July 28 2008

July 28, 2008

Practical Tools
Vern Sanders

Lists
Something for everyone?
July is a month for preparing, planning, and, in some cases, transitioning in ministry. So...we looked at our article archive and chose three lists of things to help you prepare, plan, or, transition. I hope that at least one of these will help you do your ministry better. First off, let's help the choral musicians by presenting our "Super 15" list. Next up, we'll help our worship leaders by giving you "30 Ways" to write an uplifting chorus. Then, for those in transition, we provide you with "50 questions" to ask when interviewing a prospective move to a new church.
The Super 15 - Staff
Each year we highlight an "Honored 10” set of anthems that appeared in the previous year’s “Select 20.” We believe these compositions represent the best of the choral publications released in the previous year, setting them slightly ahead of other excellent anthems introduced during the year. In 1998, we decided to present a “greatest hits” list. The Super 15 was our selection from the best of all the Honored 10 listings to that point. This does not mean these are the best 15 titles ever printed, but they are our “best of the best.” In the list below, the dates indicate the issue in which the anthem was reviewed. For obvious reasons, we think these anthems should be in the choral libraries of every church.

A Gift of Alleluia
    Gilbert M. Martin (Exaltation/Lorenz #10/1165) • May/June ‘95 #1
A Hymne To God
    Donald Busarow (Augsburg Fortress #11-4518) • Sept/Oct ‘91 #14
All The Way My Savior Leads Me
    Gregg Sewell (Lorenz #10/1096) • Mar/Apr ‘94 #11
A Star
    Pepper Choplin (Purifoy/Lorenz #10/1048) • Sep/Oct ‘93 #16
Behold Calvary’s Lamb
    Jay Rouse/Randy Vader (PraiseGathering #AO8189) • Nov/Dec ‘95 #8
Behold The Lamb Of God
    Craig Courtney (Beckenhorst #BP1420) • Nov/Dec ‘93 #5
Can This Be God’s Son?
    Lloyd Larson (Beckenhorst #BP1436) • May/June ‘94 #5
He Will Quiet You With His Love
    Cindy Berry (GlorySound #A-6848) • Mar/Apr ‘94 #2
Is There Any Word From The Lord
    Ken Bible (Lillenas #AN-8092) • Jan/Feb ‘94 #15
Lord, We Come to You
    David B. Leestma ~ Bryan Jeffery Leech (Fred Bock #BG2258) • Jan/Feb ‘95 #4
Lover Of Us All
    Dan Schutte (OCP #9903) • May/June ‘94 #15
O Gentle Jesus
    Joseph Martin (Shawnee #A-6753) • Nov/Dec ‘93 #7
O Vos Omnes (All Who Pass By)
    John V. Mochnick (Hinshaw #HMC-1207) • Jan/Feb ‘92 #14
Send Your Word
    Thomas Keesecker (Concordia #98-3133) • Sep/Oct ‘94 #2
To You I Call
    Dale Grotenhuis (Thomas House/Fred Bock Music Company #1C1019505) • Sept/Oct ‘95 #15
30 ways to write an uplifting Praise or Worship Chorus - Jim Lucas
These are taken from a much longer list used by noted composer/arranger Jim Lucas in on-site seminars to enable those with the heart and the desire, to begin to write praise choruses for their own congregational and other worship use. It is not meant to be inclusive, but rather to “open the door” to creativity.
About Texts
1 Write texts that are Biblically based. Don’t be ‘wishy-washy’ or unclear.
2 Use the Book of Psalms as a catalyst for lyrics.
3 Use relevant language, simple words and words that are quickly understood.
4 Express one thought per song or verse. Don’t attempt to incorporate the entire Bible in every song.
5 Express a single, simple thought in a variety of ways.
6 Use a rhyming scheme most often. It aids in learning and retention.
7 Stand still if you want God to inspire you. Being too busy may cause you to lose focus and block out potential moments of inspiration.
8 Keep a journal of inspirational thoughts. This is a ‘seed’ collection of ideas that could grow into a song.
About Melody and Harmony
9 Create melody lines that are simple, uncomplicated and quickly learned.
10 Keep skips and leaps to a minimum. Save them for places like the beginning of a bridge or ‘B’ section.
11 Use a fairly narrow melodic range. It’s best if the entire song uses no more than an octave range.
12 Let the melodic flow be representative of the text.
13 Consider adding alto, tenor, and/or bass to your melody line to supply a 2, 3, or 4-part vocal option. There may also be occasions when you can sing the chorus as a round, supplying yet a different kind of vocal supportive accompaniment.
14 Write in a variety of musical styles. If you do, it will keep your writing fresh and innovative.
15 Use inversions to help drive phrases forward. Remember, root position chords suggest finality, rest, or conclusion.
16 Build the song initially around the primary I, IV, and V chords, then modify and use inversions where appropriate. Be sensitive to the text as you make your chord choices.
17 Keep the text predominant. Don’t let the amount of supportive instrumentation cloud the thought you need to express. Better to use two instruments than seven if you can’t control volume, balance, or complexity.
About Rhythm, Form, and Dynamics
18 Use metrical accents that best support and align with the text.
19 Use long held notes on important or climactic words or at the end of a phrase.
20 Use four-line melodic harmonic phrases most often. It’s an easy ‘hook’ for the worshiper.
21 Try key changes. Begin in a low enough key so that the higher pitches in the song, placed in high keys, won’t strain the singers or sound too high.
22 Be flexible in using softs and loud within a single piece. Let the text be your guide.
About Inspiration and Resources
23 Make daily attempts at writing down song ideas; text and/or music. The more you work at this art, the more proficient you will become. Frequency breeds familiarity, and familiarity breeds productivity.
24 Practice a lifestyle of worship. Expect the Lord to reveal Himself to you thorough the day.
25 Be willing to take risks and be creative in finding a writing style that expresses who you are. Don’t be a copycat, though there are some elements of good songwriting that are universal.
26 Be willing to collaborate. Your true gift may only be as a lyricist or composer but not both.
27 Don’t hurry the creative process. God’s timing is perfect. It may take a period of weeks or months in order to finish a song.
28 Be willing to change or modify any element that will make the song better.
29 Understand where your church is in its spiritual growth and maturity and write to fit those needs. For example, with what is your church currently dealing? Let the occurrence of such “day to day” events as deaths, hospitalizations, tragedies, victories, provide inspirational source material.
30 Be a song of praise with your life. True worship is contagious.   fine years.

Dr. Jim Lucas has served in church ministry for over 30 years, and as worship pastor of the Ephrata Church of the Nazarene in Ephrata, Pennsylvania, since 1999, bringing a rich background of music experience including college teaching, music writing, arranging in choral, instrumental, and piano music, music publishing, engraving, recording, and various worship pastor assignments. His highly acclaimed "Treasures" series of piano books is published by Thomas House Publications/Fred Bock Music Company.

50 Questions for Interviewing with a Prospective Church -Mike Simoneaux
These questions are best used in helping a candidate interview with a prospective church for the position of minister of music. Any ministerial candidate may also effectively utilize this list by simply modifying some of the questions. This list is not meant to be an exhaustive list of such questions, and some may not apply to every situation. Use this list as a starting point, and feel free to develop your own questions. May God bless you as you seek His will.
The Call/Hire Procedure
1 Is the minister of music called or hired?
2 How is the process of call/hire finalized?
3 Who makes the decision to call/hire?
4 Is there a written agreement in the call/hire process?
General/Work-Related
5 To whom is the position directly responsible?
6 Would I have direct access to the pastor?
7 What are the other ministerial staff positions, and how would they relate to me?
8 Is there a secretarial position supporting the work of the minister of music?
9 Please describe the music program, its components and level of participation by the church family?
10 Has there been a change in the level of participation? If so, why?
11 Describe accurately the key-board ability of the accompanist(s). Are they paid? Would they mind being auditioned?
12 What is the present style of the worship services?
13 Does the style accurately reflect the nature of the congregation?
14 If not, is change desired? Does the congregation want to change, or is staff encouraging the change?
15 What would you recommend as a procedure for change that would not injure the fellowship of the church?
16 Is there a worship planning team in place and functioning?
17 Does the pastor meet with the team?
18 What are the responsibilities of the minister of music for the worship service?
19 Would I have the freedom to experiment and fail?
20 What hymnal does the church use in worship?
21 What are the traditions of the church (musical and otherwise)?
22 What is the personality of the church?
23 Are there interfamily relationships?
24 What are the “potholes” to avoid?
25 What instruments are used in worship?
26 Would I be responsible for Sunday School music leaders?
27 May I have a copy of the last two years church budgets?
28 If the church has by-laws, may I have a copy?
29 What extra-musical duties would I have?
30 What would be my committee responsibilities?
31 Would I be responsible for the sound system and its operation?
32 What are the desires of the church in regards to large production-type presentations?
33 Are there choir officers and do they function effectively?
34 Is there a music committee and/or music advisory committee of some sort?
35 Are there unwritten expectations for my spouse?
36 What are my responsibilities for the weekly newsletter, if one exists?
37 Is there an annual evaluation? If so, who carries that out and what is the evaluation instrument?
38 Is there a written all-inclusive job description?
Compensation Issues
39 How is Social Security deducted?
40 If the church pays Social Security, is that amount added to the taxable salary?
41 What is the vacation schedule?
42 What is the schedule of weekday(s) off?
43 What is the total amount of salary and benefits package?
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44 Does the church match staff retirement contributions? If so, what percentage?
45 May I develop a side business if it does not conflict with church responsibilities?
46 Is there a written letter of agreement stating the full compensation package?
47 Are there professional development funds for my use?
48 If so, how many workshops (days gone) may I attend?
49 What is the policy regarding extra services such as revivals?
50 Are computers assigned to the music ministry?

A native of New Orleans, Dr. Mike Simoneaux holds a Bachelor of Music Education degree from Mississippi College and Master of Church Music and Doctor of Education degrees from New Orleans Baptist Theological Seminary. He came to Truett-McConnell College in 1999 to serve in the Office of Academic Services, and is now serving as the Interim President of the college. Dr. Simoneaux and his wife, Bonnie are active in the Helen First Baptist Church.

Final Thoughts
The fact is, in my experience, those who lead worship and music in the church never are acknowledged (enough) for their planning and preparation. If you are in a leadership role in worship or music ministry, what you do "off the platform" - in prayer, in preparation, and in planning - is, in my opinion, just as, if not more, important than what you do on the platform. From one professional to another...thanks for all you do.
Blessings.

Vern Sanders
Vern is the publisher of Creator Magazine. He has served in some form of church music and worship leadership for 40 years in a variety of denominations both in the US and in Canada. He is currently Director of Worship at First Presbyterian Church, Grover Beach, California. Vern regularly consults with churches and church leaders. Click on his name above to email him.
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