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.

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

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.

Article Source: http://EzineArticles.com/?expert=James_R._Nelson

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/

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

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

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

Standing room only has its benefits and downfalls. Downfalls involving punches to my kidneys, smashed toes, bathing in the sweat of drunken strangers, and praying for a gust of oxygen asphyxiated masses. I wasn’t the only one. Hot vamps and goth baby dolls writhing to the music, grinding their neighbors as their eyes gazed up toward Reznor. It was startling, disturbing, and fascinating. The stage was a silver platter, in a church nonetheless, and the throbbing mass begging for communion.

The people love Reznor and he is whoring out his soul or at least lets everyone believe he is. It sells and that is what the people want from him. Trent squirmed under the weight of his own ego and the hard-pumping jams. The band kicked major ass and didn’t give a seconds pause so that anyone in the mob could gather their thoughts. They drove it straight through to the end with “Head Like a Hole”. Trent spoke little. He let his frothing presence and music speak for itself. Much like his albums, it was a continuous musical episode, but not with the same technical continuity because he mixed up the songs and threw in some old favorites.

Some groupies swarmed around stage right willing to do anything for a favor to possibly maybe get backstage. Lucky bouncer. There were minions of hot chicks, but hardly beautiful. How could they be? Begging to give it all away to give it all away to anyone in that band. They don’t know Trent, but they loves what he gives birth to, the music, and what it gives birth to in them, that someone understands their plight. And those are the grade-A groupies, some just wanna f*#$@ a r(c)ockstar. Hey, whatever motivates them to get up in the morning and live life. In love with a stage persona. What is Mr. Reznor trying to do to his fans? Why does he make the music, really? Money? Attention? Adoration? Maybe art for art sake. All of the above, none at all, or does it change over time. Maybe he has to get it out. I appreciate him greatly as an artist. I am glad he continues to exist and produce, albeit five years later.

Besides Dylan, that was the best concert I have been to. The venue did it, the music did it better. Although I questioned the reasoning behind the hardly-known openers The Dresden Dolls, after experiencing the passionate duo play I understand that it was proper. Better yet, it was a perfect fit as they rocked it out with “Coin Operated Boy” then brought it back down with a sweet rendition of Radiohead’s “Karma Police”.

Thanks Reznor for bringing it back. Why? How can you deal with your cult sex-god-king-of-pain status? Is that loathing and nihilistic persona really that much a part of you or does it just come when called in the name of your art? Good s$%# man, good s^%&. But isn’t it exhausting reliving that angst for every show or are you just faking it? Is it really just a show? They all believed you, your adoring fans. I don’t really care if I believe you. It is irrelevant. The show did not disappoint even if you are full of s#%$. Maybe you have to be. Maybe you are human after all. I am sure I saw a fleeting moment of “humanness” for lack of a better word during “Hurt”. “If I could start again, a million miles away, I would keep myself. I would find a way”.

I hope you can Mr. Reznor. Godspeed on that journey. Yours is such a fascinating one. Your fans will always love to hear it. Until the next concert, may you find some kind of solace. But not too much if you want to stay on top of your game. But if that solace does come, do not hesitate on pushing it out to force feed your following a flavor of a different sort. Whatever may come, I will be down to listen%u2026 to see how you see for a second. Continue your work or do not, your legacy stands independent of you now. The people who need to hear you will, I will. So peace out from all us who are damaged, frayed, thin-skinned, broken and bruised, like you. Maybe not forever though, huh?

A. Birge | Hack Journalist

http://www.adriennebirge.com

Adrienne Birge
Gonzo Journalist
http://adriennebirge.com

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

1) Practice the piano and more preferably the songs you will be playing early in the week and often.

2) Sing while you play so you can have a feel for how well your playing will mesh with the singing.

3) If you use sheet music make sure it is organized and ready to go. Write up your introductions and endings or make sure the ones you have used before are the ones you will want to use this time.

4) If you are accompanying a soloist make sure you set aside good time to practice.

5) If you are still working on your craft then make sure you are studying your piano lessons and practicing those in ADDITION TO practicing your Sunday songs. Don’t stagnate. Add to your skills. Learn new songs or new ways of playing old favorites.

6) If you are the worship planner also a nice resource to have is an index that lists songs by scripture,by topic, and by key.

7) Don’t give up because you don’t have a piano. A keyboard will keep you going until the Lord sees fit to bless you with a piano. Truly. This happened to me.

Do you want to play in a particular style? You could just purchase music that is arranged in the style you want to play. But an easier option is to learn what specific notes or chords are making that special sound.

Use these ideas for how you can keep yourself together so come Sunday morning you can concentrate on making a joyful noise for the Lord!

See more ideas for a beginning church pianist in my book The Struggling Church Pianist

K Quinn is a church pianist. Visit her website and download some free musician tools at…
http://www.strugglingchurchmusician.us

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

If you get an opportunity to play piano for your church or any church, remember who is giving you the chance to play in the first place. It’s not by accident that you are in the position that you’re in. I’ve seen to many pianists who play for the church thinking they are the best piano players that ever graced the face of the earth. Eventually they are brought back down to earth, hard. They no longer play the piano for anyone and they wish they had their position back. Pride comes before the fall. It’s true. God can put anyone who is willing and has the right heart in place of you if you are not humble. I tell you this because I don’t want you mess things up for yourself. Even if you are brand new to the piano, keep what I have said in the back of your mind.

Never think that you are at a concert performing. People may cheer or clap and you might feel like your putting on a show. You’re not in show business when your playing worship piano for the church. You are there only to benefit the body and glorify God. I said that twice because you have to know this. Of course you can have fun with songs. You can ad your own musical spin to songs but don’t be self centered. If the worship leader wants a certain thing played, don’t argue with them. If you are the worship leader, be sensitive to what God wants you to play. Yes, God speaks through his Holy Spirit. If you feel strongly about something you don’t always have to make it known. Sometimes you may have to play song that you don’t particularly like. If found that these things have built character, improved my piano playing and even helped my have a deeper relationship with God.

visit http://www.lifesmusic.com. My name is Bryan and I’ve been playing the piano for over ten years. To learn to play the piano by ear go to http://www.lifesmusic.com.

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

Now that your arms and legs are flying in all directions, the pressure is on and although you are working very hard at every opportunity, you are still finding it difficult to keep up with the requirements of the job.

So what do you do next – how can you make the transition to the organ, keep your sanity and still give a good account of yourself on a Sunday?

When I first started to play the organ at church, my biggest worry was that I would make myself look stupid. Surrounded by people who would tell me how brilliant the organist was in the church down the road, and how if they had a bit more time, would take on the job themselves, I thought I was playing to a congregation of retired organists!

After a time, I realized that some people do tend to exaggerate and that I was the most eligible candidate for the job because I was the only person who could play the piano to any degree of proficiency. However, I also realized that I would only accomplish the transition from pianist to organist if I could play to my own expectation, which at the beginning was higher than was practical.

The first tip I would give to someone in a similar position is to play easy music well – not difficult music badly. People listening to organ music, or any music for that matter, cannot usually tell if the music is hard or easy to play, but most people do know if there are any mistakes. Playing easier pieces will also make the transition easier.

The next tip I would give is to learn to play the bass pedals. It may seem very difficult at first, but organ playing, especially hymn playing, becomes easier when the feet can contribute to the sound and you don’t have to rely solely on the hands and manuals. The pedals are often the most difficult hurdle when changing from piano to organ and it can feel like playing two instruments at the same time! Hymn playing is harmonic – based on chords – so if you can think of your feet as an extension of your hands so that your mind gets used to including the bass pedals in the chord structure, playing pedals in hymns should become a more natural process.

Lastly, be realistic about what is achievable, from yourself and the choir, and set yourself a practice schedule that you can stick to. Being too ambitious about the time you can give or the level of music you can play will probably result in disappointment. It is also encouragement that you need if you are to make the transition from pianist to church organist.

Nick Chenhall has been a musician and teacher for over thirty years and runs his own Reluctant Organist website with practical advice on how to survive the post.

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

I wanted to give you a little something that I think may help you as a choir director or worship pastor/worship leader. This is a very simple concept that I myself have used, and it has changed my life. This simple idea can revolutionize your worship services and it can change your life as well! I’m sure by now you’re thinking, “Joe, what single piece of free information can you possibly offer to us that can both revolutionize our worship services and change our lives?!?” Well to that I say, “You’ll be surprise!” You see, when I reveal the details of this “thing” that will change everything, your initial reaction may be, “We already do that! We don’t need help in this area, and this article is clearly not for us.” Well, just give me a minute; If you’ll really get honest with yourself and think back into the past when things may have gone wrong with your church choir music, or maybe just didn’t go as well as you had hoped for, you’ll see what I mean. Ok, enough with the waiting game, what am I talking about? What is this thing that is going to change everything for me?

Preparation.

I have learned to live by what I call the 5 P’s: Proper Preparation Prevents Poor Performance.

With reluctance, I had to admit that I was wrong in the way that I did things for the first few months in the ministry. You see, we all too often get all caught up in the job! What we forget is that this is not just our job. This is our honor, to serve the risen Savior, and deliver our very best praise! So let us begin to actually take the time to do the things that they don’t teach you how to do! Let’s spend more time planning, and less time talking, and almost instantly, an amazing thing may happen. I have seen our worship services get so much better! There is no more dead space, no more wondering what was going to happen next! YOU’RE the choir director, or the choir member, or the worship leader! You need to know what is going to happen next, because guess what?!? Nobody else does! Be prepared! Be ready! How do you do this?

1. Know what songs you are singing as congregationals no later than the Tuesday before the upcoming Sunday. (This one is a given, if you don’t already do this, shame on you.)

2. Sketch out on a yellow notepad what you plan to say to welcome your congregation to God’s house, what you’ll say as an introduction to each song, and how and when you’ll lead the church in prayer.

3. Know how long each song is going to be. Everyone deserves an ample amount of time to do his or her individual parts in the worship service. Don’t cut your Pastor or your special music short. This is disrespectful. They probably won’t say it, but I bet they’re thinking, “Am I not worth a little more preparation and planning so that I have time to do what God has lead me to do?”

4. Leave a little wiggle room. You don’t know what may happen to cause the service to be slightly off schedule. You never know how the Holy Spirit will guide you or someone else during the service. Allot a few extra minutes in case something changes.

All that to say, when you become a better planner, and you learn to prepare more thoroughly, you may find that the leading of the Holy Spirit is a little easier to find on those Sunday mornings. Why? Because God is pleased; you have been a good steward of the time He has given you.

I hope this helps, and always, pray every decision through.

Joe Cox is Minister of Music, Concert Pianist, and internet marketer.

http://www.churchchoirmusicnow.com/

http://www.churchchoirmusicnow.com/church-choir-music/proper-preparation-for-church-choir-music

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