From Beyond Relevance:

Have you ever noticed that the average designer looks like they are in the band? Ever notice the odd coincidence that so many music people also dabble in design? Ever wonder why? Let me play a few chords of the common bond between music and design… When a musician begins learning, let’s say… guitar, he (or she) first learns how to play the notes, but then begins to learn on a higher level how different notes and sounds make up the songs that create his moods. He learns the chords that stir him up, wind him down, and make him wax melancholy.

This certainly rings true in my experience. The important question, then, I suppose, is how to apply this wisely to our worship services.

Brad

At NewSong Lancaster, we use a pretty old but beefy Dell Precision and EasyWorship for displaying our lyrics. I really like EasyWorship because it is just that, EASY, to train volunteers to use. This works well for us most of the time but we are looking to possibly upgrade in the near future. Soooo, I’ve been doing some reading this morning about the Mac vs. PC debate, as well as trying to sift through some of the MediaShout vs. ProPresenter issues for the purpose of discerning whether purchasing an iMac is the way to go.

If you have any experience in the Mac vs. PC issue for the purpose of displaying lyrics, or if you know anything about ProPresenter or MediaShout, it would be great to hear your opinion.

So I saw this on Twitter and thought it was a good idea. I’ll give it a shot each week. If you’d like, post your setlists each week as well. Check out the Sunday Setlists page to hear what many others are doing.

This week our theme was The Name of Jesus.

We did “Everything” by Tim Hughes as a prelude (which really had nothing to do with the theme).

First song after the announcements was “Lift Up The Name” by Josh Caterer from Harvest Bible Chapel in Chicago. It is a fun, upbeat call for people to glorify the name of Christ. It also includes some shouting at the end, which can be uncomfortable for some people, but it’s good get out of the comfort zone, right?

Second song was “Your Name” by Glenn Packiam & Paul Baloche. We did the Philips, Craig, & Dean version and started it with a Wurli sound on the keyboard, which was pretty cool. Also, during the “instrumental” part we had our singers recite some scripture verses that went along with each line of the chorus. Here’s how that went:

Your name is a strong and mighty tower (Prov. 18:10)
Your name is a shelter like no other (Psalm 5:11)
Your name let the nations sing it louder (Psalm 66:1-2)
Cause nothing has the power to save but Your name (Acts 4:12)

The last three songs we did as a medley: Jesus Your Name, Praise the Name of Jesus, and You are My All in All.

It was a decent set, a little choppy at spots, but definitely carried the theme well.

What did you do this week?

*Posted by Brett*

Hey all,

Got some good comments on the last James MacDonald video. Let me hear what you think about this one.

James MacDonald is a pastor I’ve grown to really appreciate over the last couple years. He was at our church for our 10th Anniversary and has a thriving ministry in Chicago at Harvest Bible Chapel. Check out what he says about songs they don’t sing at their church. I think it is helpful. We need to think this way when we choose songs and plan our services.

PraiseCharts.com has a great resource for those of us who play gitter. A free songbook with all the Christmas carols we would ever use with easy-to-play chords! Check it out…

http://www.praisecharts.com/christmascarols

Ever try to lead a song that either the congregation, or worse, the worship team, just didn’t pick up on? Bob Kauflin has a great article on teaching such songs over at worshipmatters.com. Here’s an excerpt:

A friend recently emailed me and expressed a dilemma he was facing when teaching new songs performed by an artist who varies the way he or she sings the melody. My friend asked:

I’ve faced the same dilemma. While I’m grateful for many of the new congregational songs that have emerged in recent years, they’re not always sung in a way that makes it easy for a congregation to pick them up. Phrases are elongated in one verse and not the other, melodies are changed, and sometimes the melody becomes hard to identify or unsingable by a normal congregation. Here are a few of the thoughts I consider when figuring out what to do.

Read the full article at worshipmatters.com.

How about you? What are your strategies for teaching difficult music? And what are some of those songs that your worship team or congregation just doesn’t click with?

1. Including too many new songs in the set – your congregation is there to worship – most will find it difficult to do so if they spend most of the time learning your latest masterpieces. Vary your set list to include a variety of older, recently introduced and brand new songs and be ready to make changes on the fly if you sense your congregation is becoming weary.

2. Pitching the songs too high – remember that a comfortable range for a woman is about five semitones lower than a man. Change the key down to avoid going above top D particularly if you are playing in a small church situation.

3. Clunky moving from song to song. Playing a song once it’s underway is fairly straightforward so make sure you concentrate on rehearsing how to start and end a song. Practising a seamless flow from one song to the next is worthwhile to focus on. It will help if both are in the same key with a similar groove and if you are using music, make sure the sheets are side by side on your music stand.

4. Poor band dynamics – conflicting rhythms, one instrument speeding up/slowing down, vocalists overwhelming the sound with too many ad libs or vibrato. Exercise leadership in directing your singers clearly and if necessary get them some vocals training. Get them to listen to each others’ parts and possibly film or record a service to help with some constructive criticism.

5. Lack of leadership – without clear guidance from the worship leader it’s difficult for the band to know what they are meant to do, let alone the congregation. Give a good clear brief in practice and use vocal cues and body language to communicate during the set.

6. Overly complex vocals – congregations get easily confused when the lead vocalist slips into harmonies, trills and ad libs. Simple clear melody is always the easiest to follow. Leave the harmonies for the backing vocalists.

7. Poor phrasing and blending by vocalists. Make sure that all your singers are phrasing each “musical sentence” in the same way. It can help to have one backing vocalist leading the others so that everyone finishes their words at the same time. In the studio, singers are often asked not to finish the last consonant in a line so that the ending doesn’t sound jagged.

8. Wrong keys or wrong capo positions. Make sure all the band are playing in the same key. Issue your set list in advance with instructions for keys. And if you change your mind, make sure that everyone knows.

9. Tuning – are all your instruments in tune and are they staying in tune throughout the set? Even the right notes out of tune sound far worse than the wrong notes in tune so buy yourself a decent tuner like the Boss TU2 – cheap tuners can be so frustrating.

10. Lack of rhythm and togetherness by the band – this can be caused by many things including poor musicianship and lack of overall direction. Try to generate a sense of team where everyone plays their part to contribute to the whole without any one musician standing out. Also ensure that you have the relevant instruments in your foldback – i.e. the kick drum and other instruments responsible for rhythm.

11. Winging it – either the result of poor preparation or trying something new out on the spot. Be sure you can accomplish what you have in mind. Are you trying to sing a song without the lyrics in front of you and you’ve forgotten the words? Does your AV guy have the words for the congregation or do they have to remember them too? Do you and the rest of the band know all the chords you need?

12. Technical problems. The sound gremlins can happen to the best of us but try to get there early, set up methodically and make sure your technicians are well trained in the system they are using.

13. Problems with pitch – you’re starting a new song and you’ve suddenly realised you’ve started on completely the wrong note. Try to identify the problem songs in advance and quietly play the note you need to hit on your instrument. Hold the note in your head while playing the intro and then hit it with confidence. Alternatively ask one of the other (confident) vocalists to lead on that song.

14. Over emphasis on the melody line. Make sure your backing vocalists and single melody instruments are playing harmonies. The lead vocalist and congregation are all on the melody line – create some contrast.

15. Worship crash – often caused by trying something complicated that hasn’t been practised enough. Never try anything complicated until you, the band and the congregation are really familiar with the song.

16. Starting the song in the wrong tempo. Either invest in an in ear click or sing the song through in your head first so that you can pace the tempo properly. Generally the chorus is the fastest part of the song.

17. Audio visual failure – this happened to Matt Redman one time when Andy was playing. Matt just shifted his set list to songs with simple lyrics and gave spoken vocal cues to the congregation at junction points in the song.

This article was taken from Musicademy’s free monthly e-newsletter. To subscribe email info@musicademy.com

Musicademy is a worship training organisation that produces DVDs, online lessons and practical training for musicians involved in worship.

For further information, to subscribe to their free worship newsletter or to buy any of their DVDs go to www.musicademy.com

It means giving back to God without reservation or hesitation. It means proclaiming everything that He is, simply so that His name might be glorified. I suppose, if I had to sum it up, I would say that it’s becoming smaller so that He can become greater. In the end, it’s all about taking the focus off of yourself and putting it on Jesus, where it belongs anyway.

For a long time, I thought worship was about music. Even a specific style of music. I believed that some songs were sacred, and those that weren’t were utterly incapable of being used to worship God. I got over that, though, when I realized that God doesn’t care who wrote the song, or when, or which publishing company holds the rights. He cares about your heart when you sing it to him.