Product Review

Schenk Ophirio Model

NOVEMBER/DECEMBER 2010 Acoustic Guitar
Volume 8, Issue 6
11
Record Reviews
Aaron Keyes • Bebo Norman • Charlie Hall
0 74470 58440 7 Chris Tomlin • Jeremy Camp • Generation Unleashed
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 Editor’s Corner
NOVEMBER/DECEMBER 2010 vol. 8, issue 6
A Shepherd
Practicing in the Fields? Features 48 Product Review
By Doug Doppler
I was hanging out in the Old Testament and came across a VB Amp and Speaker
revealing scripture verse; paraphrased, it reads, “David led (shep- 8 Product Review
Enclosures –
herded) his people with integrity of heart and skillfulness of hands.” By Bruce Adolph
Schenk Ophirio Model Acoustic Isolation Done Right
These are two great directives for those who live and serve on
worship teams, and inspiring words for those of us who want to Guitar 49 Camera
grow in Him and improve on the musical gift we’ve been given,
whether it’s with a guitar, trumpet or bongos (preferably not all at 10 From the Drummer’s By Craig Kelly
once, however). Perspective So You Volunteered
By Carl Albrecht as a Camera
I started thinking about how David most likely “wood-shedded” Operator At Church
for many hours each day, on his stringed instrument of choice, while Worship Drumming Trends
2010 – Uh Oh, Now
he was hanging out with the sheep at night; he may also very
well have been honing his songwriting skills. What a concert those What? Part 3
sheep got! We know David could play well from his time spent try- 12 Keyboard
ing to calm down his troubled leader Saul with his beautiful music. By Ed Kerr 50 Tips for Tight
Was it smooth jazz? Who knows? But one thing we can deduct The Right Tempo, The Right Part Teams
was that for its time, and in whatever unique tuning it might have By Sandy
been in, it was excellent music played by skillful hands. I guess the 15 Bass Hoffman
fact that Saul once picked up a spear and hurled it at him while Are You
David was playing shows us that there were music critics even back By Gary Lunn
then. Ha! Earning a Living Playing Bass- Lifting
Part 2: Reading Music and up EN-
I do believe that David’s practice honored him back with a real Understanding Intervals CO-MI-
level of musicianship. I like that a lot. Other folks’ excellence should UMS?
spur us on and inspire us. Yes, I have heard many fellow guitarists 16 Vocals
after hearing Phil Keaggy or Doyle Dykes perform live say some- By Sheri Gould 52 Mandolin
thing like, “That’s it, I am breaking my guitar in two.” Or utter the By Martin
classic, “Why even pick up my guitar?” In a way, we certainly can Creating an Effective Vocal
Warm-Up/Work-Out Routine Stillion
be intimidated by another musician’s excellence. But the bottom line
is that when you encounter music of such a high level of artistry, it I Wonder as I Wander
is more of out of a sense of wonder and amazement that you state 32 Record Reviews
such things. When you come face to face with excellence, I believe By Heidi Todd 59 Lighter Side
that deep down in your heart you desire to emulate that gifting. You Aaron Keyes By Manuel Luz
want to dig deeper into your own playing style and polish up your Bebo Norman Church Shopping Exposed
own gifting.
Charlie Hall
Chris Tomlin 60 A Few Moments With…
Personal integrity combined with the joy of being whatever type By Brian Weaver
or level of musician you find yourself to be, will naturally propel you Jeremy Camp
forward. Be yourselves, be grateful to the Giver of Life for your life Generation Unleashed [False] Humility - How to
(which includes your gift-ings) and play like all of heaven is listening! Shine Your Light
36 FOH Engineer
Remember, we need to be genuine people and be who the By John Mills 62 Lighting
Lord has called us to be. We may not be shepherds in the field at Rule #1 - Don’t Mess with It. By Greg Sisley
night, but we are shepherding someone, whether it be your family, Elation E Spot LED
workplace colleagues or local church body. Let’s wrap up the year
purposefully doing it with integrity of heart and skillfulness of hands! 38 Ministry + Artistry =
Profitability? Creating your Interviews
Merry Christmas! MAP™
Bruce & Judy By Scott A. Shuford Lincoln Brewster 20
God’s Growth Strategy The Real Life

40 Authentic Worship
By Michael
Gonzales
Stage Presence
4227 S. Meridian. Suite C PMB #275
Puyallup, Washington 98373-5963 may not be His
Phone: 253.445.1973 Fax: 253.770.0659 Presence
Email: bruce@christianmusician.com
Website: www.worshipmusicianmagazine.com 42 Guitar Grab Bag
Publisher/Editor: Bruce Adolph By Doug Doppler
Vice President: Judy Adolph
Customer Service: Brian Felix
Practice This
brian@christianmusiciansummit.com
Design: Matt Kees Proof: Toddie Downs 44 The Band
Production: Scot Herring / J&D Printing By Tom Lane
Advertising Sales: Bruce Adolph Under Pressure
bruce@christianmusician.com • 253-445-1973
Worship Musician! is published bi-monthly
by The Adolph Agency, Inc.

WORSHIPMUSICIANMAGAZINE.COM NOVEMBER/DECEMBER 2010 7

 Product Review
By Bruce Adolph
Schenk Ophirio Model
Acoustic Guitar
I first heard about Rod Schenk
back in 2008 when Acoustic Guitar
magazine gave Schenk Guitars
its coveted Players’ Choice Gold
Award. I personally knew sev-
eral of the other luthiers that had
won that year and I knew that
those folks made some wonderful
handcrafted acoustics. At this point,
I was intrigued and it turns out Rod
Schenk lives and builds his guitars within
an hours drive from my home. Now I was on
a quest to meet him. I got the courage to call
him and it resulted in an invitation for Judy
and I to come over for dinner with his family.
Our friendship started that evening and he
gave us a tour of his quite impressive work-
shop. It turns out he is also a believer and
his goal of excellence in building guitars is
easily apparent. Now, two years later,
he is offering a new Ophirio model to
his award winning line and I just had to
play one. Am I ever glad I did!
What’s in a Name?
This guitar is named after the ancient city
of Ophir. This was the famous city that sup-
plied vast riches including gold, silver, ivory,
precious stones and algumwood which was
used to make harps and lyres for musicians.
Ophir is most known for supplying King
Solomon exotic materials during his reign.
Ophirio is synonomous with luxury, beauty
and quality. Well that is a pretty cool back-
story. Therefore, the Ophirio concept was to
provide a guitar that is clearly more luxuri-
ous, higher quality and superior to anything
else in its price range. Pretty lofty goals I
might add.
Structurally Speaking:
Rod is a professional licensed
engineer. When he ap-
proached building guitars he
looked at the basic design
and saw that there were
inherent weaknesses in the
“doing it as usual” build
practices.
He realized that an ultra
stiff neck would provide less
dampening and more
string energy directed to-
ward the soundboard.
The problem was that
traditional trussrods
lacked sufficient stiff-
ness capacity, so he
designed his own. His
“Super-Rod” trussrod is
proprietary and very much
8 NOVEMBER/DECEMBER 2010 WORSHIPMUSICIANMAGAZINE.COM
a trade secret.   It guitars a year. This allows us to use the finest
is machined from materials and the option to reject materials
solid billet steel and that are not up to our high standards - and
provides micro-ad- don’t forget the trussrod.”
justability that is un-
matched. He hand- I was hitting some first position chords and
ed me one to hold when I hit an “A” chord with some force…
and we compared it there was so much air moving that it felt
to the other conventional trussrods out like I had plugged into an amp and hit an
there. Schenk’s was more like a over-drive pedal. It rang from now until next
finely tuned machine with its rac- Tuesday. Open chords up and down the
ing design and aerospace feel. fretboard are a blast on this guitar. Wow! I
noticed that the nuanced dynamics allowed
Next, for bracing he incorpo- me to strum at different levels and that I had
rated more technology. gotten a little sloppy playing guitars that
don’t respond with such a wide bandwidth
He used “Finite Element Analy- of touch. A guitar that makes me get better
sis” computer modeling programs as a musician just to play it? By now I was
for stress and deflection analysis. To really falling for this Ophirio.
quote Rod here,  “The accuracy of this type
of analysis was able to minimize bracing Playability:
weight and provide a map of optimum brac- Well Rod’s handcrafting abilities certainly
ing location for the most efficient structure carry over to the ebony fretboard. Man, the
for resisting the string forces; less guess and neck is so stable with that advanced trussrod
more facts”. system that it feels sturdy as a rock. Great
fretwork and a fine-art feel to the neck shap-
OK “smarty pants”. Lets look at the materi- ing (more thin than thick) makes this one re-
als used. The guitar is built completely from ally comfortable and easy to play.
all solid woods (not even plastic binding).
The back and sides tone woods are Sapele I like the ducktail volute on the back of
and the top is Engelmann Spruce. More qual- the headstock too. Again, attention to detail
ity ingredients placed in the mix are bone and bringing in the best design elements do
nut and saddles and custom make a difference.
Gotoh 510 machine tuners
with an 18:1 ratio. Other As for the smaller body
available wood choices shape, it fits very easily up
include Western Red Ce- against your body and the
dar, Adirondack Spruce, “Micro Bevel®” adds that ex-
East Indian Rosewood and tra touch of class and playing
even Koa! comfort. What is a “Micro
Bevel®” you ask? Good ques-
The Sound: tion. On the top part of the body where
The round tones and overall volume of your strumming/picking arm lays across the
this instrument belie the fact that it is more wood Rod has shaped a small bevel right
close to a smaller OM size guitar than the where the top and side meets… this softens
larger dreadnaught size. It has the voice the edge.
of a cannon when you jump on it and a
pronounced articulation when you want to The Look:
play softly. I was just floored by the Ophirio’s The high-grade tone woods and their
sound quality. I started strumming a rather grains are just gorgeous! Add to that a Ma-
robust tune and it got so loud I thought, “Oh cassar Ebony headstock backplate and an
my gosh, I wonder if my neighbors can hear understated Abalone inlay rosette and you
me playing?” I asked Rod how is there such have that touch of elegance Rod was aspir-
a large voice out of a smaller body shape? ing towards.
“This model has the most radical back-arch
in the industry. The extreme dish shape helps Conclusion:
project both sound waves and air move- I can truly say that in the $3,990.00 price
ment through the sound hole.  Flat backed range, this Ophiro is one of the best guitars I
guitars trap sound inside but a radical back- have ever played. The fact that it is from the
arch redirects the sound in a direction to hands of a luthier and not a mass produced
expedite its exit before the sound energy is American factory, makes it that much more
dissipated”. special. Schenk hits the mark on superior
tonal quality and handcrafted beauty!
You see why I like this guy? A simple “the
arch back” would have been all I needed to Schenk also offers several options includ-
hear, but now I actually learned something. ing a cutaway version and pick-up systems.
Rod had more to say, “The tight and meticu- All models come with a very nice hardshell
lous assembly and construction of a non- case.
factory guitar is a contributing factor. Also re-
member we are producing fewer than 100 www.schenkguitars.com
 Reason #3:
SuperCharts.
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For $1.99, one chart gives you all 12 keys!
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for praise team—so your worship team can stay true to
the original!

available exclusively at
www.LifeWayWorship.com

Try THREE for FREE!

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Offer expires December 31, 2010.
 From the Drummer’s Perspective

By Carl Albrecht and see what your God is doing in the

Worship Drumming Trends 2010

earth. (*Note: I just jumped over to my
“itunes store” and sampled Randy Travis
singing a country version of Open the
Eyes of My Heart. Very cool!)

When studying the trends of modern

worship, be sure to listen to the flavor of
There are NO new things on the ho- technical tricks going on as well? Listen the drum sounds. Are they big, fat, rock-
rizon for worship drummers. And there’s intensely to the music as if you could hear in’ drums or do they sound tighter, higher
nothing you can do about it…….. OK, in 3-D. pitched, and snappy?? The trend or chal-
I’m kidding. I just wanted to get your at- lenge for us as drummers is to be more
tention. Modern worship encompasses so of a “musical parrot.” (*Drummer wanna’
many musical forms that you can virtually cracker? Awwk! J ) Absolutely listen to the
Music and worship is ever changing! find God in any kind of music you like. latest from all the modern worship icons.
Probably because God is “covering the From rock to jazz… from country to clas- Just don’t get stuck there. It’s OK to have
earth with HIS glory,” and worship is part sical it’s ALL there. And that is amazing! your favorites, but be sure to work your
of the plan. He is a very creative God. Now, for sure, the marketing of worship other musical muscles.
We just have to stay open to what the has only focused on the pop rock styles
Lord is revealing about music, arts, and we are all familiar with… But, just so A good way to challenge yourself is
the worship that is unfolding in these you know… I like it all! This is not about to change your drum set up each week.
times. slamming the industry that has promoted Play a stripped down kit for a week –
contemporary Christian music and got- Kick, snare, hi-hat, one tom, ride cymbal,
For drummers and other musicians the ten on the worship bandwagon. I know and a crash cymbal. Next week, add
key is not to allow complacency to infect the industry gets wrapped up in working one tom; next week move your cymbals
your creative life. That has happened to popular formulas, but the art still keeps around. Later even try setting up a huge
me before and I do everything I can to evolving. Even if it does feel slow to some drum set. And so on… Yes, I really do
“push back” against that enemy. I do all I people. this. On this current tour I’m playing a ba-
can to stay fresh and hungry for the Lord sic 5 piece kit right now, with and addi-
and for what He has called me to. This For the sake of the art of drumming tion of a brass piccolo snare to the left of
applies especially to my musical journey. and all other musical expressions keep the hi-hat because the music calls for it. (A
your ears and your mind open. If you ride, and 2 crashes are all the cymbals
Sometimes it’s a matter of studying new feel stale and uninspired listen to some I’m using./ 22” kick, 10”, 12”, & 16”
worship songs or styles. Yes, studying! It’s country gospel. Yep, that too! ;-) …Then toms/ 14”x 5” Maple snare)
foundational to experience the music for listen to some big band worship and play
the sake of worshipping, but along… work on your swing feel. Maybe My studio kit uses four toms and tons
it is also vital to analyze the also try some Latin-salsa worship. Definite- more cymbals, but they’re set up in an
technical side of songs. Lis- ly work on the modern worship stuff that is unusual configuration. I keep mixing
ten to music and take notes. popular right now. But also work on that things up just so I have to think about
How do the drums sound and slammin’ urban gospel vibe too. And so it what I’m doing. Yes, I am careful to keep
feel? How do they fit into the goes on, & on, & on, & on. everything placed comfortably so I can
mix with everything else on play smoothly, but there are many pos-
the recording? Is there a lot In the past couple of months I have re- sibilities.
of percussion in the track? corded drum and percussion tracks for a
Are there drum loops and huge variety of worship styles. Classical, Be creative and try new types of drum-
s p e c i a l classic rock, jazz, and country just to list heads; new sticks; new… ??? OK, you
a few. If I wasn’t listening and working got the idea. Now run with it…
on these musical flavors I could not do
the work. So drummers get back in the Send me an email and let me know
“woodshed” and sweat your way through what happens to your playing as you
some fresh music. stretch your creative muscle. Keep those
“cards & letters” comin’!
What are the trends? There is NOT
only one! Many musical expressions are Blessings from Dr. Drum Trendsetter. J
exploding around the world. Some- Carl
times it’s just easy to get
trapped in a
musical whirl- Carl Albrecht has been a
pool where professional drummer & per-
you can’t cussionist for over 25 years.
see what He has played on over 70
else is Integrity Music projects;
h a p - Maranatha Praise Band recordings &
pening. numerous other Christian, Pop, Country,
Thanks to Jazz & commercial projects. He currently
digital musi- lives in Nashville doing recording ses-
cal servers sions, producing, writing and continuing
it’s easier to to do various tours & seminar events. Visit
find the obscure his website: www.carlalbrecht.com or
artistic expressions. So dive in send an e-mail to: lmalbrecht@aol.com.

10 NOVEMBER/DECEMBER 2010 WORSHIPMUSICIANMAGAZINE.COM

 Keyboard

By Ed Kerr

The Right Tempo, The Right Part

Time is an essential component of the
music you and I make as we lead our
congregations in worship. Have you
ever had someone on your team give
a count off for a song to begin and,
once you’re singing it, realize that the
tempo that was counted off was REALLY
wrong? Either the crowd is trying to spit
out words faster than humanly possible
or every syllable seems to take three sec-
onds because the tempo is just wrong.
Not a good feeling. It’s unlikely you’ll
look at your congregation and say,
“Oops; Could we have a do over?”
Because all of us want to present
our songs with as few musical prob-
lems as possible, do what you can to
make sure the songs you present are
played at the right tempo. We’ll jump
into some keyboard-specific concepts in
a moment, but let me challenge you to
think about how you can involve some
sort of tempo reference in your worship
teams. I’m enjoying using an app called
“Tempo” on my iPad for this. Whether
you use an iPad, a loop from your lap-
top or have your drummer store tempi
in a Yamaha ClickStation, ask yourself
what’s keeping you from taking this step
to guarantee you find the right tempo
for your songs. I’m travelling with In-
tegrity Music’s seminars4worship this
fall, and Carl Albrecht, the drummer for
the events, always plays along with a
click. This brings great musical stability
to what we’re playing as a band, and
there’s no reason you can’t find a way
to bring that stability to your teams as
well.
On my website, kerrtunes.com, I’ll be
listing some options you could consider
for providing a click for your worship
sets. Besides the various hardware op-
tions, I’ll upload a few loops you could
use as well. Once you incorporate a
click into your worship times and feel
the confidence it brings to everyone on
the team, you’ll want to make it a con-
sistent part of your ministry times.
worship song. Without exception, I am part of every chord in the verse above
certain that something about the parts except for the E and E/G#. Why is
being played by each instrument will this important? Because that A can be
change as the various sections of the placed in the top voice of your pad part
song are heard. There will be a certain and lend a very nice element to what
level of activity for the intro, a change ofthe rest of your band is playing. Try this
some sort when the first verse or chorus yourself playing the chord chart above,
is sung after it, and then further changes starting with the 5th finger of your right
as the arrangement continues. hand on the A above middle C. Keep
your finger on that note throughout the
Of course every instrument might not progression.
play during the intro. Several may lay
out until the first chorus or, perhaps, You might be wondering why I’m sug-
not enter until the reintro after the first gesting that you keep the note A on top,
chorus. The bottom line is that each considering that the A is not part of the
instrument’s part evolves as the song is E or E/G#. This is a great example of
heard. Broadly stated, something is be- letting our musicianship take us some-
ing done within the rhythm section to set where the chart doesn’t spell out for us.
each section apart from the others. One of the most popular voicings be-
ing used on modern worship recordings
Let’s say your team is playing “Mighty is the add4 chord. It is most effective
To Save”, one of the most popular wor- when the 5 chord in the key is being
ship songs today. You’ve decided to use played. The 5 chord is built on the 5th
a pad sound. A pad sound is a great note of the scale. In the key of A, that’s
complement to the activity that are typi- an E chord. So, you can play an Eadd4
cally played by acoustic and electric when the E chord appears in the chart.
guitarists on your worship team. If you’re
not exactly sure what I mean when I say What you do with the other notes of
“pad” sound, visit my website to hear the chord below the droning note is up
some examples. to you. Keep in mind when creating
your pad part that the pad police will
When using a pad, the sound you’ll not be monitoring your performance to
play will not have much definition to its be sure that you have a root, 3rd and
attack. So, to play rhythmic parts with 5th in every chord you play. Let your ear
lots of 16th or 8ths would not work well. be the guide. For the first chord of the
Your main contribution to the arrange- verse, for example, consider leaving out
ment will be playing long note values, the 3rd, F#, and only play the D and
mostly whole notes and half notes. A the A. Remember that the A will be the
well-constructed pad part can contrib- top note you’re playing. Then, when the
ute significantly to the sense of “payoff” chart goes to A, keep the note A held
when you move from verse to chorus down on top and move to an E below
and other sections along the way. it. It’s right next door to the D you were
playing. When the F#m7 chord follows,
Here are the chords for the verse: you can continue playing the A and E.

So, you’ve got the right tempo go-

ing for the song you’re playing. Here’s
when each player on the team has a de-
cision to make: how much activity will
they play in a given section. A very im-
portant consideration in what you and
every other member of your rhythm sec-
tion will play is what the part will do to
delineate the sections of the song. Listen
intently to a recording of your favorite
One of the most important things you
should try and do when playing a pad
sound is to use droning notes. A droning
note is a note that is heard over several
changing chords. This note is often a
part of the chords that are being played
but sometimes is not. Without jumping
too deeply into chord spellings and
theory, I’ll point out that the note A is
When you reach the E chord in mea-
sure 4, think of it as the Eadd4 and add
a G# to your voicing. You’ll play A,
G# and E. This a beautiful voicing with
lots of dissonant energy, giving great
forward momentum to the musical mo-
ment. For the D chord in bar 5, head
back to your first voicing of the verse,
Continued on page 56

12 NOVEMBER/DECEMBER 2010 WORSHIPMUSICIANMAGAZINE.COM

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 Bass

By Gary Lunn

Earning a Living Playing Bass-Part 2:

Reading Music and Understanding Intervals
At a fairly early age, I learned how to To clarify things
play the bass by ear, learned how to read so that you can be-
chord charts by playing with the youth come familiar
choir while also teaching myself how to with all of the
play acoustic guitar. Through all of that available
I was never able to learn how to read inter vals,
music. I had tried to learn by playing in here’s a list
a church orchestra. I even tried to play in for you. I
a jazz rehearsal band – that didn’t work will order
out (they kicked me out). Later when I was them in
a freshman in college there was an ear half steps, (or in
training class called “Sight Singing” that measurements of o n e
I signed up for. The concepts taught in fret increments) and all in the that you’ll find as they pertain to
that class were simple, but it opened up a key of C. the kind of music that you
locked portion of my brain that had need- listen to. You can
ed to open up for years. I could immedi- Minor 2nd always find familiar
ately identify notes as they were played, – 1 semi- parts of bass lines
but what I didn’t understand was that it tone – C or melodies that re-
was the relationship between notes that to C#, mind you of certain
would help me to understand so much M a j o r intervals. It’s all a
more about reading music. 2nd – 2 part of the reading-music
s e m i - experience.
What’s an Interval? tones - C to D,
The number of half steps, or “semi- Minor 3rd – 3 Shapes
tones” between two notes make up an in- semitones The discovery of
terval. For example, starting from “C” on - C to Eb intervals was ma-
the bass (A-string, 3rd fret), if you played – Major jor revelation in
an “E” (D-string, 2nd fret) at the same 3rd – 4 my trek of learning
time, you will have just played a major semitones music and reading nota-
3rd interval. Why? Because, in the key of - C to E – tion. Another connection that I have
C, E is the 3rd of the scale. So you have Perfect 4th – 5 found is that many people, particularly
played the “1” and the “3” in the key of semitones – C to F. stringed instrumentalists, often see
C, which is actually the first 2 notes in a shapes in their fingering patterns
C triad (we talked about triads a while Reminders and finger positions on the neck. I
back). You are probably asking yourself, While familiarizing yourself with inter- often see squares, vertical lines, and
“What’s the big deal?” The importance is vals, something that will definitely help triangles in the patterns that I
that on a bass-clef staff, the first note you is to find familiar melodies and/or bass play. Understanding chord
played is a C, which is the 2nd space lines that are the same as the interval that spelling and how intervals
from the bottom. The 2nd note is the E you are trying to memorize. For example, pertain to that has opened
and it’s the 3rd space from the bottom. the thematic bass line that starts the old up a relationship between
Therefore, whenever you see any 2 notes 60’s soul song; “My Girl” is a perfect shapes of chords on the
that are only separated by one line or 5th (C-C, G-C-C). The interval between staff and how you might
space, it will always be a 3rd interval. the C and the G is the perfect 5th in this play them on the bass. I hope
This realization was of incredible impor- case. If you were to look at this line on the this information accelerates
tance to me because I now understood bass clef staff, the first 2 notes would be your learning to read music as
that the relationship between the notes on placed on the 2nd space, the 3rd on the it did for me. The sooner that you
the bass was directly related to the rela- 4th space, and last 2 on the 2nd space are on your way to broadening your
tionship of the notes in the staff. again (just like I said earlier, 5th’s are al- qualifications as a musician the better! I
ways line, skip a line, to line or space, hope this information will open up new
Another commonly used interval is the and skip a space, to space). Another ex- opportunities for you and generate more
5th. Play a G on the bass (E-string, 3rd ample would be another 60’s song called work. Be continuously blessed for every
fret). Now play a D (A-string, 5th fret). “I Heard It Through The Grapevine.” The note that you play!
You’ve just played a “perfect” 5th (all first 4 notes of the bass line in the intro
5th’s are perfect because there is no such outlines a minor 3rd (D,D-F,D). The inter-
thing as a major 5th or a minor 5th). You val between the D and the F is the minor Gary is a session player/
have also just played the “1” and the “5” 3rd. If you were to see these notes on producer/writer in Nash-
in the key of G. On the staff, the G is the bass clef staff, the first 2 notes would ville, playing recording ses-
the bottom line and the D is the middle be written on the 2nd line, the 3rd note sions and recording at his
line. All 5th intervals are line, skip a line, on the 3rd line, and the 4th note on the home studio. Find him on
to line or space, and skip a space, to 2nd line (3rd’s are always written from a face book or at www.myspace.com/
space. line to the next line or a space to the next lunnbass.
space). There are many more examples

WORSHIPMUSICIANMAGAZINE.COM NOVEMBER/DECEMBER 2010 15

 Vocals
By Sheri Gould
Creating an Effective Vocal
Warm-Up/Work-Out Routine
The most effective Warm-up/Work-out
routine is one that you’ll actually DO. I’m
going to try to help you to be creative in
designing a routine for yourself that you’ll
actually be able to do on a relatively
regular basis, but first let’s clarify the dif-
ference between a warm-up and a work
out.
A warm up for the vocal cords serves
the same purpose as warming up any oth-
er muscle. It gets the blood flowing and
helps the muscle to function properly and
helps to avoid damage. You also achieve
increased flexibility and strength. This is
all great stuff for vocalists. Warming up
has no downside to it, so why don’t we
do it more?
Time
So, let me offer a couple of suggestions
of ways to help you work in a warm up!
I suggest to people t o try and add it to
something you’re already doing n a regu-
lar basis such as taking a shower, driving
to work (church), walking your dog…etc.
There is absolutely no reason why you
can’t incorporate warming up into some
of the normal everyday life things you do.
Warming up is different from working out
and doesn’t require quite as much mental
energy. Anytime you CAN devote your-
self wholly to warming up can of course
provide opportunity for a better focus and
would be preferred, but in our world of
the worshipping vocalist—we’ll take what
we can get!
Take It Easy
It’s important to warm up slowly so as
not to cause the very damage you’re try-
ing to avoid. If you put too much stress
on the vocal cords before they’re warmed
up, you can cause enough irritation to
stimulate the production of phlegm. Once
you have phlegm on the cords you’ll likely
want to get rid of it-fast-and that usually re-
sults in you clearing your throat. Clearing
your throat can wreak some serious havoc
16 NOVEMBER/DECEMBER 2010 WORSHIPMUSICIANMAGAZINE.COM
working on your voice and you will
reap many benefits. So put down
your instrument! (just for a little
while…) After you have worked
out for awhile, without your in-
strument, try singing and playing
again—in front of a mirror. This
will help you to see whether you
on your cords so you’d do well to avoid are able to keep in place what you
that when possible. Always try to let the have accomplished, even while playing.
phlegm stay as long as you can stand it,
then clear it as gently as possible—gently Recording yourself during your work-
equals as little noise as possible. out can help immeasurably by giving
you real feedback as well. If you have
Take care to do a couple of exercises no one to actually watch or listen to you,
then rest for minute. Don’t push to the these two tools: the mirror and the record-
outer reaches of your range right away, ing will ultimately be the best friends you
wait until the cords are warm before you have…really. They always tell the truth!
start going to your higher note, and then
go slowly and not too loudly. In this way Using a warm-up/work-out CD of some
you’ll help to avoid the sudden stretches kind can be helpful, but be careful to go
that can cause stress to the cords. All of at your own pace and to always keep in
this can be done while you’re actually mind what you‘re supposed to be learn-
doing something else, as long as you’re ing. Sometimes, try as they might, a stu-
careful. That something else could be dent may end up misunderstanding what
cleaning up the breakfast dishes, taking a the instructor on the CD is actually trying to
shower, driving to work or church. Wait- get them to do. I have seen cases where
ing at the bus stop depending on how vocal damage has occurred as a result of
brave you are ;-) trying to copy what a vocal instructor on
a CD was doing, but just not quite getting
Working Out it right. Without someone in the flesh to
Now working out the vocal cords is check on you—or tell YOU what to check
entirely different. When you work out for—this can be easy to do.
you need to
have spe- A DVD is usually a better fit—at least
cific goals in to get started with. That way you can
mind or your not only hear the instructor but SEE the
work-out is instructor demonstrate the technique as
well. After you’ve acquired
the skill(s) then you can use
your own accompaniment
to go at your own speed
and in your own range.
This is the best way to do it
but not always feasible for
non-instrumentalists. That is
really nothing more than an extended when those accompaniment CDs come
warm-up. If you have in mind to increase in handy.
your breath control for instance, than you
need to do an exercise that is specifically I am excited to be able to offer for the
designed with that in mind. Then you first time my own DVD featuring a com-
need to concentrate on what you’re do- plete “how-to” on warming up and work-
ing so that you do it properly and gain ing out! It will be released by the time
the benefits. If you don’t do these exercis- this article hits the press! The new DVD as
es correctly, just like any other work-out, well as my DVDs-“Basic Vocal Technique”
you can end up reinforcing bad habits and “How to Be an Effective Background
and ultimately do more harm than good! Vocalist”, will all be available on my
website sherigould.com. God bless and
Tools happy singing!!
So make sure you are always in front
of a mirror when you work out. If you are
an instrumentalist who also plays when Sheri Gould has a BS in
you sing, you need to have some time Music Education (Vocal/
devoted specifically to JUST SINGING Choral) from the University
so you can concentrate on your voice of Illinois. A church music
without having to be cognizant of your director (Choir/Worship
instrument as well. This will help you take Leader) since 1985, she also teaches
your voice to the next level. You have like- vocal techniques at various workshops
ly spent countless hours honing your skill around the country. Send your questions
as a musician, now spend a few hours to: sherigould1@aol.com
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 Lincoln Brewster is a lot of things to a lot of people.
Husband, father, son, worship arts pastor, Christian
ewster
recording artist and guitar hero. He has been
maturing into these roles as the years go by while
at the same time trying to keep it real. Let’s take a
closer look into the real life of Lincoln Brewster.

Worship Musician: The new record ahead of you, not behind you.”
“Real Life” has real meaning to you. Tell And my life verse is Philippians
us about that? 1:6, which says that God is
faithful to complete the work
Lincoln Brewster: Well, over the course that He started in me. That lyric
of making this project I started stumbling is in these songs, and they are
across a different side of my writing. I laced with real things that are
wrote with some good friends again… really applicable and relevant
with Mia Fieldes, Paul Baloche and Jason in my life. Probably the most
Ingram. As the songs started to come out obvious one of those is the
early on in the writing process, a song title cut, “Real Life.”
called “Made For More” emerged. It
was a really introspective (almost kind That one was a complete
of a Bruce Springsteen-esque) lyric, like shocker. After we had
I was singing my thoughts. I was driving the whole album written I
down the road one day and had this played all of the songs for
kind of groove in mind, and the first my wife and said, “What
thing that came out of my mouth was, do you think?” And she
“Don’t care about money, don’t care said, “I think you have
about fame.” That line really set the one more in you.” “Real
tone for the song. You know, it’s been Life” came out of that.
weird in that I have had people say to It is probably the
me, “You’re famous,” and I still don’t most personal song
believe them. It doesn’t feel that way I’ve ever written.
to me. So this project sort of opened It is different
up this other side of my writing, and as even in the way
we continued down the writing process, I produced it,
a lot of the songs were based on real and stylistically
things that have happened. a little different
too, but I just wanted to
Mia and I wrote “Whom Shall I Fear” capture the essence of
(featuring Kari Jobe) after I had a phone what that song was about.
conversation with a friend of mine It talks about me growing up
whose nephew was in intensive care in Alaska and how basically I
after having almost been killed in an still feel like a little kid. I don’t
accident. I was trying to encourage my know about you, but there are a
friend to not be afraid. She was being lot of times when I don’t feel like
driven from a place of fear and I tried a legit adult, you know? I feel like
talking to her about God’s Word. I told I’m a kid masquerading in an adult
Mia about the phone conversation and body. I look around and I have a
we started writing this song. It came beautiful wife I’ve been married to
from the perspective of, “What would for almost 17 years and two kids,
we want to encourage her to say?” a house and a job (actually more
There is a line that says, “You won’t like five jobs!), and this is real life
let me fall when all else is falling.” You but it still feels like playing house.
know, “It is because I know you live, that Mia and I were having this
I will put my faith in this, that you hear conversation and the lyrics from
my call, you hear me calling.” Really that song came out of that.
expressing “faith statements” that get
people to proclaim God’s truth. Some people don’t know about my
connection with the “Deadliest Catch”
Even the song “Best Days” was a lyrical television show, but the “Time Bandit,”
result of years of my pastor looking at one of the boats on that Discovery
me and saying, “Your best days are Channel show, was my family’s boat
photo: Jeremy Cowart

20 NOV/DEC 2010 WORSHIPMUSICIANMAGAZINE.COM

growing up. The Hillstrands are my ex-
step brothers. Their dad was my step-
dad. I grew up in an environment of
domestic violence, alcohol and drug
abuse. I had been a victim of that myself
and watched my mom go through it for
10 years, from the time I was really
young until the time I was 12 years old.
And so when I sing about the place
where I grew up being awesome and
that I kind of took it for granted – that
was true. But then I also sing about the
real pain and real tears, and it speaks of
the tough times. When I took my family
back up there last summer, it filled me
with deep nostalgia, both good and
bad. It was neat to watch my boys play
on the same beach where I grew up, but
it was also very painful to remember the
things that I was living through every
day at their age. So “Real Life” takes a
stab at painting my past a little bit.
WM: Well that is the significance about
it, Linc, because often times we gloss
over the pain and put on the happy
“church face.” So this is you pulling that
mask off a little bit. I think that is healthy
to discuss.
LB: Everybody has a past, everybody
has a today, and everybody wonders
about tomorrow—or hopefully has
hope for tomorrow. So I try to take
it in those three steps. “Real Life” is
way more than just about my life,
even though it starts off talking
about my past. The hope is that
the song gets to a place where
it is globally accessible, and the
biggest message of encouragement
to give to other people is that
even if you have had a messed
up past, that doesn’t mean
God can’t use you to do
something awesome. I
am living proof that
God can use your life
even if your past is
messed up. There
were a lot of
things about
my past
that were
embarrassing and things that weren’t
my fault. But being able to talk about
them has been great and I’ve already
had lots of people come up to me and
say, “I had the same kind of upbringing
and I’ve never talked about it or had the
courage to talk about it.”
So there is a lot of life wrapped up in
this record and it has things that are
very real. We have known each other
a long time and I think you know that
I’m pretty big on just being an authentic
person, so this wasn’t the album that
I planned on making… it just kind of
came out this way.
WM: You have a dual identity as a
touring artist and as the worship arts
pastor at Bayside Church in Sacramento.
Both can be challenging lifestyles. I’m
sure there are times were it seems like
you are carrying a heavy load. What
do you tend to do when it seems like
both worlds are colliding and it isn’t a
pretty sight?
LB: (Laughs) Well, you know I probably
tend to react to them differently at
different times but I’m learning that
my best reaction is leaning into God,
leaning into my wife, and leaning into
friends that I can trust. Also getting
Godly counsel; I am a verbal processor
by nature. The main thing that helps
me is to try and remind myself of my
priorities and make sure that I have
those straight first. I’m always trying to
ask the question, “What is the wise thing
to do?” I’m always trying to approach
it from as wise a point of view as I can.
And when those worlds are colliding I
think that one of the fixes is to blend
them. Rather than try and keep them
separate I always trying to push them
together because they need to work in
tandem. I try not to have a dual identity.
I try to be one person and say, “This
is just one big picture; it has different
photo: Jeremy Cowart
facets but it is just one picture.” It is
my relationship with the Lord; it is my
family; and then ministry. And when
it comes to ministry, my priority is the
church. I always need to make sure that
is intact and going well. My pastor has
been great about this; we really feel like
my ministry outside of Bayside Church
is just an extension of our church. My
pastor likes the fact that I travel and
get out to minister outside of Bayside.
I have learned wonderful things that I
have been able to apply at home and
I’ve also been in an environment that
has been so alive at my home church
that I am able to take that out to other
churches and be a blessing that way.
So it is a very cool back and forth thing
going on.
WM: Changing the subject here…
your mini-melodic guitar riffs… you like
to tuck them in left and right. Is that to
keep things more interesting for you as
a player?
LB: I like being creative and I can
honestly come up with endless different
guitar parts for every song. I just hear
these little parts… it’s like decorating a
Christmas tree you know? I can see it
done a bunch of different ways. I like
creating things that are interesting to
listen to. A lot of my favorite guitar
players growing up were real riff guys.
They would have a hook in the chorus, a
vocal hook or a melodic hook, and also
a real cool guitar hook. And I still have
a heart for guitar players. It’s almost
like as I am making the record, when
it comes to producing a song (once it
is written), I’ll think to myself, “Alright,
worship leaders, is this something you
can grab onto in church?” And then I
always think, “What about the guitar
player? What would be cool for them?”
Like the opening riff to “Reaching For
You.” If I were in the praise band at my
church and the worship leader came in
NOV/DEC 2010 WORSHIPMUSICIANMAGAZINE.COM 21
 The REAL LIFE of LINCOLN BREWSTER:
photo: Steve Batz
and said, “We’re going to learn this
new song” and I heard that riff I would
say, “Cool!” It gives me something
to go home and get excited about. I
know how that feels—I get to learn
something new! When I was learning
songs, even back with Steve Perry, it
was fun to learn those guitar parts that
I had grown up on. I like offering things
musically on every level I can. That is
why it is great having Norm Stockton
on the record. He does great things on
the bass. Mike Johns does a great job
on drums. Steve does great things on
the keys. There are a lot of interesting
things for musicians to grab onto, to
make the experience more fun for both
the people doing it and for the people
listening to it.
WM: What are you listening to lately
that inspires you in the worship music
field, and who is inspiring you as a
guitarist?
LB: You know what’s funny, in the
modern worship field, one of the things
I have done in recent days is actually go
back. I think sometimes to go forward it
is good to go back a little bit first so you
can look at where we have been. I like
some older worship music. It’s almost
like going back before worship was a
hip thing to do. There was no thought
about commercial viability. It was just
songs to God. There was a neat aspect
22 SEP/OCT 2010 WORSHIPMUSICIANMAGAZINE.COM
continued
to it and when I listen to modern worship,
because it is what I do, sometimes I’m
listening to the production or song
structure. It can be challenging because
I have to purposely pull my mind out
of it and just let my soul be ministered
to. You know it is almost like if you do
roofing for a living, you probably drive
around and notice roofs on houses all
the time. So not just being a worship
songwriter and an artist but a producer
as well – it is hard for me to disconnect.
So the short answer is I like going back
and listening to older stuff; it has been
really nice. I feel less connected to it
from a professional vantage point and
it allows me to worship freely.
For the guitarist part of the question,
the answer is Jeff Beck for sure. The
“Live at Ronnie Scotts” album is
terrific. He did a bunch of nights in a
row at a club and recorded it… just
unbelievable. He has Vinnie Colaiuta
on drums and Tal Wilkenfeld on bass
and I can’t remember the keyboard guy
at the moment. At the Summit we just
did with you at Bayside, it was really
neat getting to have Phil Keaggy with
us. Watching him and watching his joy
come through…he was fantastic! I love
that acoustic stuff.
A strange thing happened to me recently
when I was in Orlando playing at the
Momentum Christian Radio Conference.
It was late at night and I walked in into
the convention center lobby. I really
don’t like being away from my family
and I walked in feeling that sense of
loneliness and really missing my family.
The schedule had been really hectic and
I was feeling pretty bad and this is no
joke – I walk in and I was in this huge
lobby all alone. There was music playing
over the speaker system really faintly. It
was the most soothing acoustic guitar
music, just by itself. It was amazing! So
I put my iPhone up and did the Shazam
thing and it worked! I couldn’t believe
it. It barely caught any of the song and
I thought it would be a lost cause. It
was a song called “Larry’s World” by
a guy named Russ Freeman, and it was
beautiful. I don’t know anything about
him as a person, but it inspired me. I
would love to record an album of that
kind of material. Phil Keaggy has done
stuff like that and it made me want to
go buy all of Phil’s albums. He is just
a genius musician on so many levels,
vocally and guitar-wise. I get inspired
by watching people who are incredible
at what they do. It’s like when I listen to
Jeff Beck play… I marvel at the gift that
God gave him. He can play the electric
guitar in a way that nobody on earth
can, in my opinion. And when I heard
this guy Russ Freeman play, I thought,
“What a gift!” It soothes me. So I look
at it this way… that is the gift that God
gave him. If he is not using it for God,
then that is his choice. But I find his
music beautiful.
photo: Jeremy Cowart
WM: Let’s talk about your quest for
tone. Where has that led you lately?
LB: You know I’m always trying to get
a great sound, trying to make sure
that the tone is pleasant to listen to - a
nice big, fat and sing-y tone that still
has an attitude and all that. We are
in a neat era of equipment for guitar
players because there are a lot of
great amplifiers available, boutique
makers included. You’re not as limited
as you used to be if you want to go
that route. For amp-modeling too, it just
keeps getting better and better. A lot of
people know that I am into modeling
and that has to do with the fact that I
travel. When we travel we mainly fly
and so my quest was to have tone that
I don’t need excuses for and have it
be the same all the time because I’m
taking my rig with me. So I’ve been
on a mission with modeling because
that is the only way I can do it. I can’t
take a big guitar rig on the plane. I’ve
been diving into the tones in modeling
and a lot of people know that I’ve used
the Line 6 stuff for years and still love
it. It’s funny, when I started using the
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 The REAL LIFE of LINCOLN BREWSTER: continued
photo: Great Plains Photography
Fractal Audio Axe FX there were many go-to electric guitar?
people saying, “Oh he’s jumping ship,”
but I wasn’t jumping ship. I needed LB: There are a lot of reasons. One,
a couple more features that my POD I just like Strats. There is something
didn’t have in a live situation. And so I that I have liked about them ever
switched and started using the Fractal, since I started playing guitar as a kid;
but I did use both the Line 6 POD Farm something very classic. It’s funny being
software and the Axe FX on this latest somebody who is into all of the modern
record. I still love the Line 6 stuff and technologies because the modeled amp
both are great companies. Line 6 has I used the most on the Line 6 is a 1966
got some fantastic new gear coming Plexi Marshall. All of the amps I use
out. They’ve sent me some things to try in modeling are all the ones that are
out and they’ve definitely been doing “vintage.” The one I use on the Fractal
their homework and aren’t resting on is again an old Plexi Marshall with
what they’ve accomplished. I know that Greenback 25 speakers in it. So it’s the
Fractal Audio is doing the same thing. same with guitars. I just feel like that by
So it’s really nice seeing that there are 1957 Leo Fender got it right. And by
people out there who are passionate 1959, I feel like Gibson got it right. I
about doing top-notch modeling of know we are talking specifically about
really top-notch vintage amps. So I’m a Strats because that guitar has so much
tube amp guy all the way, whether it be flexibility and variety.
a modeled tube amp or a real one. I
love those old tube amps. If you see us play live I can go from
a clean, glassy tone to a bluesy tone
WM: Now both you and I are die- to a more of an ethereal tone to full
hard Fender Stratocaster guys. Without on humbucker-esque (almost Les
distressing our friends who play other Paul-ish) rich tone - all on one guitar
types of guitars, why is the Strat your without having to do a bunch of pedal
dancing.
The Strat is able to go so many places
tone-wise and I think for worship music,
for me at least, if I need to clean the
guitar up, I can turn the volume knob
down and pick with my fingers while
I’m talking. If I need to go full-on blues
in a Stevie Ray style, I can do that. If I
want to go old Van Halen-esque, I can
do that. I can keep rolling my tone pot
backwards and get more of an Eric
Johnson kind of thing or I can do the Jeff
Beck thing. There are so many options
right there at your finger’s control that
you don’t have to constantly change
presets on your pedal board. I just can’t
get that kind of variety out of any other
kind of electric guitar.
WM: You have been blessed with
photo: Jeremy Cowart several endorsements from equipment
24 SEP/OCT 2010 WORSHIPMUSICIANMAGAZINE.COM
companies. Can you list some of them
for us?
LB: Oh boy, yes I have. Shure, Fender
Guitars, DiMarzio, PreSonus, Grundorf,
Line 6, Fractal Audio, Boss, D’Addario,
Planet Waves, Yamaha Commercial
Audio, McPherson Guitars (fantastic
guitar), Avid, Universal Audio and ADK
microphones. They make amazing
mics – I did all of the lead vocals with
their CS67J. For the money it can’t be
touched.
WM: We know you are a committed
family man with a lovely wife and
two young sons. What do you do to
safeguard those relationships as you
try to strike that balance between
relationship and career?
LB: You know what? I feel like God
spoke this to me; “Use your creativity to
find great moments with your family.”
I’ve had to learn to get creative with
my schedule. Sometimes time is about
quantity; your kids need time. But I’ve
also found that you can have a short
amount of time that has a very high
impact and those times are priceless as
well. Sometimes I have to be creative
in that.
As an example of that, the house that
we moved into had a swimming pool
already in the backyard. The folks
before us had installed a heater for the
pool. We typically never use the heater
because it is really expensive. Laura
was having her mom and dad and aunt
and uncle come up so we heated up
the pool. And then I went out of town
and was gone for a week. Well, I left
the pool heater on by accident. The
temperature outside had heated up
too while I was gone. I got back from
the airport late at night and I hadn’t
seen the boys yet. They were in their
pajamas and they had to go to bed. I
had a bunch of stuff I still needed to do
and Laura said to me, “I think you left
the pool heater on.” So I went outside
and the whole pool felt like a hot tub.
I was just going to turn the heater off
and be done with it and I thought to
myself, “Oh you just can’t let this go to
waste.” So I went inside and purposely
said, “I’ve got to go back outside and
check the pool.” My boys said, “Hey
Dad, can we come? Can we come?”
And I was like, “No.” Then they said,
“Please, please, please,” so I said,
“Oh ok, I guess so.” We walked out by
the pool and I got them right next to
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 The REAL LIFE of LINCOLN BREWSTER:
the edge (I was holding Liam because
he couldn’t swim yet) and Levi was
standing next to me. I said, “What’s
that there in the bottom of the pool
Levi?” He was like, “What? Where?” I
said, “Look, look right down there in the
middle.” And as he bent down to look,
I pushed him in the pool, and in my full
clothes, I jumped in the pool with Liam.
They thought it was the craziest thing
ever! Just because of the fact that we all
jumped in the pool with our clothes on.
You know what? We were only out in
the pool for about 20 minutes and they
thought it was the greatest. That was
one of those short amounts of times that
had high impact.
When we are in that “on the go” mode
we have to find those special moments.
Tomorrow the new album comes out and
I’m going to take them out to lunch and
do something special with them. And
then other times when we vacation—
and you know this about me—I turn
my phone off! I really protect that time.
And so when we have a vacation on
the books and we are going through a
busy season, both Laura and the boys
know that they will get 110 percent
26 SEP/OCT 2010 WORSHIPMUSICIANMAGAZINE.COM
continued
of my time. So I try to be good about my own home and being able to
that and I think if you asked my family actually do something about what
they would unanimously say that they my surrounding is like, I’ve just found
myself increasingly less tolerant of
know they are the top priority in my life,
outside of my relationship with God. settling for dysfunction and things that
are not God-honoring in the way that
WM: Good stuff Linc. I have a question they operate. So relationally that is just
about your new album, Real Life. You a big thing to me. I really believe that
have a piano ballad called “More Than relational dysfunction is a very harmful
Amazing” that showcases your singing thing that the enemy uses to keep God’s
voice. Can you tell us about that song? kingdom from expanding.
LB: You know, what’s funny is that song I can go into all kinds of “leadership this
wasn’t supposed to be a vocally-driven and that” about the ins and outs of how
song on purpose. I had wanted to write I’ve seen that happen. But at the end of
a piano ballad for a long time. I’ve the day, when we haven’t forgiven each
always wanted to write a song that felt a other, when we are harboring bitterness
little throw back-ish, but had that classic and anger and when we don’t have the
piano hook to it. I can play enough conversations that we really need to
piano to write some parts out and I was have or when we don’t have them in
really excited when Mia Fieldes and I love... One of the first things that we
wrote that song. It is a neat change for teach in that class is that you have to
me. We just led worship with that song be committed to conflict resolution! It’s
at church the other weekend and man not if you have conflict. You are going
it just felt great - a special moment. I to have conflict. The question is, are
hope it is the kind of song that a lot of you willing to stick it out and resolve it?
churches can use. We had the church Are you willing to admit that you are
choir come over to my house and we wrong? Are you willing to look at your
put them on the record. The choir was own life and go, “Yea, I need to change
actually standing in my master bedroom this?”
when we were recording that song. It
was pretty cool. You know, I don’t want to be critical
of the church and just say, “Oh, it’s
WM Right on. It’s interesting because rampant in the church.” It is rampant
you don’t even pull out a guitar part in humanity; not just the church. But
until the last third of the song. for me, I want to encourage people
whenever I get a chance and do my
LB: I tried to give it a little bit of a Journey- part to say, “It’s not God’s plan for us
ish flavor. Obviously I’m no Steve Perry to be in a dysfunctional relationship.”
but I always liked that quality a song We should be God-honoring in the
has when it is produced small and it way that we function. And I am a
grows as the song goes. It gets bigger really big proponent of honoring
and bigger and just goes “boom” at spiritual authority. I fear that some of
the end! It is a constant crescendo. So I this generation has lost that. I took a
was trying to accomplish that with this class when I first got into ministry called
particular song. Leadership Principles. Laura and I both
took it. It was like God branded that
WM: At our Christian Musician Summit stuff on my heart and it never left me.
conferences we always ask you to Some of the things I was taught are hard
teach a workshop on the relationships and they go against worldly wisdom.
between pastors, worship leaders and But at the end of the day, I want to be
worship team members. It’s always a in alignment with my pastor. I am loyal
very popular class. Can you try to boil to him. I have his back and we have a
down for us the gist of your message in great relationship - a great friendship -
that workshop? and that means that sometimes I have to
say things that he doesn’t want to hear.
LB: You know, the fact that God sent His But that is what you do with a friend.
only Son to restore a broken relationship And so I get to be a part of the process
should tell us something about how figuring out what we do and how we
God feels about relationships and how do it. At the end of the day though,
important they are. somebody has to say, “OK, I have
heard all of the suggestions... now this
Growing up in a dysfunctional home is what we are doing.” Then it is my job
environment, and now today having to go out of those doors and execute
continued on page 56
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 Songchart

120

More Than Amazing (1 of 2)

Lincoln Brewster & Mia Fieldes

INTRO
A D2 E F #m7 D2
VERSE 1
A D2
You're the One Who walked on water, and You calmed the raging seas
F #m7 D2
You com- mand the highest mountains to fall upon their knees
A D2
You're the One Who welcomed sinners and You opened blinded eyes
F #m7 D2
You re- stored the brokenhearted, and You brought the dead to life
E F #m7 D E F #m7 D
Forgetting all our sins, You re- membered all Your prom- ises

CHORUS 1
Asus A Asus A
You are amaz- ing,
Asus/F # F #m7 Asus/F #
More than amaz- ing
F #m7 Esus D2
For- ever our God, You're more than enough
A D2 E F #m7 D2
You are amaz- ing
VERSE 2
A D2
With au- thority You've spoken, and You've set the captive free
F #m7 D2
You're the King Who came to serve and You're the God Who washed our feet
A D2
You're the One Who took our burdens and You bled upon the cross
F #m7 D2
In Your kindness and Your mercy, You became the way for us
E F #m7 D E F #m7 D
Forgetting all our sins, You re- membered all Your prom- ises

A D2 E F #m7 D

Asus Asus/F # A/E Esus

© 2010 Integrity's Praise! Music and Mia Fieldes/Shout! Publishing

30 NOVEMBER/DECEMBER 2010 WORSHIPMUSICIANMAGAZINE.COM

 F m7 Esus D2
For- ever our God, You're more than enough
Asus A 121 Asus A

More Than Amazing (2 of 2)

You are amaz- ing,
Asus/F # Songchart
F #m7 Asus/F #
More than amaz- ing
F #m7 Esus D
For- ever our God, You're more than enough

CHORUS 1 CHORUS 2
Asus A Asus A A F #m7
You are amaz- ing, Oh, how marvelous, Oh, how wonderful
Asus/F # F #m7 Asus/F # A/E D
More than amaz- ing Oh, how glorious, You are amazing
F #m7 Esus D2 A F #m7
For- ever our God, You're more than enough Oh, how marvelous, Oh, how wonderful
Asus A Asus A A/E D
You are amaz- ing, Oh, how glorious You are
Asus/F # F #m7 Asus/F # (Repeat twice)
More than amaz- ing
F #m7 Esus D CHORUS 1
For- ever our God, You're more than enough Asus A Asus A
You are amaz- ing,
CHORUS 2 Asus/F # F #m7 Asus/F #
A F #m7 More than amaz- ing
Oh, how marvelous, Oh, how wonderful F #m7 Esus D2
A/E D For- ever our God, You're more than enough
Oh, how glorious, You are amazing
A F #m7
Oh, how marvelous, Oh, how wonderful
A/E D
Oh, how glorious You are
(Repeat twice)

CHORUS 1
Asus A Asus A
You are amaz- ing,
Asus/F # F #m7 Asus/F #
More than amaz- ing
F #m7 Esus D2
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WORSHIPMUSICIANMAGAZINE.COM NOVEMBER/DECEMBER 2010 31

 Record Reviews By Heidi Todd
Aaron Keyes God’s sovereignty in the middle of a ing, repetitive, something you can imagine
Not Guilty Anymore plaintive cry. And Aaron’s writing lends hundreds of joyous kids getting totally into.
great to his voice; he has a strength com- And they do (check out the DVD).
TRACKS (personal picks bolded) bined with a soft tone, much like an-
1 You Never Cease To Amaze Me other worship leader, Mike Hohnholz. One of the tendencies in most wor-
2 Forever Worthy They share a similar writing and ship releases of late is to repeat,
3 Psalm 62 singing style when it comes repeat, repeat. I get this, to
4 Blessing And Honour to the slower tunes, but as I some degree in a live setting,
5 I Am Yours said, Aaron has an approach which this album is so it’s un-
6 Like Jesus unique to him on some of the derstandable to a point. But
7 Not Guilty Anymore faster songs. even though I sound like a bro-
8 Nothing Less Than Beautiful ken record on this (pun intended)
9 Help Me Lord Don’t wait – add this CD to your it bears stating that repeating the same
10 Where Are You Now collection both for personal edification thing in a song too many times has di-
11 Not What My Hands as well as applicable minishing returns and you can start to tune
songs for your congre- out words that are meant to impact and
I first heard Aaron Keyes at this year’s gation. change your heart.
Annual Foursquare Convention. He was a
guest worship leader in a long line-up of Generation That aside, this group exudes quality in
gifted leaders and afterward I sought him Unleashed everything they do – especially where it
out to inquire about reviewing his CD for Saving Power counts the most – in their clear priority on
WMM. One of the things that stands out worshiping and endeavoring to touch the
about Aaron is his raw approachability TRACKS (personal picks bolded) Father’s heart. There are multiple writers
(he’s a regular Joe) but surprises await. For 1 Intro and leaders on the album, which keeps the
instance, Track One is the first worship song 2 Sing songs refreshing and not lacking variety.
I’ve ever heard with an accompaniment 3 Standard You can hear the nods to Cold Play and U2
that would be right at home on that old 4 Our God Reigns by GU’s very capable guitar players. The
show The Munsters. With a kind of border- 5 I Am Alive band members and vocalists blend well
line spooky bass line running throughout the 6 I Will Praise You and you can tell this
song with weird digitized lead lines in the 7 By The Cross isn’t their first rodeo;
background, he manages to make it work! 8 Never Looking Back they’ve released sev-
The title of the song “You Never Cease To 9 He Lives eral CD’s before now.
Amaze Me” perfectly captures what you 10 Anthem
should expect out of this album. 11 Holding On Bebo Norman
12 Saving Power Ocean
That song doesn’t have him pegged
though, because he drifts in and out of TRACKS (personal picks bolded)
loose, melodic expressions toward the Lord As the Generation Unleashed road man- 1 Everything I Hoped You’d Be
with simple accompaniment and straight- ager told me, this group is first and foremost 2 Here Goes
forward lyrics. Then he digs his heals in a youth ministry. They’re based out of Port- 3 God Of My Everything
creatively and produces a beautiful hymn, land, Oregon and put on an annual youth 4 Could You Ever Look At Me
“Psalm 62”. Prepare to be impacted by conference as well as make visits to other 5 We Fall Apart
the song “Not Guilty Anymore”, a song churches and events. They are not a band, 6 Ocean
sung from the heart of God toward us that rather a youth group worship team sharing 7 Sing Over Me
illustrates His redemptive love in a highly whenever and wherever possible. This is 8 The Middle
personal way. As a worship leader, I got evidenced by their ability to relax on stage 9 I Hope You See Jesus
to witness as this song ministered deeply as and settle into their roles as worship lead- 10 Remember Us
we sang this song over our congregation. ers, which I got to see very recently. 11 God Of My Everything (Radio
They received God’s message for them in Version)
the way it was intended and there was a Their latest CD/DVD combo released
real sense of freedom that day in people this October and features songs that you The first time I saw Bebo Norman live
as a result. may have already heard circulating in a was when he was opening for a well
youth group or adult church service near known Christian band in a very large ven-
“Where Are You Now” is an honest plea you. Anthems such as “He Lives” and ironi- ue. Aside from his velvet voice the thing I
for his need to perceive God in a time of cally “Anthem” are songs you should expect remember most is how often he expressed
distance. You can easily imagine David to hear soon if you haven’t yet. “He Lives” how amazed and blessed he was to be
writing this as a psalm – acknowledging is pure youth worship genre; upbeat, driv- there. He was nearly overwhelmed by the
opportunity to share his heart and music
Overall impression with all of us in the audience. In his reflec-
Average person could learn/participate on the first hear tions as a Christian, he’s always been a
Can be learned/adapted by a band of average skill grateful son.
Lyrical creativity and integrity This is yet again, another great release
Aaron Keyes Not Guilty Anymore by Bebo and if you’re already a fan, you’ll
want to have it. Many of the songs would
Generation Unleashed Saving Power fit well in a worship service and some of
Bebo Norman Ocean them would be great to use in other venues.
One of the things I notice in his music is
Jeremy Camp Jesus Saves the fact a band could utilize them as-is or
Charlie Hall The Rising have a lot of fun messing with the arrange-
Chris Tomlin And If Our God Is For Us ments. They’re great on their own but if you
Continued on page 34
highest marks

32 NOVEMBER/DECEMBER 2010 WORSHIPMUSICIANMAGAZINE.COM

 Record Reviews
wanted to add a little nitro to them, many of 6 You Are The Lord the new spin on older tunes just wasn’t there
them would work that way too. 7 Everlasting God like I hoped.
8 Overcome
His song “God Of My Everything” which 9 You Never Let Go All of that said, you have to appreciate
has already had some radio play is listed 10 Unrestrained and admire Jeremy; he is walking in the
here as a favorite because of his expression 11 King Jesus call on his life and giving his utmost for the
of the Lordship of God over the elements of Lord. His skills as a writer of songs that are
our lives. Being able to vocalize in an atmo- Okay, let’s face it, Jeremy Camp isn’t congregational friendly and his skills as a
sphere of honoring God, our struggles, is known for being edgy, so it’s not something vocalist and musician deserve high marks.
something that is so reassuring. Bebo’s de- that’s fair to expect. That’s why it’s such a I extend my thanks to
meanor is one of wonder and honor. With welcome addition to a couple of these him for being so faith-
clean and simple accompaniment his lyrics tracks. The backing vocals on “The Way” ful to give us so many
have to bear up and they do. are reminiscent of the Delirious song “Our songs over the years.
God Reigns”. For the most part, however,
I’ve appreciated Bebo for a long time Jeremy Camp parks right in the middle of Charlie Hall
for his ability to bring comfort and sooth- the road for reaching a wide audience. His The Rising
ing to a hurting heart. So while you won’t music and style are right at home on any
be rocking out to this, it has its place. Christian radio station or in the average TRACKS (personal picks bolded)
Where it’s lacking in diversity and won’t church in America. And this is the primary 1 The Rising (A Song Of Ascent)
keep you on the issue I have a hard time liking it more. It’s 2 Let The Earth Awake
edge of your seat, it too clean, too note perfect, too dry. 3 Ransom
compensates in sin- 4 Constant
cerity. While I enjoy every other aspect of hav- 5 King Of Heaven
ing the opportunity to enjoy and review 6 God Ablaze
Jeremy Camp so many worship cd’s, the one thing that’s 7 Lamp
Jesus Saves not enjoyable is to bring a critical tone to 8 Yesterday Is Gone
any artist. Jeremy Camp reaches count- 9 Deeper In Love
TRACKS (personal picks bolded) less people with his music; he’s telling the 10 Breathe
1 Jesus Saves Truth for goodness sake so who am I? Re- 11 Make Me Alive
2 Not Ashamed ally and truly it’s just a personal preference 12 Sleep And Dreams
3 The Way thing. And because this is a cd with many
4 Mighty To Save songs that have been released previously, Charlie Hall shows his years as a crafts-
5 We Cry Out man in this latest endeavor. He has been a

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34 NOVEMBER/DECEMBER 2010 WORSHIPMUSICIANMAGAZINE.COM

 By Heidi Todd
master at being inventive and exploratory Chris Tomlin is the bread and butter of
for a long time and has taken some notable modern worship music. He has released
risks here as well. Because he is so commit- song after song that have been enjoyed
ted to being true to himself, he doesn’t nec- the world over. This latest offering is bust-
essarily fit into the usual molds of worship ing with songs that will make their way
music. Even in the softest of songs Charlie into just as many churches, homes and
always sounds like he’s leaning forward. I cars. You can’t help but feel encouraged
don’t know him personally but can picture and nudged toward the Lord when you
that he can wear out a pair of shoes pretty hear songs Chris Tomlin writes.
fast; he doesn’t sounds like someone who He is constant-
sits around. ly pointing
to-
This album is in that same vein of stir-
ring things up, like “Let The Earth Awake”.
Throughout the album there is a theme of
“hey you!” His instrumentation has an inten-
sity and forcefulness that comes from
confident, accomplished
musicians. Even though the
album is produced well and
finished well, it maintains a
raw quality like it’s the first
time these songs have
come shooting out of
Charlie’s heart.

The reason I’m not

sure a band of aver-
age skill could adapt it with total ease is ward heaven and I’m
because the instrumentalists keep their parts pretty sure he
interesting. They do that without playing doesn’t have a dark
over each other or leaving gaping holes, side (at least one we’re
which a band of average skill can often going to see any time
struggle with. soon). Ha ha.

Songs like “Deeper In Love” and “Sleep If you’ve been a Christian for a long
And Dreams” caught my attention because time, you’ve heard quite a few worship
of the daring of the arrangements. They’re songs and likely a hymn here and there.
so personal and come from such a unique The songs “Faithful” and “All To Us” take
angle that you have to shake off your con- me back to years and years as a believer.
cept of the typical. He isn’t. The idea of this A couple of the songs share a quality that is
shaved-headed long-bearded ear-pierced classic and timeless.
man singing sweet lullaby is a juxtaposition
that can catch you off guard. There’s so much to choose from
on this album is you’re looking for
It’s an interesting album with a big dose new songs to add to your lineup of
of intensity and yet you’ll be able to include songs. The song that has to be my
most of these songs with your congrega- top pick, particularly in an age where
tion. This is very well done. the church is turning more toward a social
Gospel, is “Awakening”. It’s an invitation
Chris Tomlin for the Lord to charge His people to do
And If Our God Is what He would want done, which isn’t al-
For Us ways the thing on the top of our lists, let’s
be honest. But God is good to receive us
TRACKS (personal to Himself and stir us up to good works
picks bolded) again.
1 Our God
2 I Will Follow Which brings me to sum everything up. I
3 Majesty Of Heaven think a good reflection of this album can be
4 No Chains On Me found in the passage Hebrews 10:19-24.
5 I Lift My Hands To me, this passage really says that if God
6 Lovely has, by His grace, created a new way for
7 The Name Of Jesus us to live through Him and in Him, let’s get
8 Faithful to it!
9 All To Us
10 Jesus, My Redeemer
11 Awakening Heidi’s background is primarily in worship
12 Our God (Acoustic Version) ministry, joining her first team at age twelve. 
13 I Will Follow (Acoustic Version) She’s been a part of the Puyallup Foursquare staff
14 Majesty Of Heaven (Acoustic Version) since 2001, with an emphasis on team building
15 Where The Spirit Of The Lord Is and live production.  She enjoys and makes time
(Acoustic Version) for the ongoing learning process as well as presenting and
speaking. You can email her at brentnheidi@yahoo.com.

WORSHIPMUSICIANMAGAZINE.COM NOVEMBER/DECEMBER 2010 35

 FOH Engineer

By John Mills easy song so the vocalists don’t feel so

Rule #1 - Don’t Mess with It.

silly singing all alone.

Once we have made it through most

of the inputs to my system, I will have the
band play a short chorus of a song that
includes everyone playing and singing.
This is often the exact same song every
So this month I offer a little encourage- when we did the “Line Check”, but week… once you find one that has every-
ment with a dose of admonishment. It if the band just starts a song, it’s likely one playing and harmonizing, it’s a good
comes in the form of some do’s that the sound board is out of tune. idea to just use it all the time because then
and don’ts for pre/post sound Even from week to week things everyone gets used to it. Keep in mind we
check. Some of this will be for do change and we need to have not really adjusted monitors yet. This
the worship leader, band di- double-check everything. I section is to verify that I get a chance to
rector, and yes you too o’le promise if the band gives see all inputs and make any quick final
sound engineer… everyone the engineer 10 minutes of adjustments to gain levels.
buckle up and let me rant the hour long “rehearsal”
for a minute. slot, at the very beginning I will then ask who needs what in their
of “Sound Check” to let monitors if we are on wedges and make
On a recent date with Paul the them hear and adjust just those adjustments. If your band is on per-
Baloche, he questioned me about a small sample of everything, we sonal mixers, now is the time they should
how and why his mix often chang- will all have a much more profitable make any adjustments. Band guys… If
es from sound check to perfor- 50 minute “Rehearsal.” you make adjustments to your mix before
mance. He said “with the advent I have had a chance to settle in on gain
of all this digital “save my mix” Did you notice those last few structure, your mix will change. So FOH
stuff you would think my monitor mix BOLD words? Line Check, Sound guys, let’s be clear about when we are
would be the same during the concert Check, and Rehearsal. They are finished with this portion and tell them
as it was in sound check.” 3 very distinct portions of our you are set and ready for them to work
time together at what is often ge- on their mixes. FOH guys… when set-
I hope to debunk a few thoughts nerically called a Sound Check. ting gain and rough eq during this Sound
here as well as offer some tips Check time, take no more than 10-15
about how to keep your musi- Line Check is when the engi- seconds per input. Have this discussion,
cians happy and consistent with neer and a friend verify that all and expect they will give you a reason-
their monitor mixes. Because, at the things are plugged in correctly able level, set the gain quickly, and grab
end of the day, our most impor- and each wireless mic, personal a quick listen to the eq and then MOVE
tant job as sound engineers is monitor, monitor wedge, main ON. The band loves it when we move
amplify what is happening on the speaker, subwoofer, etc. is work- fast. You can always come back during
stage… and if our worship leader ing. Engineers, we should do this the next section and make more tweaks.
is frustrated at the tech or technol- every Sunday, and we should be
ogy, we can make the music louder, but done with it (as well as fixing any- Rehersal. Tell the band “I’m finished
I really would rather amplify the worship thing we find wrong) BEFORE the band adjusting major components, so does any-
leaders heart than his frustrated attitude, arrives. See my website www.TechTrain- one need any adjustments to their mix?”
in101.com for an article titled “Check/ If yes, make the adjustments and have
I’ll speak a little more toward the lo- Re-Check” for a “preflight” checklist. them do another short chorus, ask again,
cal church worship band sound check, and if everyone seems somewhat happy,
instead of a professional band coming in Sound Check, this is where it’s all say the following. “Thanks guys for this
to your facility for a concert. about the engineer. Band we need you to time, I’m now in tune and can confidently
play a small sample of what you are play- respond not only to the house mix, but
Let us start with what a sound check ing or singing that morning… no 50% vol- any needs you may have.” What we just
is. If you have ever heard me speak on ume here, or timid “check 1, 2, check did by taking a few minutes (FOH guys, I
the subject, you will know I’m passionate 1,2”… we really need a descent version mean a few minutes… like less than 10)
about getting to tune my instrument, the of what you’ll be doing. This is where we is we have tuned our instrument and can
soundboard that is. It amazes me how set things like gain and eq… the two most confidently hit the first chord. Now there
often I walk into a situation where I see important things you need as a musician. may still be a bunch of little adjustments to
the sound engineer just starting with what If you check too quietly, then most likely the mix, but for the most part you should
ever the band decides to do when they we will turn you up, but then when you be in the ballpark. Band guys, during re-
walk in. Ladies and Gentlemen I say no. give it your all in the service, we will have hearsal, the sound engineer reserves the
Worship leaders and band directors, you to turn you down… and there in lies the right to really mess with the house sound.
must give the sound engineer a few min- problem with most monitor mixes. If you Sound guys, please take the time to mute
utes to check levels and eq BEFORE you give me quality input level checks at this the mains and see how loud stage sound
start into a song. If we are going to be time, it is highly likely that your mix will is, turn up the harmonies a little to loud
part of a team, and I mean a well-oiled not change. Stay with me though there so you can get the right blend and then
machine that can function properly, we are other pitfalls to this issue. For instance set them back down in the mix. Turn the
need to all act like a team. Much like the a lot of times I will ask the drummer to drums on and off, turn the subwoofers on
band director expects the guitar player to just play all his drums for a minute. Most and off. Take some time to see how your
tune his guitar before they start the song, drummers will unconsciously play softer if instrument is responding. But do this all
we cannot tune our instrument while the you just ask for a kick, then a snare, etc. very quickly too as it is messing with the
song is playing. We can make sure our When it comes to vocalists, I will have al- “mix” on the stage and we want them to
strings are on our guitar by verifying all the ready checked the acoustic or keyboard be able to rehearse. Also of note would
inputs work and are plugged in correctly and will have them start the chorus of an Continued on page 55

36 NOVEMBER/DECEMBER 2010 WORSHIPMUSICIANMAGAZINE.COM

 FOCUS ON
WHAT MATTERS

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pattern condenser e965 capsules for all of our vocals. These mics sound so great, you
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To learn more about the 2000 Series Wireless, Sennheiser RF Services or our Sound
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 Ministry + Artistry = Profitability? Creating your MAP™
By Scott A. Shuford
God’s Growth Strategy
So…. I’m going to layout God’s growth
strategy based on 20+ years of observing
artists, ministries, the music industry, church-
es, and life. Take it for what it is worth.
Nothing that we say about God is always
true, except when we re-say what God says
about Himself. This is a Paul moment where
I say this is not what God says, but here’s
what I think.
God can do things any way He wants to
do them. Who are we to argue with how
He decides to rollout our lifework?
I guess we are Job or maybe
worse Jonah… two guys
that I have more in
common with than I
had hoped.
For many
years, most
ar tists
thought “If
I could
just get
signed
by a teams, and more, will be invaluable as you ence (www.FrontGateMedia.com) and
label,
then
would
be ‘fa-
mous’ or
successful
. I’d be on
the radio
and touring
the world, im-
pacting many,
many people.”
This was just as
true in worship as it
was in pop music.
That CAN happen, but are
you really ready for that TO happen?
Are you ready to tour the world, most likely
leaving your family behind at home? Are
your songs truly good enough to be on the
radio? Do you realize that you don’t have
to do any of that to fulfill God’s mission for
you?
To go from “zero to hero” can easily de-
stroy just about anyone. Look at how the
biggest secular pop sensations implode
time after time with drug addictions, men-
tal breakdowns, and suicides. That is often
what happens when your world changes
overnight from success. Even in the Christian
world, it’s very tough. I think most people
could not hold to the schedule Paul Baloche
lives on.
38 NOVEMBER/DECEMBER 2010 WORSHIPMUSICIANMAGAZINE.COM
benefits continue to build in you. Every-
thing you are learning and everyone
with whom you are connecting can
lead to an increasingly deeper im-
pact and influence, and set you up for
deeper impact in the future.
In contrast, you could be doing a gig
God knows that most of us need to grow three states over with great success, but
into what He has for us. God’s growth strat- what if you get invited to another church
egy is a set of concentric circles. The red there? What does that mean to your family
dot in the middle is you. The circles are your time, your logistics and your peace of mind?
expanding reach of influence and impact. Well, if it’s Joel Osteen’s church, then GO!
I’m not saying to avoid great opportunities.
The first area of influence and impact is What I am saying is to plan a growth strat-
your local church. If you are called to wor- egy that is not based on faraway places or
ship ministry, is your local church, the church that runs ahead of your experience. If God
to which you belong as an active member, decides He wants to, He can scatter you
using you in worship ministry? BTW - if you among the nations at any time.
are not plugged in at a local church, you are
not ready for worship ministry. If your own So far in the MAP, we’ve talked about
church is not using you, why in the world your Mission, Fan Development, the Non-
would someone in Peoria want to bring you Profit option, and God’s Growth Strategy.
into their church? Start at home: volunteer Next time we’ll cover Marketing 101: The
and serve. When you’ve grown in a season Four P’s. Until then… J
there, get a letter of endorsement from your
pastor, then move to the next circle: your
city. Be sure you do data capture of your Scott has led classes
fan base in your church! Get emails and tell for us at NAMM and the
people how to find you on Twitter and Face- Christian Musician Summit.
book. The experience you gain with the He has been featured in
very understanding people at your church Adweek and is the CEO of
in terms of stage time, technological issues, FrontGate Media, the #1 culture-engage
rapport with audiences, coordinating with media group reaching the Christian audi-
move further out in the circle rings. is the co-founder of Creator Worship:
I online radio for worship leaders (www.
So you are consistently serving in your CreatorWorship.com). Email your com-
home church, now let’s move into your city. ments or questions to Scott@CreatorLead-
Are you playing at city events like Indepen- ershipNetwork.com.
dence Day or Concerts in the Park? Are you
playing at other local churches? Tim Tim-
mons from Mariners Church plays at least
a few times a year at Saddleback. Good
idea! It’s easy to move into your city, par-
ticularly if your church body and your pas-
tor are behind you. It’s also close to home!
With a couple of cars, you can probably Tune in Creator Worship Online
load up all your gear and be there in 10-20 Radio:
minutes. No van or trailer rental. No mas- Teaching & Training
sive gas expense. No hotel stays. That sure Hear it today… Use it tomorrow.
beats trying to figure out the logistics of fly-
ing or driving two states away for a gig. It Programming includes:
takes less time out of your life. As you move
to your city, you also get to expand your WorshipTeamTraining.com
fan base with more data capture. These Tom Jackson
new fans are easy for you to stay in contact
with. They may even end up coming to your News from HearItFirst.com
church! All the while, you are gaining that Rick Muchow (Saddleback Church)
personal experience and letting God mold Richie Fike (Indie Extreme)
you and your team, band, family, etc.
Tech Talk with Wade Odum
So your church and your city are using NewReleaseTuesday.com
you, now let’s move to the two surrounding and more…
cities or the county. Nailed the county, then Twitter: @CLNetwork
move wider into the state. Nailed the state,
then what about the 3 state region? Facebook.com/CLNetwork
Tune in now at
As you spend the time to gain the experi-
ence of going through all this growth, all the www.CreatorWorship.com
 MAY
13 & 14
2011
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Buffalo, NY

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 Authentic Worship
By Michael Gonzales
Stage Presence may not be His Presence
“Keys, pads, pads!” You hear the talk-
back mic from the musical director. The
song starts. Verse, chorus, verse, verse.
Oops! What happened to the second
chorus. The worship leader took a diver-
sion. The inexperienced musician gets
lost. He isn’t feeling the tune. He is look-
ing on his sheet music for a new starting
point. “Where is everybody at?” At the
same time, the lead singers are doing the
first cardinal sin—looking at each other.
That look can be a tell tale sign and
speak louder then words, “He missed the
chorus!” Sometimes that look can say,
“He missed the chorus, that bonehead!”
The second cardinal sin is sticking to
the sheet music hoping it will force the and others are paid musicians. I know
worship leader back to the chorus. That some churches have a policy like that.
seldom happens.
The third cardinal sin is gossiping
about it. Now talking about it as
a group is one thing but if there
is one sure way to start to build
up bullet points against some-
one it is to keep talking about
that person’s lack of musical-
ity behind their back.
If I could call this a real-
ity show I’d call it, “When
Worship Goes Bad.” Be-
lieve me, I am an expert
at this subject. I even broke
my leg after leading wor-
ship from the stage once.
It was a portable stage
and someone forgot to lash
down the rear side steps. My
body went forward but when
I looked down my foot was fac-
ing the opposite direction! Honestly!
What was worse is the paramedics
worked on me near the front of the
stage—while the next worship team
continued with their set.
So here’s some things I’d recom-
mend should things go wrong. If the
person doing the slides is asleep
and one step behind you, don’t
yell out, “Wake up, O sleeper,
arise from the dead.” But I know of
a worship leader who uses thumb
signals, thumb up for advance the
slide to locked fist when to stop.
Thumb sticking out left to go back
one slide, clenched fist to stop. I’m not
sure this is the right answer for every-
body but I do know people in the audi-
ence who are lost get frustrated.
40 NOVEMBER/DECEMBER 2010 WORSHIPMUSICIANMAGAZINE.COM
Remind the people at the sound rather take a B+ player with a
board, the video board, and the great attitude and a servant’s
person operating the slides for the heart any day.
computer, we are all on the same
worship team and God requires our Finally, what if there was a
best. Be alert. There are plenty of Worship Musician’s Creed,
times to relax a little but not when something that we could mem-
it requires all hands on deck during orize or at least look at before
worship. service starts each Sunday. If
I were commissioned to write
Band members don’t start talking it, it would look something
amongst yourselves between songs. like this:
If the worship leader likes to share be-
tween songs don’t ask, “Hey, is that a Worship Musician’s Creed
new amp?” Not appropriate. As a worship leader representing
God’s kingdom
Don’t be jealous if you are a volunteer on earth until He returns,
I promise to serve others as if
my hands and heart were fashioned
You volunteered so consider that your from The Father,
tithe of time and talent. delivered by the Son, and manifested
You don’t know through me
what other by His Holy Spirit.
people’s I recognize that I am engaged in a
needs battle for people’s lives
are. and my weapon is not only the Word
of God
but the time and talents given to me.
So whether on stage, or in my personal
life,
my purpose is to help change the
world
one concert at a time, one praise
song at a time,
and one note at a time.
And whatever I do with what I
have, I do it with great joy
And what I represent is for
something unseen from now and
throughout eternity.
S o Even as I write this, I am struck by
when the great challenge and responsibility
you are on- I have as a worship leader. When my
stage don’t son was growing up, I told him, “I don’t
wear that bitter have a lot of money to give you, but I
mood on your have a good name, so don’t mess it up!”
face. Do you
think God is Instead of thinking about ourselves, or
saying, “Look the one who messed up on stage, or the
at my servant, parts that we missed, I think about God’s
what a great good name. He’s all we have and we
player and should represent His kingdom and righ-
great at- teousness in all we do.
titude he
has.” If you
ARE a great Michael Gonzales, Ph.D.
player and have Professor, Biola University
a bad disposi- mike.gonzales@biola.edu
tion on stage, I’d
 Guitar Grab Bag

By Doug Doppler once the team starts playing. I make sure

Practice This
to bring my clipboard and pencil so I can
document dynamics, hits, and any chang-
es in the arrangements. Before rehearsal
ends our sound team records the entire set
to CD, which promptly replaces the one
in my car. The ride home is the perfect
place to see how well my parts and tones
Hello friends – welcome Software like Planning Center Online translated to the full band environment in
back to the Guitar Grab has become an invaluable tool in my the framework of the front of house mix.
Bag! This issue’s topic is preparation process. Once the MP3s
inspired by an eMail and charts have posted I download them Fine Tuning
I received from my ASAP. I usually go to iTunes to pick up On Friday morning I import the re-
Worship Pastor MP3s for songs that only had charts. hearsal CD into iTunes and create a new
about prepping playlist on my iPod. Our Church has mul-
parts and tones for Living with It tiple services; one on Saturday night and
rehearsals and ser- Once I’ve printed the charts I attach two on Sunday morning, all with identi-
vices. Not every- them to my ever-present clipboard. I also cal sets. Prior to Saturday rehearsal I like
thing may apply create a new playlist with the Church to spend an hour or so fine tuning parts
to you and your name and date on iTunes which I burn to that didn’t work, adjusting patch levels,
team, but this CD and export to my iPod. The CD lives and then running the set in order without
approach has in the car, while my iPod and clipboard breaks.
delivered make their way with me to the gym. Both
consistent- environments are great for getting to Dress Rehearsal
ly ex- know songs by ear - huge if your team is Arriving early to rehearsal gives me
cel- working on getting music stands {a.k.a. time to work with the sound team to in-
“black curtains”} off the worship platform. sure that any patch changes I’ve made
I also use my time on the treadmill to write are working FOH. I’ve started using the
the form of each song across the top of Line 6 G50 wireless reviewed in this is-
the chart. sue, and that has been a huge help in
terms of knowing how my guitar actually
Tones and Parts sounds front of house. During rehearsal I
I spend a couple of hours before Thurs- keep a music stand on the platform with
day night rehearsal working on parts me, but retire it before the service starts. If
and tones. Multi-effects units like the Boss I don’t know the songs a music stand only
GT-10 and the Line 6 POD really shine confirms that for all the congregation to
when it comes to stamping out tones see. I try to assemble a checklist of things
for an entire service. A great way to remember about each song before I
to start this process is to create a start playing it, and this rehearsal I make
bank of four presets for the most sure that I’ve got that list dialed in.
common tones you use (dirty
rhythm, dirty rhythm with beat- Recap
synched delay, compressed On the way home I listen to the rehears-
clean, solo with boost and de- al CD and recap any mistakes I made to
lay etc.), assigning one bank to add them to my mental checklist for the
each song. Once you’ve got the next service. Even if you don’t do multiple
first bank set up, simply copy services a recap is a great tool for find-
each preset over into the ing common problems you can root out in
same slot in the next bank. your prep time.
In this fashion each
bank will feature the Rinse and Repeat
same kind of sound As I mentioned at the top of this article,
on the same preset this is a process I’ve fallen into as a series
number. With the of measures to insure that I’m as prepared
charts in order of as I can reasonably be for each rehearsal
the set list, I play and service. The more prepared I can
through each be, the more prepared I can be to serve
song fine-tuning God and the rest of the team. God Bless
presets and parts – DougDoppler@hotmail.com.
as I go, making sure
to program each bank
to the tempo on the corre-
sponding chart. This takes the user Doug Doppler is signed
error out of beat synched delay parts. to Steve Vai’s Favored Na-
lent results, and may tions label and is currently in
expose a few “white Rehearsal production on the Get Killer
elephants”! Having the CD in the car on the way to Tone DVD series. He and
rehearsal allows me to hit the refresh but- his wife Melissa live to serve the Kingdom
Hunting and ton on the entire set, and better prepares and are members of Cornerstone Fellow-
Gathering me to listen for vocal and dynamic cues ship in the San Francisco Bay Area.

42 NOVEMBER/DECEMBER 2010 WORSHIPMUSICIANMAGAZINE.COM

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 The Band

By Tom Lane Freedom is hindered when a spirit of con- of time together off stage but to a large de-

Under Pressure
trol is at the helm of any ship. That manage- gree, you’re only as strong and healthy as
ment style sends a message that ministry can your relationships are.
only be accomplished if “I” do it, If “I’m” in
charge, etc. The Church is not a kingdom 2. When’s the last time you took
to be ruled by anyone other than The Lord; the person you have a problem
who loves, keeps, guards, and leads her with with for coffee to find out what’s
complete and total authority! So the rest of us really happening in their life? If you
microscopic: adjective- so small as to be are what? Just servants, and we either serve don’t know, then what you don’t know may
visible only with a microscope : micro- or we get in the way! A Leader is not a bad have much to do with why they do the things
scopic algae. or wrong thing, it’s God’s idea without a ? that drive you crazy. Mercy always wins!
• informal extremely small • concerned I do however question some leaders under-
with minute detail: such a vision is as standing of Godly leadership. There is a vast 3. How important is for you to be
microscopic as his is panoramic. difference between leaders who lead with in the team and on the stage and
“absolute power and authority, taking no ac- does it matter (a lot) when you’re
Most of us are trying hard just to “get free” count of other people’s wishes or opinions,” not asked, overlooked, or even left
enough to worship as it is and don’t need and ones who build up and serve. Domineer- out? We’re human so of course it matters
to feel judged or under the micro scope, yet ing in my mind is the antithesis of serving and but it really shouldn’t affect our attitude and
many of our leaders feel that way-under pres- I don’t meet many happy people under that desire to engage with God and His people.
sure! The environment in some Churches is not type of leadership. Unfortunately it’s one of And we should be able to get over it without
too much different than that of many corpora- the reasons we have a wake of former church becoming bitter people.
tions. There’s an expectation (in the name of goers who’ve decided they’d rather not be
excellence usually) to perform the program as subject to it-so they just don’t go period any- 4. Can you worship in spite of
scripted (normally by a select few!) without more. who’s leading or not, on the team
variance. That makes freedom hard to come or not, if it’s your style or not? You
by for both leaders and parishioners. I realize I hear the same things over and over. On should be able to and if you’re taking things
we can’t parse out all the problems of church one side from Church Leadership; they’re too personally it’s likely a sign that you have
life here nor do I think I have all the solutions. working hard to steward their posts faithfully your own problems to deal with.
It’s full of humans so it’s messy like everything because they feel responsible (good shep-
else. But to be and grow with God, we have herds do!), they’re trying to meet the needs of 5. Can we lay it down as easily
to start being honest and admit when we many not just a few, they get all the scathing as we pick it up? If you find yourself
have it wrong. emails, and they’re annoyed or uncomfort- guarding and protecting your spot and need-
able with too much space in in a service. ing it in order to feel good about yourself, you
Part of the problem we’re up against in the On the other side the Creative Leadership; may want to take a season of rest just to keep
Church stems from building on and perpetuat- are bored with the routine, feel stifled and un- from becoming too attached to position.
ing an autocratic versus Jesus model. Read trusted to really lead people anywhere, and
this definition of Autocratic! fear being watched constantly from the pow- Good stewardship is honoring our leaders
ers that be. even if they do stifle somewhat. We’re not
autocratic: adjective - of or relating to a ruler responsible for what they do or don’t do well!
who has absolute power: the constitu- So let’s look at what we can effectively If we’ve said YES to a position of leadership
tional reforms threatened his autocratic change. Each of us bears the responsibility of and are sure God led us there to begin with
power. stewardship. Unity is not agreement on every then we’re there for a reason. Guess what, it
• taking no account of other people’s issue-it’s proceeding together in love as one comes with the beautiful-painful reality of iron
wishes or opinions; domineering: an family, undivided. If we want the blessing of sharpening iron just like any other relation-
autocratic management style. God then we have to prioritize and strive for ship. So if we fail our tests we may have to
unity as we come to worship. Whatever the take them over another time and season.
(Though it may describe someone you chasm or conflict in our particular case, the
know or work with, please resist the urge to way forward starts with being focused on get- The point of worship is not to get through
run call them an Autocrat! Won’t make many ting it right ourselves not pointing out where a program without derailing or allowing a
friends that way for sure.) everyone else is wrong. lull to occur. God’s not impressed with perfor-
mances, proud of His kids but not impressed.
I’m honored to hear from some of you at A good leader doesn’t have to dictate! He connects with hearts longing and will-
events/conferences/seminars etc. about Ever been in a band (or ministry) with a Diva ing to connect with Him honestly. All we do
what you’re struggling with in your churches or control freak? Their own insecurities and should serve to facilitate the real purpose of
and don’t take lightly expressing any thoughts issues make them blind to healthy relation- gathering, if it doesn’t we need to part with it.
and opinions. I hope only to help remind us ship, maybe relating in general; so it’s only Sometimes feeling under pressure is our own
all; why we do what we do! I try to look at good when they’re happy. Dealing with our deal but it’s also reflective of the need for Air
these issues from both sides, something I’ve own unreal expectations, sins, and issues in The Church, that would be The Spirit of The
learned from being married a while. There’s is something we do have control over and Living God-let’s make room!
never only one side to a relationship or prob- can change. Just like a marriage, two people
lem. bring stuff into the union and the healthier
they are from the start, the better chance they
Nashville, TN is home
So let’s bring it down to the foundation, re- stand of sticking together through the certain for Tom Lane though he is
lationship. Worship is connecting! If we don’t and impending conflict and struggle. God
involved in ministry and mu-
connect and commune with God when we meets and helps the sincerely humble and sic around the world. As
gather then what’s the point? For us to con- teachable too.
a singer, songwriter and
nect with God we have to, at the very least, guitar player, Tom has been teamed with
feel free to be who we are. If we’re trying to Here are some questions I ask
be who we are but keep bumping into man teams: many worship leaders and artists. He
made traditions and styles that don’t allow it, 1. How much time do you spend continues to record his own work, lead
we’ll only do it for so long before we either aside from the practical music and worship, and writes regularly for various
blow up or move on. Hence, most church technical part of the worship ser- worship publications worldwide.
growth is transfer growth not new life. vice? I know not every team has the benefit

44 NOVEMBER/DECEMBER 2010 WORSHIPMUSICIANMAGAZINE.COM

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 Product Review
By Doug Doppler
VB Amp and Speaker Enclosures –
Isolation Done Right
Removing amps and cabinets from the
worship platform is great for taming sound
wars, and has the arguable benefit of be-
ing more visually pleasing. But if you’ve
invested hundreds if not thousands of
dollars into an amp that loves to be
turned up, a VB Amp Enclosure
may be the solution your Church
(or studio) has been looking for.
VocalBooth has been designing
and manufacturing isolation enclo-
sures for over a decade. As the name
implies the company got its start building
vocal booths, initially for home studios
like that of founder Calvin Mann.
In addition to a robust line of modular
vocal and drum isolation booths (including
the 53’ VB Mobile Studio), VocalBooth
has four sizes available for amps or cabi-
nets. VocalBooth can build custom sized
amp enclosures as well that can handle
various size Leslie speaker cabinets for ex- ings isolating your amp
ample. The VB Amp Enclosure is available
with or without ventilation, something one
may need to consider for combo amps.
All enclosures include VB’s proprietary Iso
Pad to help prevent cabinets from cou-
pling with stages, and to keep mics vibra-
tion-free from outside disturbances. The in-
terior is lined with acoustic treatment that Enclosures are particularly useful in home
48 NOVEMBER/DECEMBER 2010 WORSHIPMUSICIANMAGAZINE.COM
reduces noise and helps prevent stand-
ing waves.
Although the “Large
VB AMP Box” sent for
testing arrived in a mas-
sive crate, it took less
than a half hour to set
up. With exterior dimen-
sions of 49”H x 48”W
x 48”D I had more than
enough room to stack
a 1x12 combo on top
of a 2x12 cab, along
with two mic stands. All
VB units feature a cable
port so you can get ca-
bling and power in and
out of the booth without
compromising isolation.
Not a big issue for most
services, but if you’re
doing any live record-
or cabinet from exterior
noise is nearly as impor-
tant as isolating other
sounds sources from
blaring guitars. “standing waves” bouncing off of parallel
reflective surfaces like floors and ceilings.
In addition to worship services, VB Amp
Just like at Church, keeping your speak-
ers isolated from the listening environment
makes mixing much easier – with
the added benefit of being
able to easily use your mains to
test mic placement. The unit VB
sent sports a front facing door, which
or project stu- makes for super easy mic adjustments. I
dios, which are set the enclosure up 180 degrees behind
rarely equipped my control surface so I could easily listen
with a separate to the sound with the door off and then
tracking room. flip around to compare it with what was
Isolating your coming out of the mains once the door
amp from play- was closed. If you’ve got a really loud
back monitors amp in the room, it can easily overpower
and click tracks headphones and will trash your ears as
is but one of you try to find some sort of balance.
the many luxu-
ries afforded. If you’ve been looking to get some
The biggest speaker volume back into your mix, visit
challenge most VocalBooth.com.
home studios
face is bad
acoustics in Doug Doppler is signed
rooms that to Steve Vai’s Favored Na-
were never tions label and is currently in
designed to production on the Get Killer
track much Tone DVD series. He and
less monitor in. his wife Melissa live to serve the Kingdom
Not the least of and are members of Cornerstone Fellow-
these issues are ship in the San Francisco Bay Area.
 Camera

By Craig Kelly

So You Volunteered as a Camera Operator

At Church – Uh Oh, Now What? Part 3
In the previous two articles we’ve taken a show any laundry at all. A large segment • Always know what the other camera
look at some fundamental aspects of running of the audience believes that the crew is di- shots are. Listen and know what their
a camera on your chrurch’s Technical Arts rectly connected with the presenter, artist or duties are too
Team. Here are a few more tips and things performer. And it would be a bad thing if we Practice; Practice drills for camera
to think about. adversely affect someone’s worship experi- Studio camera motion relief – Use 2
ence. Remember, the Technical aspect of the platforms. One for the camera and
A few Television truisms that always ap- service is to support the presentation – not to one for the operator to stand on
ply to any show, event, service, program, command the attention of and it would be a Dissolves/tally – make sure you’re
project, etc and to any position on the crew; bad thing if we adversely affect someone’s clear before you change shots
worship experience. – unless your director is into
The Show Must Go On the whip-pan look
We are in show business – even when it’s Previously we gave you some insider’s If your tally light flashes that
for the glory of God. Not often with smoke tips for better camera operating, here’s some mean somebody’s calling you.
and mirrors, but with good, quality produc- more – some may be repeated; Check your headsets.
tion values that are important and necessary Watch return video to see how
in communicating the Message and to en- Here are 25 bonus tips; your shot fits into the program –
hance everyone’s attending experience. Do Show up on-time and ready to work as long as it doesn’t interfere with
what you gotta do. Work hard for the director – events are usu- your assignment
ally pretty short Be careful about talking around headsets
Never show your dirty laundry Let the director know about your experience and open mics. Many people have
Video should never impact the event in level been embarrassed by this.
an adverse way or disrupt or cause any at- Be on headsets before the required time - Assume you’re always on – somewhere.
tention to be diverted from the featured pre- Getting on camera early has benefits, Even if you’re not on the screen you
senter or performance - and nobody outside such as; might be isolated in a record machine or
of the TV crew should know about any prob- • lets audience know what they’re in for being sent out via the web
lems with the presentation during the event. – be their best friend and they might Assume there are outsiders watching – from
Never show your dirty laundry. In fact, never even help you the control room, or a monitor or in a
• gets your cable puller ready tape machine/recorder or across the
• lets director see shots world or behind you in a pew.
• lets house crew know where you are Never let anyone lean on or set anything
• lets production manager / stage on your camera platform. It’s perfectly
manager know where you are OK to ask them politely to move.
• Hand Held – your shoulder will start to
relax the longer you have the camera Next we’ll give you a list of some com-
on mon position titles so you know who the
Always let TD or director know where you players are.
are. Sometimes there are problems or
pre-recordings that need to be done Remember, keep practicing.
Set up your camera for comfort and visibility
Your left arm/hand has all the control for
panning and tilting Television director Craig
Hardware / Cable – should look good/ Kelly’s career has included
neat over 3,500 live shows,
Hand Held - Confirm you have enough events and concerts in
cable broadcasting, corporate
Hand Held - Work with your cable puller – television, events and sports production
you’re a team since 1977.  He is also involved in min-
Hand Held - Get your cable ready istry based events and concerts, and has
Hand Held - Cable routing – plan your produced or directed internationally dis-
escape path for when you need to move tributed DVDs.
Hand Held – Never sell a shot that you With a background as an international
can’t hold on to steadily for a long time free-lance cameraman, he has shot na-
Cable strain relief – protect those connec- tional and local level sports and corpo-
tors rate video for over twenty years. These
When you zoom, know what your final days he is often involved in speaking,
frame will look like workshops, writing and talking about
What to do when your tally is off; Television camera operators and di-
• Look for shots / Know what your next recting. He recently launched the blog
shot will be ZoomIT.cam at craigjkelly.wordpress.
• Sell shot ideas to the director by show- com for new camera operators and has a
ing them training DVD in the works. You can reach
• Get into position for the next shot Craig at craig@vantageroad.com

WORSHIPMUSICIANMAGAZINE.COM NOVEMBER/DECEMBER 2010 49

 Tips for Tight Teams
By Sandy Hoffman
Are You Lifting up
EN-CO-MI-UMS?
1 Is it possible to lift up encomiums
without ever singing or saying a
word?
2 Is it possible to lift up encomiums
just by playing your instrument, hum-
ming, dancing or even strumming a
rhythm on the venetian blinds in the
dining room?
(Dust first!)
3 Is it possible that you have NO
earthly idea what encomiums are?!
From the Top
Alrighty then, from the top. Encomiums
are limitless. They span space and time.
They can exist in any state, any medium
and probably even in a vacuum. They
are always in fashion (and never need
ironing!). They can be sung, hummed or
pounded out on the most primitive of per-
cussion. They will exist forever.
To better understand their nature, let’s
begin by reading selections from 2 Sam-
uel 6, starting with verse 5. Here’s the
scene: David and the “choice men“ of
Israel have just brought the ark out of the
house of Abinadab. Apparently, a spon-
taneous praise-jam session erupts among
them (how cool is that?).
Then David and all the house of Is-
rael played music before the Lord on all
kinds of instruments made of fir wood, on
harps, on stringed instruments, on tam-
bourines, on sistrums [metal shakers], and
on cymbals. (NKJV)
They were probably just “gettin’ their
groove on” when in a moment of fatal
reaction, poor Uzzah put out his hand
and touched the ark. God was greatly
angered by this and zap: EXIT UZZAH!
Needless to say, David was quite shak-
en with the sudden unexpected turn of
events, but on the rebound, the ark was
eventually brought to the City. That’s when
the King himself was inspired to “bust a
move!” He “danced before the Lord with
all his might,” and it says that he was
“leaping and whirling before the Lord!”
(vv 14 & 16) This has EVERYTHING to
do with encomiums!
Encomiums
So what ARE encomiums? Encomiums
are high praises offered and expressed
50 NOVEMBER/DECEMBER 2010 WORSHIPMUSICIANMAGAZINE.COM
to the Lord. They are “glowing” and day AM for 30 to 45 minutes at the be-
“warmly enthusiastic” according to ginning of each service. It’s a lifestyle,
Merriam-Webster. They are ac- a response to spiritual stimuli,
colades, commendations, hom- and just like our musical skills, re-
ages and tributes in all sizes, quires practice. Encomiums need
shapes, forms, configurations, to become an almost involuntary
intensities and eccentricities.
Throughout our lives they can
come from the valleys or the
response in ALL our life situations.
But how do we program our-
selves for the kind of responses we
mountain tops, the skies over L.A. or saw in King David or Jonah?
from the depths of the sea. Encomiums
are ALWAYS appropriate: any time, any Three Ways To Instant Praise
place and from anyone. They express our Just what does it take to become an
deepest, least inhibited heartfelt desire to “I.E.L.” (instant encomium lifter)? How do
bring glory to God. we develop the habit of high praises? As
in the acquiring of any other worthwhile
Praising God With Bubbles trait, we practice, practice, practice!
I love to scuba dive. Underwater caves,
peaceful and awe inspiring, have often 1-Practice meditating on the scrip-
been my dive destinations! Imagine div- tures. This one’s from David himself, as in-
ing to 60 feet, swimming into a gaping, spired by the Holy Spirit. “But his delight
pitch black hole, and with only the nar- is in the law of the Lord. And in His law
row beam of your dive light, making your he meditates day and night. (Psalm 1:2,
way into the flooded bowels of the earth. NKJV) What a beautiful picture. Just imag-
There, you turn out all the lights (absolute ine “chewing on” the Word all day and
darkness surrounds), set your bouancy all night. Spontaneous praises in multiple
vest to neutral bouancy, and like an un- forms most certainly begin to flow from
born baby still safe in his mother’s womb, your lips and life when you do!
you hang weightless in inner space. You
rise slightly with each inhale and move in 2-Practice being thankful for every-
the opposite direction as you breathe it thing that comes your way. One of my
out. Ahhhh, sweet peace and total immer- all time favorite worship songs (“Come
sion in the presence of God! You’re in His Fall On Us” by Ben & Robin Pasley, 100
arms now, and as He gently rocks you Portraits) has a bridge which begins with
in this mysterious subterranean version of “A thankful heart prepares the way for
Sea World, you spontaneously begin to You, my God.” Only the Lord Himself
hum His praises. With every breath you could have said it better. And when He
take you can hear the hiss of compressed did, He coupled it with “always rejoice,”
air passing from your second stage regu- and “don’t stop praying.” We are then
lator into your lungs. But the worship-pay- instructed to “give thanks in everything
off comes as you exhale. You become because it’s God’s will for US!”
acutely aware of the sound of your own
humming-bubbles lifting up encomiums (1 Thessalonians 5:16-18)
to the Lord in the most unlikely place on
earth! You’re offering glowing, warmly 3-Practice being a living sacrifice to
enthusiastic “scuba diving praise!” the Lord, which Romans 12:1 says is our
“reasonable act of worship.” We praise
The Jonah Factor Him then, lifting up encomiums, for every
Scuba-praise? Sound a bit far fetched chance to decrease so that He may in-
or unbelievable? “No Biblical precedent,” crease. (In everything give thanks.)
you say? Think again. “When my soul
fainted within me, I remembered the Lord; Today you’ve learned a new word,
and my prayer went up to You, into Your and it’s many, many expressions. It’s my
holy temple. (Jonah 2:7 NKJV) These prayer that this new word, encomiums,
words from Jonah weren’t exactly offered will inspire you now to new acts of wor-
from the comfort of his favorite easy chair ship never even dreamed of!! As believ-
in front of the wide-screen at the “Jonah ers, worship is our forever-life, and the
household.” On the contrary, as we say worship life is all about—you guessed it!
in scuba lingo, he was “at depth.” Way
under water, and to complicate matters, in- Practicing praise!
side the belly of a very large fish! And yet Sandy
his thoughts and prayers were of and to the
Lord. Anywhere, any time, from anyone!
Sandy Hoffman serves
Encomiumatic Responses The Grace Community
OK, I admit it. I made up the term “en- Church in Santa Fe, NM,
comiumatic responses.” But I think you get where he is the Minister of
where I’m coming from when I make the Worship Arts. Check out
reference. Worship, led by team or other- his new instrumental acoustic guitar CD,
wise, is more than what we “do” on Sun- “Sereno,” at: www.EssentialWorship.com
 Practical Training for the
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 Mandolin

By Martin Stillion

I Wonder as I Wander Multi-instrumentalist Mar-

tin Stillion, a 15-year vet-
eran of worship bands,
plays at Seattle’s Bethany
Presbyterian Church. In his
I freely admit I’m a sucker for Christmas P.S. There are several collections of other lives he’s a husband, father, writer,
music. I’ve been working on arrange- Christmas tunes for mandolin; one of the editor, Webmaster, composer, and mu-
ments for a Christmas gig with my band, better ones I’ve seen is Roland White’s sician. Learn more than you wanted to
the Coolerheads, when I wasn’t busy Mandolin Christmas, available at www. know about Martin at www.stillion.com/
helping to plan the annual Classical Man- rolandwhite.com. martin or www.emando.com.
dolin Society of America
convention (which was   
tons of fun, by the way).   

  
       
Out of those efforts came

bluesified version of a            
 

              


 
this solo “chord melody” 

          

                            
     
 

folk carol by John Jacob
Niles, based on materi-

 
al he collected in 1933 







in North Carolina. 






 




              
     

            
I’ve reharmonized
             
 

     
                          
the tune and changed 

              
one of the notes: the

D# in bar 16 is a D
natural in Niles’ com-

       
position, but because 












     


this is the blues I want-         
ed a dominant seven           

                         
                 
 
chord in there some-


 
  

                   



         
where. I also changed

    
 


the meter, at least in the
first part. The customary
6/8 meter returns at the


key change in bar 24, 





















although the other altera- 












 
  







tions remain.
  
     

    
                            

  

              
 
Chord melody style is 

          

   
one way of playing lead




   
 
and backup at the same

time. The bigger note-

     
heads are the melody      
        
throughout the piece; you          
  
should try to “pop” these

                                      
notes out of the chords 

                                               

and de-emphasize the

                       
smaller notes. The “x”
noteheads indicate where  
I’m muting the chord with  


my left hand. 






  


            
     
You can practice this 




  
                      
slowly, of course, but it 


won’t make a lot of musi-

  
    
 
cal sense until you’re able
to play it at the marked 


tempo. Make sure you  
establish the rhythm and   
 

 


    
 

 


    
  

keep it going throughout  

 
  

                   

part 1—that’s more im-
          
  

 

           
portant than hitting all of
              


   

             
the smaller notes. Have

 
 
fun, and I’ll look forward
to seeing you at the Chris-


tian Musician Summit at 










Overlake.    








52 NOVEMBER/DECEMBER 2010 WORSHIPMUSICIANMAGAZINE.COM

 Think Inside the box
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 FOH Engineer

Continued from page 36 or show. I recommend always running above this point. You run the risk of not
be to always finish rehearsals with the sound check a little louder than you will only feedback, but also splash back on
house sound on. Many of their moni- run the service. It will honestly seem the stage that will overtake the bands
tor mix adjustments will be very just a little louder with out bodies monitors. You know you hit this mark if
different if they do not hear the in the room even with no chang- your band is on wedges and they all start
house sound blending with their es to any faders or gain knobs. asking for monitor changes.
wedge or ear monitor sound. This is because the human body
is made up mostly of water… And last but not least. If you have had
Now back to Paul’s topic. Once and one of the best sound absorb- (and especially if you have not had) a
you get gain structure set do not ing materials is big bags of water. So good rehearsal, never make any changes
change it, especially after sound check know that it is normal for sound-check / based on what you remember you want-
and especially not after rehearsal. Unless rehearsal to sound louder naturally. It is for ed to change. Meaning if the band has
something is about to explode, do not this reason that I encourage you to make left the stage, do not think, “Oh, I needed
mix with the gain knobs; doing so will it just a tad louder than you think, be- some gain on the acoustic guitar and I
adjust everything down stream including cause most likely you will turn it up a little didn’t want to mess him up in rehears-
the bands monitors. Let me say it again. anyway. Making it a bit louder will also al…. I’ll add it now.” Stop right there…
Unless a signal is about to pop the top off help you establish any feedback issues back to rule 1.
the little red clip LED, then leave it alone.that may flare up in the service. When
This is why it is so important that we got the people come in they suck up some of Till next time.
the gain right, and that they gave us real the sound so if you have audience mics John
world test signals, back in sound check. If that the ear monitor folks are relying on
you constantly adjust the gain during the or if you band is mostly on wedges, then
service you are changing their mix, espe- the change in sound when an audience John is an 20-year vet-
cially if they are on ear monitors. There fills the room will change the performers eran of the road and has
are these little slider things closer to yourperspective on their mix. been blessed to work
hands that we should be using now to for many of the top level
balance the mix. (Sorry for the sarcasm, Now that you have ran sound-check / Christian worship leaders
but some of us need to be reminded.) rehearsal a bit loud, back that main fader including Chris Tomlin, Lincoln Brew-
back where it belongs. You have estab- ster, Shane and Shane, Paul Baloche,
What else can change a musician’s lished a max volume as well as know you and many more, Check out www.Tech-
mix? The room and the audience. Sound are stable feedback wise. Do not “gain Training101.com for more about what
check is always different than the service up” any inputs, or push the main fader John is up to.

WORSHIPMUSICIANMAGAZINE.COM NOVEMBER/DECEMBER 2010 55

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 The REAL LIFE of LINCOLN BREWSTER: continued from page 26

when God has placed
a guy in a role, He has
placed him in that role.
You can choose to honor
that or you can choose
to dishonor that. To me,
before I would want to
dishonor that I would
rather just go on to a
different place where I
could get in alignment
with the vision.
photo: Jeremy Cowart
WM: Well people really
my pastor’s plan as if it is my own
like that workshop because you are so
idea. I can’t walk out to the team with
transparent in your presentation. That is
a long face and go, “You’re not going
what they respond to.
to believe what he’s going to make us
In that class and in your new album,
do,” but really go out and be honest
folks can see that you do have real
and say, “Hey, I’m excited because the
problems and that is the real life that
guy who is supposed to hear from God
you sing about.
in this church, heard from God and this
is what we are doing.”
LB: I feel passionate about it, I really do.
I’m passionate about doing ministry in
That is a hard concept for some people
a healthy fashion. I want to be doing
but I really respect and believe that
ministry 20 years from now. But I know
with the way that I’m wired, if it isn’t
about relationships, I won’t be able to
sustain it. I think a lot of people forget
that in ministry. They think it is a sprint
and they forget that it is about finishing
the race. To me, so much effective
ministry happens over the long term
and it is about healthy sustainability.
I try to be mindful about that and that
is why relationships are at the core of
the way that I choose to lead our team.
I don’t always do a good job. But I
can say that I never forget that. I never
forget the core of it. I never forget that it
is about relationships. So when I make
mistakes and when I don’t do a good
job, it is fixable, because I haven’t
forgotten what we’re about at the core
or let dysfunctional relationships destroy
people along the way. We serve a God
who is all about relationship. That is the
point of Christ coming. Remembering to
always be about relationship - that’s the
key.
visit www.lincolnbrewster.com

Keyboard

Continued from page 12
the droning A on top with a D below.
Continue creating your part with these
concepts in mind. If you’re practicing
this alone, with only your pad sound,
you may think it’s way too sparse a part
for the song. Don’t chisel that conclusion
in stone, though, until you’re able to
play your pad part with your full rhythm
section.
As I suggested earlier, each member
of a rhythm section can play some-
thing that sets a new section apart from
what’s just been heard. When the cho-
rus of “Mighty To Save” comes around,
you could do this by no longer droning
on the A as the top of your voicing. You
could certainly go to a higher note, per-
haps the E, above the A you’d played,
as a new droning note for the chorus,
but I might suggest that you take a differ-
ent approach to creating your pad part chorus feel like a payoff? Does the en-
for the chorus. Rather than play a dron- ergy diminish a bit when a later verse
ing note that doesn’t change for several is heard? Does the return of the chorus
measures, why not create some melodic feel significant?
movement within your part? This move-
ment is a strong contrast to that droning Listen to a recording of your worship
A heard so long in the verse. team playing a well-known worship
song. If what you hear is music played
Here’s a chord chart for the chorus with the same instrumental activity and
showing a possible melody for you to dynamic level throughout, step back
use on top and some voicing sugges- a bit. Compare the recording of your
tions for the notes team to popular recordings of the song
below that mel- you’re playing. How were sections set
ody. apart in the more well-known record-
ing? See if you don’t agree that creating
There are as clearly delineated song sections merits
many possibilities your attention. Do your homework here,
for the pad part and you’ll be more musically engaged
you choose here as you play and your congregation will
and the voicings engage more intently as you worship
you might use as together.
there are keyboard players. You might
opt for the verse’s droning top note to
continue; you might use a new keyboard As a songwriter Ed has
sound for the section; or, you might written over 100 songs with
choose some other option. The most Integrity Music. He has a
important thing for you (and everyone
else on your worship team) to consider Masters Degree in piano
is how the part your playing contributes performance. Ed and his family live in
to the linear flow of your song. Does Washington State. Ed plays a Yamaha’s
the verse establish the energy and mood Motif XS8. www.kerrtunes.com
of the lyric that will be sung? Does the

56 NOVEMBER/DECEMBER 2010 WORSHIPMUSICIANMAGAZINE.COM

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By Manuel Luz
Church Shopping Exposed
We’re here this Sunday morn- Note: This is code for: “I listen to a
ing in the lobby of What’s Happening
Community Church, located in the sub-
urbs of Caucasian Falls, USA. A couple
new to the church has just exited the
service and approached the pastor. Let’s
listen in…
Pastor: Good morning! You’re new,
right?
Joe: Hi. Yes, I’m Joe and this is my wife, think there’s a seminary class that coaches
Jill.
Jill: Yes, first time here. Really loved the
service.
Pastor: Well, great to have you here!
Joe: Do you have a moment? We were
just wondering if we could ask a
few questions.
Pastor: Sure. Fire away.
Joe: How many services do you have
here?
Note: This is code for: “I like to sleep in
late on Sundays.”
Pastor: Oh, we have three services on
Sunday mornings.
Joe: Great. I really liked the sermon to-
day. It is so good to hear a sermon
with meat, not the kind
that’s, well,
you know,
milk.
Lighter Side
have teenagers who desire a more cutting-
lot of Christian talk radio, and I edge program. It’s a coin toss, really.
want my sermons to sound just
like my favorite Christian radio Pastor: Uh, the answer is…Yes?
personality.”
Joe: Oh good.
Pastor: Well, you’ll find that we just
preach from “The Word” here. Pastor: Yeah! In your face, First Baptist!
Note: This is the typical response that Jill: Excuse me?
pastors have to these kinds of questions. I
Pastor: Uh, I said,
them on these answers. lovely place,
First Baptist.
Joe: Do your sermons always run that
long though? Jill: Oh.
Note: This is code for: “It will be foot- Pastor: Do you
ball season soon, and I don’t want the have any
sermon to eat into the pre-game show.” other ques-
tions?
Pastor: Well, you’ll find that we just
preach from “The Word” here. Joe: No, I think
that’s it. Thanks so much for your
Jill: I take it that you have a children’s time.
ministry?
Pastor: So, will we be seeing you next
Pastor: Yes, we have an excellent chil- week?
dren’s ministry. We have programs
up to sixth grade on Sundays. Jill: Yes, we think so. Thanks so much.
Note: Jill is secretly relieved at this state- Pastor: Well that’s great! Just wonderful!
ment, since she goes to church in part to Make sure you visit our coffee bar
get away from her kids. on the way out. Tell them the mocha
frappuccinos are on me!
Jill: Do they have an indoor jungle gym?
Because First Baptist down the street Jill: Oh, golly. You know, Joe is lactose
has one and the kids just love it. intolerant.
Pastor: No, sorry, we don’t have one. Joe: Yeah, well, I’m afraid we won’t be
coming back after all.
Note: Wrong answer. The pastor
makes a mental note to talk to Note: Joe and Jill leave, disappointed,
the facilities director about but ready to go shopping again next Sun-
installing that zip line and day. The pastor chases after them…
climbing wall next to the
snack bar. Pastor: But…but…did I tell you about our
free gym membership?
Jill: Oh. That’s really too
bad. How about your
youth program? Is it very Manuel Luz is a creative
big? Do they play loud arts pastor in Folsom, Cali-
rock music there? fornia. Which means he
always misses the morning
Note: At this point, the NFL games. We highly
pastor must make a critical recommend his book, Imagine That: Dis-
decision. On one hand, covering Your Unique Role as a Christian
they could be the kind of Artist from Moody Publishers, imaginethat-
couple who don’t want rock luz.com.
music influencing their teenage
children. Or they could be a couple who
WORSHIPMUSICIANMAGAZINE.COM NOVEMBER/DECEMBER 2010 59
 A Few Moments With…

By Brian Weaver

[False] Humility - How to Shine Your Light

I remember the first time I realized God in beauty.” This must have been the most so many people now struggle with humility
had given me a gift of discernment with beautiful, sparkling angel! and false humility issues: we don’t want to
musicians, of knowing where their heart make the same mistake Lucifer did.
was with their music, and where God was (cont.) “...the workmanship of thy tabrets
among that. I was helping lead worship (tambourines) and of thy pipes was Now, where is the balance between
for an event with another individual back prepared in thee in the day that thou being up front, leading others in worship,
in 2004, and something just didn’t feel wast created.” yet pointing to God and not to ourselves?
right about this person. Instead of using my Ezekiel 28:13 - KJV When I first began leading worship,
discernment to love on this person, I used it I would never take credit for anything; I
to judge. And when the story came out of God continues to describe Lucifer, ex- stayed as conservative as possible be-
what was really going on in this person’s plaining that he had tambourines and cause I didn’t want others to think I was
life, I said to myself, “I knew it!” This hap- pipes built into him. He didn’t just lead the prideful. When someone would say,
pened a number of times in the next few music, he was music. This also shows us “Great job with worship this morning,” I
years, until I heard God tell me that He that whatever God creates someone to would blow it off and say it wasn’t me,
had given me this gift not to judge, but to be, He builds it into him or her. With such but it was God. After going through this
help build people up and work with them beauty, splendor, and power, it’s no won- process for years and wondering what the
through their weaknesses. der why everything went to Lucifer’s head, balance was, I finally went to His Word
leading to his downfall. and sought the answer.
As I have continued on in my journey
of leading worship, performing my own “You were blameless in your ways from “You are the light of the world. A city on a
songs, and meeting fellow musicians who the day you were created till wicked- hill cannot be hidden...let your light
do the same, I’ve noticed that the topic of ness (iniquity) was found in shine before men, that they may see
humility and false humility has been the you...Your heart became proud on your good deeds and praise your
number one thing to arise. Why is it that account of your beauty, and you Father in heaven.”
pride seems to be the biggest downfall for corrupted your wisdom because of Matthew 5:14-16 - NIV
musicians and worship leaders? How do your splendor...”
we get on stage, play music, and allow Ezekiel 28:15, 17 - NIV In this verse, Jesus is saying to go out
God to be seen through that and not us? and be a “light” in the world; to let it “shine
Well, as my pastor likes to say, “The se- Lucifer was created to direct the music, before men”. I spent years worrying that
crets of God are hidden for us, not from yet when he saw how great, beautiful, people were going to see me and not see
us.” What does that mean, exactly? That and splendid he was, he began to think God, but after reading this, I realized my
means that if we want to get the answers, too highly of himself. This thought was the mind frame was all wrong. A light is vis-
we need to draw close to God (James iniquity that was found in his heart. Iniquity ible to everyone around it, especially the
4:8), and He’ll draw close to us and re- is simply a quality of sin; it deals with the light that is placed on a hill (or stage).
veal things to us. sins that cannot be seen (except by God). When that light shines, people will see
Some examples of this are pride, jealousy, what you’re doing (and appreciate you for
I think the first place to start is the issue deceit, envy, and covetousness. While sin it), but ultimately, the praise will go to our
of pride amongst musicians. Where did and iniquity both deal with falling short, sin Father.
this all start? Simply put – with Lucifer. In is the visible action we do that separates
Ezekiel 28, we find a detailed description us from God and iniquity is the hidden In this next passage, we see that the
of who Lucifer was and what he was in thought or intention that separates us. In queen of Sheba was hearing incredible
charge of. Jesus’ message in Matthew, He shares the stories about Solomon. She heard reports
difference between iniquity and sin: about Solomon that she didn’t even be-
“Son of man, take up a lament concern- lieve herself, so she decided to make a
ing the king of Tyre...” “You have heard that it was said, ‘Do not trip to visit Solomon and see these things
Ezekiel 28:12 - NIV commit adultery.’ But I tell you that for herself.
anyone who looks at a woman lust-
In this verse, God is telling the prophet fully has already committed adultery “When the queen of Sheba saw all the
Ezekiel to speak to the demon, the chief with her in his heart.” wisdom of Solomon and the pal-
spirit, that is influencing the king of Tyre; Matthew 5:27-28 - NIV ace he had built...she was
God is talking directly to Lucifer/Satan, overwhelmed...She said to the
who is controlling the king. The visible action of adultery is consid- king...‘Praise be to the Lord
ered sin, but the lustful look is the non-vis- your God, who has delighted in
“You were the model of perfection, full of ible act of iniquity. Iniquity wants to mani- you...’ ”
wisdom and perfect in beauty. You fest itself; it is only waiting on opportunity. 1 Kings 10:4-9 - NIV
were in Eden, the garden of God;
every precious stone adorned you...” Going back to the question of why it is I found that through everything Solomon
Ezekiel 28:13 - NIV that pride seems to be the biggest down- was doing and everything he had, the
fall for musicians and worship leaders, we queen of Sheba did not see him; she saw
God is saying that Lucifer was the see that it is because Lucifer first gave into the God he served! If Solomon had put
“model of perfection”; that he was “perfect pride and thinking he was better than God on this idea of “false humility” and hidden
Himself. I believe this is the reason why Continued on page 62

60 NOVEMBER/DECEMBER 2010 WORSHIPMUSICIANMAGAZINE.COM

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Elation E Spot LED
Lighting is a field that’s constantly The E Spot uses ground-breaking tech-
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articles we will look at several new tech- lamp, the 45 W LED has greater light
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feet. Compare that to a Mac250 Entour
The Elation E Spot LED from Elation which produces 911 lux at 16 feet with a
Professional Lighting is an innovative leap similar 15 degree beam angle. A typical
into the future of automated lighting. This discharge lamp is rated at 3000 hours,
deceptively small, full-featured moving while the LED lamp in the E Spot is rated
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and measures only 8” by 11.8” and just installed. Combined with long lamp life,
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unit also features gobo scrolling and a with a super efficient light source and ex-
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the fixture’s three rotating, indexing prisms edges and an exceptionally flat beam
- a 3-facet, 5-facet and 3D, which allow field. It’s very affordable. The E Spot’s
for a whole new palette capability and features belong to fixtures
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LED has a fixed 15° The E Spot LED is a reasonably quiet fix-
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2 6 5 ° . feet. Elation has pioneered the way with
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d i m - driving other manufacturers to develop
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can be
c o n - At about $1500, the Elation E Spot
t r o l l e d LED from Elation Professional Lighting is a
with a lot of bang for the buck, and would make
standard an excellent choice for your lighting rig.
DMX con-
troller in
a12 or 14 Greg Sisley is on the
c h a n n e l pastoral staff at Faith in
mode. Kent, WA, where he leads
production and men’s minis-
tries. He is also a member
of the Lift Worship Team, specializing in
lighting design and production.
62 NOVEMBER/DECEMBER 2010 WORSHIPMUSICIANMAGAZINE.COM
A Few Moments With…
Continued from page 60
who he was and what God had given
him, then the queen of Sheba wouldn’t
have been drawn to God. If anything, he
would have been drawing more attention
to himself.
As worship leaders and musicians, we
need to begin operating through the light
God has put inside of us from the day we
were born. We are told to go out and be
a light, to stand on a hill and be seen.
Through all of this, if our hearts and inten-
tions are right and set on the Lord, we
won’t need to be concerned about ‘get-
ting the glory’; it will automatically point
to God.
A friend once told me something I will
never forget: “People are most attracted to
you when you’re operating in your anoint-
ing.” This attraction should not cause you
to hide your light, but it should cause you
to live it out. Solomon was living out the
light God had given him, and through that,
everyone saw the source of the light: God.
As long as we continue to seek first His
kingdom and His righteousness (Matthew
6:33), we don’t have to worry about any-
thing else. The next time someone thanks
you for the great job you did, don’t brush
it off, but say, “Thank you.” Humility allows
other to appreciate you; even the word
appreciate simply means “to increase in
value.” People’s value should increase
after a worship experience, because they
have just drawn even closer to the pres-
ence of God.
Going back to Ezekiel 28:14, Lucifer
was described as the “cherub that cov-
ers.” As a worship leader, you’re not only
responsible to lead others in worship, but
also to protect it. The presence of God
should be protected from distractions. I’ve
noticed that a dull light draws more atten-
tion to it than a bright light. When a light is
dull, it pulls all the attention and focus onto
itself and away from the things around it.
However, when a light is extremely bright,
it shines on everything around it, revealing
the dark places. Let’s be the bright lights in
this world and shine on the dark places of
our hearts.
Don’t worry about telling others it’s not
you; just show them:
“For what they were not told, they will
see, and what they have not heard, they
will understand.”
Isaiah 52:15 - NIV
Brian Weaver is a sing-
er, songwriter, and wor-
ship leader from Phoenix,
AZ, signed with VSR Music
Group & EMI/CMG Distri-
bution
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