Easter is Here

 Well, Easter is not ACTUALLY here yet, but most of us in worship ministry have begun making plans for the Easter season.  Depending upon your rehearsal schedule, some have already started working on the Easter cantata;  I’ll conduct my first rehearsal of the season this Wednesday evening.

Since I have a seasonal choir only — coming together for Easter and/or Christmas — I have spent much of the week praying for the singers who will join me and getting the word out through Facebook, bulletin announcements, and letters.  I have a number of singers in mind that I would like to see in the choir and I’ve done as much as I can to make it happen.  Now I simply watch God work things out for His ultimate glory.

This year, I have several young ladies between the ages of 12 and 15 who enjoy singing, but have never experienced singing in an organized group.  A few of them read notation; others have no formal training at all.  I have invited these girls to sing in the choir this year and am working on developing a mentorship program that will connect these young people with established members of the music ministry.  I’ll definitely have to let you know how that goes.

Like many seasonal choirs, I have gaps in certain sections of my choir. I have very few sopranos and basses.  That means I have to spend a lot of time searching for a work that is pleasant to sing and listen to that has a limited range.  Normally, I’m not terribly satisfied with my options, but this year I was pleasantly surprised to find Grace in All Its Glory.  This musical from Camp Kirkland features settings of traditional hymns (including O Sacred Head Now Crowned with Thorns) as well as works from the southern Gospel and contemporary praise and worship genres.  The soprano line never extends above the top of the clef and  rarely settles in the upper tessitura. With lots of doubling and unison lines, Kirkland’s musical is easily assessible by virtually any choir.

Now that the choral selections are made, it is time to begin focusing on the new music I will introduce into corporate worship during the Lent season to prepare out hearts and minds for the celebration of Easter.  More on that next week.  In the meantime, I’d love to hear about your Easter plans.  What cantata is on the agenda this year?  Have you found a great song to teach the congregation? 

 

Totally Devoted

 Worship leaders find themselves extremely busy each week as they prepare for the Sunday services.  Song selection, finalizing keys and instrumentation, and rehearsals dominate the early part of the week.  As the week continues, we oversee projection, make final adjustments to our chord charts, rehearse some more, and communicate final details with the senior pastor as well as the members of our team.  We are so devoted to making the music as excellent as it can possibly be that I sometimes fear we forget to devote our hearts totally to the One to whom we are singing.  At least, I know I have been guilty in the past.

During the first 21 days of the New Year, my church has called its members around the world to a time of seeking and recommitment.  As part of this call, members were encouraged to participate in some sort of fast during this time.  Fasting, though not a popular topic or discipline, is an essential way of bringing our will in line with the will of the Father.  Fasting can be so much more than food…..and that was important for me to understand.  While I “knew” this fact to be true intellectually, I had never really participated in an extended fast.  

I don’t believe it is necessary to tell you how I fasted or how long I did it;  the point is not to proclaim my accomplishments.  The outcome of the fast in my life is much more important.  While I eliminated things from my life as a sacrifice of praise to my Father, He drew me to Himself and spoke directly to my heart through His Word and His Spirit.   I don’t think I will ever be the same again!  

Am I perfect?  Not by a long shot…..I’m still a work in progress…….but I am actively pursuing a life that will be more and more like Christ everyday.  Man’s opinion is mattering less and less to me; I want Him to find pleasure in my worship and my life.  And I’m taking comfort in the words found in Deuteronomy 31:6:  ”Be strong and courageous. Do not fear or be in dread of them, for it is the Lord your God who goes with you.  He will not leave you or forsake you.”  Now THAT’S what I call a promise to depend on!

I’m looking forward to a wonderful day tomorrow filled with worship of my resurrected King!  I pray that you are blessed as you lead your congregation in worship and that all of our songs rise to the Father as sweet praise that His Spirit will inhabit. 

Kennith

Worship Wars

 Every church faces worship wars at one time or another.  The comments come in many varieties, but the basic issue is always the same.  ”I don’t like style X.”  ”Why does every song have to be so old?” “Why all this loud new music?  Weren’t the hymn writers inspired as well?”  When worship wars erupt in a local congregation, they can be a major source of stress for the worship leader as well as the senior pastor.  Hopefully by understanding that these complaints are really nothing new, some of the stress will be eliminated and our focus will remain on the One who we worship.

Historically, the most famous worship war occurred during the Counter Reformation.  The Council of Trent, a meeting of bishops considering reforms within the Roman Catholic Church, complained that the current form of music was too loud because of those new-fangled organs and was too worldly in its structure.  Composers were beginning to include secular melodies in their sacred works;  in other words, Saturday night’s dance sounds were finding their way into the Sunday morning mass.  The kicker, however, was the complex harmonic structure of the music.  The music was getting in the way of understanding the text in the opinion of the Church elders. The Council of Trent made a single recommendation – let’s end the conflict and just return to the official music of the Church…..Gregorian chant.  Let’s just keep doing things the way we have always done them in order to stay comfortable.  (Sound familiar?)  Thankfully for musical development, the Council saw the error of its ways and polyphonic music continued to be a part of the sacred worship service.  (In my Music Appreciation class, this is the point that I would recommend they listen to Palestrina’s Pope Marcellus Mass to hear an example of the beautiful music that came out of this conflict.  If you aren’t familiar with the piece, do a youtube search now and take a listen.  You will be glad you did!)

Because our current situation is based in worship and not history (a common rebuttal to the above argument by many traditionalists), let’s also examine music in the Scripture.  Music has been a part of the worship service since its earliest inception.  Recall the role of the Levites in preparing music for the various feasts and festivals of the Jewish people as recorded in the Law of Moses.  It is assumed that these priests received formal training in music theory and performance as part of their rigorous preparation.  As we move forward in Jewish history, we encounter Israel’s greatest songster:  David.

David’s early life was that of a shepherd boy.  While Scripture does not confirm this, I find it hard to believe that there would have been time (or finances) for private instruction in harp-playing and song writing for this country boy.  David was probably a self-taught musician;  many of his songs as recorded in the book of Psalms are so highly esteemed because of their simple quality.  These simple down-to-earth songs had little in common with the high praise songs heard in the Temple on a regular basis.  Despite their simplicity and repetition (consider Psalm 136 and others), David’s contemporary songs brought joy to the ears of the Heavenly Father.  After all, David was a man after God’s own heart.  (Acts 13:22)

Imagine the struggles within the New Testament church immediately after the resurrection of Christ.  The traditional Jewish songs were still true of the majesty, excellence and glory of God, but the Church now needed new songs to express their revelation that Jesus was the Christ!  The old songs simply could not adequately express the new work that was being done in their heart.  The issue is expounded even further when the Holy Spirit comes in Acts 2;  then and now — new experiences require new expressions of the Spirit and soul.

I can only imagine the struggle the early Church faced as they attempted to blend their traditional Jewish music with the songs written for the new day in which they were living.  Based upon the frequent statements regarding the Church’s unity of mind, I am convinced that they kept their focus on the One they were worshipping rather than the mode in which their praise was expressed!  What a lesson our modern congregations could learn from this…..and how our Father would be honored if we would simply worship Him in unity of voice, mind, and purpose.

Are contemporary songs anointed?  Some are, some are not.  Weren’t the songs of previous generations anointed?  Some were, some were not.  The discerning worship leader will prayerfully follow the movement of the Holy Spirit in the lives of the congregation they serve and blend music — old and new — to lift high the praises of the One we serve. 

Certainly we won’t all like the same style of music used in our worship service.  However, when we all love the One we are worshipping and keep our focus on Him, the style won’t matter so much…..only the heart of worship will.

Blessings!

New Year, New Songs

Another year has arrived.  Resolutions and planning abound.  As we make plans and resolutions for the new year, it can be easy to forget our role in ministry as we resolve, plan, and dream.  This week, I’ve been doing a lot of thinking about what I want to do better this year as a music minister.
 
There are goals that address needed improvements in the technological issues of the worship service.  Many of these have already begun to be implemented….and I’ll keep you updated on those in a future post.  I also want to improve the offerings for involvement in the music ministry by a larger segment of the congregation.  As a result, I plan to present an Easter cantata this year after several years of hiatus.
 
The goal that will prove to be most challenging for me is including more “new” music in the worship service.  Just the idea of adding “new” music is riddled with challenges.  How does one find the best new music in the enormous praise and worship market?  While there is something to be said for finding out what other churches are singing, it is important to remember that each congregation has a unique DNA.  Just because a song is a stirring anthem for one worship setting does not mean it will fit another church’s needs.  There is no easy way to plow through the music to find the one that will speak to the local body of believers while successfully blending with the current musical landscape of the group.
 
Once you finally find the song, then comes the process of either finding the scores (which can be more difficult that you might imagine) or creating an original chord chart.  That leads us to teaching the choir and/or praise team the song before introducing it to the congregation.  It’s a never-ending process…..daunting, yes;  but also rewarding and what we are called to do as ministers of music.
 
My senior pastor is planning on preaching sermon series throughout the year that will last roughly 4-5 weeks.  What an opportunity to assist his ministry by including a new song that is relevant to each series!  That is my goal for the year 2012.  The challenges I face are getting a handle on his plans far enough in advance to research songs, get music, and teach it to everyone involved.  The rewards……are beyond anything I can imagine.  This is where hearing the voice of God as I seek His will in all aspects of the ministry will be crucial.  Pray for me as I begin this journey.
 
What’s the last new song you taught your congregation?  I’m always looking for ideas…..
 
Blessings!
Kennith

In Search of Advanced Offertories

Like many church pianists, I am constantly searching for new piano solos that are advanced harmonically and technically while still maintaining a worshipful quality for use in the weekly worship service.  Sadly, this proves to be more difficult than one would expect.
 
Before the Christmas holidays began, I ordered some choral music from Word Music to preview for the new year and noticed that there were several new folios of piano solos.  I decided to take a look and was encouraged by the description of two books in particular:  Hymns for the Spirit arranged by Matt Hyzer and The Best of Cindy Berry.  Both books are included in Alfred’s Sacred Performer Collections and are labeled as “early advanced piano.”
 
When I received the music, I was sadly disappointed!  Cindy Berry’s arrangements are of her original choral works — so not terribly useful in a blended worship setting.  This was a fact that I missed in the ordering.  Hyzer’s arrangements are simple, but nice. However, they are almost too easy to include in a normal service, but might be nice to include in a youth emphasis service or a week that has a lot of thick textures in other parts of the service.
 
While I am not thrilled with the content, I realize that the source of my irritation is due to the marketing by Alfred’s.  The label of “early advanced” suggests that there will be some level of mature playing required to navigate the arrangements;  what I found should be appropriate for a piano student with 5-6 years of study under their belt.  Have all of our labels been dumbed down to make pianists feel better about their skill sets rather than giving an accurate representation of the content?  I’m frustrated by the situation, I don’t have a solution to recommend, but I know that I probably won’t be purchasing any more solo books via the internet in the foreseeable future.  Thankfully, I have some wonderful arrangements by Marilynn Ham and Bill Wolaver to rely on for a few weeks.  
 
Which arrangers do you return to when you need something musically satisfying for your weekly offertory?  I’d love to get some recommendations of collections to check out.
 
Blessings!
Kennith

Loving God Through Worship

Rarely do I share sermons, but I stumbled upon this one tonight and was profoundly touched.  It is especially appropriate for those of us who labor in worship ministries.  The sermon is preached by Brian Bloye, lead pastor of West Ridge Church in the metro Atlanta area.  I hope that you will be blessed.  (By the way, check out their website at www.westridge.com; some truly interesting things for worship ministry there.)

 

http://vimeo.com/27407523

 

When Offenses Come

Let’s face it……we are all going to be offended at some point in our ministry.  Matthew 18:7 makes it pretty clear that offenses must come into the life of every believer.  It’s a sad fact, but a part of life.  Offenses may come from various sources; family members, colleagues, leaders, and congregants can all be guilty.  Some are malicious in their intentions while others are lashing out due to a misunderstanding, ignorance, or personal hurt.  While it is clear that offenses will come, how we respond to the offense is where the real battle takes place.

When my senior pastor preached on this very topic a few months ago, one statement stuck with me more than any other:  ”Hurt people hurt people.”  (It’s not a typo……read it several times and let its meaning sink into your core.)  There are two truths to be seen here.  First, notice that the initial response when we are offended is to get even…..to hurt someone else as much as we have been hurt.  That’s humanity in us.  No wonder Jesus said that we are to “bless those who curse us.”  (Luke 6:28).  That action is so contrary to our natural response that the fruit of His spirit abiding in us in clearly evident.

It is also important for us who work in ministry to see that the one doing the damage is probably severely damaged himself.  They have been hurt by people’s comments or things are going on in their life that we can never fully know.   That shows us why Jesus continues His instructions by telling us to “pray for those who mistreat you.”  When I actually pray for the one who has offended me, a few things happen.  First, I begin to see that person with the eyes of Christ.  While I am praying for the guilty one, I am also allowing the Holy Spirit to do a work within me…..eliminating all the vile feelings I might harbor against the individual.

Is it possible to avoid being offended?  Not according to Jesus’ statement in Matthew 18, but I think that we can be aware of the circumstances that create offense and make sure we are on high alert in those seasons.  For instance, in my personal life I know that three things make me susceptible to being easily offended.  At the top of the list is extreme tiredness.  This tends to be accompanied by stressful situations in ministry.  During these seasons, I know that I have to insure that I spend additional time in prayer and Bible reading to make sure my heart remains pure and that I constantly “guard my heart.” (Proverbs 4:23)  The other two issues are actually relationships that I know I have to avoid;  I’m not rude to these individuals.  I simply know that I need to avoid interacting with them for prolonged periods of time.  I am thankful to say that two of these situations are getting better all the time and I am learning to handle the challenges with victory.

However, there are times when it seems as though someone is simply out to cause us offense as a sport.  They repeatedly wreak havoc on our world and seek to destroy our ministry.  What do we do in these situations?  I’m facing one of those periods right now.  I don’t have a solid answer to share with you, but I will tell you the verse that I am reminding myself of daily:  ”How are they increased that trouble me?  Many are they that rise up against me…….But You, O Lord, are a shield for me — my Glory and the Lifter of my head.  I will not be afraid of ten thousand people who have set themselves against me all around.”  (Psalm 3:1-3; 6)

Musicianship Development: Keyboard Skills

As we continue to perform a self-evaluation of our skills as musicians, consider your ability at the keyboard.  Can you play a simple melody to teach a song or vocal part?  Do you have the skills to play a vocal reduction or a standard hymn setting with both hands?  If necessary, could you provide adequate accompaniment for a service?

Each question reveals varying levels of piano proficiency.  It is essential that all worship leaders be able to at least play a simple melody on the keyboard.  It is not unreasonable to expect that they can play a four-part hymn or a basic vocal reduction that you would find in the majority of the choral anthems of the church.

The ability to play for a service may not be necessary in all situations.  If you are guitarist, you can probably get through an acoustic set and not inhibit the service at all.  Accapella music can be beautiful, but it is not always an option for a congregation that does not practice this type of singing on a regular basis.  If you are a vocalist leading worship, I feel as though you should be able to provide a simple chordal accompaniment at least.  I’m not suggesting that you must be able to play a beautiful solo on the instrument.  I am simply suggesting that when you receive the inevitable phone call on Sunday morning that your pianist is ill that you have a basic skill set to get through the morning if a replacement is not available on such short notice.

How do I develop these skills?  All of you reading have already realized that piano lessons are one avenue to accomplish this goal.  As a pianist, I am a huge proponent of this approach, but I also realize that it is a tremendous commitment and may not be the best option for your circumstance.  There is another method to consider.  Rather than enrolling in traditional lessons, seek out someone who can teach you to play “by ear.”  A thorough knowledge of chord progressions and the various ways you can play chords can give you a head start on getting yourself through a service, especially if you want to hear more than the notes that are printed in the hymnal.  Many students find that instruction in “playing by ear” allows them to progress more quickly and begin playing pleasing arrangements right away.  The best situation, in my opinion, is to have a teacher that can provide instruction in both methods — chords and reading — and learn to marry the two over time.

I hate to tell you, but there is no quick fix to this developmental issue.  It takes time, commitment, and practice to develop skills at the keyboard.  Rather than focusing on the negative aspect, see the potential that this practice time can have;  you will see connections right away between what you are learning and your primary instrument.  Hopefully you will find that the study of the piano is also promoting growth in this other area.  Above all else, ask God to help you as you pursue this new skill so that you might bring Him more glory through your music.

Developing the Next Generation

As leaders, we are responsible for the ministry of today.  We are also called to begin developing the skills of those who will come behind us, the children and teens who are displaying interest and skill in worship ministry.  If we are not comfortable working with these students, this can be a daunting task.  Here are a few ideas of how you can provide valuable experience and training to these developing worshipers while allowing them to be an asset to your current ministry.

Add them to your praise team! We have used children and teens in our praise teams during services with a youth emphasis for many years.  Why not include them the remainder of the year?  The purity of their sound can provide a nice contrast to the adults they are paired with.  More importantly, the best way that we can develop worshippers is by putting them in worship opportunities on a regular basis.  Allow them to become comfortable from an early age with expressing their worship in front of a congregation; it will be an aid to them as they grow and it will speak volumes to the members of your congregation.

Provide them training! Knowledge is power!  Training can take place in several ways.  These students may enroll in organized lessons; introductory classes in music reading and sight singing can be a fun way to make them a part of the ministry.  It can be very simple, too.  Take a few minutes from your weekly rehearsal to talk about mic technique or how to handle difficult singing passages.  This short commentary in the middle of your rehearsal gives them some insight into the process and is a great reminder for your established team members.

Mentorships!  Musicians love to share their knowledge with younger performers, so take advantage of this.  Pair your students with established members of your team.  The adults can answer questions during rehearsal, provide encouragement and feedback in a trusted relationship, and serve as a prayer partner and spiritual mentor as well!

Let me share a bit of my personal testimony in this area.  I had planned to write this post yesterday afternoon, but time got away from me.  Since this has been on my heart for a while, I had begun to take the steps to add 3 teen singers to my local worship team.  What I saw in rehearsal was so encouraging.  The students enjoyed themselves and the adult singers stepped up and began mentoring and encouraging those students.  What a positive first rehearsal for these young ladies.

As scary as it may seem when you begin to think about it, I encourage you to take the step and add teens and children to your regular praise team.  There will certainly be obstacles (the very nature of working with children and teens), but the benefits to the local ministry and the students’ lives are well worth the effort.

Music Review: Down From His Glory

August has finally arrived.  It’s currently 87° outside.  Before the end of the day, the high should reach 100° with a heat index of 115°.  While most of us are sick of this insane heat, it’s time to do the only sensible thing:  crank up the AC and begin listening to Christmas music.  Rehearsals for Christmas are scheduled to begin in mid-October, so I need to do some listening and make a few decisions.  Here are my thoughts on the first musical I’m considering — Down From His Glory by Mike Speck (orchestrated by Lari Goss).

This cantata is definitely a possibility for my situation for a couple of reasons.  I love that it includes both adult and children’s choirs and has plenty of opportunities to feature soloists.  The range is great for most church choirs — the sopranos rarely sing above the staff — and many of those notes are either optional or are doubled in another voice.  The orchestration is richly textured without being overly schmaltzy.

The song choices provide something for everyone.  Classic Christmas songs are featured — including an effective arrangement of O Holy Night without the high Bb in the middle of a carol medley –as well as standard hymns.  For the Southern gospel lover, Light of the Stable and It’s the Messiah are sure to please while He Loved Us More and The Story That Never Grows Old will fit the bill for the main-stream.  Personally, I am most excited about the inclusion of simplified arrangements of classical works associated with the holiday.  Who can resist the charm of Pat-a-Pan and the majesty of Handel’s For Unto Us a Child is Born?

So no one thinks I have found the perfect option immediately, I must point out some of my concerns.  The first issue you encounter is the overture.  Quite plainly….IT’S LONG!!!!  50 measures to be exact before the choir’s initial entrance.  Without a sanctuary orchestra, this demands that some type of pageantry accompany it.  That’s just something else that has be fit into an already crazy rehearsal schedule.

When the choir finally sings, they introduce the title song of the cantata.  While I love the words and music of the hymn, Down From His Glory is not quite the attention-grabbing opening that I hope for.  After all, this is the centerpiece performance of the year for many church choirs.  I need something to get my singers energized to sing early on Sunday morning and to keep my audience engaged.

On the whole, the cantata feels just a little too long.  At nearly 51 minutes, I am already looking for things to cut.  The narration becomes a bit labored at times.  It tells a beautiful story though, so I’m not sure that’s the place to cut.  When I start looking at the music, the weakest piece in my opinion is the opening song.  As expected, the hymn reappears in the finale, so cutting the first number seems very awkward.  What to do?  What to do?

All things considered, the cantata earns 4 out of 5 stars in my book.  The music is wonderfully arranged, it just feels a little long and as though it doesn’t quite build to a satisfying climax as I wish it did.  Guess that means I’m heading back to the listening station to continue my search. Down From His Glory is definitely not out of the running for this year’s Christmas celebration, but there is certainly space for another work to take its place.