In For the Strength of Youth, a publication put out by the church for young men and young women, it gives some basic counsel about music in general: “Music is an important and powerful part of life. It can be an influence for good that helps you draw closer to Heavenly Father. However, it can also be used for wicked purposes. Unworthy music may seem harmless, but it can have evil effects on your mind and spirit.” Many have either heard someone say, or have even said themselves, “Well, I don’t listen to the words, I just listen to the beat.” This may seem innocent enough until you consider the very real impact that a song’s rhythm and beat have on us. You don’t have to try very hard to think of scenes in your life where your mood was directly impacted by the tone and timbre of the music playing. LDS music invites the spirit because it is in tune with goodness and light, and is a welcome part of the world’s great musical repertoire.

For the Strength of Youth gives further council, “Choose carefully the music you listen to. Pay attention to how you feel when you are listening. Don’t listen to music that drives away the Spirit, encourages immorality, glorifies violence, uses foul or offensive language, or promotes Satanism or other evil practices.” This direction to make wise choices about the music we listen to is so timely. In a world of violence, degradation, immorality and moral relativism, LDS music is a fresh, uplifting genre that promotes a spirit of wholesomeness and kindness. It invites good feelings and uplifts the soul.

In one of the hallmark talks from an LDS church leader about the role that music plays in our lives, Elder Boyd K. Packer talked about the impact that both good and bad music has on us. He warns, “In our day music itself has been corrupted. Music can, by its tempo, by its beat, by its intensity, dull the spiritual sensitivity of men.” He also instructs, “Sacred music can help us even where there is no formal performance. For example, when temptation comes, we can neutralize its effect by humming or repeating the words of a favorite hymn.” (Boyd K. Packer, Ensign, Jan. 1974, pp. 25-28).

Thankfully, good LDS music exists that edifies and uplifts. In fact, the Lord has told us, “For my soul delighteth in the song of the heart; yea, the song of the righteous is a prayer unto me, and it shall be answered with a blessing upon their heads.” (Doctrine and Covenants 25:12.)

MJ writes for LDS musician, Doug Wallker. To download Doug’s LDS music visit http://www.whatheavenseesinyou.com.

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Even more surprising was the statement made by our professor – “Pop Music is Dead.” I listen to popular music on the radio more often than classical. Most of my listening happens in the car, and my commute is short; I can’t stand listening to only half of a piano concerto on my way to work.

Pop music seems alive to me. In spite of the problem of illegal downloads, artists are still out there making new recordings. Technology has opened the door to an even larger audience, giving independent musicians a chance to compete without the necessity of contracts with big record labels. How could he claim that pop music was dead?

Pop music, according to the professor, is dead because it has classicized itself. His theory is that pop music is designed to have a short life span. Songs are popular for awhile, and then are replaced by new, more popular songs. His argument is that since popular songs now become “classics”, it defeats the whole philosophy of the genre. So the whole idea of “popular” as a classification for music is dead.

I don’t agree with him entirely, but understand his point of view. I direct choirs at a public school, and face the problem of having traditional songs box in my concerts. It’s tradition to always end with the Hallelujah Chorus, it’s tradition to do a candlelight procession to a certain arrangement of Silent Night, it’s tradition to sing the same set of songs every year at baccalaureate and commencement. If we create any more traditions, I might as well laminate my lesson plans.

Tevya from Fiddler on the Roof would tell us that our traditions are what anchors us; they help us maintain a strong foundation against an ever-changing world. I don’t want to drop our musical traditions, I just want to be careful that we don’t create so many of them that there is no flexibility left for learning beautiful new music.

Now we come to the hymnal, the beloved and cherished cannon of music that forms the repertoire from which we choose praise and worship songs every sunday. Has the use of the hymnal classicized sacred music? Have we carved a selected group of “classic” hymns in stone?

That was certainly the purpose in the early church. A study of music history teaches us that notation was first developed as a means for the church to standardize the singing of gregorian chant. The mass was to be said in a formula that didn’t vary, the music needed to be consistent as well. Printing a hymnal guaranteed that it was always done the same way. Orthodoxy was officially established via printing press.

I certainly don’t have any problem with orthodoxy. My problem is with the printing press. Newspapers are going out of business because the printing press can’t keep up with the internet. It is now possible to publish something that is instantly accessible world-wide at a fraction of the cost it takes to print a single edition of a local newspaper. Changes like this can’t help but influence the way the church does things.

The Methodist denomination isn’t quite certain how to manage this problem. The printed hymnal is getting old and is due for replacement – but nobody knows how to go about it. Some churches use the hymnal exclusively every Sunday, some project lyrics instead. Some sing only hymns, some sing a combination of hymns and more modern praise & worship choruses. There are so many different approaches that one size doesn’t fit all anymore.

Do we publish another comprehensive, solid, and expensive hymnal? Do we publish a cheaper version that will be replaced more often, making updates easier? Do we put the whole thing online, allowing for instantaneous updating? It’s going to be awhile before there is an agreement on this issue.

My opinion is that change for the better is always welcome. Our church subscribed to the CCLI website’s “SongSelect” service a few years ago, and it has opened my eyes to the advantages of web-based printed music. Practically any hymn, worship or praise chorus ever published in any key that I want is now available on demand. No more transposing by hand or by sight to get square pegs to fit into round holes. No more elaborate modulations to remote keys. It has made my life much simpler, and I never want to go back to the old way of doing things.

Musicnotes.com is a similar service that has changed everything from a more secular perspective. If a student wants to sing a popular song for a wedding, I can choose from several arrangements and have it pitched in the perfect key for their voice range. No paying shipping charges and waiting – you pay, download and print immediately. Life is good.

No, professor, popular music isn’t dead because some songs have become classics. No, my traditionalist friends, sacred music is still alive and well whether we ever print another physical hymnal or not. I don’t think it matters to God whether we sing His praises using a hymnal, projected lyrics or a bulletin insert. Just so we keep praising and worshiping.

Rob Pearce is the founder of WorshipBasics.com, a website created for the support and encouragement of others starting contemporary worship services in traditional churches. Visit at http://www.worshipbasics.com and signup for a free mini-course – Overcoming the 7 Roadblocks to Contemporary Worship.

Article Source: http://EzineArticles.com/?expert=Rob_Pearce

We often hear people express concern about losing ties to our Anglican heritage, which dates back about 500 years. One area that draws attention is music. To approach the question of what is official Episcopal music, we might look to our own denominational hymnbook, The Episcopal Hymnal (1982). Compiled by the Standing Commission on Church Music, this edition surely reflects what is both traditional and sanctioned. A brief sampling of selections from TEH ‘82 should shed some light on what is authorized and what is not.

First, a survey of origins will be useful. Of the 726 hymns in this book, several are Gregorian chants, which originated in the Middle Ages. They were codified under Pope Gregory in the 8th century and compiled in the Roman Catholic Liber Usualis. An example of chant (or “plainsong”) is Of the Father’s Love Begotten. Naturally, it existed only in Latin for centuries. Other chants in the hymnal include Russian Orthodox, Slovak and Czech.

Another source of hymns is the Lutheran chorale, having been composed specifically for the German Reformation to provide a singable alternative to chants. They were first found in collections by Johann Walther, Martin Luther’s right-hand man commissioned to bring music back to the people by providing singable tunes in the vernacular, i.e., German. An example of this is A Mighty Fortress (words by Luther with tune derived from a German tavern song and later harmonized by J. S. Bach, a devout Lutheran). Don’t forget Angels We Have Heard on High, also written by a Lutheran, Felix Mendelssohn, who incidentally was a convert from Judaism.

Many of our hymns are borrowed from the colonial American “Sacred Harp” school, found in songbooks like Virginia Harmony and David’s Psalter. Amazing Grace is an example of this, written by an ex-slaveship captain. A few, like Donald Fishel’s Alleluia No. 1 or Kathleen Thomerson’s I Want to Walk are recently composed and are associated with the non-denominational renewal movement of the late 60s/early 70s. Some come from other denominations like Methodist, Baptist, Presbyterian and even Shaker (Tis the Gift to be Simple).

Finally, let’s not forget Christmas carols, many of which are French in origin (Il est né), Negro Spirituals (Go Down Moses) and Hispanic folk songs (Duérmete, Niño Lindo). In fact, in the preface to our hymnal, the Commission states plainly they deliberately tried to represent the church’s diversity by selecting from non-European traditions such as Afro-American and Asian.

There are, of course, hymns written by professing Episcopalians/Anglicans, like Ralph Vaughn Williams’ For All the Saints, or Healey Willan’sO Lamb of God in the service music portion of the book, or Sir C. Hubert H. Parry’s “Jerusalem” set to O Day of Peace. And there are a few tunes by Thomas Tallis, Orlando Gibbons, and other notable Elizabethans who were chronologically close in history to Henry VIII’s break-away from Rome, but these are in the minority! (And if any William Byrd tunes had been picked by the hymnal committee, it would have been ironic indeed, since although he and Tallis held the copyright monopoly under Elizabeth I, Byrd was a lifelong Roman Catholic!) All in all, MOST of our hymnody was written by NON-ANGLICANS

After all is said and done, a survey of TEH ‘82 reveals that “Episcopal” music is really “Eclectic” music. Our church has borrowed from many traditions and put its seal of approval on it. So the next time you feel anxious that we are losing touch with our roots, just remember our musical roots spread out far and wide, and yet it is still an Anglican tree, perhaps stronger for its diversity!

P.S.: James and his wife were confirmed Episcopalian in 1979. Since this writing, Mr. Weinberg has left the Anglican communion due to corruption, heresy and unGodly politics in the Episcopal Church (ECUSA).

James began piano lessons at age 5 with his mother. In time he studied at a variety of private studios including the Eastman School. After high school, he entered SUNY Fredonia as an organ major, transferring to Stetson University in Deland FL. While raising a young family, James entered Peabody Teacher’s College in Nashville. Later he trained as a Navy broadcast journalist, and once a civilian again, spent five years as a classical radio announcer & producer at WPLN in Nashville. In 1985, James completed a bachelor’s degree in church music at Belmont College (cum laude) and returned for a master’s in music education, conferred in 1991. His area of emphasis for the M.M.E. degree was Elementary/Primary Pedagogical Methodology. His internship was at Montessori Academy in Brentwood teaching pre-school through 6th grade. Now in his 6th year of teaching piano at Belmont Academy in Nashville, James has 35 students. He is also organist at Belmont Heights Baptist Church. See http://88keys.8m.net

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The Apple-users community displays brand loyalty that borders on the fanatic, but even they winced at the drop in price of the iPhone a few months after its first release.  It wasn’t bad enough to get them to switch back to Blackberries, but they made sure the Apple management knew they were displeased.

Even if the product is a good one, there is wisdom in holding back for a few months to give manufacturers the time to work out the bugs and lower prices.  It may be the early bird who gets the worm, but it’s the second mouse who gets the cheese.

Experience has taught me that it is unwise to be on either the “bleeding edge” or the “trailing edge” when it comes to technology.  Wait too long, and you find that technology has passed you by.  Churches are far more likely to suffer this fate than the problems faced by early adopters.  While the committee argues over whether to get a computer with a serial or parallel printing port, the rest of the world has moved on to USB, Firewire, and Wireless interfaces.

Most books written about the history of classical music take the chronological approach.  The material is split up into chapters based on eras of time when music of a certain style was common.  Specific beginning and ending years may be arguable, but it is interesting to note the rough length of the historical periods.

* Medieval, 900 years
* Renaissance, 200 years
* Baroque, 160 years
* Classical, 90 years
* Romantic, 95 years
* Impressionist, 50 years

The periods of music history have obviously compressed as time wore on.  This is not isolated to just “art” music.  If advances in technology and communication have shrunk the length of trends in music throughout history, we can count on even more compression in the future.  Churches that want to stay relevant in today’s culture don’t have the luxury of 900 year adoption periods.

It’s wise for the church to avoid the “bleeding edge” in adopting new styles of music, but just as important to avoid waiting so long to adopt worthwhile trends that they are no longer “contemporary”.  The degree to which we are successful in managing that balance is a great measure of our success as contemporary worship leaders.

Rob Pearce

Traditional Church- Contemporary Worship

Rob Pearce is the founder of WorshipBasics.com, a website created for the support and encouragement of others starting contemporary worship services in traditional churches. Visit at http://www.worshipbasics.com and signup for a free mini-course – Solutions to the 7 Roadblocks to Contemporary Worship.

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By starting Jesus guitar lessons, you will be uniting a very important and passionate part of your life with a new skill. In order for you to have the self-discipline to practice regularly, it will be important for you to have that passion nearby. You could even start a new bible study to show-case your new talent and songs that you’ll be learning.

The truth is, learning the guitar is hard if you don’t have a specific area of interest. However, if you love Jesus and you want to learn Jesus guitar, you have pinpointed exactly the type of guitar music you want to learn. This will make it easier for you to enjoy your lessons and practices. Not only that, but many churches are open to having guest musicians play for services. What a wonderful way to share your newly acquired talent and your deep faith in the Lord Jesus Christ.

There are many reasons to learn Jesus guitar. The most important is your passion for Jesus. When you can tap into that faith and combine it with guitar, you will learn this new skill in no time. Not only that, but other members of your family might be inspired as well.

Click Here to Learn Guitar For FREE. Grab Your Free Ebooks on How to Play Guitar For a Limited Time.

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The little Wurlitzer organ was the first to be imported into this country from the U.S.A. in 1925. While the Picture House in Walsall was being rebuilt following a fire in 1924, the owners Provincial Cinematograph Theatres ordered a brand new 2-manual 6-rank organ from the Rudolph Wurlitzer Manufacturing Company for installation at the refurbished cinema. The organ cost in the region of £3,900.

The organ was despatched from the Wurlitzer factory on the 1st December 1924, and shipped to the UK, destined for its new home at The Picture House in Walsall. Opus 956 was the first Wurlitzer theatre organ to arrive in England and hence it was also the first one to be opened.

After its arrival at Walsall, the Style-D Wurlitzer organ was unpacked and installed into the Picture House over the coming weeks. All of the organ’s 450 pipes, its percussions instruments and special effects were all installed in a large wooden swell box type chamber within the cinema. By the end of January 1925, organ was fully installed and operational, ready to entertain the population of Walsall and the surrounding area.

The opening at the Picture House took place on 26th January 1925 and was performed by organist Jack Courtnay, with Stanley Kilburn as orchestral organist. The organ was used to accompany all the silent films of the day, and also to add special-effects to them. For many years during the late 1920’s and most of the 1930’s the organ was played by the accomplished church and cinema organist, Wilfred Gregory.

In 1929 the “Talkies” had arrived in Walsall and the organ came to be used for solo spots, sing-alongs, and for providing music during the interval. At some stage in the 1930’s, an illuminated surround was added to the organ’s console in Walsall.

During the days of World War 2 the organ, in the capable hands of Wilfred Gregory, was a great morale booster to the people of Walsall. It continued to provide the locals with a small taste of normality amid the air raids. Many of the 99 Wurlitzer theatre organs that came across to the U.K. were destroyed during World War Two. However the baby Wurlitzer at the Walsall Picture House survived the enemy action.

Then with television gaining in popularity during the 1950’s, cinemas started to see their audiences dwindle. The use of organs in cinemas rapidly declined. Many instruments were closed down or disposed of during the 1950’s. Some just became scrap metal, but many were saved either privately, or by various clubs and preservation societies. A major problem was the necessity of finding a suitable space to re-house a theatre organ.In the mid 1950’s the management at the Walsall Picture House decided the time had come to get rid of the U.K’s first Wurlitzer theatre organ.

In 1955 the organ was purchased by an enthusiast and installed at his home in Sedgely in the West Midlands. However it wasn’t long before he wanted something bigger to install in his home. Come 1958, the little Wurlitzer was again surplus to requirements and seeking a new home.

The organ was sold to fellow enthusiast Arthur Thorn, a builder, from Beer in East Devon. Arthur had the Wurlitzer installed at the Congregational Church on Fore Street in Beer by the Sweetland Organ Company of Bath. As it was intended that the Wurlitzer was to be used for church purposes, all the percussion instruments and special effects were disposed of.

In the early days of the organ at the church, the congregation complained that it was too loud. To resolve this issue, a second shutter system was installed directly behind the existing ones and the shutters were fixed. These were set manually to restrict the volume passing through the main shutters.

Over the years the Wurlitzer has provided good service at the church, and many eminent organists have visited to see and play the instrument. But, by 1987 the organ had fallen into a state of disrepair, and although it had received attention on a fairly regular basis, this had not been enough. At this stage the church considered selling the instrument as they were faced with some very large estimates to repair it.

The following year a small team of volunteers, under the guidance of a couple of local members of the Cinema Organ Society, removed all the pipes from the chamber to carry out some of the urgently needed repairs. Unfortunately this work never really amounted to much.

In 2008 a society was formed to help raise funds to keep this historic Wurlitzer playing in Beer. With donations and money raised at concerts, some of the missing percussion items have already been replaced.

As a piece of modern social history England’s oldest Wurlitzer theatre organ rightly deserves to be returned to its former glory. More details about the organ, its history, forthcoming shows, and how you can help, can be found on the website: http://www.beerwurlitzer.co.cc.

Article Source: http://EzineArticles.com/?expert=Glen_Twamley

During the Middle Ages, Catholicism was the central power in Europe. It was incorporated into every aspect of life and its power stretched to every corner of the known world. And one of the methods through which the Church asserted its power was music. Although modern churches regularly use music as a natural part of worship, the pairing of music and Christianity has not always been so straightforward. A thousand years ago, music was often regarded as sinful. The problem was, churchgoers tended to enjoy it, and the fathers of Catholicism understood that it could be used to strengthen people’s ties to the Church.

Accordingly, music was eventually incorporated into Catholic worship, and vise versa. The sheet music of the era is often adorned with religious frescos. The monasteries and abbeys of the period created and stored huge quantities of sheet music, up to 4000 texts at a time in some cases. Indeed, it was this mass production of recorded music that led to the evolution of square notation. The monks needed a universal way to record and recognize the music written by their peers in other monasteries; square notation made this possible.

However, church was not the only place a person living in the Middle Ages would hear music, not by a long shot. Also common at the time were wandering poets, or troubadours, who were the keepers and purveyors of secular music. Some of the oldest surviving sheet music was written by these people, who were encouraged in their work by patrons such as Eleanor of Aquitaine. The area of Provence, modern day southern France, was particularly known for its troubadours, and the region is said to have been known as The Land of Song.

The Church is known to have fought the advent and proliferation of secular music, which it would certainly have regarded as sinful in the extreme. However, fortunately for us, it was unable to stem the music’s spread. The most popular topic of such secular music was that of courtly love, which may explain why the Church was so against it. Courtly love deals with situations in which lovers are unable to consummate their feelings, usually because one or both is wed to another. This theme is still famous today thanks to the well-known story of King Arthur, Queen Guinevere, and Sir Lancelot. Other popular secular topics included the seasons, the crusades, beautiful women, and nature, all of which were idealized and exalted in song. Such songs would never have become as ubiquitous as they were, however, without the sheet music produced by the troubadours of the age.

Victor Epand is an expert consultant for guitars, drums, keyboards, sheet music, guitar tab, and home theater audio. You can find the best marketplace at these sites for guitars, drums, keyboards, sheet music.

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Perhaps because of that interest, one of our many, I can assure you, I follow the previous week’s news on the topic from Google Alerts. This past week, I noted with satisfaction a brief report in the Feminine.co.uk feed that Charlotte Church is a very big fan of karaoke herself. In fact, she has apparently begun seriously considering pursuing a return to the spotlight as she has contemplated her growing obsession with singing karaoke.

According to the Feminine report, and I paraphrase here, Charlotte Church began singing karaoke while taking some time off from work. The spell binding vocalist of ‘Crazy Chick’ fame – who most recently returned to British TV screens as a judge on ‘Over the Rainbow’ -the new talent search show from Lord Andrew Lloyd Webber – realized it was time to return to the spotlight when she couldn’t stop herself getting up on stage when out with boyfriend Gavin Henson.

She said that she had been mostly staying at home caring for her children and increasingly felt the desire to get back into music. In her words, “I missed singing; every time we’d go out I’d end up in a karaoke bar and I’d completely steal the mic – ‘Black Velvet’, ‘Walking in Memphis’, ‘Valerie’.

“So I thought, ‘It’s getting a little low-rent now, Charl’, come on now, you should probably do this again professionally.”

In discussing her comeback to music, 24-year-old Charlotte – who has a two-year-old daughter Ruby and 14-month-old son Dexter – promised that her new album will be a “lot better” than was her ‘Tissues and Issues’ effort that was released back in 2005.

She also reported that she had been doing quite a bit of songwriting recently. She said that she felt that she had some inner feelings that she wanted to express and that there’s a little part of her that wants to be a poet. She also noted, though, that another factor was because so few, if any, really writes songs for her range, and I think we all can agree that that truly is exceptional.

Her interview with Feminine concluded with her commenting, “When I listen back to ‘Tissues and Issues’, that was kind of my first try at writing, and I think ‘Ahhh! So little!’ And I might think that of this (new) album in 10 years’ time. But I don’t think so. I think it’s a lot better.”

Well, personally, I hope Ms. Charlotte Church, does return to the recording studio so that more than those lucky pub patrons who happen to be present when she decides to give in to her karaoke cravings can listen and revel in hearing her wonderful voice. Just the thought of listening to an evening of karaoke entertainment the quality of Charlotte Church’s singing intrigues me.

As for those of you, like us, who also are karaoke fans, and maybe karaoke superstars to be, take heart that counted among us is a talent the likes of Charlotte Church. And if performing karaoke is a very big passion for you and you’re motivated to become as good at it as you can be, remember that, as with most everything else, practice goes a long way toward improving your performance and polishing your musical routine.

A great way to do that is with the “Karaoke Superstar” product that we’re pleased to promote on our website and blog. You can check out our video review of it by going to http://www.jujamvideoreview.com/karaokesuperstar.html.

James Nelson has accumulated almost 40 years of successful business experience, and much of it has been based on the maxim, “Do what you do do well, then find others who can do the rest best”! He is currently President of JuJam Enterprises Inc. and its JuJamVideoReview.com website and blog which focuses upon “Helping People Help Themselves.” You can learn more about “Karaoke Superstar” at http://www.jujamvideoreview.com/karaokesuperstar.html. Previously, he and his wife Judy owned and operated Lakewood Lodge, a family recreation resort in nothern Minnesota. Before that, Mr. Nelson completed a lengthy career in Sales and Marketing Management at AT&T. He is a graduate of the University of Minnesota where he earned a Bachelor of Science (Business) degree With Distinction in 1975.

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Because of the role music plays in the church service, the offertory must be selected with care. Think about where the solo will occur in the order of worship. Are you following a lively choral anthem that will lead right into the congregational worship? Will the offering follow a generally somber prayer for the needs of the congregants? If you find yourself in a church without a strong liturgical tradition as I do, the positioning of the offertory may be altered weekly. There are few scenarios worse than a grandiose arrangement that follows a quiet time of meditation. Without advance thought and planning, you can sometimes find yourself in an awkward situation.

Additionally, it is important to think about your congregation. An uber-contemporary church may not respond to a classical setting of your favorite hymn. In contrast, the latest praise and worship chorus is probably not the best option for a high liturgical service. Most of us probably find ourselves somewhere in the middle of these two extremes – in what is commonly referred to as a blended service. In these settings, the choices become more difficult and more exciting as well. How often have you tried to find a great arrangement that blends a contemporary chorus with a traditional hymn without giving the impression that one of the pieces is more important or, worse still, more holy? There are a few arrangers today who are doing just these type of settings, but they are few and far between, generally demanding extreme technical facility as well.

More often, I find myself looking for arrangements of hymns that are approached with harmonic and rhythmic freshness. My current congregation is a multi-generational group with eclectic tastes in music. I have quickly accepted the fact that I will never please everyone present with my selections. Because I have so many preferences in my congregation, I get to explore some unusual settings. Some of our favorites are jazz settings of hymns such as Leaning on the Everlasting Arms and a complex harmonic treatment of Great is Thy Faithfulness. I didn’t begin using these unusual arrangements immediately though; just as with all other areas of ministry, as the congregation develops trust in you as a music minister (for that is what every church pianist should strive to be), they will also extend that trust to your musical selectivity.

Here are a few closing thoughts on making your weekly offertory a highlight of the weekly service for those that you serve.

Select pieces weekly in an attitude of prayer. All too often we forget that our solo will be a part of the worship service. We can simply choose to provide pretty background music while the important activity of collecting the congregation’s cash is performed. I think the better decision – and the one for which we strive – is to play music that is anointed by the Holy Spirit to aid those who are hearing as they worship in the act of giving.

Always have a few selections that you can fall back on. We’ve all been in the situation where the week got too hectic and our preparation time suffered. Perhaps the scheduled soloist became ill at the last minute, making the planned offertory less than desirable. Having a few selections in your back pocket gives you some flexibility whenever the need arises to make a last minute substitution. Use them sparingly though or they will become part of the normal rotation and you’ll find yourself in need of some new fall-backs.

Don’t sacrifice beauty for showmanship. Have you ever listened to a church pianist play a solo only to later ask “What WAS that song?” The arpeggios are beautiful and the tricky scale passages are impressive, but if they get in the way of the music’s message, we’re taking the focus off of the One we are to worship and shining the spotlight directly on ourselves. (Ouch…is anyone else feeling the sting of those toes that were just stepped on?)

NEVER attempt to play beyond your technical abilities! As a musician, I am all for stretching myself and continuously developing my technique. The worship service is not a practice hall, though. Just as bad as shining the spotlight on how beautifully we play is presenting a glaring example of an ill-prepared solo as part of a worship service. I am not in competition with the pianist at the church across the street, so I don’t have to attempt to play as beautifully as she does. I just have to bring my musical offering to the Heavenly Father each week as a loving sacrifice that brings Him honor and my worship. When we try out that new arrangement that is just a bit too difficult (or – Heaven forbid – completely beyond our skills) we risk interrupting the flow of the service and distracting the congregation from their worship.

Always play for the Audience of One. This is the last point on my list because I believe it is the most important one. All that I am as a Christian, a musician, and a person is because of Jesus. It is a wonderful feeling to have an audience respond to beautiful playing with appreciative applause – and, let me add, there is nothing wrong with receiving these accolades! Scripture teaches us to give honor to whom it is due. More than anything though, I want the applause of Heaven that comes as I play for the audience of One – the One who gave His all that I might have life. He is the source of the music and our constant goal should be that our music bring attention only to His grace, mercy, and greatness.

Do I get tired of trying to find a new piece each week? Of course! Like everyone else, I have a core set of arrangements that I rotate through. But the blessing of sharing my gift with God’s people outweighs the long rehearsals. Occasionally, God opens doors because of our obedience as well. A few years ago, the congregation provided an opportunity to professionally record some of my favorite arrangements. In July, I will have the chance to sit down in the studio again and record two new CDs – one for Christmas, the other songs of praise and thanks.

Happy playing!
Kennith

A graduate of the University of Memphis (M.M. and D.M.A.) and Pepperdine University (B.A.), Dr. Kennith Freeman is an active pianist. A native Arkansan, Freeman is currently a member of two chamber ensembles: the Cox-Freeman Duo and the 3-D Trio. In addition to his performing schedule, Dr. Freeman is a member of the music faculty at Mid-South Community College in West Memphis and serve as Director of Music and Children’s Ministries at Abundant Grace Ministries in Collierville, Tennessee. Follow his thoughts about all aspects of collaborative piano and church music at http://freemanpiano.blogspot.com/

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Give Me a Beat

Arguably, the drum set is what makes a worship service “contemporary”. A drum set can be
a significant expense, but it doesn’t have to be. If your church is planning to offer a
contemporary worship service, consider the following when it comes considering a drum
set:

1. Is volume control an issue? Some churches may need to control the volume of a drum set. Maybe the church is too small or is connected to other buildings that require the volume to be kept at a low level. If this is imperative, an electronic drum set may be what you need. It will allow complete control of the volume of the kit without the drummer having to “hold back”. In addition to this volume control, the sound of the kit can be processed to allow more character to each song.
2. In a word: space. Is the stage or platform going to feel a bit crowded after all of the speakers and instruments are added? Again, an electronic drum set may be the solution. An electronic drum set will take up much less space, leaving room for the guitar amps and keyboards.
3. The sound quality of a used drum set can be every bit as good as a new drum set. Looking for a used drum set will allow you to get the most drum for your dollar. The same goes for cymbals, by the way.

These are some of the things that need to be considered when adding a drum set to your
contemporary worship service. Buy drums online
to find a huge selection of drum sets, drum hardware, cymbals… even practice CDs and videos –
all at very low prices.

Ryan has been drumming for over 20 years and has created a site that allows online shoppers to find the best deals on drums and drum-related videos, books, and CDs. His site can be found at http://www.lowpricedrums.com

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