Steve

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Shining a Light
on the Song Product Review
w
in Each Heart PRS SE Custom
m
JAN/FEB 2008 Semi-Hollow
Volume 6, Issue 1
01 RECORD REVIEWS
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Jaime Jamgochian • Sound of the New Breed • Chill Café
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TABLE OF CONTENTS Jan/Feb 2008, Volume 6, Issue 1

Features
6 Product Review
40 Authentic Worship
by Michael Gonzales
When Worship Means
Edtitors Corner
And Justice for All?
by Erick Hailstone Something Have you noticed all of the songs about
42 Vocals justice lately? That is: justice for the poor, the
PRS SE Custom Semi-Hollow
by Sheri Gould orphaned, the persecuted and the oppressed.
8 Drummers Whether it is Tim Hughes, Brenton Brown, Paul
More Harmful Vocal Practices

CONTENTS
by Carl Albrecht Baloche, the Robbie Seay Band or Delirious, there
“These Are The Best Drums!” 44 Mandolin is a growing (and much needed) focus on justice
10 Bass by Martin Stillion in worship songs.
by Gary Lunn Playing the mandolin: About 20 years ago I had the privilege of
Total Dissection Of The Chesterton’s Carol attending home Bible studies, taught by Pastor
Groove 50 Cut Capo Chart Richard Wurmbrand. He was imprisoned for 14
13 Songwriting All Because Of Jesus years in Romania (rst by the Nazis and then by
54 A Few Moments with… the communist) for preaching Jesus to his fellow
by Paul Baloche
countrymen. Pastor Wurmbrand and his wife Sa-
Winter Walkdowns by Steve Merkel
brina founded Jesus to the Communist – an aid
16 Tips for Tight Teams “Truth or Consequences” in organization for the persecuted church – which
by Sandy Hoffman Worship now continues on as Voice of the Martyrs, even
The Art of The Chart after the passing of its founders. Pastor Wurm-

Interviews
Intervi
19 Guitar brand wrote the book Tortured for Christ – a must
by John Markowitz read for every believer. It reminds us to not forget
The Incredibly Useful our persecuted brothers and sisters in the faith,
Arpeggio all around the world. The ministry of the Wurm-
brand’s left an indelible mark on me. (Check out:
27 The Song was www.persecution.com)
Beautiful, Now to see more and more of our worship
Powerful, 20
20 musician community write and sing about the is-
Captivating… K ath
Kathryn Scott sues of justice and what that means to us as a
by Brian Doerksen Life of Belonging
A Lif church body (and as individuals) is exciting.
30 Record Reviews A few months back we embarked on an
Generation Unleashed idea named the “Just Worship Movement” (www.
justworshipmovement.org). It is about bringing
Mary Kathryn
together key worship artists/songwriters, to point
Ken Reynolds the way and walk along side of local worship lead-
Jaime Jamgochian ers, as they teach their own congregations about
Sound of the New Breed how worship and justice are tied together.
Chill Café Now, as we are preparing to go to press,
34 FOH Engineer Martin Smith (Delirious) just announced that
by John Mills he is gathering 12 notable worship songwriters
Compression 201 (Chris Tomlin, Paul Baloche, Tim Hughes, Darlene
Zschech, Michael W. Smith, Matt and Beth Red-
36 Keyboards 4466 man, Steven Curtis Chapman, Israel Houghton,
by Ed Kerr SSteve
tev Fee Graham Kendrick, Andy Park and Stu G. of Deliri-
Complement, Don’t Competee SShining
hin ous) in Scotland, at the International Songwriter’s
39 The Band Light
a Lig Retreat, to write songs for the cause of justice
by Tom Lane oon the Song
n th in the world. The event is called Compassionart.
Authenticity! A Word For All of the artists, record companies, managers,
iin
n Each
Ea Heart
Today licensing agencies (the whole food chain, so to
speak) have waived any royalities/monies from
these songs that will come forth from the en-
deavor both now and forever. The whole plan is
brilliant. Half of the revenue generated from the
music and publishing will go to the songwriter’s
chosen charity and the other half will go to a char-
ity agreed upon by all of the songwriters involved.
(Check out: compassionart.co.uk) Collectively,
4227 S. Meridian. Suite C PMB #275 Puyallup, Washington 98373-5963 this group of songwriters account for 98 of the
Phone: 253.445.1973 Fax: 253.770.0659 top 500 CCLI songs sung by millions in the church
Email: bruce@christianmusician.com worldwide.
Website: www.worshipmusicianmagazine.com We will bring you a full report of this sig-
Publisher/Editor: Bruce Adolph nicant event in the next issue. So, in the mean-
Vice President: Judy Adolph time, check out the websites mentioned above.
Customer Service: Brian Felix Take a look at our newly revised web site: www.
brian@christianmusiciansummit.com christianmusician.com (you’ll nd links there) and
Design: Matt Kees Proong: Stefan Konstantopoulos let’s join the justice movement in our prayer life,
Production: Scot Herring / J&D Printing in our worship, in our hearts and
Advertising Sales: Bruce Adolph minds. Together, we can work
bruce@christianmusician.com • 253-445-1973 toward justice for all!
Worship Musician! is published bi-monthly by The Adolph Agency, Inc.
Bruce & Judy
5
 PRODUCT REVIEWS by Erick Hailstone

PRS SE Custom Semi-Hollow

Semi-Ho
PRODUCT REVIEWS

What a great time to be a guitar dial up p a real usable jazz Through an amp this PRS is warm.
T
Throug
player. There are so many great gui- tone anda in the middle It’s glassy on the top en end, notes are
tars for a under a thousand bucks, it’s and back
b position it can distinct but never harsh or overly
just amazing. I’m sitting in a room softene the top end.
en bright. Each pickup p setting is a com-
with 23 guitars (everything from a When e I turn the vol-
en plete useable sound.
sound Distorted, the SE
d. Distort
“Tom Andersen” Droptop to a $200.00 ume e down the “SE” is reminds me of a tele th thinline with
Yamaha tele). Number 24 just showed doesn’t
e
esn’t lose any top humbuckers or a 3 335 with soapbars.
up and it’s a great one. end.d The result is
d. It’s familiar but ununique. With the right
nique. W
I picked this guitar up for review like
ke thinning the hum- settings the back k pickup will at out
at the Christian Musicians Summit in buckers,
u
uckers, not quite to a scream. Probably y not the right choice
Redmond a few weeks ago. I’ve since single
i
ingle coil sound but for a metal headheadbanger,
adbanger but for the
played it on several gigs. a jazz gig, p
pretty close. In the rest of us this is an exceexceptional guitar,
a blues/ R&B gig, a clinic with Roby m
middle pickup posi- an exceptional value.
v
Duke, contemporary worship, and tion, backing the vol- not
Last but no ot least, the SE Custom
a full tilt gospel experience. What a ume down makes the Semi-Hollow comesco with
w a dynamite
blast… this thing at out spanks! guitar sound almost gig bag. It’s go shou shoulder straps for
First off, it’s under seven pounds. acoustic. If I was hiking and it w will also balance on one
It’s carved out except for a section playing a straight nicely.
shoulder nice ely. It hahas one big pouch
that runs from under the bridge and ahead jazz gig I’d and
for strings an nd things and nice touches
pickups up to the neck. It’s so com- want the volume like a concealed
concea strap for hanging on a
aled stra
fortable on a four hour gig. The SE control to roll off when
coat rack wh you’re ying. It looks as
hen you’r
Custom Semi-Hollow has a mahoga- some top end but cool as the guitar, a nice touch. Retail
ny body with a maple top and a 22 2 for everything $858.00 – Streets around $600.00.
fret mahogany neck with a rosewood d else this set up More info:
in www.prsguitars.com
ww
fretboard. Basically it’s a strat shaped e
ed is great. Hailstone
Erick H
Hailston
body with no contours. Without the h
he Guitar
Guita player, composer, clinician
ar player
contours the body is squared off like i
ike
a tele. I do miss the belly contour but b
I suspect it would have changed the
resonance of the guitar. The “SE”’s s got
two humbuckers, volume, tone and n a
nd
three way pickup switch, simple,, like
a tele. The bridge is a compensated, a
ated,
wrap-around, one piece stud tail-
piece. Instead of an “F” hole thiss “SE”
has a half moon/cat’s eye. The work-w
manship is excellent. The setup p is top
notch. The action feels great and a the
frets are well dressed. This is the
t kind
of setup you’d pay $150.00 to t a real
good guitar tech.
The “SE Custom Semi-Hollow”
m
mi-Hollow”
sits somewhere between a semi s hol-
low tele and a 335. The combina-
o
ombina-
tion of the 25” scale, the wrap-
w
around bridge, the maple top
and the semi hollow body d
dy
result in a guitar that iss
extremely articulate. Un-
plugged, it shines and
sparkles with every
strum. Plugged in you
get three great tones
with every ick of the
switch. The tone pott
has a usable ratio from m
one end to the other. On
the front pickup you u can
6
Play the original,
or play a wannabe.
(Hey, the choice is yours)

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 FROM THE DRUMMERS PERSPECTIVE
“These Are The Best Drums!”
DRUMMERS
I’m about to reveal to you the
greatest set of drums I’ve ever played.
Without a doubt I know these drums
will “blow away” any other drum kit
out there. Don’t even try to change
my mind on this, because I’ve played
every kind of set of drums made in the
world. All of the greatest drummers
play them too. OK,,, READY?!,,, The
best drums ever are $#@!#!#@#!$.
What!,,, you say you couldn’t hear
me. I said, $#@!#@!$#@!$#. They
really are amazing. You must get them
or you’re just not the most hip, cool,
“up to date”, stylin’ cat out there; like
all of the other really happenin’ drum-
mers who play these drums.
OK, OK, STOP!!! For those of you
that know me, you know I don’t get
into these kinds of discussions. There is
no “greatest drum set ever.” I’ve even
worked in several drum shops through
the years, and this was always part of
the common shoptalk. “Oh, man, you
should really get these!” or “What!,,,
you’ve never played those drums?
They’re the best! You’re really miss-
ing it, dude.” It didn’t take long for me
to realize that the art of drumming is
much more than what drum set you
play. In all honesty, every manufac-
turer is making great drums.
My favorite equipment recommen-
dation is to play what you love and
what inspires you. It doesn’t matter if
it’s Yamaha, Pearl, Tama, DW, Gretsch,
or any of the other great drums out
there. Play the drums that make you
want to play! When you play “that”
drum kit then you’ve found you’re in-
strument. And don’t let anyone “mess
with your head” about it.
What makes drums sound great is
a great player making great music with
a great team when everything techni-
cally comes together. Now that can be
a very complicated thing, but let’s stay
focused on the drum issue. We could
also talk about cymbals, sticks, drum-
heads, etc. etc., but again, we will stay
in drum world for this article.
In all drum making, even with cus-
tom-built drums, there are some con-
cepts that apply to everyone. I know
there are a thousand variations in the
8
small details, but we’ll focus on the big
issues. Types of wood, the sizes, the
rims, and the tom mounting system of
the kit are probably the biggest factors
of drum sound. And this isn’t even dis-
cussing the electronic and engineering
options.
First, all maple drums will prob-
ably be the rst item in every com-
pany’s catalog. I happen to play a Ya-
maha Maple Custom Absolute series
kit with aluminum die cast hoops. A
22” kick; 10”, 12”, 14” & 16” toms
(all standard depths); and a 14”x5”
snare. (I do have other kits and about
15 snares, but this is my primary set
up.) Yes, I think they’re awesome, and
have been thrilled with the sound they
create. But every maple kit has very
similar characteristics. They all sound
“big!” Listen to Paul Baloche’s last two
projects: “A Greater Song” and “Our
God Saves” – that’s the kit!
Maple in general is a very hard
wood, but it is also very resonant. I
don’t know all of the technical rea-
sons, but they are “punchy” and have
a lot of tone. In some settings maple
drums can be a little too big sounding.
I’ve heard some people say the sound
spreads out too much, and that they
keep ringing too long. So if you want a
little more focused, tight sound maybe
you should try birch or other drums.
Birch drums, like the classic “Ya-
maha Recording Custom” series are
amazing too. These drums were the
early sound of Steve Gadd, Dave
Weckl, Paul Leim and others. They
have a little more mid-range in tone
and have a little tighter punch. Now,
does that mean better? … No, it’s just
different. Especially when it comes to
the sound of the toms. Many players
like Gadd and Leim are using maple
kick drums with birch toms. This
would give you a huge, fat sounding
kick, with toms that are a little more
punchy in the mid range.
All the drum companies would ad-
vertise and price their maple & birch
kits as the top of the line drums. Be-
yond that they would start to use oth-
er types of wood, and combinations of
them. Perhaps combining these popu-
By Carl Albrecht
lar woods with mahogany or oak or
others. If you are reading drum maga-
zines and catalogs you probably nd
the variations pretty overwhelming.
But honestly, what I’ve observed is
that when you get into the less expen-
sive drums they all sound more con-
trolled and not as resonant. Which is
not necessarily a bad thing. In some
settings you don’t what the drums to
sound so huge. If you play in smaller
venues all of the time, a less reso-
nant kit might work better. I’ve used
Yamaha Oak drums or other inexpen-
sive kits that sounded awesome, but
they just didn’t sound as big. The key
in most settings is tuning and head
selection, which I’ve written about in
other articles.
You could really put together
whatever kind of drum kit you could
imagine with the current list of options
that are available. Although I person-
ally like to hear a drum kit with the
same tonal characteristics across all
of the drums. Of course next week I
could change my mind. Remember,
this is art!
Besides types of wood, there are
also variations in size and thickness of
shell we could choose from. Deeper
drums will sound fatter and maybe
darker. Shorter drums will be punch-
ier. Thinner shells will sound brighter
than thicker shells and so on. If the
drums have die cast hoops rather than
machined steel they will probably have
more of a snap or cutting sound.
The best way to tune your ear to
these variations in sound is to go to a
shop and try a lot of different drums.
Don’t be a pest, but ask the store
sales people if you can take some time
to try things out. Try out everything
and take mental note of what make &
model your playing. Be sensitive to the
workers and customers and try to do
your testing in minutes and not hours
of playing in a store. I think you’ll get
excited as you discover what sounds
inspire you. It’s amazing to play drums
and feel that connection to a sound.
Always keep in mind what you’ll
be using the kit for. Are you record-
Continued on page 28
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 BASS
Total Dissection Of The Groove
BASS
Greetings in the name of our
risen Lord! Sometimes while I
am playing in worship sessions at
church, in studio recording ses-
sions, or at home recording sessions
(when I am “my own boss”), a lot
of thoughts run through my head as
I play. As I listen to and play with
some of these most excellent, won-
derful musicians (that I’m blessed
to work with), my thoughts often
change into self-checking, self-
help exercises! So, in thinking that
some of these personal battles of
mine (ha, ha!) might make inter-
esting reading, I will gladly share a
few of them with you.
Where’s the Hi-Hat?
Whether I’m playing live or
in a session, I always make sure
that I can hear the drummer’s hi-
hat and bass drum. In a live set-
ting, even if I am as little as six
feet away from the drummer’s hi-
hat I still ask for some in my moni-
tor or in my personal headphone
system (preferably on its own
channel). Because of the physical
distance from the hat itself, there
IS a time delay. You may think
that you are playing along with the
hi-hat, but you’re actually play-
ing behind it because of the time
it takes for its sound to reach your
ears! As an experiment sometime
during rehearsal, try plugging into
a really long cord (or wireless).
Then, while continuing to play,
run to the back of the auditorium.
The band will be mad at you for at
least a week.
What If
So, if I were in a live setting with
headphones (equipped with a click
track), here are some thoughts that
might be going on inside my head:
“Am I hearing enough hi-
hat? Is the drummer playing his
hi-hat with his bass drum or is it
sounding later than his bass drum?
It’s late so I’d better pay close at-
tention to his bass drum and con-
10
centrate on the click instead of his
hi-hat.”
Now is the time that I adjust
my headphone box so that I can
hear the click track slightly louder
than the drummer’s hi-hat. If the
box has a pan control for the click
channel, I typically pan it off to one
side a little (opposite his hi-hat) so
that I’m hearing the attack of his
bass drum in the center of the mix;
his hi-hat on one side (my prefer-
ence is the left) and the click on
the other side. This gives me per-
spective, comparing the rhythmic
placement of the bass drum to the
click, and the hi-hat to the click at
the same time. As I begin play-
ing again, the questions start up
again:
“Now, am I “landing” with his
bass drum? Am I rushing? Am I
dragging? Does this feel solid?
Something still feels funny. Uh, oh…
what’s everybody else doing?”
Groove Assassins
“Is the acoustic guitar player
rushing? Yes he is and he’s pulling
me with him.”
Now is the time when I wait for
a section coming up in the song
where I can play an open string
long enough to turn the acoustic
guitar down in my headphones;
not all the way down, but just far
enough so that I can still hear the
changes without being swayed by
his “lively” groove. I also will pan
him (in the headphones) away from
the center of the mix so as not to
cover up the click and the attack of
the bass drum.
I think you’re getting the pic-
ture. But those thoughts…they con-
tinue:
“Does the singer have good tim-
ing? Yeah, his timing tends to move
around a little. I’ll turn him down a
little, too, but not too much. I al-
ways want to be aware of the mes-
sage of the song. “Hey. The piano
player sure plays with a nice pocket
(really tight with the click…wow!). I
think I’ll leave that fader alone.”
By Gary Lunn
Truths Revealed
The click is your Friend. Clicks
are NOT over-rated. They help ev-
eryone grow musically to be steady
and solid. This greatly affects the
heart, or cadence of the song to the
point that the effectiveness of the
song depends on how steadily you,
as a timekeeper, present it. If your
own internal clock is as good as (or
close to) the click, then there are
no worries, right? Only practicing
with clicks and/or loops can help
bring you to this level of excel-
lence. Nowadays, churches are us-
ing personal headphone monitoring
systems more and more. Playing
together with headphones almost
always helps a band play tighter
together, especially when there is a
click/loop in the mix. Headphones
do tend to take a little of the “live”
excitement out of the overall experi-
ence, but the end result is a better-
played song/service. The timing of
players that you work with will af-
fect the way that you play. As bass-
ists, you must learn to trust your
watchman-like concept of timing
to compare the feel of those play-
ers around you. Then, when there
is someone in the band that has
great timing and their own “cool”
feel, you’ll know it. So what do you
do then? Play with them, listen to
them, and learn from them!
Gary has been
a session player/
producer/writer in
Nashville for nearly
30 years. He’s cur-
rently playing for
Morningstar Ministries,
Lindell Cooley, and various session
accounts. He’s also available for bass
tracking through travel or internet,
as well as for CD project production
or session contracting. Contact him
with any questions you might have
at pmpinfo@comcast.net. Check out
www.myspace.com/lunnbass , www.
purposemusicproductions.com/, and
www.mmi-inc.com/
 “...because nothing should distract
from why we are here.”
- Chris Tomlin, Worship Leader

Visit www.shure.com to learn more about Shure artists and their microphones.

www.shure.com
© 2007 Shure Incorporated
®
SONGWRITING By Paul Baloche

Winter Walkdowns Look at the examples shown.

In the key of C, look at the F/G
chord. That “shape” is a “move-
Hello fellow guitar players. Almost every song ever writ- able shape”. If you move that

This is the time of year when
the days are getting colder and
the nights are getting longer.
The time of the year when I
spend more time indoors, drink-
ing more coffee, and playing my
guitar. If that sounds like you, I
suggest that you brew a cup of
your favorite hot beverage, tune
up your guitar, nd a chair next
to the replace (not too close),
and explore the “winter walk-
downs” with me.
Walkdowns describe the
bass movement in a song, cre-
ating interest and emotion. A
“one chord” with the root in the
bass makes the listener feel “at
home”. But a “one chord” with
the third or the fth in the bass
is a totally different animal, usu-
ally evoking a majestic, anthem
like quality. These are very use-
ful tools in writing and arranging
songs.
ten has either a walk-down or
walk-up. Think of how the bass
walks down in choruses like “Je-
sus, Lover of My Soul”, “There
is None like You”, “As the Deer”,
or “Mr. Bojangles”. Sacred and
Secular, Classical and Contem-
porary, all employ this timeless
musical device.
So here we go. By learning
the walkdowns in the ve “gui-
tar keys”, you will be equipped
to play nearly 90% of all music
ever written. Or at least most
of the music you ever hope to
play. Of course then, by using a
capo, you will be able to play in
all twelve keys with ease. That is
one of the cool things about the
guitar—if you learn the “shapes”
of certain chords, those shapes
can be moved up and down the
neck forming different chords in
different keys. Something you
can’t do on a piano I might add.
SONGWRITING
shape up 2 frets, it becomes a
G/A, which sets you up for the
key of D. It’s a great shape to
use when you’re modulating
from one key to another. Another
moveable shape that will serve
you well is the A/C# in the key
of D. Move it up and down the
neck and gure out what chord
you’re playing. Bb/D, C/E, etc.
Go ahead and try them. Ouch!!
It’s tough at rst. The guitar is
a very physical instrument. Take
heart. Your hand muscles will
grow stronger through repeti-
tion so keep practicing.
The examples shown start
with the easiest key, C, and
progress to the hardest key, E.
If you are striving to be a bet-
ter guitar player, I truly believe
this is time well spent. Learning
these walkdowns will prepare
you to play hundreds of songs
and enable you
to enjoy your in-
strument more
fully. Apply what
you learn to this
issues new song
“You Gave Your
Life Away”, which
has a walkdown
in the key of G.
“Play skillfully...”
Ps. 33:3
Paul explores
the concept of
walkdowns in-
depth on his
‘Acoustic Guitar
DVD’ available at
www.leadworship.
com.

Paul
Baloche has
been the Worship
Pastor at Community
Christian Fellowship
in Lindale, Texas for
the past 14 years.
www.leadworship.
com

13
 By Paul Baloche & Kathryn Scott

2 You Gave Your Life Away

You Gave Your Life Away
D/F � D/F �
� G5
1.
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21 A m7 G5 A m7
PAUL BALOCHE & � � � �
KATHRYN SCOTT
me
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� G 5 D/F A m7 � G5
2.
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G 5 D/F A m7 G5 D sus D
�� � �
25 C2 G/B A m7 G/B C2 G/B
� � �� � � �
1.You spoke and worlds were formed
me How glo - rious is Your love If I could sing for -ev - er it's
�D.S. al Coda
2.You lived a sin - less life
� G/B � A m7
� �� � � � � �� � � �� � ��� � � � � � �
6
�� � �� � � � � � � �� � �� � � � �
C2 G5 D C2 29 G/B D sus D sus after double chorus
� �
You breathed and life was born You knew that one day You would come
�� � � �
not e - nough it's not e - nough
� CODA
Yet You were cru - ci - fied You bought our free - dom on the cross 'Cause You gave
� G5 � � �� � G5
� D/F �
� � � � � �� � � � � � �
9
�
D sus D G/B C2
� � � � � � � �� � � � � �� � � � � � � � � �
32
� � � � ��
D/F A m7 G5 A m7
�
So far from Hea - ven's throne Clothed in hu - man form
For - sa - ken for our sin You died and rose a - gain me For me You gave Your life a -way You gave
� G5 � � � G5
� D/F �
� � � � � � � � � � � � � � � � � � � � � � � ��
11
� � � � � �
D C2
� � � � � � �� � � � � � �
36 D/F A m7 G5 A m7
You showed the world the Fath - er's love You gave
� G5
Je - sus You are the Lamb of God Your life a -way for me You gave Your life a - way for me
D/F �
�� � � � �� � � � � � � � � � � �� � � � � �
� � �
13
� � � � � � � � � � � � � � � � � � ��
40 C2 C2 G5 D sus D G/B C2
� � �
You gave Your life a - way You gave You gave Your life a - way You gave
� E�m � �
For -sa - ken for our You died and rose a - gainJe -
� � � � � � � � � � � �� � G5
15
C2
� � � � � �
44
� � � � � � � �
D C2
� � � � � �
You gave Your life a - way for me Your grace
�
D/F �
� G5
- - sus You are the Lamb of God
� �� � � � � �� � �� � ��� ��� � � � � � �
17
Chords used in this song:
has bro - ken ev - ery chain My sins are gone my debt's been paid You gave
SONGWRITING

To Coda �
� Em
� � � � � � � � � � � � � � � � � ��
19 C2 4th x
�
You gave Your life a - way for me For
(c) 2007 Integrity's Hosanna! Music/ASCAP, Leadworship Songs (adm by Integrity's Hosanna! Music)/ASCAP and Vertical listen to this song at:
Worship Songs/ASCAP CCLI # 4994688

14
SONGWRITING
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 TIPS FOR TIGHT TEAMS
The Art of The Chart
TIPS FOR TIGHT TEAMS
On Broadway, it’s a big, brown
book full of little black dots. Nashville?
Numbers: each representing a chord
built on a degree of a scale in the
perfect key for the singer’s voice. For
guitarists, there’s tablature. Violinists:
a melodic masterpiece of melliuous
obligato. For the worship team: usu-
ally just chords and lyrics, which ne-
cessitates a very good ear!
SO, WHAT’S A “CHART?”
The denition of “chart” is broad
and encompasses many communica-
tion forms. There are lead sheets (lyr-
ics/melody line/chords), chord charts
(chords with rhythmic notations), full
music scores (usually piano parts or
full orchestration) and the ever-pop-
ular chord/lyric sheet (chords/lyrics/
miscellaneous info).
For our purposes, let’s dene a
chart as “a document consisting of a
series of musical symbols, giving de-
tailed information which allows for the
correct interpretation of a piece of mu-
sic.” Any of the aforementioned chart
types can meet this criteria, but only
one of these, the chord/lyric sheet,
seems so easily to facilitate worship
team participation without the ability
to actually read music notation.
THE CHORD/LYRIC SHEET
OK, if we’re being honest, the
chord/lyric sheet is seriously lacking
something in the way of musical detail;
specically, the melodic line of the song
it exists to present. Since the chord/
lyric sheet includes no legitimate mu-
sic notation, let’s agree that in order to
use it, we must be willing and able to
learn the melody of the song by ear;
either through listening to others sing
it live, or practicing it with a recording.
That being said and agreed upon, the
chord/lyric sheet seems most often to
win out as the favorite mode of com-
munication in many of today’s worship
contexts. It’s fast and easy to create
– and doesn’t require years of formal
music training to read.
TEN ESSENTIAL PARTS OF
THE CHART
From the perspective of the chord/
lyric sheet, let’s take some time to ex-
amine the essential elements of chart
anatomy. Properly applied, these will
16
enable the worship team to learn the
song, play it together, then hopefully
forget about the chart and get down
to the real business of glorifying God.
This is the art of the chart!
1- LEGAL STUFF
Certain elements of a chart are re-
quired by law. When creating a chord/
lyric sheet, or any other type of chart
for that matter, be sure to include the
song title, name of the author, copy-
right information including the word
“copyright,” or the symbol c, followed
by the year of copyright and name of
the publisher. Also include the letters
CCLI, followed by the license number
of the church or organization where
you’ll be using the chart.
2- ROAD MAP
The road map of a song can be
communicated with a series of capi-
tal letters which are the rst letter of
each section heading. I = Intro, V =
Verse, C = Chorus, and so on. In what
order do we play the chart sections if
the road map is as follows: I - V1 - C
- V2 - C - O? This would be played:
Intro, Verse 1, Chorus, Verse 2, Cho-
rus, Outro.
3- TEMPO MARKING
The tempo marking is usually a
single word such as “fast,” “medium” or
“slow,” or in classical music language,
“allegro,” moderato” or “adagio.” It can
also be communicated numerically as
“a quarter note=112” which means to
play the song at a tempo of 112 beats
per minute.
4- KEY SIGNATURE
When using a chord/lyric chart,
the key may be represented simply
as: Key of C, Key of E and so on.
5- TIME SIGNATURE
There are two parts to a time
signature. These include the top and
bottom numbers. For example, in 4/4
time, the top “4” tells us that there are
four beats in each measure. The bot-
tom “4” indicates that a quarter note
receives one beat. Some other time
signatures we might encounter in wor-
ship are 3/4, 2/4, 6/8, 3/2 and 5/8.
6- LYRICS
The lyrics of a song are embodied,
line by line, in a chord/lyric sheet.
7-CHORDS
The chords of a song are also in-
By Sandy Hoffman
cluded in a chord/lyric sheet. These
are lined up above the lyrics, syllable-
by-syllable, to facilitate the correct
timing of the chord changes.
8- SECTION HEADINGS
Section headings coordinate with
the road map (see #2) to help the
worship musician to always be in the
right place at the right time, musically
speaking.
9- REPEAT SIGNS
Repeat signs [|: :|] are a handy
little device for cutting down on print-
er’s ink. By using repeat signs, we al-
low the eyes to read a particular sec-
tion more than once during the playing
of a song; without having to print it
again.
10- ADDITIONAL DIRECTIONS
Usually bracketed [ ], additional
directions such as [repeat chorus] or
[to outro] are included in the chord/
lyric sheet format to help the worship
team to move together smoothly, from
one section to another, or to interpret
the music correctly.
*FREE* CHART SAMPLE
Charts have always been the great
unier of musicians. I’m sure the earli-
est charts must have been scratched
on cave walls. Since then, of course,
technology has advanced just a little.
Now you’re invited to visit www.es-
sentialworship.com, and download a
*FREE* sample of the chord/lyric chart
we’ve been discussing, prepared espe-
cially for you: the reader of Worship
Musician Magazine. Understanding the
art of the chart is primo for facilitating
the effective ow of worship. As you
include these chart essentials in your
team communications, I pray you’ll be
freer than ever from worship distrac-
tions and able to keep your eyes un-
inchingly xed on “The Prize!”
Knowin’ where I’m goin’,
Sandy
Sandy Hoffman
serves The Grace
Community in
Santa Fe, NM where
he is the Ministerof
Worship Arts. The
author of Beginning and Es-
sential Worship Guitar and Keyboard
books, CDs and DVDs, Sandy writes
for YWAM Publishing/Emerald Books.
www.EssentialWorship.com
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GUITAR By John Markowitz

The Incredibly Useful Arpeggio

I hope you all enjoyed the series are as follows: G, D, Am, C – each changes. These arpeggio shapes use
on slide guitar. Now I’d like to start chord for four beats. You try playing a the bass strings.
with something new and discuss a
concept that I nd incredibly useful
– the arpeggio. Just what is an ar-

GUITAR
peggio? “Arpeggio” comes from the
Italian word for playing the harp. And
if you think about the harp it is not
usually strummed like a guitar, but
notes are normally plucked one at a
time. Does that stop the harpist from variety of scale based lls using either As the band plays, I would like
playing chords? No, they just play the the G major or E minor scales or one to start with the low bass strings and
notes of the chord sequentially rather of the modes of G major (or maybe work my way up to arpeggios on the
than simultaneously. These notes can even a pentatonic scale, now that our middle set of strings. Here are a few
either ring together, or each note can “year of living dangerously” is over), arpeggio shapes we could use on the
be stopped before the next note is but everything sounds busy and an- middle strings.
sounded.
Are you excited yet? Let me spend
some time selling you on why this is
an interesting and practical topic. Do
your solos and lls sometimes sound
like someone practicing scales? Ar-
peggios can break all this up. Have
you ever wanted to add some jazzy
noying. It just does not t the mood Now let’s mix these two shapes to-
sophistication to a ll, but did not
of the song. Now is the time to pull gether into a music phrase that ts the
know how? Arpeggios are the answer.
something new out of the drawer of chord changes like a glove and sounds
Have you grown tired of the sound
musical knowledge. Let’s put lots of interesting. Note the grace note slide
of your right hand strumming away
reverb on our electric guitar and play in the beginning of bar 2 and the slide
on the same four chords? Arpeggios
some arpeggios that spell out the chord going into bar 3. Play all the notes
can be used in rhythm guitar as an al-
changes on our low bass strings. separately except for the notes of the
ternative to strumming. Guitarists in
First let’s think about the chord fourth bar, which I think sound best
Central and South America have been
spellings: ringing together.
doing this for years. Want to learn the
bass guitar? Bass lines are often lled
with arpeggios. (Have you ever heard
a bass guitar strummed? Uggh!)
Hopefully I now have a herd of
eager readers ready to take on a new
challenge. Before we talk about ar-
peggio shapes and applications, let’s
talk about spelling. When you learned
to spell out words in grammar school, I think the example above is a
the order of the letters were impor- G = G, B, D huge improvement over “noodling”
tant. The word “cat” was spelled C-A- D = D, F#, A with scales. What do you think?
T. Imagine a world where spelling like Am = A, C, E
ACT, TAC, and CTA, were equally valid C = C, E, G
spellings. When it comes to spelling
out chords in order to form an arpeg- Then, let’s think about arpeggio John plays in the
gio, the order is your choice. For ex- shapes. There are oodles of these and Westchester Chapel
ample, a C major chord is spelled C- there are many books on the subject. Worship Group in
E-G, but a C major arpeggio can place But since we all went through the series White Plains, NY. He
these three notes in any order you of articles on the CAGED chord frag- also adds his guitar efforts
wish. So GEC, CGE, and EGC are also ments and the “Year of Living Danger- to two contemporary Chris-
perfectly good. ously” series on modes, we can prob-
tian bands: Psalm 96 and Dominick
OK, now let’s look at a practical ably nd many of these shapes on our
Crincoli and Friends. In his free time
application. The rhythm guitar is play- own with a bit of thought. Below are
ing the key of G. The chord changes he is working on his jazz chops and
some arpeggio shapes for these chord
pondering the poetry in Ecclesiastes.
19
 20
KATHRYN SCOTT
A candid conversation with
UK worship leader, Kathryn
Scott, on her new record, and
the ‘joys and juggling’ that
come with being a songwriter;
recording artist, wife, mother
and worshipper of Jesus.
Aimee Herd: Your second solo
project, recently released is “I
Belong”... did you approach this
album differently than “Satisfy?”
In what ways were the writing and
recording of this project different
than your rst?
by Aimee Herd
the start of the album coming up to us. We have to learn how to
together, even before the other write songs that will help people
songs were written, I knew that I connect their own hearts with
wanted to record that song - it’s God’s. I could talk for a long time
really precious to me! One of the on that, but for now, it’s enough
main reasons is that I got to write it to say, that the crafting part can
with my Mum, and that is just one be pretty trying, and yet so worth
of my favorite things in world!! seeing through to the nish!

Kathryn Scott: I think the writing AH: How easily does writing songs AH: At what point did you begin
process was pretty much the same come to you, is there a process? writing songs, and how did you
- (except I have two kids now, and KS: There’s denitely a process! start?
I only had one when I did “Satisfy”) Sometimes it can take ages, and KS: I actually started writing
- it does make a difference!! The other times, though not often, songs when I was nine. I grew
recording of this album however, songs come quite quickly. I’ve up in a home where my Mum
was very different. I’ve not done found that I write in seasons. was a songwriter, and my Dad
a studio project since I started I’ll have a really intense time of was a recording engineer, and
writing worship songs, it’s always writing that maybe lasts a year so, it seemed perfectly natural
been ‘live’. Actually I really or so, and then I need to ‘breathe to express myself the same way.
enjoyed trying something different in’ again - I need to listen again Apart from a three year period right
this time, it’s a lot ‘easier’ to go before I know what it is that I before I started writing worship
into a studio and record, than put have to say in response. So much songs, I’ve written consistently
on a ‘live event’ - (for a start, if you of worship writing is simply that... since that time. I love that God
sing really badly, you’re only doing saying something in response. It ignites things in us when we are
it front of 5 or 6 people instead of all stems from this wonderful well only children, and I love that it’s
a few hundred!) of relationship with God. just as legitimate as what He does
AH: From where did the overall In practical terms, what it looks in us when we’re adults... that’s
inspiration come, for this project, “I like when I write is this: I take a an insight I’m especially grateful
Belong?” few weeks where I journal a great for now that I have children of my
own.
KS: When I’m writing for a project, deal. I go for walks by the ocean.
I just write what’s going on inside I ‘drink in’ God again. I think for AH: Talk about the songs on “I
me - or I write into what’s going anyone who is working full time, Belong.” It seems that when an
on around me (like the song “Will or who has kids, you’ll understand artist puts an album together, each
Justice Reign”) - and so, it sort that life bombs on at such a pace, song on the record holds special
of all ‘unfolds’ as I walk it it can be hard to listen, it’s hard to meaning...but are there a couple
through. I rarely have a nd the time - we have to put it in songs that stand out to you, more
clear direction until near our diaries or it just won’t happen. than some of the others? What
the end of the writing That’s most certainly the way it is are they and why?
process, and then I can for me. KS: “I Belong,” itself, is one of
start to see how we can After a few weeks of mornings those stand-out songs. My mum
make an ‘album’. The spent doing that - I start to ‘hear had written the chorus, and I
song “I Belong” was things’ forming in my heart. I start remember hearing it for the rst
one of the rst to be to get ideas that are the nuggets of time - I was blown away! It was
written and actually songs that I then start to develop. such a simple thing, and yet, it
used - in fact, I’ve I’m so grateful to Brian Doerksen was so completely profound! I’m
been using it in in this - he taught us that the over the moon that she asked if
worship for about inspiration part comes from the I would like to help her nish it.
three years! At Lord, but then the crafting part is The co-writing process was almost
21

KATHRYN SCOTT
as
as w
wonderful
o de
onderf
rfful
u aas
s th
the
e ni
n
nished
ish
hed
d s
song
ong
ong
for me!
“Will Justice Reign” is another one
that I particularly love. The more
I grow up (or at this stage of my
life, I should probably say, “the
older I get”), the more aware I am
of how passionately God pursues
the poor, and how much He longs
for us to do the same. I’m also
deeply aware that the earth itself
is “groaning and waiting” for the
return of the King. I wanted to
write something that reminded us
that this walk of faith is more than
simply a personal relationship
with Jesus - in other words, it’s
more than just about me, it has
to be expressed outwardly as
well. There are two sides to this
coin, and we need both. It is as
we connect more intimately with
God that we nd ourselves drawn
to those He is drawn to. I’m still
walking it through and trying to
gure out what that means for
me, in the context in which I’m
living. I think this song is about
encouraging others to ask God
the same questions: “who” and
“how?”
AH: Denitely, one of my favorite
songs on the record is: “Only True
God” …how did that song come
about?
KS: “Only True God” started off
because I wanted to write a song
22
about
abbou
o t th
the Trinity
e Tr
Trin
i it
in ity I’d
y - I’ never
’d ne
n ve tried
er tr
trie
ie
ed
that before. I also wanted to
write something that spoke about
God in an ‘absolute’ way that
acknowledged that He is the only
one. I’d almost nished it, but I
got stuck, as is often the case!! I
played it to Paul Baloche one time
that we were hanging out together
to do some writing, and he really
liked it. He wrote the ‘missing
lines’ - and what a job too! He also
came up with the idea of doing a
bridge.
I LOVE writing with other people,
especially when they are your
friends, it’s fantastic! They hear
things you would never have
thought of, and it feels so much
more creative than just sitting on
your own writing. I always feel like
songs and ideas ow much more
quickly when you are bouncing
ideas off of another writer. And
I know for sure that the songs I
write with others are always better
than the ones I write alone. It’s
just such a privilege to be able to
do it!!!
AH: Are you still leading worship
in your local fellowship, and if so,
how often?
KS: Yes I am. I lead twice a
month in our church, and then try
to do my ‘away’ leading on the
weeks I’m off (keeps me out of
mischief!).
A
AH: Of course, you’re not only
a recording artist and worship
le
e
leader, but also a wife and mother.
O
One of the things I wanted to
h
have you speak about is how you
deal with raising a young family,
d
while maintaining your position
w
as a worship leader. I know
there are many other wives and
th
mothers—who are also worship
m
leaders,
le
e or on a worship team—
who also have young families,
w
and if you could share your heart
a
a little on some good things to
remember,
re
e and things to avoid, I
think
th
h that would be a real asset
t them!
to
KS: This is denitely one of
K
th
the greatest joys in the world
too me, and at the same, one of
the greatest time challenges.
th
I should say at this point, that
sometimes I get it right, and
sometimes I really don’t. But, one
of the things that has stood us in
really good stead over the course
of the last six years that we’ve
been parents is this; we decided
that our family comes rst.
Actually, even before we had kids,
we decided that as pastors and
church planters, we needed to put
each other before the church too,
so we got some good practice in
at saying “no” before our children
were born. This is the way that
I look at it: there are millions of
worship leaders in the world, but
my husband and children only
have one me, and I want to make
sure that they grow up cherished;
knowing from the way I behaved
that I love them, rather than just
what I said. That has helped me
so many times in making decisions
about what I’m going to take on,
and what I’m going to have to say
no to.
So, the rst thing is ‘learn to say
no’ - even when it’s something that
you would give your eye teeth to
do sometimes. The second thing
is to remember that it’s a season.
Particularly in traveling, I’ve taken
a back seat for a number of years,
because my kids really needed
me to be there with them. This
will change as they grow older,
continued on page 24
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 continued from page 22

and even now is a lot easier. Our rather spend alone time with, but like Brian Doerksen, like the guys
youngest little girl is three, and she it can so easily get lost in the midst who lead the Vineyard movement
is totally happy for me to go away of the craziness of life. - and so on. There are so many.
for a few days (the present at the AH: Are there any ministry trips, I feel utterly blessed to have had
KATHRYN SCOTT

end of the trip might be the reason or specic recording projects, that sort of environment in which
why!). that you haven’t yet done, but to learn, and grow in worship
At home, I’ve pretty much that you’d like to someday....what leading.
consistently led worship while being would they be? AH: Kathryn, you’re from
a Mum too, it’s much easier to just KS: Wow - that’s a good question! Northern Ireland, and you still
go to one rehearsal a week, and then I’m not sure actually. I was make your home there. Can you
lead worship in church (because invited twice to lead worship in talk about what the “spiritual
we’re all there anyhow) than being Hawaii, and I said no twice!!!!! I atmosphere” is like there at this
out of the country a lot. You’ve got do remember at the time thinking point in time? It seems that
to be in it together though! that I must be completely out of Northern Ireland has been going
On Sundays, Alan and I ‘juggle’ the mind to be saying no - but, just through some very signicant
kids, so I get them ready in the like I was saying earlier, I just changes in the last couple years.
morning, then he takes them to couldn’t make it work with putting What kind of “sense” do you get
church after I’ve gone in for sound my family rst. SO, that does feel from people there, when it comes
check. He keeps them until after like unnished business! to the subject of getting closer to
I’ve led worship, and then we swap God, and worshipping Him?
AH: What is your favorite gear?
so he can preach. It works! (We KS: We live right on the North
also, in the last year, have had one KS: My favorite stage piano is a Coast of Ireland, it’s a wonderful,
of my wonderful friends help us Yamaha CP300 (or P250 - which wild, (very wet!!), ruggedly
with the kids on church mornings. is just the last model). They are beautiful place to live! I love it!!!
If anyone you trust offers to help - wonderful to play!! Of course, Spiritually speaking, I think there’s
take it!!!) when I get the chance to play a a hunger in people here for ‘reality’
grand piano - there’s nothing to with God. Northern Ireland has
Just one more thing, because as beat that!
husband and wife, you’re in it a tremendously rich heritage in
together, make sure you steal time AH: Do you think that it’s more faith. There are thousands of
away together too. We do this as difcult to be a female worship churches here, and almost no one
much as we can. We grab at least leader than a male worship leader, gets the opportunity to grow up
one coffee a week together when the and if so, why? without knowing who Jesus is.
kids are at school and nursery, and KS: I don’t think it’s any more However, with that has also come
every so often we plan a two day difcult being a girl leading worship a “tried that…and it didn’t work”
get away. We’ve found that it helps than a boy, although that is most sort of mentality about church.
make us feel like we are very much likely due to the fact that I’ve People are still pretty interested
on the same team, and of course, always been surrounded by guys in God, but they are not keen to
the truth is that we love each other who ‘opened the door’ for me in jump back into church as they
to bits. There’s still no one else I’d worship - people like my husband, knew it. That’s actually quite
eexciting as a church planter!! We
aare longing to nd any way that
wwe can to help people realize
tthat God is alive; that he longs to
bring life in all its glorious fullness
tto them; that it doesn’t have to
be dry.
A
AH: How do you see God moving
o
overall, in this time?
KS: I think He’s up to all sorts
oof wonderful things! And I really
believe that if you want to catch
Him in all His glory, you need to
ssneak a peek outside the church.
He is at work in the world in ways
Enjoy Kathryn Scott at the Christian Musician Summit tthat will take your breath away
this year at Overlake Christian Church. - in ways that will capture your
www.ChristianMusicianSummit.com heart, and ruin you forever!

24
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The song was beautiful
. . . . . powerful
. . . . captivating.
by Brian Doerksen wants Him to hear. He sees everything .
. . . . He hears everything; everything we
say and think. God takes delight when the
I was drawn in by the poetry, truth
whole of our life; everything he hears and
and compelling melody. The arrangement
sees is an expression of love to him. If we
was magnicent as well; the producer had
are walking in unfaithfulness or lack of
chosen creative and interesting sounds to
love, he is not impressed with our music,
awaken my aural senses. As I was enjoy-
no matter how grand or beautiful it sounds
ing the song, this ‘God’ question popped
to our ears.
into my head.
Remember the warning in Amos?
Is God enjoying this song the same
Amos 5: 23,24 Away with the noise
way I am?
of your songs! I will not listen to the music
Is the beauty of this singer’s voice
of your harps. But let justice roll on like
enough to bring delight to the heart of
a river, righteousness like a never-failing
God?
stream!
Maybe we need to step back and ask
The issue is not the music; God loves
a bigger question; does God get delight
music (There are way more commands
from music? He must – He created it! Does
to ‘sing a new song’ in scripture than to
God love creativity? How could a Creator
‘stop the music’). The answer is not to shut
not love our expressions of creativity? He
down creativity; religion has tried that
delights in our songs . . He loves all our ex-
many times and failed. If you are anything
pressions of creativity . . . until we are us-
like me, you have ‘God-encounters’ as you
ing those expressions of creativity to fake
get creative! Our calling as musicians and
how we are really doing . . .until we are
singers is to love God with our whole lives .
hiding behind our songs, even our songs
. .and ee our culture’s propensity to build-
of praise. A few g leaves woven togeth-
ing facades that have no substance behind
er, though creative and beautiful . . were
them. We live among a people that love
a sign that Adam & Eve were hiding who
to weave g leaves together, hide behind
they really were from their Maker.
them and call it art. God loves all art (in-
The truth is humbling. The truth is re-
cluding the beauty of a g leaf) but he does
vealing.
not delight in beauty that is not matched to
God does not need our music and our
a life of love.
creative expressions of art to communicate
The question is this: do our lives re-
truth or love. All of creation (even it’s fallen
ect the beauty, love and justice of God?
state) does a pretty amazing job of that
That’s a tough question to answer hon-
already!
estly. I wish the question was this instead:
(Psalm 19: 1- 3 “The heavens declare
does our music reect the beauty, love and
the glory of God; the skies proclaim the
justice of God? Answering that afrmative-
work of his hands. Day after day they pour
ly can be done a whole lot easier than our
forth speech; night after night they display
lives matching the words of our songs.
knowledge. There is no speech or language
Jesus put this match together; he
where their voice is not heard.)
matched ‘loving God’ with ‘loving your
So what does God need from us? What
neighbor’. Our closest neighbors; our
does he love to hear in our music?
spouses, children, co-workers and friends
When we hear recorded music, it’s
need to see and hear that the words of
limited hearing. We don’t ‘hear’ the life of
our songs are being lived out off the stage
the musician or songwriter. And musically,
and outside of the frame. Then the songs
all the ‘out of tune’ notes and mistakes
that powerfully move us will also move the
have been edited out. Or to think about it
heart of God. And that’s the dream and vi-
another way, through our culture’s fascina-
sion of a life with eternal re-
tion with lm and photography, we have
ward – bringing delight to
started to see life through the lens; now
the heart of God
we often see only what’s within the frame.
Outside of the frame and behind the facade
Pastor, song-
and props built for the lm set or photo
writer, worship leader,
shoot, it’s often not a pretty picture. For
producer and guitar-
sure, the stuff outside of the frame is not
ist... Brian and his
the part of the picture that we let others
family live in Abbotsford
see. But it’s at this point that there is a big
B.C. He has won many
difference between God and us.
GMA awards both in Canada and the U.S.
We hear and see in part.
He will be returning again this year to the
But God doesn’t watch a lm and see
Christian Musician Summit in Redmond,
only what’s in the frame. God doesn’t hear
WA Nov. 14th & 15th..
a song and hear only what the producer
27 27
 Drummers cont. from page 8
ing? Are you playing in mostly large
rooms or small? Is the music more
rock, pop, jazz, or is it a combination
of everything. Of course you may feel
DRUMMERS
you need more options, but you don’t
have the budget or space to own sev-
eral sets of drums. So how can you
pick out a kit that will work for every-
thing? In general the standard kit I
mentioned earlier really does cover all
of the bases. It’s a big investment up
front, but it will last a lifetime if you
take care of it.
If I’m playing in smaller venues I
might only use the three smaller toms,
use a smaller snare, and put more pad-
ding in the kick. When I don’t have to
worry about the room I use everything
and let them ring. I mufe as little as
possible most of the time. Drums have
a voice and I like to let them speak.
Again this is always subject to what
the job calls for.
No matter what type of kit I use I
look for the tom mountings to be some
kind of suspension system. Even on a
cheap kit this can make all the differ-
ence in the resonance of the toms and
how easily they will tune. Mountings
�������������������������������������������������
You�cant�spell�Westone�without�TONE
28
that attach to the shell or go through
the shell will usually distort the sound
or choke them. Quite often I can’t get
the drums to tune properly and one or
all of the toms don’t “speak” or reso-
nate well. Unless you want that old
school tom sound you have to have
isolation mounting for the toms.
This feature has become very
standardized in modern drum building
and can be found on even the cheap-
est of drum sets.
I hope this helps keep your mind
at ease if you’ve been wondering if
your drums aren’t the best drums in
the world. Or maybe this will help you
in your journey if you have been think-
ing of a change in kits. Again, test
drive a lot of drums and get your ears
tuned in to what’s out there.
You might just add some pieces.
Maybe smaller toms or a smaller kick
drum would be a good change if you’re
in a small room. It could be that a
cheaper, less resonant kit is more suit-
able to your situation. Buying a really
loud, top of the line kit and putting a
lot of mufing on everything is a ter-
rible waste of money.
�����������������
If you would like to, let me know
how it’s going in your journey in dis-
covering the sound of drums. You can
write to my e-mail or the forum on
my web site at www.carlalbrecht.com.
Happy drum hunting! Oh, and remem-
ber, don’t worry about nding the best
drums in the world. I think they’re in
heaven with Buddy Rich. � Ha!!!!!!!!
Peace,
Carl
Carl Albrecht has been a profes-
sional drummer & percussionist for
over 25 years. He has played on
over 70 Integrity Music projects;
Maranatha Praise Band
recordings & numer-
ous other Christian,
Pop, Country, Jazz &
commercial proj-
ects. He currently
lives in Nashville doing
recording sessions, producing, writing
and continuing to do various tours &
seminar events. Visit his website:
www.carlalbrecht.com or send an e-
mail to: lmalbrecht@aol.com.
VISIT US AT NAMM ‘08 BOOTH 6993 HALL A
Daniel Biro, Hawk Nelson
Westone ES2 custom fit
in-ear musicians’ monitor
������������������
 CMS Productions - Improving Skill | Inspiring Talent
www.ChristianMusician.com

CHRISTIAN
MUSICIANS...
MARK YOUR
CALENDARS!
featuring... Phil Keaggy, John Patitucci,
Roby Duke, Paul Baloche, Vicky
Beeching, Matt Maher and many more...

May 16 & 17, 2008

The Chapel at Crosspoint
www.ChristianMusicianSummit.com Getzville, New York
(near Buffalo)

featuring... Charlie Peacock, Rick Cua, Casey McGinty,

Scott & Christine Dente, Steve Rice, Steve Merkel and
many more...
March 27, 2008
Ecclesia Church at the Factory
www.SongwriterBootCamp.com Franklin, TN
(near Nashville)

featuring... Lincoln Brewster, Paul Baloche,

Norm Stockton, Rich Severson, Tom Brooks
and many more...
September 19 & 20, 2008
Bayside Church
Roseville, CA
www.ThrivingMusicianSummit.com (near Sacramento)

featuring... Kathryn
Scott, Paul Baloche,
Tree63, Stareld, Brenton Brown,
Brian Doerksen and many more...

November 14 & 15, 2008

Overlake Christian Church
Redmond, WA
www.ChristianMusicianSummit.com (near Seattle)

w w w. C h r i s t i a n M u s i c i a n . c o m
46 i n f o @ ch r i s t i a n m u s i c i a n . c o m (253) 770-0650
 RECORD REVIEWS By Shawn McLaughlin

Generation Unleashed coincidence that Maranatha Music – Great Things

RECORD REVIEWS

Generation Unleashed with strong roots in that movement Ken Reynolds

Maranatha Music – would be the label that houses the Integrity Music
Generation Unleashed is an annu- band. The record also sounds great, Having written songs for many
al, youth conference held in Portland, exceptionally so, for a live record- prominent worship and Gospel art-
Oregon every year, since 1992. Hav- ing and owes a lot to the mixing tal- ists over the years, Ken Reynolds un-
ing started in a small church with 600 ents of Andy Dodd and Adam Watts leashes his solo debut Great Things,
attendees, the conference has grown (Tooth & Nail, Disney act AJ & Aly) backed by his own, multi-national
to about 7,000 strong each year, un- and the mastering of legendary engi- choir from Resurrection Life Church
der the leadership of Doug and Don- neer Robert Hadley. Fortunately, it is in Michigan. With musical styles that
na Lasit, Generation Ministries pas- the songs that make the biggest im- will appeal to a wide demographic,
tors at City Bible Church. With a pact on Generation Unleashed – and Reynolds draws from a background
fo
ocus o
focus on equip- that should provide ample staying in traditional gospel, spiced up with
p ng
pi n
ping t
the cur- power for this worthy ministry. world music accents, funky rhythms
rent g
rent generation and acoustic-based pop, as in the
for wi
for widespread Dreams & Visions lovely “Does Anybody Here” – a sim-
evange
evangelism, the Mary Kathryn ple song of giving glory and honor to
worship times
worship Rhythm House Records the Lord, that features lovely acous-
are an integral
are www.rhythmhouse.com tic guitar work from Michael Gungor.
part of the con-
part “Incense of Praise” opens Mary Also focused on the unadulterated
fe
ereences
ncces
es. La
ferences. L
Larg
arg
gel
ely
Largelyly tr
ttrading
tra
rad
ading iin the id- y
Kathryn’s ne,, new release Dreams worship of Jesus Christ are the sub-
ioms
ms o off th
the
e ti
time
me,, (y
me
time, (ye
es, a huge U2
(yes, a
anand d Vis
Visions with sequent “Glory and Honor” with spe-
inuence)
inuence) the like-named band is a be b au
beautiful, lop- cial emphasis on the choral, vocal ar-
made up of youth in their teens and iinng rhy
ing rhythm and rangement and the saxophone-fueled
early twenties; the exuberance and aann ecle
eclectic bed “It’s Not About Me”, which continues
wide-eyed zealousness of the mem- ooff ins
instruments to shift the focus of worship to exact-
bers is echoed in the sound of their – in nclud
including elec- ly where it belongs. “Best Thing” and
new, self-titled disc. It should be ttric
ricc vi
violin and “Victory” step up the funky intensity
stated up front that there is nothing S itar – support-
Sitar with supple rhythms, rousing guitar
particularly innovative about the mu- in
ng h
ing he er ty
her ttypically
ypi
pica
call
lly
ll y ai
airy
iry
ry,, al
airy, a lmost ethereal
almost work, bright horn arrangements and
sic of Generation Unleashed, yet the voca
calls.
ls. It iis
vocals. s th
thi
thisis c
is onttra
on trast of original,
contrast stirring vocal contributions from the
unvarnished passion of numbers like earthy, world music instrum instrumentation choir. The latter features a fabulous
the opening rocker “Always” – with with the almost enya-esque ethere- guest v
gu vocal from
its ringing guitar riff – and the minor- ality of Paul Buono’s production that B
Be verly Shan-
Beverly
key hook-fests “He Lives” and “Shout creates such a unique vibe and vi- n on. Reynolds’
non.
It Out” – not to mention a very ad- sion for this under-appreciated art- p ia
ano p
piano playing is
vanced understanding of accessible ist. With song structures based on ffeatured
eature on the
songwriting – give the project an au- ‘60s pop and folk rock, Mary Kath- b eautif instru-
beautiful
thenticity of spirit that I often don’t ryn layers her creative bed of ex- m ental “Reec-
mental
nd on such projects. It doesn’t hurt otic sounds on wonderful tunes like tion” – a wel-
tion”
that the second half of the disc (large- the eerie “Dreamers”, the insistently co
ome
me rres
come espi
pite
te ffrom
respite rom
rom th
tthe
he int
intensity of
ly made up of ballads and mid-tem- hooky “In Your Time” and the lovely thee pr
prec
eced
ec edin
eding
in
preceding g nu
numb
mber
mb ers
numbers. s. Gre
Great Things
po numbers) doesn’t lose much in- interpretation of the old hymn (This should be very relatable to a gamut
tensity. Worship leaders Donna Lasit, is) “My Father’s World”. Mary Kath- of different denominations and styles
Jeremy Scott plus Jordan and Esther ryn’s lyrics also tend toward the of worship. It may even garner a
Filip lend energy with strong vocals gently esoteric, but put a premium signicant amount of radio play on
that don’t take focus away from the on the concept of worshiping Christ Christian AC formats.
task at hand: worshiping the Lord. where ever you may be, both in a
Lyrically, the project is full of very physical and spiritual sense. Very Above the Noise
basic (some would say simplistic) few worship records, heck, very few Jaime Jamgochian
sentiment, yet this is in keeping with Christian label records of any type Centricity records
the naivety and innocence found in sound like Dreams and Visions. Any- Songwriter/Worship leader Jam-
the rst bloom of youthful desire for one wanting a gentle experience of gochian releases her second disc on
intimacy with Jesus. It is somewhat personal worship that won’t lull you the Centricity label and it is clear
reminiscent of the early Jesus music to sleep, would be wise to seek out that there was a substantial amount
that ltered out of the west coast in this disc. of thought given to sonic expansion
the early ‘70s and it is probably not a on Above the Noise, as worship pro-
ducer-du-jour Nathan Nockels was
30
 Visit
us at N
AMM
Booth
#5721
Hall B

H2O
Normal/Lush switch added on
Chorus channel. Same great
chorus and echo tones that H2O
is famous for.
JEKYLL & HYDE
New noise reduction and improved
Mid control on Hyde channel.
Additional low-drive range on Jekyll
channel. Same great overdrive and
distortion tones that Jekyll & Hyde
is famous for.
ROUTE 66
New noise reduction on
Compressor channel. Additional
low-drive range on overdrive
channel. Same great compression
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Route 66 is famous for.
DOUBLE TROUBLE
Visual Sound’s interpretation of
the TS-808 (with bass boost
and lots more volume), times 2!
Use either overdrive by itself
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ANGRY FUZZ
LIQUID CHORUS A brand new effect unlike any
ROUTE 808 The chorus channel of the fuzz pedal you’ve ever heard. Blend
SON OF HYDE One channel of Double new H2O in a single pedal, in an octave up with the Anger
COMP 66 The Hyde distortion channel Trouble in a single pedal... with an added Depth knob. Level knob and get crazy low
The compressor channel from the new Jekyll & Hyde Visual Sound’s interpretation Also has 2 outputs, normal octave overtones to boot! Octave
of the new Route 66 in a in a single pedal. of the TS-808 (with bass and inverted, for running in tracking is flawless even with the
single pedal. boost and lots more volume). stereo. fastest shredding imaginable.

4922 PORT ROYAL ROAD B-11 5 SPRING HILL, TENNESSEE 37174 5 1-931-487-9001
www.visualsound.net
 RECORD REVIEWS By Shawn McLaughlin
brought on to bring currency to Jamgochian’s brand of New Breed that places Houghton in the producer’s chair,
amiable, pop-rock worship. While the record DOES sound while bringing his talented singers and instrumentalists
amazing, it sometimes gets drowned in an abyss of con- front and center. While the Israel and New Breed projects
vention, sounding just a bit too much like the Passion- largely produce self-penned materi-
inspired worship (that Nockels specializes in) that oods a
al
al,, th
tthe
e Sound of the New Breed spe-
the marketplace. Fortunately, Jamgochian has written a c ialize in re-working popular worship
cialize
p
spate of her most p passionate tunes for the project and c horuse from the Integrity catalog
choruses
ha
it is hard to deny the cathartic cry a nd giv
and giving them an eclectic, gospel-
o ““For
of For You” – a song that equates b ased facelift – hopefully exposing
based
person peace with total surrender
personal tthe
he go gospel community to a broader
to G
to od or the acknowledgement of
God, b ase o
base of worship material in the pro-
God’s c
God’s creative majesty that is “Sing ceess
ss. Wh
cess. Whil
ile
il
While e bo
both ““Ancient
both Anci
Anc
An cien
cieent of Days” and the band’s own “You
of O
of ur God”. “Amaze Me” is a vulner-
Our Aree Go od”
od
d” se
Good” seem
em llike
ike
ik
ke na
natura
natural prospects for this type of re-
able
able e co
confession from deep within the invention, worship songs by the likes of Don Moen, Darrel
artisst, celebrating the transforming
artist, Evans and Parachute Band are more problematic, seeming
poower off G
power od’
od
d’s llove.
God’s ove
ov e. A
e. long with the seven, self-penned
lo
Along to be more a vehicle for showing off facility than being par-
numb
mbber
ers
numbers s on tthe
he d isc
is
disc,c, JJamg
Jamgochian wisely chooses a cut ticularly inspired. When the results work; however, it can
from the pen of Nichole Nor Nordemen: the redemptive “Heal produce a stunner like Ten Shekel Shirts’ “Sing for Joy”, in
the Wound”. Jamgochian’s vocal on the tune is particularly which the band performs a funk shufe in the chorus and
vulnerable, perfectly echoing the emotions of one made verse, while transforming the middle eight into an inspired,
whole by God’s mercy and grace. With the caveat of con- call and response funk workout that recalls the best of Par-
vention aside, Above the Noise nicely narrates the con- liament/Funkadelic with brittle guitar work, reminiscent of
tinued blossoming of an artist who has the songwriting that band’s trailblazing axe-man Eddie Hazel. While a bit
smarts and vocal chops to compile a nice body of work in uneven, Kingdom is a fun and intermittently inspired collec-
the praise-and-worship market. tion of some of worship’s most enduring classics, rendered
in a way you’ve never heard ‘em before!
Kingdom
Sound of the New Breed Hiding Place
Integrity Music Chill Café
Sound of the New Breed is an off-shoot of Israel and Integrity Music
The co-opting of worship classics into
the ambient production and brittle jazz-
soul of the British “chill” movement is cer-
tainly more of a marketing concept than
one that seeks true, critical examination.
The wh whole Chill Café
s
se ries was created
ri
series
aass b ac
background music
ffor
or per
personal worship
ttimes,
imes, while kick-
inng ba
ing back with one’s
ffavorite
avorite caffeinat-
eedd b ev
beverage or, per-
haaps
ps, wh
haps, whil
hil
ile
while e re
rel
laxi
laxing
ing
relaxingg iin
n a lux
luxurious bubble
bath
th. As s
bath. uch
uc
such h it d en
e
de nnit
ite
ely h
nitely has its charms,
with an almost mechanical, soothing beat
that approximates the sounds of relax-
ation tapes, yet accompanied by praise &
worship favorites like “Hiding Place”, “Here
We Are to Worship”, “Offering” and “Draw
Me Close”. Hiding Place was not made for
anyone looking for an active listening ex-
perience, but will denitely appeal to those
in need of a little tranquility.

Shawn McLaughlin
is a hard working dedi-
cated, tireless worship-
per of Christ

32
 FOH ENGINEER
Compression 201
FOH ENGINEER
Last month we spent some time
on the basics of what a compressor
is, what it is used for, and what all the
knobs do.
This month I want to give you
some basic settings to get you start-
ed on specic instruments and situ-
ations, I also want to dispel a nasty
myth that many people typically be-
lieve.
First let’s hit some of those ba-
sics. Here are a few thoughts before
we get into the numbers.
When learning compression, try
starting out with the “auto” button
engaged. If your compressor has
one, this button automatically sets
the attack and release for you. It is
not always completely correct, but it
does do a pretty good job of guessing
what you want to achieve.
If you have an OverEasy button,
turn that on. Over Easy is a trade-
marked process of controlling the
compressor’s knee, but simply put, it
is a little more musical sounding type
of compression.
When you feel like you under-
stand the threshold, ratio, and output
sections go after learning the attack
and release knobs.
One other thing to note is that
every brand of compressor sounds a
little different. That’s why top studios
have many different types of com-
pressors. For our practices though,
we are not interested in the subtle
differences, but more in controlling
the dynamics of our instruments and
vocalists.
“I need more compressors” is
not always the solution. I run mostly
digital consoles these days, so even
though I have the ability to put a com-
pressor on every channel, I honestly
only use about 6 to 8 compressors
in a typical worship band setting and
one compressor on each vocalist.
What should I compress?
I typically compress vocals,
drums, bass, and acoustic guitar.
When I’m short on compressors I
make decisions in that order.
34
By John Mills
you should be able to nd a setting
that adds to the overall tone or thick-
ness of the drum.
A word to the wise on sub-
If you head out to my website,
group compression.
www.TechTraining101.com, and sign
Compressing with sub groups is
up for our introductory membership,
a topic we will save for another day,
you will be given access to a page that
but in short, be careful using it. A
has raw recordings of instruments you
compressor “compresses” the loudest
can use to play with compression.
thing it hears. So if you have a sub
The magic… where do I start.
group of 8 background vocalists and
All right, now that we have got
use only 1 compressor on that group,
all that out of the way, let’s go after
the loudest singer will be triggering
some of those magic numbers. Re-
the compression for everyone else.
member these are starting points; at
It’s useful for controlling the overall
the end of the day always trust your
dynamics of them, but will completely
ears.
mess up the blend of their vocals in
the mix if one person overpowers the
Vocals:
others from time to time. A better
The idea with vocal compression
solution here is to have a compressor
is to smooth out their dynamic range
committed to each individual vocalist,
so they will sit in the mix better. When
or at the very least, put one on the
Sally goes for that high note in the
lead vocal and one on a subgroup of
Sandi Patty song, it should not make
the background vocals
your ears bleed. As well as when she
Learning to hear what
the attack and release set-
tings really do.
This is actually a good
trick to setting the compres-
sor up in general, but be sure
to follow all the steps.
Insert your compressor on
a Kick Drum.
Set your Ratio to 8:1
Set the Threshold so you are get- goes to a quiet section we should still
ting about 10db of compression. be able to hear her.
Set Attack all the way fast. Threshold: Set so there is al-
Set Release somewhere in the ways a little compression taking
middle of the dial. place. Maybe –1db on soft sections
Turn the output gain back up as and –10db ons sloud sections.
to match the amount of compression Ratio: 2:1 for lead vocals, and 3
you are seeing. (You can check that or 4:1 for background vocals.
you are correct by alternating the by- Attack: Set as fast as possible;
pass switch. You should not notice a 5 to 25ms
difference in volume. Tone, yes, but Release: Should be somewhere
perceived volume, no. around 200 to 400ms.
Now start moving the attack to- Output: Don’t forget to bring the
ward the slower setting. You’ll notice output back. If you are seeing –4db
that the drum starts to get more click on the gain reduction meter boost the
or “attack” coming through. Find a output by +4db. That way you make
nice setting that allows punch but still up the gain you lost in the compres-
controls the latter part of the sound. sor.
Turn the Release all the way fast
to start. Now while listening to the Drums:
overall tone and decay of the drum, The biggest benet of compress-
move slowly toward slower settings. ing drums aside from controlling their
The compressor should fully release dynamics is that we can achieve a
BEFORE the hit of the next drum, and punchier sound. Try these settings.
One compressor on a sub mix of the
drums will often be a good solution.
But like I said above, the loudest
thing in the subgroup triggers the
compressor, so be sure to balance the
levels of the drums so the compres-
sor is hitting evenly on all the drums.
That said I always prefer to have an
individual compressor on each drum.
Threshold: Set so there is about
–4db on normal hits. More
compression will return a more
“squashed” sound, which is of-
ten desired, on a snare.
Ratio: 4:1
Attack: Set as fast as
possible. I nd 3 to 15ms
will let a nice bit of the snap
through. Listen to the “click”
on the drum when choosing
this setting.
Release: 20 to 75ms will fatten
up the tone, or meat, of the drum.
Output: Don’t forget to make up
the gain you lost from compression.
If you set it so you see -4db on the
compression meter, then turn up the
output of the compressor by +4db.
Bass:
Since the bass guitar is the feel-
ing and driving force behind most
contemporary worship music, I tend
to want it pretty solid. I don’t like the
low frequencies jumping around as if
they were coming and going.
Threshold: Set so there is about
–6db on the gain reduction meter.
Ratio: 4:1
Attack: 15 to 45ms
Release: 300 to 450ms, depend-
ing on the song.
Output: Don’t forget to make up
the gain.
Acoustic guitar:
I like the acoustic to have a nice
attack but also to be consistent.
Going from nger picking to
hard strumming will require
a bit of a threshold adjust-
ment usually, but these set-
tings should get you start-
ed.
Threshold: Set so
there is about –3bd on the
gain reduction meter.
Ratio: 2.5:1
Attack: 5 to 15ms
Release: 200 to 300ms. Give
or take depending on how fast the
song is. You should see the meter
fall just a hair faster than the natu-
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Remember, these settings are
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Oh, and that nasty myth I men- independent labels
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Till next month, your worship team! Eve
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 KEYBOARDS
Complement, Don’t Compete
KEYBOARDS
I’m a worship pastor in a grow-
ing church in the Seattle area.
Though you may not live in the Pa-
cic northwest with a view of the
beautiful Cascade mountains to
your east and a Starbucks on every
other block, you and I have a lot
in common. Like many of you, my
Sunday song list tends to feature
titles from the top 25 CCLI list. Be-
sides this, you probably play in a
rhythm section with several other
musicians, usually an acoustic gui-
tarist, an electric guitarist, a bass
player, and a drummer. If yours is
a smaller rhythm section, most of
you are probably playing with at
least one acoustic guitarist. I’ve
had emails from some of you who
have described a much less typical
worship band: hammer dulcimer,
violin, percussion and your key-
board. Whether your instrumenta-
tion is exactly like mine, or if all
we have in common is the fact that
you and I both play keyboards on a
worship team, there are many mu-
sical things that we can and should
approach the same way.
First of all, we keyboard players
should consider our musical con-
text. As I mentioned above, in my
church we sing lots of songs from
the top 25 CCLI list. A high percent-
age of these songs are generally
led by acoustic guitar. When I say
“led” here, I mean that an acous-
tic guitar is the most conspicuous
instrument in recorded arrange-
ments. What does this suggest for
keyboard players? Generally, that
we should work toward creating a
keyboard part that complements
rather than competes with what
the guitarist is playing.
Here’s an example. As you’re
rehearsing a song with your wor-
ship team, concentrate on what
the acoustic guitarist is playing.
Are they using lots of faster notes,
like 8th notes and 16th notes, gen-
erally playing a fairly active part?
If so, ask yourself what you might
play that would complement that
guitar part. Complement the part,
36
don’t compete with it. Just think of
opposites. Your guitarist is playing
lots of faster notes, so you choose
to play few of these, focusing in-
stead on the longer note values
like quarter notes, half notes, and
even whole notes. You should also
notice what pitches the guitarist is
playing most often, and then move
to a different register of your key-
board so that your note values and
pitches are unique from those the
guitarist is using. Again, comple-
ment, don’t compete.
Besides your using these two
guidelines for creating keyboard
parts, the next suggestion I have
can take you to a very fullling and
stimulating role where your musi-
cal possibilities within the team
greatly multiply. I’m suggesting
that you take advantage of the
amazing range of sounds available
to you from today’s electronic key-
boards. I’m currently playing a Ya-
maha motif es8 in our church. It’s
a wonderful instrument: 88 keys,
weighted action, a huge library of
sounds onboard. I could limit my-
self to playing one of the excel-
lent grand piano sounds included,
but I want to be able to contrib-
ute a broader range of sounds in
my worship team. So, I’ve set up
a “performance” on the keyboard.
This feature of my motif means
that grand piano, pad, Rhodes,
Wurlitzer, and organ are available
at any moment. No glitches when I
change sounds. Layering of sounds
when desired. Nice.
Besides the grand piano sound,
the pad sound is perhaps the most
important in my sonic palette.
Briey, a pad sound is quite lush,
having a character similar to that
of a string orchestra. If you try
and play a rhythmic part using a
pad sound, something with many
repeated notes, you’ll nd that it
simply doesn’t work well. But, long
notes speak beautifully, and lend a
wonderful horizontal “glue” to your
team’s sound. If you have pad
sounds available but tend to use
By Ed Kerr
grand piano sounds almost exclu-
sively, try out a pad sound in your
next rehearsal. Create a pad part
using “open voicings” where you
leave the thirds out of your chords.
Try and nd a “droning” note that
can be held across several chord
changes. Make that droning note
the highest note you play on your
keyboard with other changing
notes below it. The nature of a pad
sound makes it a perfect choice for
creating keyboard parts with lots
of long note values that comple-
ment rhythmically active acoustic
guitar parts.
Whatever sound you choose,
here’s a tip to see whether or not
your part is contributing well to
the arrangement. The tip: stop
playing! Yep. Stop playing. Listen
to the rest of the team as they
continue to play. If you nd that
the arrangement sounds complete
without what you were playing,
rethink your part. Try a different
sound, a different range on your
keyboard, or different rhythms.
If, on the other hand, you hear a
“hole” in the arrangement without
your part, play on!
If you nd yourself searching
for ways to make what you bring
to your worship team fresher and
more creative, using a pad sound
could be a great beginning point.
Whatever you do, ask God to in-
spire you and to keep your pas-
sion for worship ministry fresh. 2
Chronicles 29:11 says, “…Don’t
drag your feet in this! God has
chosen you to take your place be-
fore him to serve in conducting
and leading worship-this is your
life work; make sure you do it and
do it well.”
As a songwriter Ed
has written over 100
songs with Integrity
Music. He has a Masters
Degree in piano perfor-
mance. Ed and his family
live in Washington State.
 mp3s

charts

lead sheets

podcasts

download new and classic tunes

99¢ or less!
a div. of Brentwood-Benson Music Publishing www.GreatWorshipSongs.com
THE BAND
Authenticity!
A Word For Today
There are approximately two
hundred fty thousand people gath-
ered here in Lagos and they are
worshipping God in one huge, loud
voice. It’s an amazing and very
signicant event for Nigeria, as
they celebrate 50 years of indepen-
dence and reclaim their country for
Christ.
A host of talents have come to
lead in worship and prayer. Don
Moen, who I am here with, was ap-
propriately called “the patriarch of
worship and gospel music of Africa,”
by one of the key leaders in Nigeria.
He was blazing the trail in worship
long before it was the movement
we’ve come to know. The Africans
regard him as a pioneer and father
in the faith. Around the globe, peo-
ple know every word to his songs: a
testimony to the impact of his min-
istry.
Don lives a unique life as wor-
ship leader, musician, songwriter,
minister and President of Integrity
Music: truly an exceptionally gifted
human being! I’ve grown to admire
and love him as I travel the world
with him and can say, truthfully ,he
is the real deal: a great ambassador
of Christ to the nations.
I asked him this morning, as
we’re leaving Nigeria, to inspire me
with a word for bands and here’s
what he said: “authenticity!” Com-
ing from a record company presi-
dent, that would say enough, but
even more from a man of God who
seeks His kingdom rst.
Though it’s normal to grow up
taking in the world around us, be-
coming a part of us and shaping us
all along the way - as believers in
Christ - we are to model our lives
after a whole other kingdom than
the one we know here. One way we
do that is by living and being who
we are made to be: the authentic
and real you and me.
If you are a band in pursuit
of common goals together, you
(no doubt) understand something
about the process of nding your
vibe, your sound, your look, your
edge and identity, etc. It’s part of
the deal, but more important than
any sound you make, of course, is
the life you live, which speaks vol-
umes over your tone. In my expe-
rience, it’s not so much the sound
that’s hard to nd; it’s maturity and
understanding of how to live with a
kingdom perspective. Without a vi-
sion of who and what we’re called to
be, we wander aimlessly and follow
others’ ideas and perceptions. The
vision can’t just be to be known or
have successful songs in the church
or market place. We have greater
responsibility than that alone.
Silly as it may seem, it is nor-
mal practice for companies to bring
in coaches to help artists know
what to say, from the stage, or in
an interview. I’ll be honest, if we
don’t have a clear idea of what our
passion is and an understanding
of truth enough to communicate
it, then no one else can give it to
us. For it to be authentic, it must
come from the treasures of our own
hearts and communion with God Al-
mighty. Otherwise we’re just bor-
rowing a medium or platform to ex-
ploit ourselves.
So, my summation of authen-
ticity is; it’s a unique balancing act
of seeking the Kingdom of God rst
and stewarding our talents and spir-
itual gifts . We can certainly make
it more complicated than it needs
to be - and some of it is not rock-
et science. Music and relationships
just come out a certain way in the
collective mix of a band organically
and naturally. Where authentic-
ity really comes into play is decid-
ing together what you’re going to
pursue and chase after; it’s about
choices we make.
Here are just some of the ques-
tions we need answers for: Will we
allow others to dictate or dene our
vision and calling? Do we need to
be well known to do our ministry?
Do we desire what we see that oth-
ers have ,or what God desires for
By Tom Lane
us most? Are we following or lead-
ing? Do we want to minister or en-
tertain?
We don’t pass judgement on
anyone else’s life. We are respon-
sible to God alone for what we do
THE BAND
with what we have, but we can
sharpen and challenge one an-
other to remember what the main
thing is. I’ve not met many driven
,creative types that didn’t want to
know how to get out there in front
of people or have some successes
- worship leaders included. Again,
I think that is a natural part of our
humanity, but our choices do reect
our passion.
My challenge with regard to
Don’s word for the day “authentic-
ity” is this:
1. Set your sights on giving back
to God the most real, honest, cre-
ative and genuine expressions from
your hearts, before looking at the
world or marketplace to determine
what’s vibey, cool and marketable.
2. Be more committed to set-
ting the right example as a believer.
Than you are willing to do whatever
it takes to be promoted.
3. Dene and focus now on the
vision and ministry God gives you,
more than pursuing companies and
deals to help you with future minis-
try plans. They’ll nd you!
4. Don’t be found void of what
to say or confused about the truth
of the gospel of Jesus, which is cen-
tral to faith and worship!
If you will aim for the Kingdom
rst, I truly believe that God will put
you in great places of inuence: big
and small. Most bands can play, but
not all can lead by example. Which
will you be?
Nashville, TN is home for Tom
Lane though he is involved in ministry
and music around the world. As a
singer, songwriter and guitar player,
Tom has been teamed with many
worship leaders and art-
ists. He continues to
record his own work,
lead worship, and
writes regularly for
various worship publi-
cations worldwide.
39
 AUTHENTIC WORSHIP
When Worship Means Something
AUTHENTIC WORSHIP
We all worship something. I have
a neighbor who worships his car. Ev-
ery weekend he does the same rou-
tine, washes it and waxes it—even if
it doesn’t need it.
Some people worship people.
Just look at tabloid television and you
soon wonder just how many more
stories about Britney Spears can they
tell.
I know people who worship wor-
ship. I don’t mean they worship God,
although they sing about God, but
they worship the songs and the art-
ists who create them.
Today I met a guy. That’s how
he introduced himself to me. Then I
found out he was Darrell Evans, wor-
ship leader and composer “of TRAD-
ING MY SORROWS” and “YOUR LOVE
IS EVERLASTING”. Then I thought,
“That’s what I want to be—just a guy,
where I am less and He is more.”
One of the best worshippers I
know is a man named Harold. He
doesn’t sing and he mostly sits in the
lobby of the church, where there are
speakers, so he can hear the mes-
sage. The main chapel is separated
by glass, so he can always look in
and see the pastor. He strategical-
ly places himself there, because he
looks at the faces of those walking
in and people just come to him like
a magnet for prayer. He says, “How
are you today? What can I pray for?”
It is amazing, people just start telling
their stories and in seconds they bow
their heads and he simply lays a hand
on them and prays. That, to me, is
when worship means something.
Another friend of mine is so
grateful for his life in Christ. He and
his wife make sandwiches and deliver
them to a park in Long Beach on Sat-
urday mornings. That is when wor-
ship means something.
A movie executive in Italy visits
the sick on Saturdays. His wife said
that when she rst married him, she
prayed and asked God why he hadn’t
heard her prayers for a Godly man. In
time, he heard the Gospel, accepted
Christ and now he has become that
Godly servant/leader. She is so very
40
By Michael Gonzales
grateful. He is in awesome man who thought he was doing the right thing.
is what I call a torch bearer to the His voice is just right and his playing
sick. He gives them hope through is excellent, but for him, at that mo-
prayer and consolation. That is when ment, worship meant one thing and
worship means something. for me it meant another.
I visited a church on the west So, as dim as my light might have
coast that, at one time, had over been that morning, I surrendered to
2,000 attenders. There was a church the Lordship of Christ, and continued
split and now there were only 40 peo- to praise God in song. By the way, I
ple. From what I could tell, these 40 in no way feel I should shirk my re-
people were wounded, but one thing sponsibility to go up to him and give
stood out in my mind: they were liv- him some friendly advice. It is a way
ing a life full of the love of Christ. It for iron to sharpen iron and it is also
came out in their singing, their hugs, a way for him to let his light shine
their prayers and their reverence for back to me.
God in communion. That is when Worship means
worship means something. something to God,
So, how do we get to that holy by the way we live.
of holies?
Let me encourage you by recit-
ing John 1:5. “The light shines in Michael Gonzales,
the darkness, but the darkness can- Ph.D. Professor, Biola
not comprehend it.” Maybe I should University mike.gonzales@biola.edu
paraphrase it: “The light shines in the
darkness, but the darkness has no
power to squash it out.”
This applies to all things. You are
having problems with a worship team
member? Well, if you’re walking in
the Spirit, “The light shines in the
darkness.” Even if you are accused
of something, “The light shines in the
darkness.”
You don’t have to be Darth Vad-
er to be on the dark side. It can be
in the way you respond to someone
else. I understand what it’s like to
serve under bad circumstances, but
what counts sometimes is how we re-
spond. How we let our light shine can
make all the difference in the world.
Sometimes we can also irritate
newcomers when we worship. The
other day I sat in church and we had
a new worship leader (an intern) take
over the worship leading chores. The
music went on and on and, after
each song, he was really into it; he
kept repeating the choruses over and
over again. My light wasn’t shining
too bright that day. I wanted to un-
plug his amp, not only because we
were singing so long (over 30 min-
utes), but because we were doing it
on our feet! Bless his heart, for he
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 VOCALS
More Harmful Vocal Practices
VOCALS
Last issue I discussed a com-
monly taught ‘vocal technique’ that is
potentially very harmful to the vocal
cords (‘adding air to the tone’). This
month I’m going to address some ad-
ditional teachings that are not only
counter productive to most vocalists’
goals but that can be destructive to
the vocal apparatus as well.
Belt/Chest Voice Singing
There is a lot of misunderstand-
ing when it comes to singing with the
lower register. The lower register is
the fullest, ‘richest’ and sometimes
the most powerful part of a persons’
range. This is because the vocal cords
are typically fully adducted (closed-
vibrating the full length of the cords)
in this register. This is the same reg-
ister that most people speak in. When
you speak, the vocal cords are fully
adducted as well. This type of singing
is usually ok as long as it’s not being
pushed to the max either in regard to
volume, frequency of use or extension
of range.
However, when this register is be-
ing repeatedly used for ALL singing
and speaking, it can be very wearing
on the voice. For this reason I fre-
quently tell people to vary the pitch
of their speaking voice. This helps al-
leviate the stress in the same area of
the vocal cords that occurs when the
same pitch is repeated over and over
again. In the same way, it’s important
to sing in different parts of your range
with varying degrees of vocal cord ad-
duction. Also the use of varying de-
grees of volume is helpful as well. One
of the problems with a ‘belt voice’ is
that it only has one volume-loud! This
is not only stressful to the vocal cords
but also to the ears!! This voice can
be grating to listen to after a while.
Some teachers will recommend
trying to ‘extend’ the chest voice up as
far as possible to help strengthen sing-
ers with a weaker upper register. The
idea is to ‘extend their range’. This
is a mistake and a misunderstanding
of how to genuinely strengthen the
upper range properly. The solution to
a weak upper range is not trying to
extend a ‘chest voice’ up higher. The
solution to a weak upper range is to
learn how to sing properly throughout
your entire range. This includes learn-
ing how to properly abduct (open) the
vocal cords as your reach the upper
parts of your range. This is diametri-
cally opposed to carrying a ‘belt voice’
up higher.
42
Head Voice/
High Larynx Singing
There is also a concept frequently
taught that will employ the idea of us-
ing a ‘head voice’ to sing in the up-
per register. I like to make a distinc-
tion between singing and resonating
in an upper register versus singing in
a ‘head voice’ and here’s why. When
you sing in a head voice there are two
things that invariably happen: high
larynx and air in the tone. Both of
the practices are vocally destructive.
Adding air to your tone causes great
stress to the vocal cords. Any type of
singing or speaking that incorporates
air in the tone should be avoided (for
example- a whisper).
A high larynx causes the muscles
surrounding the larynx to tighten.
Those tightened muscles are not a
good sign. Generally speaking, tight
muscles in the throat lead to ten-
sion surrounding the larynx and vo-
cal cords as well. This makes phonat-
ing or singing more difcult and even
painful. What we want as singers is
NO TENSION in the throat at all. The
muscles in the throat are there pri-
marily for swallowing and an occa-
sional yawn. Vocal problems frequent-
ly start when people use their throat
muscles for talking and singing. This
causes way too much strain and can
literally cause a strained or pulled
muscle from overuse.
Proper breath support will help
alleviate the tendency to (over) use
the throat muscles for singing and
speaking. Many of the vocal issues
that singers end up having are ac-
tually caused more from improper
speaking habits than they are from
simply singing. These can carry over
into singing techniques as well of
course. The usual ‘issue’ is BREATH
SUPPORT. Once this is properly mas-
tered, the tendency toward muscle
tension in the throat can be arrested.
Once the muscles are truly relaxed in
the throat, the larynx will be in a bet-
ter (lowered) position. This is much
safer and will also give you a much
improved tone.
Vibrato
There are many ways to produce
vibrato. Most of them are ‘unnatural’.
By this I mean that they cause a vi-
brato by manipulating some part of
the body to produce the vibrato. This
can be a chin, a larynx or even a dia-
phragm. I nd that more often than
By Sheri Gould
not the preferred way of manipulation
is the larynx. I believe this is true be-
cause it’s the easiest to manipulate
and comes the closest to sounding
natural. So what’s the problem with
this? The problem is two-fold as I see
it.
The rst problem is that because
it’s an unnatural function of the larynx
it invariably puts extra stress on the
muscles in the throat area. There is
already an inordinate amount of stress
being put on the muscles in the throat
when an untrained singer is singing
without proper breath control. When
we then pile on top of it this misuse of
the larynx it simply is increasing the
amount of stress to the muscles and
pressure to the vocal cords, all of it—
unnecessary.
Secondly, the product of a manip-
ulated vibrato is unnatural sounding.
It typically overwhelms the tone and
becomes the driving force behind the
tone rather than the embellishment
that it should be. It becomes nearly
impossible to blend with. It can be
uncomfortable enough to listen to in
a solo voice, but in a group setting
the results are usually very difcult to
work with.
Vibrato should occur naturally. It
is the byproduct of the way your dia-
phragm pulsates air. Wind instruments
can aptly demonstrate this if their
diaphragm remains un-manipulated.
If singers can learn to utilize proper
breath control and relax the muscles
in their throat, a vibrato will happen
naturally and it will be PLEASANT to
listen to! It will be like the cherry on
top of the sundae—not the ice cream
itself—a beautiful embellishment. A
vibrato that is overpowering is a sure
sign of a manipulated vibrato. A true
and natural vibrato is the end result of
the hard work of learning to relax! It
takes time to develop, but it’s so very
worth it.
Sheri Gould has a
BS in Music Education
(Vocal/Choral) from the
University of Illinois. A
church music director
(Choir/Worship Leader)
since 1985, she also
teaches vocal techniques
at various workshops
around the country.
Send your questions to: sherigould1@
aol.com
 e l l e n c e i n
Exc
Wors h i p . . .

(HEART)
(MUSICIANSHIP)
(DEDICATION)
(SACRIFICE)

Bring Your Best

www.yamahaworship.com
 MANDOLIN By Martin Stillion

Playing the mandolin:

MANDOLIN

Chesterton’s Carol
I’m a sucker for Christmas, and I
couldn’t resist putting out this song for
you to try. It might be a little late for
this year, but look at it this way: you’ll
have plenty of time to practice for next
Christmas.
This is my setting of “A Christmas
Carol,” a poem by G. K. Chesterton.
I don’t have space to tell you about
Chesterton, other than to say that I
think all English-speaking Christians
should read as much of his stuff as
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they can get their hands on. I’ve played help somewhat), but if you e-mail me
this twice at my own church, where it’s (martin@stillion.com) I’ll be glad to
been well received. It denitely isn’t send you a tabbed version.
for congregational singing; it’s a solo Take a look at the three bars at the
piece that features the mandolin. end of the intro. We’re starting with a
The composition is simpler than chord that has no third and then drop-
it may appear. There’s really only one ping the third into it (the G on the D
basic 16-bar chord progression. It’s string). Make sure to bring that third
just chopped up, stretched, half-timed, out each time this gure occurs. As in-
or double-timed at various points in dicated, the best way to play the step-
the song. I’m sorry there wasn’t room wise chords in the second half of the
for tab (the chord diagrams should verse is to use barre chords and work
your way up the fretboard.
Chesterton's Carol Lyrics: G. K. Chesterton This should move along at a good
Music: Martin Stillion (©2007)
clip; the indicated tempo is where I
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3
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goes. No promises, but I’ll try to have
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heart; His hair was
�� �� �� �� �� �� �� �� �� �� mp3 by the time you read this.
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� � � �
like a light. O wear - y, wear - y is the world, but here is all a -
within the church. Monroe would have
like a star. O stern and cun - ning are the kings, but here the true hearts been familiar with religious traditions
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�
is the world, but here
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Multi-instrumen-
�� � talist Martin Stillion,
Em
a 13-year veteran of
�� � �� � � � �� � �
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worship bands, plays
� � � � � � � � � � � � � � � � � � � ��
� �� ��� � � at Seattle’s Bethany
3
Presbyterian Church. In
� �
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� � � � � � � � � � � ��� � � � � � � � � � � � � � � � � ������� his other lives he’s a husband, father,

3
writer, editor, Webmaster, composer,
Em Em Em
recording artist, and instrument
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D.S. al Coda

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� �� � � � dealer. Learn more than you wanted
� �� �� �� �� �� �� to know about Martin at www.stillion.
com/martin or www.emando.com.
44
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Serving the WORSHIP!
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for over 45 years.
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STEVE FEE

Having toured with

the Passion
movement from its very
beginning, Steve Fe
e’s heart is
all about giving fo
llowers-of-
Jesus a vehicle of
praise, and
providing songs to
sing to the
Lord that He’s al
ready begun
in their hearts.
Read on to
learn more about
this creative
and grounded wor
shipper, the
talented band FE
E, and their
debut project, “W
e Shine.”

Aimee Herd: Steve,

to get a little take that on?
background, what
was your home Then when I was in col
like growing up, we lege, I
re your parents SF: Well, I’m the youngest of three boy joined up with a worsh
Believers? my two older brothe s, ip leader
rs, throughout high from Atlanta, during the sum
school, were really int mers
Steve Fee: I grew up o sports, and so was when I wasn’t in school, I wo
in the Midwest, I. But my uld
just south of Chicago par ent s decided, to help us travel with him playing key
, in the suburbs. be more “w to boa rds
My parents both be ell-rounded,” they wo
came Believers us take pia uld have and guitar in his worship band.
when I was young. no lessons, and guita
As I was growing every onc r lessons The rst summer that I played
up, I was on the very e-in-a-while. For me, it
front end of their stuck. I did jus t really with him, we did an event in
walk with God. My mo a bunch of sports growin
m especially, was but I had g up, Florida, and the speaker was
a massive inuence in a love for [playing] mu
my life. was really the only one sic, and I Louie Giglio. I was a sophomore
I came to know the Lor in my fam ily who in college that summer, and Louie
d as a kid, I was did. and I became friends.
6-years-old. But I rea
lly began a walk So I began
and an intimate relati walking down the road
onship loving music, writing of really I remember Louie said to me,
with God when I wa son gs, singing and “We’re going to do this thing. We
s 16, playing. In my family,
in youth group. My ho I’m kin d of the “odd don’t know what it’s going to be,
me, man out” for being a mu
growing up, was a sic ian . or what it’s going to loo
very k like, or
positive atmosphere, AH : You began to get a tas sound
and te for lea din like.
spiritual climate. worship for college g
students through But one
AH: Whataboutmusical Passion—how did you thing
ly?  rst get hoo ked up we
Did anyone else pla with Louie Giglio? do
y kno w
an instrument, were SF: It’s a cool story. is that we
you surrounded by When I was in have
high school, just learni a
music, or were you ng how to vision
play music (we had to
the only one to moved to call a
Florida by then). My you
th pastor
told me one day, “Steve
, I’d like
for you to lead the music
for our
high school group.” I
was SO
intimidated, and so sca
red. I was
like, “There’s no way
I’m doing
that! That’s not what
I want to
do…” But he said, “W
e’d really
like you to.” So I ended
up doing
it, just to get him to sto
p asking
me. But it became
something
that I really enjoyed.
And he
began to pour into me
what it
means to lead worship,
and not
just to play songs, bu
t to stand
before a group of people
and lead
them toward God. It
was the
very beginning of my jou
46 rney.
generation of college students God to lead me, as I led people in worship.
to live for the glory of God all SF: Wow, a lot of things come to
The Passion movement is just massive
of their life. The other thing we mind—two in particular. At the
now, and the journey with Louie and with
know is that we’re going to call beginning of the rst tour, Louie was
Passion has been an amazing journey, and
on the tour with me, and so was Chris

STEVE FEE
it ‘Passion.’ Does that sound it’s been something that God has used to
like something you want to be Tomlin. Chris and I led together for
shape me, and to form a worshipper’s
a part of?” the rst four weeks of the tour. As
heart in me. I’m grateful for it.
a young worship leader, I was really
I was like, “Oh my goodness, AH: Wow, that must have been an leaning on him, but after the fourth
yeah! That sounds amazing!” incredible experience. You mentioned the week, he left. On the rst night that
So, as the vision of Passion ’97, ’98 and ’99 Passion events, that rst Chris left the tour, and then it was all up
began to grow, I was there “generation” of Passion worshippers has to me. That was a lot of responsibility!
with Louie, and a handful of moved past college now, and many are in But we found ourselves at Chico State
other worship leaders and the category of “young marrieds.” And that University in California, where, that
visionaries, and I began on the means there is a whole new generation year, it was voted the “number one party
journey of Passion. One of the of college students. As you go out with school” by Playboy Magazine. And here
most shaping moments was Passion now, and do worship events, do we were driving up, with the message of
after Passion ’99 (there were you see any difference between that rst Jesus. It was our rst outdoor event, we
3 annual Passion gatherings group of students, and this generation of set up and said whoever would like to come
at rst, in ’97, ’98 and ’99.), collegiate worshippers? and worship God is welcome…on this, of
they had this vision of a huge all campuses! Chris was gone so I had to
outdoor worship gathering. It SF: There are slight differences, but
there’s one thing that remains the same. lead, but oh my goodness, it was one of the
would last for one solid day— most intense times of worship I’ve
one solid day of prayer and And this is why Passion really targets
the collegiate market, because [this is] ever experienced!
worship. The idea was that
the 10 months preceding that the time in their lives of such massive We were set up in a rose
event, there would be a band crossroads—they’re making decisions on garden, between two
that would travel by bus, and what they’re going to do for the rest of big dormitories. The
go to as many college campuses their lives, and what they’re going to whole time we were
as possible, and lead a time of believe for the rest of their lives. The worshipping, all the
worship and cast vision, inviting thing that runs through the collegiate windows were open
people to join us on the eld at generation is, we’re all looking for in the dorms. People
One Day. Louie chose me to be something to believe in, we’re all looking were leaning out the
the guy to do that, so I spent for a story big enough to live inside of, windows watching
9 months on a bus with the something bigger than ourselves. We’re this worship
guys in the band—we went to looking for a cause, a platform, or experience.
over 120 colleges in the span of something to really champion. When we
about 8 or 9 months! So, what [the Passion movement] w e r e
does is to engage them at the d o n e ,
That was one of the most a n d
shaping things, as a worship crossroads of life, and offer them
the greatest thing to live for— Louie
leader, to show up at a place I’d cast
n e v e r the fame and glory of God,
b e e n the fame of Jesus. That’s
before, always remained the same
and to in college students, and
really that’s what Passion has said
just rely from the very beginning.
on the There are events where the
Spirit theme changes yearly. The
o f thing I love about Passion
is, from the beginning, it
has had the same theme—
the renown; the fame of God
is the desire of our souls.
So, we place that in front
of college students and say,
“Jesus is the greatest thing to vision
live for.” for the
gathering
AH: In the time you’ve been of “One
visiting college campuses, and Day,” (there
you’ve worked with college students, I were several
know there must have been some really h u n d r e d
special times you’ve experienced. Can people that
you pick one example of feedback came out), a
you’ve received from a student, or student came
maybe someone who’s been impacted up to me. He
by God moving through you?
47
 told me he’d been worshipping in says
s
sa that He “put a new
the back, when another guy—an song
so
o in my mouth.” We
acquaintance—walked by and said believe
be that.
to him, “What’s going on, what are I remember as a high
STEVE FEE

these people doing?” He told him school

sc c student, walking
they were just worshipping the into
in n a worship experience,
Lord, and the guy told him, “I’m and
an the worship band was
so intrigued by how much you playing.
pl I looked around
believe…I want to know more…” and
a
an saw these thousands
And there, in that moment—with of
o people worshipping
no invitation, or public response together.
t
to I had never heard
called for—this guy just led his the
th h songs before, but I felt
friend to Christ. At this “number like
lik
li ik the songs were “in me”
one party school,” this guy had to
to say. Even the worship
seen this display of worshippers, songs
so
s o of our day; Chris
and had felt that he was on the Tomlin
To with “How Great is Our
outside of something he really God,”
G the rst time I heard
wanted to be on the inside of. that
th h song, it resonated in my
That’s just the glory of God. heart.
h
he I was like, “Yeah, I
Stories like that happened all want
w to say that to God, I feel
throughout the tour, it was so like
lliik that is in me to say.” And
humbling, and it let us know that itt would be just like God, who
we were doing the right thing, at is s to be praised, and who is
the right time. great,
g
gr and magnicent, to put
to
t lead.
llea
ea
ad.
d. inside
inn the people He’s created,
AH: Steve, have you noticed any
expressions of worship about Him. Even
difference in college campuses, as you The band formed out of the mantle as simple as, “How great is our God.”
visit both Christian and secular schools? of leadership we’re carrying here at
SF: Sometimes there are differences. our home church. We love the local So, we write songs that hopefully give
I remember going to the University of church, we feel it’s God’s “plan A” for voice to some of that. One of the songs
Nebraska in Lincoln. I’m from Georgia, the redemption of His people. Most that has received a lot of feedback is
and it’s part of the “Bible Belt,” religion of the songs on our record are written “Glorious One.” People say, “I feel like
is a big part of our culture here. That’s for our local church congregation. I’ve known that song for years, and yet
not so much the case in Nebraska, and It’s so good of the Lord to let us I’ve never heard it before.” That speaks
other parts of the country. But I feel like record those, and put them on CD to into what we’re talking about; God
the students who were coming into that export throughout the country and already putting expressions inside of His
the world. creations, about Him. That’s our aim.
room were really in touch, and in love
When people send us emails and tell us
with God. Because they’re in a climate We feel like we have a real specic they’ve been singing our songs at their
that isn’t as friendly or as open minded mission with our songs—we write churches, that—to us—is the highest
to the Gospel. They’re living on campus, songs to give voice to what God encouragement. It tells us that God
and sometimes it’s a tough go at being a has already put inside the hearts is blessing what we’re doing, because
Christian, because they’re not as widely of people to say about Him. That’s these songs are actually giving voice to
accepted. So when they get together to what we want to do at our church, we worshippers around the world. That is
worship, it brings a lot of passion and want to write songs that give voice denitely our mission.
intensity. Because these people, who are to our local body, to enable them to
so in love with the Lord, are using every sing, and express our love, and the AH: Even purely in a musical sense, the
moment of their collegiate career to be glory of God to Him. That’s what band has a very procient sound. Talk a
a witness for the Lord in a place that our band was birthed out of—our little about the other members of Fee.
maybe isn’t so friendly to Christians. church, these songs, and we take SF: Yeah denitely. One of the cool
AH: You’re very involved at your local every opportunity to export these things about these other guys is, Matt
fellowship, North Point Community songs whenever we can. Adkins, our guitar player, and Heath
Church, where you lead worship, and AH: I love what you just said about Balltzglier, our bass player, are both
out of which, came the your band, Fee. writing songs to give voice to what worship leaders at our church also. So,
How did the band evolve and come God’s already put in our hearts. way more than just great song writers
together? At another time, you added that and great musicians, they have the heart
SF: Well, I’ve been leading worship for “worship will bring that out.” Explain of a worship leader. It’s such a huge thing
what you mean by that. for me to be leading, singing and playing
over 10 years at our church, and the
around men who have “like hearts.” It’s
cool thing is, all the guys in Fee all lead SF: Psalm 40 says, “I waited very unifying for us. Matt and Heath,
together at the church. [What we do patiently for the Lord and He turned and our drummer, Brandon Coker—even
on the road] is really an exportation of to me, and He lifted me up out of the before Fee—they played together in a
what we do at our church. I love that! pit, muck and the mire, and He set Christian band, so they’ve been traveling
When we’re on the road, we’re singing my feet upon a rock.” Immediately around together for years. At the time
about what God’s doing, in our lives and following that explanation of what they broke up, I was just looking for a
at church, then we come back home and God’s done for us, the very next line band to travel, so it’s almost like God put
lead the people we’ve been empowered
48 continued on page 50
 continued from page 48
CUT CAPO CHART By Vicky Beeching
it all together seamlessly.
Our guitar player, Matt, is by far, the
best guitar player I’ve ever played
with. He’s always thinking about gear,
and his tone. Sometimes people will
CUT CAPO CHART

All Because Of Jesus come up to the stage after we’re done,

By Steve Fee______________________________ and say, “Where’s your keyboard
player, I heard keys but didn’t see
anyone playing that…” The truth of
Full Capo on fret 3. Cut capo on fret 5. it is, Matt can really make his guitar
Cut Capo Chords
sound like a full keyboard, it’s really
Verse 1: cool. As I’m talking about the Lord,
Asus/D A Asus/D A and inviting people to God, Matt will be
doing all this stuff on his guitar. He’s
Giver of every breath I breathe X
underscoring what is being said with
Asus/D A his guitar, and then he also rocks like
Author of all eternity crazy.
Asus/D F#m One thing we do to prepare our hearts
Giver of every perfect thing for worship is to say, we can show up
Esus E as musicians and a band, or we can
To You be the glory F#m Esus
show up with the mindset that we are
priests. We are serving and fullling
the priestly function of the church
Verse 2: which is to lead people to God. So,
Asus/D A this band, we are priests and pastors,
Maker of heaven and of earth who just happen to carry along with us,
Asus/D A instruments. That’s something that we
No one can comprehend Your worth really emphasize; we come in carrying
something so much bigger than us,
Asus/D F#m and a message that far outweighs the
King over all the universe E C#m message of music and song. It’s a
Esus E message of hope; the message of God.
To You be the glory By the grace of God, He’s put us all in
the same place, at the same time, to
carry this vision, and we’re grateful to
Pre-Chorus: do it together.
F#m C#m D
AH: Do you all collaborate on writing,
I’m alive because I’m alive in You what is that process?

Chorus: D Bm SF: We do. [On] this rst record, “We

Shine,” we collaborated on a few songs
A Bm D together. A lot of the songs are ones
It’s all because of Jesus I’m alive I’ve been writing for years and years.
A Bm D On “Glorious One,” the song happened,
It’s all because the blood of Jesus Christ in its entirety, in about 15 minutes on
my own. But the song that’s on the
G D/F# A radio now, “All Because of Jesus,” that
Covers me and raised this dead man’s life song took over four years to write! I
G D/F# G D/F# wrote a verse about 4-years-ago, and I
It’s all because of Jesus I’m alive just couldn’t come up with the chorus.
It was just recently, when we were in
the studio recording, that I came up
Bridge:
with the chorus and we decided to
D E F#m record it. The guys in the band have
Every sunrise sings Your grace such great musical ideas, I rely heavily
D E Bm on them. Especially when we’re in the
The universe cries out Your praise studio creating parts, and guring out
charted by: how the song’s going to come together
D E F#m
musically, I really rely on them a lot.
I’m singing freedom all my days mitch@bos-capos.com
AH: What have been some of the
D E
highlights of the “We Shine” project,
Now that I’m alive for you personally?

©2007 worshiptogether.com songs (Admin. by EMI Christian Music Publishing) SF: Well, I can’t get away from the fact
sixsteps Music (Admin. by EMI Christian Music Publishing) that what we do is for the church. One

continued on page 52
 See
us at
NAMM
Booth
#5949
 continued from page 50
of the main highlights would be, soon
after we released this record, Mark
Hall—from “Casting Crowns”—sent me
a text message. They also lead at a
STEVE FEE
church nearby, called Eagles Landing
in Atlanta, so we’re fellow worship
leaders in the same town. We really are
championing each other’s ministries.
He texted me saying, “We played ‘All
Because of Jesus’ at our church, and
it’s become the biggest song. People
keep asking us to sing it. We love it,
and we’d love to record it for the next
Casting Crowns record.” I was like,
“Well that’s wonderful, you bet!” It was
such an honor for him to text me and
say that, “this song was really taking
root in the local church, and we want
to join with you in exporting this
song, because we believe in what it
says about God, and we believe that
worshippers across the world are
going to embrace it, and use this as
a part of their own personal journey
with God.” So the Casting Crowns
record came out, and it’s on there.
We get oods of emails saying, “We
love this song, and it’s really a key
part of our walk with God.”
When stuff like that happens, it is
the most humbling thing to say, “this
is so NOT a result of me, but it’s the
breath of God just favoring the song
for this day.”
AH: I would have to say one of my
favorites on the album is, “Lift High.”
It’s just so encouraging, and I really
like the way it’s done.
SF: Thanks, speaking of our local
church, there’s a guy by the name of
Eddie Kirkland, who is also a worship
leader at our church, he’s one of my
best co-writing friends. He and his
wife are good friends with me and
my wife. He came to the house, we
were going to pray and write songs
together. He said, “I have this song,
but I don’t have a chorus. I have these
verses though…” He started singing
the verses, and I couldn’t believe how
much I loved the verses. They said:
Broken people call His name,
Helpless children praise the King,
Nothing brings Him greater fame,
than when broken people call His
name.
Immediately that verse was just
injected into my heart and I loved it. I
thought, what about that is moving me
so much? I thought about the rst and
last lines, asking, why would that bring
God so much fame? The answer is so
clear; when you’re broken, Jesus is the
only one who can do anything about it.
52
It’s a call to the broken people to say
there’s hope.
I told him I had a chorus in my heart
that I didn’t have verses for. I pictured
a sea of people who each carried a
handful of chains, they were lifting them
up in the air as if to say, “These chains
used to be on me, but they’re not on
me anymore, by the power of God—I’ve
been set free.” So, the chorus came
out…
Lift high, your chains undone,
Let’s all rise and exalt the Son.
Jesus Christ the Holy One,
We lift our eyes to You.
The song is a call for people to lift their
eyes God-ward, and to realize that
when the bottom drops out of life, and
when there’s no one else to hold onto—
nothing seems to be going right, and our
dreams are broken—it’s more clear in
that moment, more than any other that
Jesus is the one we can hope in. So the
song was birthed out of that idea. I love
playing it because it’s saying, it’s okay
if everything’s not okay, because Jesus
said in this world you’d have trouble…
but He has overcome the world. It’s a
call to the people to run into the arms
of the Overcomer.
AH: I think I already know the answer
to this next question, but as a worship
artist, do you ever get tired of writing
worship songs?
SF: No, I don’t know if I ever
get tired of it, but there are
times when I don’t feel like, for a
season, there isn’t really anything
coming out. But those seasons
are met with other seasons that
are just oods [of writing]. I don’t
get tired of it, but I journey through
the times when I’m dry, and push
on to the seasons where God really
lls my being up with songs. The
cool thing about the times when
you’re dry is that it’s okay, because
you just press into the heart of God
even more. Scripture says He puts
new songs in us, so we just ask Him
to put in us new songs.
AH: Earlier you mentioned your
wife, Carmen. Do you have a
family, children?
SF: Right now we have a 1-year-
old, he just turned one on Halloween
day. And we’re pregnant with
another little boy, who will be born
in March. We’re excited.
AH: I know you’re touring with the
new album, do you have other specic
plans for the future?
SF: Yes, we’ve been on the road a
lot. This is a great day for me though,
it’s my rst day of being home for the
holidays. We’re home for 5 weeks
straight. We just came off an 8-week,
really intense tour, and it’s really been
busy for about the last 6 months. So
we really value this time to be home
with our families.
Our broad-stroke plan is to just keep
doing what we’re doing, here in our
local church, and taking opportunities
to be leading worship on the road. We
try to really keep the balance.
AH: You know, you’re very good at
articulating the things on your heart—
have you ever thought about writing a
book?
SF: Yeah, I’ve got countless les on my
computer where I’ve written a paragraph
here, and a page there. I’m not opposed
to it, I just want to gure out what God
would have me say. A friend of a friend
said once, “You shouldn’t write a book
until you’re forty, because you don’t know
what you want to say till you’re forty!”
So, I’m going to wait till God focuses my
thoughts.
Steve Fee plays: Jumbo body
Larrivee Acoustic Guitar / Black
and White Rickenbacker / Gibson
135 / Norde 61 Electro 2 keyboard.
He plays through a Vox AC15, and a
Goodsell amp. Visit his website at:
www.stevefee.com.
 A FEW MOMENTS WITH…
“Truth or Consequences” in Worship
A FEW MOMENTS
Back in the 50’s there was a hit
television show called “Truth or Conse-
quences.” It was a comedy show full of
crazy antics where people had to an-
swer trivia questions correctly before
“Beulah the Buzzer” was sounded. If
the contestant missed the “Truth” por-
tion, there would be “Consequences,”
usually some kind of embarrassing
stunt. It was a hugely popular show.
People loved the fun and games which
were great for a game show, but cer-
tainly not a great guide for worship.
Worship is about Jesus, and he was
the ultimate “truth” man. He actually
IS the truth. I don’t think that people
could fake it when they were with Je-
sus. He had a way of looking into the
souls of men and cutting to the chase.
And, his ministry was life changing.
So, why would I write about truth in a
worship article, you ask? The answer
is simple. If we avoid truth, there will
be consequences.
A few years ago, our youth pastor
led worship on Sunday morning. His
I don’t think that
people could fake
it when they were
with Jesus. He had
a way of looking
into the souls of
men and cutting
to the chase. And,
his ministry was life
changing.
opening remark was an enthusiastic,
“Are you excited about Jesus this morn-
ing?” Well, frankly it was one of those
mornings where I fought with my wife,
had to clean up after the dog messed
on the oor, and came to the service
late because I couldn’t nd matching
socks for the kids. Ticked off? Abso-
lutely! Excited? Not so much. Not
54
By Steve Merkel
that morning. I was too busy learn- to address the Lord in praise. David
ing patience, working through forgive- learned how to worship in the wilder-
ness, and just plain glad that I made ness by learning how to praise God in
it to the pew. But in retrospect, I do the pain. Today, there are many good
take solace in the fact that I’m pretty songs that capture that same truth,
sure I’ve never read where any of the like Matt Redman’s “Blessed Be Your
disciples said, “Jesus, we are so ex- Name,” and most pastors will actually
cited about you”. let
et you ssing
g tthat
at oone.
e Brian a Doerk-
I don’t know aboutt you, sen also ha has some
but my heart kind of shrivels
rivels wonderful
up when I encounter leaders
aders songs
so of
who talk from the podium dium truth,
tru and
in ways that don’t even his song
resemble the way people ople “Your
“Yo Faith-
speak in real life. Church rch fulness”
fuln is
speak isn’t always truthful,
ful, one of my
so as a worship leader,, I favorites.
favo A
make an effort to be real al song I wrote a
and to speak in ways in n few yyears ago,
which people can relate. e. “Lord Have
One of my goals is to try y Mercy,”
Mercy deals
to earn trust and build with sin and
relationship with the the popower that
folks in the pew so that comes though
I can minister in hon- confession.
confess The
esty to their deepest truth of this song
needs. Don Moen, a has brou
brought hope
good friend and co- to many.
worker, often says
that he has a person-
While
are past
there
pastors and
al mission to stamp out ut weird- churches who will
ness in the church. I agree.
gree. Let’s just press you to avoid
say NO to being weird and say YES to singing a la- ment in w worship, I
being real.
I don’t mean to get heavy on you
urge you to take a stand for truth. You
can do it. When I see Jesus face to
here, but I nd it amazing that believ- face, I want to hear, Well done, faithful
ers’ lives aren’t radically different from
non believers. For example, believ-
servant. You brought living water to
my people.” Not “Well done, you put
ers have similar divorce rates as non- on a nice show and really got people
believers. There are Christian men excited.”
bound by internet porn, and Christian So, next time you are preparing
kids are shoplitng at the mall. Chris-
tian women are hooked on prescription
for your times of Sunday celebration,
work to have a time of true, authen-
drugs, and Christian families are bank- tic worship. Your congregation will
rupt. Yet we don’t really nd a way to respond to it because they will have
minister to them in our services. experienced the Truth - and the Con-
It seems that as ministers we have
a lot of patience and grace toward un-
sequences of that Truth will set them
free.
believers who struggle, but once folks
become regulars in the pew, we tend to Steve Merkel is the Sr. Director
offer the ministry of avoidance. That’s of A&R at Integrity Music. As a Dove
the reason we have to be really honest
when we lead worship. We must help
Award nominated songwriter, his
songs have been recorded by Robin
people encounter the one, true living
Mark, Michael W. Smith, Don Moen
God. The needs of people are very
and others. Projects he has
real and they need us, as their lead-
worked on include Brian
ers, to offer reality in worship.
Doerksen, Paul Baloche,
David, the psalmist, was certainly
real in his worship. So many of the Robin Mark, Israel and
Psalms start out in either a situation New Breed and the award
of great distress or through a time of winning Shout Praise Kids
confessing sin. Usually when the prob-
series. He has recently been
lem is addressed, David is then able
spotted at Williams Sonoma.
 From the writer of the songs, Hungry and
At The Foot of The Cross comes Kathryn
Scott's first studio release, I Belong.
Featuring 11 original worship songs and
powered by her rich vocals and honest
presentation, the spirit of the music is all
Kathryn Scott pointing worshipers to the
"Only True God."

• Perfect for Congregational and Personal Worship

• Musical Styles Reminiscent of Sara Groves and Norah Jones
• (transposable
Resources Include Songbook, CD Trax and Digital Songbook
in any Key)

Available from your Favorite Christian Bookstore, iTunes or at WWW.INTEGRITYMUSIC.COM