Two Great Sources for Music You’ve Never Heard

Are you like me?  How many times have you been accused of being stuck in the same style, hooked on the same songs, tied to that one band?  “All he plays in Tomlin songs!”  “Hillsong United is not the second coming of the Messiah.  Don’t they ever play music by any other bands?”  “I can’t stand that Lincoln Brewster bubblegum rock music.”  “Do we HAVE to play Shout to the Lord again?”  “Ugh, it’s another one of his original songs.  I definitely don’t know what is original about them.”  And on . . and on . . and on.

I want to share some great resources with you, but before I do that you have to decide several things.  Without these decisions my suggestions will be useless to you.

You will never satisfy everyone, so give up.  You (and everyone who has to deal/live/work with you) will be much happier.  Those few malcontents will continue to spew poisonous comments in the guise of “helping” you.  Cull what instructive notes you can from their comments and then carefully dispose the rest in your hazardous waste containers under the church stage.  (You do have those, don’t you?)

Objectively take stock of your repertoire.  You may need help from a trusted friend who is in your corner for this.  Find the weaknesses and strengths in your list.  “We have lots of songs about the greatness of God, but we have absolutely nothing reflecting on communion.”  “We have 95 thrash rock songs and 1 ballad.  Maybe we should introduce some slower songs.”

Whittle down your repertoire.  300 songs is too much.  Period.  Even if you use a hymnal you should not be trying to use all 600 hymns in a given year.  Keep the songs which you think will best help the church move forward, then remove the others to make room for newer songs.

Identify one type of song to add to your repertoire.  Baby steps.  Do not get overwhelmed with the options.  Just decide to add one or two ballads, one or two intimate worship songs, whatever.

Don’t yell at the “helpful” people in your congregation.  You need to quit drinking hat-er-ade.  Thank them for sharing their thoughts with you and tell them you will think and pray over their ideas.  Then think and pray over them!

OK, so once you have made it through those stages you will be ready to look for new music.  Here are two sources I am currently finding useful for keeping my ears fresh.

Pandora.  This is a “duh” moment for some of you, since you are probably already using this great tool.  Enter in a song like ones you need to find and see what Pandora comes up with.  Do the same with artists and styles.  I just got back to using Pandora, and I am loving it.

NPR’s All Songs Considered Podcast.  I just discovered this resource and I loved the first podcast I listened to with snippets of Norah Jones’ upcoming album and Sigur Ros’s new music, along with a crazy wide collection of other styles.

No, these are not necessarily Christian sources.  You will not go to hell for listening to secular music.  You have sung Happy Birthday a million times; it is a secular song and you are apparently still a Christian.

All snarkiness aside, the point is that you need to stretch your ears constantly if you want to keep from getting stuck in a rut.  Do it, and you can tell all of the nay-say-ers that you are actively pursuing new music.  That response is probably better than telling them to put a cork in it.

What resources do you use to refresh your ears and your repertoire?

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What Kind of Music Charts Should I Use?

If you’ve spent any time with worship teams you’ve probably touched on the topic of chord charts and notated music. Musicians take this topic personally, so approach with care!

First of all, I want to clear up one thing: every worship team uses notation. The question is simply what kind of notation. “Notation” is a system of symbols designed to communicate to the musician what to sing or play. Chords over lyrics are notation. Chords over a notated melody line with the lyrics is notation. Exactly written out parts for violin, bass, drums, and so forth is another kind of notation.

If you are rolling your eyes with this “beginner” definition of notation, hang with me a moment. There is a method to my madness.

I compare musical notation with the primary kind of notation every single person on the planet uses: written language. The two are really no different. Authors use a specific collection of words and illustrations to evoke or communicate a truth or a feeling. Composers use a specific collection of symbols and lyrics to communicate truths and feelings through the medium of music.

So how do we choose? What is the deciding factor? Do we let dear Mary who loves playing the autoharp determine what kind of notation we use?  Uh, I don’t think so.  Or you don’t know me very well.

Here are a few things to consider.

Precision. How precisely do you want to communicate? If you are writing picture books you will only be able to reach a certain level of precision, but picture books are not meant to be precise. They are meant to be enablers for beginning readers and open to interpretation. In the same way chords over lyrics provide general direction with large amounts of room for personal interpretation. Chords over lyrics are also an easy step for beginning musicians. If, however, you are trying to specifically craft a musical moment, and especially if you are working with a large group of musicians, precision is going to require a more developed kind of notation.

Time. How much time do you have to prepare the music? If you have a several months to prepare a song and lots of rehearsal time for a rock band, less notation is going to be necessary.

How much time does your team practice each week? Do you even have a mid-week rehearsal? (If you don’t, quit reading this and call one. Now. You will get no where without one! And, no, Sunday morning does not count!)

If you do lots of music, you will need to choose between the following:

  • lots of easy music with simple charts
  • medium difficulty music with moderately complex charts
  • difficult music with complex charts
  • repeat the same tunes over and over and over so that you do not have to learn much new material.

If you have one shot to put something together in rehearsal, the chart needs to contain as much information as possible to assist the musician in preparation.

Ability. If your team is only learning to play their instruments and have no clue what it means to play together (You mean I have to listen to the other musicians?), it will not matter what you put in front of them. They are going to have their hands full starting and stopping together on Sunday, let alone providing interest throughout the song.

The team who is playing together well on standard worship repertoire (Tomlin, Brewster, Hillsong United) is ready to move to another level of notation and to reach another level of excellence in their musicianship.

Motivation. Eventually someone asks, “But why do I need to learn notation? Only the heart of worship matters, and when notated music is in front of me I can’t worship.” The kernel of truth here is that the heart of worship is what matters, but that is where the truth ends.

If your heart is all about worship, consider this. God calls each of us to give our very best to him as a sacrifice, something given not because it is easy but because he is worthy. If you have been at the same level musically for years, either you have reached the ceiling of your talent or you are staying comfortable.

If you have reached the ceiling of your talent, are you holding the team back from moving forward? If so, humbly admit it and decide if you should move on to allow the team to grow.

If you have not reached your ceiling, why are you not growing? This has everything to do with heart. Do not bury your talent. For the senior musician out there, God has no retirement plan. When your life purpose is finished he will take you home. Until then, keep growing.

Commitment. The final hurdle to taking growth steps in music can often be the musician’s level of commitment. Beware: challenging someone on their level of commitment is tantamount to asking them whether they have stepped out on their spouse. This is very personal, and you have to earn the right as a leader to speak about this. You also have to be modeling commitment. Otherwise, forget it.

Ultimately, a musician has to set aside extra time at home if he or she is to grow in their musicianship. If a musician says they want to grow but is unwilling to spend the extra time it takes, one of several things is at work. Either they truly are committed but their family life prevents them from spending more time, or they say they are committed but are change averse and refuse to put in the effort.

Vision. Ultimately, though, the decision comes down to you and the church’s vision. As a friend of mine used to say, does the church have a “minor leagues” or “all-stars” approach to arts? If they want all-stars, everyone on your team is going to have to step up or step down if you want to bring the church’s vision to fruition. If the church is about minor leagues and providing a place for everyone to serve and grow as long as they have a certain threshold of talent, then your approach is going to be completely different.

Conclusion. There is no silver bullet. Every situation is different, but I hope that you have a sense of the bigger picture when you are deciding what kind of notation to use. Don’t choose based on what is comfortable. Personally I will always lead my teams towards notated charts; I will talk about that later. I believe everyone can learn to read music, just like everyone can learn to read more than picture books (and once they do, they are usually glad they did!).