Thinking Out Loud

August 25, 2017

Parts and Pieces of Praise Production

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.

When it first appeared, yesterday’s piece‘s title was about motivation with this one being about methodology. Both are important and it’s something I first taught at a musicans’ seminar back in the — let’s just say a long time ago. You need the right people with the right building blocks.

treble clefFinding 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 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.

Toppings

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. There’s also a value to silence.

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 I’m going to invite you to simply click here.

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August 24, 2017

The Personality of the Platform People

So what attracts people to work in the music industry? A few years ago, writing under the title “Motivation for Music Ministry” (which is equally alliterative to the one chosen today) I looked at the traits of people in the music sector of the entertainment business listed below and extrapolated from that to make application to the church context. I also added one, at the end of the list, that I believe is more common only within Christian experience, though that’s not say that many musicians don’t have a cause.

Worship leaders: Perhaps finding what attracts you to music in the first place will help you understand your personality type as a musician.

treble clefPerformance

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.

Profile

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.

Product

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.

Publishing

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.

Production

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 create an adrenaline rush, or at the very least are all part of 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.

Profit

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.

Proclamation

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 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?

In Part Two we’ll look at some of the practical ingredients of worship, comparing it to a recipe that worship leaders bake each week!

August 22, 2017

Church Life: Special Music

In a majority of the middle part of the last century, a feature of Evangelical church services was “the special musical number” or “special music” or if the church didn’t print a bulletin for the entire audience, what the platform party often logged as simply “the special.”

While this wasn’t to imply that the remaining musical elements of the service were not special, it denoted a featured musical selection — often occurring just before the message — that would be sung by

  • a female soloist
  • a male soloist
  • a women’s duet
  • a men’s duet
  • a mixed duet
  • a mixed trio
  • a ladies trio
  • an instrumental number without vocals

etc., though usually it was a female soloist, who, in what would now be seen as an interruption to the flow of the service, would often be introduced by name. “And now Mrs. Faffolfink, the wife our beloved organist Henry, will come to favor us with a special musical number.” This was followed by silence, with the men on the platform party standing as the female soloist made her way to the microphone. (We’ll have to discuss ‘platform party’ another time.)

While the song in question might be anything out of the hymnbook, these were usually taken from a range of suitable songs from the genre called “Sacred Music” designed chiefly for this use, compositions often not possible for the congregation to sing because of (a) vocal range, (b) vocal complexity such as key changes, and (c) interpretive pauses and rhythm breaks. These often required greater skill on the part of the accompanist as well.

A well known example of this might be “The Holy City” which is often sung at Easter, though two out of its three sections seem to owe more to the book of Revelation. “The Stranger of Galilee” and “Master the Tempest is Raging” are two other well-known examples of the type of piece. Sometimes the church choir would join in further into the piece. (The quality of the performance varied depending on the capability of soloists in your congregation.)

By the mid-1970s commercial Christian radio stations were well-established all over the US, and broad exposure to a range of songs gave birth to the Christian music soundtrack industry. More popular songs were often available on cassette from as many as ten different companies. Some were based on the actual recording studio tracks of the original; some were quickly-recorded copies; and some of both kinds were offered in different key signatures (vocal ranges.) Either way, they afforded the singer the possibility of having an entire orchestra at his or her disposal, and later gave way to CDs and even accompaniment DVDs with the soundtrack synchronized to a projected visual background.

Today in the modern Evangelical church, this part of the service has vanished along with the scripture reading and the pastoral prayer. If a megachurch has a featured music item, it’s entirely likely to be borrowed from the Billboard charts of secular hits, performed with the full worship band.

This means there is an entire genre of Christian music which is vanishing with it. This isn’t a loss musically — some of those soloists were simply showing off their skills — as it is lyrically. The three songs named above were narrative, which means they were instructional. They taught us, every bit as much as the sermon did; and were equally rooted in scripture texts. The audience was in a listening mode, more prepared to be receptive. Early church historians will still despair over the passive nature of listening to a solo, but I believe the teaching that was imparted through the songs was worth the 3-4 minutes needed.

My personal belief is that this worship service element will return, albeit in a slightly different form, as congregations grow tired of standing to do little more than listen to pieces they can’t sing anyway because of vocal range or unfamiliarity. This may be taking place already in some churches.

We’ll be better served when that happens.

 

July 14, 2017

Having Fun With Common Meter

We’ve run this one by you twice already, but I still think you can enjoy this or do things like it, unless of course you’re a follower of Bob Kauflin, the Reformed worship guru who says you don’t mess with the original composition. That’s okay, Bob. You do it your way.

Cornerstone by Hillsong incorporates the lyrics of the old hymn, My Hope is Built, and then adds a chorus, “Cornerstone, Christ alone; weak made strong in the Savior’s love…”

My Hope is Built is based on a rhythmic structure called Long Meter or simply L.M. for short. If you grew up with hymnbooks, you know there was a metrical index in the back and it’s there for a reason. Well, actually it was there mostly for the amusement of musicians since most churches never did switch up tunes or lyrics. But some did, especially on Sunday nights, which wasn’t always taken as seriously as Sunday morning. L.M. is also 8.8.8.8. which means any song with that same meter will work, though I’ve suggested a few that use C.M. or Common Meter which is 8.6.8.6. (though I’ve added words in some cases or you have to stretch in others).

For what it’s worth, I like Cornerstone just the way it is; and I would suggest retaining the first verse as it connects well with the theme. So you would probably only want to choose no more than a couple of these, but I’d strongly recommending the idea of ending with the last one here.

Alternatives

He left His Father’s throne above
So free, so infinite His grace
Emptied Himself of all but love
And bled for Adam’s helpless race

O for a thousand tongues to sing
My great redeemer’s matchless praise
The glories of my God and King
The triumphs of His love and grace

He breaks the power of canceled sin
The prisoners are each one set free
His blood can make the worst ones clean
His blood poured out for you and me

Forbid it Lord that I should boast
But for the death of Christ my God
All earthly things I hold so dear
I sacrifice them to His blood.

O God our help in ages past
Our hope for many years to come
Our shelter from the stormy blast
Our strength and our eternal home

Amazing grace how sweet the sound
That saved someone like you and me
We once were lost but now we’re found
We once were blind but now we see

No condemnation now I dread*
Jesus, and all in Him is mine
Alive in Him, my living head
And clothed in righteousness divine

People and realms of every tongue**
Dwell on His love with sweetest song
And infant voices shall proclaim
Their earthly blessings on His name

Faith of our Fathers, living still
In spite of prison, fire and sword
O, how our hearts beat high with joy
Whenever we hear that great word.

Praise God from Whom all blessing flow
Praise Him all creatures here below
And up above you heavenly hosts
Praise Father, Son and Holy Ghost.

* All the verse from And Can It Be? work well here.

**I really like Jesus Shall Reign here, I just selected a single verse. Cornerstone is a song of declaration, some of these verses turn the song into an anthem of praise, with Christ as the Cornerstone. You might want to do your own research and find other L.M. songs that work. And yes, the title of this blog post is technically wrong, but I like it better than “Having Fun With Long Meter.” And if you’re British, Australian or Canadian, just change “meter” to “metre” the way the word was intended!

April 30, 2017

A Cynic Looks at Modern Church Music

The first time I heard a bridge added to a traditional hymn was the addition of Wonderful Cross to When I Survey. I don’t know if I took to it the very first day, but I certainly grew to like it quickly, and as a worship leader, I’ve since used the Wonderful Cross section with the hymn Lead Me To Calvary, where it also works well.

Modern worship music has been greatly influenced by popular songs. Whereas a hymn generally just has either stanzas, or follows a verse-and-chorus format; modern worship will use introductions, bridges, codas, etc., and is often more prone to key changes.

Amazing Grace is another example. My Chains are Gone is certainly a suitable addition, I don’t challenge the musical or lyrical integrity of it by itself, or its fit with the time-honored verses that precede it.

To make the bridge stand out — or I prefer to say break out — musically, some of the chord changes in When I Survey or Amazing Grace are made more minimalist so that the declaration in the bridge introduces a powerful, triumphant transition. “Oh, the Wonderful Cross!” “My chains are gone, I’ve been set free!”

If I had a similar idea a few years ago, I would have positioned my finished work as a medley, not a new arrangement, but the chord changes necessitate the piece to be considered a re-write. And the original composers aren’t around to protest.

So it was only a couple years back when someone more cynical than me — yes, it’s possible — suggested that perhaps the motivation for doing this was financial. Then it was more than one person. Freshly re-minted songs that were formerly public domain can be performed with mechanical royalties (album and print music sales) and performance royalties (concerts, radio, television and even CCLI playlists your church submits) flowing to the composer. Nice work if you can get it.

I remembered something from years ago when I was working in Christian television. Unlike radio which used random station logs as representative samples, TV royalties were based on all logs from all stations all the time. When the ministry organization in question received some rather meager royalty checks for some tunes they had written, a situation emerged where (and this is a fairly direct quote from someone close to the process), “People who had never written a song in their entire lives suddenly found songs pouring out of them on a regular basis.” He was highly skeptical.

So economics can indeed be a wonderful motivator. I’m sure that the person who decides to modify an existing hymn or do a fresh arrangement takes time to study the lyrics and I’m not saying that some of these people don’t do this prayerfully, both before and after the process. 

Yes, I’m a cynic when it comes to such things. But you have to admire the ingenuity of finding a way to get royalties from songs heretofore part of Public Domain. A combination of total disdain and ‘Why didn’t I think of it?’

Occasionally these improvements to existing hymns simply don’t work. They involve a change in lyrical theme or rhythm or melody so as to constitute an unwelcome intruder. Like the guy who brings his accordion to worship team practice. Or the guy who wears a Hawaiian shirt to a funeral. 

Other times I fear that a generation of church musicians is being raised up to assume that this is how it’s done, and that adding bridges to existing hymn literature is the modus operandi of worship song composition.

But honestly, sometimes these new hymn versions can be the gift that keeps on giving. If the revenue is being plowed back into ministry, that’s great. Scripture tells us that we shouldn’t “judge the servant of another,” though honestly, I now find the cynicism was, in my case, somewhat contagious. But I’ll continue to “believe the best” that the starting place for adding a bridge or changing the chord structure of a song isn’t motivated by economics.

I hope you’ll do the same.

HCSB Prov 16:2 All a man’s ways seem right to him,
but the Lord evaluates the motives.

April 16, 2017

Passion Week Songs (8) – He is Risen / Happy Day

Filed under: Christianity — Tags: , , , — paulthinkingoutloud @ 5:24 pm

We end our series of extra posts this week with two songs that celebrate the risen Christ. First, Paul Baloche and then Tim Hughes.

 

 

April 7, 2017

Ten Biggest Mistakes Made by Church Sound Technicians

Filed under: Christianity — Tags: , , , , , — paulthinkingoutloud @ 6:51 am

Another lifetime ago, I worked extensively with both live auditorium sound and mixing in a recording studio or television studio environment. I wrote articles to try to make that world a better place, and there’s one — this one — that I always wanted to repeat here but couldn’t find the original copy. Today that changes. These aren’t written for the sound tech guy who is employed full time in a megachurch and oversees dozens of volunteers. Rather, this is for the guy in the small to medium church who does this on weekends and has to endure the “neck crane” stares of parishioners when something goes wrong.

Mistake #1: Failing to set the monitor level first.

If the platform or stage monitors are working at all, they can be heard from the console with the main speakers turned off. While musicians and speakers will ask for these be more finely adjusted, they can be set to a respectable level and the entire system tested through the monitors before the main speakers are brought into play. A two-person team is a better minimum crew, but you can get more done from the back than you realize.

Mistake #2: Failing to use ‘middle balance’ on equipment.

Microphone and media inputs need to be calibrated with the main output level so that equipment is operating best in the middle of the range available. Levels for multiple singers should be “matched” through proper attenuation even before the monitors and main speakers are turned on. If the whole system is running too hot, levels may appear to be low. Sometimes it’s necessary to go beyond the sound board and reconsider the main amplifiers levels, which are often at the level when the system was installed. If the system is too cool, individual channels have to be turned up higher. Professional operators like to keep things around “7” (not “5”) for better fade-ins and fade-outs.

Mistake #3: Channel clipping

This was often heard back in the days soloists would sing with soundtracks. The song would have a wonderful, professionally-produced sustained chord at the end, and the soloist would replace her microphone on the stand and the pastor would get up, and the sound person, in a total panic, would just cut the track. Not even a fade. Of course sometimes, you’d get the opposite, the person whose turn was next would feel they couldn’t move until the track played out and they’d stand there like a deer caught in the headlights. The point is that channel clipping still happens, especially with increased use of video clips.

Mistake #4: Misreading the house

This error falls into one of two categories: Either the sound person is placed in a part of the auditorium that doesn’t represent the acoustics the average audience member is experiencing; or the sound levels were set in an empty room and a now full house is simply absorbing a measurable portion of the sound. (In northern states and Canadian provinces, this actually increases if people bring winter coats to their seats.)

Mistake #5: Mixing by fader only

Anyone can turn up the volume. To do the job well, one has to listen to the tonal balance and set equalization positions on each individual channel. This is where a philosophy degree is helpful. For example, let’s say the soprano singer’s voice borders on shrill. Do you try to suppress that, or do you allow the tonal filters to let through what the music director must have liked when he auditioned her? You can’t just turn down her high end so she sounds like an alto. Some people were taught you don’t touch the EQ on the channels once the program begins. I disagree. Can’t hear the words? Try turning up the high end to enhance to consonants and make word-definition clearer. Use the mid-range to bring out the vowels. Turn up the bass to add richness and rhythm. Don’t make major changes in the middle of a song or sermon, but feel free to make small adjustments. Just make sure your speakers are handling this without distortion — especially with bass — and make sure fader levels are brought down when tonal filters are opened up. Also, have the overall EQ of the room checked every 3-4 months using whichever method you prefer, a white noise generator or a spectrum analyzer.

Mistake #6: Not explaining equipment to users.

Even a well-seasoned audio guy needs to be told as if he’s never seen the equipment before. When it comes to platform participants, this doubly applies.  It’s also good to go over basic care of the board and microphones, and reminding soloists not to point mics toward monitors, cup hands over mics, and not leaving mics on the floor. Do your mics have switches? Make sure they remember this. Does the pastor need to switch on his cordless mic? This often saves batteries, but so many times speakers are intent about their sermon content and forget this important step.

Mistake #7: Playing the wrong media.

Anything that needs to be inserted into a machine during the course of the program needs to be well labelled. Back in the day, tape machines had a zero-reset that could be used to cue things to the start point and avoid “dead air.” Digital media solves many of these problems, but introduces new ones. If the video isn’t going to be used until 24:00 into the service, the machine may shut down after 20:00. Furthermore, some media requires greatly different EQ-ing and balancing than other line inputs. The more video you have, unless you have a discrete channel and playback source for each, many things can mess up. I would argue you can’t do video clips in the modern church without an audio production assistant.

Mistake #8: Not balancing between singers and accompaniment.

We’re in the communication business. People need to hear what is being said, both through spoken word and through music. So you need to decide: Is the singer too quiet or is the band too loud? This is complicated often by the age and musical taste of the person doing the mix. Different generations have different ideas about what sounds right. Also, the modern church will often post the words on the screen, even for a solo. That doesn’t preclude getting the mix right.

Mistake #9: Failing to bring out the melody.

This combines with the mistake above especially if there is more than one singer. The melody (the tune if you prefer) must dominate over the harmony. In a higher class of music, sometimes the melody is passed from the soprano to the the tenor. You may need more detailed cue sheets for this type of song. Or better yet, have a musician sitting next to you at the console providing visual cues. Or best, attend a rehearsal.

Mistake #10: Not paying attention.

Details, details, details! (Some would say, Coffee, coffee, coffee!) You need to be on top of your game making sure channels are opened at the right time (and also closed when they’re not needed) and to do this you need be eying the platform like a hawk. If there’s a cue you need to see and you can’t because of lighting or distance, I wouldn’t eliminate having a pair of binoculars at the console.

…Years and years later, I was amazed that these ten rules still apply. True, I took out references to tapes, but overall the problems and challenges remain consistent. I also had an additional bonus ten, but surprisingly they didn’t apply. (The piece about misuse of Dolby was fun to read; and it did remove a lot of crispness from many singers’ soundtracks.)  There were however two things in that list I felt worth mentioning:

Concern #1: Keep sound consistent from week to week.

The only way to ensure this is with a decibel meter. Decide what your peak levels are going to be for music — you also don’t want it really quiet one week either — as well as the sermon. With sermons, there is a level at which the preacher is shouting and people don’t absorb what’s being said. Equally problematic however, is when the audience is straining to get the words because the level is too low. Don’t forget item #5 above as well with speakers. The high end (treble) will bring out the consonants and make the words clearer.

Concern #2: Don’t violate copyrights.

With every media source (video clips, etc.) ask, “Did we buy this?” Or, “Are we authorized to show this?” This applies with everything from short 2-minute illustrations to church movie nights. (No, you can’t always simply go to the Christian bookstore and buy the movie the day before and show it the next night.)

Concern #3: Keep the beast on a leash: The wonderful world of MIDI

Increasingly, the many pieces of your tech puzzle can interact with each other. The cardinal rule that applies here is: Everything you can control you must control.

Remember, the original document was written nearly 25 years ago. I’d love to hear from those of you who do this either as a volunteer in your church or professionally.

December 31, 2016

More from the Church Curmudgeon

I thought we’d end the year the way we did in 2013 with some 4th-Quarter highlights from everyone’s favorite (well, 93,000 people anyway*) anon account on Twitter,  Church Curmudgeon:

Church Curmudgeon

 

  • Between Pentecostal and Baptist worship styles, I prefer Baptist, hands down.
  • If the complementarians are right, Santa’s wife is a subordinate Claus.
  • The youth pastor just got back from 40 days in the wilderness.
    By “days,” I mean minutes. By “wilderness,” not looking at his phone.
  • Pastor’s on a prayer retreat this week. The secretary has been telling everyone, “He went to be with the Lord Monday.”
  • Asked the worship leader if he knew any hymns more than 20 years old.
    He started singing, “If you like to talk to tomatoes…”
  • Our auctioneer, Mr. Long, perused the last known flannel-graph showing the cosmic effects of the fall as he ascertained its value. Long weighed the world, in sin and error pining, till he appraised what the sole felt was worth.
  • Why did the worship leader cross the river alone?
    He was the only one who knew the bridge.
  • You can make anything sound grave and important by adding the phrase, “for such a time as this.”
  • Looking back, Linus must have converted from pagan pumpkin worship after Halloween, and began spreading the gospel by Christmas.
  • The worship leader was complaining about how our church hates change.
    To help him understand, we changed worship leaders. 
  • The difference between the Holy Spirit and the church wifi is that everybody screams if the wifi is gone.
  • Our pastor is now nearing his lifelong goal of alliterating his sermon points twice through the alphabet in one year.
  • What do you call it when someone gets saved just before the end of a Baptist’s sermon?
    A two-point conversion.
  • Our church is split between antinomians and legalists. Today’s closing song was “Trust or Obey.”
  • My Monday’s built on nothing less
    Than coffee pouring from the press
  • Made a Liszt.
    Went Chopin.
    Be Bach soon.
    Hope you can Handel it.
  • At the beginning of the year, pastor set a goal of funding one new church plant. If the Christmas tree counts, we did it.
  • There was an ascetic named Arius
    Whose view of the Son was precarious.
    They met at Nicea
    To mull this idea
    duly pronounced it nefarious.
  • Every head was bowed, and every eye was closed, but I’m pretty sure I didn’t see you at the prayer meeting.

* And now 41,000 on Facebook, too.

December 11, 2016

When Down is Up: There is No Higher Calling Than to Kneel at His Feet

Over the course of the seven years I’ve been doing Christianity 201, we’ve often included a worship song which ties in to a particular devotional. Often, after much time has passed, I’ll notice that search engines are sending considerable traffic to particular items there, and the comments often indicate it’s because of the song.

That’s the case here. I originally knew the song connected to Lenny LeBlanc, but didn’t know it had been recorded by Maranatha! Music.

The actual title is “No Higher Calling,” but you may remember it as “Down At Your Feet, Oh Lord.”

Down at Your feet oh Lord
Is the most high place
In Your presence Lord
I seek Your face
I seek Your face

There is no higher calling
No greater honor
Than to bow and kneel before Your throne

I’m amazed at Your glory
Embraced by Your mercy
Oh Lord I live to worship You

Greg Gulley & Lenny LeBlanc
© 1989, 1999 Doulos Publishing (Maranatha! Music [Admin. by Music Services])

The video version here is a little more “polished” than I remember this song; I appreciate worship that is a little more “raw” than this. But it’s a great song worthy of some updated exposure.

“I’m amazed at your glory; embraced by your mercy…”

Do you have a worship song which especially resonates with you? One that was especially meaningful at a particular season of your life? A song that you just haven’t heard in a long, long time and it suddenly turns up on a playlist?

►►Bonus video: Here’s another version of No Higher Calling.

November 28, 2016

Music Musings (2) The Worship Agenda

Filed under: Christianity, Church, worship — Tags: , , , — paulthinkingoutloud @ 9:28 am

Recently I read somewhere that the present worship agenda for many of our churches is being set by three large churches which have produced three worship music families: Bethel Worship, Jesus Culture and Hillsong. While the word agenda may imply something rather sinister, the point is that compositions from these groups currently dominate the music used in churches which have adopted a modern worship format.

hymnboardI was thinking about that this weekend as I processed a service we were attending and also seeing it comparison to a more liturgical Reformed service we had attended the week before and the thought occurred to me that these newer songs are just plain long. They were birthed in environments were the term soaking music is broadly understood and in environments where songwriters simply adopt the dominant style they are experiencing.

I’m not going to place emphasis on the length of the songs in and of itself but I want to simply point out that in the half hour we set aside for that worship time, we might have sung about ten hymns, or even about ten worship songs of an older vintage.

However, if we went with the hymns, and each one had only three verses, that might we would have sung about thirty verses and what a different thirty verses they would have been; each rich in deep theology and scripture, and each both proclaiming/declaring truth and also teaching and reminding ourselves of these truths.

I like modern worship. But I crave something deeper, more profound.


For yesterday’s Music Musing, click here.

Want an outside-the-box fresh alternative for your church? I’m not a part of the doctrinal tribe from which it originates, but consider the material Sovereign Grace Music is producing.

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