Style: The Tail that Wags the Dog?

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september/october 2011

Style the tail that wags the dog?

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Not Just a Player But an Arranger Select 20

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Volume 33 - Number 5

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20

Change – True

A Church Musician’s Bookshelf :

Front Page Bob Burroughs

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Feature

The Tail That Wags the Dog Christ Alford

TM Education

Music Ministry and Choral Conducting Annette Bender

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Spotlight on George Kent Bob Burroughs TM

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Bye Bye Choirs

Reviews of Anthems Worth Having

Doug Lawrence

Staff

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Not Just a Player But An Arranger

Reviews of New Materials

Select 20

Choir

Good Stuff

Repertoire Vern Sanders

Staff

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Last Page

Lessons From The Ranch Jonathan Blackmon

in this issue

Chris Alford is not saying that worship is going to the dogs, but he does make the case that style has become the tail that wags the worship dog. Plus a spotlight on George Kent, the Select 20, and a scattering of quotes on the art of worship...

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September/October 2011 | creatormagazine.com

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by Bob Burroughs

front page

change – true

Change occurs in everything we do in today’s fast-paced and frantic world. I’ve been told that when a new phone comes out, there are up to four more behind it – almost ready to offer to the public. Things change – including music ministry.

I finished seminary with a double major in theory and composition. I took all the arranging and composition courses I could, thinking this would be valuable to me in the future. It became true very quickly, when I discovered a 5 octave set of handbells that had never been used – still in their original wrappings and cases. With little handbell music published at that time, I had to write and arrange for my three new handbell choirs out of necessity!

One more thing. You can’t just begin arranging a copyrighted tune without permission, but today, most copyright holders will give you permission to score a piece, if it is not to be sold, transferred, or used by any group other than yours.

There may be a small fee, but some will let you do it for free. Simply call or email the copyright holder, state your case, and ask for permission to arrange the piece for your group. It may take a a little while, but they will respond. So if you want to use a certain tune in the Fall, begin seeking permission in the Spring – or sooner.

But things change. Recently I was told that the majority of schools offering a Praise & Worship Degree only allow students to

A majority of schools offering a Praise & Worship Degree only allow students to have 25% of their classes in music One of the most important things a minister of music or worship leader or worship pastor can learn these days is the art of arranging.

There is music out there that may be perfect for your group(s), but may be too difficult, too high, too involved or complex, and your musicians will become discouraged in the process of trying to master this material. The answer, of course, is for you to practice the art of arranging for your group(s), because no one knows the ability of your musicians better than you!

have 25% of their classes in music! That is way below what should be required for this degree! How can you be an effective music/ worship pastor with only a quarter of your education is in your chosen field of music leadership?

Do you lack arranging skills? There are composers and/or teachers who can help you become an arranger, if you have the desire to learn.

Go ye therefore and learn to arrange!

fine

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Music changes. Life changes. To keep up, we must learn to stay ahead and be prepared for all that will come our way, including the opportunity to have music that is custom made for your group.

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Volume 33 - Number 5 September/October 2011 publisher Vernon Sanders editor Bob Burroughs editorial board Christine Anderson Hugh Ballou Wendell Boertje Glenn P. Eernisse Allen Henderson Heather Hood Lloyd Larson Douglas Lawrence David Leestma William Lock Carl M. Peters, II Steve Phifer Paul Satre Pamela Urfer Thomas Vozzella Edwin M. Willmington Paul Leddington Wright John Yarrington computer engraving Geyser Ridge Associates printing coordinator Pete Moceri Creator Magazine PO Box 3538 Pismo Beach, CA 93448 (800) 777-6713 creator@creatormagazine.com Creator Magazine (ISSN #1045-0815) is published bimonthly by Creator Magazine. U.S. subscription rates are: $32.95 - 1 year, $55.95 - 2 years, $73.95 - 3 years. Foreign subscriptions (sent printed matter – airmail): Canada and Mexico, add $10 per year to above subscription rates. Other foreign countries, add $25 per year to U.S. rates. (All foreign payments should be made by check in U.S. funds drawn on a U.S. bank.

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by Chris Alford

feature

the tail that wags the dog style is both the answer to and

the reason for divided congregations

A favorite cartoon that I kept in my office for the longest time shows a fellow on the phone with his church. A voice balloon coming out of the receiver says, “While on hold, press #1 for old-time gospel music, press #2 for Gregorian chant, press #3 for Christian rock, press #4 for.…”

There’s something really funny about that to me because, as any of us who have served in music ministry know, there’s a lot of truth there. People in church have very high expectations about what kind of music they’re going to hear in worship. And it’s no wonder: We’ve trained them to have those expectations by dividing our congregations along stylistic lines.

So, a question I’d like to pose to weary worship planners is this: Has musical style become the tail that wags the dog?

I don’t have to tell you that style is said to be simultaneously both the answer to and the reason for divided congregations. And we have assumed, by the way, that the division is mostly about two sides: “traditional” (whatever that means these days) and “contemporary” (whatever that means these days).

I’m convinced that those terms have virtually lost all of their meaning.

“Traditional” doesn’t even share the same connotation across the particular age group that we assume it applies to,

new from Creator!

101GreatChoirIdeas.com has resources and ideas to help you do choir ministry better

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Dr. Chris Alford spent

nearly 20 years in music ministry before his call to be lead pastor of Epiclesis: An Ancient-Future Faith Community in Sacramento, California.

and, ironically, most of the music that many aging baby boomers describe as “contemporary” actually isn’t.

So, on the one hand we have people who would argue that worship happens in the mind; on the other hand, their counterparts would argue that worship happens in the heart. On one side, a constituency argues for more hymns; on the other, more praise choruses. Our traditional friends say, “Long live the pipe organ”; our contemporary friends say, “No, unplug it and sell it for parts.”

Wouldn’t it be marvelous if in our lifetime we finally saw an end to the divisive worship wars? Wouldn’t it be marvelous if musical style was no longer the tail that wags the dog?

In other words, style is the vehicle not the destination. This simple yet profound definition has a way of clarifying and setting straight some common myths about style:

Common Myths About Style

•

Style is content (It is not)

•

Style is structure (Ditto)

•

Style has only to do with music (It does not)

•

Style will meaningfully bring people together (Not necessarily)

One of my mentors, Dr. Constance Cherry, has said that style in worship is “…the way a certain faith community expresses the content of their worship (liturgy) as a result of its given context.”

for the study and renewal of worship

Calvin institute of Christian Worship Our website serves you through

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RESOURCES • Enhanced searching in the Resource Library by tags, categories, and tasks • Showcases: annotated topic guides on key issues in worship, hosted by Worship Institute staff • Quick links to our blog and Facebook page

GRANTS • Learn about our ecumenical grants program with over 500 grants to congregations across North America

EVENTS • Register for training events • Return to the website for post-event resources • Mark your calendar for the Calvin Symposium on Worship, January 26-28, 2012

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On the one hand we have people who would argue that worship happens in the mind...

•

Style impacts church growth positively (Ditto)

about style and worship. Here are some good, first-level questions:

Asking Better Questions

•

Who are we?

So, following after the lead of Marva Dawn, let’s get back to asking better questions before we make assumptions

•

What kind of faith community do we have?

for further reading • The Duality of Worship (Ray Robinson) Mar/Apr 79 • Wandering From Worship: The Christian and Music (Michael E Bryce) Sep/Oct 85

•

What is our context?

•

What is the logical expression of our context?

You can imagine those four questions spurring some wonderful conversation.

And once you’ve worked through those just a bit, ask some good, second-level questions: •

Have we assumed that style is the same as content or structure?

•

Have we assumed that style is only about music?

•

Are the styles, musical or otherwise, we are presently using adequately expressing the whole story of God in worship?

•

Has style really meaningfully brought the people of our congregation together?

• Worshiping at Mezzo Forte (Philip Mitchell) Feb/Mar 88 • Music in Worship: A Costly Offering (Jack Schwarz) Jun/Jul/Aug 88 • The Questions of Worship (Gordon Borror) Sep/Oct 90 • Worship: Religion or Relationship (Jim Altizer) Mar/Apr 93 • Whatever Happened to God-Sensitive Worship? (Edwin M Willmington) Nov/Dec 95 • Taste Wars – and How to End Them (Stephen D Lawton) Jan-Apr 96 • A Theology of Worship (Robert Webber) Nov/Dec 96 • The Convergence of Worship Traditions (Robert Webber) Jan/Feb 97 • Worship is Not a Matter of Taste (Marva Dawn) Nov/Dec 99 • Identifying Tensions over Musical Style (Henry Schellenberg) Jul/Aug 04 • Understanding Worship at Its Core (Tom Kraeuter) Sep/Oct 09 You can find many of these articles and/or buy the Choir Articles Compliation CD for just $24.95 at creatormagazine.com. All articles are available by calling 800-777-6713.

Style and Content Assuming that you have thus far survived the staff meeting in which you are posing these questions, you might as well press ahead and ask your colleagues to ponder two ideas – ideas September/October 2011 | creatormagazine.com

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that will help sort out the distinctions between style and content: •

Style is negotiable; content is not

•

Style is contextual; content is universal

Worship Planning is not Alchemy Listen, the modern world nearly convinced us that worship planning is like alchemy. You know what that is, don’t you?

Alchemy was the somewhat shadowy ancient art that combined scientific and spiritual practices in the hopes of changing base metals or making miraculous elixirs. And so we now consider the worship planner, quietly cloistered, stirring the pot, surrounded by books and instruments and resources, hoping to turn ordinary music into worship gold.

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Worship planning is not alchemy.

One doesn’t add a dram of drum set with a pouce of pipe organ in order to produce some desired result.

We’ve been lured into thinking that our choices music be “either/or” with hymns or praise music; or that we must segregate and group musical styles.

Let’s come away from a place where we feel like we must appease opposing sides. Let’s look for ways to meaningfully bring people together. Let’s reorient our worship design towards biblical precepts first. Let’s look for convergence.

Looking For Convergence “Convergent” worship, a term coined by my mentor, the late Robert Webber, is not a style but rather an idea. I’m convinced that it is at least part of the key to meaningfully reorienting worship rightly by helping to clarify questions related to style.

Convergence is not the same thing

as blended worship. Blenders were a modern tool meant to solve a modern problem: namely, appeasing folks with opposing style preferences. In the end, neither “side” was happy, and the truth is, most of us were already blending; It was just a matter of whether we were on the “Grate” or “Frappé” end of the blender scale.

Convergence seems to be bringing several sometimes competing streams together while speaking to the issues of a sound biblical theology and order of worship. So, what is convergence?

Convergence seeks to recover classic, Orthodox content – the pattern, language, texture of the ancient church – and allow it to communicate in a truly contemporary manner and on several levels.

How does this work? Among other things, convergence says that: •

Recovering a biblical theology of worship is paramount.

•

The theology of revelation and response, particularly as seen in biblical encounters where the Divine meets with humankind, is what properly orders worship.

•

Worship is participative, not passive.

•

We can appreciate the whole repertoire and vocabulary of the church.

•

We can look to, listen to, and learn from the past.

•

Style must no longer be the tail that wags the dog.

All of this is as terribly important as it is difficult. But these are pressing questions and issues that we must talk

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about, especially as the skirmish lines in the worship wars continue to shift and change.

A little story to close: I know of a church, a church that is split between those two “sides” that I describe above, wherewith great conviction an elder once told the music minister, “If we could just get a young, handsome guitar player up there leading, it would really make our contemporary service grow. Young people will be attracted to that.” As for the “traditional” service at that same church, the pastor told the music minister, “We will always keep a traditional service around to honor the old folks.” How I wish that the leadership of that particular church would have been willing to have this conversation.

fine

the art of Worship An often ignored ‘art’ lies in the detailed planning of worship. There are so many details that contribute to the overall flow of a worship gathering, and each one should reflect artistic thought and care.

Max Rexford Worship Pastor

Southside Fellowship Greenville, South Carolina

On the other hand we have people who would argue that worship happens in the heart...

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by Doug Lawrence

choir

bye bye choirs

Doug Lawrence helps churches assess and improve their skillfulness in creating engaging worship services, drawing upon more than 35 years of worship leadership in prominent mailine churches.

Bye Bye Happiness...

I think I’m a-gonna cry-y...

There are approximately 300 million people all over the planet who sing in a some kind of choir. Roughly 50 million of them are in North America. Church choirs, however, are quickly disappearing all over the country, kind of like dot matrix printers – you can find them, but you rarely hear their distinctive sound anymore. With that has come a deficit in our churches that looks staggeringly like the alarming U.S. employment figures.

I used to tell my 90 voice Chancel Choir that someday, when I was but a faint memory, they would probably be called “The Chamber Choir.” That would be a sign, I told them, that they were on their way to extinction much like the Coelodonta antiquitatis (Woolly Rhino). Sometimes predictions are painfully...well, predictable.

The step after “chamber choir,” I told them, was probably the “festival choir,” which would be convened rarely, or to sing for Easter or Christmas. From there the church would probably move on to just big screen videos of the Mormon Tabernacle Choir with incredible FX to make the 300+ singers look like they were in the room with the congregation.

this issue author contact Christ Alford ~ pastorchris@epiclesis.org Jonathan Blackmon ~ jblackmon@hbu.edu Bob Burroughs ~ bobburroughs@mac.com Doug Lawrence ~ dlawrenceconsult@mac.com Vern Sanders~ creator@creatormagazine.com

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Choirs, I have been told by ever so many gurus of the church growth movement, are out-dated, out of style, and just plain old fashioned – not to be overly repetitive. They often say, “Why just look at television – do you see any choirs?” Evidently they rarely watch television.

Evidently They Don’t Watch Television The proliferation of choral music on T.V. (which seems unthinkable in a Hip-Hop culture) is astoundingly obvious every evening in singing competitions (more about that in Vern Sanders’ article beginning on page 14) and thousands of commercials, selling us everything from cars to lingerie (gotta love those car commercials).

I am, however, not making an argument for the fact that choral music isn’t dead in America. No this is about a huge, ugly, and gaping hole in the fabric of many sophisticated and “forward thinking” churches.

The one common pop instrument, strangely enough, is not the guitar. It’s the human voice – often glorious, but occasionally imperfect, out of tune – always as individual as finger prints. Even people who say they can’t sing, do sing. They may do it in the closet or the shower, but they do it.

Having been both a performing orchestral soloist and choral conductor for several decades, I know how encouraging, uplifting, and mysterious the human voice is, especially when joined with other human voices.

the art of Worship The “art of worship,” for us, begins with prayer. The team bows heads before a blank screen-before we presume to compose a worship service. We ask the Holy Spirit to accompany the thoughts and keystrokes that will become congregational worship. We pray for the people, that they can make sense out of it. We ask that even the moments of planning might be true worship. We beg for a fresh view of every element, every scripture lesson, and every word of every song. We ask that God will make “art” out of our scribbling; we pray that He would help us to exclude all that is pretentious, proud, self-righteous and sanctimonious. By the work of the Spirit, the simple and humble ordinary elements must combine to make something truly extraordinary; with His presence, the whole promises to be infinitely greater than the sum of its parts. Week after week, we are surprised to find this artistry taking place in worship, and so we say thank you once again, not to the liturgist, but to the Artist of our souls.

Stephen Lawton Music & Worship Mitchell Road Presbyterian Church Greenville, South Carolina

the art of Worship

There is definitely an “Art” factor to the corporate worship service. In today’s culture with very high expectations, creativity at the speed of thought, high value placed on flexibility combined with limited resources and time, team collaboration is essential.

Jesus said: “ I am the Vine, you are the branches; he who abides in Me and I in him, he bears much fruit, for apart from Me you can do nothing.” (John 15:5) This verse is foundational for everything we do that honors God, including the Art of Worship.

Here is a brief description of how each of our Worship team member contributes: 1. The Holy Spirit’s role is direction (service flow, song choice, who is on the platform), connection (purpose of corporate worship is to connect people to God and to each other) and power (changing lives).

2. The Senior Pastor’s role is lead worship leader. Our corporate worship service look-andfeel is a direct reflection of his philosophy of ministry. He selects the weekly theme and his philosophy of ministry is reflected in the sound/feel of the worship service.

3. The role of the Creative Arts team is to be creative and administrative. Often neglected is the importance of Administration within the creative community. Beyond administration is the exciting challenge for the artist is to create for others/with others. I embrace this scripture: “Be good friends who love deeply; practice playing second fiddle.” Romans 12:10(MSG) Used in Deuteronomy 6:13, the Hebrew word, “Abad” is translated “worship.” It means to “work, serve, and become a servant or worshipper”. This team distributes the work to a manageable level. While some worship leaders try to do all of the work themselves, the most effective way and the biblical way is to let the body of Christ exercise it’s gifts for the glory of God. Some are singers, some instrumentalists, some drama, some dance, some have the gift of organization, hospitality, promotion, and recruiting. The key is building a team from the congregation to the platform!

4. The Tech Team’s role is to support all gatherings that benefit from sound, video, and lights. Creativity is essential as is training, expertise, administration and service.

5. The role of the congregation should be thought of more as an army than an audience! The Staff serves the congregation--not the other way around. The staff’s role is five fold: 1. to help the congregation connect with God, 2. Know Him, 3. Know His people, 4.

Grow in Him and 5. Serve Him. Leading a worship service is obviously much different that performing a concert. The Artist is the fire. The Worship Leader lights the fire.

The Art of Worship must incorporate all of the above, not only with each other, but all church teams, and a congregation that is mobilized for ministry.

Rick Muchow Worship Leader

Saddleback Community Church Lake Forest, California

There’s a lot more to it than that, though. In the church the human voice forms microcosmic communities dedicated to enriching the lives of macrocosmic institutions.

Choirs Help Us See the Face of God Choirs let us know there are real angels out there somewhere. They help us know when to cry in a sad movie. They help satisfy and indulge our Christmas muscle so that we might, as Charles Dickens noted, “Recall... the pleasures of [our] youth.”

Choirs also let us know when we’re supposed to support a worthy cause or buy a Pepsitm.

They challenge us to join the military or remember mom on Mother’s day. They sing Happy Birthday to us in small, spontaneous groupings (hey, they’re choirs too – multitonal though they may be).

More importantly, though, choirs in a church environment help us see the face of God. They demonstrate His glory in community.

They give and have given opportunities to hundreds of thousands of lovers of the choral

art to serve God in important, meaningful ministry.

Let me just get this off my chest. Pastors, all of those “growthy gurus,” and other leader-types who say choirs no longer have a place in the church are more than misguided. They are completely out of touch with how human emotion is triggered. God bless their little out-of-touch hearts.

I’m probably preaching to the choir....

fine

September/October 2011 | creatormagazine.com

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by Vern Sanders

repertoire

not just a

player but an arranger

Bob Seger once wrote the line “We were players, not arrangers...” For church musicians, the luxury of being just a “player” is fading fast, particularly when it comes to choral music. Let me explain.

In my capacity as Creator’s publisher and resident cultural observer, I get to see and hear about what’s going on in the “real world” of church music and worship, and periodically report back on what I think it means. I’ve written articles on our website about what I’ve learned from being a choir director, from working with pastors, and from being a worship leader. In these pages, I’ve also written about how the role of being a church musician has changed significantly during the past few decades.

If you’ve read any of those articles, I assume that you know how important it is to continue to develop your skill in the craft of your calling, and to be able to get along with the people you lead and follow in shared ministry. I assume you know how to manage your time, and your budgets. I assume that you have some idea of why you need to know something about social media and marketing.

But there is something else that you are going to need to add to your skill set.

What’s left, you say? Simply the one surprising musical skill that I think is absolutely necessary to thrive going forward in today’s church music: Arranging/Orchestration. Yep...that class

Subscribe to Creator Start a new subscription, renew and existing subscription, change your address, or gift a subscription with just a few clicks @ creatormagazine.com or call 800-777-6713.

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Among other things, Vern Sanders is publisher of Creator magazine.

volume 33 - number 5 | creatormagazine.com

that you may only barely remember, and which involved learning about the top note of the flute or the bottom note of a viola, and how to space chords for best results.

I was fortunate enough to take arranging and orchestration as two separate classes, but I know that, in many instances, a student’s choice is one or the other. I lump them together for the purposes of this article because it is convenient.

I can imagine the thoughts in your head. Now he wants me to be an arranger too? I can’t even keep up with everything I have to do as it is.

Let me be clear. I’m not talking about you needing to become the next Alice Parker, Lloyd Larson, or Camp Kirkland.

What I am saying is that without some basic arranging skills, it is going to be difficult to thrive as a church musician in a local congregation over the next decade or so.

The Definition of Choir “Performance Practice” has Changed...again Whether you like it or not, choirs are back. But choirs don’t look (or act) like they did even ten years ago. The cultural impact of shows like Glee and The Sing-Off, as well as the worship impact of gospel choirs and worship choirs cannot be ignored, just as the release of thousands of “early music” CDs in the late 20th century meant that you could no longer ignore performance practice research when presenting Bach or Mozart in a worship service.

In some ways, this is a blessing: • A choir doesn’t have to be “large” to be a choir • Young people seem to resonate with the new choir “style” and will join a choir more readily in order to learn how to “do” the new style

Whether You Like It or Not, Choirs are Back • Viewers/Listeners no longer have a de facto viewpoint that choir=boring

the art of Worship

In some ways, this is a curse: • A choir does have to be vocally flexible to be a new-style “choir”

Worship does not just happen. It takes planning. Every Tuesday at 4:00 PM, our pastor, Minister of Music, two mentors, and I plan the next Sunday’s service. It should be seamless stylistically, textually, musically--

• Young people won’t stick around if they perceive that a choir won’t explore the new stylistic possibilities • Viewers/Listeners no longer will settle for a boring choir From a practical standpoint, a choir director now has to understand this new performance practice, or at least be conversant with it, because the pipeline of “new blood” for choirs contains a significant percentage of people who want to sing in choirs in order to learn how, or continue to do this new style of music. Even if you don’t “convert”

everything leading to a climactic point. When it happens, it’s wonderful. But it does take planning! The purpose of the planning is to lead the worshipper into God’s presence.

Kurt Kaiser Composer/Arranger Waco, Texas

September/October 2011 | creatormagazine.com

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the art of Worship The very nature of creative beings imago Deo, or in the “image of (a creative) God” implies that artistic creativity will be the norm for the creatures (us) to worship their creative Creator. To be artistic implies that an idea is motivated first by an impulse to express an idea in a unique and individual way, is then developed in a series of both organized and stream-of-consciousness movements yet allowing changes as the process unfolds, resulting in a unique one-of-a-kind expression that honors the original motivation to express a specific idea. As worship leaders and planners, I believe we are held to a higher standard of expression than merely repeating what happened last week with those gathered to worship this same creative God. The “fleshing out” of a our worship is a living, breathing artistic offering back to a living, breathing creative and artistic God whose artistic imagination defies explanation. As such, we are compelled to exhaust our creative selves in seeking to worship Him artistically.

Paul Hill Worship Arts Ministry First Baptist Church Marietta, Georgia

your existing choir, it may be desirable, or even necessary, to start a new choir which has this new performance practice as the core of its repertoire.

The New “Performance Practice” Repertoire is Not Being Published in Quantity This new repertoire is not as readily available in a traditional manner. This is a “good news/bad news” situation.

In the worship choir arena, the work of Dave Williamson, Carol Cymbala (Brooklyn Tabernacle), and others, are indeed being published. The bad news is that it constitutes a small percentage of the total number of choir anthems released in a given year.

When it comes to the “new” a cappella performance practice, you can look to the work of Jay Rouse and a few others. The bad news is, though, that this repertoire is a significantly smaller percentage of anthems than the worship choir category, and tends to be much less complex than what you will hear

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from a Sing-Off contestant choir. But, for the traditional choir, it is a starting place for teaching things like intonation and the vocabulary of “hot” chords that is prevalent in the new a cappella repertoire.

So where can you find the most current repertoire? For guidance, look to the vocal jazz choir model.

In the vocal jazz arena, there has existed, for years, a “grey market” of arrangers/arrangements of what are called “lifts” (essentially transcriptions of arrangements heard on recordings – the going rate for these used to be $40/tune, but it was years ago the last time I bought one of those, so I have no idea what the going rate is now). I’m sure it won’t be long before some of the Sing-Off arrangements are available in the grey market (if they aren’t already), but the bad news is that most of that repertoire is secular.

Which leads us to the third, and most critical reason why this impacts you as a church musician.

The New “Performance Practice” Repertoire is Primarily Being Written For a Specific Group One of the reasons the new repertoire is not being published in quantity is that it is being written, in most cases, for a specific group. This is not uncommon in traditional repertoire, as evidenced by the number of published pieces that started out as commissions for a specific ensemble.

But in the new repertoire, there is more likelihood that the piece is written for specific voices, voices that you may not have in your group, like a beatboxer and a “Jolly Green Giant” bass. This means that the arrangers are writing not just for vocal skill levels, but also for vocal colors. Because of the level of virtuosity demanded from the bass, for instance, buying that “lift” arrangement may be an exercise in frustration.

Because the worship choir material is more widespread, this is not so much of an issue. But for the new repertoire,

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the best way to get something that sounds like what people are hearing (and seeing) on TV is to either do simpler published editions or write your own. That means that you may need to get much better acquainted with the vocal capabilities of your singers, which, of course means either the dreaded “audition” or a lot more rehearsal.

Catch 22 for the volunteer church group, right? Don’t lose heart. There is a middle ground: re-arrange something that is already out there.

You must have the permission of the copyright holder to do these arrangements Now before all my music publisher friends start writing me letters, let me say this as clearly as I can: Notwithstanding the presence of the grey market I referred to earlier:

for further reading • Get Out of Your Musical Rut (Otis Skillings) Sep/Oct 80 • Making Heavenly Music with Mortal Voices (Paul Oakley) Mar/Apr 93 • Yes You Can – Commission a New Anthem (Kirke Mechem) Jul/Aug 98 • The Choir as Worship Leader: Revitalizing the Ministry from the Loft (Ron Man) Jul/Aug 99 • Keep Them Excited (Craig D Collins) Nov/Dec 02 • Growing Your Choir’s Relevance (Glenn A Pickett) Jul/Aug 09 You can find many of these articles and/or buy the Choir Articles Compliation CD for just $19.95 at creatormagazine.com. All articles are available by calling 800-777-6713.

• Legally, you must have the permission of the copyright holder to do these kinds of arrangements.

If You Don’t Have Those Horses If you’ve read this far, you may be thinking that it doesn’t matter, and this doesn’t apply to you because you don’t have the personnel, the time, or the inclination to write for or perform the new repertoire. Not so fast.

At some point, like it or not, you will probably need to combine your choir with your worship band. There are many more arrangements out there for this combination, but the arrangments tend to be “praise team” oriented, which often means no bass part and lots of unison singing.

September/October 2011 | creatormagazine.com

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Once again, your choice is to accept what somebody else has written, or rearrange it for your own group of singers and players. In this case, you will be less concerned with having and/or displaying virtuosity, and more concerned with practicality. You want it to work for your group, and your congregation.

the art of Worship

Many people believe that the notes on a printed page of music somehow got there because, like the upon which the Ten Commandments were written, literally the hand of God traced the notes on the page. This is particularly true of those who have grown up primarily with classical music, and with good reason. The music of Bach, or Mozart is not (in most cases, but that’s another article) an arrangement. Even so, many groups do “editions” of those works, which in some cases (like reducing an SATB texture to SAB) are really arrangements.

To open the heart to the love of God,

• Original compositions should be performed as written

To quicken the conscience by the holiness of God, To feed the mind by the truth of God,

So let’s be clear, shall we?

“To Worship Is:

What are Arrangements Anyway?

But if a published piece of music is an arrangement, it means that it is some adaptation of original material. That means that you, too, can create an arrangement of that material, assuming that you start with a blank sheet of paper.. And remember, with the permission of the copyright holder of an arrangement, you can “re-arrange” that arrangement to make it work for your circumstances. You may have already done it yourself, in fact. The most common example of this is playing a written organ part on a piano, or vice versa. Doing an anthem without the “optional” brass is another.

To purge the imagination by the beauty of God, To devote the will to the purpose of God.”

(William Temple, former archbishop of Canterbury)

Worship is God’s creation. It is at God’s initiative that humankind can experience a relationship with the Creator. Worship is a process of revelation and response. As God reveals to persons His holiness, truth, beauty, love, and purpose, individuals respond in worship. As a person responds to God’s initiative of grace, worship occurs. Authentic worship should encompass the totality of one’s being; his or her conscience, mind, imagination, emotions, and will.

God gave to humankind the arts as a beautiful instrument for the expression of worship to the creator. Through the arts, God allows the created to join Him in creative work.

Three important elements can help in the preparation and leading of beautiful corporate worship expressions.

Structure: A corporate worship experience is not a “program”.

It is a “journey”. The goal is to move toward a fresh encounter with God. The structure for congregational worship does not have to be rigid or inflexible. It should have room for freedom and spontaneity. It should be painted in broad stokes with room for individual expression.

Texture and Color: The elements within a worship journey should provide the richness of a beautiful tapestry. Those colors and texture may come in the form of music in a variety of genre, both congregational music and selections presented by specific individuals or groups.The power of oratory, poetry, or drama can also be utilized to intellectually and emotionally move the worshiper. Visual arts such as architecture, Christian symbols, stained glass, sculpture, and video elements are vivid elements to capture the imagination of the worshiper.

Flow and Expression: The journey of worship should be as free as possible from barriers and distractions. Within the structure of the service, the worship leader should guide the worshiper from element to element with a sense of freedom and flow that allows for unhindered worship.

• Arrangements, at some level, were written with a specific group or situation in mind

All of these elements require prayer, planning, and preparation. Most of all the “artisan” or leader of the worship experience must “ascend to the hill of the Lord with clean hands and a pure heart.” We must personally worship the Lord in the beauty of holiness in order to lead others to that experience.

• Anyone, with proper legal permission and adequate musical skill, can make an arrangement

Bob Hatfield Music/Worship

Dawson Memorial Church Homewood, Alabama

corrections • We regret that in our last issue we incorrectly spelled Thomas Vozzella’s name

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the art of Worship • The “new repertoire” of the choir can be a critical element in keeping the choir from becoming irrelevant (see Doug Lawrence’s article on page 12) • The new repertoire is not being published in significant quantity because it tends to be more difficult than most groups can master, which means that printing it would be a huge risk for a publisher The bottom line, then, is, if you want to do the new repertoire, you’re going to have to find someone to arrange it for you or do it yourself. Ergo, arranging is critical.

Now where did I put that Guide to Arranging book? fine

Hart Morris Music/Worship

Asbury United Methodist Church Tulsa, Oklahoma

To plan worship (art), one must know the cultural context of their worshiping community, the Biblical purposes of worship, and understand the form and content of worship for your community.

Communities and culture are rapidly changing, but the truths of Scripture (content) never change. The art form (planning) needs to include the following: 1. Scriptural truth (content) 2. Involves creative people in the process (brainstorm) 3. Organizes details of implementation (assigning, delegating) 4. Designs orders of worship that are experiential (encountering God with heart, soul, mind, strength) 5. Equips leaders to execute the plan (facilitating a team) 6. Regularly evaluates all of the above (maintaining effectiveness in a rapidly changing culture)

the art of Worship

An artist crafts her sculpture. He paints carefully, hoping to inspire the viewer at some personal level.

The ‘art’ in the “art of worship” comes down to the planner of the event – the artist – crafting, preparing and executing each detail of the worship event with the sole objective in mind that each element should point those present toward God.

The “art of worship” speaks to effective planning, and this is an art form. Mark 12:30 tells us to worship with all of our “heart, soul, mind and strength.” This takes careful planning. To experience worship in this way, we must truly use our minds and our strength and put every ounce of heart and soul behind our efforts, not only in the planning, but the execution as well. This is where the art or worship comes in.

David Briley Minister of Music First Baptist Church Decatur, Alabama

Art, in whatever form, is the result of someone’s creativity. The ‘art’ in the “art of worship” is the same. It is the crafting of an event whose objective it to point attendees toward God. Attendance at such an event does not guarantee that worship will occur; but if the preparer approaches worship as a work of art, carefully thought through, planned, prepared and executed, is there not a much greater possibility that it will? Are you not more inspired viewing Michelangelo’s David, than my stick-figure drawing of a man on a horse?

Quality

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Dennis Coleman, Director, First Congregational Church of Bellevue

For over fifty years, we have customized tours to fit each group’s unique interests, abilities, and expectations. Many satisfied ensembles return year after year, knowing that we can provide them with a memorable experience every time.

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ACFEA Tour Consultants 123 Second Avenue South, Suite 105 Edmonds, WA 98020 www.acfea.com . email: info@acfea.com

September/October 2011 | creatormagazine.com

19

by Annette Bender

education

a church musician’s bookshelf

You want to learn more about how to do your ministry better, but you don’t have the ability to go to seminary. What can you do?

You can read all about it by assembling a bookshelf of valuable resources. The books on this list form a core collection in the areas of church growth and outreach. They are taken from an extensive collection assembled by a person with a career of more than forty years as a church musician and worship leader, and can be considered classics. Enjoy!

Allen, Ronald B. Lord of song: the Messiah revealed in the psalms. Multnomah Press, 1985.

Ballou, Hugh. Moving Spirits, Building Lives: the church musician as transformational leader! (workbook available) Morris Publishing, 2005.

Burroughs, Bob. This Idea Will Work! 136 ways to revitalize your music ministry. Lorenz Publishing Co., 2002.

Choral Conducting: A Symposium. Harold A. Decker and Julius Herford, eds. PrenticeHall Inc., 1973.

Dart, Thurston. The Interpretation of Music.

Harper & Row, 1963.

Dawn, Marva J. How Shall We Worship?

Biblical Guidelines for the Worship Wars.

Tyndale House Publishers, Inc., 2003.

Epstein, Helen, Music Talks: Conversations with Musicians. McGraw-Hill, 1987.

Garretson, Robert L. Conducting Choral Music. 2d ed. Allyn and Bacon, Inc., 1965.

Green, Elizabeth A.H. The Modern Conductor. 2d ed. Prentice-Hall, Inc., 1969.

Annette Bender recently retired from a position she loved – being a school librarian – and is an alto in her church choir.

Noland, Rory. The Heart of the Artist: A Character-Building Guide for You & Your Minsitry Team. Zondervan, 1999.

Pass, David B. Music and the Church: A Theology of Church Music. Broadman Press, 1989.

Routley, Erik. Music Leadership in the Church: A Conversation Chiefly with my American Friends. Abingdon Press, 1967.

Rudolf, Max. The Grammar of Conducting: A Practical Study of Modern Baton Technique. G. Schirmer, Inc., 1950.

Johansson, Calvin M. Discipling Music Ministry: Twenty-First Century Directions.

Hendrickson Publishers, 1992.

Sanders, Vernon. A Conductor’s Handbook: An Exercise Manual for Individual or Ensemble Practice. Thomas House Publications (Fred Bock Music), 1993.

Johansson, Calvin M. Music & Ministry: A Biblical Counterpoint Music & ministry; a Biblical counterpoint. Peabody, MA, Hendrickson Publishers, 1984.

Seelig, Timothy. The Perfect Choral Workbook: Tools to Organize Your Choral Program. Shawnee Press, Inc., 2008.

Kauflin, Bob & Paul Baloche. Worship Matters: Leading Others to Encounter the Greatness of God. Crossway Books, 2008.

Kidd, Reggie M. With One Voice: Discov-

Stapleton, Peter. New Directions for a Musical Church. John Knox Press, 1975.

Up Front! Becoming the Complete Choral Conductor. E.C. Schirmer , 1993.

Music Ministry and Choral Conducting

20

Choral Music: A Symposium. Ed. Arthur Jacobs. Penguin, 1963.

ering Christ’s Song in our Worship. Baker Books, 2005.

Conductor’s Art; ed. Carl Bamberger. McGraw –Hill, 1963.

Mitchell, Robert H. I Don’t Like That Music.

Hope Publishing Co., 1993.

Conscience of a Profession: Howard Swan, choral director and teacher. Charles Fowler, ed. Hinshaw Music, Inc., 1987.

Mitchell, Robert H. Ministry and Music.

Westminster Press, 1978.

volume 33 - number 5 | creatormagazine.com

Willetts, Sandra. Beyond the Downbeat: Choral Rehearsal Skills and Techniques.

Abington Press, 2000.

Wohlgemuth, Paul W. Rethinking Church Music (revised and enlarged). Hope Publishing Co., 1981. fine

by Bob Burroughs

spot light

George Kent

Organist and Choirmaster Christ Church Westerly, Rhode Island Creator: Dr. Kent! It is the pleasure of Creator to welcome to the Spotlight In Ministry. It is a rare privilege to have you as this Interview. Would you give our readers a bit about your background, and perhaps, how you came to be at this church, to conduct The Chorus of Westerly, and be a professor at the University of Rhode Isand?

George Kent: Well, actually I grew up at Christ Church and studied organ with the organist, Mrs. Florence Larkin, and TM

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also sang in the choir. Eventually Mrs. Larkin retired, and in 1956 I became organist and choirmaster. I also direct the Chorus of Westerly, which was founded by me in 1959 and has always included children from age 8 upwards who sing the entire season with the adults. I have been on faculty at the University, which is actually my alma mater, since 1968, teachiing music appreciation, trumpet, and organ.

Creator: Would you give us further

detail on present position at the church and college, as well as briefly, your experience with The Chorus of Westerly, please? For instance, a workweek might look like?

George Kent: A workweek is fairly busy between the church, chorus and university. I’m teaching a full load at the school between music survey courses, applied trumpet, applied organ and occasional graduate students with conducting. Both the church and chorus

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leadership network

creator celebrates every church musician and worship leader...

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and the ministries of which they are a part. We regularly turn the spotlight on people involved in ministry in order to help inspire and provide ideas for others. If you would like to recommend someone for our spotlight let us know.

September/October 2011 | creatormagazine.com

21

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As an artist draws different colors from the pallet to create a work of art, a worship planner has many colors/elements from which to draw to create an atmosphere conducive for worship. Each church is gifted with talented artists--those gifted in proclamation through the spoken word or music or drama, men and women skilled in playing instruments or creating a painting, children and youth who energetically contribute through singing and dance. We each have the unique privilege and responsibility to offer each of our gifts in the service and worship of God. Susan Deal Associate Pastor for Worship Arts College Park Baptist Church Orlando, Florida

It’s the people I’ve worked with that have made children rehearse twice weekly and the adults once. The choir currently sings one service on Sundays throughout the year with a one hour rehearsal before each service. That does keep me fairly busy.

Creator: You live in Westerly, Rhode Island! That sounds like a delightful town.

George Kent: Yes it is a wonderful town, and is close to the sea, on which I spend a fair amount of time.

Creator: What do you consider to be the reason or reasons that has kept you as Organist and Choirmaster in your church for lo these many years? In other words, why are you still there? It must be a very rewarding position.

George Kent: The church is a wonderful place and I suppose it’s the people that I work with that have made the difference over my 55 years at the church. We also, in 1965, installed a 3 Manuel C. B. Fisk organ which has been a real gem and allowed us to develop a

22

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wonderful organ series inviting many of the great players of the world to come in addition to our Sunday morning services.

Creator: The Chorus of Westerly seems to be one outstanding group of musicians. I understand that you began this group when you were 21 years of age with 50 singers, and recently as retired as the conductor of the group with membership numbering over 190! That is quite an accomplishment, Sir. To what do you attribute this long tenure and growth?

George Kent: I must say again it’s the people and their great support for this project. We have always had a very dedicated membership and a very dedicated chorus board which has allowed us to go forward.

Creator: Can you elaborate on some of the chorus’ repertoire?

George Kent: I can’t say that we’ve

done many world premieres but we have done a fair amount of American premieres, particularly of English composers, and in two instances the composers came over and gave pre-concert lectures which was great for our audiences.

Creator: May I ask you, please, what is it that satisfies your inner musical soul?

From what do you derive the most musical pleasure?

George Kent: I am pleased when great music is given a wonderful performance. I really think that is what its all about. To me that is paramount.

Creator: You have family, we assume.

Will you tell us a bit about them?

George Kent: My wife Lynn and I have five children – three daughters and two sons. They all grew up in the choir and have pursued a variety of things. One is a writer of children’s books, one is a musician, two are retired Navy SEALS and they are all very busy. We also have a huge project in New Hampshire

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the difference over my 55 years at the church

where we own Ogontz, a summer facility and camp primarily for the arts.

So we keep pretty active all year.

Creator: You must be a well organized person and do lots of advanced planning! Is this important?

George Kent: I hope that I am organized as yes, life is busy and I suppose the trick is to keep everything in proper perspective. I do find that the older I get the more I need to be ahead of things so yes I tend to think a lot for what’s coming.

Creator: What advice or tips would you provide about the “art of conducting,” primarily in the church choral venue? In other words, how can the church and/ or school choral conductor keep him/ herself sharp and in tune with the craft?

George Kent: I do think that one needs to constantly be in touch with the repertoire and to be aware of what is out there, particularly repertoire of good value. I do see that church music over the years has changed and I strongly feel that we have a responsibility to bring only the best to Sunday morning services.

Creator: Can you tell us your personal definition of what makes a good and efficient conductor? Is there a formula one can follow to accomplish this, or does this skill come from hard work, guidance, mentors, education, and experience?

George Kent: Certainly all of the above are important, and I think that with having all the skills one needs to always respect rehearsal time and get the most out of it. This does mean knowing

what you want musically, and listening carefully to be sure that you are getting it. Above all, being able to also give your singers a positive experience.

Creator: I am quite sure that during your pilgrimage, you have personal heroes – those who have mentored you in your musical and/or spiritual pilgrimage.

George Kent: I have a great respect for all great musicians, and there certainly have been many in my lifetime. From a choral standpoint I have admired very much Sir David Willcocks who has had an outstanding career. I must say that I do find the English choral tradition to be outstanding in general, but again, any great music and its performance is what it is about in my opinion.

Creator: If you could do anything you

September/October 2011 | creatormagazine.com

23

the art of Worship

I could talk for hours about the hand of God in artistry. I am intrigued by the differences in those who can “see” art and those who cannot. To see an empty room, a blank canvas, a lump of clay, molten metal--all as potential platforms to display the glory of God is a profound gift.

A worship leader has that exact same privilege.

To see the human heart as a blank canvas, or even as a piece of art that is not yet completed, is a gift. Worship leaders can see an empty room and know that the simple addition of sounds, light, texture is amazing. What is even more profound is that the heart of man receives the benefit of those artistic additions. A worship leader is also able to color a space and know that one heart will interpret in one way and another may see an entirely different picture.

Worship as art is available to us to use as we wish. It is our duty to be good stewards of that art, to do all we can to create an artistic environment that absolutely compels the viewer to chase after God and to know Him as the Master Designer.

Michael Adler Minister of Music/Worship

Shades Mountain Baptist Church Birmingham, Alabama

Realize that you possess the gift to enhance the lives of many with one of our basic senses through the art of music

wanted to do at this time in your life, what would it be – or are you doing it now?

they are sad to see you go into the sunset of retirement!

George Kent: I haven’t thought much about this. I do think giving people a great musical experience is important and perhaps if I can contribute to that goal then hurray!

George Kent: The last major work will be the Brahms Requiem in May of 2012. The last major works concert of last season featured the Poulenc “Gloria” and Charles Villiers Stanford’s “Songs Of The Fleet.”

Creator: What was your last choral conducting performance of a major concert program? Tell us the experience. I’m going to assume it was your retirement program? I’m sure/certain

Creator: Might you have a final thought

Moving?

Please notify us at least 8 weeks in advance, and authorize the postal service to forward second-class mail until the change takes effect. If you have a question about your subscription, just call us at 800-777-6713.

24

volume 33 - number 5 | creatormagazine.com

would you like to leave with our readership?

George Kent: Do work hard and realize that you possess the gift to enhance the lives of many with one of our basic senses through the art of music.

Creator: hank you, Dr. Kent. It has been a real pleasure. May the Father continue to bless and lead you.

fine

Listen 24/7...

www.creatorleadershipnetwork.com

2/17/11

3:50 PM

September/October 2011 | creatormagazine.com

25

TM

TM

TM

select twenty TM

TM

codes

what it is Creator’s Select 20 has always featured the best new church choral music – 20 anthems that will serve most any ministry. We choose by using criteria which include the full spectrum of musical and worship styles. We draw from all publishers, traditions, and styles, regardless of our personal taste.

On the actual review (see below to find the detailed reviews) we include a “worship-style bar-graph” to assist you in applying a S20 title to your ministry.

The graph, and the “theme” graphic identifiers on the next page, are not used to “pigeonhole” music, but to help our readers in understanding style.

The left edge of the graph would be complex music which is less predictable, often incorporating mixed or no meter, and less familiar tonalities. Texts here focus on poetry or more abstract word painting. The graph’s center represents present-day anthems written in a traditional, non-pop, non-gospel style, with texts that are commonly scripture based and written in second or third person. The right extreme would be pop, gospel, and rock musical styles, commonly including chord symbols in the accompaniment.

Texts will be less poetic, more straightforward, and primarily written in first and second person.

V

voicing

#

catalog number

C

composer

M

music sources

E

editor or arranger

T

lyricist and/or source

A

accompaniment information

U

usage

P

publisher imprint

©

copyright year and holder



highly recommended

The following are used at the end of each full review/comment: L

for September/October 2011 Creator has changed the way we list Select 20 titles. We now list important information for each Select 20 title here in the magazine, with complete reviews on our website at creatormagazine. com. In addition, one new S20 review is featured each Thursday at http:// dotdotdotblog.com.

Our general rules for inclusion in each issue through the editorial selection process are as follows:

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volume 33 - number 5 | creatormagazine.com

• No more than two titles by any composer, arranger, or publisher • Copyright dated this year or last year Scan the QR code to the left of each title to be taken directly to the complete review. The graphic gives an indication of the anthem’s primary use in a worship service.

End D

length using (S)hort, (M)edium, and (L)ong dynamic level of the ending difficulty using (E)asy, (M)edium, and (D)ifficult

Advent

Easter

Palm Sunday

All Saints

General

Pentecost

Baptism

Good Friday Maundy Thursday

Praise

Benediction

Lent

Call to Prayer Prayer Response

Call to Worship

Lord’s Supper

Offering Stewardship

Christmas

Missions

Thanksgiving

Let Me Hide Myself in Thee 

Wayfarin’ Stranger

V: SATB #: BP1904 E: Craig Courtney A: Piano U: Adult • Prayer, General P: Beckenhorst ©: 2010

V: SATB #: HMC2272 E: Craig Zamer A: A Cappella U: Adult • Spiritual, General, Concert P: Hinshaw ©: 2011

The House of David 

Psalm 150 

V: SATB #: MSM-50-2571 C: Z. Randall Stroope A: Organ U: Adult • General, Concert P: MorningStar Music ©: 2011

This One Thing I Ask of the Lord V: SATB #: C 5697 E: Charles McCartha A: Piano U: Adult • General P: Hope ©: 2011

Song of Invocation V: SATB #: 0 80689 06823 2 E: Eric Wakefield A: Piano, U: Adult • Call to Worship, General P: Jubilate ©: 2011

The Shepherd Knows Your Name V: SATB w/solo #: 6-34337-124032 E: Phillip Keveren A: Orchestration; Trax U: Adult • General P: Lifeway ©: 2010

Psalm 23  V: SATB #: 30104406 E: Luke Mayernik A: Keyboard U: Adult • Prayer P: OCP ©: 2010

Blest are the eyes that have not seen you V: SATB #: 7329 C: Fred Gramann A: A Cappella U: Adult • General, Concert P: ECS ©: 2011

O Sing We Alleluia V: SATB #: 35057 E: Sheldon Curry A: Keyboard U: Adult • Easter, General P: Alfred ©: 2010

Father, Into Your Hands V: SATB #: 006226 C: Paul Hillebrand A: Oboe, Guitar, Keyboard U: Adult • Lent, Prayer P: World Library ©: 2010

Come and See the Works of the Lord V: SAB #: BG2520 C: Patti Drennan A: Piano U: Adult • General, Call to Worship, Small Church P: Fred Bock Music ©: 2011

scan the QR codes to the left of each title with your smartphone for the complete review

scan the QR codes to the left of each title with your smartphone for the complete review

V: SATB divisi #: MSM-50-3085 C: Taylor Scott Davis A: Piano U: Adult • General P: MorningStar Music ©: 2011

At the Name V: SAB #: 30104401 C: Josh Blakesley and Sarah Hart A: Keyboard U: Adult • Easter, General P: spiritandsong.com ©: 2010

Hear, O Israel V: SATB #: BP1936 C: Craig Courtney A: Organ and Brass U: Adult • General P: Beckenhorst ©: 2011

In Your Love for Us All V: SATB #: 005305 E J. Michael Thompson A: A Cappella U: Adult • Lent P: World Library ©: 2010

A Mighty Fortress  V: SATB #: TR8144 E: Jay Rouse A: Keyboard,Orchestration, Trax U: Adult • Praise, General P: praisegathering.com ©: 2011

All to Bring You Glory V: SATB w/solo #: 6-34337-180465 E: Cliff Duren A: Orchestration; Trax U: Adult • Call to Worship, Praise, General P: Lifeway ©: 2011

A God and Yet a Man? V: SATB divisi #: 7119 C: Anna De Foe A: Piano U: Adult • Prayer, General, Concert P: ECS ©: 2010

Then Sings My Soul V: SATB #: C 5701 E: Mary McDonald A: Piano U: Adult • Praise, General P: Hope ©: 2011

Use Me V: SATB #: A08627 E: Jay Rouse A: Orchestration, Trax U: Adult • Prayer, General P: praisegathering. com ©: 2011

September/October 2011 | creatormagazine.com

27

Reconciled in Christ Cape Town 2010 Brehm Center ©: 2010

new stuff

Champion of Love

This is a “historical record” of the historic 2010 Lausanne Conference in South Africa. There is a lot of good music here, and for those who plan festival worship there are many good ideas for the design process.

Rescue

good stuff

Craig Adams Lifeway ©: 2011 A celebration for Easter for the smaller choir.

Peder Eide Taste Worship ©: 2011 Filled with good hooks, this album of worship tunes also supports a good cause, with a portion of the proceeds being donated to the Highly Vulnerable Children’s Fund via Compassion International.

Things we think would be helpful resources for church musicians and worship leaders...

Love Won Kenna Turner West Lifeway ©: 2011 A collection of 5 pieces for Easter.

Never Thirst Again Deborah Craig-Claar, Allan Douglas, and Phillip Keveren Word ©: 2011 An Easter musical which includes music from the Keith Getty and others.

Song of the Lamb Marty Parks Word ©: 2011 An Easter invitation from the Simply Word line.

Gloria K. Lee Scott MorningStar Music ©: 2011

IWS.pdf

1

4/15/10

3:47 AM

Scott sets the traditional latin Gloria text from the mass in three movements. Scored for piano or organ and brass, this will be a good alternative for the Vivaldi or other settings for the Christmas season or in concert. We particularly liked the last movement (Quoniam to solus sanctus) with its festive dance like shifting meters to highlight the text.

Advertisement

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volume 33 - number 5 | creatormagazine.com

Let’s Sing Near the Cross Dennis Allen & Nan Allen Lifeway ©: 2011 An Easter worship experience.

Back Issue Article Compilation CDs 0991staf1 Choirs ARTICLES INCLUDE

· 101 Things Every Choirmember Should Know · Choir Renewal · Helps for the Active Singer · The Incarnational Work of the Adult Choir

0991staf2 Leadership

ARTICLES INCLUDE

· Becoming the Complete Church Musician · Dealing with Criticism · Identifying Tensions over Musical Style · The Church Musician as Transformational Leader

0991staf4 Small Church

ARTICLES INCLUDE

· Any Church Can, Regardless of Size · Drama in the Small Church · Music Search on a Small Budget · The Small Church Primer

0991staf3 Worship

ARTICLES INCLUDE

· A Theology of Worship · Don’t Plan a Service – Create a Moment · Eight Common Elements of Worship Renewal · The Worship Driven Church

Each compliation CD contains at least 40 articles (includes shipping)

Choir Articles CD is just $20 Leadership Articles CD is just $20 Small Church Articles CD is just $20 Get any two of the Choir Leadership and Small Church CDs for just $30 Worship Articles CD (60 Articles) is just $25 All 4 CDs are just $60 Order by phone 800-777-6713 Use your credit card Visit our website @ creatormagazine.com

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by Jonathan Blackmon

last page

lessons from the ranch

A professor once gave me some sage advice for life and ministry from Psalm 78:7072: “He chose David his servant and took him from the sheepfolds; from following the nursing ewes he brought him to shepherd Jacob his people, Israel his inheritance.

With upright heart he shepherded them and guided them with his skillful hand.”

David’s ministry began in the fields and in the wilderness tending sheep. Pastoral music ministers can learn lessons from the ranch because ranchers take care of their flock, fix things that are broken, look for a harvest, and usually receive little acclaim.

Perhaps churches should rewrite music ministry job descriptions with the shepherd or cattleman in mind.

through music in ways that help the Church to grow up to spiritual maturity.

Most of the animals on a ranch are, of course, trained to work, but ranchers also give them a high level of care. Should not music ministers train and equip people in the church for the work of ministry with great attention to their spiritual care and well-being – and not in a domineering way, but leading by example? Domineering or micro-management leadership is not only antithetical to the gospel of Christ, it inhibits the creativity and productivity of those we shepherd.

Arthur Maxwell relates the story of a boy who applied for work as a farm hand by

God has made us part of the story, not the other way around Ranchers always seem to have a strong sense of identity stemming from their heritage. My parents often repeated the admonition, “never forget where you came from, son.” They knew that people tend to become prideful, thinking that accomplishments or accolades are our own doing.

Music ministers may have enormous talent, natural charisma, and unusual administrative skill, but unless the truth of the gospel undergirds and fills their entire ministry, they will be just noisy gongs or clanging cymbals. We often forget that God has, by grace, made us part of his story, not the other way around. Just as He took David from the sheepfolds to shepherd his people, God takes music and worship pastors and gives them as gifts to the church. If music ministers remember their roots, they will humbly minister the gospel of Christ

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volume 33 - number 5 | creatormagazine.com

saying that he could sleep on windy nights.

The farmer, although puzzled, gave the boy a job. One night when a wild storm arose, the farmer bolted out of bed to try to salvage his farm, infuriated to find the boy asleep. Rushing around to save the crops, animals, and the barn, he found each in perfect order. The boy had done his work so well he could sleep soundly in a raging storm. Ministers of music, should take such care in their duties that they have no need to fear should a storm arise or the Chief Shepherd appear.

A common task of ranching is fence-mending. Sometimes fences break because of an internal struggle, sometimes because of external forces, and sometimes they simply decay from a lack of attention. Relationships

Jonathan Blackmon is Assistant Professor of Church Music at Houston Baptist University.

in churches often need fence mending as a result of a careless word or action, jealousies and selfish ambitions, misunderstandings, or neglect. Mending relationship fences is not always easy, because it requires us to take the initiative and to approach in humility a person who may have caused the problem in the first place. That does not mean that we should gloss over the wrongs of others who may need gentle correction, but it does mean that ministry will be much more fruitful if music pastors learn how to mend fences.

Music ministry is difficult, but in the strength that God supplies, music ministers can make the most of their time at any place of ministry. In time, God will take our offerings and use them to produce a harvest of righteousness that will glorify his Name. We may not always see the results firsthand, but we can trust that God does not waste the calling or the gifts that he has given to us. Out of love for Christ and love for his people, ministers of music will then be able to tend the flock of God with great care, looking for a spiritual harvest for the glory of God. fine TM

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In each issue we give one church musician or worship leader a chance to have their say. There are no restrictions on topic here (other than the obvious ones of slander, libel, and silliness). If you’d like to contribute your thoughts email us at creator@creatormagazine.com.

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