I thought the Christian internet could use a little balance today. Our regular playlist of Bethel Worship, Hillsong United, Rend Collective and All Sons and Daughters will resume momentarily. You can thank me later for this:
November 30, 2014
November 23, 2014
Okay, I know this is old, but this morning I encountered someone who had never heard it, and so I figure there’s probably more than one. (This was a popular e-mail forward about fifteen years ago.)
Praise Songs explained…
Not long ago a farmer went to the city one weekend and attended the big city church. He came home and his wife asked him how it was. “Well,” said the farmer, “It was good. They did something different, however. They sang praise choruses instead of hymns.”
“Praise choruses,” said his wife, “What are those?”
“Oh, they’re okay. They’re sort of like hymns, only different,” said the farmer.
“Well, what’s the difference?” asked his wife.
The farmer said, “Well it’s like this – If I were to say to you:
`Martha, the cows are in the corn,’ well that would be a hymn. If, on the other hand, I were to say to you:
`Martha Martha, Martha, Oh, Martha, MARTHA, MARTHA,
the cows, the big cows, the brown cows, the black cows,
the white cows, the black and white cows,
the COWS, COWS, COWS are in the corn,
are in the corn, are in the corn, are in the corn,
the CORN, CORN, CORN,’
Then, if I were to repeat the whole thing two or three times, well that would be a praise chorus.”
A young, new Christian from the big city attended the small town church one weekend. He came home and his wife asked him how it was.
“Well,” said the young man, “It was good. They did something different, however. They sang hymns instead of regular songs.”
“Hymns,” said his wife, “What are those?”
“Oh, they’re okay. They’re sort of like regular songs, only different,” said the young man.
“Well, what’s the difference?” asked his wife.
The young man said, “Well it’s like this – If I were to say to you, `Martha, the cows are in the corn,’ well that would be a regular song. If, on the other hand, I were to say to you:
Oh Martha, dear Martha, hear thou my cry
Inclinest thine ear to the words of my mouth.
Turn thou thy whole wondrous ear by and by
To the righteous, inimitable, glorious truth.
For the way of the animals who can explain?
There in their heads is no shadow of sense,
Hearkenest they in God’s sun or his rain
Unless from the mild, tempting corn they are fenced.
Yea those cows in glad bovine, rebellious delight,
Have broke free their shackles, their warm pens eschewed.
Then goaded by minions of darkness and night
They all my mild Chilliwack sweet corn have chewed.
So look to that bright shining day by and by,
Where all foul corruptions of earth are reborn.
Where no vicious animal makes my soul cry
And I no longer see those foul cows in the corn.
Then, if I were to do only verses one, three, and four and do a key change on the last verse, well that would be a hymn.”
November 11, 2014
aka What the Worship Leader Sees
This is something my wife came up with four years ago. Have you ever wondered what the congregation looks like when you’re standing at the front leading? Fortunately, the ones the team notice most are the people really entering into worship; but if you look more carefully — and it’s not recommended — it probably looks like this:
October 15, 2014
October 13, 2014
Warning: Run-on sentence follows:
I think if I joined a mega-church and aspired to be part of the worship team, and then jumped through all the hoops of auditioning and qualifying, when the moment finally came where I was actually on that stage, I would be so concerned about doing well and making a good impression, I actually wouldn’t really be worshiping God at that moment.
Human nature is human nature. If you read the tags, I’ve tagged this post “ecclesiastical ambition.” It certainly describes pastors, but musicians have a more natural affinity to wanting acceptance; of wanting to be liked.
So here’s what I’ve concluded: Everybody who gets up on a large (or mega) church platform should be forced to wear a mask so that nobody knows who they are. Yes, a mask. Think of what a motive-purifying thing this would be. Think of how this would respond to the church culture that sees the people on the platform as performers.
If this goes against the grain, you could consider having the musicians (and people who do announcements) stand with their backs to the audience. Or they could present the worship set from the back of the auditorium the way many church choirs once stood in a balcony at the back; the manner in which the church organist (the only church musician at the time) once performed from the back, or with his or her back to the congregation.
In the life of service to God through public ministry, there’s no room for ego.
Update 10:30 AM: I had no idea when I posted this that the same day Talbot Davis would post a sermon text with the repeated refrain, “God’s word is better delivered in obscurity than by celebrity.” Take the time to read it by clicking this link.
Somewhat related: “There is no limit on what can be done for God if it does not matter who is getting the earthly credit.” Read that blog post here.
October 4, 2014
…and How Running The Internet Rabbit Trails Led Me to New Discoveries
…and The Theology of Acapella Worship
So it all started on Monday night when I was wrapping up the link list. A visit to The Christian Chronicle, a news page of the Churches of Christ revealed that they had started a new feature, Voices Only Wednesday on September 17th. Kicking it off was what appeared to be an eight-minute camp music video from Rural Hill Church of Christ. It reminded me of a couple of Young Life Clubs I attended at another high school many years ago.
There’s a moment in this video near the end (about 6:18) where they go into a James Cleveland song, Get Right Church. (You want to play this loud.) There’s a lot going on in this song. A lot of fun. A lot of energy. A lot of passion. But also a lot of musical complexity. Who says you can’t get youth groups to sing? They call this part of the facility The Singing Porch (see photo above). I’ll bet a lot of audio memories are made there. (You really want to click the link, okay?)
I fired off the link to people I know who work with choirs, with camps, and with youth groups. But found myself wanting to look a little closer. So I checked out the Facebook page for the church. Many more videos from summer camp were waiting. But by this point, I wanted to learn more.
The church website is visitor-friendly. Remarkably so. On the About Us page there is a notation:
We do not use instruments in worship. We simply use our voices and our hearts. If you have never experienced this type of worship, you may be surprised at how heartfelt and uplifting it can be! We sing a mixture of traditional and contemporary songs – reflective of the diverse age range and preferences in our congregation.
So that’s where the kids get this. This musical paradigm is caught at an early age. It’s part of the worship style they’ve grown up with. Yes, there’s Power Point and microphones, but no keyboards, no drums, no guitars.
Days later I checked out the denomination’s description at Wikipedia and learned more:
The Churches of Christ generally combine the lack of any historical evidence that the early church used musical instruments in worship and the belief that there is no scriptural support for using instruments in the church’s worship service to decide that instruments should not be used today in worship. Churches of Christ have historically practiced a cappella music in worship services.
The use of musical instruments in worship was a divisive topic within the Stone-Campbell Movement from its earliest years, when some adherents opposed the practice on scriptural grounds, while others may have relied on a cappella simply because they lacked access to musical instruments. Alexander Campbell opposed the use of instruments in worship. As early as 1855, some Restoration Movement churches were using organs or pianos, ultimately leading the Churches of Christ to separate from the groups that condoned instrumental music.
(See the link for footnotes.)
Finally I went to YouTube in search of more songs. You can search under Church of Christ acapella, or Church of Christ singing. I used Church of Christ music and ended up listening to a 30-minute teaching from Mountain Creek Church of Christ on why they don’t use ‘mechanical instruments.’ The pastor takes a very easy-going approach on this, and while I would disagree with his hermeneutics, or even the logic by which the conclusion is reached, there’s no denying his hardline conviction. I just don’t think you should take a minority reading of a passage and then argue it quiet so dogmatically.
As an aside, several years ago I met with the lay-leader of a small congregation in our neighborhood, that I knew used only the King James Version. I asked him if there was a theological underpinning for this, and he quickly cut in and said, “No it’s a preference and only a preference. Our people can read anything they want, and many do.” That was refreshing. Rather than preach about the doctrine of acapella music, I would love it if this person simply talked about the rich musical heritage of the capital ‘C’ church — Christianity is a singing faith — and said the acapella thing is just a preference, just the way they do things.
Bottom line? I didn’t find anything on YouTube that grabbed me the way Get Right Church did that first day, but if I were ever in Antioch, Tennessee, I would definitely want to experience what Rural Hill offers first-hand. It would beat spending the Sunday at just another generic megachurch. And I wouldn’t let the reasons they may have for their music stop me from enjoying the rest of the worship service, especially when the music would be the reason I was there at all!
Photo: Ironically, the video from which this was taken (click the image to link) has background music which included a full instrumental background.
October 1, 2014
August 30, 2014
Yesterday we looked at some very superficial reasons which draw people into the larger music business with a hope that church musicians can understand their own music-personality type. Today we want to stay somewhat shallow in looking at the raw practicalities of drafting the music for Sunday morning.
Finding the recipe
If you look at a recipe, it’s always divided into two sections. First you have a list of ingredients, and then you have the instructions as to how you wish to use them. Worship planning is very similar. There’s a list of songs you want to use, but how do you blend and mix them? Perhaps there’s a song that is going to occur at the beginning and the end of the service. Possibly two songs might play off each other (i.e. How Great Thou Art and How Great is Our God). Some might stand alone, while others might combine into medleys.
Ingredients are key
You want to choose your ingredients carefully. Just as in baking, some elements might conflict. Some choices might be too spicy. Others might be too bland. In a salad, you go for color and music is no different. A seasoned worship leader will have about 5,000 songs in their head at any one time. Unless you get to plan a worship night, you’re probably only going to do about five songs. You have 4,995 songs to leave out.
What people are hungry for
Your job is to give people the means by which they can respond to God for his greatness and goodness, his holiness and majesty, his love and compassion; just to name a few. The songs should resonate with young and old, and therein lies a challenge. With different strains of ingredients (classic hymns, 20th century gospel hymns, Maranatha! Music, Vineyard, modern worship leaders, modern hymns, soaking music, Hillsong, UK-based songs, etc.) you can appeal to different demographics, or you can choose to present a more musically-unified selection. If you want to see a younger demographic, you also have to skew your choices to people who perhaps aren’t there yet. That’s risky, but some churches do this.
Appetizer or main course?
Some Evangelicals see the worship time as preparing the hearts of people for the teaching of the word. Some Evangelicals see the praise time more liturgically as valid on its own. I personally lean more to the second position. Still you want to know what the sermon topic is so your two selections don’t conflict.
A worship time will be rather uneventful if it is just straight singing. You want to intersperse related quotations, read one of the verses before or after singing it, include quotations, or even do a “story behind the song” type of introduction. Many leaders default to Psalms, but some congregants tune them out. But there are exceptions; last week in our church the readings were all from the same Psalm and the songs chosen around that.
A shared meal
One of the values of corporate worship is that there are things we can do together that we can’t do alone (i.e. just listening or singing along with an album or Christian radio station at home.) The music should somewhat exploit the congregational dynamics. There should be some lively songs (by whatever parameter you measure that in your style of church) and there should be some songs where the beauty of blended voices can be both heard and felt.
When people like the recipe, don’t take credit
It’s very humble to say, “God gave me these songs this week;” but better to deflect the credit to the creators of the songs, or best, God Himself. “This is a new song, written by a musician who God is really using to stir us to deeper worship.” Or, “This song really focuses on God’s knowledge and wisdom and helps us consider how the ways of the Lord are so much beyond anything we could understand.” With opening statements like that it takes the focus away from you; you’re seen rather as a hunter and gatherer of worship that’s already out there.
We’re part of a much larger banquet
Occasionally, I would remind our congregation of the vast number of churches that were joining us in worship across our city, across our denomination, and in our nation; and then I would remind them that in North America, we occupy a place at the end of the timezones, joining a worship service that has been taking place around the world that weekend. Just thinking about that now, I am reminded of its potential to reshape how we approach worship.
So those are the superficial factors. But there are also some very spiritual considerations. That would make a great third part to this weekend series, but Laura covered that for us so well six weeks ago, I’m going to invite you to simply click here.
August 29, 2014
So what attracts people to work in the music industry? I’ve listed a few things below that I think apply both within and outside the church context, and one, at the end of the list, that I believe is more common only within Christian experience. Worship leaders: Perhaps finding what attracts you to music in the first place will help you understand your personality type as a musician.
Some people just want to play. They live to gig. If you’re a drummer and you can’t sing, you’re never going to be center stage, and people might not even know your name, but that’s okay, right? The idea is to simply make music, either in a live context or in a studio. The busier the schedule, the better.
For others, being center stage is really important. They are attracted by the idea of being a name you would know. They might already have their own web domain. Or an agent.
The goal for some people is just to make an album. They aren’t looking for bookings and they aren’t looking for fame. They just want to have that physical CD in a plastic case that they can give to their friends, and show to their kids some day. (“That’s neat, Mom. Too bad we can’t play it on anything.”) Sales in retail stores would be an added bonus.
The nice thing about this as a goal is you don’t have to give a single concert or even be able to carry a tune. But if you can compose meaningful songs and get others to perform them your music can travel to places you can’t. For people who are happy behind the scenes, this is an achievable goal, though usually the singer/songwriter usually has their own material. For people who do perform, the goal here is getting their songs covered by other groups or solo artists.
Just as there are frequencies that only dogs can hear, there is a smell in recording studios that only some people detect. To most of us, a 48-channel recording console looks intimidating, like the cockpit of a jet plane, but to them, the lights and dials are all in a day’s work. Their job demands that they live to serve the needs of others, but we know the names of many producers who have never recorded a single note themselves.
Although this can apply to any of the areas listed above, if we’re dealing with the area of motivation, then money can be a driving force. If you’re competent at publishing, performance, production, etc. and you need to pay the bills, you do what you’re good at.
This is the one I feel is more common to Christian musicians, though it’s not entirely unique since it applies to anyone who feels they have a message to communicate, whether it’s 60s hippies protesting the Vietnam War, or 80s rockers crusading for environmentalism. Today the message might still be anti-war, or racial equality, or perhaps gay rights. It is in this milieu that Christian artists raise their voices to express their faith or tell their story, though in the last dozen years, Christian music has been dominated by vertical worship — we could have had another P-word, Praise — which lessens the number of testimony or teaching songs being heard. We have, as Randy Stonehill put it many, many years ago, “the hottest news on the rack,” and so that motivates Christian musicians to make music which reflects their core faith beliefs.
…Of course, playing because you want to have a message to share is a noble ideal, but many musicians also fall into one of the other categories as well. They want to make an album, or achieve popularity, or be able to make a living from their art. That’s okay, right?
Tomorrow we’ll look at some of the practical ingredients of worship, comparing it to a recipe that worship leaders bake each week!