Beruflich Dokumente
Kultur Dokumente
Hillsong Chapel
Gateway Worship
Kristian Stanfill
Jesus Culture
Trent Live
JANUARY/FEBRUARY 2011
Volume 9, Issue 1
01 Product Review
McPherson’s
new 5.0 XP12 –
0 74470 58440 7 12 String Guitar
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Songchart: I Lift My Hands • A Few Moments With… Worship Songs On Strike
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Editor’s Corner
JANUARY/FEBRUARY 2011 vol. 9, issue 1
Practically There… Features 42 The Band
I’ve been thinking lately about the wide range of worship experi- By Tom Lane
ences and our responsibility towards them. This magazine desires to
8 Product Review Dial It Down
serve its readers (you) as you serve your local congregation in a very
practical way. And that is where we have a wide variety of shared By Bruce Adolph 44 Camera
experiences. Some of you may serve at large congregations with a McPherson’s new 5.0 XP12 – By Craig Kelly
bevy of musicians to draw from while others may be at a church of 12 String Guitar So You Volunteered as a
less than one hundred folks and not a drummer in sight. Some of you
may lead a home Bible study with a single guitar while others are 10 From the Drummer’s Camera Operator At Church
in charge of overseeing three revolving adult bands plus a rambunc- Perspective – Uh Oh, Now What? Part 4
tious youth group band.
I tell people half-jokingly that we are about “trying to make the By Carl Albrecht 46 Tips for Tight Teams
bass player better by this Sunday.”We have regular columns that are Simple Is Good By Sandy Hoffman
directed right at many of the individual instruments and roles played Skills to Fill the Bill
by musicians and techs on your team. Plus we have articles that press 12 Keyboard
into matters of the heart. Why? Because God wants our hearts as By Ed Kerr (Identify, Develop & Deploy)
well as our talents. I always remind our writers to keep it practical, to Playing With Color
write about things we can apply today to raise the level of musician- 48 Mandolin
ship and service to the Lord. 15 Bass By Martin Stillion
Where does this leave us? Whether you are paid staff in charge By Gary Lunn How chords are related
of a worship team with fifty members or are a volunteer with two and
a half musicians each week to utilize, then you have a responsibility. Tech Tips 50 Product Review
Whether you are on the platform leading a vibrant set with a full By Bruce Adolph
band, three big screens with live cameras, and a kicking PA system, 16 Vocals
By Sheri Gould Kurzweil SP4-7 Keyboard
or you are leading a small home group with an acoustic guitar that
you are praying doesn’t break another D string while you’re pound- Auditions: A Good Thing for 52 Lighter Side
ing out that new Chris Tomlin song – we each have a personal Your Team?
responsibility to the Lord first and to others second. By Manuel Luz
So with this in mind, we start our ninth year of publishing Worship 18 Product Review Do the Math
Musician. I love doing what I do as publisher. I get up every day and
don’t think “Oh, I have to go to work today.” No, it is a gift from the
By Doug Doppler 52 Lighting
Lord for a man to enjoy his work and I love doing it. Line 6 POD HD500 By Greg Sisley
I have to live in the practical world myself, as columnists need to be Chauvet 300E Spot
reminded that their articles are due, ads need to be sold, and that the 30 Record Reviews
cover story needs a good photo. But there is a “matter of the heart” By Heidi Todd and 300E Beam
for me too, as I need to trust the Lord as I keep moving forward that Gateway Worship 54 A Few Moments With…
He will help me get it all done in time for the printing and distribu- Hillsong Chapel
tion deadlines. Just as you have responsibilities and callings to serve By Tom Kraeuter
Jesus Culture Worship Songs On Strike
others, we (this magazine collectively) have a responsibility to you.
As we look forward to this new year of 2011, you the reader Kristian Stanfill
have our renewed commitment to serve you the best we can as we Trent Live
lead a great group of writers/columnists, whom Judy and I believe
have valuable resources to share with you 34 FOH Engineer Interviews
and your entire team – no matter how small By John Mills
or large. The High Pass Filter, Your Best 20 A Sit Down With Chris Tomlin
So remember as we walk into 2011, Friend
keep it practical and play like all heaven
is listening!
36 Ministry + Artistry
Lord Bless Ya! = Profitability?
Bruce and Judy Creating your
MAP™
By Scott A. Shuford
The Four P’s
38 Authentic Worship
By Michael
4227 S. Meridian. Suite C PMB #275 Gonzales
Puyallup, Washington 98373-5963
Phone: 253.445.1973 Fax: 253.770.0659 The Last Worship
Email: bruce@christianmusician.com Leader
Website: www.worshipmusicianmagazine.com
Publisher/Editor: Bruce Adolph 40 Guitar Grab Bag
Vice President: Judy Adolph By Doug Doppler
Customer Service: Brian Felix
brian@christianmusiciansummit.com
Mistakes I’ve
Design: Matt Kees Proof: Toddie Downs Made…
Production: Scot Herring / J&D Printing And The Things I’ve
Advertising Sales: Bruce Adolph Learned
bruce@christianmusician.com • 253-445-1973
Worship Musician! is published bi-monthly
by The Adolph Agency, Inc.
By Bruce Adolph
Now back to the 12 string… this is This model comes sporting German made gold plated
a new thing for McPherson. I opened Schaller tuning machines.
up the case with great anticipation. I
was met with a “wow moment”. A The guitar case itself is a quite something. It is a Ameritage
beautiful solid Redwood top and hardshell with a plush lining (really a snug fit for your guitar) and
the elongated headstock with a built-in digital hygro thermometer that tells you the lows and
12 tuners on it lets’ you know highs of both temperature and humidity.
you are in for a treat. Lifting
up the guitar I could see No one decks you out with better “case candy” than McPher-
the solid Granadillo back son. Inside the storage trunk of the guitar case you will find the
and sides (Granadillo is a warranty cards/manuals for both the guitar and the case, a
Mexican Rosewood. It pos- set of Elixir strings, three different height natural custom bone
sesses similar tonal quali- saddles to adjust the height of your action as part of the Buzz
ties of an Indian Rosewood Feiten intonation system, a set of McPherson guitar picks, a logo
with a different look) and the branded polish cloth and a anti-feedback soundhole cover for
dramatic flamed Koa bind- when you are playing your guitar through a sound system in a
ing all around the body and loud environment.
neck. The whole guitar is just
beautiful! This brand new guitar The bottom line, if you have the duckets, you will be hard
even smelled great. The fretboard is pressed to find another 12 string that sounds this rich and plays
Ebony along with the bridge and head- so well… the two hallmarks that you evaluate every 12 string
cap. This guitar has a Sitka/Rosewood/Sitka with, is fully met with this new McPherson 5.0 XP 12.
brace kit in it. The neck is made from a single piece of
African Mahogany. The neck width on the 12 string is 1 7/8 Retail price is $7,800.00 Custom made in Sparta, WI.
@ nut, 2 5/16 @ bridge, 25.5 scale length. The 5.0 in the More information at www.mcphersonguitars.com.
Find It Here!
By Carl Albrecht
Simple Is Good
I’ve been checking out some amazing the 8th bar and start playing a variation for them get the best performance out of the
drummers on YouTube. Tricky grooves, the next eight. song. It’s not about doing your drum thing.
crazy over-the-top drum fills, mind-blowing Of course, that drum thing should be about
solos --- a real drummers delight. Most of When I do this demonstration in semi- making the groove feel great.
these inspiring concepts are not things nars I sometime have students come up and
I would use very often in worship. Sorry play for the class. How many do you think Remember the phrase- “It’s About The
drummers, that’s just the way it is. However, can do this exercise correctly? NONE! Song.”
I still work on the ideas that I see in the vid- That’s right… in all my years of teaching
eo clips, drum books, and other teaching students and doing clinics, the first time Most drum grooves fit into four major
DVDs. Why??... Because I want to keep a drummer tries this they “choke” or get feels. As you do your groove exercises be
building my vocabulary of drumming, and carried away and start playing too many sure to mix it up. Don’t play one feel all of
for the shear joy of learning knew things. ideas. OK… maybe I’ve had 1 or 2 get it the time. Here’s a list of the big picture of
Also, I want to be ready for the moments right. But that’s usually after they watch ten drum grooving:
that occasionally happen when the drum- other drummers go through the demonstra-
mer is called upon to make a bigger state- tion. #1. 8th note grooves – count: 1 & 2 &
ment. 3 & 4 &.
If a drummer wants to know how to work
This is not about showing-off either. It’s on the basics I always tell them to get a #2 16th note grooves – count: 1 e & ah,
about being a communicator in the spiritual metronome and a practice pad. 2 e & ah, 3 e & ah, 4 e & ah.
language of music. Yes, it is a language of
the soul. And it touches people no matter #1. Start practicing rudimental exercises #3 Triplet grooves – count: 1 la lee, 2 la
what culture they live in. That’s why worship first for 15 to 20 minutes. Play one tempo lee, - or 1 trip let, 2 trip let.
music is so powerful. The Holy Spirit speaks for 5 minutes on any rudiment. Use a vari-
through this music around the world. But in ety of dynamics and accents as they play #4. Shuffle, swing, or hip-hop grooves
most of this music the drummer’s job is still at one tempo. Then try different tempos - *a triplet count without the middle note–
to lay the foundation of a solid groove & and rudiments in five-minute segments. Be count: 1 _ ah, 2 _ ah, 3 _ ah, 4 _ ah.
feel for each song. This task is really the sure to keep it relaxed. No tightness.
most important roll of every drummer, in Also, as you choose songs to copy, be
every style. The motto, “Groove Is Every- #2. Then they should work on the 8 bar sure they have a variety of feels. Don’t
thing!” still applies. (Thanks to Abe Laboriel groove exercise for another 20 minutes. play one type or style of song. Just like you
for making that such a memorable quote.) Again, five minutes at one tempo and then would not practice only one drum groove
stop and try other groove ideas at different idea or one rudiment.
So today I’m back to preaching tempos.
“groove.” It’s STILL our most important job This all seems so basic and simple.
as a drummer. You can play a million #3. And finally, listen to and copy a lot BUT… “Simple is good!” Work on mak-
notes, but if it’s not “in the pocket” it’s worth- of drummers on actual recordings. This is ing even the simplest idea “feel” and sound
less. Every time I play I’m thinking time and a basic approach to drum development, great. Don’t worry about the flashy stuff. Put
feel. I never think of making a show of my but it works. AND,,, start simple. Simple is your heart in soul into every note. It does
latest cool idea. NEVER! If I’m called to good! Play grooves & songs that you can make a difference.
play more busy, or a “drum solo”, my mind musically get right quickly. Get into more
and spirit are about “saying something” complicated grooves as you develop. Final example: *Listen to “Glorious” on
that will touch the hearts of the people and Paul Baloche’s new project.
hopefully touch the heart of God. Why is simple good? Because I said
so, that’s why! LOL… Actually, because
But I also believe that just keeping good being busy is not what most contempo-
time touches people. As my friend Don Pot- rary popular music requires. Especially in All For The Glory of God,
ter says, “Worship is in the groove.” …An- modern worship! Check out Paul Baloche’s Blessings on your groove,
other great quote from an inspiring worship recordings. He is constantly asking me to
leader. play less. The song “I Will Boast” is a per-
fect example. Boom, Bap, Boom, Bap!!! Carl Albrecht has been a
So, how do I practice and teach groove Straight ahead grooving is what Paul likes, professional drummer & per-
exercises? along with simple fills. If I do something cussionist for over 25 years.
too syncopated he usually let’s me know He has played on over 70
The best exercise for time keeping I’ve it’s not working for him. HUGE NOTE: If a Integrity Music projects;
used is still the 8 bar phrase study. Start drum idea interferes with a vocal line it usu- Maranatha Praise Band recordings &
your metronome; listen for 2 bars, and then ally gets changed. **Check out the songs numerous other Christian, Pop, Country,
play. Don’t change anything for eight mea- “Because Of Your Love” and “What Can Jazz & commercial projects. He currently
sures. REALLY! Most of my students struggle I DO.” lives in Nashville doing recording ses-
with this. They want to play a fill at the 4th sions, producing, writing and continuing
bar, or start changing the feel as they play. Yes, I do have to remind myself. I also to do various tours & seminar events. Visit
DON’T DO THAT. Play one idea, consis- forget this sometimes. But the bottom line is his website: www.carlalbrecht.com or
tently, for 8 bars. You can then do a fill in to make the singer feel great, and to help send an e-mail to: lmalbrecht@aol.com.
By Ed Kerr Let’s go one step further with these major chords. You could play
I’ll use one of my church’s favorite Brooke Fraser songs, “Desert So, let’s look at the original progression from “Desert Song” and
Song”, for my examples below. Here is the progression heard in the color it a bit.
intro and verse of the song in D major.
Original: Bm A G D
Bm A G D These chords can, of course, be played lit- Colorful: Bm7 A(add4) G2 D5
erally. The notes used would be
One of the interesting things that results from coloring the progression
B B D F# If you were to play only these notes, there’s this way is that the note “D” is found in all of these chords. Knowing
A A C# E no question that your vocalists would know that, think about what voicing you want to use for your chords. In other
G G B D what pitch to sing when they make their first words, where are you going to place the various notes of the chords
D D F# A entrance. The congregation could sing along under your fingers? Let me suggest that you put the 5th finger of your
for sure. But, the musical character of your pre- right hand on the D above middle C. Then play an A below that D.
sentation would be significantly less rich than what you’ll hear if you These two notes can be played for all of the chords involved. The only
listen to the Hillsong recording from the “This Is Our God” CD. Let’s change you’ll need to make is adding the C# between the D and A
look at how you can go beyond the chart to enrich the character of the when the A(add4) chord comes around.
chords. To keep this short enough to be practical for the space I have,
I’ll give fairly brief explanations of the concepts involved. Some of you may read these paragraphs and think you could never
be comfortable applying the concepts in a real world playing situation.
The chords in any key can be numbered 1 through 7 based on You might start by figuring out the key of your song. Visit my website,
which note of the scale serves as the root of the chord. That said, the kerrtunes.com, to find a table that can help you quickly determine the
1, 4 and 5 chords in any major key are major chords. To give these notes of the scales for the songs you’re playing. Give each chord in
chords color, you could choose to play them as 2 chords. This is distinct your song’s chart a number according to the key. That information can
from the chord built on second note of the scale. Hang in there while I help you decide whether to color your chord as an add4 or any of the
explain. The 1 chord in the key of D is spelled D F# A. To make this a other options you see above. You’ll start hearing a richness of color in
D2 chord you’d play D E A, leaving out the 3rd of the chord and play- your playing you hadn’t heard before. It’s worth the effort!
ing the second instead. This table will clarify this for you:
As a songwriter Ed has written over 100 songs
Chord Notes Contained 2 Chord Notes of 2 Chord with Integrity Music. He has a Masters Degree
1. D D F# A D2 D E A in piano performance. Ed and his family live in
4. G G B D G2 G A D
5. A A C# E A2 A B E Washington State. Ed plays Yamaha’s Motif XS8.
www.kerrtunes.com
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I remember when I got my first bass. such as a string tree (a string tree is a bar By Gary Lunn
Tech Tips
It was a 1971 Fender Precision (great that goes across the strings just above the
Christmas present). After that bass sur- nut and is attached to the head-stock. It
vived mishandling, experimental tuning, makes the strings cross the nut at a steep-
scotch tape, etc., out of necessity I would er angle, thus creating higher tension.).
have my bass worked on from time to Typically, the way I adjust the height is
time. I would have new strings put on by adjusting the saddle screws a half turn
and the bridge/neck adjusted, among at a time – one side, then the other. I
other things. When I saw it done I began also look closely to see if the strings are and insert it in the screw on the back
to ask a lot of questions about mainte- evenly “arched” over the fret board, just side of the bridge near where the ball
nance and picked up a lot of tips along at the bottom of the neck. If one string of the string is. Simply loosen the screw
the way. Eventually, I learned how to per- is the same height from the frets as the one full turn so that the saddle under the
form basic maintenance on my basses. next string, it should have a very even G string moves toward the base of the
Over time I learned what string height I looking arch. The most important thing is neck, away from the bridge. This will
liked, pick-up height worked best for me, how it feels, so every time you do an ad- make the string shorter thus raising the
and so on. I also learned how to change justment, tune it up and play it. You will pitch of the fretted G. Re-tune the open
strings and how to set my intonation. I eventually figure out what you like. G, play the harmonic and then play the
have personal preferences for all of those note fretted. You should notice that the
and I would like to share them with you. Pick-up Height pitch of the fretted note has risen when
Hopefully, you will be able to save a little After you get the string height to your compared to the harmonic. Repeat those
money by doing some of these things liking, you have to make sure that the steps until the fretted note is exactly the
yourself, but please don’t attempt any- pick-ups are at the proper distance from same pitch as the harmonic. If the fret-
thing that you don’t feel comfortable with. the strings. First, look at the distance from ted note is higher (sharper) than the har-
one pick-up to each string. If you have monic, then follow these same steps as
Changing Strings “soap-bar” style or “blade” style pick-ups, the flat note. The only difference is that
The best way to learn how to change there will be one or two screws at both you want to make the pitch of the fretted
your own strings is basically to recreate ends of the pick-up. If one side looks too note go lower, so you need to tighten the
the winding pattern of the string you re- close to the strings, you can lower it by adjusting screw, thus making the string
moved. You can take the string off and tightening the screw on the close end. If longer as the saddle moves toward the
lay the new string next to the old, taking there are two screws, adjust them both bottom end of the bass. This will make
notice of the length of the string. Simply evenly so that the pickup surface remains the sharper fretted note come down in
take a pair of wire cutters and trim the parallel to the strings. If you have two pitch. Adjust this until the fretted note is
excess off the new string to match the old pick-ups, then simply repeat the same the same as the harmonic.
string’s length. Then you thread the string procedure on the other pick-up. If you
through the bridge (or through the body have a “split” pick-up, (as on a Fender Excellence in Tone
if your strings are strung through it) and Precision, you will do those same adjust- In a worship team, we must be respon-
insert the end of the string down through ments for each half of the pick-up. Typi- sible for our instruments, making sure that
the hole in the middle of the tuning peg. cally with a split pick-up the end result they sound good, have fresh strings, and
Begin to wind the string around the peg will look like the pick-up is in the shape play consistently from string to string.
(from top to bottom) by turning the key of a very slightly slanted rooftop with the Also, if you have never had the frets
to tighten the string until the string is tight peak in the middle. Depending on the dressed (the string pits caused by string
and up to pitch. make or model of the pick-up, that kind of wear filed down and leveled) and your
“shape” may not be necessary because bass has a buzz at a particular fret that
A couple of interesting, more advanced the magnets inside could be arched to won’t go away, shop around between
tips I have learned are, first, be sure and compensate for the curvature of the neck. different guitar repair shops, find a price
change your strings one at a time if at Again, the most important thing is the you are comfortable with, and have it
all possible. The “stress on”, “stress off” way it feels and sounds, so play often done. Your frets will actually last longer
effect of loosening all the strings at once while adjusting. if you have them dressed.
can have negative consequences for the
bow of the neck. Secondly, when tighten- Intonation A Prayer
ing the new string make sure that the ball If you are a beginning to notice that I feel I should end by sharing one of
of the string can “spin” as you tighten the whenever you play notes high up the my favorite scriptures from the “Ampli-
string. Sometimes, if you don’t do this, neck and they are out of tune, then your fied” translation. This is something that I
you can “bind” the string, which will pull intonation is off. That simply means that pray every day.
the winding apart somewhere along the the length of the string does not quite
string. You won’t be able to see it, but the match the spacing of the frets. To cor- John 14:27 “Peace I leave with you;
effect will kill the liveliness of the string. rect this problem you will need a tuner, My [own] peace I now give and be-
You will think you got a bad string, but a screwdriver (probably a cross point), queath to you. Not as the world gives
what really happened was that the string and your fingers. Start in the G string, do I give to you. Do not let your hearts
pulled apart slightly, just enough to “zap” playing the open string and tuning it with be troubled, neither let them be afraid.”
it. your tuner. When it is in tune, play the
harmonic at the 12th fret. You will notice Be blessed!
String height that it is in tune according to your tuner.
The action I like generally is medium to Then gently press down on the 12th fret
low – about a quarter of an inch off the and play the fretted “G” note. Look on Gary is a session player/
neck. I usually like the “G” string a little your tuner to see whether it is sharp or producer/writer in Nash-
lower than the rest for some reason. The flat. If it’s in tune then you’re ok; no adjust- ville, playing recording
only way you can achieve low action is ment needed. If the tuning of the fretted sessions, and various live
by using heavier gauge strings, or by find- note is flat, that means that the string is events. www.facebook.
ing a way to increase the string tension, too long. To fix this take your screwdriver com/garylunn
Auditions:
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By Doug Doppler
oasis of the
OCTOBER 14 & 15, 2011
utiful
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o
tropolis
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e our
NOVEMBER 11 & 12, 2011
sh ip e v e n t. .. this will b at Overlake Christian Church, Redmond, WA
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u r 9 th y e a r... Praise G
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20 JAN/FEB
20 2011 WORSHIPMUSICIANMAGAZINE.COM
JANUARY/FEBRUARY 2011 WORSHIPMUSICIANMAGAZINE.COM
Aimee Herd: Chris, your new project CT: Yes, the recording location was thing we’ve ever done. I’m blown
is your 7th studio album “And If Our at our new studio called, “White away by that!
God is For Us…” That’s kind of a Cabin Studio,” which is adjacent to
loaded question for a title. How did my house, on our property. We kind AH: That sounds really good, but I’m
you arrive at that? of remodeled and had everybody glad that it’s “still you,” because your
help out. It’s just so beautiful and sound is what so many have come to
Chris Tomlin: Yeah, I love that. First relaxing. I’ve always recorded my love over the years.
of all, it’s the bridge to “Our God,” albums in Nashville, and Ed Cash
which has become such a special produced most of my recordings. He CT: Right...I didn’t want to make a
song. Every time we play that song was a part of this recording, along total departure and do something
and get to the end of that chorus, it with producer Dan Mukala. They completely different, because that’s
just lights the place up, it just comes came here and set up shop, and we not what it’s about at all. Hopefully,
alive. People have their hands up, as recorded it here—in the backyard to some, this is just a nice surprise.
in a statement of faith. I had different [studio].
titles for the album, but I kept coming AH: What are some of the techniques
back to this for the title. This is what AH: And this was the first time you’ve that Dan helped to incorporate in
I want to say, and this is what the worked with Dan, right? mixing things up?
music’s about anyway.
CT: Yes, I met Dan just before CT: Like the drum programming
The thing about it is, it’s not a clever [recording] the album, and I was together with live drums—Ed did
lyric that I wrote, but it’s the Word of looking for something a little different. that as well—and some interesting
God. Scripture says, “If God is for To think that we could make that string parts that are way more “in
us, who can be against us?” It’s so many albums and people would still your face” vs. lush beautiful strings.
powerful to know that. When people be interested is pretty cool. But, I Especially for “Our God,” and also
see that title, “And If God is for wanted to keep taking steps forward, on “I Will Follow.” But, that beat was
us...” I want them to think, “There’s so I thought it would be good to mix it so huge—the programmed on top of
something else coming.” And that up a little bit, and someone else’s ear live drums—it’s got so much energy
faith would rise up in them and give in here—someone else’s fingers in and it’s so big.
people hope. ...And people would here and their ideas. Through some
believe that no matter what comes relationships, I met Dan and he was AH: Now, you’ve co-written a couple
at them, “If God is for me, what can a perfect fit. I really enjoyed working of songs on this album with some
be against me? Nothing can stand with him; he’s done a phenomenal new people. How did that go?
against me if God is for me. Yes, job on the album.
things might bring me down, things CT: Yeah, I wrote with Jason Ingram;
may come at me and arrows may be AH: So, sonically, what sets it apart I had met him just before. People
shot at me from life, but God is for from previous recordings? And, is told me, “You’ve got to meet this
me.” That’s something to build our that difficult to do after doing so guy, he’s the best. You guys will hit
hope on, and that’s a God worthy of many projects—to get that different it off.” I had heard his reputation,
worship. sound or slightly different direction in and knew he wrote great songs. We
a new one? wrote together for a little bit, and it
I thought, well it’s a long title for an was some of the best writing days of
album, but I really like what it causes CT: You know, it’s still me. I mean, you my life. I had that moment where you
in people. can only do so much. It’s the way you feel like God is just writing through
filter music; it’s the way music comes you. It was like that with Jason;
AH: I like it too, because I think we all out of you—so it’s not that much songs just kept coming. [Jason] had
need to be reminded of that from time different, but it sounds a little different. so many great ideas and so many
to time, and especially now; I feel that There’s a bit more energy in it, and a thoughts; we were just worshipping
people really need that kind of hope. bit more beat. It’s got drums that are God together... God really put that
programmed along with live drums. together in a special way.
CT: Exactly, and that’s the heart My music in the past has been a
behind it. little more organic, but with this, we The song, “I Will Follow,” is a song
brought in a lot of different elements. Jason and Reuben Morgan had
AH: Now, your actual recording That was a good step; I feel like it’s started writing together, and then
location was different for this the best thing we’ve done so far. I’ve “Awakening” is a song Reuben and
album... had so many people, through Twitter I wrote together. (Reuben’s one of
and otherwise, say this is the best the most prolific songwriters for the
JAN/FEB 2011JANUARY/FEBRUARY
WORSHIPMUSICIANMAGAZINE.COM WORSHIPMUSICIANMAGAZINE.COM
2011 21
21
A Sit Down With Chris Tomlin: continued
CT: The writing process looks like this: process of ideas and thoughts. I do
sometimes I have an idea, sometimes, best with writing with other people
I’m just finishing an idea. We’ve vs. writing by myself. When I’m in a
been getting together as a team to room with people you just run with
write for Passion and to write for our them, throw out ideas and say, “What
church. We’ll get together—6, 7 or 8 about this, what about this...?” That’s
people—at my house or in the studio, the thing about songwriting, you’ve
and we’ll divide up in 3’s and talk just got to go for it and say, “This may
about what God’s been putting on be really dumb and bad, but here’s
our hearts. We’ll talk about what we my thought...” You’ve got to dare for
want to say, and what kind of songs it not to be any good. So, when I’m
need to be written. Then we’ll come writing with people, it’s energizing
back and play our songs for each for me, and I love it.
other—it’s just a big collaborative
effort. So, we’ll have those times once AH: Are there a couple songs in
every couple of months, where it’s particular on the new album that
always incredible. And, other times really stand out to you, in how they
I’ll have a song that I’ve written on came to be written, and how they
my own. turned out?
AH: You mentioned all those people— CT: “Our God,” is such a standout
Louie Giglio, Matt Redman, Nathan song, and the way it was produced
and Christy Nockels—I know that you is so beautiful. It was originally on
guys are all a part of the Passion City the Passion album “Awakening” and
Church... how is that going? to put it on this [new] album and
open up with it... [we thought] how
CT: It’s been over two years now, and do you re-record this song? Do you
it’s amazing. It’s in Atlanta, Georgia— do it exactly the same, or if you do
I moved here to Atlanta to help plant it differently, it’s got to be something
Church today) So, Jason brought [I the church. It’s a great season, with special. So, when Ed came with the
Will Follow] and said, “There’s this strong people who are forming our idea of the strings carrying the song,
song that I wrote with Reuben, and community. It takes a while for people it was a little scary like, “I hope we
I know it’s not really your cup of tea, to make that decision on whether this don’t ruin the song.” But it [came out]
but I’ll play it for ya.” He played it is where they want to be. It’s been so awesome; the way it was done
and it was amazing, I was like, one of those stages where we’re took it to even a stronger place if
“Oh my gosh, what do you mean, seeing who is really with us, and that was possible. So, that was really
man, I love it! Let’s finish writing this who is coming—just spectating and cool.
song.” They were just some great checking it out. That’s where we still
days of writing with a great team. are. And then the song, “I Lift My Hands,”
This album is filled with an amazing is really special. It’s a powerful song
team: Jason, Reuben, Louie [Giglio], AH: So, do you all hang out together that started with Louie, he gave me
Matt Redman, Christy Nockels, Matt too—apart from recording and the opening lines, he said: “I’ve been
Maher, Jesse, Daniel and my band— church? Barbeques, etc... singing in the night, I’ve been crying
whom I’ve always written with—Ed out to God amid struggles in my
Cash... I mean, when you those kind CT: Yeah we do, it’s a great own life. These are times when I find
of people writing the songs, it’s just friendship. myself in bed just singing these words
going to be something special. to God. ‘Be still, there’s a Healer, His
AH: You’re such a prolific songwriter, love is deeper than the sea. His mercy
AH: Wow, absolutely! So, how does how about some songwriting advice... is unfailing, His arms a fortress for the
that writing, co-writing process go? do you ever run into writer’s block, weak. My Savior, I lift my hands to
Do you normally bring an idea for and if so, how do you get past it? believe again...’” [Louie] told me, “I
a song that’s already been slightly really don’t have a melody, but here
mapped out? Or do you start from CT: [Songwriting] comes in waves for are these words.” I said, “Man, these
scratch with whoever’s helping you me; there are days where I don’t really words are strong!” You’d expect a
write? have anything, and there are other worship leader to have a song titled,
times when I do. It’s just an ongoing “I Lift My Hands,” (laughs) but this is
Yamaha Commercial Audio Systems, Inc. • P. O. Box 6600, Buena Park, CA 90620-6600 • ©2011 Yamaha Commercial Audio Systems, Inc.
A Sit Down With Chris Tomlin: continued
24 JAN/FEB
24 2011 WORSHIPMUSICIANMAGAZINE.COM
JANUARY/FEBRUARY 2011 WORSHIPMUSICIANMAGAZINE.COM
lead sheets / guitar chord charts / audio
I Lift My Hands
CHRIS TOMLIN, LOUIE GIGLIO, and MATT MAHER
KEY OF [Bb]
G C% Em7 D C/E Em G/B C Am7 C2 Dm7 F/A
Am7 C
VERSE 1: Let faith arise,
G C/E Em7 D
Be still; there is a heal - er. Let faith arise.
Em D
His love is deeper than the sea,
G/B C (repeat CHORUS 2x)
His mer - cy is unfail - ing,
Em D
His arms, a fortress for the weak. BRIDGE:
Am7 C G
Let faith arise, Let faith arise, let faith arise.
Em7 D Em7 C2
Let faith arise. Open my eyes, open my eyes.
G/B
Let faith arise, let faith arise.
F/A C2
CHORUS: Open my eyes, open my eyes.
G
I lift my hands to believe again.
Em7 C2 (repeat CHORUS 2x)
You are my ref - uge, You are my strength.
G/B
As I pour out my heart, these things I remember:
Dm7 C2 G C% Em7 D
You are faith - ful, God, forev - er.
G C% Em7 D G C%
Let faith arise,
Em7 D
VERSE 2: Let faith arise.
G C/E G
Be still; there is a riv - er
Em D
That flows from Calvary’s tree.
G/B C
A foun - tain for the thirst - y,
Em D
Your grace that washes over me.
© 2010 WORSHIPTOGETHER.COM SONGS (ASCAP), sixsteps Music (ASCAP), VAMOS PUBLISHING (ASCAP), SPIRITANDSONG.COM PUBLISHING (BMI)
and THANKYOU MUSIC (PRS) WORSHIPTOGETHER.COM SONGS, sixsteps Music, VAMOS PUBLISHING and SPIRITANDSONG.COM PUBLISHING
Admin. at EMICMGPUBLISHING.COM THANKYOU MUSIC Admin. Worldwide at EMICMGPUBLISHING.COM excluding Europe which is Admin. at kingswaysongs.com
All Rights Reserved Used by Permission
Hillsong Chapel called “unplugged” because it isn’t, ten by Thomas and Mary Beth Miller,
Yahweh but it’s a collection of previously re- copyrighted 2010. Nice!
leased songs that have been allowed
TRACKS (personal picks bolded) more breathing room without massive What follows that song caught me
1 Hosanna musical swells and epic waves of ap- a bit off guard - One Single Drop
2 You’ll Come plause. Just people doing what they features nylon-string guitar and string
3 Run do in church. LOVE IT. arrangements. It takes me back about
4 The Time Has Come twenty-five years to the trend that was
5 Saviour King Gateway Worship so prevalent in that era of worship
6 Yahweh God Be Praised music. Didn’t see that one coming on
7 Came To My Rescue what started out seeming like a more
8 Stronger TRACKS (personal picks bolded) youth-geared album. And then, the
9 This Is Our God 1 God Is With Us Now next song sounds like it was released
10 You Hold Me Now 2 Praise Him in Ireland. I had to go online to fig-
11 From The Inside Out 3 Victory ure out what was behind this range
12 Mighty To Save 4 Stay Amazed of styles. It looks as though they were
13 Salvation Is Here 5 O For A Thousand (Hallelujah) very intentional about bringing their
6 O The Blood entire worship team together to re-
Another great 7 One Single Drop flect the whole church. Makes sense
release that hits a 8 By The Grace Of God - there’s something for everyone here.
mark easily missed 9 Praise Is The Offering
in previous big pro- 10 How To Worship A King So, on the one hand, if you’re look-
duction Hillsong re- 11 Glorify You Now ing for an album with one type of mu-
leases. This cd puts 12 I Hear The Lord Passing By sic, one genre, move on. But if you’re
lyrics center stage, 13 Faithful God looking for an album that mixes mul-
which is great since 14 You Are For Me tiple genres together, this is spot on.
although they’ve historically been well 15 God Be Praised Indeed you’ll relate if you’ve recently
done, could be overshadowed by become a believer (the milk) and you’ll
their musicianship and arrangements. A highly kinetic feel at home if you’ve been walking
This cd gives the vocalists an oppor- release by Gate- with the Lord for several decades (the
tunity to be a bit more expressive and way Worship - meat).
approachable to the average singer. these are people
with boundless Kristian Stanfill
One of the best realities of this re- energy. Like previ- Day After Day - EP
lease is that it’s stripped down to an ous releases, you
instrument lineup more typically found can feel the team TRACKS (personal picks bolded)
in the average church. It doesn’t leaning in on the fast and mid-tempo 1 Day After Day
mean that the arrangements have songs. Thankfully only four songs in 2 Lord Almighty
been dumbed down though, which is they give the listener (or congregation 3 Always
a smart move. It allows for the instru- as the case may be) a chance to catch 4 Say, Say
ments other than electric guitar to have their breath on “Stay Amazed”. 5 The Stand
a more colorful voice and explore their
use a bit more. For instance, yes there While they’re usually most at home A very listenable
are acoustic guitar parts that are pri- in a youth worship setting, they’ve also album. Kristian
marily rhythmic, but are also pushed incorporated highly unexpected song Stanfill may be as
forward with more variety in tone and styles. And not the barely-recogniz- unknown to you as
style. able variety; they are clearly hymns he was to me but
even though they don’t sound stale. I don’t think things
If you have an opportunity to look at O The Blood, directly following “O will stay that way.
shots from the recording, you’ll see an For A Thousand” leave you scratching In addition to a pre-
inspiringly lit chapel with a small gath- your head and wondering how a song vious release and this EP, he has a full-
ering of worshipers; a scene not often that is delivered so straight from the length CD set to launch early 2011.
associated with Hillsong. But what a heart could be an established hymn?
welcome expression. This can’t be The answer it isn’t - it was writ- In this brief five-song collection, you
get a good cross-section of Kristian’s
approach and style. He’s youth-friend-
Overall impression ly, which is appropriate to his age
Average person could learn/participate on the first hear and background. Having been highly
involved in the Passion movement, he
Can be learned/adapted by a band of average skill is sincere and energetic and seems
Lyrical creativity and integrity comfortable in his genre of choice.
Hillsong Chapel Yahweh
Gateway Worship God Be Praised
Kristian Stanfill Day After Day - EP
Jesus Culture Come Away
Trent Live Burn Bright
highest marks
While his style won’t challenge your Jesus Culture gonna be wild, it’s gonna be great…”
previous experience with worship mu- Come Away When someone is this personal and
sic, his songs will slide right in with creative with lyrics it’s a good indica-
very singable, teachable songs. He TRACKS (personal picks bolded) tion of great things to come. And this
is contributing to a healthy volume 1 Come Away album doesn’t disappoint. By way of
of worship songs that people can 2 Rooftops interest-holding lead parts and melo-
feel comfortable with and participate 3 You Are My Passion dy lines, it is quickly set apart as a
with in many settings. That, in part, 4 I want To Know You uniquely expressed culture of worship.
is why the marks are a bit lower for 5 My Soul Longs For You
lyrics - there are some lines in some 6 Freedom Reigns A song that caused me to pull back
of the songs that I would push him to 7 Let It Rain a bit was “Freedom Reigns” which
rework. Not because they lack Biblical 8 Mighty Breath of God would probably make much more
integrity; he’s staying true to the Word. 9 Show Me Your Glory sense in a live setting. I appreciate
Only because all-too-familiar phrases 10 One Thing Remains the freedom that Kim Walker-Smith ex-
can be reworded to add creativity and presses throughout the song, however,
a personal touch, which is a necessary Let me start by she laughs intermittently throughout the
mark of boldness for an artist of his saying that this is track that should have probably been
caliber. the kind of album I pulled down in the mix (this also hap-
could easily annoy pens on one of my favorites “Show Me
That may seem strong, but at the co-workers with by Your Glory”. Because it is same each
core, I think Kristian’s heart as a wor- overplaying it. You time she does it (as some people’s
ship leader is right on - especially after know how that is laughs are) it can feel less spontane-
reading his point of view on the role of – you load a new ous and more contrived, which I’m
a worship leader. I have a fundamen- cd into your iTunes library or onto your sure is not the case. It can just feel
tal belief in him and look forward to MP3 player and it becomes your go-to that way outside of the context of what
greater risks in the future, seeing him album. This rarely happens to me but must have been a very powerful time
branch out as an artist as time goes lo and behold… of worship.
by.
The first song on the album features The power and guts behind Kim
lyrics like “I have a plan for you…it’s Walker-Smith’s voice reinforces the
M M
NA th #
Boo 4 3
43 www.vocalbooth.com 866-330-6045
WORSHIPMUSICIANMAGAZINE.COM JANUARY/FEBRUARY 2011 31
Record Reviews
sense of authority that comes through well from one song church. This, in part, made me won-
even in a recording. Her leadership is to the next and der where the usual element of passion
well matched with Chris Quilala’s and features prominent was in this release. There was a lot of
they continue to push a Pentecostal vocals with a back- potential available here, I just didn’t
experience through beautifully mixed drop of digitized feel the impact that could have been.
production in a way that translates patches and acous-
successfully. Big enthusiasm for this tic instruments. De- That said, there’s some good raw
release! spite its billing as a material to work with and some inven-
live album, it sounds very clean and tive sounds that will pique the interest
Trent Live composed, particularly in the vocal of those who are looking for more
Burn Bright department. If not for the faint voices songs to add to their repetoire.
of people singing in the background
TRACKS (personal picks bolded) and clapping between some of the
1 Intro – All My Hope Is In You songs, you wouldn’t think you were Heidi’s background is
2 Now And Ever listening to a live album. primarily in worship and
3 Glorious Life production, joining her
4 Love Divine One of the things that caught me off first worship team at age
5 Radio guard was the strong 80’s influence twelve. Having been
6 I Will Hold On in their musical styles. It’s easy to pick on staff at a Northwest church since
7 Jubilee out a little U2, Pink Floyd and Springs- 2001, she is now works as assistant
8 Burn Bright teen influences but lacks those bands’ to the Northwest Foursquare District Su-
9 Walk Humbly heaviness. Without giving away my pervisor in Tacoma, WA.
10 Skin And Bones age too much, I appreciate the 80’s This fulfilling role has made it pos-
11 Keep Me Where The Light Is sound. I think the nod to that era helps sible for her to pursue her passion for
12 Unfailing Love keep the album interesting, however, it being in multiple churches, working
13 Perfect Sacrifice fell a bit flat in the mix and the ability with worship and production teams
14 Journey Home to capture a live experience. and sharing those churches’ innova-
tive ideas with as many other churches
This is a blend of radio play / I’m no stranger to Vineyard – used to as are interested through her website
church-friendly worship songs. It flows attend a great Seattle-based Vineyard www.nomadicreative.com.
by westone.
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By John Mills
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We all experience moments where fore I start learning the parts. I bring both
someones speaks the words that cause my charts as well as the lyric sheets with
us to shift from where we’ve been to me to rehearsals on a clipboard along
where we want to go. We can stay in with a pencil. The charts and pencil are
the past or we can cross the Jordan into great for documenting motifs or changes
a place where our faith and hope will that are easy to forget until you’ve played
collide! For me that moment came at of them a few times.
all places, Bass Player Live in Los An-
geles. What Do The Notes Have To Do With It
I don’t read traditional sheet music
Sean Hurley is a highly regarded much better than I did when I graduat-
session and touring (John Mayer) bass ed music school, and my chart reading
player. In his clinic Sean talked about skills have allowed me to skate around STICK WITH
ONE WOMAN...
MANY DRUMS
something that has revolutionized how this flaw in my musicianship. As I’ve been
I approach learning. When he comes working on this makeover I’ve come to
into a session he has them play the track the clear conclusion that a key to learning
down while he charts it out. Then he and playing things quickly with feeling is
plays it - DONE! In having the amaz- really knowing the sequential flow of the
ing “luxury” of owning a great Pro Tools notes. I’ve started documenting more and
driven project studio, I’ve allowed my- more ideas using music notation so I real-
self to wade through passes as I get into ly understand everything I play from note
the groove. Sean comes ready to play to note as opposed to just knowing where Retail Orders Welcome
the groove the second time down. Not it starts and ends. If you play the two oc-
everyone can do that, but I’d venture a tave G Major Scales in sequences of four
guess that most of us fall on the I’ll play it notes calling out all the notes names while
253.445.1973
until I feel it side of the line, and with all you’re playing them is a bit much. But, in Find it at
of my heart I encourage you not to live calling out the first note of every four I’ve
in that place. been amazed at what it’s done to sharp-
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By Tom Lane
Dial It Down
It’s long been said that “a good song and intensity. All of the sudden we were mally do. If you’re an acoustic player,
is a good song.” Years back, artists be- really listening! You play differently capo up or down and/or play differ-
gan releasing “unplugged” versions of when you listen and hear all that’s go- ent inversions. Electric: play less! Bass:
their songs and brought back around ing on around you. It makes a band bet- just the low notes! If you have ten sing-
the simplicity long associated with sing- ter for sure, transforming individuals into ers, five of you twiddle your thumbs
er- songwriters. It became a genre and a team. Try rehearsing that way! and wait to enter until later in the song
we learned to love the new versions as rather than at the top. If you’re a perc
much as the old because the song still In a time where most of our wor- or horn player, sit on your hands and
shone through even when wrapped in a ship programs are thoroughly pro- only embellish here and there instead of
different package. grammed, we can still breath new life playing all 120 bars of the song. Let the
and offer people more opportunity to song unfold and build, create spaces,
One of the greatest lessons of wor- engage with God by taking emphasis use pads. Or try building a song on just
ship I learned without even knowing it off the normal and expected. Rather the percussion.
was happening. Being a church boy, I than coming in and switching on auto-
was always the designated song lead- pilot, we’re responding differently than 2. Strip your team down to a few,
er. I only started leading worship after we did last week. It’s a new day every go unplugged, sit on chairs or in the
going through my own personal reviv- time we gather and we should antici- round with a few mics. Just by keeping
al, along with some friends I met with pate the Spirit moving in and among us the volume down the congregation will
weekly. Together, we encountered God as He wills today! sound and respond differently. It also
in a different and very profound way helps them feel a part of worship and
that would literally change the course Another lesson I gleaned from was in not like spectators.
of our lives forever. It was standard Eastern Europe at an outdoor festival in
practice then (18 years ago) to start 2000. There were hundreds of people 3. Give the team a day off – they
most meetings gathering with music, al- from all over the Eastern Bloc countries, need it, trust me! – and just one of you
though there was a period of a couple most of whom had lived under the op- lead simply from an instrument.
of years where we laid down the gui- pression of communism. At one point,
tars and instruments to simply pray and it poured down rain and forced us off 4. Memorize the sections of songs –
read the Word. At some point, we felt the stage and into a circus tent. It was not just an arrangement – and rehearse
we were to pick our instruments back up hot, smelly, and buggy - I remember that moving from section to section without
and just play to Him as if He were in part well. Totally unplanned and out of a form. That means everyone has to lis-
the room with us. It was genuine, pas- the blue, the Greeks started singing a ten, follow, and support the others and
sionate, and we learned what it’s like well-known worship song, and it shifted the leader. The more free you are to
to sit with God having no agenda or to the Romanians, the Hungarians, the move off the roadmap without wrecking
program. We also learned not to lean Turks, the Americans, the Dutch, the Pol- the train, the better you are as a band!
on our talent, sounds, production, per- ish, the Croats, etc. It was a volley of
formance, etc. By default, we can do a worship that transcended instrumenta- 5. Try a service once in a blue moon
lot of things the way we always have tion, production, culture, and language where you ask people from the congre-
and miss the real living, breathing, pres- and became a unifying and defining gation to start off or suggest a song. Let
ence of God. moment of the event. And it lasted for it go how it goes; don’t plan anything!
hours, and no one wanted it to end. Giving the people some freedom and
By stripping it down to basics – no responsibility is good and should be
sound-lights-amps, just us unplugged – As musicians we do play a part in part of our worship.
we learned the power of giving room facilitating God’s people in worship.
for songs and prayers to live. Doing this Though we can also be a hindrance, There’s no formula for the perfect wor-
forces you to pay more attention to what I don’t think we need to fear using the ship service and there really are no gu-
you’re expressing. Once those songs tools we have to the best of our abilities. rus in worship. We all need to make it
began to spill over into larger gather- That can mean using the tools sparingly to the foot of the cross daily. The hope
ings, they connected in ways we’d not as much as in abundance. Both the wall is that we can spur one another to do
imagined or could’ve ever planned for of sound and the organic acoustic are just that and encounter God!
in a songwriting session. both beautiful. We may not have total
freedom in our particular worship con-
A good thing to do as a band ev- text, but within its parameters, there is Nashville, TN is home
ery now and then is dial it way down still much we can do to remain sensitive. for Tom Lane though he is
and change up the colors in the pal- involved in ministry and mu-
ette. In fact, I was at a rehearsal yes- Here’s a little list of some things to sic around the world. As
terday where we did that out of neces- try on for size: a singer, songwriter and
sity. It was a small room and there was 1. Pick a song you know, play it in guitar player, Tom has been teamed with
no sound system, yet we had vocals, a different key, let someone other than many worship leaders and artists. He
acoustic, drum kit, and some amps. So the normal driver drive it (for example, continues to record his own work, lead
the drummer used lite rods and we all the keys instead of the guitar). Everyone worship, and writes regularly for various
played at a fraction of the normal level else use a different color than you nor- worship publications worldwide.
“ LOVE the
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Tips for Tight Teams
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Product Review
Do the Math
ago called, Outli- doing the math of my own life. I started ship bands at church as well as my own
ers: The Story of playing the piano when I was almost 5, band, was arranging and songwriting
Success, which is, and worked my way through a half doz- and gigging some big gigs. And also—
in his words, about en piano teachers until I was 13: ~1400 probably not coincidentally—I think that
“men and women who, for one reason modest hours. Played clarinet in school was about the time in my life when I be-
or another, are so accomplished and so bands and was introduced to student gan to understand that I didn’t have to
extraordinary and so outside of ordinary conducting, in addition to some amateur prove anything anymore.
experience that they are as puzzling to songwriting and playing keyboards, so
the rest of us as a cold day in August.” to age 16: ~3,500 hours. Played coffee Gladwell cites the Beatles who as a
In the book, he looks at a wide variety houses and other gigs, began performing group honed their skill and sound by play-
of people and occupations, from airline with bands, and learned the craft of studio ing over 1,200 gigs in Hamburg night-
pilots to entrepreneurs to hockey players recording, so to age 21: ~4,900 hours. clubs between 1960 and 1964. By the
to software engineers, and identifies and Given I had a day job as an aerospace time they had been “discovered,” they
examines the attributes of success. Be- engineer, I still played steadily in bands had amassed over 10,000 hours focus-
yond talent and intelligence and ability, (fusion, rock, church, originals), taught ing their talents, honing their skills, char-
many of the characteristics of success in- myself to play jazz piano bar, began re- acterizing their unique sound, and forg-
cording independent projects in a demo
clude things largely outside of our control, ing their group identity—and the musical
things like “culture and community and studio, took classes and conferences and world was never the same.
family and generation.” read books, and I did a whole mess of
songwriting, so by age 29: ~9,600 I think about the many artists I know—mu-
I was fascinated by one startling point hours. And if I were honest with myself, sicians, painters, filmmakers, dancers, ac-
he makes. The uncommonly successful I still wasn’t all that good of a musician. tors, writers—and the price they must pay
person has spent at least 10,000 hours in order to be good at what they are pas-
honing one’s skills. He argues that the So I probably hit the 10,000 Hour Rule sionate about. I think about the aspiring 22
10,000 Hour Rule applies universally— around age 30, the same time I entered year old songwriter who just released his
tennis prodigies, chess champions, scien- into full-time vocational ministry. And in Continued on page 54
Lighting
quiet operation, and video-quality The story of Chauvet
consistency are actually a ma- Lighting is an intrigu-
jor driver in the production ing one. Started in
By Greg Sisley specs of new fixtures for the the 80’s as a light-
production lighting world at ing manufacturer
Product Review: large. Simply put, design and distributor
Worship Songs
out there in front of the church carrying little picket signs.”
Reaction in some circles has been immediate. Al-
In some places the songs linked together, stave to stave,though a few have suggested that the Church as a whole
daring people—and a few renegade songs—to cross is better off without the songs, many people have gone
On Strike their lines. Radio stations that play “praise and worship”
music were suddenly silent. Even video projection systems
in churches were abruptly and unexpectedly without lyrics.
to their knees in repentance. This outcry to God has been
less for the songs to return than for a genuine change of
heart and mind for the pray-ers. Some of the most fre-
Nashville, TN (TR) Reacting to what they say is a lack quently heard prayers have been right from the Scriptures,
of enthusiasm and passion for singing them, the Union One of the strikers, who asked to remain anonymous, including, “Search me, O God, and know my heart…
of All Worship Songs (UAWS) today announced that said, “I know I speak for a lot of other songs when I say Point out anything in me that offends You…” and “Restore
they are officially on strike. In an unprecedented show of that we’re just plain tired of it. If those people want to to me the joy of Your salvation.” Christians seem to be
unanimity, songs written as recently as two months ago sing with no fervor, no zeal, let them sing some secular catching the point of the strike and responding favorably.
banded together with songs penned hundreds of years songs… but not us. Why, they usually sing “Happy Birth-
earlier as they walked out side by side. day” with more gusto than they usually sing us. It’s simply In the midst of such reaction, one song, “Change My
not right, and we’re not taking it anymore.” Heart, O God,” received special permission to cross the
A UAWS spokesperson said, “We’re tired of it. We picket lines and make himself available in multiple languages.
were written by people who genuinely loved God and The old hymn, “Holy, Holy, Holy,” was one of the
wanted to express that love through song. If you read our original organizers of the walkout. When asked about In an official communiqué, the UAWS said, “This initial
words you can sense the original fervor. There was a the strike, HHH had this to say, “This remindeth me of the response seems to be on the right track, but we’ll see if it
passion for the Creator/Redeemer that comes through so words of the prophet Isaiah. ‘Forasmuch as this people lasts. We are guardedly optimistic at this point.” The songs
clearly through the words and even the music. But today draw near me with their mouth, and with their lips do have promised to remain on strike as long as necessary.
so many people just mouth the words. They go through honour me, but have removed their heart far from me…’
the motions while yawning or looking at their watch, won- This be our contention. We requesteth a turnabout to
dering when the service is going to end. It’s really been wholehearted singing. We canst not bear the feeble, When it comes to the topic of worship,
demoralizing for us. We had such a great beginning… desultory attitude. As psalms and hymns and spiritual Tom Kraeuter is one of the most respected
and now this.” songs, our main purpose is to inspire the brethren to rev- teachers in the body of Christ today. His
erently worship Almighty God. Yet we canst not do that Worship Seminars are held all across
The strike was declared effective immediately, and except if the brethren willingly cooperate. If their minds North America. For more information on
Christians worldwide were stunned when the songs are focused solely on what eating establishment they will any of Tom’s books, seminars, or other articles, contact
walked out of churches, homes and media outlets. patronize when the church service endeth, then we canst Training Resources, 65 Shepherds Way, Hillsboro, MO
In some cases the strike came just moments before a not make up for their indifference no matter how well we 63050, 636-789-4522, staff@training-resources.org,
Wednesday night service began. be written.” or www.WorshipSeminar.com