

When we first see others as God’s image bearers, we begin our communication with gratitude, respect, and wonder.

8.

EMBRACE ICONOCLASM. The attractive personas that dominate the news, stage, and screen often fall from glory. Celebs recycle with tales of excess—aided by the paparazzi. Company logos bite back when organizations are caught mistreating employees, customers, and stakeholders. Churches struggle to keep afloat with iconic ministers amidst waves of social-media gossip and congregational backbiting and disaffection. Seek iconicity at your own peril. Be winsomely iconoclastic—a genuine person without airs.

So what did Yaconelli do when faced with an audience of postmasters rather than toastmasters? He didn’t pretend to have anything prepared for the group. He didn’t rely on great rhetoric or performance abilities. Instead he simply and honestly talked about something that everyone experiences.

As Yaconelli recalled, On my way up to the podium I decided to talk about something I frequently talk about: the loss of passion. It was one of the most rewarding experiences I ever had. Halfway through my talk, people were crying throughout the audience. When I was done, they rose to their feet to underscore my call to rediscover passion.They were expecting a lecture on stamp regulations, and I was expecting to talk about using voice inflection and gestures, but just under the surface, a group of postmasters got in touch with their longings for passion again.

COMMUNICATIVE WISDOM. 9. SEEK Every year hundreds of new books claim to offer the

communication skills we need to be successful. Publishers call communication an “evergreen” topic. The book titles and covers are enchanting. But the content is almost always the same old tips and tricks. Contrast such books with this bit of monastic wisdom: “Speak only if you can improve upon the silence.” Or this one: “Listen with your heart.” Or this one: “Communicate with others the way you would want them to communicate with you.” One of my favorites is from Augustine: The purpose of public speaking is to “love your audience as your neighbor.” In fact, that insight led me to craft a short book titled An Essential Guide to Public Speaking: Serving Your Audience With Faith, Skill, and Virtue. Modern, mediated visual culture emphasizes how to influence people, not how to serve them. Keep an ongoing list of wise communication practices and review it regularly. Start by reading the Book of James. Tape on your computer screen or keyboard a small note with the three most important bits of communicative wisdom on it.

AN AMATEUR. 10. BECommunicate for the love of it—and for the love

of others. Excess polish makes our communication less authentic. The preacher who slips up now and again and can laugh along with the congregation will be more beloved than the one who practices pristine elocution. Students love fittingly self-effacing teachers. Besides, few of us can compete with personas crafted by cutting-edge video and audio editors. We are who we are, foibles and all.

Yaconelli loved those postmasters as his neighbors. Without PowerPoint or video, but with an iconoclastic presence and a grateful countenance, he addressed them as real persons, not as first impressions or stereotypes. He got to the heart of something that really mattered to them and to him. Visual culture provides amazing opportunities for heart-to-heart connection among authentic people. W

QUENTIN SCHULTZE holds the Arthur H. DeKruyter Chair in Faith and Communication at Calvin College. He is a founding member of the Journal of Media & Religion, a beloved professor and best-selling author: Habits of the High-tech Heart: Living Virtuously in the Age of Information, and Prophetically Incorrect: A Christian Introduction to Media Criticism, among many others.

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BY HEIN VAN WYK

7

WAYS TO FUEL PARTICIPATION THROUGH MULTIMEDIA Multimedia in worship goes far beyond just music, visuals, and graphics.

It’s using all available media choices to communicate, engage, and uplift.

M

ultimedia is a big word that encompasses a lot of technology. If the Church uses it correctly, it will have an incredible impact on congregational and community participation.

Multimedia includes anything graphic, visual, musical…human, and beyond.

It could mean accessing websites or using online/social/mobile media avenues, among a growing litany of choices. Some of these alternatives work better than others, depending on the church need or function, but together they supply wonderful and endless possibilities.

1. USE VISUALS FOR CONGREGATIONAL PARTICIPATION DURING WORSHIP: Instead of just showing nice graphics, and videos behind lyrics, use visuals that portray Scripture throughout the service. Many times during worship have the congregation read, out loud, the Scripture verses seen on screen. It edifies, communicates truth, and many times gives greater insight into the theme or background for the songs sung. Have them stand, in reverence to God, whenever Scripture is being read.

2. ONLINE TITHING VS. TRADITIONAL TITHING: Most churches still rely heavily on traditional tithing. Those that have implemented online tithing have discovered a huge increase in giving. Passing around an offering plate can be intimidating to those financially struggling or especially new visitors. Promote tithing from your website and assure the congregation of its security.

Designate clear tithing programs, so they

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can choose what to tithe towards. This creates participation by the giver becoming an advocate for whichever program they tithe into as their contribution helps make that program possible.

3. TAKE GOD’S MESSAGE GLOBAL: More than ever, with the use of websites and blogs, the gospel is being preached to countless souls around the world. Record your Sunday sermon, and place it on your website or blog. God’s message then goes from your congregation to a global platform. Naturally, once done, the congregation will come to expect this. In turn, they will share the message with others and create a gospel ripple that stretches far beyond your church walls.

4. DAILY DEVOTIONAL ENCOURAGEMENT: Daily devotional books are still best sellers.

You can create your own daily devotional through your blog. Your pastor, team of pastors, or volunteers can contribute to the blog on a daily basis. Take a Scripture passage and write a commentary and application on it.

Every day your congregation can visit the blog and find encouragement. Make sure the content is proofed for grammar and theological accuracy before posting.

5. USING SERMON GRAPHICS TO FUEL DISCUSSION: Sermon graphics can be overkill or an incredible sidekick to the pastor. Instead of just preaching at the congregation, which sometimes can feel like a recited speech, have the audience participate in the sermon by posting, on the screen, bulleted

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questions that they can ponder and answer.

Do this by having frequent “turn-and-talk” times. This is especially effective during the application part of your sermon.

6. IMPLEMENTING VIDEO BIBLE STUDIES: Many churches have dropped Thursday or Wednesday-night Bible study services.

Instead they have focused on strengthening their Bible study groups. With video streaming technology, the pastor can sit in the comfort of his own home, do a 40-minute service, and anyone, anywhere can login and participate by using the message as a topic for group discussion during the Bible study.

7. LET MUSIC CARRY A RELEVANT MESSAGE: Music is amazing, emotional, and can easily influence. Tread carefully here. Never use music to only create emotion. Instead, focus on music that communicates the values, struggles, and ideals of your congregation—music that can reassure each person of God’s providence, mercy, righteousness, and love. Your worship community will participate by singing songs they know well, with messages that uplift. This encourages them into a life of repentance and a closer walk with God. W HEIN VAN WYK is the CEO/President of Sharefaith.com where he innovates, leads and spearheads technology solutions for churches.

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BY BRIAN STECKLER

CHURCH CHOIR RECORDING: MAXIMIZING THE SOUND From digital demo to final performance and back again

Q:

I’d like to create arrangements for my choir, but am having a hard time coming up with parts that end up sounding good when the choir sings them. I think it would help to hear a demo version, but I’m not sure how to go about making one.

ing. Of course, for choir it’s still tricky because those built in sounds will only say “aah” or “ooh.” But, that’s a big step up from not hearing anything. You can add on other choral virtual instruments to those notation programs that include a “phrase builder.” This allows you to add specific syllables with consonants in the order you need them to build your lines of lyrics.

This can be time consuming, but once you get good at it, will sound very realistic.

Check out Cinesamples’ VOXOS and EastWest’s Symphonic Choir.

ON TO THE DEMO

A:

Arranging for choir is tricky because rehearsal time is short, and often our choir’s general level of musicianship doesn’t allow for sight-reading new material. So, by the time the choir has learned the parts well enough for you to actually hear if your great arrangement is, well, not so great, it’s too late to re-write and relearn before you’re scheduled to present it on Sunday.

DIGITAL TOOLS If you’re still scratching out parts on staff paper, it’s probably time to look at moving your notation to the computer. Finale and Sibelius are the leaders, and both include sets of sounds that allow you to play back and hear the parts you’re writ-

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When I’m writing for choir, I usually just use a generic “aah” patch for scratching it out, then when I think I’m happy with the parts, I’ll do a quick demo with a couple real singers. I’m not much of a vocalist, but I can handle the bass and usually the tenor parts, so I’ll record myself singing two or three passes of each part, and then I’ll call my friend Michelle, who is an accomplished choral singer. She has a nice range and can sight-read well, so she sings a few passes of the alto and soprano parts.

I add a bunch of reverb, and now we’ve got enough down to get a feel for how the arrangement will work. I haven’t spent that much time so if I end up not liking a section or chord or two, changing the demo isn’t a huge undertaking. Sometimes I’ll take these quick demos and email out MP3s to the choir with that person’s part turned way up to save time in rehearsal plunking out parts.

THE REAL THING The logical next step is actually recording your awesome new arrangement for the

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world to hear. Ideally, your sanctuary is set up so that you can record one of your performances during a service. More often than not though, what’s recorded doesn’t really sound like it does on Sunday in the room. You’ll get better quality if you set aside a recording date with your choir and set up specific mics for the task. Don’t be afraid to experiment with layering multiple passes of your choir. Keeping things synced up can be tricky, but with a few sets of headphones, a clear conductor, and a little bit of audio editing, it can be done.

I recently mixed a project for Jesse Peterson from Northgate Christian Fellowship in Benicia, California, and while it wasn’t specifically choral, he ended up calling in a little group of people to add some audience where the crowd mics didn’t pick up quite enough. He used the normal mics in the sanctuary, and had the group move from place to place around the room to get three layers. You could use this same idea in your choir loft with a few of your best singers—leave the mics where they are, and slide the singers around to get a realistic sonic picture of a choir in your room.

Writing for choir is fun and being able to arrange for your specific group really allows you to feature their strengths. Use whatever tools work for you to make it happen. W

BRIAN STECKLER (thestickhouse.com, @stickhouse) is a producer, engineer, mixer, songwriter, composer, and the worship music director at Crossroads Church, CA.

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LOGOS BIBLE SOFTWARE

Building the Future on Everlasting Truth Bob Pritchett, CEO of Logos Bible Software, and Joel Muddamalle, Proclaim presentation software product manager, each share some personal history and illuminate the past and present trajectory of an expansive and innovative company with a vital worship connection.

Bob Pritchett

Joel Muddamalle

WORSHIP LEADER: Bob, as founder, could you tell us about the beginnings of Logos Bible Software?

BOB PRITCHETT: I started the company with a friend back in 1991. This was our hobby project, and it grew into more than we ever imagined. Our initial goal was to build a useable tool for Bible study on a computer; now it’s a much larger library and set of tools that serves millions of people around the world.

WL: Joel, in your role on the congregational worship/communication side of things with Proclaim presentation software, can you tell us a little bit about how, why, and when you joined the team at Logos and your work prior to coming onboard?

JOEL MUDDAMALLE: I started working at Logos two years ago, but I’ve been using Logos since my parents gave it to me as a graduation present before I entered Bible college. Prior to Logos, I served as an associate teaching pastor and worship pastor. I have always had a deep appreciation for Logos and their commitment to helping people dig deeper into God’s Word. After church planting for three years, I was given the incredible opportunity to join the Logos team and help equip the Church at large. Proclaim is an amazing church-presentation software, As the Proclaim product manager, I am privileged to help churches and ministries visually communicate the gospel with excellence.

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WL: How have the company and the vision transformed over the years?

BP: Logos has always licensed content from print publishers, but in recent years we have also be commissioning new scholarly work “digital-first.” The digital tools can do so much more, and work in more interesting ways, than paper resources, and so our vision has grown from making it easier to use paper books to making it easier to do more and better Bible study by taking advantage of digital-first content.

WL: What is your most widely used product to date, and where do you see the most growth on the horizon?

BP: Logos Bible Software has always been our flagship product; it is an essential tool for pastors, seminary students, and everyone who wants to do serious Bible study. It runs on desktop computers and synchronizes with mobile devices and the Web. The Faithlife Study Bible, which was designed specifically for mobile devices, has even more users than Logos Bible Software, and we believe we will see continued growth in this consumer segment. It represents a smaller part of our revenue—since we give away the Faithlife Study Bible!—but will help us equip more people for Bible study.

WL: Explain the differences between the various levels of Bible software, from “Starter” through “Bronze,” “Silver,” “Gold,” and “Platinum.”

JM: We recognize that everyone is in a different place when it comes to their study

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of the Scriptures. So in order to help engage people where they are and provide them with resources that are geared toward their passions, we came up with these different versions. Starter is great for the new believer or person who is just getting serious about God’s Word for study the first time. Bronze provides some introductory Greek and Hebrew tools and is great for family Bible studies or a couple wanting to dig deeper together. Silver is our ministry leaders’ library. If you are teaching a small group or writing curriculum, this is the perfect version for you.

It comes with some great illustrative resources and includes some amazing commentaries, like The New American Commentary series. Gold is for those who are passionate about original languages or are seminary bound. If you want to be able to order your coffee drink in Greek or Hebrew, this is the version for you. Platinum is our pastors’ library. It comes with some incredible commentaries for homiletics, as well as preaching and teaching. You can find out more about our versions and the different resources that come in them at Logos.com/Comparison.

WL: Where do you feel that your products converge for the average Christian reader or worship leader?

JM: A conversation I’ve been having with many local church pastors, ministries, and worship leaders who are writing worship songs revolves around the importance of Bible and theology as it pertains to the cre-

INSIDER:

PROFILING COMPANIES, MINISTRIES, AND INNOVATORS IN WORSHIP

ative. Simply put, biblical theology should inform all areas of our lives, including the creative. The Bible should be the source that fuels our creative ventures, songwriting, production ideas, environmental projection, and even the process of choosing songs that we lead in our churches. I think our convergence point is simply the Bible.

We all need to be in it and do more than read it—we need to study it and allow it to penetrate each area of our life and heart.

WL: What differentiates Proclaim from other presentation products?

JM: We are really excited about the direction Proclaim is headed. Some of the biggest features that distinguish Proclaim are Signals, emphasis on collaboration, and Smart Media. Signals give you the ability to actively engage a church congregation and help them to be a part of the service, which is a game changer. Proclaim’s cloud-based platform gives you the ability to work as a group, which allows the worship pastor, teaching pastor, and volunteer team to access the presentation from their own devices without paying more. It fosters teamwork and enables a unique sense of creativity. Most churches don’t have a professional designer on staff. Smart Media solves this issue by auto-formatting text to look elegant on unique backgrounds. It also saves you from busy work. You only have to enter you church name one time and Smart Media makes sure that name shows up everywhere it should on all Smart Media backgrounds. You can learn more about our innovation and features at ProclaimOnline.com.

WL: Joel, how does your history and experience sync with your position as Proclaim product manager?

JM: I have always been a creative at heart.

My grandparents are missionaries in India.

I lived with them for two years as a child, and during this time, I fell in love with Indian music. This love of music followed me as I grew up, and I began to lead worship at my church as a student. I eventually went to Bible college and received a BA in theology, went on to earn a MS in psychology, and I am currently in an MDiv program at Knox Theological Seminary. Needless to

say, I am passionate about music, theology, and equipping people to pursue their passions and goals. My experience as a worship and youth pastor impacts almost everything that I do. I am always thinking about the local church pastor or worship leader as we talk about new features to pursue in Proclaim. Our desire is to build tools that will practically help the local church pastor in ministry.

Your SourcePRODUCTION For Congregational Worship Resources

presents

WL: What do you see as the challenges and the opportunities facing you as a company?

BP: The Internet is great for niche businesses and large, category-encompassing businesses. We want to have a big impact, so we’re working hard to scale up quickly so we can serve a large portion of the Church, and not just one little niche.

WL: As your company grows and expands how are you able to cultivate a culture that not only provides Bible study tools, but reflects biblical principals?

BP: Our employee manual is essentially four words: Honor God. Love others.

With this guidance you can make the right call in almost every situation, and we believe it is in keeping with biblical principles to treat everyone well, to give them work with meaning, and to offer a daily experience of autonomy in an environment where people do great work.

FREE

Preview The best in singable contemporary arrangements of both timeless hymns and popular worship songs.

Each volume contains 10 powerful congregation friendly songs resourced with:

WL: What exciting new products and new directions are on the horizon for Logos Bible Software?

BP: We will continue to create new products specifically for the Web and mobile devices, and you will see even more interconnections, so our users can get the content they need wherever they are.

WL: What are your hopes, dreams and prayers for the future?

JM: I believe I speak for all of us at Logos when I say that our hopes are that the tools we create here at Logos and Proclaim would cause people to grow in their affections for Jesus. I hope they are stirred up to make much of God and are equipped to communicate the gospel with clarity both verbally and visually. W

Listening Tracks Split Tracks Chord Charts Lead Sheets

Piano Vocal Parts Orchestrations Order of Worship Template Lyrics for Multimedia

RETAIL PRICE: $149.00 Join the program and pay only $59.99 per shipment! and get a

FREE GIFT just for trying!

DAY ONE WORSHIP from the Worship Ministry of First Baptist Church Dallas

Available at

FairHopeWorship.com/G3 or 866-WORSHIP

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PRODUCTION

BY KENT MORRIS

VIDEO PROJECTION SYSTEMS UPDATE

V

ideo projection in worship has been through dramatic changes over the past 15 years. What began as enlarged text to convey lyrics and teaching notes has evolved into an elaborate system of visual communication. As the technology of projectors, switchers, and screens has improved, the acceptable brightness, sharpness, and format configuration have morphed from dim NTSC to ambient-capable wide HD. As part of these changes, churches are at a crossroads where the older equipment no longer meets the service requirement and decisions must be made for the future. Here, then, are some options to consider.

FORMAT LCD based video projectors use fixed panels to provide color. DLP technology, though more flexible in format conversion, still retains a native resolution. Older units are set to the original NTSC standard of 4:3, meaning the horizontal element is four units wide relative to the vertical’s three.

With the advent of wide format broadcasts in the TV industry (16:9) and wide computer displays (16:10), church projection has followed suit. Though an image can be 4:3 and still HD, it generally follows that HD is reserved for wider formats. On the other hand, a wide format projector is not necessarily native HD so it pays to understand the differences involved.

A native 4:3 LCD projector can present a wide format image, but it simply turns off those pixels outside the format range. In essence, a 5000 lumen 4:3 projector only generates about 3800 lumen in wide mode.

Naturally, native wide format projectors cost more than their narrow format equivalents, but with wide format entrenched, the difference is worth paying. Native HD, though, 56

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may not be the right choice if the intended content is not itself HD. The choice depends on several factors: Is HD vital to communicating the images? Is there a migration plan in place toward HD content in the near future? Will the other components in the signal chain handle true HD paths?

WHERE TO PROJECT? Screens are, perhaps, the most difficult part of the video system to convert to wide format. Often permanently mounted to the walls and edged with ornate wood trim, video screens present a construction issue.

Wall screens can be masked with black fabric to accommodate new formats without resorting to demolition. For retractable screens, there is a better option. The screen material can be removed from the roller and replaced with an equivalent width unit in the chosen wide format.

The video selector in the tech booth must also be addressed if HD and/or wide format imagery is to be displayed. From its generation at an HD camera to the lyric support software and computer video card, the video signal must be carried through uninterrupted. An older analog switcher will create latency issues with newer signals making them unusable in I-Mag applications.

SPEED MATTERS Cabling must also be dealt with as the beloved analog VGA of times past is no longer a viable option. Lower cost environments are centered on the consumer-oriented HDMI cable due to cost and availability.

Unfortunately, the standards for HDMI are loosely maintained and the result is incompatibility among brands and even within brands. There are some solutions, however, such as using a buffered HDMI active

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distribution system and purchase of only high-quality HDMI cables. HDMI’s natural length run restrictions can be overcome with 10Base-T conversion send and receive units. If the budget allows, HD-SDI cabling, based on coax runs with BNC terminations, is a better alternative since it delivers uncompressed HD video at a high transfer rate on a single cable.

Video projection systems are now capable of impressive display for enhancing corporate worship. From image magnification to song lyrics, video is an integral part of services of worship.

CURRENT EQUIPMENT HIGHLIGHTS • Digital Projection E-Vision 6500 HD DLP 7000 lumen projector:

Premium performance for a reasonable price from $3950 • RSG V40HD HDMI video switcher / scaler:

Low-latency unit with individual scalers $3995 • Canon XF105HD video camera:

High-quality SDI output camera $2999

• Da-Lite Contour Electrol HDTV screen:

Steady, reliable screen for HD images from $1200 • FSR DR-PCB HDMI cable:

Non-balun long-run HDMI cable from $245 W KENT MORRIS has mixed with Paul Baloche, Tommy Walker, Israel Houghton, and many more.

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BY ANDY TOY

WHAT’S NEW:

TC-Helicon VoiceLive 3

IN GEAR FOR MUSICIANS, SOUND TECH, AND MEDIA TECH

Media Tech: Mics Avantone CV-12

Function: Large diaphragm condenser microphone Price: $499 Church Use: Studio vocal microphone What’s New: One of the best value microphones we’ve seen in a long time, the Avantone CV-12 features silky smooth highs and tube warmth without being harsh or overly bright. Featuring switchable polarity pattern and its own power supply, the CV-12 is a great value for the price. Especially tailored for vocals, the CV-12 also sounds great on piano, drum overheads, and acoustic guitar.

Rode M5 matched pair

Function: Small diaphragm condenser microphone pair Price: $199 Church Use: Piano/choir microphones What’s New: A quality pair of small diaphragm condensers can be an indispensible tool on the stage. Incredibly transparent, the M5 pair gives a true, accurate representation of whatever you put in front of it and its low profile design makes it perfect for tight spaces such as acoustic piano or in front of a choir. For the price, the Rode M5 pair provides a fantastic value and true sound … in stereo.

Telefunken DD4 drum set

Function: Drum microphone kit Price: $499 Church Use: Mic the whole drum kit with the DD4 drum set What’s New: Drums can be the trickiest instrument when it comes to mixing the band every week, and good microphones are crucial when it comes to mixing monitors and front of house.

The Telefunken DD4 drum set includes the M82 kick mic, M80-sh snare mic, and two M81-sh tom mics, along with clips and rim attachments for each, making it a great option for four-piece kits. The DD4 drum set is especially helpful when mixing multiple drummers or kits each month since the M82 kick mic features selectable frequency response to help shape the low end no matter what kit you’re mixing.

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Sound Tech: Signal Processors dbx DriveRack PA2

Price: $499.95 Function: Loudspeaker optimization Church Use: Suppress Feedback and tune your system with the push of a button What’s New: Sound in a church can be tricky, especially if you’re in a mobile church setting up the PA every week. The DriveRack PA2 is a one-space rack unit that “listens” to your room and the speaker placement and automatically EQ’s your system to prevent feedback using a measurement microphone. Incredibly easy to use, the DriveRack PA2 is an affordable, easy to use way to optimize your loudspeaker system whether you’re a mobile church or in a tricky room.

Aphex 500 series USB interface

Function: 500 series audio interface Price: $749 Church Use: Professional recording interface What’s New: 500 series technology has been around since the ’70s due to the standardized size and power requirements of the 500 series rack. The Aphex 500 series USB interface brings a 4-space rack and the USB audio interface together, converting the audio signal to digital to record straight to your computer. Giving you the best of both worlds, the Aphex 500 series USB interface offers high fidelity recording capability as well as power and rack for 500 series preamps, compressors, and effects.

TC-Helicon VoiceLive 3

Function: Vocal effects processor Price: $699 Church Use: Control vocal effects from stage What’s New: There’s nothing more important than vocals in a worship service, and the VoiceLive 3 makes sure you’re in control of all your own effects and can even add harmonies to your own voice. Reverb, delay, looping, realistic human harmonies, vocoding, and EQ are only a few of the many effects the VoiceLive 3 can do.

If you’ve always wanted a specific vocal sound and are having trouble achieving it, the VoiceLive 3 might be the perfect effect for you.

COVENANT

WORSHIP

Moog Sub 37

Musician: Keyboards Roland RD-800 Stage Piano

Function: Stage piano Price: $2,499 Church Use: Perfect for pianist/vocalists and worship leaders What’s New: Made specifically with pianists in mind, the new Roland RD-800 is an 88-key fully weighted stage piano. Utilizing their proprietary supernatural grand and electric piano sounds, the RD-800 feels and sounds like you’re playing a real grand piano. Perfect for worship leaders who like to lead from piano, the RD-800 is the closest thing to a real piano we’ve seen in quite some time.

Moog Sub 37

Function: Analog synthesizer Price: $1,499 Church Use: Simple to use and great sounding synth bass What’s New: Moog has long been known for their huge monophonic sound, so it’s hard to believe that the Sub 37 is the first Moog in over 30 years to feature polyphony! The Sub 37 retains the classic Moog feel with two analog oscillators, a sub oscillator and noise generator and adds the ability to control two notes at once and adds USB connectivity with a Mac and PC preset editor. If you’re a keyboard player who wants to extend into the synth bass regions or a bass player looking to expand into the synth bass world, the Moog Sub 37 is a great place to start.

FREE

SONGS &

RESOURCES

ONLINE AT:

Clavia Nord Lead A1

Function: Analog modeling digital synthesizer Price: $1,799 Church Use: Perfect for creating lush pads or big synth leads What’s New: With the latest synth trend leaning towards the analog world, it’s nice to see a company stick to their strengths, which is exactly what Clavia has done with the brand new Nord Lead A1.

Announced at winter NAMM this year, the Nord Lead A1 is an analog modeling digital synth with a ton of groundbreaking features. In addition to the warm, thick tone, the Lead A1 can stack four sounds together for huge synth leads, and split the keyboard for completely different sounds in different zones.

If you’re new to the world of analog synths or want a digital option to go along with a vintage analog synth, the Nord Lead A1 is a perfect option. W

FEATURING

PRODUCER & GUEST ARTIST

ISRAEL

HOUGHTON Nord Lead A1

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GEAR REVIEWS Ultimate Ears 7 Pro Custom IEM

M-Audio BX8 Carbon Series

Church Use: Custom in-ear monitor

Church Use: Studio monitors for critical music listening

Features: As a musician and engineer, I’ve been hearing great things about Ultimate Ears for years, so you can imagine my excitement when the crew at UE offered to let me review a pair of the UE7s, a triple driver custom in ear monitor specifically recommended for keyboards (my main instrument).The process was quite simple, I found an audiologist (a comprehensive list by location is located on Ultimate Ears website) a few miles from my house visited and got impressions made of my ears so the folks at UE would have the detail they needed to complete my molds. After filling out a brief order form and picking my colors, I sent my impressions to Ultimate Ears headquarters where they constructed my custom IEM and specifically molded them for my ears.

The turnaround was very quick, just over two weeks from their receipt of my impressions. The UE7s come in a heavy-duty, solid box to protect them while they’re not in my ears and include a cleaning tool to keep the earwax from building up in the canals. I was very impressed with the packaging and they even included a custom engraving on the box with my name on them. The fit was simply perfect, the best I’ve ever had in a pair of custom IEMs, not too tight but they stay firmly planted in my ears no matter where I move my head.

A good fit is one of the most important things in a custom IEM and I was quite impressed with this little attention to detail.

Features: A good pair of studio monitors may be the thing you never knew you needed, and the M-Audio BX8 Carbon monitors may just show you why. My first pair of studio monitors was a pair of original M-Audio BX5s, which I purchased almost ten years ago, and as they were the pair of monitors that stuck with me through college and into my first jobs as a studio engineer and producer, I’ve watched the evolution of the BX series with fond sense of nostalgia. The BX8 Carbon monitors are the newest studio monitors from M-Audio—and wow have they come a long way from my BX5s!The BX8 Carbon is a two-way studio monitor featuring an 8” woven Kevlar woofer that pumps out powerful bass and a separate tweeter for high frequencies. Acoustic space control allows you to control low end on the monitors if your room is small or they need to be placed close to a wall.

Sound: The sound of the UE7s is wonderfully open and balanced. The highs are incredibly clear without being overly bright while the lows are powerful and punchy. The frequency range is quite balanced; the kick and bass don’t overpower vocal clarity and listening to music, especially pop, is a ton of fun.

Solo piano was one of my favorite instruments to hear through the UE7s.You can really feel the power of the low notes as well as get the midrange punch of each note’s attack. After listening for an extended period of time, I got the impression that the UE7s are nicely fine tuned with no frequency spikes, boomy bass or harsh midrange. The price of UE7s may be slightly higher than other custom IEMs on the market, but when you purchase a pair of Ultimate Ears you pay for attention to detail that goes above and beyond in every step of the order process, from fine tuning their product, to communication with the customer, to engraving your name on your personalized box.

More: Great sounding custom IEM with incredible attention to detail every step of the way Less: Custom IEM means only one person can wear them.

Price: $850

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Sound: The sound of the BX8s is nicely balanced and incredibly clean.

I was particularly impressed with the low end; the frequency response as stated is quite low indeed and you both feel and hear the power and weight of a low piano hit even at low volumes. The technical papers show the frequency response to be fairly flat, which they seemed to be upon closer listening, making them perfect for any situation where you need to hear what’s going on in a mix. I noticed a big improvement in the stereo imaging from my old BX5s, making the sound wider and clearer. The acoustic space control is a nice touch to control the low end if you have to place them closer to a wall. I was thoroughly impressed with the BX8 Carbon monitors and they offer a tremendous value for the price, making them perfect for monitoring, mixing, video editing, and listening to music.

More: Great sound and price, perfect for a small recording space Less: Might be too big for a small office Price: $249.99 each

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Korg taktile-49 Church Use: MIDI controller

Roland AIRA TR-8 Church Use: Add electronic drum and percussion effects to your drum kit Features: One of the most anticipated releases of 2014, the AIRA TR-8 has not disappointed so far. An all-new version of the classic TR-808 and TR-909 electronic drum kits combined into one, the TR-8 brings the famous sounds of Roland drum machines into a device with features and functions for the modern age. Using a new Analog Circuit Behavior technology, the TR-8 behaves like an analog drum machine but has all the stability and flexibility of a digital device.

Sixteen kits give the drum machine a variety of sound and individual controls over each of the 11 voices allow for nearly infinite sonic possibilities.

Sound: Just like its ancestors the 808 and 909, the TR-8 sounds huge. The attention to detail in the sound reproduction is stunning and the sounds are warm and fat. If we hadn’t been told it was a digital device, there’s little chance we would’ve guessed that the sounds were not completely analog. Whether you’re making sequences with the tap tempo control, or programming loops for your next set, the TR-8 is a ton of fun and is a great intro to electronic drum machines.

More: Awesome sounds and usability Less: Only offers electronic sounds, no real drum reproductions Price: $499

Features: With the power of computers growing exponentially and the sound of software synthesizers becoming virtually indistinguishable from their analog counterparts, MIDI is a great, cost-effective way to expand your keyboard tone palate. A great MIDI controller is essential to using MIDI synths properly and the taktile-49 doesn’t just provide a great MIDI controller, but takes the creative workflow to another level. The taktile-49 comes with the standard MIDI I/O and USB connectivity and features a semi-weighted keyboard, pitch and mod wheels and 8 faders, 8 knobs, and 16 velocity-sensitive pads.

In the center of the keyboard is a touchsensitive X/Y pad (strikingly similar to the pad found in the KorgKaossilator) that allows the user to manipulate phrase, chord and melody in real time.

Application: It’s amazing how the addition of a simple X/Y pad can transform the workflow and open up the creative possibilities of MIDI software. With knobs and pads becoming standard on all mid to high-end controllers, the X/Y pad sets the taktile apart from anything on the market. The X/Y pad allows control of anything from controlling melodies to making filter sweeps and can even act as a track pad. Even if you don’t play keyboard, the controls on the taktile make MIDI easy to use and opens up endless possibilities for creativity.

More: X/Y pad adds a great element of creativity to a MIDI controller Less: 49 keys may not be enough for traditional pianists Price: $349.99 W

All Pro Sound has been designing and installing AVL systems for over 30 years. We focus on the entire system so you can focus on what matters. Give us a call, and let’s create an incredible worship experience together.

800.925.9822 | allprosound.com

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FEATURE REVIEW

LOUD HARP ASAPH LOUDHARP.COM

A

band born out of spontaneous worship and prayer between two like-minded musicians has developed into a wellspring of emotive and ascendant songs of worship that both cry out to the living God as the only savior and redeemer and praise him for his mighty deeds and beautiful ways of love.

Though they consider themselves a worship outfit, maybe a better definition would be post-worship (strictly speaking about the genre), modern-meditative music composers. Why is this important? Worship has a deep and long tradition in meditation. Meditative music, chant, even the chanting of the Psalms has been used for as long as people have gathered to worship our great God. Somehow, in the past half a century, this practice has significantly diminished. Claiming back some of that territory that rightfully belongs to us, Asaph is the freshest sound in the worship landscape. Meditation is about listening. It is about hitting pause on the noise soundtrack that fills our days and nights. It is quieting our hearts and minds and bodies, so that the Spirit of God can fill

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the space with the vapor of his presence— the whisper of his Word.

So what exactly does culturally relevant, modern-meditation sound like? In a response to the last decade of worship music, Asaph is post-guitar-heavy, post-quickrun-to-the-chorus and bridge, and post anthem-pop. It is filled with slow broiling atmospheric meditations that also work as desperate cries of the soul and a musicality that drifts like a mist and coalesces into rich dynamics as well as sweet subtleties through diaphanous guitar tones and the consistent forward motion, courtesy of the beating drum. Asaph is both elaborate and simple. It is haunting and shimmering, plaintive and celebratory; it is a convergence of the cacophony of worship spanning the full spectrum of our spiritual heart cries while pointing us in a single direction—the life, death, and resurrection of Jesus Christ.

The album begins with the cry of Israel and the cry of the Church longing for the advent of our Lord: “Oh my soul take heart, the day is coming” (“Take Heart”) and moves slowly into the powerful “The Nearness of You.” The latter is built on the spiritual narrative of the lost lamb, but finds the fulfilment of all God’s promises in the single equity of any worth: the near-

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ness of the living God. The third standout, “The Fire and the Flood” spins the refiner’s fire theme into a fresh metaphor and powerful statement: “Oh bring the fire / burn what isn’t you / Oh bring the flood / overwhelm us.”

Loud Harp is Asher Seevinck & Dave Wilton, but you wouldn’t know it. This indie duo has accomplished a remarkable thing here: presented songs of the Spirit that musically and lyrically mediate Christ. Of course this is the goal of any worship musician; however, Asaph has achieved this as clearly as any other worship record this year.

Definitely one of our favorites of 2014.

Sounds like: Peter Gabriel (more “Red Rain” than “Sledgehammer”) finding a voice in atmospheric sounds and guitar instrumental meditations.

TOP SONGS Most Singable: “Take Heart” Strongest Biblical Content: “I Lift My Eyes” (Ps 21) The Whole Package: “The Nearness of You” JEREMY ARMSTRONG

NOW ANNOUNCING THE PRODUCTION TRACK. EVERYTHING YOU NEED TO KNOW ABOUT STUDIO RECORDING & LIVE PRODUCTION.

TRAINING MUSICIANS. CHANGING CULTURE. O C E A N S E D G E S C H O O L . C O M

A L L G L O RY F O R E V E R DOWNLOAD FOR FREE!

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IN REVIEW

MUSIC FOR LEADING

BETHEL MUSIC

BETHEL MUSIC

You Make Me Brave (Live) Bethel Music bethelmusic.com Bethel Music’s second live album of 2014 was recorded at the Bethel Women’s Conference in Redding, California. The production and musicianship are excellent, as are the all-female vocals coming from worship leaders like Jenn Johnson, Kari Jobe, and Amanda Cook.

Standout track “Forever,” recorded earlier this year by Jobe, celebrates the greatest story ever told: Christ’s death for us and his

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resurrection from the grave. “Forever” gets extended treatment in this live setting, and it’s worth every minute.

More lyrical engagement with the biblical story of God’s pursuit and redemption of us would have made this project even stronger.

But as it is, exuberant love for Jesus is a mark of the entire record, which never strays from the grand themes that God is for us, and we can do all things through him who strengthens us.

Sounds Like: Anthemic arenapop with driving synth and allfemale vocals.

TOP SONGS: Most Singable: “Anchor” Strongest Biblical Content: “Come to Me” (Deut 31:6) The Whole Package: “Forever” Resources Available: Chord charts, lyrics, videos, event listings and more at bethelmusic.com.

KRISTEN GILLES

ONETHING

Sing Your Praises (Live) Forerunner Music ihopkc.org Recorded live at Onething 2013 at the International House of Prayer in Kansas City, Sing Your Praises is full of original songs by IHOPKC worship leaders such as Laura Hackett, Matt Gilman, Justin Rizzo, Jon Thurlow, Jaye Thomas, and others. Known for its freeflowing, Spirit-led, spontaneous worship, IHOP continues that tradition here, but also includes more service-friendly, structured songs of praise that could be

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used in any setting. There is a surprisingly eclectic mix of styles including the title track’s dance/ techno sound, several slower keyboard-led ballads, but also a surprise reggae/rap standout called “Survival Plan.” There is something for everyone here, and with the high production quality, solid lyrics, and singable tunes, this album truly captures some of the best worship moments from Onething 2013.

Sounds Like: Bethel Music + Jesus Culture with IHOP’s own distinctive sound.

TOP SONGS Most Singable: “We Make Room” Strongest Biblical Content: “Glory Be to the Righteous One” (Rev 22:17) The Whole Package: “For I Was Far” Resources Available: Behind-the-song videos BARRY WESTMAN

worshipleader

WORSHIPLEADER.COM

SONGDISCOVERY.COM

NWLCONF.COM

IN REVIEW

HARVEST

Curtains Go Forth Sounds harvestbashta.tumblr.com

Impossible. These are catchy, fun, and congregational. Young people will relate to songs written by their own generation and will also be introduced to classics like “Hallelujah (Your Love is Amazing)” and “When I Survey.”

VINEYARD UK

Sounds Like: High energy, synth-driven Vineyard songs

Rooftops: The Sound of Vineyard Youth Vineyard UK vineyardrecord.co.uk

TOP SONGS Most Singable: “Rooftops” Strongest Biblical Content: “Jesus Name” (Phil 2:9-11) The Whole Package: “Fiery Love”

Rooftops is a compilation of songs recorded from the Vineyard youth gathering called Dreaming the

GARY DURBIN

Harvest, much more than a singer/songwriter, is a sound painter who uses melody and production to create dramatic, cinematic settings for aching prayers, Scripture and impassioned lyrics. Sister to artist Daniel Bashta, who assisted in the production department and wrote one of the album’s six songs (“Praise the Invisible,” from his recent album). Harvest is a refreshing voice in a sea of sameness who delivers both intimate and epic songs of faith. She has served in the local church for years and desires to create/produce art for the Church.

Lyrics are mainly simple words and repeated phrases often drawn from biblical stories or Scripture, placing the listener directly in the

narrative, experiencing the song firsthand. “Dwell” puts you in the center of Psalm 27, verse 4.

“Make Us Ready” is part prayer and part proclamation fusing the parable of the 10 virgins with Matthew 5:14, while “God Demonstrates His Love” reflects the voice of Paul in Romans. The title track is a haunting, mysterious, paradoxical revelation of “Christ” and his Cross at the center of history, where “the curtains will rise and the curtains will fall.”

“Only One” combines the Lord’s Word to his bride from Hosea 2:16-17 and Revelation 3:12.

More individual artist and special music than congregational worship, yet all these songs belong in the Church. And stripped down to their melodic essence could and will be sung by and in churches.

Sounds Like: The dimensional power of Daniel Bashta fused with the atmospheric emo side of Hillsong and IHOP balladry: Brooke Fraser, Rita Springer, Misty Edwards plus … with the drama of piano-based synthy production that ebbs and flows, whispers and swells, pulsing drums, melodic percussion, and ascending waves of heavenly and encompassing sound.

Scripture-based songs for corporate worship produced

by Ed Cash & Scott Cash.

Available in iTunes and Amazon mp3 store.

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TOP SONGS Most Singable: “Praise the Invisible,” “Make Us Ready” Strongest Biblical Content: (All, but especially) “God Demonstrates His Love” (Rom 5:8) The Whole Package: “Curtains” Resources Available: YouTube videos and select lyrics online.

ANDREA HUNTER

FELLOWSHIP CREATIVE

Running to Follow Fair Trade Services fellowshipcreative.com Fueled by the joy of seeing lives changed by God, Fellowship Creative is a movement of creative types collaborating on original music that tells the story of who Jesus is and what he’s done in the lives of his people.

Running to Follow is a modernpop styled worship project grown out of that place where Scripture, life, faith, and art converge in the local church. This multicultural and multi-generational group is passionate about life transformation and excited to see how God is going to use this music to help others hear his story. Singable melodies, scripturally based lyrics, and diverse but exceptional musicians combine to make this project an outstanding example of creativity in worship music.

Sounds Like: Modern-pop worship music with an alternative flair providing a striking context for the creative sounds, steady beat, and scripturally sound lyrics from the uplifting worship album, Running to Follow.

TOP SONGS Most Singable: “Jesus My King” Strongest Biblical Content: “Magnify” (Isa 60) The Whole Package: “Glory in the Highest” Resources Available: Free chord charts, lyrics, tracks, and tutorials for bass, keys, and guitar are available at fellowshipcreative.com.

AMANDA FURBECK

of this EP are purposefully laced with similar biblical references and poetic lyrics.

BEN DOGGETT Deep to Deep bendoggett.com

In a genre flooded with pop and overdriven rock tunes, Deep to Deep is a worship album that offers a refreshing change-up.

Produced by veterans Ed Cash and Scott Cash, Deep to Deep swallows you up with a beautifully mixed blend of instruments and vocals. Ben Doggett’s lyrics are encouraging, thought provoking, and biblically based. In particular the song “O the Father’s Love” is a poetic interpretation of the Parable of the Prodigal Son. Ben is able to draw the listener into the story as he writes: “You kissed my face when I was your foe / Father You called me home / I had returned to beg at your feet / here you embraced me.” All five songs

Sounds Like: Acoustic-driven pop-rock with a nod to folk roots, however blended with a modern feel. This is accomplished through the use of a harmonica, great piano lines, as well as ambient and lead electric guitars to contemporize the sound.

TOP SONGS: Most Singable: “Name Above All Names” Strongest Biblical Content: “Romans Doxology” (Rom 11:33-36) The Whole Package: “Faithful One” Resources Available: Free chord charts (bendoggett. com/deep-to-deep/) KEVIN WEST

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THE MUSEUM

What We Stand For BEC Recordings themuseummusic.com The Museum releases their fourth studio record What We Stand For with a single purpose in mind: to lead the Church in worship. What We Stand For is The Museum’s response to God’s love and grace expressed to the world. The AGNUSDEI.pdf 1 9/12/13 Museum declares that they 9:37 are AM guided by the call in Micah 6:8,

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“to act justly, and to love mercy, and to walk humbly with our God.” Ben Richter (lead singer) says, “We want to be known for who we are as people of faith rather than the little things that we protest against. That itself can go a long way in bringing the world toward seeing who God is.” Every song can be used in a congregational worship setting. This record is the whole package and will serve the Church well for years to come.

Sounds Like: Hillsong Chapel/ Jason Gray/Elevation Worship TOP SONGS Most Singable: “Saved My Soul” Strongest Biblical Content: “Carry My Heart” (Ps 139) The Whole Package: “Forever and Ever” Resources Available: themuseum.storenvy.com JAY AKINS

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ETHNOS COMMUNITY CHURCH

The Ethnos Project, Volume 1 ethnos.us Inspired by the vision of Ethnos Community Church in San Diego, California, The Ethnos Project, Volume 1 includes 12 tracks with a world beat and world music vibe in nine different languages (English, Tagalog, Mandarin, Swahili, Farsi, Japanese, Spanish, Korean, and Estonian).The goal

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

See how CCLI can help cover you.

Music Licensing and Resources

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

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

Allows your worship teams and choirs to legally copy and share commercial audio recordings for rehearsal purposes.

Allows you to stream or podcast your live-recorded worship music on your church’s website or other streaming service.

Movie/Video Licensing and Resources

Movie clips and ideas to use for your sermon/teaching illustrations.

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

http://www.ccli.com

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IN REVIEW

of the project is to “encourage and capture sounds derived from various Christ-centered faith communities around the globe.”

This is truly a multicultural project, with some songs combining as many as three languages, and many different styles of music. Most of the songs are originals, and the three artists who collaborated on this project (Eric Lige, Vahagn Stepanyan, and Andy Delos Santos) did a great job combining instruments and vocals into a unique, new sound of worship. With great production quality, musicality, and an obvious passion for worship no matter the language, this project is a must for churches trying to incorporate multicultural music.

Sounds Like: A mix of gospel, jazz, world music, rich vocal harmonies, thick pads, and various languages, this project truly captures the sound of worship around the globe.

TOP SONGS Most Singable: “For This Reason” (English/Spanish) Strongest Biblical Content: “The Everlasting” (Ps 27:1) (Spanish/English) The Whole Package: “Adoration” (Mandarin/Tagalog/ Swahili/English)

Resources Available: Lead sheets for each song, including all languages BARRY WESTMAN

BEN SANDERS Sights & Sounds Ben Sanders Music bensandersmusic.com

With the iridescent airiness of Alaska’s Northern Lights juxtaposed to the awesome power of her natural beauty, Ben Sanders from Fairbanks, Alaska, has arrived with Sights & Sounds you must see and listen to. The plural in the title’s subjects—sight(s), sound(s)—hints that Sanders’ songs are visual and include more than one sonic shade. And they most certainly are/do. His music encompasses the shimmer of pop, the immediacy of folk/roots, the irrepressible energy of rock,

and the singer/songwriter’s creative and interpretive depth. The songs reach from grateful prayer (“Our First Love”) to exultant joy (“Ha! Ha! Ha!”) to raw vulnerability (“Katherine”) to gospel encouragement (“Son,” “Don’t Let Go”) to confident declaration (“We Will Go”), and beyond.

Sounds Like: A kaleidoscope of Jason Mraz, Rend Collective, a male Emmylou Harris, and a sprinkle of the best of contemporary modern rock. On “Psalm 29,” Sanders delivers a tribal semblance of Sons of Korah … on steroids. There is a dash of Billy Joel on “Yes I Do” and allusions to a smoother John Mark McMillan on “Love Has Come.” A polyphony of sound, vision, style, emotion, all wrapped up and rendered with exceptional freshness and artistry, which is matched by sensitive and content-driven production.

TOP SONGS Most Singable: “Sights & Sounds” (Ps 136) Strongest Biblical Content: “Psalm 29,” “First Love” (Zeph 3:17, Ps 51) The Whole Package: “We Are Free” ANDREA HUNTER

SUMMIT WORSHIP Our God Is Unstoppable The Summit Church Music thesummitworship.com

New indie label, The Summit Church Music, officially launches with the release of Our God is Unstoppable by Summit Worship.

It’s a biblically rich collection of original songs and fresh versions of classic hymns, including a cool, new spin on “I Surrender All.” Even the originals borrow familiar hymn lyrics. This album has solid writing, pure vocals, and is an ideal resource for the church in a corporate and/or personal worship setting.

Sounds Like: Sovereign Grace meets Worship Central TOP SONGS Most Singable: “No One” Strongest Biblical Content: “Create in Me” (Ps 51:10) The Whole Package: “Our God Is Unstoppable” GARY DURBIN

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will not only lead congregations to worship but, will also teach and instruct them well.

Sounds Like: Sovereign Grace/ All Sons & Daughters

ALL THE SAINTS

Live from the CentricWorship Retreat, No. 1 CentricWorship centricworship.com CentricWorship has taken some of today’s best worship artists and captured eight new worship songs birthed from a week-long retreat in the Cascade Mountains.

Writers and artists like, Michael Farren (Pocket Full of Rocks), Jared Anderson (Desperation Band), Henry Seeley (Planetshakers), Seth Mosley (Billboard’s #1 Christian Producer of 2013 and #3 Christian writer of 2013), Anthony Skinner, Mia Fieldes (Hillsong), and others all participated in this project. All of these songs are written for the Church and are very accessible for any worship setting. Dripping with truth and doctrinal accuracy All the Saints

TOP SONGS Most Singable: “Love Comes Down” Strongest Biblical Content: “Nothing but the Blood” (1 Jn 1:7) The Whole Package: “All the Saints (Holy, Holy, Holy)” JAY AKINS

sion of South Eastern University or SEU—to “equip students to discover and develop their divine design to serve Christ and the world.” While this project succeeds in that many of their songwriters and leaders get a chance to showcase their gifting with excellence, it will be difficult for those in search of new material to find complete songs ready to be added to a Sunday set list. These are good, but not great songs that display moments of brilliance but then lose consistent theological focus lyrically and are often hard to follow melodically.

Sounds Like: An interesting blend of college-age instrumentation poking out from behind pervasive “live” congregational singing and standard musical voicing which, despite the age of the participants, make it sound more like a Hillsong than a United.

SEU WORSHIP

So All the World Will Know SEU Worship seu.edu/seuworship/ So All the World Will Know is an accurate reflection of the mis-

TOP SONGS Most Singable: “New Life” Strongest Biblical Content: “Be Strong”(Ps 31) The Whole Package: “Grace Unfolds” Resources: Take a listen to the entire project for yourself free on Spotify; watch videos of their recording or download all the words

and chords from their website: seu.edu/seuworship.

STEVE REED

CAROLINE COBB

The Blood+ the Breath: Songs That Tell the Story of Redemption carolinecobb.com Caroline Cobb sings the story of redemption in her album The Blood + the Breath: Songs That Tell the Story of Redemption.

Cobb set herself an incredible goal: to write a song for every book of the Bible in one year, to be completed by her 30th birthday on 11/11/11.The Blood + the Breath is a thoughtful collection of songs taken from this year of songwriting, tracing the redemption story from creation to Christ’s second coming. These

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modern hymns stand out for their theological insight, lyrical melodies, creative storytelling, and close connection to Scripture.

This worshipful collection vividly portrays God’s love for humanity through the eyes and music of a singer/songwriter who loves him and his Word.

Sounds Like: Caroline’s sweet, mellow voice adds cohesiveness to this creative album which features an acoustic folk and pop sound. The highly Scriptural lyrics

and mellow music have been compared to that of Sandra McCracken and Rich Mullins.

TOP SONGS Most Singable: “He Is Risen” Strongest Biblical Content: “Breath of God” (Acts 1 and 2) The Whole Package: “Dry Bones” Resources Available: Chord charts and e-devotional available at carolinecobb.com.

AMANDA FURBECK

MIRANDA DODSON Ascend mirandadodson.bandcamp.com

changes and classic hooks that are memorable with rock guitar and relevant lyrics. “We Are Waiting” is reverent and reminiscent of popular artist Sia in tone and vocal range. However, Miranda’s heart and passion for Jesus Christ and are most notable on “Divine Love,” a beautiful piano-vocal with light string touches that lend themselves to this poetic and melodic love song that encompasses God’s care and call for our lives.

Sounds Like: Alt-country with a nice mix of piano-driven tunes.

Miranda Dodson is a singer songwriter that heralds from the emerging musical mecca of Austin, Texas. Ascend is a roots-rock, alt-country EP theologically centered on the new song, the new creation in the victory of Jesus Christ. “Victorious” leads off the project with an energetic rock ballad that cascades through tempo

TOP SONGS Most Singable: “Victorious” Strongest Biblical Content: “Apostles Creed” (Eph 4:9) The Whole Package: “We Are Waiting” DARRYL BRYANT

Multiple Grammy and Dove Award winner Steven Curtis Chapman plays Kawai. Experience the difference our instruments will make in your music.

Kawai keyboards are featured on Steven’s new recording, The Glorious Unfolding, available now.

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PERSONAL PLAYLIST

Worship major

JJ HELLER

I Dream of You Stone Table Records | jheller.com Judy Jennifer (JJ) Heller is a prolific artist and songwriter. I Dream of You is JJ’s latest release, which is a collection of love songs and lullabies.

Heller wrote this collection specifically for those in her fan base in search of these specific categories of song, but by the sound of “Daydream” and “Keep You Safe,” her children are the number one audience. Spoiler Alert: these songs are addictive. The subtle instrumentation and quaint arrangements immediately draw you in and have you searching your smart phone for contacts to pass I Dream of You along to friends and family.

Sounds Like: Francesca Battistelli and Plumb with California-influenced worship embracing balanced arrangements that merge various guitar, strings, and piano tones with infectious results.

TOP SONGS Most Singable: “Big World Baby” and “I Get to Be the One” Strongest Biblical Content: “The Sun Will Rise” (Ps 30:5, Mal 4:2) The Whole Package: “When I’m With You” DARRYL BRYANT

Training worship leaders for the ever-changing climate of worship while grounding them in the never-changing truth of God’s Word.

• Interdisciplinary education in music, worship, and theology • Low student-teacher ratios • Training in contemporary voice, guitar, and piano

• Practical experiences and internships • Electives in fields such as electronic media, youth ministry, and missions 1-800-CEDARVILLE (233-2784) cedarville.edu/worship

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THE

BOOKSHELF JOSEPH M. STOWELL Redefining Leadership Zondervan

JEANELLE REIDER The One Voice That Matters NCC Publishing Jeanelle Reider has a heart not only for worship but for those who lead it. Creating a catalyst for listening, Reider tells evocative stories, wins trust with fitting and encouraging self-revelation, as well as offers inspired Scripture

application. She has rendered a template for relationship with God in Christ our Shepherd. She illustrates the great honor, privilege and responsibility of being under guidance and the imperative filtering “out every other voice so we can hear what our shepherd is speaking to us.” More than that, she actually provides the means of cultivating a listening heart and

a vibrant relationship for life and leading. Equal parts devotional, adventure, map, guidebook, confessional, worship leader’s scriptural compendium, The One Voice That Matters is essential reading for pastoral leaders of all descriptions, especially those who lead the flock in worship.

ANDREA HUNTER

Many books have been written on leadership theories to motivate people to get a desired outcome.

But former Moody Bible Institute president Joseph M. Stowell explains that the most effective leadership derives from being a follower of Jesus Christ. He stresses the importance of being a character-driven leader who sets an example by living a godly life based on Christ’s teachings instead of being an instinctive-driven leader who relies on personal ability and positional authority.

JEFF FRIEND

C HRISTMAS 2014 from Brentwood-Benson Music Publications Musical DRAMA

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SING CHRISTMAS!

Celebrating the Birthday of a King A Ready To Sing Christmas Adult Easy SATB 40 Min. Arranged and Orchestrated by Russell Mauldin Created by Russell Mauldin and Sue C. Smith

12 Classic Carols for Congregation with Festive Arrangements for Choir and Orchestra Adult Moderate/Difficult SATB 12 Arrangements 40 Min. Arranged and Orchestrated by J. Daniel Smith

EVERYBODY SING GLORY!

GOD IS WITH US!

A Praise & Worship Youth Musical for Christmas Youth Moderate/Easy SAT(B) 36 Min. Created by Luke Gambill and Johnathan Crumpton Arranged by Luke Gambill

A Simple Series Christmas Adult Easy Unison/2-Part 23 Min. Created by Mason Brown and Sue C. Smith

CHRISTMAS MAKES EVERYTHING NEW

DAVID’S DYNASTY

BORN IS THE KING – It’s Christmas!

AN UNPLUGGED CHRISTMAS

A Christmas Worship Experience with Travis Cottrell Adult Moderate SATB 62 Min. Created by David Moffitt, Sue C. Smith and Travis Cottrell Arranged by Travis Cottrell Orchestrated by Daniel Semsen A Multi-Generational Christmas Celebration for Adult Choir, Student Choir, Children’s Choir and Orchestra!

Moderate SATB 42 Min. Created by Luke Gambill and Sue C. Smith

A Bearded Family of Shepherds Finding their Heritage in the Christmas Story!

Kids Easy Unison/Opt. 2-Part 37 Min. Created by Gina Boe, Barb Dorn, Sue C. Smith and Christopher Davis A Simple Plus Musical About The Biggest & Brightest Christmas Show Ever!

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CARLOS WHITTAKER Moment Maker Zondervan

us to Jesus, the greatest Moment Maker. This book is for every believer who desires to live each moment as God intended it.

FRANK VIOLA Jesus Now David C. Cook

will transform not only you, but the people and world around you.

In his book, Moment Maker, Carlos Whittaker combines the humor and pacing of a born storyteller with the heart and passion of a man who lives life on purpose for Jesus. As he deftly draws us in to some of the outrageous and poignant moments that make up his story, we are inspired to cull meaning out of our own moments and live life on purpose too.

Whittaker arranges moments into three types: Created (moments we intentionally set out to make happen), Received (unplanned-for moments that we accept as gifts and “allow God to put his spin on them”), and Rescued (moments that prompt us to acknowledge our shortcomings and apply the grace God offers). Throughout the book, Whittaker is quick to point

JEANELLE REIDER

Frank Viola confronts us with the possibility of faith that is more than a tired attempt to emulate Jesus. He gives us the scoop on what Jesus is really doing “now,” and therefore what we as his body are called and empowered to be and do in Christ. Viola recounts and illustrates the gospel truth through stories and Scripture reminding us of familiar, but forgotten, foundations and pouring out fresh revelation. A discipleship book in every sense of the word, Jesus Now will, in the words of Leonard Sweet (who writes the introduction to Viola’s book and to whom the book is dedicated), “show you how to write the gospel within the text and textures of your own life.” Clearly, in such a way that your writing and living

STEVEN GARBER Visions of Vocations InterVarsity Press

TIMOTHY WILLARD AND JASON LOCY Home Behind the Sun Nelson Books Timothy Willard and Jason Locy encourage Christians to experience the brilliance of life in Jesus.

His glory is on display all around us: in our work, in our difficult times, in the beauty of creation, and in every facet of our lives.

Even when the storms and shadows of life come, Jesus’ brilliance can overcome them with the power of His glory. Worship leaders will be inspired to focus their congregations on God’s majesty.

JEFF FRIEND

ANDREA HUNTER

While many people may define vocation as one’s occupation, Steven Garber argues that vocation also includes relationships, citizenship, responsibilities, and much more. Vocation combines knowledge, experience, and skills in a more global impact while living out God’s calling. When considering all the problems and complexities of today’s world, Garber suggests Christians ponder the question, “Knowing what I know, what am I to do?” His challenge resonates with people of every vocation—from farmer to homemaker to doctor.

JEFF FRIEND

STUDENT BAND VISIBLE WORSHIP #5 ON ITUNES CHRISTIAN CHART

SEE YOURSELF AT VISIBLE WAKE UP, GO TO CLASS, WRITE SONGS, STUDY, REHEARSE, EAT, SLEEP, REPEAT. BACHELOR DEGREES IN MUSIC, MUSIC BUSINESS AND MUSIC PRODUCTION 76

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1-877-55-VISIBLE seeyourself@visible.edu visible.edu

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PROGRAMMING RESOURCES We know with Easter being as late as it was this year, you’re only now fully recovered from that holy dispensation of energy that was your Holy Week worship-leading. No rest for the weary, friends, as it’s never too soon to begin to look at how God might use your worship team this Christmas to advance his kingdom through your ministry.

Here are some of this year’s best Christmas choral musicals for your consideration.

By Warren Anderson

TIM SHARP An Early American Service of Lessons and Carols Brookfield Press Okay, this is technically a rerelease, but it is so unique that it warrants attention here. Tim Sharp, president of the American Choral Directors Association, reaches back into early Americana—with instrumental parts for the likes of recorder, banjo, and hammered dulcimer (among more modern accompaniment)—for this atypically traditional lessons-and-carols service. Spritely arrangements of classics like “Oh, Come, Little Children” and “Rise Up, Shepherd, and Follow” join less-familiar fare (“The Saviour’s Universal Prayer” is a moving solo setting of what is

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otherwise known as “The Lord’s Prayer”) and scriptural lessons for a Christmas worship service unlike any other you will likely attend this year or in a season of years.

If you want to do something really different this year with your worship team, this is your ticket.

HALLEONARD.COM

PEPPER CHOPLIN Images of Adoration Lorenz Years ago Robert Webber was predicting younger evangelicals would help the Church once again embrace symbolism in Christian worship, and it seems as if he was—here, as in so many other ways—prophetic where the direction of worship is

concerned. An appreciation for the role of symbols in worship is becoming a hallmark of this generation’s worship leaders, and here’s a choral work that speaks to this. Throughout 96 pages, Choplin peppers this musical with references to such favorite Christmas symbols as candles, crimson flowers, greenery, the nativity, and the star of Bethlehem. The easily learned music can be augmented with a full orchestra, parts for two narrators, and online suggestions for bringing the symbols to bear in the midst of your worship service.

LORENZ.COM

DAVID CLYDESDALE My Heart Longs for Christmas Lillenas Regular readers of this space see the name David Clydesdale

CHRIS LOVEJOY

ing Redman, Stanfill, and Tomlin).

Clydesdale’s standard tip of the hat to Noel nostalgia shows up in the opener, “Everything I Love” (“List’ning to Sinatra sing all the songs the season brings”), and other highlights include a nice, acoustic-guitar driven medley, “Sing Me the Songs of Christmas,” with optional congregational participation.

LILLENAS.COM

frequently, and for good reason, as he remains, after all these years, one of top arrangers of big, bold, in-your-face declarations of power praise. Several opportunities for your troops to rear back and let ‘er fly are here, none so moving as the closing song in the musical, “Jesus, Only Jesus,” the recent offering from six of contemporary worship music’s most recognizable names (includ-

RANDY VADER, JAY ROUSE, & ROSE ASPINALL Three Gifts PraiseGathering When you’ve been writing Christmas musicals as long as Randy Vader and Jay Rouse have, it gets a little difficult to find new ways to tell the age-old story. Props to both and drama-companion col-

‘You YYou Love Me Still’ as heard on

VOL 117 Jul/Aug 2014

I’m not surprised that Chris was inspired to pen ‘You - the presence of God is Love Me Still.’ His passion for the kind that changes generations.

- John Vogt, Gateway Church, Southlake, TX

‘You Love Me Still’ is one of those once-in-a-lifetime kind of songs that beautifully paints the picture of the gospel message through music.

- Bobby Hancock, Georgetown Baptist, Pottsboro, TX

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laborator Rose Aspinall for the creative construct which is Three Gifts.

Of course, we immediately associate the title with the gold, frankincense, and myrrh brought by the Magi, but woven through the musical are expressions of the gifts we can bring at Christmas: our life, our heart, and our praise. Featuring eight new songs (“The Virgin Mary Had a Baby Boy,” with its low D for the basses on “He Come Down,” will be a hit), a few Vader-Rouse past faves (“Tell It on the Mountain”), and Vader’s marvelous narrations, Three Gifts will appeal to congregations of all ages.

PRAISEGATHERING.COM

LLOYD LARSON Were You There on That Christmas Night?

Hope Need something a little easier and shorter this year, perhaps for a nice, half-hour choral worship experience on Christmas Eve? Lloyd Larson has based this musical on Natalie Sleeth’s well-known title anthem, which asks its question as poignantly as the Lenten season’s spiritual “Were You There (When They Crucified My Lord)?”Additional highlights include very lovely settings of two modern-day Christmas classics, Chris Rice’s “Welcome to Our World” (with soprano-tenor duet) and Michael W. Smith’s haunting “All Is Well.”

By the end of your time of worship, your congregation will be able to respond to the title question with a resounding “yes.”

HOPEPUBLISHING.COM

album available worldwide

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All Pro Sound............................................................................................61 Audix.........................................................................................................81 Ben Doggett..............................................................................................66 Brentwood Benson....................................................................................75 CCLI..........................................................................................................69 Cedarville University.................................................................................73 Chris Lovejoy............................................................................................78 Christian Copyright Solutions.....................................................................7 EH Publishing...........................................................................................77 FairHope Direct.........................................................................................55 Forerunner Music......................................................................................74 Gateway Worship........................................................................................5 Integrity Music .............................................................................13, 59, 79 Judson University.......................................................................................9 Kawai........................................................................................................72 Liberty University......................................................................................53 Motion Worship........................................................................................37 National Worship Leader Conference..................................................24, 25 New Life Worship......................................................................................51

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The Audix MicroBoomTM

Flexible, Scalable Microphone Systems for

Choir Miking The Audix MicroBoom System is a uniquely flexible and scalable solution for ensembles of any size. Rather than hanging fixed mics, the MicroBoom system lets you place them where & when needed, for any size choir or orchestra.

Award-winning MicroBoom models feature the M1250B Micros Series condenser or the higher output M1255B. Available in cardioid and hypercardioid polar patterns to achieve the precise coverage pattern required.

Lightweight, carbon-fiber booms are available in 24-, 50-, and 80-inch lengths with flexible steel goosenecks that place mics precisely where needed. Booms include standard mounts that work with any mic stand.

This system yields a clean, minimalist look on the platform and on video.

Mount Pisgah United Methodist Church John’s Creek, GA Photo by Andrew Howard

“The sonic quality, coupled with the small footprint of the MB5050, make these a great solution for our choir. I can easily move them or add more as needed for any situation!”

Mickey Lyons - Technical Director, Mount Pisgah Church

BY CHUCK FROMM

THE POWER OF TOUCH God’s Word for most of my living history.

The Elvis record won a Grammy and the Gaither’s music took off. “He Touched Me” touched nearly all of us, helping us to both visualize, feel, and remember the healing presence of God. And it was the first gospel song I learned to play on the piano!

TUNE IN

He touched me, Oh He touched me, And oh the joy that floods my soul!

Something happened and now I know, He touched me and made me whole.

Bill & Gloria Gaither

O

ver the past 50 yeas or so, the Gaither’s have created a number of great hymns that poeticize the Christian faith and walk. For example, the Gaither tune “Because He Lives” sums up our life’s purpose and motivation. In fact, we will sing that hymn in the opening session of the Kansas NWLC with the Gaithers. Their song “He Touched Me” echoes the story of the sick woman in a “mosh pit” reaching out to touch Jesus.

And in the interaction of that touch, a miracle happened.

Interestingly a miracle also happened with that song. It was covered by the King of Rock ’n’ Roll, Elvis Presley, and subsequently catapulted two Indiana schoolteachers into the popular music culture.

The result was the development of a ministry platform the Gaither Music Company, which has been a faithful servant of

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Touch is indeed one of the great faculties we have been gifted with by God in order to communicate with others as well as impact our environment. Feeling is generated by not only seeing but touching—in fact the entire human sensorium is involved (seeing, hearing, feeling, touching, tasting). The sensorium is defined as a “creation of the physical, biological, social, and cultural environments of the individual organism and its relationships while being in the world.” Missionaries understand that different cultures have different “sensoriums.” Whatever combination of “multimedia” (words, music, pictures) is being used by the “communicator” it must be tuned to the listener.

The Hebrew culture, for example, was tuned to hearing: “Faith comes from hearing,” the writer of Hebrews says, and “heard through the word about Christ.”

(Rom 10:17). The Greeks, however were a visual culture, more inclined towards the seeing end of the sensorium.

MORE THAN VISUALS It’s very important to realize that it’s easy to put all your worship eggs in the technology basket. Doing a “sensorium” inventory of the media you are using may open up new avenues of communication between God and his people. “Taste and see that the LORD is good” (Ps 34:8).

God’s touch goes all the way to the heart.

Of course in our rock ’n’ roll, videocentric culture, often sound and visuals tip the sensorial balance away from the

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human touch. As we look at Scripture, we find we must never underestimate the transforming power of touch. In the story of the healing of the woman with the issue of blood mentioned previously, touch was at the center. People were pressing in to touch the man with an already established reputation for healing. It was a snarl of bodies: sweat, grasping hands, desperate need and hope. But there was one touch that went beyond all the others. One touch that connected, where God and a woman’s faith converged and they encountered each other in a moment of transforming healing.

THE DIVINE TOUCH And the fact is whatever means and media you use in worship, it’s the touch of Jesus—present by the Spirit—that connects through, beyond, and sometimes despite the visuals, sounds, and words we use. And his is the only touch that truly makes a difference. Only Jesus’ touch lifts our practices from being experiences to encounters.

It’s equally true that people hear better in their own sensorial language, they let down their guard when the services sync with their sensorium, their musical style, their translation of the Bible. But ultimately our faith is in God, not technology—in the energizing, creative Father who breathes life into dust, shapes clay; the Holy Spirit who baptizes with fire, rebirths souls, and brings the dead to life with resurrection power; our Savior Jesus who touches us and we will never, ever, be the same. W CHUCK FROMM is CEO/Publisher of Worship Leader magazine.

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