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Worship Musician! Magazine - NovemberDecember 2010

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Worship Musician! Magazine - Practical Help for Worship Teamsvol. 8, issue 6Cover: Lincoln BrewsterProduct Review: Schenk Ophirio Model Acoustic GuitarSongchart: More Than Amazing • A Few Moments With… [False] HumilityRecord ReviewsAaron Keyes • Bebo Norman • Charlie HallChris Tomlin • Jeremy Camp • Generation UnleashedColumns: Carl Albrecht, Ed Kerr, Gary Lunn, Sheri Gould, John Mills, Scott A. Shuford, Michael Gonzales, Doug Doppler, Tom Lane, Craig Kelly, Sandy Hoffman, Martin Stillion, Manuel Luz, Greg Sisley

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NOVEMBER/DECEMBER 2010 Volume 8, Issue 6
11

Schenk Ophirio Model Acoustic Guitar

Product Review

Record Reviews

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74470 58440

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Aaron Keyes • Bebo Norman • Charlie Hall Chris Tomlin • Jeremy Camp • Generation Unleashed

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Songchart: More Than Amazing • A Few Moments With… [False] Humility

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Editor’s Corner

A Shepherd Practicing in the Fields?

NOVEMBER/DECEMBER 2010 VOl. 8, iSSUE 6

Features
Product Review By Bruce Adolph Schenk Ophirio Model Acoustic Guitar From the Drummer’s Perspective By Carl Albrecht Worship Drumming Trends 2010

I was hanging out in the Old Testament and came across a revealing scripture verse; paraphrased, it reads, “David led (shep- 8 herded) his people with integrity of heart and skillfulness of hands.” These are two great directives for those who live and serve on worship teams, and inspiring words for those of us who want to grow in Him and improve on the musical gift we’ve been given, whether it’s with a guitar, trumpet or bongos (preferably not all at 10 once, however).

48 Product Review By Doug Doppler VB Amp and Speaker Enclosures – isolation Done Right 49 Camera By Craig Kelly So You Volunteered as a Camera Operator At Church – Uh Oh, Now What? Part 3 50 Tips for Tight Teams By Sandy Hoffman Are You lifting up ENCO-MiUMS? 52 Mandolin By Martin Stillion i Wonder as i Wander 59 Lighter Side By Manuel Luz Church Shopping Exposed 60 A Few Moments With… By Brian Weaver [False] Humility - How to Shine Your light 62 Lighting By Greg Sisley Elation E Spot lED

I started thinking about how David most likely “wood-shedded” for many hours each day, on his stringed instrument of choice, while he was hanging out with the sheep at night; he may also very well have been honing his songwriting skills. What a concert those sheep got! We know David could play well from his time spent try- 12 Keyboard ing to calm down his troubled leader Saul with his beautiful music. By Ed Kerr Was it smooth jazz? Who knows? But one thing we can deduct The Right Tempo, The Right Part was that for its time, and in whatever unique tuning it might have been in, it was excellent music played by skillful hands. I guess the 15 Bass fact that Saul once picked up a spear and hurled it at him while By Gary Lunn David was playing shows us that there were music critics even back Earning a living Playing Bassthen. Ha! I do believe that David’s practice honored him back with a real Understanding intervals level of musicianship. I like that a lot. Other folks’ excellence should spur us on and inspire us. Yes, I have heard many fellow guitarists 16 Vocals after hearing Phil Keaggy or Doyle Dykes perform live say someBy Sheri Gould thing like, “That’s it, I am breaking my guitar in two.” Or utter the Creating an Effective Vocal classic, “Why even pick up my guitar?” In a way, we certainly can Warm-Up/Work-Out Routine be intimidated by another musician’s excellence. But the bottom line is that when you encounter music of such a high level of artistry, it is more of out of a sense of wonder and amazement that you state 32 Record Reviews By Heidi Todd such things. When you come face to face with excellence, I believe that deep down in your heart you desire to emulate that gifting. You Aaron Keyes want to dig deeper into your own playing style and polish up your Bebo Norman own gifting. Personal integrity combined with the joy of being whatever type or level of musician you find yourself to be, will naturally propel you forward. Be yourselves, be grateful to the Giver of Life for your life (which includes your gift-ings) and play like all of heaven is listening!

Part 2: Reading Music and

Charlie Hall Chris Tomlin Jeremy Camp Generation Unleashed

Remember, we need to be genuine people and be who the By John Mills Lord has called us to be. We may not be shepherds in the field at Rule #1 - Don’t Mess with it. night, but we are shepherding someone, whether it be your family, workplace colleagues or local church body. Let’s wrap up the year purposefully doing it with integrity of heart and skillfulness of hands! 38 Ministry + Artistry = Merry Christmas! Bruce & Judy

36 FOH Engineer

Profitability? Creating your MAP™ By Scott A. Shuford God’s Growth Strategy

Interviews
Lincoln Brewster 20 The Real life

4227 S. Meridian. Suite C PMB #275 Puyallup, Washington 98373-5963 Phone: 253.445.1973 Fax: 253.770.0659 Email: [email protected] Website: www.worshipmusicianmagazine.com Publisher/Editor: Bruce Adolph Vice President: Judy Adolph Customer Service: Brian Felix [email protected] Design: Matt Kees Proof: Toddie Downs Production: Scot Herring / J&D Printing Advertising Sales: Bruce Adolph [email protected] • 253-445-1973 Worship Musician! is published bi-monthly by The Adolph Agency, Inc.

40 Authentic Worship By Michael Gonzales Stage Presence may not be His Presence 42 Guitar Grab Bag By Doug Doppler Practice This 44 The Band By Tom Lane Under Pressure

WORSHIPMUSICIANMAGAZINE.COM NOVEMBER/DECEMBER 2010

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PRODUCT REViEW

By Bruce Adolph

Schenk Ophirio Model Acoustic Guitar
I first heard about Rod Schenk back in 2008 when Acoustic Guitar magazine gave Schenk Guitars its coveted Players’ Choice Gold Award. I personally knew several of the other luthiers that had won that year and I knew that those folks made some wonderful handcrafted acoustics. At this point, I was intrigued and it turns out Rod Schenk lives and builds his guitars within an hours drive from my home. Now I was on a quest to meet him. I got the courage to call him and it resulted in an invitation for Judy and I to come over for dinner with his family. Our friendship started that evening and he gave us a tour of his quite impressive workshop. It turns out he is also a believer and his goal of excellence in building guitars is easily apparent. Now, two years later, he is offering a new Ophirio model to his award winning line and I just had to play one. Am I ever glad I did! What’s in a Name? This guitar is named after the ancient city of Ophir. This was the famous city that supplied vast riches including gold, silver, ivory, precious stones and algumwood which was used to make harps and lyres for musicians. Ophir is most known for supplying King Solomon exotic materials during his reign. Ophirio is synonomous with luxury, beauty and quality. Well that is a pretty cool backstory. Therefore, the Ophirio concept was to provide a guitar that is clearly more luxurious, higher quality and superior to anything else in its price range. Pretty lofty goals I might add. Structurally Speaking: Rod is a professional licensed engineer. When he approached building guitars he looked at the basic design and saw that there were inherent weaknesses in the “doing it as usual” build practices. He realized that an ultra stiff neck would provide less dampening and more string energy directed toward the soundboard. The problem was that traditional trussrods lacked sufficient stiffness capacity, so he designed his own. His “Super-Rod” trussrod is proprietary and very much

a trade secret. It is machined from solid billet steel and provides micro-adjustability that is unmatched. He handed me one to hold and we compared it to the other conventional trussrods out there. Schenk’s was more like a finely tuned machine with its racing design and aerospace feel. Next, for bracing he incorporated more technology.

guitars a year. This allows us to use the finest materials and the option to reject materials that are not up to our high standards - and don’t forget the trussrod.” I was hitting some first position chords and when I hit an “A” chord with some force… there was so much air moving that it felt like I had plugged into an amp and hit an over-drive pedal. It rang from now until next Tuesday. Open chords up and down the fretboard are a blast on this guitar. Wow! I noticed that the nuanced dynamics allowed me to strum at different levels and that I had gotten a little sloppy playing guitars that don’t respond with such a wide bandwidth of touch. A guitar that makes me get better as a musician just to play it? By now I was really falling for this Ophirio.

Playability: Well Rod’s handcrafting abilities certainly carry over to the ebony fretboard. Man, the neck is so stable with that advanced trussrod system that it feels sturdy as a rock. Great fretwork and a fine-art feel to the neck shapOK “smarty pants”. Lets look at the materi- ing (more thin than thick) makes this one reals used. The guitar is built completely from ally comfortable and easy to play. all solid woods (not even plastic binding). I like the ducktail volute on the back of The back and sides tone woods are Sapele and the top is Engelmann Spruce. More qual- the headstock too. Again, attention to detail ity ingredients placed in the mix are bone and bringing in the best design elements do make a difference. nut and saddles and custom Gotoh 510 machine tuners As for the smaller body with an 18:1 ratio. Other shape, it fits very easily up available wood choices against your body and the include Western Red Ce“Micro Bevel®” adds that exdar, Adirondack Spruce, tra touch of class and playing East Indian Rosewood and comfort. What is a “Micro even Koa! Bevel®” you ask? Good question. On the top part of the body where The Sound: The round tones and overall volume of your strumming/picking arm lays across the this instrument belie the fact that it is more wood Rod has shaped a small bevel right close to a smaller OM size guitar than the where the top and side meets… this softens larger dreadnaught size. It has the voice the edge. of a cannon when you jump on it and a pronounced articulation when you want to The Look: The high-grade tone woods and their play softly. I was just floored by the Ophirio’s sound quality. I started strumming a rather grains are just gorgeous! Add to that a Marobust tune and it got so loud I thought, “Oh cassar Ebony headstock backplate and an my gosh, I wonder if my neighbors can hear understated Abalone inlay rosette and you me playing?” I asked Rod how is there such have that touch of elegance Rod was aspira large voice out of a smaller body shape? ing towards. “This model has the most radical back-arch in the industry. The extreme dish shape helps Conclusion: I can truly say that in the $3,990.00 price project both sound waves and air movement through the sound hole. Flat backed range, this Ophiro is one of the best guitars I guitars trap sound inside but a radical back- have ever played. The fact that it is from the arch redirects the sound in a direction to hands of a luthier and not a mass produced expedite its exit before the sound energy is American factory, makes it that much more special. Schenk hits the mark on superior dissipated”. tonal quality and handcrafted beauty! You see why I like this guy? A simple “the arch back” would have been all I needed to Schenk also offers several options includhear, but now I actually learned something. ing a cutaway version and pick-up systems. Rod had more to say, “The tight and meticu- All models come with a very nice hardshell lous assembly and construction of a non- case. factory guitar is a contributing factor. Also remember we are producing fewer than 100 www.schenkguitars.com

He used “Finite Element Analysis” computer modeling programs for stress and deflection analysis. To quote Rod here, “The accuracy of this type of analysis was able to minimize bracing weight and provide a map of optimum bracing location for the most efficient structure for resisting the string forces; less guess and more facts”.

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NOVEMBER/DECEMBER 2010 WORSHIPMUSICIANMAGAZINE.COM

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FROM THE DRUMMER’S PERSPECTiVE

By Carl Albrecht

Worship Drumming Trends 2010
There are NO new things on the ho- technical tricks going on as well? Listen rizon for worship drummers. And there’s intensely to the music as if you could hear nothing you can do about it…….. OK, in 3-D. I’m kidding. I just wanted to get your attention. Modern worship encompasses so many musical forms that you can virtually Music and worship is ever changing! find God in any kind of music you like. Probably because God is “covering the From rock to jazz… from country to clasearth with HIS glory,” and worship is part sical it’s ALL there. And that is amazing! of the plan. He is a very creative God. Now, for sure, the marketing of worship We just have to stay open to what the has only focused on the pop rock styles Lord is revealing about music, arts, and we are all familiar with… But, just so the worship that is unfolding in these you know… I like it all! This is not about times. slamming the industry that has promoted contemporary Christian music and gotFor drummers and other musicians the ten on the worship bandwagon. I know key is not to allow complacency to infect the industry gets wrapped up in working your creative life. That has happened to popular formulas, but the art still keeps me before and I do everything I can to evolving. Even if it does feel slow to some “push back” against that enemy. I do all I people. can to stay fresh and hungry for the Lord and for what He has called me to. This For the sake of the art of drumming applies especially to my musical journey. and all other musical expressions keep your ears and your mind open. If you Sometimes it’s a matter of studying new feel stale and uninspired listen to some worship songs or styles. Yes, studying! It’s country gospel. Yep, that too! ;-) …Then foundational to experience the music for listen to some big band worship and play the sake of worshipping, but along… work on your swing feel. Maybe it is also vital to analyze the also try some Latin-salsa worship. Definitetechnical side of songs. Lis- ly work on the modern worship stuff that is ten to music and take notes. popular right now. But also work on that How do the drums sound and slammin’ urban gospel vibe too. And so it feel? How do they fit into the goes on, & on, & on, & on. mix with everything else on the recording? Is there a lot In the past couple of months I have reof percussion in the track? corded drum and percussion tracks for a Are there drum loops and huge variety of worship styles. Classical, s p e c i a l classic rock, jazz, and country just to list a few. If I wasn’t listening and working on these musical flavors I could not do the work. So drummers get back in the “woodshed” and sweat your way through some fresh music. What are the trends? There is NOT only one! Many musical expressions are exploding around the world. Sometimes it’s just easy to get trapped in a musical whirlpool where you can’t see what else is h a p pening. Thanks to digital musical servers it’s easier to find the obscure artistic expressions. So dive in

and see what your God is doing in the earth. (*Note: I just jumped over to my “itunes store” and sampled Randy Travis singing a country version of Open the Eyes of My Heart. Very cool!) When studying the trends of modern worship, be sure to listen to the flavor of the drum sounds. Are they big, fat, rockin’ drums or do they sound tighter, higher pitched, and snappy?? The trend or challenge for us as drummers is to be more of a “musical parrot.” (*Drummer wanna’ cracker? Awwk! J ) Absolutely listen to the latest from all the modern worship icons. Just don’t get stuck there. It’s OK to have your favorites, but be sure to work your other musical muscles. A good way to challenge yourself is to change your drum set up each week. Play a stripped down kit for a week – Kick, snare, hi-hat, one tom, ride cymbal, and a crash cymbal. Next week, add one tom; next week move your cymbals around. Later even try setting up a huge drum set. And so on… Yes, I really do this. On this current tour I’m playing a basic 5 piece kit right now, with and addition of a brass piccolo snare to the left of the hi-hat because the music calls for it. (A ride, and 2 crashes are all the cymbals I’m using./ 22” kick, 10”, 12”, & 16” toms/ 14”x 5” Maple snare) My studio kit uses four toms and tons more cymbals, but they’re set up in an unusual configuration. I keep mixing things up just so I have to think about what I’m doing. Yes, I am careful to keep everything placed comfortably so I can play smoothly, but there are many possibilities. Be creative and try new types of drumheads; new sticks; new… ??? OK, you got the idea. Now run with it… Send me an email and let me know what happens to your playing as you stretch your creative muscle. Keep those “cards & letters” comin’! Blessings from Dr. Drum Trendsetter. J Carl Carl Albrecht has been a professional drummer & percussionist for over 25 years. He has played on over 70 Integrity Music projects; Maranatha Praise Band recordings & numerous other Christian, Pop, Country, Jazz & commercial projects. He currently lives in Nashville doing recording sessions, producing, writing and continuing to do various tours & seminar events. Visit his website: www.carlalbrecht.com or send an e-mail to: [email protected]

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NOVEMBER/DECEMBER 2010 WORSHIPMUSICIANMAGAZINE.COM

KEYBOARD

By Ed Kerr

The Right Tempo, The Right Part
Time is an essential component of the music you and I make as we lead our congregations in worship. Have you ever had someone on your team give a count off for a song to begin and, once you’re singing it, realize that the tempo that was counted off was REALLY wrong? Either the crowd is trying to spit out words faster than humanly possible or every syllable seems to take three seconds because the tempo is just wrong. Not a good feeling. It’s unlikely you’ll look at your congregation and say, “Oops; Could we have a do over?” Because all of us want to present our songs with as few musical problems as possible, do what you can to make sure the songs you present are played at the right tempo. We’ll jump into some keyboard-specific concepts in a moment, but let me challenge you to think about how you can involve some sort of tempo reference in your worship teams. I’m enjoying using an app called “Tempo” on my iPad for this. Whether you use an iPad, a loop from your laptop or have your drummer store tempi in a Yamaha ClickStation, ask yourself what’s keeping you from taking this step to guarantee you find the right tempo for your songs. I’m travelling with Integrity Music’s seminars4worship this fall, and Carl Albrecht, the drummer for the events, always plays along with a click. This brings great musical stability to what we’re playing as a band, and there’s no reason you can’t find a way to bring that stability to your teams as well. On my website, kerrtunes.com, I’ll be listing some options you could consider for providing a click for your worship sets. Besides the various hardware options, I’ll upload a few loops you could use as well. Once you incorporate a click into your worship times and feel the confidence it brings to everyone on the team, you’ll want to make it a consistent part of your ministry times. So, you’ve got the right tempo going for the song you’re playing. Here’s when each player on the team has a decision to make: how much activity will they play in a given section. A very important consideration in what you and every other member of your rhythm section will play is what the part will do to delineate the sections of the song. Listen intently to a recording of your favorite worship song. Without exception, I am certain that something about the parts being played by each instrument will change as the various sections of the song are heard. There will be a certain level of activity for the intro, a change of some sort when the first verse or chorus is sung after it, and then further changes as the arrangement continues. part of every chord in the verse above except for the E and E/G#. Why is this important? Because that A can be placed in the top voice of your pad part and lend a very nice element to what the rest of your band is playing. Try this yourself playing the chord chart above, starting with the 5th finger of your right hand on the A above middle C. Keep your finger on that note throughout the Of course every instrument might not progression. play during the intro. Several may lay out until the first chorus or, perhaps, You might be wondering why I’m sugnot enter until the reintro after the first gesting that you keep the note A on top, chorus. The bottom line is that each considering that the A is not part of the instrument’s part evolves as the song is E or E/G#. This is a great example of heard. Broadly stated, something is be- letting our musicianship take us someing done within the rhythm section to set where the chart doesn’t spell out for us. each section apart from the others. One of the most popular voicings being used on modern worship recordings Let’s say your team is playing “Mighty is the add4 chord. It is most effective To Save”, one of the most popular wor- when the 5 chord in the key is being ship songs today. You’ve decided to use played. The 5 chord is built on the 5th a pad sound. A pad sound is a great note of the scale. In the key of A, that’s complement to the activity that are typi- an E chord. So, you can play an Eadd4 cally played by acoustic and electric when the E chord appears in the chart. guitarists on your worship team. If you’re not exactly sure what I mean when I say What you do with the other notes of “pad” sound, visit my website to hear the chord below the droning note is up some examples. to you. Keep in mind when creating your pad part that the pad police will When using a pad, the sound you’ll not be monitoring your performance to play will not have much definition to its be sure that you have a root, 3rd and attack. So, to play rhythmic parts with 5th in every chord you play. Let your ear lots of 16th or 8ths would not work well. be the guide. For the first chord of the Your main contribution to the arrange- verse, for example, consider leaving out ment will be playing long note values, the 3rd, F#, and only play the D and mostly whole notes and half notes. A the A. Remember that the A will be the well-constructed pad part can contrib- top note you’re playing. Then, when the ute significantly to the sense of “payoff” chart goes to A, keep the note A held when you move from verse to chorus down on top and move to an E below and other sections along the way. it. It’s right next door to the D you were playing. When the F#m7 chord follows, Here are the chords for the verse: you can continue playing the A and E.

One of the most important things you should try and do when playing a pad sound is to use droning notes. A droning note is a note that is heard over several changing chords. This note is often a part of the chords that are being played but sometimes is not. Without jumping too deeply into chord spellings and theory, I’ll point out that the note A is

When you reach the E chord in measure 4, think of it as the Eadd4 and add a G# to your voicing. You’ll play A, G# and E. This a beautiful voicing with lots of dissonant energy, giving great forward momentum to the musical moment. For the D chord in bar 5, head back to your first voicing of the verse,
Continued on page 56

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NOVEMBER/DECEMBER 2010 WORSHIPMUSICIANMAGAZINE.COM

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BASS

By Gary Lunn

Earning a living Playing Bass-Part 2:
At a fairly early age, I learned how to play the bass by ear, learned how to read chord charts by playing with the youth choir while also teaching myself how to play acoustic guitar. Through all of that I was never able to learn how to read music. I had tried to learn by playing in a church orchestra. I even tried to play in a jazz rehearsal band – that didn’t work out (they kicked me out). Later when I was a freshman in college there was an ear training class called “Sight Singing” that I signed up for. The concepts taught in that class were simple, but it opened up a locked portion of my brain that had needed to open up for years. I could immediately identify notes as they were played, but what I didn’t understand was that it was the relationship between notes that would help me to understand so much more about reading music. To clarify things so that you can become familiar with all of the available inter vals, here’s a list for you. I will order them in half steps, (or in measurements of o n e fret increments) and all in the key of C.

Reading Music and Understanding Intervals

Minor 2nd – 1 semitone – C to C#, M a j o r 2nd – 2 s e m i tones - C to D, What’s an Interval? The number of half steps, or “semi- Minor 3rd – 3 tones” between two notes make up an in- semitones terval. For example, starting from “C” on - C to Eb the bass (A-string, 3rd fret), if you played – Major an “E” (D-string, 2nd fret) at the same 3rd – 4 time, you will have just played a major semitones 3rd interval. Why? Because, in the key of - C to E – C, E is the 3rd of the scale. So you have Perfect 4th – 5 played the “1” and the “3” in the key of semitones – C to F. C, which is actually the first 2 notes in a C triad (we talked about triads a while Reminders While familiarizing yourself with interback). You are probably asking yourself, “What’s the big deal?” The importance is vals, something that will definitely help that on a bass-clef staff, the first note you is to find familiar melodies and/or bass played is a C, which is the 2nd space lines that are the same as the interval that from the bottom. The 2nd note is the E you are trying to memorize. For example, and it’s the 3rd space from the bottom. the thematic bass line that starts the old Therefore, whenever you see any 2 notes 60’s soul song; “My Girl” is a perfect that are only separated by one line or 5th (C-C, G-C-C). The interval between space, it will always be a 3rd interval. the C and the G is the perfect 5th in this This realization was of incredible impor- case. If you were to look at this line on the tance to me because I now understood bass clef staff, the first 2 notes would be that the relationship between the notes on placed on the 2nd space, the 3rd on the the bass was directly related to the rela- 4th space, and last 2 on the 2nd space again (just like I said earlier, 5th’s are altionship of the notes in the staff. ways line, skip a line, to line or space, Another commonly used interval is the and skip a space, to space). Another ex5th. Play a G on the bass (E-string, 3rd ample would be another 60’s song called fret). Now play a D (A-string, 5th fret). “I Heard It Through The Grapevine.” The You’ve just played a “perfect” 5th (all first 4 notes of the bass line in the intro 5th’s are perfect because there is no such outlines a minor 3rd (D,D-F,D). The interthing as a major 5th or a minor 5th). You val between the D and the F is the minor have also just played the “1” and the “5” 3rd. If you were to see these notes on in the key of G. On the staff, the G is the bass clef staff, the first 2 notes would the bottom line and the D is the middle be written on the 2nd line, the 3rd note line. All 5th intervals are line, skip a line, on the 3rd line, and the 4th note on the to line or space, and skip a space, to 2nd line (3rd’s are always written from a line to the next line or a space to the next space. space). There are many more examples

that you’ll find as they pertain to the kind of music that you listen to. You can always find familiar parts of bass lines or melodies that remind you of certain intervals. It’s all a part of the reading-music experience. Shapes The discovery of intervals was major revelation in my trek of learning music and reading notation. Another connection that I have found is that many people, particularly stringed instrumentalists, often see shapes in their fingering patterns and finger positions on the neck. I often see squares, vertical lines, and triangles in the patterns that I play. Understanding chord spelling and how intervals pertain to that has opened up a relationship between shapes of chords on the staff and how you might play them on the bass. I hope this information accelerates your learning to read music as it did for me. The sooner that you are on your way to broadening your qualifications as a musician the better! I hope this information will open up new opportunities for you and generate more work. Be continuously blessed for every note that you play! Gary is a session player/ producer/writer in Nashville, playing recording sessions and recording at his home studio. Find him on face book or at www.myspace.com/ lunnbass.

WORSHIPMUSICIANMAGAZINE.COM NOVEMBER/DECEMBER 2010

15

VOCAlS

Creating an Effective Vocal Warm-Up/Work-Out Routine
The most effective Warm-up/Work-out routine is one that you’ll actually DO. I’m going to try to help you to be creative in designing a routine for yourself that you’ll actually be able to do on a relatively regular basis, but first let’s clarify the difference between a warm-up and a work out.

By Sheri Gould

A warm up for the vocal cords serves the same purpose as warming up any other muscle. It gets the blood flowing and helps the muscle to function properly and helps to avoid damage. You also achieve increased flexibility and strength. This is all great stuff for vocalists. Warming up has no downside to it, so why don’t we do it more? Time So, let me offer a couple of suggestions of ways to help you work in a warm up! I suggest to people t o try and add it to something you’re already doing n a regular basis such as taking a shower, driving

to work (church), walking your dog…etc. There is absolutely no reason why you can’t incorporate warming up into some of the normal everyday life things you do. Warming up is different from working out and doesn’t require quite as much mental energy. Anytime you CAN devote yourself wholly to warming up can of course provide opportunity for a better focus and would be preferred, but in our world of the worshipping vocalist—we’ll take what we can get! Take It Easy It’s important to warm up slowly so as not to cause the very damage you’re trying to avoid. If you put too much stress on the vocal cords before they’re warmed up, you can cause enough irritation to stimulate the production of phlegm. Once you have phlegm on the cords you’ll likely want to get rid of it-fast-and that usually results in you clearing your throat. Clearing your throat can wreak some serious havoc

working on your voice and you will reap many benefits. So put down your instrument! (just for a little while…) After you have worked out for awhile, without your instrument, try singing and playing again—in front of a mirror. This will help you to see whether you on your cords so you’d do well to avoid are able to keep in place what you that when possible. Always try to let the have accomplished, even while playing. phlegm stay as long as you can stand it, then clear it as gently as possible—gently Recording yourself during your workequals as little noise as possible. out can help immeasurably by giving you real feedback as well. If you have Take care to do a couple of exercises no one to actually watch or listen to you, then rest for minute. Don’t push to the these two tools: the mirror and the recordouter reaches of your range right away, ing will ultimately be the best friends you wait until the cords are warm before you have…really. They always tell the truth! start going to your higher note, and then go slowly and not too loudly. In this way Using a warm-up/work-out CD of some you’ll help to avoid the sudden stretches kind can be helpful, but be careful to go that can cause stress to the cords. All of at your own pace and to always keep in this can be done while you’re actually mind what you‘re supposed to be learndoing something else, as long as you’re ing. Sometimes, try as they might, a stucareful. That something else could be dent may end up misunderstanding what cleaning up the breakfast dishes, taking a the instructor on the CD is actually trying to shower, driving to work or church. Wait- get them to do. I have seen cases where ing at the bus stop depending on how vocal damage has occurred as a result of brave you are ;-) trying to copy what a vocal instructor on a CD was doing, but just not quite getting Working Out it right. Without someone in the flesh to Now working out the vocal cords is check on you—or tell YOU what to check entirely different. When you work out for—this can be easy to do. you need to have speA DVD is usually a better fit—at least cific goals in to get started with. That way you can mind or your not only hear the instructor but SEE the work-out is instructor demonstrate the technique as well. After you’ve acquired the skill(s) then you can use your own accompaniment to go at your own speed and in your own range. This is the best way to do it but not always feasible for non-instrumentalists. That is really nothing more than an extended when those accompaniment CDs come warm-up. If you have in mind to increase in handy. your breath control for instance, than you need to do an exercise that is specifically I am excited to be able to offer for the designed with that in mind. Then you first time my own DVD featuring a comneed to concentrate on what you’re do- plete “how-to” on warming up and working so that you do it properly and gain ing out! It will be released by the time the benefits. If you don’t do these exercis- this article hits the press! The new DVD as es correctly, just like any other work-out, well as my DVDs-“Basic Vocal Technique” you can end up reinforcing bad habits and “How to Be an Effective Background and ultimately do more harm than good! Vocalist”, will all be available on my website sherigould.com. God bless and Tools happy singing!! So make sure you are always in front of a mirror when you work out. If you are Sheri Gould has a BS in an instrumentalist who also plays when you sing, you need to have some time Music Education (Vocal/ devoted specifically to JUST SINGING Choral) from the University so you can concentrate on your voice of Illinois. A church music (Choir/Worship without having to be cognizant of your director instrument as well. This will help you take Leader) since 1985, she also teaches your voice to the next level. You have like- vocal techniques at various workshops ly spent countless hours honing your skill around the country. Send your questions as a musician, now spend a few hours to: [email protected]

16

NOVEMBER/DECEMBER 2010 WORSHIPMUSICIANMAGAZINE.COM

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ewster

Lincoln Brewster is a lot of things to a lot of people. Husband, father, son, worship arts pastor, Christian recording artist and guitar hero. He has been maturing into these roles as the years go by while at the same time trying to keep it real. Let’s take a closer look into the real life of Lincoln Brewster.
ahead of you, not behind you.” And my life verse is Philippians 1:6, which says that God is faithful to complete the work Lincoln Brewster: Well, over the course that He started in me. That lyric of making this project I started stumbling is in these songs, and they are across a different side of my writing. I laced with real things that are wrote with some good friends again… really applicable and relevant with Mia Fieldes, Paul Baloche and Jason in my life. Probably the most Ingram. As the songs started to come out obvious one of those is the early on in the writing process, a song title cut, “Real Life.” called “Made For More” emerged. It was a really introspective (almost kind That one was a complete of a Bruce Springsteen-esque) lyric, like shocker. After we had I was singing my thoughts. I was driving the whole album written I down the road one day and had this played all of the songs for kind of groove in mind, and the first my wife and said, “What thing that came out of my mouth was, do you think?” And she “Don’t care about money, don’t care said, “I think you have about fame.” That line really set the one more in you.” “Real tone for the song. You know, it’s been Life” came out of that. weird in that I have had people say to It is probably the me, “You’re famous,” and I still don’t most personal song believe them. It doesn’t feel that way I’ve ever written. to me. So this project sort of opened It is different up this other side of my writing, and as even in the way we continued down the writing process, I produced it, a lot of the songs were based on real and stylistically a little different things that have happened. too, but I just wanted to Mia and I wrote “Whom Shall I Fear” capture the essence of (featuring Kari Jobe) after I had a phone what that song was about. conversation with a friend of mine It talks about me growing up whose nephew was in intensive care in Alaska and how basically I after having almost been killed in an still feel like a little kid. I don’t accident. I was trying to encourage my know about you, but there are a friend to not be afraid. She was being lot of times when I don’t feel like driven from a place of fear and I tried a legit adult, you know? I feel like talking to her about God’s Word. I told I’m a kid masquerading in an adult Mia about the phone conversation and body. I look around and I have a we started writing this song. It came beautiful wife I’ve been married to from the perspective of, “What would for almost 17 years and two kids, we want to encourage her to say?” a house and a job (actually more There is a line that says, “You won’t like five jobs!), and this is real life let me fall when all else is falling.” You but it still feels like playing house. know, “It is because I know you live, that Mia and I were having this I will put my faith in this, that you hear conversation and the lyrics from my call, you hear me calling.” Really that song came out of that. expressing “faith statements” that get Some people don’t know about my people to proclaim God’s truth. connection with the “Deadliest Catch” Even the song “Best Days” was a lyrical television show, but the “Time Bandit,” result of years of my pastor looking at one of the boats on that Discovery me and saying, “Your best days are Channel show, was my family’s boat Worship Musician: The new record “Real Life” has real meaning to you. Tell us about that?
photo: Jeremy Cowart

20 NOV/DEC 2010 WORSHIPMUSICIANMAGAZINE.COM

growing up. The Hillstrands are my exstep brothers. Their dad was my stepdad. I grew up in an environment of domestic violence, alcohol and drug abuse. I had been a victim of that myself and watched my mom go through it for 10 years, from the time I was really young until the time I was 12 years old. And so when I sing about the place where I grew up being awesome and that I kind of took it for granted – that was true. But then I also sing about the real pain and real tears, and it speaks of the tough times. When I took my family back up there last summer, it filled me with deep nostalgia, both good and bad. It was neat to watch my boys play on the same beach where I grew up, but it was also very painful to remember the things that I was living through every day at their age. So “Real Life” takes a stab at painting my past a little bit. WM: Well that is the significance about it, Linc, because often times we gloss over the pain and put on the happy “church face.” So this is you pulling that mask off a little bit. I think that is healthy to discuss. LB: Everybody has a past, everybody has a today, and everybody wonders about tomorrow—or hopefully has hope for tomorrow. So I try to take it in those three steps. “Real Life” is way more than just about my life, even though it starts off talking about my past. The hope is that the song gets to a place where it is globally accessible, and the biggest message of encouragement to give to other people is that even if you have had a messed up past, that doesn’t mean God can’t use you to do something awesome. I am living proof that God can use your life even if your past is messed up. There were a lot of things about my past that were

photo: Jeremy Cowart

embarrassing and things that weren’t my fault. But being able to talk about them has been great and I’ve already had lots of people come up to me and say, “I had the same kind of upbringing and I’ve never talked about it or had the courage to talk about it.” So there is a lot of life wrapped up in this record and it has things that are very real. We have known each other a long time and I think you know that I’m pretty big on just being an authentic person, so this wasn’t the album that I planned on making… it just kind of came out this way. WM: You have a dual identity as a touring artist and as the worship arts pastor at Bayside Church in Sacramento. Both can be challenging lifestyles. I’m sure there are times were it seems like you are carrying a heavy load. What do you tend to do when it seems like both worlds are colliding and it isn’t a pretty sight? LB: (Laughs) Well, you know I probably tend to react to them differently at different times but I’m learning that my best reaction is leaning into God, leaning into my wife, and leaning into friends that I can trust. Also getting Godly counsel; I am a verbal processor by nature. The main thing that helps me is to try and remind myself of my priorities and make sure that I have those straight first. I’m always trying to ask the question, “What is the wise thing to do?” I’m always trying to approach it from as wise a point of view as I can. And when those worlds are colliding I think that one of the fixes is to blend them. Rather than try and keep them separate I always trying to push them together because they need to work in tandem. I try not to have a dual identity. I try to be one person and say, “This is just one big picture; it has different

facets but it is just one picture.” It is my relationship with the Lord; it is my family; and then ministry. And when it comes to ministry, my priority is the church. I always need to make sure that is intact and going well. My pastor has been great about this; we really feel like my ministry outside of Bayside Church is just an extension of our church. My pastor likes the fact that I travel and get out to minister outside of Bayside. I have learned wonderful things that I have been able to apply at home and I’ve also been in an environment that has been so alive at my home church that I am able to take that out to other churches and be a blessing that way. So it is a very cool back and forth thing going on. WM: Changing the subject here… your mini-melodic guitar riffs… you like to tuck them in left and right. Is that to keep things more interesting for you as a player? LB: I like being creative and I can honestly come up with endless different guitar parts for every song. I just hear these little parts… it’s like decorating a Christmas tree you know? I can see it done a bunch of different ways. I like creating things that are interesting to listen to. A lot of my favorite guitar players growing up were real riff guys. They would have a hook in the chorus, a vocal hook or a melodic hook, and also a real cool guitar hook. And I still have a heart for guitar players. It’s almost like as I am making the record, when it comes to producing a song (once it is written), I’ll think to myself, “Alright, worship leaders, is this something you can grab onto in church?” And then I always think, “What about the guitar player? What would be cool for them?” Like the opening riff to “Reaching For You.” If I were in the praise band at my church and the worship leader came in
NOV/DEC 2010 WORSHIPMUSICIANMAGAZINE.COM 21

The REAL LIFE of LINCOLN BREWSTER:

continued

to it and when I listen to modern worship, because it is what I do, sometimes I’m listening to the production or song structure. It can be challenging because I have to purposely pull my mind out of it and just let my soul be ministered to. You know it is almost like if you do roofing for a living, you probably drive around and notice roofs on houses all the time. So not just being a worship songwriter and an artist but a producer as well – it is hard for me to disconnect. So the short answer is I like going back and listening to older stuff; it has been really nice. I feel less connected to it from a professional vantage point and it allows me to worship freely. For the guitarist part of the question, the answer is Jeff Beck for sure. The “Live at Ronnie Scotts” album is terrific. He did a bunch of nights in a row at a club and recorded it… just unbelievable. He has Vinnie Colaiuta on drums and Tal Wilkenfeld on bass and I can’t remember the keyboard guy at the moment. At the Summit we just did with you at Bayside, it was really neat getting to have Phil Keaggy with us. Watching him and watching his joy come through…he was fantastic! I love that acoustic stuff. A strange thing happened to me recently when I was in Orlando playing at the Momentum Christian Radio Conference. It was late at night and I walked in into the convention center lobby. I really don’t like being away from my family and I walked in feeling that sense of loneliness and really missing my family. The schedule had been really hectic and I was feeling pretty bad and this is no joke – I walk in and I was in this huge lobby all alone. There was music playing over the speaker system really faintly. It was the most soothing acoustic guitar music, just by itself. It was amazing! So I put my iPhone up and did the Shazam thing and it worked! I couldn’t believe it. It barely caught any of the song and I thought it would be a lost cause. It was a song called “Larry’s World” by a guy named Russ Freeman, and it was beautiful. I don’t know anything about him as a person, but it inspired me. I would love to record an album of that kind of material. Phil Keaggy has done stuff like that and it made me want to go buy all of Phil’s albums. He is just a genius musician on so many levels, vocally and guitar-wise. I get inspired by watching people who are incredible at what they do. It’s like when I listen to

Jeff Beck play… I marvel at the gift that God gave him. He can play the electric guitar in a way that nobody on earth can, in my opinion. And when I heard this guy Russ Freeman play, I thought, “What a gift!” It soothes me. So I look at it this way… that is the gift that God gave him. If he is not using it for God, then that is his choice. But I find his music beautiful.

photo: Steve Batz

and said, “We’re going to learn this new song” and I heard that riff I would say, “Cool!” It gives me something to go home and get excited about. I know how that feels—I get to learn something new! When I was learning songs, even back with Steve Perry, it was fun to learn those guitar parts that I had grown up on. I like offering things musically on every level I can. That is why it is great having Norm Stockton on the record. He does great things on the bass. Mike Johns does a great job on drums. Steve does great things on the keys. There are a lot of interesting things for musicians to grab onto, to make the experience more fun for both the people doing it and for the people listening to it. WM: What are you listening to lately that inspires you in the worship music field, and who is inspiring you as a guitarist? LB: You know what’s funny, in the modern worship field, one of the things I have done in recent days is actually go back. I think sometimes to go forward it is good to go back a little bit first so you can look at where we have been. I like some older worship music. It’s almost like going back before worship was a hip thing to do. There was no thought about commercial viability. It was just songs to God. There was a neat aspect
22 SEP/OCT 2010 WORSHIPMUSICIANMAGAZINE.COM

photo: Jeremy Cowart

WM: Let’s talk about your quest for tone. Where has that led you lately? LB: You know I’m always trying to get a great sound, trying to make sure that the tone is pleasant to listen to - a nice big, fat and sing-y tone that still has an attitude and all that. We are in a neat era of equipment for guitar players because there are a lot of great amplifiers available, boutique makers included. You’re not as limited as you used to be if you want to go that route. For amp-modeling too, it just keeps getting better and better. A lot of people know that I am into modeling and that has to do with the fact that I travel. When we travel we mainly fly and so my quest was to have tone that I don’t need excuses for and have it be the same all the time because I’m taking my rig with me. So I’ve been on a mission with modeling because that is the only way I can do it. I can’t take a big guitar rig on the plane. I’ve been diving into the tones in modeling and a lot of people know that I’ve used the Line 6 stuff for years and still love it. It’s funny, when I started using the

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The REAL LIFE of LINCOLN BREWSTER:

continued

companies. Can you list some of them for us? LB: Oh boy, yes I have. Shure, Fender Guitars, DiMarzio, PreSonus, Grundorf, Line 6, Fractal Audio, Boss, D’Addario, Planet Waves, Yamaha Commercial Audio, McPherson Guitars (fantastic guitar), Avid, Universal Audio and ADK microphones. They make amazing mics – I did all of the lead vocals with their CS67J. For the money it can’t be touched. go-to electric guitar? LB: There are a lot of reasons. One, I just like Strats. There is something that I have liked about them ever since I started playing guitar as a kid; something very classic. It’s funny being somebody who is into all of the modern technologies because the modeled amp I used the most on the Line 6 is a 1966 Plexi Marshall. All of the amps I use in modeling are all the ones that are “vintage.” The one I use on the Fractal is again an old Plexi Marshall with Greenback 25 speakers in it. So it’s the same with guitars. I just feel like that by 1957 Leo Fender got it right. And by 1959, I feel like Gibson got it right. I know we are talking specifically about Strats because that guitar has so much flexibility and variety. WM: We know you are a committed family man with a lovely wife and two young sons. What do you do to safeguard those relationships as you try to strike that balance between relationship and career? LB: You know what? I feel like God spoke this to me; “Use your creativity to find great moments with your family.” I’ve had to learn to get creative with my schedule. Sometimes time is about quantity; your kids need time. But I’ve also found that you can have a short amount of time that has a very high impact and those times are priceless as well. Sometimes I have to be creative in that. As an example of that, the house that we moved into had a swimming pool already in the backyard. The folks before us had installed a heater for the pool. We typically never use the heater because it is really expensive. Laura was having her mom and dad and aunt and uncle come up so we heated up the pool. And then I went out of town and was gone for a week. Well, I left the pool heater on by accident. The temperature outside had heated up too while I was gone. I got back from the airport late at night and I hadn’t seen the boys yet. They were in their pajamas and they had to go to bed. I had a bunch of stuff I still needed to do and Laura said to me, “I think you left the pool heater on.” So I went outside and the whole pool felt like a hot tub. I was just going to turn the heater off and be done with it and I thought to myself, “Oh you just can’t let this go to waste.” So I went inside and purposely said, “I’ve got to go back outside and check the pool.” My boys said, “Hey Dad, can we come? Can we come?” And I was like, “No.” Then they said, “Please, please, please,” so I said, “Oh ok, I guess so.” We walked out by the pool and I got them right next to

photo: Great Plains Photography

Fractal Audio Axe FX there were many people saying, “Oh he’s jumping ship,” but I wasn’t jumping ship. I needed a couple more features that my POD didn’t have in a live situation. And so I switched and started using the Fractal, but I did use both the Line 6 POD Farm software and the Axe FX on this latest record. I still love the Line 6 stuff and both are great companies. Line 6 has got some fantastic new gear coming out. They’ve sent me some things to try out and they’ve definitely been doing their homework and aren’t resting on what they’ve accomplished. I know that Fractal Audio is doing the same thing. So it’s really nice seeing that there are people out there who are passionate about doing top-notch modeling of really top-notch vintage amps. So I’m a tube amp guy all the way, whether it be a modeled tube amp or a real one. I love those old tube amps.

If you see us play live I can go from a clean, glassy tone to a bluesy tone WM: Now both you and I are die- to a more of an ethereal tone to full hard Fender Stratocaster guys. Without on humbucker-esque (almost Les distressing our friends who play other Paul-ish) rich tone - all on one guitar types of guitars, why is the Strat your without having to do a bunch of pedal dancing. The Strat is able to go so many places tone-wise and I think for worship music, for me at least, if I need to clean the guitar up, I can turn the volume knob down and pick with my fingers while I’m talking. If I need to go full-on blues in a Stevie Ray style, I can do that. If I want to go old Van Halen-esque, I can do that. I can keep rolling my tone pot backwards and get more of an Eric Johnson kind of thing or I can do the Jeff Beck thing. There are so many options right there at your finger’s control that you don’t have to constantly change presets on your pedal board. I just can’t get that kind of variety out of any other kind of electric guitar.
photo: Jeremy Cowart 24 SEP/OCT 2010 WORSHIPMUSICIANMAGAZINE.COM

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The REAL LIFE of LINCOLN BREWSTER:

continued

the edge (I was holding Liam because he couldn’t swim yet) and Levi was standing next to me. I said, “What’s that there in the bottom of the pool Levi?” He was like, “What? Where?” I said, “Look, look right down there in the middle.” And as he bent down to look, I pushed him in the pool, and in my full clothes, I jumped in the pool with Liam. They thought it was the craziest thing ever! Just because of the fact that we all jumped in the pool with our clothes on. You know what? We were only out in the pool for about 20 minutes and they thought it was the greatest. That was one of those short amounts of times that had high impact. When we are in that “on the go” mode we have to find those special moments. Tomorrow the new album comes out and I’m going to take them out to lunch and do something special with them. And then other times when we vacation— and you know this about me—I turn my phone off! I really protect that time. And so when we have a vacation on the books and we are going through a busy season, both Laura and the boys know that they will get 110 percent

my own home and being able to actually do something about what my surrounding is like, I’ve just found myself increasingly less tolerant of settling for dysfunction and things that are not God-honoring in the way that WM: Good stuff Linc. I have a question they operate. So relationally that is just about your new album, Real Life. You a big thing to me. I really believe that have a piano ballad called “More Than relational dysfunction is a very harmful Amazing” that showcases your singing thing that the enemy uses to keep God’s voice. Can you tell us about that song? kingdom from expanding. of my time. So I try to be good about that and I think if you asked my family they would unanimously say that they know they are the top priority in my life, outside of my relationship with God. LB: You know, what’s funny is that song wasn’t supposed to be a vocally-driven song on purpose. I had wanted to write a piano ballad for a long time. I’ve always wanted to write a song that felt a little throw back-ish, but had that classic piano hook to it. I can play enough piano to write some parts out and I was really excited when Mia Fieldes and I wrote that song. It is a neat change for me. We just led worship with that song at church the other weekend and man it just felt great - a special moment. I hope it is the kind of song that a lot of churches can use. We had the church choir come over to my house and we put them on the record. The choir was actually standing in my master bedroom when we were recording that song. It was pretty cool. WM Right on. It’s interesting because you don’t even pull out a guitar part until the last third of the song. LB: I tried to give it a little bit of a Journeyish flavor. Obviously I’m no Steve Perry but I always liked that quality a song has when it is produced small and it grows as the song goes. It gets bigger and bigger and just goes “boom” at the end! It is a constant crescendo. So I was trying to accomplish that with this particular song. WM: At our Christian Musician Summit conferences we always ask you to teach a workshop on the relationships between pastors, worship leaders and worship team members. It’s always a very popular class. Can you try to boil down for us the gist of your message in that workshop? LB: You know, the fact that God sent His only Son to restore a broken relationship should tell us something about how God feels about relationships and how important they are. Growing up in a dysfunctional home environment, and now today having I can go into all kinds of “leadership this and that” about the ins and outs of how I’ve seen that happen. But at the end of the day, when we haven’t forgiven each other, when we are harboring bitterness and anger and when we don’t have the conversations that we really need to have or when we don’t have them in love... One of the first things that we teach in that class is that you have to be committed to conflict resolution! It’s not if you have conflict. You are going to have conflict. The question is, are you willing to stick it out and resolve it? Are you willing to admit that you are wrong? Are you willing to look at your own life and go, “Yea, I need to change this?” You know, I don’t want to be critical of the church and just say, “Oh, it’s rampant in the church.” It is rampant in humanity; not just the church. But for me, I want to encourage people whenever I get a chance and do my part to say, “It’s not God’s plan for us to be in a dysfunctional relationship.” We should be God-honoring in the way that we function. And I am a really big proponent of honoring spiritual authority. I fear that some of this generation has lost that. I took a class when I first got into ministry called Leadership Principles. Laura and I both took it. It was like God branded that stuff on my heart and it never left me. Some of the things I was taught are hard and they go against worldly wisdom. But at the end of the day, I want to be in alignment with my pastor. I am loyal to him. I have his back and we have a great relationship - a great friendship and that means that sometimes I have to say things that he doesn’t want to hear. But that is what you do with a friend. And so I get to be a part of the process figuring out what we do and how we do it. At the end of the day though, somebody has to say, “OK, I have heard all of the suggestions... now this is what we are doing.” Then it is my job to go out of those doors and execute
continued on page 56

26 SEP/OCT 2010 WORSHIPMUSICIANMAGAZINE.COM

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More Than Amazing (1 of 2)
Lincoln Brewster & Mia Fieldes
INTRO A D2 VERSE 1

E

F #m7

D2

A D2 You're the One Who walked on water, and You calmed the raging seas F #m7 D2 You com- mand the highest mountains to fall upon their knees A D2 You're the One Who welcomed sinners and You opened blinded eyes F #m7 D2 You re- stored the brokenhearted, and You brought the dead to life E F #m7 D E F #m7 D Forgetting all our sins, You re- membered all Your prom- ises Asus A Asus A You are amaz- ing, Asus/F # F #m7 Asus/F # More than amaz- ing F #m7 Esus D2 For- ever our God, You're more than enough A D2 E F #m7 D2 You are amaz- ing A D2 With au- thority You've spoken, and You've set the captive free F #m7 D2 You're the King Who came to serve and You're the God Who washed our feet A D2 You're the One Who took our burdens and You bled upon the cross F #m7 D2 In Your kindness and Your mercy, You became the way for us E F #m7 D E F #m7 D Forgetting all our sins, You re- membered all Your prom- ises A D2 E F #m7 A/E Esus D

CHORUS 1

VERSE 2

Asus

Asus/F #

© 2010 Integrity's Praise! Music and Mia Fieldes/Shout! Publishing

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More Than Amazing (2 of 2)
CHORUS 1 Asus A Asus A You are amaz- ing, Asus/F # F #m7 Asus/F # More than amaz- ing F #m7 Esus D2 For- ever our God, You're more than enough Asus A Asus A You are amaz- ing, Asus/F # F #m7 Asus/F # More than amaz- ing F #m7 Esus D For- ever our God, You're more than enough

F m7 Esus D2 For- ever our God, You're more than enough Asus A 121 Asus A You are amaz- ing, Asus/F # SONGCHART # F #m7 Asus/F More than amaz- ing F #m7 Esus D For- ever our God, You're more than enough CHORUS 2 A F #m7 Oh, how marvelous, Oh, how wonderful A/E D Oh, how glorious, You are amazing A F #m7 Oh, how marvelous, Oh, how wonderful A/E D Oh, how glorious You are
(Repeat twice)

CHORUS 1

CHORUS 2 A F #m7 Oh, how marvelous, Oh, how wonderful A/E D Oh, how glorious, You are amazing A F #m7 Oh, how marvelous, Oh, how wonderful A/E D Oh, how glorious You are
(Repeat twice)

Asus A Asus A You are amaz- ing, Asus/F # F #m7 Asus/F # More than amaz- ing F #m7 Esus D2 For- ever our God, You're more than enough

CHORUS 1

Asus A Asus A You are amaz- ing, Asus/F # F #m7 Asus/F # More than amaz- ing F #m7 Esus D2 For- ever our God, You're more than enough

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RECORD REViEWS
Aaron Keyes Not Guilty Anymore TRACKS (personal picks bolded) 1 You Never Cease To Amaze Me 2 Forever Worthy 3 Psalm 62 4 Blessing And Honour 5 I Am Yours 6 Like Jesus 7 Not Guilty Anymore 8 Nothing Less Than Beautiful 9 Help Me Lord 10 Where Are You Now 11 Not What My Hands I first heard Aaron Keyes at this year’s Annual Foursquare Convention. He was a guest worship leader in a long line-up of gifted leaders and afterward I sought him out to inquire about reviewing his CD for WMM. One of the things that stands out about Aaron is his raw approachability (he’s a regular Joe) but surprises await. For instance, Track One is the first worship song I’ve ever heard with an accompaniment that would be right at home on that old show The Munsters. With a kind of borderline spooky bass line running throughout the song with weird digitized lead lines in the background, he manages to make it work! The title of the song “You Never Cease To Amaze Me” perfectly captures what you should expect out of this album. That song doesn’t have him pegged though, because he drifts in and out of loose, melodic expressions toward the Lord with simple accompaniment and straightforward lyrics. Then he digs his heals in creatively and produces a beautiful hymn, “Psalm 62”. Prepare to be impacted by the song “Not Guilty Anymore”, a song sung from the heart of God toward us that illustrates His redemptive love in a highly personal way. As a worship leader, I got to witness as this song ministered deeply as we sang this song over our congregation. They received God’s message for them in the way it was intended and there was a real sense of freedom that day in people as a result. God’s sovereignty in the middle of a plaintive cry. And Aaron’s writing lends great to his voice; he has a strength combined with a soft tone, much like another worship leader, Mike Hohnholz. They share a similar writing and singing style when it comes to the slower tunes, but as I said, Aaron has an approach unique to him on some of the faster songs.

By Heidi Todd ing, repetitive, something you can imagine hundreds of joyous kids getting totally into. And they do (check out the DVD).

One of the tendencies in most worship releases of late is to repeat, repeat, repeat. I get this, to some degree in a live setting, which this album is so it’s understandable to a point. But even though I sound like a broken record on this (pun intended) it bears stating that repeating the same Don’t wait – add this CD to your thing in a song too many times has dicollection both for personal edification as well as applicable minishing returns and you can start to tune songs for your congre- out words that are meant to impact and change your heart. gation. Generation Unleashed Saving Power TRACKS (personal picks bolded) 1 Intro 2 Sing 3 Standard 4 Our God Reigns 5 I Am Alive 6 I Will Praise You 7 By The Cross 8 Never Looking Back 9 He Lives 10 Anthem 11 Holding On 12 Saving Power As the Generation Unleashed road manager told me, this group is first and foremost a youth ministry. They’re based out of Portland, Oregon and put on an annual youth conference as well as make visits to other churches and events. They are not a band, rather a youth group worship team sharing whenever and wherever possible. This is evidenced by their ability to relax on stage and settle into their roles as worship leaders, which I got to see very recently. That aside, this group exudes quality in everything they do – especially where it counts the most – in their clear priority on worshiping and endeavoring to touch the Father’s heart. There are multiple writers and leaders on the album, which keeps the songs refreshing and not lacking variety. You can hear the nods to Cold Play and U2 by GU’s very capable guitar players. The band members and vocalists blend well and you can tell this isn’t their first rodeo; they’ve released several CD’s before now. Bebo Norman Ocean TRACKS (personal picks bolded) 1 Everything I Hoped You’d Be 2 Here Goes 3 God Of My Everything 4 Could You Ever Look At Me 5 We Fall Apart 6 Ocean 7 Sing Over Me 8 The Middle 9 I Hope You See Jesus 10 Remember Us 11 God Of My Everything (Radio Version) The first time I saw Bebo Norman live was when he was opening for a well known Christian band in a very large venue. Aside from his velvet voice the thing I remember most is how often he expressed how amazed and blessed he was to be there. He was nearly overwhelmed by the opportunity to share his heart and music with all of us in the audience. In his reflections as a Christian, he’s always been a grateful son. This is yet again, another great release by Bebo and if you’re already a fan, you’ll want to have it. Many of the songs would fit well in a worship service and some of them would be great to use in other venues. One of the things I notice in his music is the fact a band could utilize them as-is or have a lot of fun messing with the arrangements. They’re great on their own but if you
Continued on page 34

Their latest CD/DVD combo released this October and features songs that you may have already heard circulating in a youth group or adult church service near “Where Are You Now” is an honest plea you. Anthems such as “He Lives” and ironifor his need to perceive God in a time of cally “Anthem” are songs you should expect distance. You can easily imagine David to hear soon if you haven’t yet. “He Lives” writing this as a psalm – acknowledging is pure youth worship genre; upbeat, drivOverall impression Average person could learn/participate on the first hear Can be learned/adapted by a band of average skill Lyrical creativity and integrity

Aaron Keyes Not Guilty Anymore Generation Unleashed Saving Power Bebo Norman Ocean Jeremy Camp Jesus Saves Charlie Hall The Rising Chris Tomlin And If Our God Is For Us
highest marks

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RECORD REViEWS
6 You Are The Lord 7 Everlasting God 8 Overcome His song “God Of My Everything” which 9 You Never Let Go has already had some radio play is listed 10 Unrestrained here as a favorite because of his expression 11 King Jesus of the Lordship of God over the elements of our lives. Being able to vocalize in an atmoOkay, let’s face it, Jeremy Camp isn’t sphere of honoring God, our struggles, is known for being edgy, so it’s not something something that is so reassuring. Bebo’s de- that’s fair to expect. That’s why it’s such a meanor is one of wonder and honor. With welcome addition to a couple of these clean and simple accompaniment his lyrics tracks. The backing vocals on “The Way” have to bear up and they do. are reminiscent of the Delirious song “Our God Reigns”. For the most part, however, I’ve appreciated Bebo for a long time Jeremy Camp parks right in the middle of for his ability to bring comfort and sooth- the road for reaching a wide audience. His ing to a hurting heart. So while you won’t music and style are right at home on any be rocking out to this, it has its place. Christian radio station or in the average Where it’s lacking in diversity and won’t church in America. And this is the primary keep you on the issue I have a hard time liking it more. It’s edge of your seat, it too clean, too note perfect, too dry. compensates in sincerity. While I enjoy every other aspect of having the opportunity to enjoy and review Jeremy Camp so many worship cd’s, the one thing that’s Jesus Saves not enjoyable is to bring a critical tone to any artist. Jeremy Camp reaches countTRACKS (personal picks bolded) less people with his music; he’s telling the 1 Jesus Saves Truth for goodness sake so who am I? Re2 Not Ashamed ally and truly it’s just a personal preference 3 The Way thing. And because this is a cd with many 4 Mighty To Save songs that have been released previously, 5 We Cry Out wanted to add a little nitro to them, many of them would work that way too. the new spin on older tunes just wasn’t there like I hoped. All of that said, you have to appreciate and admire Jeremy; he is walking in the call on his life and giving his utmost for the Lord. His skills as a writer of songs that are congregational friendly and his skills as a vocalist and musician deserve high marks. I extend my thanks to him for being so faithful to give us so many songs over the years. Charlie Hall The Rising TRACKS (personal picks bolded) 1 The Rising (A Song Of Ascent) 2 Let The Earth Awake 3 Ransom 4 Constant 5 King Of Heaven 6 God Ablaze 7 Lamp 8 Yesterday Is Gone 9 Deeper In Love 10 Breathe 11 Make Me Alive 12 Sleep And Dreams Charlie Hall shows his years as a craftsman in this latest endeavor. He has been a

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By Heidi Todd master at being inventive and exploratory for a long time and has taken some notable risks here as well. Because he is so committed to being true to himself, he doesn’t necessarily fit into the usual molds of worship music. Even in the softest of songs Charlie always sounds like he’s leaning forward. I don’t know him personally but can picture that he can wear out a pair of shoes pretty fast; he doesn’t sounds like someone who sits around. This album is in that same vein of stirring things up, like “Let The Earth Awake”. Throughout the album there is a theme of “hey you!” His instrumentation has an intensity and forcefulness that comes from confident, accomplished musicians. Even though the album is produced well and finished well, it maintains a raw quality like it’s the first time these songs have come shooting out of Charlie’s heart. The reason I’m not sure a band of average skill could adapt it with total ease is because the instrumentalists keep their parts interesting. They do that without playing over each other or leaving gaping holes, which a band of average skill can often struggle with. Songs like “Deeper In Love” and “Sleep And Dreams” caught my attention because of the daring of the arrangements. They’re so personal and come from such a unique angle that you have to shake off your concept of the typical. He isn’t. The idea of this shaved-headed long-bearded ear-pierced man singing sweet lullaby is a juxtaposition that can catch you off guard. Chris Tomlin is the bread and butter of modern worship music. He has released song after song that have been enjoyed the world over. This latest offering is busting with songs that will make their way into just as many churches, homes and cars. You can’t help but feel encouraged and nudged toward the Lord when you hear songs Chris Tomlin writes. He is constantly pointing to-

ward heaven and I’m pretty sure he doesn’t have a dark side (at least one we’re going to see any time soon). Ha ha. If you’ve been a Christian for a long time, you’ve heard quite a few worship songs and likely a hymn here and there. The songs “Faithful” and “All To Us” take me back to years and years as a believer. A couple of the songs share a quality that is classic and timeless.

There’s so much to choose from on this album is you’re looking for It’s an interesting album with a big dose new songs to add to your lineup of of intensity and yet you’ll be able to include songs. The song that has to be my most of these songs with your congrega- top pick, particularly in an age where the church is turning more toward a social tion. This is very well done. Gospel, is “Awakening”. It’s an invitation for the Lord to charge His people to do Chris Tomlin what He would want done, which isn’t alAnd If Our God Is ways the thing on the top of our lists, let’s For Us be honest. But God is good to receive us to Himself and stir us up to good works TRACKS (personal again. picks bolded) 1 Our God Which brings me to sum everything up. I 2 I Will Follow think a good reflection of this album can be 3 Majesty Of Heaven found in the passage Hebrews 10:19-24. 4 No Chains On Me To me, this passage really says that if God 5 I Lift My Hands has, by His grace, created a new way for 6 Lovely us to live through Him and in Him, let’s get 7 The Name Of Jesus to it! 8 Faithful 9 All To Us 10 Jesus, My Redeemer Heidi’s background is primarily in worship 11 Awakening ministry, joining her first team at age twelve. 12 Our God (Acoustic Version) She’s been a part of the Puyallup Foursquare staff 13 I Will Follow (Acoustic Version) 14 Majesty Of Heaven (Acoustic Version) since 2001, with an emphasis on team building and live production. She enjoys and makes time 15 Where The Spirit Of The Lord Is for the ongoing learning process as well as presenting and (Acoustic Version) speaking. You can email her at [email protected]
WORSHIPMUSICIANMAGAZINE.COM NOVEMBER/DECEMBER 2010

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FOH ENGiNEER

By John Mills

Rule #1 - Don’t Mess with It.
So this month I offer a little encouragement with a dose of admonishment. It comes in the form of some do’s and don’ts for pre/post sound check. Some of this will be for the worship leader, band director, and yes you too o’le sound engineer… everyone buckle up and let me rant for a minute. On a recent date with Paul Baloche, he questioned me about how and why his mix often changes from sound check to performance. He said “with the advent of all this digital “save my mix” stuff you would think my monitor mix would be the same during the concert as it was in sound check.” I hope to debunk a few thoughts here as well as offer some tips about how to keep your musicians happy and consistent with their monitor mixes. Because, at the end of the day, our most important job as sound engineers is amplify what is happening on the stage… and if our worship leader is frustrated at the tech or technology, we can make the music louder, but I really would rather amplify the worship leaders heart than his frustrated attitude, when we did the “Line Check”, but if the band just starts a song, it’s likely that the sound board is out of tune. Even from week to week things do change and we need to double-check everything. I promise if the band gives the engineer 10 minutes of the hour long “rehearsal” slot, at the very beginning of “Sound Check” to let the them hear and adjust just a small sample of everything, we will all have a much more profitable 50 minute “Rehearsal.” Did you notice those last few BOLD words? Line Check, Sound Check, and Rehearsal. They are 3 very distinct portions of our time together at what is often generically called a Sound Check.

easy song so the vocalists don’t feel so silly singing all alone. Once we have made it through most of the inputs to my system, I will have the band play a short chorus of a song that includes everyone playing and singing. This is often the exact same song every week… once you find one that has everyone playing and harmonizing, it’s a good idea to just use it all the time because then everyone gets used to it. Keep in mind we have not really adjusted monitors yet. This section is to verify that I get a chance to see all inputs and make any quick final adjustments to gain levels. I will then ask who needs what in their monitors if we are on wedges and make those adjustments. If your band is on personal mixers, now is the time they should make any adjustments. Band guys… If you make adjustments to your mix before I have had a chance to settle in on gain structure, your mix will change. So FOH guys, let’s be clear about when we are finished with this portion and tell them you are set and ready for them to work on their mixes. FOH guys… when setting gain and rough eq during this Sound Check time, take no more than 10-15 seconds per input. Have this discussion, and expect they will give you a reasonable level, set the gain quickly, and grab a quick listen to the eq and then MOVE ON. The band loves it when we move fast. You can always come back during the next section and make more tweaks. Rehersal. Tell the band “I’m finished adjusting major components, so does anyone need any adjustments to their mix?” If yes, make the adjustments and have them do another short chorus, ask again, and if everyone seems somewhat happy, say the following. “Thanks guys for this time, I’m now in tune and can confidently respond not only to the house mix, but any needs you may have.” What we just did by taking a few minutes (FOH guys, I mean a few minutes… like less than 10) is we have tuned our instrument and can confidently hit the first chord. Now there may still be a bunch of little adjustments to the mix, but for the most part you should be in the ballpark. Band guys, during rehearsal, the sound engineer reserves the right to really mess with the house sound. Sound guys, please take the time to mute the mains and see how loud stage sound is, turn up the harmonies a little to loud so you can get the right blend and then set them back down in the mix. Turn the drums on and off, turn the subwoofers on and off. Take some time to see how your instrument is responding. But do this all very quickly too as it is messing with the “mix” on the stage and we want them to be able to rehearse. Also of note would
Continued on page 55

Line Check is when the engineer and a friend verify that all things are plugged in correctly and each wireless mic, personal monitor, monitor wedge, main speaker, subwoofer, etc. is working. Engineers, we should do this every Sunday, and we should be done with it (as well as fixing anything we find wrong) BEFORE the band arrives. See my website www.TechTrainin101.com for an article titled “Check/ I’ll speak a little more toward the lo- Re-Check” for a “preflight” checklist. cal church worship band sound check, instead of a professional band coming in Sound Check, this is where it’s all to your facility for a concert. about the engineer. Band we need you to play a small sample of what you are playLet us start with what a sound check ing or singing that morning… no 50% volis. If you have ever heard me speak on ume here, or timid “check 1, 2, check the subject, you will know I’m passionate 1,2”… we really need a descent version about getting to tune my instrument, the of what you’ll be doing. This is where we soundboard that is. It amazes me how set things like gain and eq… the two most often I walk into a situation where I see important things you need as a musician. the sound engineer just starting with what If you check too quietly, then most likely ever the band decides to do when they we will turn you up, but then when you walk in. Ladies and Gentlemen I say no. give it your all in the service, we will have Worship leaders and band directors, you to turn you down… and there in lies the must give the sound engineer a few min- problem with most monitor mixes. If you utes to check levels and eq BEFORE you give me quality input level checks at this start into a song. If we are going to be time, it is highly likely that your mix will part of a team, and I mean a well-oiled not change. Stay with me though there machine that can function properly, we are other pitfalls to this issue. For instance need to all act like a team. Much like the a lot of times I will ask the drummer to band director expects the guitar player to just play all his drums for a minute. Most tune his guitar before they start the song, drummers will unconsciously play softer if we cannot tune our instrument while the you just ask for a kick, then a snare, etc. song is playing. We can make sure our When it comes to vocalists, I will have alstrings are on our guitar by verifying all the ready checked the acoustic or keyboard inputs work and are plugged in correctly and will have them start the chorus of an

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NOVEMBER/DECEMBER 2010 WORSHIPMUSICIANMAGAZINE.COM

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MiNiSTRY + ARTiSTRY = PROFiTABiliTY? CREATiNG YOUR MAP™

By Scott A. Shuford

God’s Growth Strategy
So…. I’m going to layout God’s growth strategy based on 20+ years of observing artists, ministries, the music industry, churches, and life. Take it for what it is worth. Nothing that we say about God is always true, except when we re-say what God says about Himself. This is a Paul moment where I say this is not what God says, but here’s what I think. God can do things any way He wants to do them. Who are we to argue with how He decides to rollout our lifework? I guess we are Job or maybe worse Jonah… two guys that I have more in common with than I had hoped. For many years, most ar tists thought “If I could just get signed by a label, then I would be ‘famous’ or successful . I’d be on the radio and touring the world, impacting many, many people.” This was just as true in worship as it was in pop music. That CAN happen, but are you really ready for that TO happen? Are you ready to tour the world, most likely leaving your family behind at home? Are your songs truly good enough to be on the radio? Do you realize that you don’t have to do any of that to fulfill God’s mission for you? To go from “zero to hero” can easily destroy just about anyone. Look at how the biggest secular pop sensations implode time after time with drug addictions, mental breakdowns, and suicides. That is often what happens when your world changes overnight from success. Even in the Christian world, it’s very tough. I think most people could not hold to the schedule Paul Baloche lives on. God knows that most of us need to grow into what He has for us. God’s growth strategy is a set of concentric circles. The red dot in the middle is you. The circles are your expanding reach of influence and impact.

benefits continue to build in you. Everything you are learning and everyone with whom you are connecting can lead to an increasingly deeper impact and influence, and set you up for deeper impact in the future.

In contrast, you could be doing a gig three states over with great success, but what if you get invited to another church there? What does that mean to your family time, your logistics and your peace of mind? Well, if it’s Joel Osteen’s church, then GO! I’m not saying to avoid great opportunities. The first area of influence and impact is What I am saying is to plan a growth stratyour local church. If you are called to wor- egy that is not based on faraway places or ship ministry, is your local church, the church that runs ahead of your experience. If God to which you belong as an active member, decides He wants to, He can scatter you using you in worship ministry? BTW - if you among the nations at any time. are not plugged in at a local church, you are So far in the MAP, we’ve talked about not ready for worship ministry. If your own church is not using you, why in the world your Mission, Fan Development, the Nonwould someone in Peoria want to bring you Profit option, and God’s Growth Strategy. into their church? Start at home: volunteer Next time we’ll cover Marketing 101: The and serve. When you’ve grown in a season Four P’s. Until then… J there, get a letter of endorsement from your pastor, then move to the next circle: your Scott has led classes city. Be sure you do data capture of your fan base in your church! Get emails and tell for us at NAMM and the people how to find you on Twitter and Face- Christian Musician Summit. book. The experience you gain with the He has been featured in very understanding people at your church Adweek and is the CEO of in terms of stage time, technological issues, FrontGate Media, the #1 culture-engage rapport with audiences, coordinating with media group reaching the Christian auditeams, and more, will be invaluable as you ence (www.FrontGateMedia.com) and is the co-founder of Creator Worship: move further out in the circle rings. online radio for worship leaders (www. So you are consistently serving in your CreatorWorship.com). Email your comhome church, now let’s move into your city. ments or questions to [email protected] you playing at city events like Indepen- ershipNetwork.com. dence Day or Concerts in the Park? Are you playing at other local churches? Tim Timmons from Mariners Church plays at least a few times a year at Saddleback. Good idea! It’s easy to move into your city, particularly if your church body and your pastor are behind you. It’s also close to home! Tune in Creator Worship Online With a couple of cars, you can probably Radio: load up all your gear and be there in 10-20 minutes. No van or trailer rental. No masTeaching & Training sive gas expense. No hotel stays. That sure Hear it today… Use it tomorrow. beats trying to figure out the logistics of flyProgramming includes: ing or driving two states away for a gig. It takes less time out of your life. As you move to your city, you also get to expand your WorshipTeamTraining.com fan base with more data capture. These Tom Jackson new fans are easy for you to stay in contact News from HearItFirst.com with. They may even end up coming to your church! All the while, you are gaining that Rick Muchow (Saddleback Church) personal experience and letting God mold Richie Fike (Indie Extreme) you and your team, band, family, etc. So your church and your city are using you, now let’s move to the two surrounding cities or the county. Nailed the county, then move wider into the state. Nailed the state, then what about the 3 state region? As you spend the time to gain the experience of going through all this growth, all the

Tech Talk with Wade Odum NewReleaseTuesday.com and more… Twitter: @CLNetwork Facebook.com/CLNetwork

Tune in now at www.CreatorWorship.com

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By Michael Gonzales

Stage Presence may not be His Presence
“Keys, pads, pads!” You hear the talkback mic from the musical director. The song starts. Verse, chorus, verse, verse. Oops! What happened to the second chorus. The worship leader took a diversion. The inexperienced musician gets lost. He isn’t feeling the tune. He is looking on his sheet music for a new starting point. “Where is everybody at?” At the same time, the lead singers are doing the first cardinal sin—looking at each other. That look can be a tell tale sign and speak louder then words, “He missed the chorus!” Sometimes that look can say, “He missed the chorus, that bonehead!” Remind the people at the sound board, the video board, and the person operating the slides for the computer, we are all on the same worship team and God requires our best. Be alert. There are plenty of times to relax a little but not when it requires all hands on deck during worship. Band members don’t start talking amongst yourselves between songs. If the worship leader likes to share between songs don’t ask, “Hey, is that a new amp?” Not appropriate. rather take a B+ player with a great attitude and a servant’s heart any day. Finally, what if there was a Worship Musician’s Creed, something that we could memorize or at least look at before service starts each Sunday. If I were commissioned to write it, it would look something like this: Worship Musician’s Creed As a worship leader representing God’s kingdom on earth until He returns, I promise to serve others as if my hands and heart were fashioned from The Father, delivered by the Son, and manifested through me by His Holy Spirit. I recognize that I am engaged in a battle for people’s lives and my weapon is not only the Word of God but the time and talents given to me. So whether on stage, or in my personal life, my purpose is to help change the world one concert at a time, one praise song at a time, and one note at a time. And whatever I do with what I have, I do it with great joy And what I represent is for something unseen from now and throughout eternity. S o when you are onstage don’t wear that bitter mood on your face. Do you think God is saying, “Look at my servant, what a great player and great attitude he has.” If you ARE a great player and have a bad disposition on stage, I’d Even as I write this, I am struck by the great challenge and responsibility I have as a worship leader. When my son was growing up, I told him, “I don’t have a lot of money to give you, but I have a good name, so don’t mess it up!” Instead of thinking about ourselves, or the one who messed up on stage, or the parts that we missed, I think about God’s good name. He’s all we have and we should represent His kingdom and righteousness in all we do. Michael Gonzales, Ph.D. Professor, Biola University [email protected]

Don’t be jealous if you are a volunteer The second cardinal sin is sticking to the sheet music hoping it will force the and others are paid musicians. I know worship leader back to the chorus. That some churches have a policy like that. You volunteered so consider that your seldom happens. tithe of time and talent. The third cardinal sin is gossiping You don’t know about it. Now talking about it as what other a group is one thing but if there people’s is one sure way to start to build needs up bullet points against someare. one it is to keep talking about that person’s lack of musicality behind their back. If I could call this a reality show I’d call it, “When Worship Goes Bad.” Believe me, I am an expert at this subject. I even broke my leg after leading worship from the stage once. It was a portable stage and someone forgot to lash down the rear side steps. My body went forward but when I looked down my foot was facing the opposite direction! Honestly! What was worse is the paramedics worked on me near the front of the stage—while the next worship team continued with their set. So here’s some things I’d recommend should things go wrong. If the person doing the slides is asleep and one step behind you, don’t yell out, “Wake up, O sleeper, arise from the dead.” But I know of a worship leader who uses thumb signals, thumb up for advance the slide to locked fist when to stop. Thumb sticking out left to go back one slide, clenched fist to stop. I’m not sure this is the right answer for everybody but I do know people in the audience who are lost get frustrated.

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NOVEMBER/DECEMBER 2010 WORSHIPMUSICIANMAGAZINE.COM

GUiTAR GRAB BAG

By Doug Doppler

Practice This
Hello friends – welcome back to the Guitar Grab Bag! This issue’s topic is inspired by an eMail I received from my Worship Pastor about prepping parts and tones for rehearsals and services. Not everything may apply to you and your team, but this approach has delivered consistently excel-

lent results, and may expose a few “white elephants”! Hunting and Gathering

once the team starts playing. I make sure to bring my clipboard and pencil so I can document dynamics, hits, and any changes in the arrangements. Before rehearsal ends our sound team records the entire set to CD, which promptly replaces the one in my car. The ride home is the perfect place to see how well my parts and tones Software like Planning Center Online translated to the full band environment in has become an invaluable tool in my the framework of the front of house mix. preparation process. Once the MP3s and charts have posted I download them Fine Tuning ASAP. I usually go to iTunes to pick up On Friday morning I import the reMP3s for songs that only had charts. hearsal CD into iTunes and create a new playlist on my iPod. Our Church has mulLiving with It tiple services; one on Saturday night and Once I’ve printed the charts I attach two on Sunday morning, all with identithem to my ever-present clipboard. I also cal sets. Prior to Saturday rehearsal I like create a new playlist with the Church to spend an hour or so fine tuning parts name and date on iTunes which I burn to that didn’t work, adjusting patch levels, CD and export to my iPod. The CD lives and then running the set in order without in the car, while my iPod and clipboard breaks. make their way with me to the gym. Both environments are great for getting to Dress Rehearsal know songs by ear - huge if your team is Arriving early to rehearsal gives me working on getting music stands {a.k.a. time to work with the sound team to in“black curtains”} off the worship platform. sure that any patch changes I’ve made I also use my time on the treadmill to write are working FOH. I’ve started using the the form of each song across the top of Line 6 G50 wireless reviewed in this isthe chart. sue, and that has been a huge help in terms of knowing how my guitar actually Tones and Parts sounds front of house. During rehearsal I I spend a couple of hours before Thurs- keep a music stand on the platform with day night rehearsal working on parts me, but retire it before the service starts. If and tones. Multi-effects units like the Boss I don’t know the songs a music stand only GT-10 and the Line 6 POD really shine confirms that for all the congregation to when it comes to stamping out tones see. I try to assemble a checklist of things for an entire service. A great way to remember about each song before I to start this process is to create a start playing it, and this rehearsal I make bank of four presets for the most sure that I’ve got that list dialed in. common tones you use (dirty rhythm, dirty rhythm with beat- Recap synched delay, compressed On the way home I listen to the rehearsclean, solo with boost and de- al CD and recap any mistakes I made to lay etc.), assigning one bank to add them to my mental checklist for the each song. Once you’ve got the next service. Even if you don’t do multiple first bank set up, simply copy services a recap is a great tool for findeach preset over into the ing common problems you can root out in same slot in the next bank. your prep time. In this fashion each bank will feature the Rinse and Repeat same kind of sound As I mentioned at the top of this article, on the same preset this is a process I’ve fallen into as a series number. With the of measures to insure that I’m as prepared charts in order of as I can reasonably be for each rehearsal the set list, I play and service. The more prepared I can through each be, the more prepared I can be to serve song fine-tuning God and the rest of the team. God Bless presets and parts – DougDopple[email protected] as I go, making sure to program each bank to the tempo on the correDoug Doppler is signed sponding chart. This takes the user to Steve Vai’s Favored Naerror out of beat synched delay parts. tions label and is currently in production on the Get Killer Rehearsal Having the CD in the car on the way to Tone DVD series. He and rehearsal allows me to hit the refresh but- his wife Melissa live to serve the Kingdom ton on the entire set, and better prepares and are members of Cornerstone Fellowme to listen for vocal and dynamic cues ship in the San Francisco Bay Area.

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THE BAND

By Tom Lane

Under Pressure

Freedom is hindered when a spirit of control is at the helm of any ship. That management style sends a message that ministry can only be accomplished if “I” do it, If “I’m” in charge, etc. The Church is not a kingdom to be ruled by anyone other than The Lord; who loves, keeps, guards, and leads her with complete and total authority! So the rest of us are what? Just servants, and we either serve microscopic: adjective- so small as to be or we get in the way! A Leader is not a bad visible only with a microscope : microor wrong thing, it’s God’s idea without a ? scopic algae. • informal extremely small • concerned I do however question some leaders understanding of Godly leadership. There is a vast with minute detail: such a vision is as difference between leaders who lead with microscopic as his is panoramic. “absolute power and authority, taking no acMost of us are trying hard just to “get free” count of other people’s wishes or opinions,” enough to worship as it is and don’t need and ones who build up and serve. Domineerto feel judged or under the micro scope, yet ing in my mind is the antithesis of serving and many of our leaders feel that way-under pres- I don’t meet many happy people under that sure! The environment in some Churches is not type of leadership. Unfortunately it’s one of too much different than that of many corpora- the reasons we have a wake of former church tions. There’s an expectation (in the name of goers who’ve decided they’d rather not be excellence usually) to perform the program as subject to it-so they just don’t go period anyscripted (normally by a select few!) without more. variance. That makes freedom hard to come I hear the same things over and over. On by for both leaders and parishioners. I realize we can’t parse out all the problems of church one side from Church Leadership; they’re life here nor do I think I have all the solutions. working hard to steward their posts faithfully It’s full of humans so it’s messy like everything because they feel responsible (good shepelse. But to be and grow with God, we have herds do!), they’re trying to meet the needs of to start being honest and admit when we many not just a few, they get all the scathing emails, and they’re annoyed or uncomforthave it wrong. able with too much space in in a service. Part of the problem we’re up against in the On the other side the Creative Leadership; Church stems from building on and perpetuat- are bored with the routine, feel stifled and uning an autocratic versus Jesus model. Read trusted to really lead people anywhere, and fear being watched constantly from the powthis definition of Autocratic! ers that be. autocratic: adjective - of or relating to a ruler So let’s look at what we can effectively who has absolute power: the constituchange. Each of us bears the responsibility of tional reforms threatened his autocratic stewardship. Unity is not agreement on every power. issue-it’s proceeding together in love as one • taking no account of other people’s family, undivided. If we want the blessing of wishes or opinions; domineering: an God then we have to prioritize and strive for autocratic management style. unity as we come to worship. Whatever the (Though it may describe someone you chasm or conflict in our particular case, the know or work with, please resist the urge to way forward starts with being focused on getrun call them an Autocrat! Won’t make many ting it right ourselves not pointing out where everyone else is wrong. friends that way for sure.)

of time together off stage but to a large degree, you’re only as strong and healthy as your relationships are. 2. When’s the last time you took the person you have a problem with for coffee to find out what’s really happening in their life? If you don’t know, then what you don’t know may have much to do with why they do the things that drive you crazy. Mercy always wins! 3. How important is for you to be in the team and on the stage and does it matter (a lot) when you’re not asked, overlooked, or even left out? We’re human so of course it matters but it really shouldn’t affect our attitude and desire to engage with God and His people. And we should be able to get over it without becoming bitter people. 4. Can you worship in spite of who’s leading or not, on the team or not, if it’s your style or not? You should be able to and if you’re taking things too personally it’s likely a sign that you have your own problems to deal with. 5. Can we lay it down as easily as we pick it up? If you find yourself guarding and protecting your spot and needing it in order to feel good about yourself, you may want to take a season of rest just to keep from becoming too attached to position. Good stewardship is honoring our leaders even if they do stifle somewhat. We’re not responsible for what they do or don’t do well! If we’ve said YES to a position of leadership and are sure God led us there to begin with then we’re there for a reason. Guess what, it comes with the beautiful-painful reality of iron sharpening iron just like any other relationship. So if we fail our tests we may have to take them over another time and season.

The point of worship is not to get through a program without derailing or allowing a lull to occur. God’s not impressed with performances, proud of His kids but not impressed. A good leader doesn’t have to dictate! He connects with hearts longing and willI’m honored to hear from some of you at events/conferences/seminars etc. about Ever been in a band (or ministry) with a Diva ing to connect with Him honestly. All we do what you’re struggling with in your churches or control freak? Their own insecurities and should serve to facilitate the real purpose of and don’t take lightly expressing any thoughts issues make them blind to healthy relation- gathering, if it doesn’t we need to part with it. and opinions. I hope only to help remind us ship, maybe relating in general; so it’s only Sometimes feeling under pressure is our own all; why we do what we do! I try to look at good when they’re happy. Dealing with our deal but it’s also reflective of the need for Air these issues from both sides, something I’ve own unreal expectations, sins, and issues in The Church, that would be The Spirit of The learned from being married a while. There’s is something we do have control over and Living God-let’s make room! never only one side to a relationship or prob- can change. Just like a marriage, two people bring stuff into the union and the healthier lem. they are from the start, the better chance they Nashville, TN is home So let’s bring it down to the foundation, re- stand of sticking together through the certain for Tom Lane though he is and impending conflict and struggle. God lationship. Worship is connecting! If we don’t involved in ministry and muconnect and commune with God when we meets and helps the sincerely humble and sic around the world. As teachable too. gather then what’s the point? For us to cona singer, songwriter and nect with God we have to, at the very least, guitar player, Tom has been teamed with Here are some questions I ask feel free to be who we are. If we’re trying to many worship leaders and artists. He teams: be who we are but keep bumping into man 1. How much time do you spend continues to record his own work, lead made traditions and styles that don’t allow it, we’ll only do it for so long before we either aside from the practical music and worship, and writes regularly for various blow up or move on. Hence, most church technical part of the worship ser- worship publications worldwide. vice? I know not every team has the benefit growth is transfer growth not new life.

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NOVEMBER/DECEMBER 2010 WORSHIPMUSICIANMAGAZINE.COM



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Removing amps and cabinets from the worship platform is great for taming sound wars, and has the arguable benefit of being more visually pleasing. But if you’ve invested hundreds if not thousands of dollars into an amp that loves to be turned up, a VB Amp Enclosure may be the solution your Church (or studio) has been looking for. VocalBooth has been designing and manufacturing isolation enclosures for over a decade. As the name implies the company got its start building vocal booths, initially for home studios like that of founder Calvin Mann. reduces noise and helps prevent standing waves. Although the “Large VB AMP Box” sent for testing arrived in a massive crate, it took less than a half hour to set up. With exterior dimensions of 49”H x 48”W x 48”D I had more than enough room to stack a 1x12 combo on top of a 2x12 cab, along with two mic stands. All VB units feature a cable port so you can get cabling and power in and out of the booth without compromising isolation. Not a big issue for most services, but if you’re doing any live recordings isolating your amp or cabinet from exterior noise is nearly as important as isolating other sounds sources from blaring guitars.

By Doug Doppler

In addition to a robust line of modular vocal and drum isolation booths (including the 53’ VB Mobile Studio), VocalBooth has four sizes available for amps or cabinets. VocalBooth can build custom sized amp enclosures as well that can handle various size Leslie speaker cabinets for example. The VB Amp Enclosure is available with or without ventilation, something one may need to consider for combo amps. All enclosures include VB’s proprietary Iso “standing waves” bouncing off of parallel Pad to help prevent cabinets from coureflective surfaces like floors and ceilings. pling with stages, and to keep mics vibration-free from outside disturbances. The inIn addition to worship services, VB Amp Just like at Church, keeping your speakterior is lined with acoustic treatment that Enclosures are particularly useful in home ers isolated from the listening environment makes mixing much easier – with the added benefit of being able to easily use your mains to test mic placement. The unit VB sent sports a front facing door, which or project stu- makes for super easy mic adjustments. I dios, which are set the enclosure up 180 degrees behind rarely equipped my control surface so I could easily listen with a separate to the sound with the door off and then tracking room. flip around to compare it with what was Isolating your coming out of the mains once the door amp from play- was closed. If you’ve got a really loud back monitors amp in the room, it can easily overpower and click tracks headphones and will trash your ears as is but one of you try to find some sort of balance. the many luxuIf you’ve been looking to get some ries afforded. The biggest speaker volume back into your mix, visit challenge most VocalBooth.com. home studios face is bad Doug Doppler is signed acoustics in rooms that to Steve Vai’s Favored Nawere never tions label and is currently in designed to production on the Get Killer track much Tone DVD series. He and less monitor in. his wife Melissa live to serve the Kingdom Not the least of and are members of Cornerstone Fellowthese issues are ship in the San Francisco Bay Area.

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NOVEMBER/DECEMBER 2010 WORSHIPMUSICIANMAGAZINE.COM

CAMERA

By Craig Kelly

So You Volunteered as a Camera Operator At Church – Uh Oh, Now What? Part 3
show any laundry at all. A large segment • Always know what the other camera of the audience believes that the crew is dishots are. Listen and know what their rectly connected with the presenter, artist or duties are too performer. And it would be a bad thing if we Practice; Practice drills for camera adversely affect someone’s worship experi- Studio camera motion relief – Use 2 ence. Remember, the Technical aspect of the platforms. One for the camera and A few Television truisms that always ap- service is to support the presentation – not to one for the operator to stand on ply to any show, event, service, program, command the attention of and it would be a Dissolves/tally – make sure you’re project, etc and to any position on the crew; bad thing if we adversely affect someone’s clear before you change shots worship experience. – unless your director is into The Show Must Go On the whip-pan look Previously we gave you some insider’s If your tally light flashes that We are in show business – even when it’s for the glory of God. Not often with smoke tips for better camera operating, here’s some mean somebody’s calling you. and mirrors, but with good, quality produc- more – some may be repeated; Check your headsets. tion values that are important and necessary Watch return video to see how in communicating the Message and to en- Here are 25 bonus tips; your shot fits into the program – hance everyone’s attending experience. Do Show up on-time and ready to work as long as it doesn’t interfere with Work hard for the director – events are usuwhat you gotta do. your assignment ally pretty short Be careful about talking around headsets Let the director know about your experience Never show your dirty laundry and open mics. Many people have level Video should never impact the event in been embarrassed by this. an adverse way or disrupt or cause any at- Be on headsets before the required time Assume you’re always on – somewhere. Getting on camera early has benefits, tention to be diverted from the featured preEven if you’re not on the screen you such as; senter or performance - and nobody outside might be isolated in a record machine or • lets audience know what they’re in for of the TV crew should know about any probbeing sent out via the web – be their best friend and they might lems with the presentation during the event. Assume there are outsiders watching – from even help you Never show your dirty laundry. In fact, never the control room, or a monitor or in a • gets your cable puller ready tape machine/recorder or across the • lets director see shots world or behind you in a pew. • lets house crew know where you are Never let anyone lean on or set anything • lets production manager / stage on your camera platform. It’s perfectly manager know where you are OK to ask them politely to move. • Hand Held – your shoulder will start to relax the longer you have the camera Next we’ll give you a list of some comon mon position titles so you know who the Always let TD or director know where you players are. are. Sometimes there are problems or pre-recordings that need to be done Remember, keep practicing. Set up your camera for comfort and visibility Your left arm/hand has all the control for Television director Craig panning and tilting Kelly’s career has included Hardware / Cable – should look good/ over 3,500 live shows, neat events and concerts in Hand Held - Confirm you have enough broadcasting, corporate cable Hand Held - Work with your cable puller – television, events and sports production since 1977. He is also involved in minyou’re a team istry based events and concerts, and has Hand Held - Get your cable ready produced or directed internationally disHand Held - Cable routing – plan your escape path for when you need to move tributed DVDs. With a background as an international Hand Held – Never sell a shot that you free-lance cameraman, he has shot nacan’t hold on to steadily for a long time tional and local level sports and corpoCable strain relief – protect those connecrate video for over twenty years. These tors days he is often involved in speaking, When you zoom, know what your final workshops, writing and talking about frame will look like Television camera operators and diWhat to do when your tally is off; • Look for shots / Know what your next recting. He recently launched the blog ZoomIT.cam at craigjkelly.wordpress. shot will be • Sell shot ideas to the director by show- com for new camera operators and has a training DVD in the works. You can reach ing them Craig at [email protected] • Get into position for the next shot In the previous two articles we’ve taken a look at some fundamental aspects of running a camera on your chrurch’s Technical Arts Team. Here are a few more tips and things to think about.
WORSHIPMUSICIANMAGAZINE.COM NOVEMBER/DECEMBER 2010

49

TiPS FOR TiGHT TEAMS

By Sandy Hoffman

Are You Lifting up EN-CO-MI-UMS?
1 Is it possible to lift up encomiums without ever singing or saying a word? Is it possible to lift up encomiums just by playing your instrument, humming, dancing or even strumming a rhythm on the venetian blinds in the dining room? (Dust first!) 3 Is it possible that you have NO earthly idea what encomiums are?! 2

From the Top Alrighty then, from the top. Encomiums are limitless. They span space and time. They can exist in any state, any medium and probably even in a vacuum. They are always in fashion (and never need ironing!). They can be sung, hummed or pounded out on the most primitive of percussion. They will exist forever. To better understand their nature, let’s begin by reading selections from 2 Samuel 6, starting with verse 5. Here’s the scene: David and the “choice men“ of Israel have just brought the ark out of the house of Abinadab. Apparently, a spontaneous praise-jam session erupts among them (how cool is that?). Then David and all the house of Israel played music before the Lord on all kinds of instruments made of fir wood, on harps, on stringed instruments, on tambourines, on sistrums [metal shakers], and on cymbals. (NKJV) They were probably just “gettin’ their groove on” when in a moment of fatal reaction, poor Uzzah put out his hand and touched the ark. God was greatly angered by this and zap: EXIT UZZAH! Needless to say, David was quite shaken with the sudden unexpected turn of events, but on the rebound, the ark was eventually brought to the City. That’s when the King himself was inspired to “bust a move!” He “danced before the Lord with all his might,” and it says that he was “leaping and whirling before the Lord!” (vv 14 & 16) This has EVERYTHING to do with encomiums! Encomiums So what ARE encomiums? Encomiums are high praises offered and expressed

day AM for 30 to 45 minutes at the beto the Lord. They are “glowing” and ginning of each service. It’s a lifestyle, “warmly enthusiastic” according to a response to spiritual stimuli, Merriam-Webster. They are acand just like our musical skills, recolades, commendations, homquires practice. Encomiums need ages and tributes in all sizes, to become an almost involuntary shapes, forms, configurations, response in ALL our life situations. intensities and eccentricities. But how do we program ourThroughout our lives they can selves for the kind of responses we come from the valleys or the saw in King David or Jonah? mountain tops, the skies over L.A. or from the depths of the sea. Encomiums are ALWAYS appropriate: any time, any Three Ways To Instant Praise Just what does it take to become an place and from anyone. They express our deepest, least inhibited heartfelt desire to “I.E.L.” (instant encomium lifter)? How do we develop the habit of high praises? As bring glory to God. in the acquiring of any other worthwhile trait, we practice, practice, practice! Praising God With Bubbles I love to scuba dive. Underwater caves, 1-Practice meditating on the scrippeaceful and awe inspiring, have often been my dive destinations! Imagine div- tures. This one’s from David himself, as ining to 60 feet, swimming into a gaping, spired by the Holy Spirit. “But his delight pitch black hole, and with only the nar- is in the law of the Lord. And in His law row beam of your dive light, making your he meditates day and night. (Psalm 1:2, way into the flooded bowels of the earth. NKJV) What a beautiful picture. Just imagThere, you turn out all the lights (absolute ine “chewing on” the Word all day and darkness surrounds), set your bouancy all night. Spontaneous praises in multiple vest to neutral bouancy, and like an un- forms most certainly begin to flow from born baby still safe in his mother’s womb, your lips and life when you do! you hang weightless in inner space. You 2-Practice being thankful for everyrise slightly with each inhale and move in the opposite direction as you breathe it thing that comes your way. One of my out. Ahhhh, sweet peace and total immer- all time favorite worship songs (“Come sion in the presence of God! You’re in His Fall On Us” by Ben & Robin Pasley, 100 arms now, and as He gently rocks you Portraits) has a bridge which begins with in this mysterious subterranean version of “A thankful heart prepares the way for Sea World, you spontaneously begin to You, my God.” Only the Lord Himself hum His praises. With every breath you could have said it better. And when He take you can hear the hiss of compressed did, He coupled it with “always rejoice,” air passing from your second stage regu- and “don’t stop praying.” We are then lator into your lungs. But the worship-pay- instructed to “give thanks in everything off comes as you exhale. You become because it’s God’s will for US!” acutely aware of the sound of your own (1 Thessalonians 5:16-18) humming-bubbles lifting up encomiums to the Lord in the most unlikely place on 3-Practice being a living sacrifice to earth! You’re offering glowing, warmly the Lord, which Romans 12:1 says is our enthusiastic “scuba diving praise!” “reasonable act of worship.” We praise Him then, lifting up encomiums, for every The Jonah Factor Scuba-praise? Sound a bit far fetched chance to decrease so that He may inor unbelievable? “No Biblical precedent,” crease. (In everything give thanks.) you say? Think again. “When my soul fainted within me, I remembered the Lord; Today you’ve learned a new word, and my prayer went up to You, into Your and it’s many, many expressions. It’s my holy temple. (Jonah 2:7 NKJV) These prayer that this new word, encomiums, words from Jonah weren’t exactly offered will inspire you now to new acts of worfrom the comfort of his favorite easy chair ship never even dreamed of!! As believin front of the wide-screen at the “Jonah ers, worship is our forever-life, and the household.” On the contrary, as we say worship life is all about—you guessed it! in scuba lingo, he was “at depth.” Way under water, and to complicate matters, in- Practicing praise! side the belly of a very large fish! And yet Sandy his thoughts and prayers were of and to the Lord. Anywhere, any time, from anyone! Sandy Hoffman serves Encomiumatic Responses The Grace Community OK, I admit it. I made up the term “en- Church in Santa Fe, NM, comiumatic responses.” But I think you get where he is the Minister of where I’m coming from when I make the Worship Arts. Check out reference. Worship, led by team or other- his new instrumental acoustic guitar CD, wise, is more than what we “do” on Sun- “Sereno,” at: www.EssentialWorship.com

50

NOVEMBER/DECEMBER 2010 WORSHIPMUSICIANMAGAZINE.COM

Practical Training for the Entire Worship Team

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www.CMSconferenceinabox.com

MANDOliN

By Martin Stillion

I Wonder as I Wander

I freely admit I’m a sucker for Christmas music. I’ve been working on arrangements for a Christmas gig with my band, the Coolerheads, when I wasn’t busy helping to plan the annual Classical Mandolin Society of America convention (which was  tons of fun, by the way).   Out of those efforts came  this solo “chord melody”  bluesified version of a                        folk carol by John Jacob        Niles, based on materi al he collected in 1933   in North Carolina.    I’ve reharmonized the tune and changed one of the notes: the D# in bar 16 is a D natural in Niles’ composition, but because this is the blues I wanted a dominant seven chord in there somewhere. I also changed the meter, at least in the first part. The customary 6/8 meter returns at the key change in bar 24, although the other alterations remain. Chord melody style is one way of playing lead and backup at the same time. The bigger noteheads are the melody throughout the piece; you should try to “pop” these notes out of the chords and de-emphasize the smaller notes. The “x” noteheads indicate where I’m muting the chord with my left hand. You can practice this slowly, of course, but it won’t make a lot of musical sense until you’re able to play it at the marked tempo. Make sure you establish the rhythm and keep it going throughout part 1—that’s more important than hitting all of the smaller notes. Have fun, and I’ll look forward to seeing you at the Christian Musician Summit at Overlake.
 

Multi-instrumentalist Martin Stillion, a 15-year veteran of worship bands, plays at Seattle’s Bethany Presbyterian Church. In his P.S. There are several collections of other lives he’s a husband, father, writer, Christmas tunes for mandolin; one of the editor, Webmaster, composer, and mubetter ones I’ve seen is Roland White’s sician. Learn more than you wanted to Mandolin Christmas, available at www. know about Martin at www.stillion.com/ martin or www.emando.com. rolandwhite.com.
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NOVEMBER/DECEMBER 2010 WORSHIPMUSICIANMAGAZINE.COM

Think

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FOH ENGiNEER
Continued from page 36 be to always finish rehearsals with the house sound on. Many of their monitor mix adjustments will be very different if they do not hear the house sound blending with their wedge or ear monitor sound. or show. I recommend always running sound check a little louder than you will run the service. It will honestly seem just a little louder with out bodies in the room even with no changes to any faders or gain knobs. This is because the human body is made up mostly of water… and one of the best sound absorbing materials is big bags of water. So know that it is normal for sound-check / rehearsal to sound louder naturally. It is for this reason that I encourage you to make it just a tad louder than you think, because most likely you will turn it up a little anyway. Making it a bit louder will also help you establish any feedback issues that may flare up in the service. When the people come in they suck up some of the sound so if you have audience mics that the ear monitor folks are relying on or if you band is mostly on wedges, then the change in sound when an audience fills the room will change the performers perspective on their mix. above this point. You run the risk of not only feedback, but also splash back on the stage that will overtake the bands monitors. You know you hit this mark if your band is on wedges and they all start asking for monitor changes. And last but not least. If you have had (and especially if you have not had) a good rehearsal, never make any changes based on what you remember you wanted to change. Meaning if the band has left the stage, do not think, “Oh, I needed some gain on the acoustic guitar and I didn’t want to mess him up in rehearsal…. I’ll add it now.” Stop right there… back to rule 1. Till next time. John John is an 20-year veteran of the road and has been blessed to work for many of the top level Christian worship leaders including Chris Tomlin, Lincoln Brewster, Shane and Shane, Paul Baloche, and many more, Check out www.TechTraining101.com for more about what John is up to.

Now back to Paul’s topic. Once you get gain structure set do not change it, especially after sound check and especially not after rehearsal. Unless something is about to explode, do not mix with the gain knobs; doing so will adjust everything down stream including the bands monitors. Let me say it again. Unless a signal is about to pop the top off the little red clip LED, then leave it alone. This is why it is so important that we got the gain right, and that they gave us real world test signals, back in sound check. If you constantly adjust the gain during the service you are changing their mix, especially if they are on ear monitors. There are these little slider things closer to your hands that we should be using now to balance the mix. (Sorry for the sarcasm, Now that you have ran sound-check / but some of us need to be reminded.) rehearsal a bit loud, back that main fader back where it belongs. You have estabWhat else can change a musician’s lished a max volume as well as know you mix? The room and the audience. Sound are stable feedback wise. Do not “gain check is always different than the service up” any inputs, or push the main fader

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The REAL LIFE of LINCOLN BREWSTER:

continued from page 26

photo: Jeremy Cowart

when God has placed a guy in a role, He has placed him in that role. You can choose to honor that or you can choose to dishonor that. To me, before I would want to dishonor that I would rather just go on to a different place where I could get in alignment with the vision. WM: Well people really like that workshop because you are so transparent in your presentation. That is what they respond to. In that class and in your new album, folks can see that you do have real problems and that is the real life that you sing about. LB: I feel passionate about it, I really do. I’m passionate about doing ministry in a healthy fashion. I want to be doing ministry 20 years from now. But I know

my pastor’s plan as if it is my own idea. I can’t walk out to the team with a long face and go, “You’re not going to believe what he’s going to make us do,” but really go out and be honest and say, “Hey, I’m excited because the guy who is supposed to hear from God in this church, heard from God and this is what we are doing.” That is a hard concept for some people but I really respect and believe that

with the way that I’m wired, if it isn’t about relationships, I won’t be able to sustain it. I think a lot of people forget that in ministry. They think it is a sprint and they forget that it is about finishing the race. To me, so much effective ministry happens over the long term and it is about healthy sustainability. I try to be mindful about that and that is why relationships are at the core of the way that I choose to lead our team. I don’t always do a good job. But I can say that I never forget that. I never forget the core of it. I never forget that it is about relationships. So when I make mistakes and when I don’t do a good job, it is fixable, because I haven’t forgotten what we’re about at the core or let dysfunctional relationships destroy people along the way. We serve a God who is all about relationship. That is the point of Christ coming. Remembering to always be about relationship - that’s the key. visit www.lincolnbrewster.com

KEYBOARD
Continued from page 12 the droning A on top with a D below. Continue creating your part with these concepts in mind. If you’re practicing this alone, with only your pad sound, you may think it’s way too sparse a part for the song. Don’t chisel that conclusion in stone, though, until you’re able to play your pad part with your full rhythm section. ent approach to creating your pad part for the chorus. Rather than play a droning note that doesn’t change for several measures, why not create some melodic movement within your part? This movement is a strong contrast to that droning A heard so long in the verse. chorus feel like a payoff? Does the energy diminish a bit when a later verse is heard? Does the return of the chorus feel significant?

As I suggested earlier, each member of a rhythm section can play something that sets a new section apart from what’s just been heard. When the chorus of “Mighty To Save” comes around, you could do this by no longer droning on the A as the top of your voicing. You could certainly go to a higher note, perhaps the E, above the A you’d played, as a new droning note for the chorus, but I might suggest that you take a differ-

Listen to a recording of your worship team playing a well-known worship song. If what you hear is music played Here’s a chord chart for the chorus with the same instrumental activity and showing a possible melody for you to dynamic level throughout, step back use on top and some voicing sugges- a bit. Compare the recording of your tions for the notes team to popular recordings of the song below that mel- you’re playing. How were sections set apart in the more well-known recordody. ing? See if you don’t agree that creating There are as clearly delineated song sections merits many possibilities your attention. Do your homework here, for the pad part and you’ll be more musically engaged you choose here as you play and your congregation will and the voicings engage more intently as you worship you might use as together. there are keyboard players. You might opt for the verse’s droning top note to continue; you might use a new keyboard As a songwriter Ed has sound for the section; or, you might written over 100 songs with choose some other option. The most Integrity Music. He has a important thing for you (and everyone else on your worship team) to consider Masters Degree in piano is how the part your playing contributes performance. Ed and his family live in to the linear flow of your song. Does Washington State. Ed plays a Yamaha’s the verse establish the energy and mood Motif XS8. www.kerrtunes.com of the lyric that will be sung? Does the

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By Manuel Luz

Church Shopping Exposed
We’re here this Sunday morn- Note: This is code for: “I listen to a ing in the lobby of What’s Happening lot of Christian talk radio, and I Community Church, located in the subwant my sermons to sound just urbs of Caucasian Falls, USA. A couple like my favorite Christian radio new to the church has just exited the personality.” service and approached the pastor. Let’s listen in… Pastor: Well, you’ll find that we just preach from “The Word” here. Pastor: Good morning! You’re new, right? Note: This is the typical response that pastors have to these kinds of questions. I Joe: Hi. Yes, I’m Joe and this is my wife, think there’s a seminary class that coaches Jill. them on these answers. Jill: Yes, first time here. Really loved the service. Pastor: Well, great to have you here! Joe: Do you have a moment? We were just wondering if we could ask a few questions. Pastor: Sure. Fire away. Joe: How many services do you have here? Note: This is code for: “I like to sleep in late on Sundays.” Pastor: Oh, we have three services on Sunday mornings. Joe: Great. I really liked the sermon today. It is so good to hear a sermon with meat, not the kind that’s, well, you know, milk. Joe: Do your sermons always run that long though? have teenagers who desire a more cuttingedge program. It’s a coin toss, really. Pastor: Uh, the answer is…Yes? Joe: Oh good. Pastor: Yeah! In your face, First Baptist! Jill: Excuse me? Pastor: Uh, I said, lovely place, First Baptist. Jill: Oh.

Note: This is code for: “It will be foot- Pastor: Do you have any ball season soon, and I don’t want the other quessermon to eat into the pre-game show.” tions? Pastor: Well, you’ll find that we just Joe: No, I think preach from “The Word” here. that’s it. Thanks so much for your time. Jill: I take it that you have a children’s ministry? Pastor: So, will we be seeing you next week? Pastor: Yes, we have an excellent children’s ministry. We have programs Jill: Yes, we think so. Thanks so much. up to sixth grade on Sundays. Note: Jill is secretly relieved at this state- Pastor: Well that’s great! Just wonderful! Make sure you visit our coffee bar ment, since she goes to church in part to on the way out. Tell them the mocha get away from her kids. frappuccinos are on me! Jill: Do they have an indoor jungle gym? Because First Baptist down the street Jill: Oh, golly. You know, Joe is lactose intolerant. has one and the kids just love it. Pastor: No, sorry, we don’t have one. Joe: Yeah, well, I’m afraid we won’t be coming back after all.

Note: Wrong answer. The pastor Note: Joe and Jill leave, disappointed, makes a mental note to talk to the facilities director about but ready to go shopping again next Suninstalling that zip line and day. The pastor chases after them… climbing wall next to the Pastor: But…but…did I tell you about our snack bar. free gym membership? Jill: Oh. That’s really too bad. How about your Manuel Luz is a creative youth program? Is it very arts pastor in Folsom, Calibig? Do they play loud fornia. Which means he rock music there? always misses the morning Note: At this point, the NFL games. We highly pastor must make a critical recommend his book, Imagine That: Disdecision. On one hand, covering Your Unique Role as a Christian they could be the kind of Artist from Moody Publishers, imaginethatcouple who don’t want rock luz.com. music influencing their teenage children. Or they could be a couple who

WORSHIPMUSICIANMAGAZINE.COM NOVEMBER/DECEMBER 2010

59

A FEW MOMENTS WiTH…

By Brian Weaver

[False] Humility - How to Shine Your Light
I remember the first time I realized God had given me a gift of discernment with musicians, of knowing where their heart was with their music, and where God was among that. I was helping lead worship for an event with another individual back in 2004, and something just didn’t feel right about this person. Instead of using my discernment to love on this person, I used it to judge. And when the story came out of what was really going on in this person’s life, I said to myself, “I knew it!” This happened a number of times in the next few years, until I heard God tell me that He had given me this gift not to judge, but to help build people up and work with them through their weaknesses. As I have continued on in my journey of leading worship, performing my own songs, and meeting fellow musicians who do the same, I’ve noticed that the topic of humility and false humility has been the number one thing to arise. Why is it that pride seems to be the biggest downfall for musicians and worship leaders? How do we get on stage, play music, and allow God to be seen through that and not us? Well, as my pastor likes to say, “The secrets of God are hidden for us, not from us.” What does that mean, exactly? That means that if we want to get the answers, we need to draw close to God (James 4:8), and He’ll draw close to us and reveal things to us. I think the first place to start is the issue of pride amongst musicians. Where did this all start? Simply put – with Lucifer. In Ezekiel 28, we find a detailed description of who Lucifer was and what he was in charge of. “Son of man, take up a lament concerning the king of Tyre...” Ezekiel 28:12 - NIV In this verse, God is telling the prophet Ezekiel to speak to the demon, the chief spirit, that is influencing the king of Tyre; God is talking directly to Lucifer/Satan, who is controlling the king. in beauty.” This must have been the most beautiful, sparkling angel! (cont.) “...the workmanship of thy tabrets (tambourines) and of thy pipes was Now, where is the balance between prepared in thee in the day that thou being up front, leading others in worship, wast created.” yet pointing to God and not to ourselves? Ezekiel 28:13 - KJV When I first began leading worship, I would never take credit for anything; I God continues to describe Lucifer, ex- stayed as conservative as possible beplaining that he had tambourines and cause I didn’t want others to think I was pipes built into him. He didn’t just lead the prideful. When someone would say, music, he was music. This also shows us “Great job with worship this morning,” I that whatever God creates someone to would blow it off and say it wasn’t me, be, He builds it into him or her. With such but it was God. After going through this beauty, splendor, and power, it’s no won- process for years and wondering what the der why everything went to Lucifer’s head, balance was, I finally went to His Word leading to his downfall. and sought the answer. so many people now struggle with humility and false humility issues: we don’t want to make the same mistake Lucifer did.

“You were the model of perfection, full of wisdom and perfect in beauty. You were in Eden, the garden of God; every precious stone adorned you...” Going back to the question of why it is Ezekiel 28:13 - NIV that pride seems to be the biggest downfall for musicians and worship leaders, we God is saying that Lucifer was the see that it is because Lucifer first gave into “model of perfection”; that he was “perfect pride and thinking he was better than God Himself. I believe this is the reason why

“You were blameless in your ways from “You are the light of the world. A city on a the day you were created till wickedhill cannot be hidden...let your light ness (iniquity) was found in shine before men, that they may see you...Your heart became proud on your good deeds and praise your account of your beauty, and you Father in heaven.” corrupted your wisdom because of Matthew 5:14-16 - NIV your splendor...” Ezekiel 28:15, 17 - NIV In this verse, Jesus is saying to go out and be a “light” in the world; to let it “shine Lucifer was created to direct the music, before men”. I spent years worrying that yet when he saw how great, beautiful, people were going to see me and not see and splendid he was, he began to think God, but after reading this, I realized my too highly of himself. This thought was the mind frame was all wrong. A light is visiniquity that was found in his heart. Iniquity ible to everyone around it, especially the is simply a quality of sin; it deals with the light that is placed on a hill (or stage). sins that cannot be seen (except by God). When that light shines, people will see Some examples of this are pride, jealousy, what you’re doing (and appreciate you for deceit, envy, and covetousness. While sin it), but ultimately, the praise will go to our and iniquity both deal with falling short, sin Father. is the visible action we do that separates us from God and iniquity is the hidden In this next passage, we see that the thought or intention that separates us. In queen of Sheba was hearing incredible Jesus’ message in Matthew, He shares the stories about Solomon. She heard reports difference between iniquity and sin: about Solomon that she didn’t even believe herself, so she decided to make a “You have heard that it was said, ‘Do not trip to visit Solomon and see these things commit adultery.’ But I tell you that for herself. anyone who looks at a woman lustfully has already committed adultery “When the queen of Sheba saw all the with her in his heart.” wisdom of Solomon and the palMatthew 5:27-28 - NIV ace he had built...she was overwhelmed...She said to the The visible action of adultery is considking...‘Praise be to the Lord ered sin, but the lustful look is the non-visyour God, who has delighted in ible act of iniquity. Iniquity wants to maniyou...’ ” fest itself; it is only waiting on opportunity. 1 Kings 10:4-9 - NIV I found that through everything Solomon was doing and everything he had, the queen of Sheba did not see him; she saw the God he served! If Solomon had put on this idea of “false humility” and hidden
Continued on page 62

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NOVEMBER/DECEMBER 2010 WORSHIPMUSICIANMAGAZINE.COM

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Continued from page 60 who he was and what God had given him, then the queen of Sheba wouldn’t have been drawn to God. If anything, he would have been drawing more attention to himself. As worship leaders and musicians, we need to begin operating through the light God has put inside of us from the day we were born. We are told to go out and be a light, to stand on a hill and be seen. Through all of this, if our hearts and intentions are right and set on the Lord, we won’t need to be concerned about ‘getting the glory’; it will automatically point to God. A friend once told me something I will never forget: “People are most attracted to you when you’re operating in your anointing.” This attraction should not cause you to hide your light, but it should cause you to live it out. Solomon was living out the light God had given him, and through that, everyone saw the source of the light: God. As long as we continue to seek first His kingdom and His righteousness (Matthew 6:33), we don’t have to worry about anything else. The next time someone thanks you for the great job you did, don’t brush it off, but say, “Thank you.” Humility allows other to appreciate you; even the word appreciate simply means “to increase in value.” People’s value should increase after a worship experience, because they have just drawn even closer to the presence of God. Going back to Ezekiel 28:14, Lucifer was described as the “cherub that covers.” As a worship leader, you’re not only responsible to lead others in worship, but also to protect it. The presence of God should be protected from distractions. I’ve noticed that a dull light draws more attention to it than a bright light. When a light is dull, it pulls all the attention and focus onto itself and away from the things around it. However, when a light is extremely bright, it shines on everything around it, revealing the dark places. Let’s be the bright lights in this world and shine on the dark places of our hearts. Don’t worry about telling others it’s not you; just show them: “For what they were not told, they will see, and what they have not heard, they will understand.” Isaiah 52:15 - NIV Brian Weaver is a singer, songwriter, and worship leader from Phoenix, AZ, signed with VSR Music Group & EMI/CMG Distribution

By Greg Sisley

Elation E Spot LED
Lighting is a field that’s constantly changing. It’s one of the things I like best about it. The creativity God put into us constantly devises new and better ways to get things done. During the next few articles we will look at several new technologies that are changing the lighting world forever. The E Spot uses ground-breaking technology for its light source - a CBT 90W white 6500°K LED. Though the LED lamp consumes less than half the power of a similar sized fixture’s 150W discharge lamp, the 45 W LED has greater light output and very little heat is generated. The E Spot LED produces 960 lux at 16 feet. Compare that to a Mac250 Entour The Elation E Spot LED from Elation which produces 911 lux at 16 feet with a Professional Lighting is an innovative leap similar 15 degree beam angle. A typical into the future of automated lighting. This discharge lamp is rated at 3000 hours, deceptively small, full-featured moving while the LED lamp in the E Spot is rated yoke spot not only competes favorably at 50,000 hours! with existing moving lights, but also packs some revolutionary features. The E Spot has another feature not usually found on units of this size or price. The engineering and design team at Elation’s RDMX (Remote DMX Addressing) Elation is really hitting on all cylinders allows DMX values to be set remotely right now and turning out some fantastic from your controller, eliminating the need gear. Their E Spot weighs about 25 lbs for hands-on access to the fixture once and measures only 8” by 11.8” and just installed. Combined with long lamp life, 17.2” high. The E Spot LED features a the E Spot becomes a great option for color wheel with 8 rich dichroic colors those hard to reach locations. and color scrolling with variable speed. A single gobo wheel holds seven rotatHere’s what I like about the E Spot. It’s ing/indexing replaceable gobos. The a rugged, high-quality, full-featured light unit also features gobo scrolling and a with a super efficient light source and exgobo shake effect. A really nice feature is tremely long life. It produces sharp beam the fixture’s three rotating, indexing prisms edges and an exceptionally flat beam - a 3-facet, 5-facet and 3D, which allow field. It’s very affordable. The E Spot’s for a whole new palette capability and features belong to fixtures of effects. The E Spot that are bigger and more expensive. LED has a fixed 15° The E Spot LED is a reasonably quiet fixbeam angle and ture, and is appropriate for use at clubs, can pan/ theaters, concerts, stage productions, tilt 540°/ churches, and other applications where 630° by total throw is not greater than twenty-five 2 6 5 ° . feet. Elation has pioneered the way with Shutter/ the E Spot and opened a door to a whole s t r o b e , new realm of creative possibilities. The 0-100% advantages of LED - lamped fixtures are d i m - driving other manufacturers to develop m i n g , similar models. Soon we will see larger and mo- moving lights with greater throws, CMY torized color mixing, and moving washes, all lit f o c u s by LED lamps. can be At about $1500, the Elation E Spot c o n t r o l l e d LED from Elation Professional Lighting is a with a lot of bang for the buck, and would make standard an excellent choice for your lighting rig. DMX controller in Greg Sisley is on the a12 or 14 c h a n n e l pastoral staff at Faith in Kent, WA, where he leads mode. production and men’s ministries. He is also a member of the Lift Worship Team, specializing in lighting design and production.

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NOVEMBER/DECEMBER 2010 WORSHIPMUSICIANMAGAZINE.COM

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