I’m putting together a “Top 50 modern worship songs that every leader should have in their catalog.” Would you help me with that?
List your top 20 or so songs that would fit in this category in the comments. (thanks!)
http://adlibmusic.com/
17 February 2012
Top 50 Songs
I’m putting together a “Top 50 modern worship songs that every leader should have in their catalog.” Would you help me with that?
List your top 20 or so songs that would fit in this category in the comments. (thanks!)
http://adlibmusic.com/
25 January 2012
How Do I Learn Melody
What’s the most important musical part of a song? Melody. It’s the DNA, the unique fingerprint. Which brings up the next question…how do I learn melody, especially if I don’t read music or don’t have the musical notation available?
This is how I do it:
1. Listen to the song, taking initial notes on the general form of the song, noting any major things that are happening. Hey, did you see that, I take notes! So whip out the chord chart so I can see visually what is happening in the song. Does it have a soaring bridge? Does it have three identical verses? Is there a tricky pre-chorus? Where do the harmonies come in?
2. Listen again, this time making detailed notes on the melody. I’ll often put slash marks over the words higher and lower to guide me as their pitch rises and falls, as well as ^ over high points. I may make actual rhythmic notation or draw long lines with the overall curve of the melody, but the point is to make a reference that I understand. It doesn't have to be technical, classical notation, or even understandable by anyone other than me.3. NOW I sing along with the recording. This is the first time I even sing it! I may do this a few times, then I add my instrument. This is super important, especially if I don’t play at an advanced level, because I’ll tend to do two things: a) quickly adjust the song melody (i.e. sing it wrong) to match my playing style/rhythm or b) get confused because I’m trying to learn two things at once. Separate them. First get the melody learned, then learn the accompaniment. So if you need to, sing it a few times without playing it, then play it a few times without singing it, and then put the two together.
4. It's time to see if I'm learning it, so I sing and play it without the recording a few times, and this is when I realize where I don't know it and how I don't know how to "use" the song...let's see, what do I play after the chorus? How many times should I repeat that bridge? How does the intro go? How do I end this song?
5. Then I turn the recording on again and check myself. I'll often find that I've learned a note wrong or am singing some words with the wrong phrasing. “Oh, that melody goes down at the end of this line.” But this step is critical, because if I don't go back to verify that I've learned it well, the mental cement starts to harden...
Bonus:
Here an idea to help your team to learn songs if they (surprise) don’t come to rehearsal prepared. After you’re played it together, sing it a cappella, with no instruments, with the melody wearing its birthday suit, so you can isolate the voices, identify trouble spots, and strengthen the melodies. You’ll be amazed how removing ALL instruments will help solidify the melody. (it will also help teach your electric guitar players from diving into “Sweet Child O’ Mine” the second you stop playing the song. Yes Tom, I’m calling you out, buddy) :O
19 December 2011
How Songs are Built
Why do I need to know how a song is built? Why do you care?
Because knowing how songs are built enables you to:
~ Learn it without “playing it on repeat 18 times”
~ Rehearse it as a band without just “playing the whole thing 8 times”
~ Know what you can change in it so it’s still fresh and worshipful after singing it 28 times
~ Encourage the congregation to sing more (without asking for it)
~ Adapt it to your band…(especially if your electric guitar player still thinks solid state is king)
~ Heroically decide not to play it when you realize (before Sunday morning) that your rhythm section (that carries that particular song) just doesn’t have what it takes to pull it off (yet)
So first, what are the elements that make up a song? Melody, Text, Form, and Accompaniment (which is harmony, rhythm, tone, tempo, and dynamics). There are things in a song that you can rework and there are things that if changed, make it a completely different song. Text, Form, and Accompaniment can all be modified to different degrees. Melody is the DNA of a song - change that, and it's no longer the same song.
We’ll start with what is most flexible, Accompaniment:
You may be able to change the chords and still sing the melody as written, but you may need to change what harmony you can sing with it. You can change the rhythmic feel of the song, and it may still work – like laying a rock feel, or a jazz swing, or a pop groove on it. You can play the song with only an acoustic guitar or a full band, but you'll need to play it differently to achieve similar energy, feel, or even style. You might use instruments the original author never dreamed of using. You can play the song slightly faster or slightly slower (about ±10 BPM unless you're doing a drastically different groove). You can change the key (thankfully). You can play different voicings on the instruments, use capos, and chord inversions. It may work to add or subtract harmonies. You can play a really quiet version or a REALLY LOUD version (sorry for the shouting). Ask “Would this song make sense if sung a cappella?” or “Would this song work without a drummer or a strong lead guitar player?” Then change at will…the sky is the limit. In fact, next rehearsal, try playing the same song once with only the players on the left of the stage, and then once with the ones on the right (and yes, the drummer has to pick one or the other). How did it work? What didn’t work? What did you learn?
Form:
A song may be written V1, Ch, V2, Bridge, but you can totally start on the Bridge if you'd like. You don’t need to sing both verses. You can sing just the chorus of a song. I’ll often repeat whichever verse I’m feeling like God wants to highlight in that moment. I recently led Here I Am To Worship and repeated the second verse twice (without going to the chorus) and went right into the bridge because it seemed right to be singing about God coming to earth “Humbly You came to the earth You created, All for love's sake became poor” …and then go right into “I'll never know how much it cost…” So it’s Outback Steakhouse here…no rules, just right.
Text:
Sometimes, you can slightly alter the text and still keep the song as it is - personalizing a pronoun for instance. You might change a chorus on the third time around from "God is great" to "God You're great" or change “He” to “You.” But if you change it up too much "O praise Him, He is holy" sung as "I praise You, You are holy" doesn't really work. But be careful here, purists may harpoon you after the service (in love, of course). Some of us feel like changing the “sloppy wet kiss” in How He Loves to…any of the dozen substitutes for the original lyric ruins the song. Some of us can’t stand the original. So alter with taste and tact…and good reason.
Melody:
But melody? Nope. Don't change that. Every note and every rhythm is foundational to that song. It's the only thing that separates it from every other song. Think of it as its DNA or fingerprint. If you don't sing it true to the original, your singers will have a hard time following you and the congregation will certainly have trouble following you and singing along. (this may very likely be on of the main reasons they don't sing if they aren't!)
Now I know, I know...you’re artists just expressing yourselves. Good for you. You are, but you’re servants first. Just like you should “Worship first; Play second” you must be a “Servant first; Artist second.” There are lots of ways to be creative and artistic, but altering the melody is not one of them. (unless you’re teaching it as a new song)
I’d love to hear your thoughts!
(oh, and if you like those pretty little boxes at the top of this section, head over to Red Rocket Box and pick up some gold)
http://adlibmusic.com/
Because knowing how songs are built enables you to:
~ Learn it without “playing it on repeat 18 times”
~ Rehearse it as a band without just “playing the whole thing 8 times”
~ Know what you can change in it so it’s still fresh and worshipful after singing it 28 times
~ Encourage the congregation to sing more (without asking for it)
~ Adapt it to your band…(especially if your electric guitar player still thinks solid state is king)
~ Heroically decide not to play it when you realize (before Sunday morning) that your rhythm section (that carries that particular song) just doesn’t have what it takes to pull it off (yet)
So first, what are the elements that make up a song? Melody, Text, Form, and Accompaniment (which is harmony, rhythm, tone, tempo, and dynamics). There are things in a song that you can rework and there are things that if changed, make it a completely different song. Text, Form, and Accompaniment can all be modified to different degrees. Melody is the DNA of a song - change that, and it's no longer the same song.
We’ll start with what is most flexible, Accompaniment:
You may be able to change the chords and still sing the melody as written, but you may need to change what harmony you can sing with it. You can change the rhythmic feel of the song, and it may still work – like laying a rock feel, or a jazz swing, or a pop groove on it. You can play the song with only an acoustic guitar or a full band, but you'll need to play it differently to achieve similar energy, feel, or even style. You might use instruments the original author never dreamed of using. You can play the song slightly faster or slightly slower (about ±10 BPM unless you're doing a drastically different groove). You can change the key (thankfully). You can play different voicings on the instruments, use capos, and chord inversions. It may work to add or subtract harmonies. You can play a really quiet version or a REALLY LOUD version (sorry for the shouting). Ask “Would this song make sense if sung a cappella?” or “Would this song work without a drummer or a strong lead guitar player?” Then change at will…the sky is the limit. In fact, next rehearsal, try playing the same song once with only the players on the left of the stage, and then once with the ones on the right (and yes, the drummer has to pick one or the other). How did it work? What didn’t work? What did you learn?
Form:
A song may be written V1, Ch, V2, Bridge, but you can totally start on the Bridge if you'd like. You don’t need to sing both verses. You can sing just the chorus of a song. I’ll often repeat whichever verse I’m feeling like God wants to highlight in that moment. I recently led Here I Am To Worship and repeated the second verse twice (without going to the chorus) and went right into the bridge because it seemed right to be singing about God coming to earth “Humbly You came to the earth You created, All for love's sake became poor” …and then go right into “I'll never know how much it cost…” So it’s Outback Steakhouse here…no rules, just right.
Text:
Sometimes, you can slightly alter the text and still keep the song as it is - personalizing a pronoun for instance. You might change a chorus on the third time around from "God is great" to "God You're great" or change “He” to “You.” But if you change it up too much "O praise Him, He is holy" sung as "I praise You, You are holy" doesn't really work. But be careful here, purists may harpoon you after the service (in love, of course). Some of us feel like changing the “sloppy wet kiss” in How He Loves to…any of the dozen substitutes for the original lyric ruins the song. Some of us can’t stand the original. So alter with taste and tact…and good reason.
Melody:
But melody? Nope. Don't change that. Every note and every rhythm is foundational to that song. It's the only thing that separates it from every other song. Think of it as its DNA or fingerprint. If you don't sing it true to the original, your singers will have a hard time following you and the congregation will certainly have trouble following you and singing along. (this may very likely be on of the main reasons they don't sing if they aren't!)
Now I know, I know...you’re artists just expressing yourselves. Good for you. You are, but you’re servants first. Just like you should “Worship first; Play second” you must be a “Servant first; Artist second.” There are lots of ways to be creative and artistic, but altering the melody is not one of them. (unless you’re teaching it as a new song)
I’d love to hear your thoughts!
(oh, and if you like those pretty little boxes at the top of this section, head over to Red Rocket Box and pick up some gold)
http://adlibmusic.com/
07 December 2011
Never Copy the CD Version
I love what Todd Henry says in his “The Accidental Creative” podcast: “It is the age of creativity. Cover bands don’t change the world. Don’t be a cover band, you need to find your unique voice.” There is no need whatsoever for making the songs that we do sound just like a recording.
However, there are two really important assumptions that statement makes:
1. One of the main roles of the band is to support the leader in where he/she feels God is wanting to take things for that service. Sometimes the leader will feel the most comfortable (and therefore be able to focus on what is most important) if the arrangement is familiar. I think it's fine for the leader to ask for a certain arrangement, which may be what Chris Tomlin's band did. So if the leader is asking for it, the team should do it.
2. And, more importantly, the statement assumes a certain level of musicianship in the players. Manheim BIC’s Worship Pastor, Ryan Shenk, described a church service as a “family dinner” because it speaks of uniqueness and intimacy, so every church has their own flavor. But, scrambled eggs…again?! Can we try poached or over medium? Mom…!
See, most church musicians are in ruts because they haven't invested enough in their own musical development to have solid musical foundations, good chops, proper technique, and the ability to make musical choices in WHAT they play. I'm not saying your band isn't good, doesn't have talent or potential, or isn't valuable! Seriously, I'm not. The value in learning music the way it is on the CD is that it is like taking lessons from seasoned, accomplished musicians and learning from professional arrangers. I'm ready to say “never listen to a CD again” once a band has such great instincts (read: habits) that they produce fantastic music naturally without it. So until a band (or a musician) gets to that point, they need lessons or to learn parts from CD's. It's a necessary step in being a good steward of your musicianship.
And while I’m on stewardship, I need to tell you that I just love the definition of stewardship: managing for increase. I used to think that stewarding something just meant managing it. But that's more like burying the talent out of fear. Managing without the “increase” part just leaves you with trying to protect, control, and maintain. (ew!) We're not called to that, we're called to double and triple the return on the talent God has given us. Musically, that requires investment.
It takes time to develop the leadership art of creating a culture of grace that, at the same time, pushes the development of people, and calls them out when they don’t feel prepared. And it's important enough to say that your musicianship and your stewardship of it is NOT tied to your identity or your worth, that you don't have to perform your way into acceptance or approval (which is such a common pitfall for musicians). You are accepted completely because you're a son or a daughter of a Father Who loves you with inalterable love. Now you have the responsibility as a son or daughter to steward the gift well.
So, what are you going to do?
http://adlibmusic.com/
However, there are two really important assumptions that statement makes:
1. One of the main roles of the band is to support the leader in where he/she feels God is wanting to take things for that service. Sometimes the leader will feel the most comfortable (and therefore be able to focus on what is most important) if the arrangement is familiar. I think it's fine for the leader to ask for a certain arrangement, which may be what Chris Tomlin's band did. So if the leader is asking for it, the team should do it.
2. And, more importantly, the statement assumes a certain level of musicianship in the players. Manheim BIC’s Worship Pastor, Ryan Shenk, described a church service as a “family dinner” because it speaks of uniqueness and intimacy, so every church has their own flavor. But, scrambled eggs…again?! Can we try poached or over medium? Mom…!
See, most church musicians are in ruts because they haven't invested enough in their own musical development to have solid musical foundations, good chops, proper technique, and the ability to make musical choices in WHAT they play. I'm not saying your band isn't good, doesn't have talent or potential, or isn't valuable! Seriously, I'm not. The value in learning music the way it is on the CD is that it is like taking lessons from seasoned, accomplished musicians and learning from professional arrangers. I'm ready to say “never listen to a CD again” once a band has such great instincts (read: habits) that they produce fantastic music naturally without it. So until a band (or a musician) gets to that point, they need lessons or to learn parts from CD's. It's a necessary step in being a good steward of your musicianship.
It takes time to develop the leadership art of creating a culture of grace that, at the same time, pushes the development of people, and calls them out when they don’t feel prepared. And it's important enough to say that your musicianship and your stewardship of it is NOT tied to your identity or your worth, that you don't have to perform your way into acceptance or approval (which is such a common pitfall for musicians). You are accepted completely because you're a son or a daughter of a Father Who loves you with inalterable love. Now you have the responsibility as a son or daughter to steward the gift well.
So, what are you going to do?
http://adlibmusic.com/
18 November 2011
God Is Coming
Sounds like an Advent theme.
Could be a coming attraction at a church near you.
It's actually a prayer and proclamation from Tim Hughes and Martin Smith, in the form of a new song on Tim's album "Love Shine Through" that came out earlier in 2011.
I think there's really something to this song. There's the moving of God. There's uniqueness and creativity. There's built in space to meander, pause, and build...launching into a soaring anthemic shout! (I can see the Father running to His returning son...and I hear the sound of celebration...the lost is found...and it was all God's doing!)
You can find the free chord chart here. There's one in B, which is the original recorded key, one in A, which is a bit more of a congregational range, and one in G, which is what most guitar players will use...along with their trusty capo.
WorshipTogether.com has further free resources, such as a lead sheet (with notes), download the song, or watch Tim teach the song in the New Song Café.
If you like and use this song, give them some Twitter love @TimHughes77 and @MartinSmithTV!
http://adlibmusic.com/
Could be a coming attraction at a church near you.
It's actually a prayer and proclamation from Tim Hughes and Martin Smith, in the form of a new song on Tim's album "Love Shine Through" that came out earlier in 2011.
I think there's really something to this song. There's the moving of God. There's uniqueness and creativity. There's built in space to meander, pause, and build...launching into a soaring anthemic shout! (I can see the Father running to His returning son...and I hear the sound of celebration...the lost is found...and it was all God's doing!)
You can find the free chord chart here. There's one in B, which is the original recorded key, one in A, which is a bit more of a congregational range, and one in G, which is what most guitar players will use...along with their trusty capo.
WorshipTogether.com has further free resources, such as a lead sheet (with notes), download the song, or watch Tim teach the song in the New Song Café.
If you like and use this song, give them some Twitter love @TimHughes77 and @MartinSmithTV!
http://adlibmusic.com/
11 November 2011
Ideas for playing with two acoustic guitars
I'll start with the assumption that one is carrying the bulk of the song and the is adding color, texture, counterpoint, etc.
- Play different voicings of the chords. This is by far the most common thing to do. The way to do that is by playing with a capo - so, for example, when one guitar is playing in the typical G formation, the other one can capo on the 5th fret and play in a D formation. Or get crazy and play with a capo on the 3rd fret and a cut capo on the 5th fret and play in D formation.
- Vary the number of notes played – one guitar picks, one strums. Or one strums on the downbeat or the root rhythm pattern while the other one strums more fully.
- Get this. Ready? One guitar might only play on part of the song. Or part of the set. I know. That’s just crazy talk.
- The second guitar can play some complementary rhythm pattern, something offbeat, or syncopated that locks in with the main rhythm.
- Think in terms of musical riffs – a pattern of notes played over and over with different chords underneath. It creates a counterpoint and the feel of pedal tones. This is different from continual “noodling” either on acoustic or electric guitar, which is never musical. I’m pretty sure that’s not overstated. In fact, it may be that the defining line between amateur and advanced musicianship is the ability to use subtlety, dynamics, space, and groove.
01 August 2011
Worship Ministry Devotions and Worship Leading Answers
I want to say thanks. Thanks for being in the “trenches.” Thanks for faithfully creating spaces where
people can meet with God. Your ministry
in worship is vital…and those hours you put into it when no one sees
you…they’re really making a difference!
Thanks!
Knowing personally the
importance and challenge of spiritually nurturing your team, I’m really excited
to be able to bring yet another resource to you.
- Do you wish that rehearsal would go deeper than just pulling the music together?
- Is it a struggle to consistently and easily find quality, relevant encouragement to share and study with your worship team?
- Wouldn’t it be cool to be able to offer some spiritual content with your worship team? (whether you’re the “leader” or not)
- Is leading a team devotion at rehearsal always on your “to-do-that-never-gets-done” list?
- Can you imagine if worship leaders from across the country would come and share at your rehearsal?
- What if you could sit down with your team and have a devotional moment with a seasoned worship leader?
Me too! Well, now you can. We’ve teamed up with
WorshipMinistryDevotions.com to be able to bring you just that…weekly devotions
written by and for worship teams. These
aren’t just random devos, they are specifically designed for people who serve
in musical worship.
In addition to great
Worship Ministry Devotions being delivered to your inbox each week, you also
get a link for an mp3 audio version…so you don’t even have to read it yourself!
How do I get this? Just go to WorshipMinistryDevotions.com and
enter “AdLibMusic” in the discount code box to receive $10 off the normal price
when you sign up for a 1-year subscription for only $47! That’s like ninety cents a week to spiritually
nurture your worship team. [read: no-brainer!]
Do you wonder if you’re
the only person who has like 859 questions about worship ministry?
Are you the person raising
their hand four times in every workshop you go to?
When you search for
“how-to’s” online, do you skip the text answers and look straight for the video
answers? [me too!]
Tom Kraeuter has been
leading worship since… before the Carter administration. Whoa.
Yeah, but he’s still leading, still teaching, and in fact, his full name
is actually Tom Energizer Bunny Kraeuter.
He’s heard pretty much every question from every kind of church across
the USA. Questions you’ve probably
Googled.
Well Tom, smart man that
he is, decided to clone himself [via video, thankfully] and is answering those
very questions in a FREE online video series.
You’ll find practical, common-sense answers to your worship leading
questions at WorshipLeadingAnswers.com.
There are over 90 videos…with more being added regularly!
There is no cost to you, and
all you have to do is sign up. When you
do, please go to the “How did you find out about WorshipLeadingAnswers?” box, and
type in “AdLibMusic” – you’ll be glad you did!
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